Search results

1

SZTUKA NA KORZE PISANA MATERIAŁY, TECHNIKI, KONSERWACJA AUSTRALIJSKIEGO MALARSTWA NA KORZE

100%

Tworek-Matuszkiewicz B.

Ochrona Zabytków

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2006

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issue 3

55-71

EN

Conservation of the Australian Aboriginal bark paintings is a relatively new field. Bark paintings can be found in many museums and galleries in the world, but their unique properties and related preservation issues are researched in depth by Australian conservators. Conservation Department at the National Gallery of Australia has been actively involved in issues relating to the conservation of Aboriginal bark paintings for 20 years. Looking after the bark paintings collection is complicated by their unique structure and their cultural significance so different to any other paintings found in museums. The concept of material permanence found in European art tradition was, until relatively recently, not a part of Aboriginal experience. The prevailing environmental conditions and the inherent properties of materials used for bark paintings made them quite transient objects in their original environment and cultural context. Although a lot of time and skill was devoted to creating these objects, they were quite ephemeral and were not designed to last. It is only relatively recently that Aboriginal art has entered the Western art market and thus the concept of permanence and longevity has become an important issue for Aboriginal artists. The materials used for bark paintings include a sheet of bark (most commonly from Stringy bark Eucaliptus Tetradonta), naturally occurring, mostly mineral pigments (red, white, black, and yellow), and binders. It is only the binders which changed in the last 30 years, when Western art practices made their influence on Aboriginal bark paintings tradition. This involved a substitution of natural binders such as orchid juice or turtle eggs by the readily available, synthetic materials such as PVA (commonly in the form of a wood-glue Aquadehere). This substitution brought about an aesthetic change in the appearance of the painted surface - from a relative matte, porous paint made with natural, weak binders, to a shiny, cohesive, dense layer apparent in many later paintings. Preservation of bark paintings, as practiced by museum and gallery conservators is heavily based on the respect for the paintings and their cultural background and a thorough understanding of their structure and composition. The “rules” governing the extent of conservation treatments of bark paintings are different than those of European paintings. All conservation treatments are constrained by professional ethics and the respect for the original. They are limited to the least necessary interference, which aims to maintain the present condition of the painting. It is accepted by conservators, that the original painting should not be compromised by any cosmetic treatments (such as restoration). Most conservation problems related to bark paintings come as a result of the inherent properties of materials and techniques of their manufacture. For example, a very typical problem of bark support bowing and warping stems from the tendency of bark – as a part of a tree trunk – to return to its natural, cylindrical shape. The problem of cracking and splitting of the bark – apparent in many paintings – results from the bark’s natural movements in response to the changes in relative humidity of the environment. Frequent and rapid fluctuations in moisture levels bring about high stresses in the wood structure, which are released by cracking and splitting. There is little that can be done to rectify this problem once it occurs. Preventive steps can be taken which involve maintaining stable environmental conditions during storage and display, and not allowing the damage to occur or becoming worse. Another common problem visible in many paintings regardless of their age is the instability of the paint layer apparent by flaking paint and the resulting losses. There are many factors, which influence the longterm stability of the paint layer. They include inherent properties of the particular pigment used, artist’s technique of paint preparation, and the resulting paint behaviour, and environmental conditions to which the painting was subjected during its life. The treatment stabilising the paint involves choosing an appropriate agent, which when carefully introduced under each flake, adheres the lifting area back to the bark support. This very time consuming treatment is only carried out locally. There is no effective and ethically acceptable preventive treatment, which can be applied to a paint layer to prevent possible damages in the future. Powdering paint can be treated using an ultrasonic mister. This method allows loose pigment particles to be re-adhered without being physically disturbed. Some owners and collectors spray bark paintings with various “fixatives” in attempt to ensure the stability of the paint. The materials used for such treatment are frequently unstable, and in time show themselves signs of ageing, such as yellowing, cracking or lifting. Once applied to the paint, these “fixatives” cannot ever be removed and therefore significantly contribute to the deteriorating condition of the painting. It is most important to realize that good preventive or housekeeping measures are essential in caring for bark paintings. They are best stored flat and protected from dust to prevent any loss of paint layer and dust accumulation on the surface. The methods of displaying bark paintings are quite different to the usual practices in art galleries, as they aim to present the paintings without imposing Western European traditions upon these unique objects. Unlike European paintings, paintings on bark in the collection of the National Gallery are not framed, but simply rested on brackets or shelves and leaned against the wall. Seriously deteriorated paintings can be displayed horizontally or at an angle so to minimize the risk of any further damage. Preservation of bark paintings is a developing and interesting field. It requires finding new approaches and solutions to all aspects of their care, often stretching and altering the common museum practices. It also requires an understanding from conservators, who are confronted with some unusual concepts in treatments, exhibition presentation or transportation systems. This gradual process of evolution in appreciation will bring about a new, better level of understanding Aboriginal bark paintings as a unique art form. Transl. by author

