MEDDELELSER OM KONSERVERING

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1 MEDDELELSER OM KONSERVERING CLEANING PLASTICS IN MUSEUMS A CHANCE FOR DAYDREAMING: CONSERVATION- RESTORATION AND TECHNICAL RESEARCH OF AN OUTDOOR UPR PLASTICS INSTALLATION FROM 1992 NYT PROJEKT OM FOGNING AV STYRENPLAST FUTURE_TALKS 2013 PLAST PÅ MUSEUM NY FORBUNDSORDFØRENDE MEDDELELSER OM KONSERVERING PÅ NETTET? IIC - NORDIC GROUP NORDISK KONSERVATORFORBUND

2 MEDDELELSER OM KONSERVERING Kære Læsere, I dette tema kommer vi lidt omkring PLAST. Mod sædvane er der blot to artikler, derimod har vi under rubrikken NYT to plast-referater. Plastik omgiver os dagligt, vi forbruger store mængder i vores hverdag, men indsamler også til fremtiden. Det har, for mig, altid stået som en spændende problematik - hvad gør vi når vi vil have ting, som ikke nødvendigvis er ment til at holde længe, til præcis at holde, restaurere og gemme. Med dette temanummer, håber vi, at viderebringe mere ny viden om den foranderlige plastik og lidt status på plast-fronten. Vi er stolte over at kunne bringe nyt indenfor forskningen, fra Yvonne Shashua og Kathrine Segel samt en undersøgende gennemgang af UPR- produkter (Unsaturated Polyester Resin) fra Päivi Kyllönen- Kunnas og Ulla Knuutinen. Det næste temanummer er blevet bestemt af Forbundsrådet og det er Formidling på internettet. En problematik, eller udfordring, om man vil, som ligger os på redaktionen meget på sinde. Vi arbejder på digitalisering af tidligere og fremtidige udgivelser. Der er mange formelle problematikker som vi er begyndt at tænke over, blandt andet, at det offentliggjorte materiale ikke bliver misbrugt eller at der kommer juridiske krav fra genstandsejere eller andre. Vi vil gerne høre om jeres historier, udfordringer og løsninger. Så skriv nogle gode artikler, deadline for temanummeret er 1.august 2014! Der er stadig ledig plads til en spændende artikel til det generelle nummer, så hold jer ikke tilbage. Redaktøren takker som altid forfatterne for deres store arbejde, Liisa Valkeapää for finske resuméer og Caroline Allington for proofreading af bladets tekster. Også stor tak til de anonyme reviewere og redaktionen. Herudover takkes Bladpuljen i Danmark for støtte til forsendelse til danske abonnenter. God læselyst. LOA LUDVIGSEN Publikationsplan Generelt nummer. Deadline 1. marts Åben for artikeloptag Temanummer - Formidling på internettet. Deadline 1. august Stadig plads til artikler og NYT Generelt nummer. Deadline 1. marts Dear Readers, In this themed issue we look at PLASTIC. Contrary to custom, there are only two articles. However, we have two reports from plastic meetings in the NYT section. Plastic surrounds us every day, we use large quantities in our everyday lives, but also collect it for the future. To me, It has always been an interesting problem - what do we do when we want to keep things that are not necessarily meant to last, how to restore and preserve plastics? With this themed issue, we hope to convey some new knowledge about how plastics alter, and currentideas on the "plastic front". We are proud to bring new research, from Yvonne Shashua and Kathrine Segel as well as an investigative review of UPR products (Unsaturated Polyester Resin) from Päivi Kyllönen - Kunnas and Ulla Knuutinen. The theme of the next issue has been chosen by Forbundsrådet and it is Communication on the Internet. This can be a problem or challenge; and it is something that the editors have been thinking about. We are working on the digitisation of past and future issues. There are many formal problems which we have only begun to consider, such as that the published material will not be misused, or any sudden legal requirements from the owners of objects or others. We want to hear about your stories, challenges and solutions so please write us some good articles. The deadline for this themed issue is August 1st 2014! If you have an article for the general issue, don t hesitate, there is still space, deadline is March 1. The editor, as always, thanks the authors for their hard work, Liisa Valkeapää for Finnish abstracts and Caroline Allington for proofreading of the English text. Many thanks also to the anonymous reviewers and editors. In addition, we thank the Danish Bladpuljen for subsidising the postage to Danish subscribers. Enjoy your read. LOA LUDVIGSEN Publication Dates General issue. Deadline 1st March Some room left Themed issue: Communication on the internet. Deadline 1st August There is still room for both articles and NYT/News items General issue. Deadline 1st March 2015.

3 CLEANING PLASTICS IN MUSEUMS YVONNE SHASHOUA AND KATHRINE SEGEL INTRODUCTION Cleaning involves the removal of all materials that either change an object s materiality or meaning and have neither been applied intentionally by its creator nor are important as signs of its historical use (Bollard (2008)). Although all surveys of the condition of plastics conducted in museums in the United Kingdom and Scandinavia since the 1990s conclude that approximately 75% of collections require cleaning, few treatments have been developed (Shashoua and Ward (1995). This is mainly due to the high risk of damaging plastics mechanically or chemically when using an invasive cleaning treatment. Plastics which are in a rubbery phase at ambient temperature, such as polyethylene and plasticised polyvinylchloride (PVC), are visibly abraded by contact with brushes, cloths and sponges. Polyethylene containers including Tupperware, are readily scratched by green scouring pads or nylon brushes during washing. Solvents and detergents applied either alone or as part of mixtures in commercial cleaning products can both extract additives from flexible plastics such as PVC and induce environmental stress cracking in rigid plastics such as polystyrene, polycarbonate and polymethylmethacrylate. Despite the high risks, removal of oily fingerprints, carbonaceous dirt (external dirt) or crystalline, acidic degradation products (internal dirt) from museum objects or artworks comprising plastics is essential to maintain their significance, chemical stability and commercial value. This article summarises the findings of an exhaustive, 2-year evaluation of mechanical, aqueous and non-aqueous cleaning techniques for their effectiveness at removing external dirt and effect on chemical and physical stabilities of selected plastics. The research described was coordinated by the two authors as part of the EU 7th Framework Programme project POPART (Preservation of Plastic ARTefacts in museums) between 2008 and The project concluded with a conference Preservation Of Plastic ARTefacts in museum collections held in Paris in 2012 and publication of the same name. The highlights of both conference and publication are available freely on the internet POPART was divided into four working groups each focusing on different topics such as plastics' identification, collection surveys, degradation and active conservation. Together with the Cultural Heritage Agency of the Netherlands, Victoria and Albert Museum in London and Paris-based Laboratories: Centre de recherche et de restauration des musées de and the Centre de recherche sur la conservation, the National Museum of Denmark evaluated mechanical, aqueous and non-aqueous cleaning techniques initially for their influence on the long term stability of plastics and afterwards for their effectiveness at removing dirt. The purpose was to assist conservators with making decisions concerning cleaning plastics. This article will present an overview of the state of the art in cleaning plastics prior to the start of POPART, describe the research strategy and processes to evaluate mechanical, aqueous and solvent cleaning of selected plastics and conclude with the application of POPART s findings to two case histories. STATE OF THE ART IN CLEANING PLASTICS Until the launch of POPART in 2008, conservators believed generally that all semi-synthetic and degraded plastics were sensitive to water and solvents. This influenced the typical approach to cleaning them. Mechanical cleaning in the absence of aqueous cleaning agents or solvents was considered the technique offering the lowest risk of inducing permanent damage and, as a result, conservators chose to wipe away dust and loose particles with a dry cloth or brush to minimise damage. Where dirt was attached to the surfaces of an object as exemplified by oily fingerprints or sticky carbonaceous dirt and could not be removed with a dry brush or cloth, conservators often decided to leave it undisturbed to reduce the risk of inducing further damage. Until 2008, all published research into plastic cleaning by conservators or conservation scientists had used visual appearance or optical microscopy alone for evaluating whether cleaning had caused damage to surfaces. - ARTIKEL MED PEER REVIEW 3

4 POPART CLEANING RESEARCH STRATEGY The research strategy taken in POPART was to first ascertain whether the cleaning materials and techniques evaluated induced changes or degradation to model plastics substrates. Those that did not induce changes were further investigated for the effectivity of cleaning to remove artificial, standard dirt. Finally, the most effective and least damaging cleaning techniques were applied to real museum or study objects to compare the findings from cleaning model plastics with reality. Mechanical cleaning techniques were evaluated first and only the least damaging and most effective techniques were then combined with aqueous and solvent cleaning agents. MODEL PLASTICS New, colourless and transparent or pearlescent model plastics were used as model substrates to investigate whether cleaning would damage the plastics themselves. Initially, polymethylmethacrylate (PMMA), polyvinylchloride (PVC), unsaturated polyester (UP), high density polyethylene (HDPE), polystyrene both cast high impact (HIPS) and extruded (EPS) forms were selected as model plastics with each POPART partner researching one or two plastics for cleaning (see figure 1). Selection of plastics types for inclusion in POPART was based on their high representation in museum collections and requirements for cleaning. Unsaturated polyester was removed early from the project due to its inhomogeneity and replaced with cellulose acetate (CA). Extruded polystyrene proved too difficult to clean due to its uneven texture and was also discounted from POPART. CLEANING MATERIALS, CLEANING AGENTS AND ARTIFICIAL DIRT Published literature and verbal recommendations describing effective and non-damaging materials and techniques to clean plastics for industrial and conservation applications were used to select twenty-two cleaning materials, which were also available in all nine POP- ART partner countries. Materials comprised paper tissues, cotton swabs, natural and synthetic cloths, sponges and brushes and compressed air from can and pressure lines (see figure 2). Published literature was also used to select aqueous- and solvent- based cleaning agents which complied with health and safety requirements in all partner countries. Aqueous cleaning agents included distilled water, Figure 1. A selection of model plastics. From left to right; polymethylmethacrylate, plasticised PVC, unsaturated polyester (replaced with cellulose acetate), high density polyethylene, high impact polystyrene and expanded polystyrene (only included in the first stage). (photograph by Kathrine Segel). Figur 1. Et udvalg af model plast. Fra venstre mod højre polymethylmethacrylat, blødgjort PVC, umættet polyester (skiftet ud med cellulos acetat), højdensitets polyethylen, slagfast polystyren og ekspanderet polystyren (kun med i starten af projektet) (foto af Kathrine Segel). 4 - ARTIKEL MED PEER REVIEW

5 anionic and nonionic detergents, synthetic saliva and triammonium citrate. THE AQUEOUS CLEANING AGENTS EVALUATED WERE: Dehypon LS45, 1% (w/w) in distilled water, non-ionic detergent, cloud point 22 C, fatty alcohol C12-C14, experimental critical micelle composition (CMC) g/l, supplied by Conservation Resources Ltd. (UK), www. conservationresources.com distilled water Judith Hofenk de Graaff detergent, 1% (w/w) of concentrate in distilled water, non-ionic detergent, concentrate comprises 50 g sodium dodecylbenzenesulphonate, 50 g tri-sodium citrate and 5 g sodium carboxymethylcellulose in 1000 ml distilled water Orvus WA Paste, 1% (w/w) in distilled water, anionic detergent, sodium lauryl sulphate. Orvus WA paste has an experimental CMC of 0.29 g/l, supplied by University Products. The Archival Company, com Synthetic saliva, used as supplied, mucin (35mg per ml), unspecified quantities of xylitol, methylparaben, dinatrium, benzalkoniumchloride and EDTA, supplied by Pharmachemie BV (NL), www. tevapharmachemie.com Triammonium citrate (TAC), 2.5% (w/w) in distilled water, supplied by VWR & Bie & Berntsen, Solvents comprised ethanol, isopropanol, white spirit (mixture of paraffins, cycloparaffins and aromatic hydrocarbons with boiling ranges which typically lie between 150 C and 220 C) and xylene. Two types of artificial dirt developed by cleaning researchers to mimic fingerprints or sebum soil and oily, carbonaceous soil which represented what is commonly known as museum dirt were prepared from published Figure 2. The 22 cleaning materials evaluated in POPART (photograph by Kathrine Segel). Figur 2. Rensningsmaterialer (22 i alt) evalueret i POPART (foto af Kathrine Segel). recipes and applied by brush or bar coater to model plastics. Sebum soil comprised palmitic acid and 1-propanol (Kuisma et al. (2005)). Organic oil soil was prepared by dispersing carbon black in paraffin oil (Koponen et al. (2007)). After application of artificial dirt, samples were allowed to dry for a week at room temperature in a covered box before cleaning was performed. CLEANING PRACTICE Initially, the effects of each mechanical cleaning procedure on clean model plastics were - ARTIKEL MED PEER REVIEW 5