2

The analysis of the connections of childhood mental image operations and conservation in combinational tasks

80%

Dosa Z.

Magyar Pszichologiai Szemle (Hungarian Psychological Review)

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2005

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vol. 60

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issue 3

289-307

EN

The study deals with the development features of mental and motor manipulation in connection with a combinational task solution with children. In the two experimental groups we have selected 8- and 10-year-old children (their average age was 8 years 8 months and 9 years), on the basis of their performance shown in Piaget-type conservational tasks in such a way that in one of the groups those children were selected, who are characterized by standard non-conservation, while the members of the other group have shown a standard-conservation level of performance. Within the tasks to be solved we also changed the complexity degree of the combinable parts. In this way we were able to analyze the complexity effect on the one hand, on the other hand we could follow the connections between logical-mathematical operations and the specific mental images necessary for task solution, the existence of which is supposed through the phenomenon of conservation. In case of both groups we could observe that the increase of the complexity of combined elements results in faster solution as a result of the fact that because of complexity the number of good combinational possibilities decreases. This result does not fit into the complexity effect shown in the mental rotation of the isolated, uniform pictures because in most of these experiments the complexity of the pictures extends the time of solution. The other observation refers to the fact that we can experience an essential difference between the performances of the two groups only in the identification operations of the simplest static pictures, but not in the process of transformation and comparison. This is why we may suppose that the development of logical and mental image operations follows different lines as the logical ability of conservation does not forecast in the least the success of the mental and motor manipulation revealed in the combinational task.

3

KRAJOBRAZ KULTUROWY BIESZCZADZKIEGO PARKU NARODOWEGO I JEGO OCHRONA

80%

Holly G.

Ochrona Zabytków

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2006

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issue 2

87-98

EN

The characteristic features of the landscape of the Bieszczady National Park include a mutual penetration of elements of nature and culture. Areas representing supreme natural merits are composed of the polonina ranges (downs) and the lower mountain forests, together with their unique resources. On the other hand, superior cultural assets belong to historical landscapes in the 'land of valleys', preserving traces of old development and material culture, harmoniously inscribed into natural configurations. These traces are recorded with the help of vegetation and stones, including unkempt orchards, rows of old ash trees, balks and tracts, ancient linden trees and elms, as well as the overgrown underpinnings of cottages, manor houses or churches, either Eastern rite or Uniate, abandoned cemeteries, roadside crosses and derelict cellars. The permanent existence of a cultural landscape calls for systematic protection. A pertinent programme has been inaugurated within the Plan for the Protection of the Bieszczady National Park; its scope ecnompasses recommendations about protection, intent on, i. a. the preservation of the former structures of villages and traces of development, the protection of old trees and the retention of old names as well as rendering all those resources available for educational purposes. Particular conservation is due to roadside crosses and tombstones, whose survival is to a considerable degree imperilled. Nonetheless, it is quite possible that these souvenirs of a bygone world will be meticulously examined and subsequently preserved. The group of persons interested in the history and culture of the region is consistently growing, and the number of publications and historical iconography is on the rise.

4

WSPÓŁCZESNA TEORIA KONSERWACJI I RESTAURACJI DÓBR KULTURY. ZARYS ZAGADNIEŃ

80%

Szmelter I. M.