6 Visual examination of soiled PMMA after cleaning SEBUM SOIL Dehypon LS45 Distilled water Judith Hofenk de Graaff detergent Orvus WA Paste Synthetic saliva Tri-ammonium citrate Ethanol Isopropanol White spirit Xylene PVA sponge Cotton bud Cotton cloth Leather chamois Spectacles cloth Microfiber cloth ORGANIC OIL SOIL Dehypon LS45 Distilled water Judith Hofenk de Graaff detergent Orvus WA Paste Synthetic saliva Tri-ammonium citrate Ethanol Isopropanol White spirit Xylene PVA sponge Cotton bud Cotton cloth Leather chamois Spectacles cloth Microfiber cloth Not tested Very good cleaning Good cleaning Poor cleaning Bad cleaning Figure 3. Visual evaluation of the effectiveness of cleaning soiled model PMMA. A traffic light colouring system has been used to represent very good cleaning as green and bad cleaning as red. Effectiveness is a measure both of cleaning techniques abilities to remove dirt while not damaging the plastic substrate. Figur 3. Visuel bedømmelse af effektiviteten ved rensning af snavset model PMMA. Farverne fra et lyssignal er blevet brugt til at repræsentere meget god rensning som grøn og dårlig rensning som rød. Effektiviteten er både et udtryk for rensningsteknikkernes evne til at fjerne snavs uden at beskadige plastmaterialet. investigated. From literature and discussions with experienced conservators it was clear that mechanical action can be applied in either linear or circular directions and 5 repetitions of each were investigated separately. Twelve cleaning products which were found to abrade or otherwise change surfaces were removed from further participation in POPART. The remaining 10 cleaning materials were used to apply the aqueous and solvent-based cleaning agents. Finally, the six, least damaging aqueous, four solvent- based cleaning materials and six agents were tested on model plastics with artificial dirt. Selected samples were exposed to accelerated light and thermal ageing to investigate the chances of degradation induced by cleaning with time. EVALUATION TECHNIQUES Visual examination of surfaces before and after cleaning has long been the primary form of evaluation used by the conservation profession to determine whether changes have been induced by treatment producing such symptoms as scratches, deposited residues or reduced reflectivity. While visual examination is one of the most important techniques to evaluate a conservation treatment, it is highly subjective and, therefore, qualitative and poorly reproducible. In POPART, it was decided to supplement visual evaluation with quantitative changes in gloss, contact angle and percentage area scratched after each cleaning. Gloss is the ability of a surface to reflect specular light. Materials with smooth surfaces are highly reflective (glossy), while very rough surfaces reflect no specular light and therefore appear matt. Gloss of test substrates before and after cleaning was determined using a reflectometer. Photomicrographs were examined for scratches by converting coloured images to black and white with a computer photo or paint program such as Adobe Photoshop and then by calculating the area occupied by scratches per unit area using the free program Image J ( Changes in surface energies of model plastics induced by cleaning were likely to be caused by contamination from residues of cleaning 6 - ARTIKEL MED PEER REVIEW

7 Visual examination of soiled PVC after cleaning SEBUM SOIL Dehypon LS45 Distilled water PVA sponge Cotton bud Cotton cloth Leather chamois Spectacles cloth Judith Hofenk de Graaff detergent Orvus WA Paste Saliva TAC Ethanol Isopropanol White spirit Xylene Microfiber cloth ORGANIC OIL SOIL Dehypon LS45 Distilled water Judith Hofenk de Graaff detergent Orvus WA Paste Synthetic saliva Tri-ammonium citrate Ethanol Isopropanol White spirit Xylene PVA sponge Cotton bud Cotton cloth Leather chamois Spectacles cloth Microfiber cloth Not tested Very good cleaning Good cleaning Poor cleaning Bad cleaning Figure 4. Visual evaluation of the effectiveness of cleaning soiled model PVC. A traffic light colouring system has been used to represent very good cleaning as green and bad cleaning as red. Effectiveness is a measure both of cleaning techniques abilities to remove dirt while not damaging the plastic substrate. Figur 4. Visuel bedømmelse af effektiviteten ved rensning af snavset model PVC. Farverne fra et lyssignal er blevet brugt til at repræsentere meget god rensning som grøn og dårlig rensning som rød. Effektiviteten er både et udtryk for rensningsteknikkernes evne til at fjerne snavs uden at beskadige plastmaterialet. agents or surface inhomogeneity caused by scratches. They were quantified by determining changes in contact angle formed between a 20 microliter drop of distilled water and surfaces of model plastics. Because changes in gloss, contact angle and percentage of scratches before and after cleaning were each independently related to surface properties of the plastic being cleaned, they could be mathematically combined to calculate a Cleaning Vector, M where M = ((% area scratched) 2 + (%change in contact angle) 2 + (%change in gloss) 2 for each cleaning material/agent combination. Cleaning was a measure of both how effective and how damaging cleaning processes were. There was an attempt to incorporate visual assessments into Cleaning Vectors but the result was unsatisfactory. However, the trends exhibited by Cleaning Vectors were mirrored by visual assessment. POPART RESULTS FOR CLEANING MODEL PMMA AND PLASTICIZED PVC Although mechanical cleaning has been generally perceived as the least damaging technique to remove dirt from plastics, POPART results suggest that the risk of inducing scratches or residue deposits using a dry brush or cloth is measurable. It is less damaging to remove loose dust particles by blowing clean filtered air from a can or a pressure line, although the latter can be contaminated with lubricant oil. For PMMA and PVC the five following materials were found to be least damaging to surfaces; cotton bud, cotton -, microfiber - and spectacles cloths, natural (ostrich) and synthetic feather dusters. Feather dusters cannot be used in combination with aqueous cleaning products or solvent. It was concluded that linear rubs removed dirt from surfaces, while circular rubs merely redistributed it. - ARTIKEL MED PEER REVIEW 7

8 Figure 5. Plasticised PVC model plastics deformed one week after applying organic oil soil (upper). The deformation persisted despite cleaning (lower) (photograph by Kathrine Segel). Figur 5. Blødgjort PVC model plast blev deformeret en uge efter organisk olieholdig snavs var påført (øverst). Deformationen vedblev efter rensning (nederst) (foto af Kathrine Segel). The concentration of scratches was severely reduced when combining cotton bud or any of the cloths with liquids in the form of water, aqueous detergent solutions and solvent. On clean model plastics the aqueous cleaning agents 1% anionic detergent Orvus WA Past, 1% non-ionic detergent Dehypon LS45, saliva and 2.5% triammonium citrate minimised scratching and the opportunity for residues to form. However, when cleaning dirty model plastics, aqueous cleaning agents failed to dissolve artificial dirt, particularly that representing finger prints (see figures 3 and 4). Instead of cleaning dirty plastics, aqueous cleaning caused further damage, because any undissolved particles were moved across surfaces causing abrasion. This means that identifying dirt types is of great importance when selecting cleaning agents. Visual examination suggested that both artificial dirts had started to migrate into the plasticised PVC within a week after application, causing deformation of the material (see figure 5). A month after cleaning had been performed the sebum soil was no longer visible whereas the organic oil soil appeared more particulate indicating that the paraffin oil had migrated into the PVC. Deformation of the material was also evident. It is likely that the plasticiser in PVC had dissolved the organic components of the artificial soils and transported them between the polymer chains and away from surfaces. The POPART results emphasize the importance of cleaning plastics especially PVC, immediately after soiling takes place. CLEANING PMMA A CASE STUDY In order to examine how cleaning research on model, new PMMA related to real museum objects, Light Sculpture without Light, made in 1976 by the Danish artist Gunnar Aagaard Andersen was selected as a study object. The sculpture, which belongs to the National Gallery of Denmark, comprises several white acrylic sheets, each ca. 5mm thick. These have been Figure 6. Cleaning tests were performed on the edges of Gunnar Aagaard Andersen s polymethylmethacrylate sculpture Light Sculpture without Light (1976) using triammonium citrate (TAC), Judith Hofenk de Graaff detergent, Orvus WA Paste and Dehypon LS45 (photograph by Kathrine Segel). Figur 6. Der blev udført renseprøver med triammoniumcitrat (TAC), Judith Hofenk de Graaff detergent, Orvus WA Pasta og Dehypon LS45 på kanten af Gunnar Aagaard Andersens skulptur Lysskulptur uden lys (1976) (foto af Kathrine Segel). 8 - ARTIKEL MED PEER REVIEW

9 adhered to form a series of concentric, open boxes. When placed in front of a natural light source, as originally intended by the artist, the transparency of the acrylic sheets admits the light and thus reveals the internal spaces of the object. The sculpture was chosen as a study object for two reasons. It consisted of colourless acrylic sheets and was evenly covered with a layer of dark oily soil and several fingerprints could be observed in raking light. In addition the lower part of the sculpture was severely scratched. Most scratches were filled with soil which darkened the object. Light Sculpture without Light represented both the model plastic and the artificial soils tested in POPART. Unfortunately the sculpture cannot be viewed as originally intended, because some of the joints have failed. Cleaning research into model PMMA suggested that solvents had performed slightly better than aqueous cleaning agents at removing both sebum and organic oil soils. However because the artwork was more than 30 years old and the plastic was visibly, physically damaged and therefore more vulnerable to stress cracking when in contact with solvents, caution was required. A selection of aqueous cleaning agents was tested along the lower edge of the sculpture (see figure 6). Although it was difficult to see a difference in effectiveness with the naked eye, under magnification it was clear that Orvus WA Paste and triammonium citrate were both the most effective at removing dirt and least damaging for new, model PMMA. It was decided to clean the sculpture with Orvus WA Paste 1% applied by microfiber cloth. This technique was successful in removing both the even soil layer and fingerprints but not soil trapped inside scratches. In these recessed areas a small cotton bud was found to be the most effective tool but cleaning had to be performed in the same direction as the scratch. Most of the soil was removed this way. Although the researchers were aware of the Figure 7. Migrating plasticiser from Crash Test Dummy Sierra Sammy s head is sticky and traps dirt from the surrounding environment (photograph by Yvonne Shashoua). Figur 7. Snavs fra omgivelserne sidder fast i klæbrig migrerende blødgører fra Crash Test Dummy Sierra Sammys hoved (foto af Yvonne Shashoua). risk of environmental stress cracking when using solvents in contact with plastics, trapped soil was successfully removed with ethanol using a microscope to help focus on scratched areas and to detect any microscopic damage including spreading of cracks. The sculpture was rinsed with distilled water applied by microfiber cloth after cleaning and no damage was detected. CLEANING PVC A CASE STUDY A crash test dummy, Sierra Sammy, belonging to the Science Museum in London was selected as our second case study. The dummy was made in the mid 1970s and acquired by the museum in Crash test dummies were used to model the motion of a human driver or passenger when applying the brakes of a vehicle and to predict any injuries arising from not wearing a seat belt. The object comprised a mechanical, steel structure to replicate the weight (60kg in this case) and movement of a human being and was covered with plasticized PVC skin to add textural and cosmetic properties. In contrast to Gunnar Aagaaard Andersen s sculpture where the soil layer was clearly only superficial, the PVC study illustrated different challenges. After 10 years in a well-sealed - ARTIKEL MED PEER REVIEW 9