Ochrona Zabytków

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2006

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issue 2

5-39

EN

Apresentation of an outline of problems relating to the conservation-restoration of cultural property, including painting and sculpture, from the times of the Old Masters to modern ephemeral art, as well as accompanying theories, with particular emphasis placed on their contemporary social dimension. The history and present of the conservation-restoration of cultural property is part both of the history of civilisation and the variable perception of art. Praxis, whose beginnings go back to antiquity, was connected with the skills of the artists, and constituted a source of knowledge originally limited to technological reflections; in the course of the eighteenth century it evolved towards a distinct profession of the conservator-restorer which led to, i. a. the publication of guidelines for pursuing this profession. During the nineteenth century those collections of directives and recommendations changed into a number of assorted theories relating to the protection of historical monuments associated with current cultural trends. An analysis of the situation of European art and pertinent protection demonstrates vast historical differentiation within the interpretation of such basic ethical and aesthetic questions as: “to conserve or to restore?”. Understanding the past and the motives of the protectors of art has, paradoxically, become extremely useful for recognising the contemporary reasons for the changing fate of the protection of art and thus also the state of art itself. The present-day theory of the conservation of cultural property is made up of components of the most varied origin: fundamental studies, starting with classical nineteenth-century theories, Ruskin’s arguments in discussions involving Romantic historicism and stylistic purists, theories maintained in the spirit of historical relativism launched by A. Riegel and M. Dworak, and the twentieth-century aesthetic theory of restoration devised by C. Brandi and U. Baldini, all the way to the contemporary stands represented by, i. a. C. Caple and S. Munoz Vinas, interpreting the question of “sustainable conservation”. During the second half of the twentieth century the conservation-restoration of cultural property in a number of countries remained relatively autonomous. Upon the basis of respected conservation charters and codified principles, professionals decided about the diagnosis and conception of conservation as well as the projects of selecting the importance of operations in the “to conserve and not to restore” spirit – or to restore as little as possible. Specially established professional experts, together with conservators- restorers, art historians, architects, archaeologists, etc., were entrusted with the joint task of tackling the investors. During the last quarter of the twentieth century an entirely new group has assumed leadership in the protection of cultural heritage. This social group, possessing its own criteria and opinions, includes economists, specialists on tourism, as well as others who in their capacity as the protectors of cultural heritage also express their objectives. Cesare Brandi described this tendency as one which accompanied conservation in the 1970s, but some thirty years later it became dominating. Within such a social context, the universally expressed need is that for reinforcing the authority of the conservation milieus, including the conservator-restorer envisaged as the author of projects aimed at protecting a given object. Within the choice of such premises as the recognition and selection of the merits of an object, the assessment of its welfare, and its significance as a work of art, a supposition stemming from its substance as a monument, structure and message, importance is attached to a consensus with economic factors and functions in contemporary society. Acting as an advocate of the wellbeing of a given object, the conservator- restorer represents in complex negotiations the interest of future generations conceived as users, i. e. a cause which often might be deemed unpopular. Taking into account the fact that the unfortunately universal feature of contemporary civilisation is indifference to the past and the protection of its souvenirs, this situation cannot be simply ignored. “Sustainable conservation” forecasts a more extensive and pro-social activity of conservators-restorers and numerous social groups organised for the sake of protecting cultural heritage than has been the case in heretofore systems. Contemporary conservation ethics thus introduces and foresees the existence of sociological instruments which imply a social understanding of theory and its practical aspects. The media and modern social communication, open to other environments, can prevent the alienation and misunderstanding of the priorities of protecting historical monuments . The conservation-restoration of cultural property is composed of distinctive parts of scientific and artistic disciplines, comprising a specific, constantly and dynamically developing branch of science. It may exist exclusively as an interdisciplinary and independent unit, combining science and art, and should not be atomised or divided into two parts – scientific, i. e. a fragment of the humanities or the exact sciences, and artistic. In praxis, this approach is evidenced by the more than sixty-years old tradition of the academic training of Polish conservatorsrestorers. Taking into account the complexity of the presented problems of conservation-restoration and the variable and differentiated perception of art, the far-reaching target of contemporary theory has assumed the shape of creating a foundation for a socially wide comprehension of the welfare of cultural heritage. Respect for society’s need to participate in culture comes down to basic questions about the active protection of cultural property: what exactly is the object of protection conceived as common heritage?, how should protection be performed in accordance with the standards of good practice? and, finally but just as importantly, for whose sake are we acting?! By understanding the past and interpreting the present – that sad global “today” of cultural heritage which lacks sufficient funds and appreciation for the essence of cultural heritage – contemporary theory relies on the basic idea of social cooperation, transcending all boundaries between society and cultural property.

5

CONSERVATION OF WATERLOGGED ARCHAEOLOGICAL WOOD WITH POLYETYLENE GLYCOL 4000 USING VACUUM DRYING IN LOW TEMPERATURE

70%

Grupa M., Plóciennik P., Zawadzka A.