10 showcase, the phthalate plasticiser included in PVC s formulation, had migrated to surfaces, leaving it shiny, discoloured and sticky. The plasticiser could be considered an internal degradation product. Fifteen years later, phthalate plasticiser started dripping from the PVC covering the object s head, hips and feet (see figure 7). The high concentration of phthalate vapour within the sealed showcase caused the vapour to condense and drip. Dust adhered to the sticky surfaces, thereby altering the object s appearance. Fourier Transform Infrared spectroscopy revealed that the dummy s soil layer comprised phthalate, carbon particles and red pigment which had been used to represent blood in the dummy s construction. POPART research had shown that PVC was cleaned more effectively by solvents than by aqueous cleaning products. However, because removal of internal forms of dirt, such as plasticisers, had not been investigated in POPART, additional information was required to develop a suitable cleaning strategy. Phthalate plasticizers are esters and their carbonyl (C=O) groups induce polarity but they cannot hydrogen bond with other materials readily. As a result they are partially soluble in water but more soluble when detergents or solvents are present. Because the crash test dummy was too large to be placed easily in a fume cupboard, solvent cleaning was not an optimal solution from a health and safety perspective and therefore aqueous cleaning was preferred. Initial cleaning trials using microfiber cloths and aqueous cleaning products were conducted by the authors. Afterwards, Science Museum conservation staff, none of whom had participated in POPART were instructed in how to perform the actual cleaning in order to examine whether conservators could apply POPART results to their own collections. Oily dirt and plasticizer could be removed using both non-ionic detergent Dehypon LS45 and anionic Orvus WA Paste applied by polyester microfiber cloth followed by a rinse in distilled water. Detergent was applied by cotton bud in recessed areas which were harder to access using a light microscope to focus the treatment. After cleaning, the dummy appeared paler in colour due to the removal of black dirt on its surfaces. The PVC skin had neither measurably shrunk nor embrittled despite the removal of some plasticiser. The dummy was then returned to display. Examination of the object 18 months after cleaning, suggested that phthalate plasticiser has begun to migrate to the object s surfaces once again which indicates that the treatment will require repeating and perhaps reviewing. CONCLUSION Research into conservation cleaning of plastics is an area which had not been extensively researched prior to POPART s launch in Some of the major findings have been counterintuitive and are likely to change conservation cleaning practice for plastic design objects and artworks. For example, mechanical cleaning using a dry brush, cloth or sponge, has long been perceived as the least damaging technique to remove dirt. However it is ineffective for oily or biological dirt such as fingerprints and induces scratches on both thermoplastic and thermosetting materials. Adding sufficient lubricant in the form of water, detergent solution or solvent to the mechanical cleaning material was more effective at removing dirt and less damaging to the plastic substrate. Of the 22 cleaning products evaluated, only canned air, natural and synthetic feather dusters left all plastics unchanged. Duzzit sponges, Scotch Brite sponges and all paperbased products induced more scratching than brushes and cloths. Akapad yellow and white sponges, compressed air, latex and synthetic sponges and goat hair brushes deposited residues. Based on Cleaning Vectors, distilled water, Orvus WA Paste, Judith Hofenk de Graaff and Dehypon LS45 were the least damaging cleaning agents for polymethyl methacrylate, plasticised PVC, high density polyethylene, high impact polystyrene and cellulose acetate. Organic solvents were effective at removing both types of artificial dirt from model plastics but the increased risk of removing plasticisers or inducing stress crazing counted against their use where aqueous alternatives were possible. Transferring the results obtained by cleaning model plastics to real or study objects required some adaptations. Dirt on real objects was rarely homogeneous or from one source as evaluated

11 in POPART experiments, but could include internal dirt such as migrated plasticiser from PVC and its associated degradation products. Plastics themselves were often degraded and discoloured. With time, dirt had migrated further into the body of the plastic. Despite the additional challenges, the general findings for poor and effective cleaning materials and agents on the model plastics and artificial dirt evaluated in POPART were also true for real objects. It is clear that the flow charts designed to guide conservators when cleaning plastics offer useful starting points and may be found freely on solvent-based cleaning of both new, model plastics and real objects is presented. A PMMA sculpture from 1976 by Danish artist Gunnar Aagaard Andersen and a Crash Test Dummy in plasticised PVC from the mid 1970s are selected as study objects and successfully cleaned using the guidelines developed for model plastics and artificial dirt. KEY WORDS POPART, plastics, polymethylmethacrylate, polyvinylchloride, mechanical cleaning, aqueous cleaning, solvent cleaning ACKNOWLEDGEMENTS The authors wish to thank conservators Jannicke Langfeldt and Natsumi Henzan from the Science Museum in London and Louise Cone from the Danish National Gallery for their helpful collaboration on this project. The research leading to these results has received funding from the European Community s 7th Framework Programme FP7/ under grant agreement no ( mnhn.fr/). SUMMARY Although all surveys of the condition of plastics conducted in museums in the United Kingdom and Scandinavia since the 1990s conclude that approximately 75% of collections require cleaning, few treatments have been developed mainly due to the high risk of damaging plastics mechanically or chemically using an invasive cleaning treatment. Despite the high risks, removal of oily fingerprints, carbonaceous dirt (external dirt) or crystalline, acidic degradation products (internal dirt) from museum objects or artworks comprising plastics is essential to maintain their significance, chemical stability and commercial value. This article presents the results of structured research into cleaning polymethylmethacrylate (PMMA) and plasticised polyvinylchloride (PVC) which comprised part of the collaborative EU 7th Framework project POPART (Preservation Of Plastics ARTefacts in museums) between 2008 and An exhaustive study of the risks associated with mechanical, aqueous and YHTEENVETO Iso-Britannian ja Skandinavian museoissa tehdyt muovisten museoesineiden ja taideteosten kuntokartoitukset osoittavat, että arviolta 75 % kokoelmista on puhdistusta vailla. Puhdistusmenetelmiä on kehitetty vain vähän, koska voimakas mekaaninen tai kemiallinen puhdistus voi aiheuttaa vaurioita. Muoviesineiden merkityksen, kemiallisen vakauden ja kaupallisen arvon säilyttämiseksi on riskeistä huolimatta kuitenkin välttämätöntä poistaa rasvaiset sormenjäljet, hiilipitoinen lika (ulkoinen lika) ja happamat hajoamistuotteet (sisäinen lika). Tämä artikkeli kertoo järjestelmällisestä tutkimuksesta, jossa puhdistettiin polymetyylimetakrylaattia (PMMA) ja plastisoitua polyvinyylikloridia (PVC). Tutkimus oli osa EU:n seitsemättä Framework-yhteistyöprojektia, POPARTia, joka toteutettiin vuosina Artikkelissa esitellään tutkimustulokset kaikista mekaanisen puhdistuksen ja vesi- ja liuotinpuhdistuksen riskeistä. Tutkimuksessa puhdistettiin sekä uusia muovisia mallikappaleita että varsinaisia esineitä. Mallikappalemuovin ja keinotekoisen lian avulla kehitettiin puhdistussuositukset, joiden mukaisesti puhdistettiin Gunnar Aagaard Anderssenin PMMAveistos vuodelta 1976 ja plastisoidusta PVC:stä valmistettu kolarinukke 1970-luvun puolivälistä. AVAINSANAT POPART, muovit, polymetyylimetakrylaatti, polyvinyylikloridi, mekaaninen puhdistus, vesipuhdistus, liuotinpuhdistus - ARTIKEL MED PEER REVIEW 11

12 RESUMÉ Selv om alle undersøgelser af plastmaterialers bevaringstilstand udført på museer i Storbritannien og Skandinavien siden 1990'erne konkluderer, at cirka 75% af samlingerne kræver rensning, er der kun blevet udviklet ganske få behandlingsmetoder, hvilket bl.a. skyldes risikoen for at beskadige plastmaterialet mekanisk eller kemisk som følge af en invasiv rensningprocedure. På trods af disse risici er det altafgørende at kunstværker og museumsgenstande renses for fedtede fingeraftryk, kulstofholdig snavs (ydre snavs) eller sure og krystallinske nedbrydningsprodukter (indre snavs), hvis genstandenes betydning, kemiske stabilitet og kommercielle værdi skal bibeholdes. Denne artikel præsenterer resultaterne af en systematiseret forskning indenfor rensning af polymethylmethacrylat (PMMA) og blødgjort polyvinylchlorid (PVC), som mellem 2008 og 2012 udgjorde en del af det europæiske 7th Framework samarbejdsprojekt POPART (Preservation Of Plastics ARTefacts in museums). En udtømmende undersøgelse af de risici, der er forbundet med mekanisk, vand- og solventbaseret rensning af henholdsvis ny model plast og rigtige genstande præsenteres. En PMMA skulptur fra 1976 af den danske kunstner Gunnar Aagaard Andersen og en Crash Test Dummy i blødgjort PVC fra midten af 1970 erne blev udvalgt som test objekter, og begge genstande blev renset med tilfredsstillende resultater ved at følge de udviklede retningslinjer for model plast og kunstig snavs. Saarikoski, I., Sjöberg, A.-M. and Hautala, M., Utilization of profilometry, SEM, AFM and contact angle measurements in describing surfaces of plastic floor coverings and explaining their cleanability. Surface Science, vol. 584, pp Shashoua and Ward (1995): Shashoua, Y. and Ward, C., Plastics: modern resin with aging problems. American Journal of Physics, 76 (11), 1995, pp Shashoua et al (2012): Shashoua, Y., Balcar, N., Barabant, G., Bollard, C., Kuperholc, S., Keneghan, B., Laganá, A., Oosten, T. van and Segel, K., Studies in active conservation of plastic artefacts in museums in Lavédrine, Fournier and Martin, G. Preservation of Plastic Artefacts in Museum Collections. Éditions du Comité des travaux historiques et scientifiques, 2012, pp CORRESPONDING AUTHOR YVONNE SHASHOUA PHD, SENIOR RESEARCHER NATIONAL MUSEUM OF DENMARK [email protected] & KATHRINE SEGEL CAND.SCIENT.CONS NATIONAL GALLERY OF DENMARK [email protected] NØGLEORD POPART, plast, polymethylmethacrylat, polyvinylchlorid, mekanisk rensning, vandbaseret rensning, solventbaseret rensning REFERENCES Bollard (2008): Bollard, C., Quelles substances endogens trouve-ton à la surface des matières plastiques? Faut-il les éliminer? Conservation Restauration des Biens Culturel 26, p Highlights of European Community s 7th Framework Programme FP7/ Preservation of Plastic ARTefacts in museums project Koponen et al (2007): Koponen H.-K., Suvanto, M. and Pakkanen, T. A., Soiling of plasticized poly (vinyl chloride). Journal of Applied Polymer Science, vol pp Kuisma et al. (2005): Kuisma, R., Personen- Leinonen, E., Redsven, I., Kymäläinen, H.-R., 12 - ARTIKEL MED PEER REVIEW

13 A CHANCE FOR DAYDREAMING: CONSERVATION-RESTORATION AND TECHNICAL RESEARCH OF AN OUTDOOR UPR PLASTICS INSTALLATION FROM 1992 PÄIVI KYLLÖNEN-KUNNAS AND ULLA KNUUTINEN INTRODUCTION This article is based on the material and technical research, and conservation project, which together combined to form the basic strategy after the arm of the sculpture titled The Mermaid was broken off and thrown into the Oulu river estuary, where a passer-by found the arm a week later in The initial impetus for the article was the writers interest in technical workmanship and material examination of artworks made from UPS composites. In the article we will examine the sculptor and performance artist Jan-Erik Andersson s ( ) artwork, an outdoor installation 'The Last Milk Platform' (1992) as a case study project. The artwork is particularly accessible, because by-passers are welcome to sit on the platform and are invited to write fragments of dreams on the inside of the blue walls of the installation. The project involved co-operation between a polymer chemist and a paintings conservator who specializes in contemporary artwork and created a new theoretical and scientific approach for pioneering the technical research and the conservation/restoration of contemporary artworks made from non-traditional materials. The analytical research project Fig 1.Fig 1. Jan-Erik Andersson s the Last Milk Platform (1992) was reinstalled in the art square beside Oulu City Art Museum in During a celebration on Jan-Erik Andersson gave a speech and the student group Exema and the cow Rousseau gave an performance. Mrs. Jaana Laamanen gave alecture on the significance of milk platforms. Photographer: Päivi Kyllönen-Kunnas - ARTIKEL MED PEER REVIEW 13

14 has brought to light more detailed information on commercial unsaturated polyester products and UP composites. Through careful documentation, which included interviews, examination and analysis, knowledge was acquired to enable informed conservation/restoration of the art installation in question. Through the identifying characteristics of modern materials we are able to classify each single construction of the artist s oeuvre, for appropriate exhibition, storage and conservation of the artwork. MATERIAL TECHNICAL RESEARCH AND ANALYSIS TECHNIQUES UPR MATERIALS IN ART Unsaturated polyester resins, UPR, have been used as contemporary art materials for the last years because they represent inexpensive, easy to use materials and form rigid but light-weight structures. In artworks it has been popular to use unsaturated polyester resin to create strong three-dimensional shapes of fibreglassreinforced polyester. Unsaturated polyester resins are formed from the reaction of polyhydric alcohols with dibasic acids or anhydrides, and then subsequently dissolved and cross-linked in an unsaturated monomer, usually styrene, to produce a rigid three-dimensional polymer network, that has important applications in glass-fibre reinforced plastics (Bergens L., 1995; Whelan A., 1995). In practice, things are much more complicated in commercial products, where several different alcohols and unsaturated acids may be used in the preparation of the polyesters, and many different monomers are used as diltents. Further, the addition of a monomer unit, styrene, can be as high as 50% depending on the product, and is always added in excess. Further two-pack systems of unsaturated polyesters are cured by a free radical mechanism started by adding initiators and accelerators based on peroxides. The physical properties and chemical stability are adjusted using plasticizers and inhibitors (Hare C.H., 1994; Penczek P., 2005). When unsaturated polyesters are used as part of a composite material with gypsum and fiberglass, they are considered stable materials with good chemical resistance and weathering qualities. However, prolonged exposure to ultraviolet light, as well as changes in temperature and humidity, can cause chemical and physical degradation to unsaturated polyesters (Norman N.S. and Edge M., 1992). This is especially true of artefacts made of unsaturated polyester resin, reinforced with fiberglass, and exhibited in the open-air. The ageing of synthetic composite resin materials occurs faster than more traditional craft materials, such as stone and ceramics. Museum objects made of polymers like UPR can sometimes degrade very rapidly, and may have a useful lifetime of only a few decades. The chemical composition and manufacturing process of the polymers play a major role in shaping the degradation behavior. For this reason analytical techniques were needed that could identify UPR polymer materials, and study the effects of degradation on their chemical and physical properties. UPR MATERIAL RESEARCH In order to study the causes of degradation and to plan the conservation project, the authors organized a pilot project for UPR composite materials in which three different commercial UPR products and samples of the Mermaid from the installation of the Last Milk Platform by Jan Erik Andersson were studied. The choice of commercial products was made on the basis of the information provided by the artist in a series of interviews. Similar UPR product formulations that were known to have been used by the artist for the construction of the art installation were studied as references. Preliminary results of the pilot project, which were published in the eps (e-preservation Science) in 2006, showed that there are differences in the stability and ageing properties of different commercial UPR products. Damage, yellowing, degradation and photo-oxidation were verified through VIS (Visible light) stereo-microscope investigations, CIE L*a*b* colour measurements and FTIR (Fourier Transform Infrared Spectroscopy) analyses. VIS microscope studies showed that UPR and their fibreglass composites are very porous materials which allow increased physical and chemical degradation. IR spectroscopy indicated some variations in the chemical composition of both unsaturated polyester resin products and samples from the artwork(knuutinen U. and Kyllönen P., 2006) ARTIKEL MED PEER REVIEW

15 NEW RESEARCH METHODS FOR UPR STUDIES Research was continued after the pilot project, in order to gain more detailed information about the chemical composition and its effect on curing as well as cross linking density, and the deterioration mechanism of commercial unsaturated polyester products and UPR composites. As a reference material one more commercial UPR product was added. Because the degradation of UPR materials is both a chemical and physical process, all four products: A, B, C and D 1 were first studied with physical breaking strain tests. After that, chemical analyses were performed with NMR (Nucleus Magnetic Resonance) Spectroscopy, and the original UPR samples from the Mermaid were analysed using NMR as well (Stamatakis G. et all., 2010). Although for 50 years NMR has been a very powerful tool in many fields, its application in the field of cultural heritage is rather recent. Usually in this field either liquid or gas chromatography followed by mass spectrometry have been applied to separate molecular mixtures and their components. In fact, complex mixtures of organic compounds may be successfully analysed by NMR using acetone extraction in a very simple preparation. NMR spectroscopy is able to provide insight into both the chemical composition of UPR formulations and of the extent of the degradation processes that affect the physical properties during aging (Capitani D.et all., 2011; Stamatakis G. et all., 2010). For the mechanical tests 2 samples of four different commercial reference UPR products were subjected to different weathering conditions including: humidity, melt/freeze cycles and UVB exposure. It was interesting to note that before aging all four UPR products had similar mechanical properties. This observation stressed the importance of aging studies to determine the suitability of plastics and polymers for use as cultural heritage materials. The mechanical tests showed that UVB radiation has a significant effect on the strength of UPR materials. In general the mechanical data suggested that one of the tested UPR resins (symbolized by C) was the one most susceptible to the deteriorating effects of aging. This conclusion was corroborated by the NMR analysis, which showed that UPR sample C extracts contained increased amounts of phthalates as a plasticiser, and 1.2 propylene glycol (PG) units after UVB aging, compared to the other resin samples, whose acetone extracts were slightly lower in phthalate and PG. UPR formulation C also contained the lowest amount of styrene in the original commercial formulation of the UPR products. UPR resins of low styrene content have been shown to possess inferior mechanical properties compared to traditional UPRs. The reduction in styrene content requires a reduction in the molecular weight of the polyester pre-polymer to maintain the low viscosity of the formulation prior to cross -linking. This increases the number of free polar end groups (-COOH, -OH) available to interact with water, with the higher water absorption leading to more facile osmotic cracking of the UPR formulation (Stamatakis G. et. all., 2002; Spyros A., 2002). Interesting NMR results were especially prevalent in commercial UPR product C, because the art installation sample had almost identical NMR features with the aged UPR C samples. This indicated that the UPR resin C or a resin of very similar composition had been used by the artist. in the construction of this work. Furthermore, the NMR analyses showed that UPR resins contain several low molecular weight organic compounds, including plasticizers and low molecular weight polymers, known as oligomers, rich in polar OH groups that play a significant role in the degradation behaviour of the composite UPR materials. With NMR it was possible to reveal more detailed secrets behind the chemical degradation process in The Mermaid. Polystyrene (PS) fragments which were produced during UPR degradation were found. The presence of PS fragments was expected of UPR materials that have suffered heavy weathering, and that have been exposed to high humidity and extreme temperatures as a result of being exhibited outdoors for several years. Extended degradation can lead to large fractions of polymeric chains being chopped off the three-dimensional macromolecular network that includes polystyrene fragments created during cross-linking. The surface of The Mermaid was exposed to weathering and was therefore continuously subject to chemical alteration by environmental factors. At the same time the surface was the interface through which volatile chemical components, which formed during the ageing, escaped from the polymer matrix (Stamatikis G. et all. 2010). - ARTIKEL MED PEER REVIEW 15

16 THE ARTIST S MATERIALS FOR THE INSTALLATION The installation The Last Milk Platform (1992) consists of a white, blue and black wooden milk platform, with an aluminium milk churn and a red reinforced-polyester mermaid on its roof. A metal stick is fastened to the milk churn pointing outwards with a black and white bat and a yellow ball. The artist and a group of assistants built the installation for an exhibition in Sotkamo. It was later purchased for the Oulu City Art Collection in Andersson repaired some damage to the artwork before its re-installation besides the main building of Oulu City Art Museum in 1995, with pots of new UPR paint and other materials. Later, in 2001, he was interviewed and asked to provide step-by-step, detailed structural and material information about the artefact. It was revealed that the form of The Mermaid was made from plaster-of-paris bandages, used in sculpting the human figure. Polyurethane foam was extruded into the inside of the cast figure and some polystyrene, wood and metal particles were added. Then unsaturated polyester resin, as a composite with fiberglass, was used over a hand laid mould and covered with pigmented unsaturated polyester paint. (Kyllönen P., 2005). UPR with fibre-glass (chopped-strand matting) has been one of the preferred plastic materials used by Finnish artists for three dimensional work in art pieces. On The Mermaid a reinforced UP resin matrix over a positive mould was made with a brush while working outside in the summer 3. The layering process using cross-linked polyester resins is often cold-cured, and for this purpose curing at room temperature is desirable (Nicholson J.W. 1997). Laterin the process a two component paint was added to the polyester using a chemical initiator, which forms the rigid chemical bonds of the polymerised polyester. This results in a hard and shiny/smooth finish. In the case of The Mermaid, it is the Mermaid herself which is used as the open (positive) mould for structures made using a manual technique. The glass fibre is laid first, and then brushed over with resin until it is saturated, forming the top,coat of paint.(saarela et al. 2003; Kessler K., 2003; Birley et al. 1994) 4. Fig 2. Artist s sketch for the Last Milk Platform. The artist writes in the drawing over the artwork that it is meant to highlight the feelings of daydreaming. He says that I myself have spent time on several occasions taking part in philosophical discussions at the milk platform. THEORETICAL APPROACH ON CONSER VATION DECISIONS ETHICS IN CONSERVATION AND RESTORATION OF OUTDOOR SCULPTURES What makes an artwork original? For heritage preservation, the ethical and moral (critical) perception of decisions and recommendations made by conservators instil the decisions with a certain ethical and moral guarantee because of their professional qualifications (for example ICOM International Council of Museums membership). Conservation theory is unambiguous, where the importance is to maintain the physical, aesthetic and historical integrity of the ob ARTIKEL MED PEER REVIEW

17 jects (Muños Viñas S., 2005). In contemporary art conservation the respect for the artist s intent and the integrity of the artwork may impose the need for a certain shift in perception, from the importance of the material aspects of an art work, towards an emphasis on the artist s meaning with the longevity of the physical and conceptual nature of the sculpture (Davies L., and Heuman J., 2004). What therefore are the opportunities for managing and monitoring an artwork, with its inherent aesthetic controversies and originality, throughout its care? In cases where there is sufficient reference on the material culture of the artwork, as well as on the conservation history of the object, then the actions involving intervention and adjustment for aesthetic reasons are more comprehensible (Odegaard N., 1995; Stringari C., 1999). In this case, a detailed knowledge of synthetic materials such as plastics may be useful regarding age expectations and the ageing properties of the material. THE PROLONGED LIFE OF AN ARTWORK? The exhibition for which the artwork was originally constructed took place in Sotkamo in It was part of an exhibition titled Sculptures in Kainuu, funded by the Association of Finnish Sculptors, to last until 1993 and travelling to six municipalities in the region of Kainuu in Finland. After the exhibition, when the art work was sold to the City of Oulu, the intended life span of the artwork was changed unexpectedly, from just one year for the exhibition to a longer period of time in another art collection outdoors. In many instances, as Andersson did with his piece for the exhibition, the artist sees the work not as an object, but as a process. The challenge in this case is to maintain the vital function and appearance of the work, while also conserving the material object as a historical document outdoors. SYNTHETIC MATERIALS AND CONSERVATION- RESTORATION A range of research and examination techniques are required to gain a full understanding of the work, and all the ethical implications should be considered carefully before intervening (Rolfe, M. et all., 2000). While documenting the artefact and by actively focusing 5 on it, the essence of the artwork s background, as well as its technical uniqueness, is more likely to be noticed for remedial treatment. With synthetic materials we are also able to speak about interventive conservation, in other words conservation/ restoration, rather than preventive or inhibitive treatments, this includes mending broken sections, and cleaning and strengthening surfaces. These interventive actions can be applied to individual objects to limit further deterioration and to preserve their significance 6. With an outdoor sculpture it may be necessary for conservators to adjust their thinking to accept the heavier wear and maintenance as being a positive thing (Bellman M., 2002; Mack A. et all. 2002). ADJUSTMENT FOR AESTHETIC INTEGRITY In this case, for The Mermaid, leaving the artwork with a discoloured, weathered appearance was not an option for either the artist, conservator or collection management. For practical and technical reasons, the thermoplastic matrix surface of the UPR artwork needed to be supported from the inside, and the surface fully covered to achieve the original kind of paint layer tacked properly to the base matrix in order to resemble the original appearance of the art installation. The co-work between the chemist and conservator, as well as the conservator s research, as part of her M.A. and B.A. studies, into the contemporary artist s material techniques and intent in using plastics led to an in-depth and well-qualified approach to the conservation/ restoration process. The final implementation also involved using special expertise from manufacturers, retailers and plastics engineers 7. In this process, the life span expectations were considered and detailed knowledge of the ageing of unsaturated polyester polymer systems was built up. The research results had a clear effect on the final choice of materials for the conservation/restoration. The artist wished to restore the original appearance of the colour red, so the choice for the tone of the red colour was estimated with the artist using RAL colour cards. Paint was mixed by the conservator from three different colours: red, ochre and black UPR paint. For the chosen polyester product the original product was used. We discovered during the technical research that the use of inexpensive UPR products result- - ARTIKEL MED PEER REVIEW 17