Sprawozdania Archeologiczne

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2009

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vol. 61

381-406

EN

The article presents study with polyethylene glycol (PEG 4000) results with implementation of vacuum drying in low temperature. The works were performed by the 'Pracownia Konserwacji Zabytków Instytutu Archeologii' and 'Zaklad Fizyki Technicznej oraz Zastosowan Fizyki Instytutu Fizyki UMK' in Torun. During studies artifacts made of various kinds of wood were used: maple, hazel, birch, willow, linden, elm, oak, pine and spruce. The best and long lasing drying results are obtained in vacuum. The crucial matter is proper vacuum parametric selection for particular material and impregnants. Drying in vacuum has only advantages, first of all, time saving and avoiding microbiological danger - during vacuum drying that problem disappears completely. Applying PEG 4000 for wet archaeological wood we have possibility of substantial strengthening its structure, because we introduce from 50% to 70% of impregnant into the object. After treatment the wood is hard, dark but the most often its rings are clearly seen and has wax surface. The objects' shapes are usually preserved what is presented in photos. Cylindrical shapes do not deform.

6

BEYOND DEFENCE: CITY FORTIFICATIONS AND URBAN IDENTITY IN LEVOČA

70%

Mrázová M.

ARS

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2021

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vol. 54

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issue 2

178 - 194

EN

Urban identity or the genius loci of a town is a concept that has evolved throughout history and is determined by various aspects of the city and its architecture. On the example of the city walls in Levoča, this study discusses how city walls contribute to the creation and preservation of a distinctive urban identity of a historic town. The discussion consists primarily of three aspects – the function of city walls, their representation in visual sources and their conservation and reconstruction. On the example of the Košice Gate in Levoča, it will be argued that by conserving city fortifications, we are able to preserve the unique character and the identity of the town. Overall it will be argued that the Levoča fortification system, although not completely preserved, has contributed to the creation and preservation of the town’s unique identity.

7

"Po nas choćby Potop"? Zachowanie sztuki naszych czasów

70%

Jadzińska M.

Sztuka i Dokumentacja

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2011

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issue 5

21-28

EN

This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist's concept and destruction of an artwork's structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist's intention, and treat it in a way that is adequate to the artwork's character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork's matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other 'stakeholders'. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.

8

VÝUČBA PREDMETU OCHRANA DOKUMENTOV SO ZAMERANÍM NA OBRAZOVÉ KULTÚRNE DEDIČSTVO

61%

Bukovský V., Kianicová K.

Muzeológia a kultúrne dedičstvo

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2015

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vol. 3

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issue 1

37 – 50

EN

This paper introduces a course titled „Preventative Document Protection“ which is currently a part of the „Mediamatics and Cultural Heritage“ curriculum in the „Library and Information Studies“ program of the University of Žilina and aims to provide students with knowledge and skills related to the protection of documents in institutions dedicated to archiving and heritage protection and preservation. As a part of the most recent iteration of the course, students conducted research on modelling accelerated aging of materials exposed to increased temperature, humidity and light, tested the effect of different chemical compounds and their neutralization on black and white photographs and surveyed colour photographs and slides in the funds of the Slovak National Library in Martin and various private collections. Such surveys are helpful when developing a manual for the identification of unprovenanced photographs and slides. We also addressed the issue of colour theory using the CIE LAB colour space and implementation of the Preservation Index (PI) as proposed by the Image Permanence Institute (Rochester) to estimate the shelf life of unstable materials. The objective of this research is to create a manual for the long-term prognosis of the condition of unstable materials. Students enrolled in this course have made a significant contribution to the creation of this manual.

9

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

61%

Wysocka E.

Sztuka i Dokumentacja

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2010

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issue 3

17-24

EN

The conservation of performance art sounds like an oxymoron. How can we conserve works whose base of existence is being ephemeral, unique and an unrepeatable dialogue with the spectator? The generally accepted method of preservation is obviously documentation which witnesses the occurrence of the act of art. However, what is to be done if the documentation seems insufficient or inadequate in the process of passing on the piece of work to next generations? One of the ways to revive an ephemeral act of art is the re-enactment. Re-enactment as a method of conservation of performance art is part of a broader strategy for the preservation of ephemeral art and other genres generally referred to as 'time-based art'. Many examples of contemporary art employ performative elements and are often based on interaction. Before, (apart from 'live art') they used to be referred to as kinetic art, installation, and more recently computer and video installations or net art. None of them is conservable in the traditional meaning of the word, which pushes the conservators to look for new ways : a re-interpretation, re-creation, migration or emulation. This article is an attempt to outline and evaluate the effectiveness of such activities based on a case of re-enactment of the performance 'Change. My problem is the Problem of a Woman' by Ewa Partum from 1974. Thirty-six years after the performance took place, a conservator repeated this performance with the help of new make-up artists, as a conservator's experiment. The re-enactment strategy used in this piece was meant to enable the experiencing of it anew. A conservator's workshop has always had the task to preserve and maintain a piece of art but in the context of a piece of a performative artwork the task seems to be unusual. Here the conservation strategy becomes a reconstruction, taking on a new, extreme form acting out the artist's role in order to reproduce the work. The conservator of performance art here uses the tools that come from the performance artist's toolkit and moves around within a framework, of not so much in the matter of the piece, but rather in the sphere of ideas, its verbalized and hidden meanings.

10

SYNAGOGUE DECORATIONS IN PRESENT-DAY UKRAINE: PRACTICE IN PRESERVATION OF CULTURAL AND ARTISTIC HERITAGE

61%

Kotlyar E., Sokolyuk L., Pavlova T.

Muzeológia a kultúrne dedičstvo

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2020

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vol. 8

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issue 4

111 – 136

EN

There are approximately ten historical synagogue buildings left in Ukraine today which continue, to varying extents, to preserve their original wall paintings and decoration. A number of these were only recently discovered. The attempts underway, beginning in the early 2000s, to preserve as well as uncover old paintings often produces the opposite effect, destroying authentic works. The cultural significance of these historical landmarks requires that they be included in a single international register, along with supervision and an agreed upon preservation program designed individually for each. Synagogue wall paintings will inevitably perish unless ways of transferring this heritage are sought that will move these works to a different and more reliable “medium of cultural memory”. Different, innovative approaches to museum preservation and ways of presenting these works to public view are called for. Among the tried and tested options are: reconstructing old synagogue interiors which contain wall or ceiling paintings; using motifs taken from the original paintings in new works being produced for the Jewish community; and work on exhibition projects, catalogues and two-dimensional reconstruction models.

11

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

61%

Jadzińska M.

Sztuka i Dokumentacja

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2011

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issue 4

71-79

EN

The incredible diversity and complexity of unconventional works of contemporary art has changed the role of documentation in the process of preservation and conservation. It has become absolutely necessary for the future existence of the work, in order to further understanding, acquisition, installation, arranging, displaying, transportation, conservation and many other areas. Besides a description of the traditional history of the object, its materials and techniques used, or the conservation work which it was subjected to, the documentation is also a form of a copyright certificate, an educational base, and sometimes it may even replace the work of art. This research paper defines a new role for the importance of documentation of contemporary works of art. It focuses on what it means to 'preserve through the documentation' and on the importance of profiled interviews with artists. It describes how and when to document the work of art and how to capture its intangible aspects. Based on the example of installation art, specific methods and a current registration system are pointed out.

12

Sztuka totalna czy dychotomia? Klasyczna i nowoczesna sztuka w dokumentacji i opiece

61%

Szmelter I.

Sztuka i Dokumentacja

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2011

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issue 5

16-20

EN

Contemporary art is dichotomous - that means that it functions either within the classic art disciplines or the innovative ones, which have existed generally from the times of Marcel Duchamp. The aim of this paper is to consider an innovative, practical and theoretical framework for the documentation and conservation of the works of art created by the new generation of artists who utilise new media and integrate their works with new technologies, interactive sonic spaces, transformation of sensual processes, etc. The key issue is the conservator's thorough knowledge about the work of art. This is achieved through cooperation with artists. A conservator should play a role in the artworks' pre-acquisition and should use all of his/her knowledge, including the complexity of humanities and science, one's erudition, experience with art, sensitivity and empathy. The result is therefore an appropriate diagnosis of the object allowing the conservator to undertake the appropriate documentation method and action. The artwork shows the truth about the artist, bears the traces of the artist's personality, has traits associated not only with their sensitivity and artistic abilities but also with the creative process and the technical solutions that the artist selected. We can discover these technical methods and materials by a scientific instrumental analysis. In consequence, innovative knowledge is related to the development of artistic ideas, the concepts and models according to which a tangible and intangible heritage is taken care of, the cognition, communication and contextual aspects of art, the principles and processes involved in perception, the senses and the potential role of new media in creating new aesthetic experiences.