18 Fig. 3. Kyllönen-Kunnas working with the glass fibre and UPS resin over the repaired parts at the armpit and arm. Photographer: Päivi Kyllönen-Kunnas. ed in poor quality properties in cured composite polyester resins for outside situations, where objects are exposed to weathering, UV-light and temperature changes throughout the year. To improve the situation and enhance UV-protection, a finishing coating was put over the UPR paint. When using industrial non-artist materials, as conservators, we may find it is not always possible to use the most perfect products, best suited for the purpose. It may also be impossible to use seemingly straight-forward choices of materials for conservation treatments. This was the case with the polyurethane coating, which was not available in a half-matt formula. When using paints and coatings designed for industrial use, many of the products are not available for purchase in smaller quantities, or in some cases the products may only be safely used by plastics professionals. THE PROCESSES OF CONSERVATION- RESTORATION 2005 AND 2009 The Mermaid s conservation concluded the study of the symptoms of the degradation. The fact that the Mermaid s arm was broken off, the weathering and change in colour of the surfaces (i.e. the aesthetic reasons), not to mention the sight of the brownish repairs made in 1995, all encouraged the process. The conservation was carried out by the conservator in facilities which were stocked with the appropriate equipment for the work. The first part in 2005 took approximately 10 days over 2 weeks, and the second approximately 8 days over 2.5 months. The proper protective measures, such as using respiratory protection to filter out organic liquid gases and the use of protective clothing were taken care of. During the first phase in 2005 the materials containing styrene were stored in a refrigerator between uses. The first part of the conservation treatment in 2005 was a fairly traditional piece of conservation/restoration for an artwork. It consisted of conservation of the structural elements; working with just the lacunae or cavities, ensuring suitable support and securing the in-between layers of the surfaces, and fastening the arm back in its original position. Using pieces of rigid polyurethane based foam, a polyester filler and clear UP resin with glass fibre saved the original materials. The second part of the treatment in 2009 was the process of working with the artist s idea or image of the artwork, taking care of the cohesion and adhesiveness between layers as well as the suitability for the location of the artwork outside. It consisted first of treatment of the lacunae or cavities, and the repaired clear 18 - ARTIKEL MED PEER REVIEW

19 UP resin areas of the under-painting with PUR primer, and the second treatment was repainting with red UPR paint over the original matrix of the UP composite structure. After drying, the artwork was painted with a clear UV-light resistant coating. The fastening of the arm into the correct position and structural conservation was done using a bar bent into the correct shape made from 99.9 % aluminium with solid pegs. It was placed inside the damaged armpit in order to hold up the arm. For the support material Inota polyurethane foam was used with a two-component body fibre-glass polyester filler as the attaching medium. Support had to be built up in several parts because of the fast drying properties of the filler. Gelcoat paint was used under the final topcoat paint 8. UP resin was added to the armpit and the arm on newly built areas in two thin layers over glass-fibre, one with glass-fibre and a second over the dried surface. The surface treatments in 2009 for The Mermaid included a UP resin topcoat painting 8 and a UV-protective coating. The second part of the UV-protection had not been added yet. The lacunae areas on the right hand, the armpit and elbow area, and the topcoat and brownlooking earlier repairs from 1995 were lightly sand-papered and painted with red primer, Temadur 50 polyurethane paint and, after painting, sand-papered again. After that, the whole artwork was wiped with a cotton cloth soaked slightly in acetone. The next day after testing, it was decided to increase the ratio of the chemical initiator to maximum. To form the topcoat paint, a wax solution was added after mixing the colour. For this topcoat paint the pot life is only minutes, so the red UP paint was spread by brush in two parts. Finally, a clear coating was applied after a break of 1.5 months. The choice of coating was recommended by the artist s retailer and Teknos laboratory engineers 9, and it was tested before use. During the drying process a cabin was used to control the temperature CONCLUSIONS The interest in the value and care of public artworks has increased, both among professionals and the public. While situated beside Oulu City Art museum from 1995 to 2007 the artwork was frequently visited by the public and the media. Fig. 4. End of the structural, remedial conservationrestoration work Photographer: Päivi Kyllönen- Kunnas. The overall appearance of the original installation has been maintained over the years and, despite vandalism, the maintenance has preserved the artwork for us today. There have been requests to return the installation to its place in Oulu. The installation of the Andersson artwork beside the art museum building has however been delayed due to a hold-up in investment plans. For the safety of the artwork, it is essential to consider the placement of the artwork carefully. Forward-looking technical conservation solutions for outdoor environments support the idea of minimising future interventions and it is generally known that future prospects for plastics - ARTIKEL MED PEER REVIEW 19

20 are limited. Mechanical braking strain tests and NMR spectroscopy results presented in this article demonstrate the potential of these methods for the study of polymeric materials used in contemporary artworks. The NMR analysis of the organics present in UPR materials provided important information regarding the state of degradation of the macromolecular UPR network. The results can be used to aid in the differentiation between various UPR formulations and facilitate the identification of original works of art based on their aging condition. Anyhow, further research is needed to be able to give recommendations on which particular commercial UPR products would be the best for conservation practices. Contact and discussion with the artist about conservation has helped to develop conservation and restoration processes. It may lead to new avenues in testing, conservation and working together alongside chemists, technology engineers and other specialists in adapting established techniques from the plastics industry so as to make better choices of materials, if appropriate for the artefact. The challenges faced in the project included understanding the different traditions in the use of UP composites: ranging from specialists in industry and trade, from artistic uses for making artworks all the way to technical research and the conservation-restoration of contemporary artworks. One important conclusion to come out of the project was that you can order other professionals to carry out treatments for you but not without the overall picture of the process. From that point of view, for the conservator, it is an issue beyond compare to know the materials in the treatments as well as possible. SUMMARY New challenges have been taken on in a case study using synthetic materials for contemporary plastics art conservation. The article focuses on research into the technical materials and the artist s intent as well as the conservation/restoration of an outdoor artwork made by Jan-Erik Andersson, as part of an installation: The Last Milk Platform (1992,) made from modern synthetic materials. Through analytical technical research and artificial ageing, results have been obtained which redefine the limitations for cured reinforced UPR in art installations. Results confirm the need for new insights into the use of paints and coatings in reinforced UPR plastics in contemporary art outdoors. The treatment of the artwork provides an example of contemporary 21st Century synthetic materials conservation for a unique artwork. Ethical and theoretical questions surrounding the case are raised. KEYWORDS Reinforced Unsaturated Polyester, NMR analysis, VIS, CIE L*a*b*, FTIR analysis, Conservationrestoration, Three-dimensional contemporary outdoor installations, Public art YHTEENVETO Nykytaideteoksen konservointia käsittelevässä artikkelissa esitellään modernista materiaaleista valmistetun taideteoksen konservointitapausta. Aiheena on Jan-Erik Anderssonin monimateriaalinen installaatio Viimeinen maitolaituri, Taideteokseen kuuluva lujitemuovinen merenneito hahmo on konservoitu. Lasikuituvahvisteisen tyydyttymättömän polyesterin materiaalitekninen tutkimus on osoittanut valmiin materiaalin vakaudessa teknisiä puutteita. Modernien materiaalien käyttö nykytaiteen taideteosten konservoinnissa kaipaa uusia näkemyksiä. Tapauksen yhteydessä käsitellään myös nykytaiteen konservoinnin eettisiä ja teoreettisia kysymyksiä. AVAINSANAT Lasikuituvahvisteinen tyydyttymätön polyesterimuovi, NMR analyysi, VIS spektroskopia, CIE Lab värimittaus, Konservointi -restaurointi, installaatiotaide, julkinen taide THANKS Master of Science Engineering Juha Kokko, Kevra Oy MATERIALS Scan-Pool polyester filler, Kevra Oy. BPO-Paste, hardener for Scan-Pool filler. Kevra Oy. Polyurethane sheet Inota, 10 mm. Divinicel, Density of kg/m3. Airex, Kevra Oy. Glass Fibre Chopped Stand Matt Aschland M g/m2, Kevra Oy ARTIKEL MED PEER REVIEW

21 Aropol M 105 TB general polyester resin, Ashland Oy, Kevra Oy. MEKP-50 hardener, Ashland, Kevra Oy. NORPOL NGA 2039 (RAL 3001) Signal red, Reihhold OY, Terpol Oy. NORPOL NGA 3179 (RAL 1024) Ocra, Reihhold OY, Terpol Oy. NORPOL NGA 8371 (RAL Black), Reihhold Oy, Terpol Oy. NORPOL Hardener Nr.1, Reichhold Oy NORPOL 9872 Wax solution, Reihhold Oy. Temadur 50, half-matt two-component polyurethane paint, red, Tikkurila Oy. Temadur hardener, Tikkurila Oy. Teknodur 0290 two-component polyurethane lacquer Comp. A polymer, Teknos Oy. Teknodur hardener 0200 Comp. B hardener, Teknos Oy. ENDNOTES 1. The commercial UPR product references materials were: Synolite by Boang & Bonsomer (A) Norpol (B), Norpol (C) and Norpol (D) by Terpol Oy:s. 2. The breaking strain measurements of the reference UPR samples before and after the three different aging protocols were performed according to ISO 527-2: Andersson uses topcoat polyester NORPOL (Reihhold) for his plastics artworks. Timo Terho, Terpol Oy Topcoat contains wax solution to form a silky looking appearance. 5. While in the process of documenting, the conservator makes decisions based on the best possible knowledge, following the ethical and aesthetic formula for the decisions, with the collection management. (Decision Making Model 1997/1999). 6. In plastics, once initiated, the degradation cannot be prevented, reversed or stopped, but only inhibited or slowed. (Shashoua Y., 2009). 7. Kokko, J. (Kevra Oy) A interview at manufacturer fasilities and s.; Silen, M. (Reihhold Oy) A interview at manufacturers facilities ; Terho, T. (Terpol Oy) ; Hurskainen K. (Terpol Oy) ; Teknos paint laboratory The average content of styrene for Norpol red UPR paint is according to the manufacturer: styrene content 25-50%, dibutyl maleat %. with inhibitor/hardener content of %. (Reihhold Oy). 9. The half-matt silky looking clear acrylic lacquer is sprayed over PUR lacquer for finishing and for aesthetic reasons. REFERENCES Belman, M., Three case studies of outdoor sculpture with problematic intent issues. AIC The American Institute for Conservation of Historic & Artistic Works. Objects Specialty Group Preprints, Vol. 9. Washington, 2002, Bergens L., Plastics in Modern Art, in Plastics in Art, eds. van Oosten T, Shashoua and Waenitig F. Siegel, Munich, 2002, Birley A.W., Heath R.J. and Scott M.J. Plastic materials. Properties and applications. Second edition. Chappman & Hall, Glasgow, 1994 (1988),164. Capitani D., Di Tullio V. and Prioietti N., Nuclear Magnetic Resonance to characterize and monitor Cultural Heritage, Progress in Nuclear Magnetic resonance Spectroscopy, 2011, doi: /j.pnmrs Davies, L., Heuman, J. Meaning matters: Collaborating with contemporary artists. Modern Art, New Museums. eds. Roy A. and Smith P., The International Institute for Conservation of Historic and Artistic Works. London, 2004, The Decision-Making Model for the Conservation and Restoration of Modern and Contemporary Art. Foundation for the Conservation of Modern Art 1997/1999. The Nederlands Institute for Cultural Heritage. resources/37-theory-a-ethics/303-decisionmaking-model-sbm Accessed Hare C. H., Protective Coatings, SSPC, Pittsburgh, 1994, ; Kessler K., Polyester a material for a chair prototypes. AXA Art Conservation Project 2003 in co-operation with the Vitra Design Museum. Symposium II. Polyester A synthetic consideration from many sides. Vitra Design Museum, Weil Am Rhein. 2003, Knuutinen U. and Kyllönen P, Two Case Studies of Unsaturated Polyester Composite Art Objects, e-preservation Science 3, 2006, Kyllönen P., Technical research and preliminary determination of unsaturated polyester for conservation and restoration in the outdoor installation by Jan-Erik Andersson, Bachelor Thesis, EVTEK Institute of Art and Design, Vantaa. Mack A., Chang A. and Sturman S., Making better choices for painted outdoor sculpture. The 13th Triennial conference Preprints. ICOM- CC Rio de Janeiro, Brussels, 2002, Muños Viñas S. Contemporary Theory of Conservation. Elsevier Butterworth-Heinemann, Oxford, 2005, ARTIKEL MED PEER REVIEW 21

22 Norman N. S. and Edge M., Fundamentals of Polymer Degradation and Stabilisation, Elsevier Science Publishers Ltd, Cambridge, 1992, Nicholson John. W. The Chemistry of Polymers. Second edition. RSC, London, 1994, 70. Odergaard N., Artist s Intent: material culture studies and conservation. Journal of the American Institute for Conservation. Vol 34.,1995, Accessed articles/jaic _indx.html , 3-4. Penczek P., Czub P. and Pielichowski J., Unsaturated Polyester Resins: Chemistry and Technology, Advances in Polymer Science, 2005, 184:1 95. Rolfe M., Lyndsey M. and Lerner T., Saving the New generation for the next Generation: Traditional approaches and radical solutions in the conservation of large painted sculpture of the 1960 s. Tradition and innovation: advances in conservation. Melbourne Congress, IIC, London, 2000, Saarela O., Airasmaa I., Kokko J., Skrifvars M. and Komppa V., Komposiittirakenteet. Muoviyhdistys ry, Helsinki, 2003, Shashoua Y., Conservation of plastics: is it possible today? Plastics; Looking at the Future, Learning from the Past. Ed. by Keneghan, B.- Egan, L., Archetype Publications, London, 2009, Spyros A., Quantitative determination of the distribution of free hydroxylic and carboxylic groups in unsaturated polyester and alkyd resins by 31P NMR spectroscopy, Journal of Applied Polymer Science, 2002, 83, Stringari C., Installations and the problems of preservation. Modern Art: Who Cares? Eds. Hummelen I. and Sillé D. The Foundation for Conservation of Modern Art and the Netherlands Institute for Cultural Heritage, Amsterdam, 1999: Stamatakis G., Knuutinen U, Laitinen K., and Spyros A., Analysis and ageing of unsaturated polyester resins in contemporary art installations by NMR spectroscopy, Analytical & Bioanalytical Chemistry, 2010, 398, Whelan. A. Reinforcement of Moulding, in Plastics and Resin Compositions, eds. Simson W. G., The Royal Society of Chemistry, Norfolk, 1995, Weiss K. D., Paint and coatings: A mature industry in transition, Progress in Polymer Science, 22, 1997, PÄIVI KYLLÖNEN-KUNNAS D.A. STUDENT AALTO UNIVERSITY, HELSINKI M.A. ART HISTORY PAINTINGS CONSERVATOR B.A. VALTATIE 45 A 3 FIN OULU FINLAND. [email protected] ULLA KNUUTINEN PHD, DOCENT OF CONSERVATION AND CULTURAL HERITAGE MATERIAL RESEARCH,MUSEOLOGY, DEPARTMENT OF ART AND CULTURE STUDIES UNIVERSITY OF JYVÄSKYLÄ PL 25 FIN FINLAND, DOCENT OF ORGANIC CHEMISTRY FACULTY OF SCIENCE, DEPARTMENT OF CHEMISTRY, A.I.VIRTASEN AUKIO 1P.O. BOX 55FI UNIVERSITY OF HELSINKI FINLAND. [email protected] & 22 - ARTIKEL MED PEER REVIEW

23 PROJEKT OM FOGNING AV STYRENPLAST Inom vården av våra kulturarvssamlingar finns tillfällen då föremål behöver sammanfogas. Frågan uppkommer då om vilket limningsmaterial som bör väljas i avseende på stabilitet, åverkan på föremålet och hur fogen kommer att åldras. Under 2012 utfördes ett forskningsprojekt av Riksantikvarieämbetet tillsammans med Kungliga Tekniska högskolan och forskningsinstituet Swerea KIMAB inom detta område. Frågor som projektet sökt svar på är: Hur stabila är de limämnen (adhesiv) som används? Vad händer på lång sikt med fogen? Vad har adhesiverna för effekt på föremålen? Hur kompatibla er adhesiverna med plastmaterialet? SAMMANFATTNING För att bidra med kunskap inom aktiv plastkonservering har sju adhesiver testats på styrenplast före och efter ljusåldring. Syftet har varit att undersöka adhesivernas stabilitet samt deras påverkan på plastmaterialet på lång sikt och på så sätt kunna underlätta val av adhesiv utifrån bevarande-perspektiv. Mekaniska och kemiska förändringar av plastmaterial och fog har studerats. Även adhesivernas reversibilitet från styrenplast har undersökts. Utifrån en enkät bland konservatorer, en initial testning samt diskussioner i en referensgrupp valdes sju olika adhesiver; akrylater i lösningsmedel (Paraloid B72 i aceton: etanol 1:1, eller i bara etanol, Paraloid B67 i isopropanol, Acrifix 116), en akrylat i dispersion (Primal AC-35) två epoxi-adhesiv (Hxtal Nyl-1, Araldite 2020) samt en cyanoakrylat (Loctite Super Attak Precision (SAP)). De har testats på skivmaterial av antingen transparent polystyren eller vit slagtålig polystyren, även kallad HIPS (high impact polystyrene) på prover med ett lager adhesiv och på prover med limfogar. Använda metoder har varit bedömning av arbetsegenskaper och utseende, färgmätning, draghållfasthetsmätning, hårdhetsmätning, bedömning av brottyp, studie med SEM-mikroskopi samt infraröd mikroskop spektroskopi (FTIR) före och efter åldring. Accelererad nedbrytning utfördes genom ljusåldring med UVA-komponent. Delar av studien och dess resultat kommer presenteras i en artikel i Studies in Conservation under 2014, (Adhesives for adhering polystyrene plastic and their longterm effect), finns digitalt på ingentaconnect.com/content/ maney/sic/pre-prints och hela forskningsrapporten kommer finnas tillgänglig via Riksantikvarieämbetets hemsida. Nedan ges en kort sammanfattning av resultaten. En skadlig effekt syntes från två av adhesiverna; Acrifix 116 och Loctite SAP i form av sprickbildning synligt i SEM-mikroskopi av prover med ett lager adhesiv. Sprickbildning vid fogarna var däremot inte synligt vid okulär inspektion eller i arbetsmikroskop med upp till 40 gångers förstoring. Draghållfastheten för fogarna försvagades bara i mindre utsträckning efter åldring med undantag för de med Loctite SAP på transparent plast. För Acrifix 116 på båda plasterna och för dispersionen på HIPS blev fogarna starkare. Generellt sett var cyanoakrylaten den starkaste och Paraloid B67 den svagaste. För ingen av plasterna gavs ett kohesivt brott i plasten, d.v.s. samtliga hopfogningar var svagare än plasten. Däremot syntes adhesiva brott för epoxierna. De flesta adhesiverna uppvisade gulning på prover med ett lager adhesiv vid åldring förutom Acrifix 116. Hxtal-NYL 1 gulnade bara i mindre utsträckning. För Loctite SAP och Araldite 2020 syntes gulning tydligt på proverna med fog. Inget av de testade adhesiverna har samma brytningsindex som styrenplast vilket ger synliga fogar på den transparenta plasten. Acrifix 116 och Loctite SAP gav upphov till deformation av proverna med ett lager adhesiv. Det visade sig möjligt att ta bort Paraloiderna och dispersionen. Cyanoakrylaten var svårast att ta bort. Epoxierna var möjliga att ta bort manuellt. Undersökningen har inte uppvisat något av dessa adhesiv till att vara det enda bästa utifrån bevarandeperspektiv. Om en medelstark fog är lämplig kan epoxin Htal NYL-1 vara ett bra alternativ. Om en svag fog är acceptabel kan akrylatdispersion vara möjlig. Dessa uppvisade minst skadeeffekter. Dispersionen var också enkel att ta bort. En nackdel för dispersionen kan vara att den var svagt gul vilket på vissa plaster blir synligt. Störst potential för skadeverkan på styrenplast uppvisade Acrifix 116 och Loctite SAP. En fogning skall idealt sett hålla samman delar för deras avsedda bruk, och inom konservering är möjligheten till borttagning av stor vikt. När ett adhesiv skall väljas till ett kulturarvsföremål behöver estetiska överväganden och hänsyn till föremålets historia och tillstånd tas. Även förväntad belastning påverkar val av adhesiv. Den kunskap som denna studie av adhesiv för styrenplast ur bevarandeperspektiv givit kommer att underlätta för konservatorer att göra väl underbyggda val. THEA WINTHER KONSERVATOR, MSC ENHETEN FÖR KONSERVERINGSVETENSKAP RIKSANTIKVARIEÄMBETET BOX 1114 SE VISBY [email protected] NYT 23

24 NYT Pinakothek der Moderne, München. Foto av Thea Winther FUTURE_TALKS 2013 Konferensen Future_talks 2013 handlar om teknologi inom och konservering av moderna material, Organisatör är Die Neue Sammlung, vilket är en designsamling som finns i Pinakothek der Moderne i München, se bild nedan. Initiativtagare och organisatör är Tim Bechthold, chefskonservator för Die Neue Sammlung. Det var tredje gången i ordningen som en konferens om konservering av moderna material ordnades och det är en återkommande konferens vartannat år. De flesta bidrag behandlar olika plastmaterial men alla slags moderna material kan ingå. Thea Winther från Riksantikvarieämbetet deltog och bidrog med en presentation; Practical aspects on the testing and use of adhesives on polystyrene. Det samlades ca 200 deltagare från 20 länder för att lyssna till 19 presentationer och ta del av ett 10-tal postrar. Nytt för i år var en dag med workshops där man kunde välja mellan nio olika moment där deltagarna kunde prova på t.ex. 3D-skanning, konsolidering av skumplast (skummad polyuretan), air-brush-retuschering och rengöring av plaster. Fokus ligger på konkreta åtgärder med fallstudier samt nya rön från forskning på området. Generellt kan sägas att till flertalet av fallstudierna utförs omfattande testning innan beslut angående behandling tas och ofta med ett moment med något slags åldring av testmaterial. Presentationerna tog upp sådant som analysmetoder, diverse behandlingar av skummad polyuretan, specifika föremål av cellulosaacetat, fenolformaldehyd och polycaprolakton (PCL). Ett helt block handlade om limning av plaster där Riksantikvarieämbetet och Moderna Museets presentation av projektet Foga samman plast vad händer på lång sikt? samt dess användning av resultaten för ett konstverk 24

25 Pinakothek der Moderne, München. Foto av Thea Winther. av Kjartan Slettemark i Moderna Museets samling passade bra in. Övriga behandlade limning av polymetylmetakrylat (PMMA, plexi) och ASA (Akrylnitril-styren-akrylester). Historisk kartläggning av och materialstudier av materialen plastelina (som inte är en plast utan en blandning av oljor, waxer och fyllmedel) och Corian (kompositmaterial av akrylplast och aluminiumhydroxid) fanns också med. En publikation från förra konferensen 2011, Future_talks 011, hade precis givits ut och såldes. Årets bidrag kommer publiceras i ett post-print. EXEMPEL FRÅN PRESENTATIONERNA, POSTRAR OCH WORK-SHOPS När det gäller analysmetoder presenterades två inslag som bygger på metoder vanliga inom sjukvården, nämligen användande av magnetresonans (NMR, nuclear magnetic resonance) för materialkaraktärisering och datortomografi som använder röntgen för tredimensionellt åskådliggörande. Pratt Institute hade arbetat med en variant av magnetresonansdetektion (single-sided NMR) för att identifiera och bedöma nedbrytningstillstånd utan att behöva ta något prov. Instrumentet är också flyttbart och har en förmåga att mäta några millimeter under ytan. En referensdatabas byggd på åldringsstudier och statistisk analys behövs för att kunna använda metoden. Användning av datortomografi har inom kulturvården t.ex. använts för analys av mumier. Här visades hur det kunde användas för att analysera inre konstruktion av plastskulpturer, t.ex. en flodhäst av PVC. Genom tekniken är det möjligt att se materialets densitet och möjlig sprickbildning i genomskärning, svaga punkter i konstruktionen samt möjlig förekomst av metaller. Denna visualisering tror de genom utveckling av en teknik med två röntgenrör i framtiden kommer kunna användas till att med stor känslighet särskilja mellan material, t.ex. gjuten PMMA skild från extruderad PMMA. Metoden har dock en storleksbegränsning då instrumenten ofta byggts för människokroppen. En presentation från holländska RCE (Rijksdienst voor het Cultureel Erfgoed) visade hur de hade jämfört fem analystekniker för att hitta bäst metod att identifiera vilket färgämne i plast som har använts. Färgämnen i plast förekommer i mycket liten del, ca 0,5-1 viktprocent av materialet, och de blir därigenom svåra att detektera för en del analysmetoder. De hade här fokuserat på röda färgämnen då vissa har visat sig kunna missfärga närliggande material. Ytterligare en anledning till att identifiera vilket rött färgämne det rör sig om kan vara för att kunna ge förvarings- och utställningsrekommendationer baserade på färgämnets ljusäkthet. De fem teknikerna de har jämfört är Raman, FTIR, Py- GCMS, XRD och XRF. Py-GCMS och Raman visade sig vara användbara. Under frågestunden angav kemisten Henk van Keulen att kvaliteten på analyserna är avhängit de referensmaterial du har tillgång till. Att bygga upp referensbibliotek är tidskrävande men nödvändigt för användbara resultat. Många presentationer visade konsolidering, strukturella åtgärder, ifyllnad, retuschering och i vissa fall rekonstruering av skummad polyuretan (PUR). Det rör sig oftast om den konsolideringsmetod som är framtagen av Thea van Oosten där skumplast i ett icke för nedbrutet tillstånd NYT 25