13

DZIEDZICTWO TECHNIKI JAKO CZĄSTKA KULTURY Część I. W nurcie rozwoju zrównoważonego

41%

Affelt W. J.

Ochrona Zabytków

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2008

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issue 4

60-84

EN

The protection of cultural heritage in the twenty first century is determined by a number of factors (de-industrialisation, progress in information and communication technology, insufficiencies of cultural education, virtualisation of reality and experiences, assumption of many state tasks by selfgovernments, and limited state funds for the conservation of historical monuments). All these processes are more or less concurrent with the principles of sustainable development, proclaimed in 1987, referred to in the Constitution of the Republic of Poland in 1997 and defined in the Statute of 27 April 2001 on the protection of the natural environment. This idea is also taken into account by many international documents enacted in the past twenty years by UNESCO, the Council of Europe, ICOMOS and TICCIH. The key problem consists of a reference of the principles of sustainable development to culture and, in particular, to the protection of cultural heritage resources. A new approach is required by the analysis applied both in relation to non-material phenomena and assorted artefacts. Conservation calls for new methods of valorisation, sufficiently universal to encompass all cultural goods and suitably simple and detailed to be applied in daily research-scientific praxis. Upon the basis of an analysis of international documents and foreign publications the article proposes a methodical valorisation of historical objects, founded on a canon of 12 identified values comprising, respectively, a collection of cultural values relating to the past of a given heritage resource (social identity, authenticity, integrity, uniqueness, historical value and artistic value) as well as a collection of socio-economic values expressing contemporary reality and anticipating the needs of the future generations (social usefulness, functional sustainability, economical value, educational value, aesthetic value and political value). The method should be universal, and the process of rendering precise the analysis arguments and the assessment criteria should depend on the type of resource, i.e. whether it is material or non-material, movable or non-movable, a single monument or a complex, a historical site or a cultural landscape. True, a work of art, monumental architecture and a monument of technology differ, but the names of their potential values should remain identical, expressing the holistic paradigm of culture. Such an interpretation takes into account the strategic target of contemporary conservation-restoration as well as all sorts of revitalizations (regeneration, rehabilitation) of the historical substance, which should invariably comprise a balanced retention of all the values of assorted cultural heritage resources for the future generations, This is a dynamic and complicated social process, taking place in changing economic and political conditions, which frequently involves parties pursuing equally different goals. The protection of historical monuments calls for lively negotiations for the sake of their survival, processes that should be consistently accompanied by a vision of the present-day and future beneficiaries of the values in question.

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SZTUKA NA KORZE PISANA MATERIAŁY, TECHNIKI, KONSERWACJA AUSTRALIJSKIEGO MALARSTWA NA KORZE

The analysis of the connections of childhood mental image operations and conservation in combinational tasks

KRAJOBRAZ KULTUROWY BIESZCZADZKIEGO PARKU NARODOWEGO I JEGO OCHRONA

WSPÓŁCZESNA TEORIA KONSERWACJI I RESTAURACJI DÓBR KULTURY. ZARYS ZAGADNIEŃ

CONSERVATION OF WATERLOGGED ARCHAEOLOGICAL WOOD WITH POLYETYLENE GLYCOL 4000 USING VACUUM DRYING IN LOW TEMPERATURE

BEYOND DEFENCE: CITY FORTIFICATIONS AND URBAN IDENTITY IN LEVOČA

"Po nas choćby Potop"? Zachowanie sztuki naszych czasów

VÝUČBA PREDMETU OCHRANA DOKUMENTOV SO ZAMERANÍM NA OBRAZOVÉ KULTÚRNE DEDIČSTVO

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

SYNAGOGUE DECORATIONS IN PRESENT-DAY UKRAINE: PRACTICE IN PRESERVATION OF CULTURAL AND ARTISTIC HERITAGE

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

Sztuka totalna czy dychotomia? Klasyczna i nowoczesna sztuka w dokumentacji i opiece

DZIEDZICTWO TECHNIKI JAKO CZĄSTKA KULTURY Część I. W nurcie rozwoju zrównoważonego