26 NYT behandlas med polyuretandispersion och antioxidant med hjälp av en nebulisator (van Oosten 2011). Det visades också ett exempel där de försökte använda ett konsolideringsmedel av typen AAAS (aminoalkylalkoxysilan) för PUR av estertyp i en del av ett Fluxus-konstverk från 1960-talet; en Adidas-sko fylld med cement. AAAS hade dock problem med inträngningen och kunde bara delvis användas. En del av skons sula fick i stället rekonstrueras. För en större skulptur av bemålad PUR-skum visades hur de utarbetat en s.k. kontaktfri låda inför en utställningsturné (med hjälp av 3D mesh spacer textile ) då delar av skulpturen var mycket känsliga. Jag deltog även i en workshop där jag fick prova på konsolidering, ifyllnad och limning av skummad PUR. Det fördes fram att en faktor att ta hänsyn till vid arbetet med skumplasten är dess flexibilitet, där en åtgärd som utförs bör kunna ge liknande flexibilitet som i originalmaterialet. Viktigt att tänka på om du använder nytt skummat polyuretan är att använda PUR av etertyp och att det bör stå en period och avgasa biprodukter från framställningen. Yvonne Schashoua presenterade hennes forskning angående förebyggande åtgärder för cellulosaacetat. Slutsatsen är att endast använda en syrafri kartong för förvaring kan vara bättre för bevarandet framför förvaring med adsorbenter om materialet är i gott tillstånd. De adsorbenter som finns att tillgå idag (aktiverat kol, zeoliter, silica gel) kan nämligen även adsorbera mjukgörare vilket kommer att påskynda nedbrytningsprocessen. Inom blocket om limning framhölls att det kan vara en god idé att använda standardiserad testning så att resultat från flera undersökningar ska gå att jämföra, något som bara var fallet för en av presentationerna inom området. En nackdel är dock att de kan bli mer svåröversatta till konserveringens förhållanden. Standardiserad testning hade använts inom ett projekt för limning av en Panton-stol av ASA från 1970-talet som brustit rakt av i ryggslutet. Inom limning är det av vikt att analysera vilka krafter som en fog kommer att utsättas för; storlek och riktning. T.ex. blir det olika kriterier som styr om en tung del av en skulptur skall fogas hängande snett ut jämfört med något som bara ska stå på en hylla där fogen är plan i förhållande till underlaget. I fallet med Panton-stolen ville de se om det gick att limma för att kunna sitta på. I presentationen visade de hur de hade 3D-skannat stolen, för att genom ett dataprogram räkna ut storlek och riktning för olika krafter som stolen kunde utsättas för. I kombination med resultat från dragprovning fick de på detta sätt en uppskattning av om det gick att limma för att kunna sitta på igen svaret blev nej. För starka fogar rekommenderades här ett flerkomponents-polyuretenlim till ASA efter slutförd testning. För fogning av delar av en stor bemålad relief av PMMA av den franske konstnären Alain Jacquet valdes efter omfattande testning Hxtal NYL-1. Testningen beaktade risk för överflöd från fogen, härdningens snabbhet, möjlighet att avlägsna adhesivrester, hur pass jämnt adhesivet kunde spridas, samt styrka och utseende för fogen. För att kunna hålla delar på plats med stor precision hade konservatorn Francois Dubuffet tillverkat något som kallades spindeln. Med hjälp av magneter kunde delarna hållas på plats samtidigt som de kunde justeras i alla led. För att skydda PMMA:n mot repor under dess användande hade Impranil DLU anlagts som sedan lätt kunde manuellt bortföras och som inte skulle reagera med limmet. Ett bidrag handlade om testning och utveckling av air-brush-retuschering för föremål av glasfiberarmerad polyester. För dessa föremål bedömdes traditionell retuschering med pensel ge för stor skillnad i struktur och den tunna och jämna ytan som kan uppnås med air-brush önskvärd. Det gällde missfärgningar och repor som på ett kraftfullt sätt störde betraktarens uppfattning av föremålet och det eftersträvade målet var en integrering av ytorna för att underlätta en tolkning. Det handlade inte om att försöka eftersträva något originaltillstånd, spår av användande var viktigt att behålla. Först hade en skyddsbarriär testats fram som skulle kunna återlösas utan att polyestern skadades (Regalrez 1126 i Shellsol T valdes). Därefter utarbetades vilken färg (gouasche) och på vilket sätt och slutligen vad som kan användas för att fixera färglagret och ge rätt glans. För att nå rätt resultat med den här tekniken krävs mycket träning för att nå rätt kombina- 26

27 om föremålen inte hade den industriella look som hade eftersträvats från början. Nivån på restaurering är förstås en avvägning som bedöms utifrån fall till fall men genom efterforskningar, konservering och utställning av dessa slags föremål från vår moderna historia kommer förhoppningsvis uppskattningen av en viss patina att fortsätta öka. NYT Work-shop om retuschering av glasfiberarmerad polyester med airbrush. tion av tryck, nyans, avstånd och handrörelse. När vatten används som bärare behöver något ytaktivt ämne tillsättas. Jag deltog i en work-shop där vi fick detaljerad information om vad som är viktigt i instrumentering och teknik. Ett exempel på specifika föremål som hade konserverats och restaurerats var en jukebox från 40-talet i privat ägo med flertal delar i Catalin, ett slags fenolformaldehyd. Catalin patenterades 1928 och är en utveckling av bakelit för att kunna göra föremål i rena färger och inte bara de mörka som var möjligt för bakelit. Här testades olika metoder för att minska effekten av ett mörkt lager som troligen var en oxidationsprodukt. Lagret kunde lättas med ammoniumhydroxid. Flera av presentationerna visade hur det för bortfall togs fram delar för tredimensionell ifyllnad. T.ex. för ett armstöd i polyureten och för ett objekt av PMMA gjordes avgjutningar och formar av bortfallen som därefter gjöts i tvåkomponents polyureten respektive epoxy med färgämne som limmades fast. På postrar fanns exempel på konsolidering och omformning av gummi, åldringsstudier av polyuretangummi av eteroch estertyp, behandlingar av multiplar av Marcel Duchamp (både för PMMA och skummad PUR) och redogörelse för forskningsprojekt om mjukgjord PVC och värmeåldring. Det visades även information om ett nytt program för tillståndsrapportering som ska användas med hjälp av en surfplatta; Articheck. I rundabordsamtalen framhölls att vi måste lära oss att uppskatta de moderna materialens patina. Det här är något jag hört sägas på nästan varje konferens kring vårt moderna kulturarv sedan mitten av 1990-talet. Min uppfattning är att det har skett en viss utveckling på det här området där plastföremåls åldrande i större utsträckning uppskattas, inom museibranschen men också hos allmänheten. Vid rundabordssamtalen talade dock en designer för att de kunde ha svårt att acceptera REFERENS Oosten, Thea van, Lorne, Aleth & Béringuer, Olivier, PUR facts: conservation of polyurethane foam in art and design, Amsterdam University Press, [Amsterdam], 2011 THEA WINTHER KONSERVATOR, MSC ENHETEN FÖR KONSERVERINGSVETENSKAP RIKSANTIKVARIEÄMBETET BOX 1114 SE VISBY [email protected] 27

28 PLAST PÅ MUSEUM NYT Den maj 2013 blev det årlige KEP symposium afholdt. Emnet var Plast på Museum Vi var 56 deltagere på et spændende symposium med 15 oplægsholdere. Et alsidigt program med indlæg om bl.a. plastkemi og -opbygning, aktiv og præventiv bevaring og brug af plastik som indpakning på magasiner. De to dage blev afsluttet med en spændende paneldiskussion. På KEPs hjemmeside findes referaret i sin fulde længde. Her bringer vi en forkortet udgave. Den fulde udgave kan findes på Nanna Svendsen, polymerspecialist, FORCE Technology: PLAST FORTIDEN, NUTIDEN OG FREMTIDENS MATERIALE NS kom med et kort rids over plastens historie og en gennemgang af de forskellige typer plast, deres kemi, egenskaber og nedbrydning. Ved nedbrydning skelnes mellem kemiske ændringer og fysisk ældning. Betydning for nedbrydningsprocessen har blandt andet materialets kemisk sammensætning, påvirkning fra det omgivende miljø: 1. Gasser som NOx er, SO2, O3. 2. Høje temperaturer er lig hurtigere nedbrydning dog er PPO, PPPO, PSU stabile i et stort temperaturspænd. 3. Stråling, eks. UV og røntgen. 4. Reaktive kemikalier, eks. PE kan specielt ikke lide vand, syre og baser. 5. Vejrlighed eks. sollys, regn/ dug, temperatursvingninger, kemikaliepåvirkninger (plast er som udgangspunkt bedre til at modstå kemi end metaller), slid, mikroorganismer. Simple regler til bestemmelse af plasttype: 1. Alder hvornår er den fra? 2. Tilgængelig info kig efter trekantssymbolet. 3. Udseendet farve/glans/ transparens. 4. Fysiske og kemiske egenskaber lugt/densitet/opløselighed/brandforløb. 5. Termoplast kan smelte og størkne uden at forkulle. 6. FTIR kan bruges til genkendelse af plasttype, men ikke tilsætningsstoffer under 2 %. Husk at fysiske og kemisk egenskaber ændres ved ældning! SYNTETISKE BINDEMIDLER OG PLAST SOM BINDEMIDDEL I MALING Nynne Raunsgaard Sethia, farvekonservator, Den Gamle By. I 2009 søgte NRS Kulturarvsstyrelsen for midler til projekt om undersøgelse af moderne malingstyper. NRS gav en kort oversigt over udviklingen i Danmark, særligt 1920 erne erne, hvor produktionen af maling blev industrialiseret og følgelig ændredes karakteren af bindemidler. Årets KEP symposium Plast på Museer blev afholdt på Christiansminde, Svendborg. Foto Eva Bøje Nielsen PLAST SOM UDSTILLINGSOBJEKT I MODERNE MUSEUMSFORTÆLLINGER Allan Leth Frandsen, museumsinspektør, Den Gamle By. Moderne genstande: Fortæller de godt selv - eller er de bedst sammen med andre? Oprettelsen af Den Moderne By har betydet indsamling af kolossale mængder af genstande. Projektet med 1974-kvarteret startede i 2004 på bar bund. 28

29 Her undersøger deltagerne meget interesserede de zoologiske rekonstruktioner medbragt af Firmaet 10 tons. Foto Eva Bøje Nielsen Museet skulle definere, hvilken historie de gerne ville fortælle. Her nåede man frem til dagliglivet, folk skulle kunne gå ind i en fortælling, de selv havde været en del af. Samme intention lå bag oprettelsen af Den Gamle By ved grundlægger Peter Holm. Museumstanken er, at det skal være vedkommende for de gæster, museet har. INDSAMLING AF MUSEUMSGENSTANDE AF PLAST v/ion Meyer, konservator og samlingsleder, Medicinsk Museion Hvorfor skal vi indsamle plast? Det skal vi for at repræsentere samfundets udvikling, uanset om det er specialiseret eller generelle samlinger. Vi skal have en ansvarlig indsamlingspolitik, hvilket betyder at den skal kunne bruges til forskning og formidling og det indebærer at vi må skærpe kravene til, hvordan vi bruger vores ressourcer fremover. Det er vigtigt med en veldefineret indsamlingspolitik på alle museer og hvorfor skal jeg sige det til konservatorer? De har det materiale- og opbevaringskendskab, der skal til for at undgå at samle alt ind. En indsamlingspolitik skal være fagligt begrundet, klar og opdateret, hvilket afhænger af hvilken type museum man er. For alle er det vigtigt at gøre klart, hvilke områder man dækker også for omverden. Vigtigt at genstanden har tilpas informationer og relevans, men samtidig er det vigtigt, at man ikke vurderer ud fra om det er et holdbart eller ikke-holdbart materiale. BEVARING OG HÅNDTERING AF FILM OG MODERNE MEDIER Karin Bonde Jacobsen, filmarkivar og konservator, Det Danske Filminstitut. Rundt regnet er der 400 tons plastik i samlingen, hvilket indebærer meget praktisk håndtering af moderne film og medier. Plasten inddeles i tre hovedgrupper: 1. Cellulosenitrat, kaldet nitratfilm. Selvantændelig omkring 40 C, derfor er det vigtigt at vide, om man har nitrat i samlingen pga. brandfaren. Se efter: Fremstillet mellem og kun 35 mm film. 2. Celluloseacetat (-triacetat), kaldet safety film. 35 mm ( ), 16 mm (fra 1923-), 8 mm (fra 1932-), Super 8 (fra 1965, Kodak). Se efter: Har man et lille S mellem to huller, er det en safety film. 3. Polyesterfilm. 16 og 35 mm (mest udbredt fra 1990 erne), Super 8, videobånd = 1 C (1956, problemer med mærket BASS, hvor båndet bliver klistret), U-matic, VHS. Film i dag ligger på servere, harddiske og LTO-bånd. Alt sammen med meget plastik i, formentligt polyethylen. Plasten er ikke et problem, problemet er at få informationerne ud. En nutidig spillefilm, DCP er, vejer 100 g i forhold til for et par år siden, hvor den vejede den 20 kg. Udviklingen hurtigt, eksempelvis kan man ikke længere fremkalde film i DK. Digitalisering nødvendig i formidlingssammenhænge. Bevaring handler meget om kopiering til andre formater. CURATING PLASTICS Susan Mossman, materials science specialist, Science Museum, London SM kom med en kort introduktion til The Science Museum i London, der blev grundlagt I SM arbejder som videnskabelig materialespecialist med særligt fokus på plast. Museets samling går tilbage til 1850erne. Plastik defineres som et materiale, der kan støbes og består af polymere, lange kæder af de samme molekyler. SM kom med en historisk gennemgang af materialet plast. Samt en gennemgang af museets samling af genstande med plast og de problemstillinger museet står overfor. NYT 29

30 NYT PLASTMATERIALER ANVENDT TIL PAKNING AF MUSEUMSGENSTANDE Elisabeth Gram Christensen, konservator, Danish Art Transport Her benyttes plast til pakning, som sker i forbindelse med flytning og opbevaring. Særligt ved udlånsvirksomhed, samt flytning til nye museer eller fælles magasiner - pakning og flytning er en stor del af mange kulturinstitutioners hverdag. Forskellige kutymer hvert sted. Inspiration hentes fra elekronikog medicinalindustrien, fordi museumsverdenen har indset hvilke risici, der er forbundet med transport. Ingen kan sige præcist, hvad en genstand kan komme ud for, men man kender de generelle risici. Deltagerne i panelet for den afsluttende spændende diskussion. Fotos Eva Bøje Nielsen PLASTIC BLASCHKAS Esben Horn og Rasmus Frederiksen, modelbyggere, 10 Tons, København 10 tons er et firma som laver zoologiske rekonstruktioner i plastik. Arbejder analogt i ler og plast, indtil videre er det billigere end at gøre det digitalt. Blaschka erne lavede geologiske og botaniske modeller i glas i forrige århundrede. Der blev givet en gennemgang af de mange meget detaljerede og imponerende rekonstruktioner af organismer firmaet har udformet. Flere fysiske eksempler var medbragt. LESS PLASTIC? FANTASTIC Yvonne Shashoua, Senior Researcher, National Museum of Denmark startede med at stille følgende spørgsmål: 1. Hvorfor holder plastic ikke evigt? 2. Hvordan kan vi forlænge levetiden for plastiks? Hvorfor nedbrydes det? 3. Nyeste forskning omkring at nedsætte nedbrydning ved at bruge absorbanter 4. Hvordan kan vi anvende forskning I praktisk konservering? Efterfølgende blev de besvaret gennem forskellige cases omhandlende genstande i forskellige plasttyper. PVC og plexiglas: nedbrydningsfaktorer: 1. Oxidation med oxygen or 2. hydrolyse med vand eller 3. ozonolyse med ozone or 4. metaller og energi/uv øger nedbrydningen. Blandt de hurtigst forgængelige plasttyper er cellulose nitrat, cellulose acetate, PVC, gummi og skum. Nedbrydningen er ikke linieær- når UV beskyttelse ikke længere virker er nedbrydningen uundgåelig. Muligheder til at sænke nedbrydningen er at fjerne oxygen, absorber nedbrydningsprodukter (for at forebygge auto katalyse) og/ eller sænke temperaturen. Vulkaniseret gummi: Fjern oxygen med oxygen absorbanter fra fødevarerindustrien eller beskyt mod oxygen (pakning) eller begge dele. Cellulose nitrat anvend aktiv kul til at absorbere forureningsprodukter. Cellulose acetate (CA) f.eks. Legoklodser der indtil 1960erne fremstilledes i cellulose, eddikesyre, blødgørere og brændhæmmer (mellem polymerkæderne, kun fysisk bindinger). Absorbanter der anvendes på museer: 1. Aktiv kul, har et stort overflade areal, men binder kun forureningsstoffer med svage og mellem stærke kemiske bindinger. 2. Silica gel, binder også forureningsstoffer med svage kemiske bindinger. 3. Zeolite 4A, binder kun bestemte forureningsstoffer. Hvad kan gøres? Opbevaring ved 10 C reducerer nedbrydningen med 50%. Selv om mange objekter bliver ufleksible herved, er denne proces reversibel. Der er en risiko for kondens og derfor skal man være opmærksom på hvordan genstande pakkes. Konklusion: Plastik nedbrydes inden for 1-30 år. Absorbanter der anvendes inden for konservering er ineffektive. Opbevaring ved lav temperatur kan være mindre omkostningsrigt og mere effektivt alternativ. MUSEUMSGENSTANDE AF PLAST I SAMLINGER Ion Meyer, konservator og samlingsleder, Medicinsk Museion. Hvad kan vi gøre praktisk? 1. Ved modtagelse og indsamling af genstande kan vi sørge for materiale- og tilstandsbeskrivelse. 2. Løbende vurderinger det er svært at rette op når skaden er sket. Forskellig plast opbevares meget individuelt. Udvikling af en skemaoversigt, der passer til det enkelte museum indeholdende nedbrydningsfaktorer og -markører, som formog farveændringer, lugt. 30

31 3. Opbygning af optimale museumsmagasiner og her er det vigtigt at kunne fortælle hvad der sker og påvise nedbrydningsfaktorerne. Det gør det lettere at rejse økonomi til bedre forhold. 4. Kompositter kræver helt særligt viden inden for området, eks. kunstige blodårer med særlige egenskaber sat sammen af metal organisk materialer og plast m.v. 5. Ved indpakning - pas på med opbevaring i original indpakning, eks. gasmasker i oprindelige transportkasser er dekomponeret i sammenfoldet form. Gerne støvfri opbevaring. 6. Tilsyn med samlingerne eks. opbevaring af oplysningstavle for preservativer og graviditetsforebyggende midler i trækasse fra 1970 erne. Klimaet i kassen var stabilt, men nedbrydning foregik inde i den originale kasse. 7. Håndtering - lad være at pille ved det, med mindre det er strengt nødvendigt. Sørg for god registrering, så genstandene kan ses digitalt. 8. Udstilling. Ved alternative udstillingssteder, eks. på toiletterne er en god idé, men genstandene vil lide overlast, hvis de hænger der for længe. Skal vi lade være med at registrere dem? Kasseres bagefter? 9. Kassation - skal vi gemme det? Måske skal man gemme meget af det samme nogen steder? Fordelagtigt med national indsamlingspolitik for at undgå dobbeltindsamling. 10) Udlån der skal stilles krav til tranport, klima og håndtering, men vi skal også bruge tingene. GALOSCHER, BOTTINER OCH PAMPUSCHER EN UNDERSÖKNING AV GUMMISKOR Pia Christensson, Konservator, Kulturmagasinet, Helsingborg Nedbrydning og konservering af gummisko. Tretorn, en virksomhed beliggende i Helsinborg, nu ejet af Puma. Tretorns stifter donerede pengene fra salget til staten og finansierede dermed Kulturmagasinet, Helsingborg Museer og Dunkers Kulturhus for mange år. Derfor er gummiskosamlingen meget vigtig for museet. Mange sko meget nedbrudte, smuldrende eller stift gummi eller bomuldslinningen falder af. Opbevaret i bokse tidligere, men nu opbevaret på åbne hylder med indre støtte, polyester-vatting, som udvidede sig, hvilket resulterede i deformerede sko og revnedannelse pga. af polyesterfyldet. Miniaturesko erhvervet i 1982 er nu totalt nedbrudt. I den markørpen, som anvendes til at skrive gentandsnummer, nedbryder opløsningsmidlet gummiet meget hurtigt. Museet fandt inspiration i 2005-konferencen hvor Yvonne Shashoua bl.a. havde anvendt varme til at genforme gummi. Ved at bruge en hårtørrer ca C kan man opvarme gummiet, genforme og lade det køle i ret form. Har det nogen konsekvenser på sigt? Analyser: 1. FTIR stort set samme spektre for varmebehandlet og ubehandlet gummi, forskel ligger ved oxidationen. Dog ikke nok til at afvise metoden. 2. SEM til overfladeundersøgelser Ferniserede galloscher var mindre revnede end uferniserede galsocher. Undersøgelserne viste bomuldsfibre, organisk materiale, calcium, hvor calcium og bomuld er anvendt til at gøre skoen stivere. Organiske materiale er pollen. 3. XRF af røde, sorte og hvide minature gummistøvler: gør pigmentet nogen forskel? Ikke umiddelbart. Polyesterfyld har sat aftryk på indersiden af støvlen. Hvide pletter viste sig at være zink, som tyder på et højere zinkindhold i fyldte støvler, mens i ufyldte støvler var jernindholdet højere. Har jernet en stabiliserende effekt? Oxygenfri indpakning i Escal (mest gennemsigtig) eller Cryovac BDF8055. A SUN BLOCK FOR PLASTICS. CASE STUDIES OF THE CONSOLIDATION OF POLYURETHANE AND POLYPROPULENE Thea van Oosten, selfemployed conservation scientist and retired senior conservation scientist, Cultural Heritage Agency of the Netherlands. TvO præsenterede 4 case stories fra Cultural Heritage Agency of the Netherlands (RCE). Tilgangen er multidisciplinær med kombinationer af forskellige teknikker. Forskning i plastik fordeler sig på: 1. Materialet og dets historie. 2. Fremstilling. 3. Fysiske og kemiske egenskaber. 4. Identifikation 5. Nedbrydningsfænomener 6. Konserveringsrelateret forskning i nutidskunst. 7. Formidling. NYT 31

32 NYT Mellem udførtes undersøgelser, der mundede ud i Guidelines for Preservation and Conservation of plastics. I 2010 foretog man et gensyn med alle de sammen objekter, som undersøgelsen i : 21 var stadig at finde i samme tilstand, 13 havde det værre pga. håndtering, 6 havde det bedre pga. konservering. Her ud af var 7,5 % i meget dårlig stand - disse var alle af gummi og havde ikke været pakket ind under opbevaring. Nedbrydningsfaktorer: 1. UV/lys = fotooxidation. 2. Oxygen/Ozon = fotooxidation. 3. Fugt = hydrolyse. 4. Temperatur = hydrolyse. 5. Mekanisk belastning = revner og brud. 6. Kemikalier. Forsknings-setuppet tager tid. Man skal kende værket, kunstnerens tanker bag, de analytiske teknikker, overvåge resultater m.v. Link: mnhn.fr HOW ARTISTIC PRACTICE AFFECTS THE PRESERVATION AND CONSERVATION OF ARTWORKS OF PLASTICS Louise Cone, Conservator for Contemporary Art and Sculpture, SMK. Kunstværker ofte meget unikke hvis du kender plasten, betyder det ikke at du kender den i den aktuelle blanding. Gennemgang af problemstillinger med kunstværker i følgende plasttyper: PVC, PE, PUR, Elastomer, forstærkede polyesterresiner, epoxy, PET og PMMA. Følgende problemstillinger bør overvejes: Hvor går grænsen mellem patina og ældning? Made to break? Mangel på viden og metoder? Betydning, værdi og autenticitet? Vores forudindtagede forståelse af materialitet? FJERN SNAVSET Karthine Segel, cand.scient. cons., freelance fortalte om Popart et projektsamarbejde med bl.a. Nationalmuseet. Arbejdet var fordelt blandt fire arbejdsgrupper, der koncentrerede sig om: 1. Identifikation af plastikgrupper. 2. Samlingsundersøgelse. 3. Vurdering af polymeres nedbrydningsgrader. 4. Konservering. 75% af plastgenstanden i vores samlinger har brug for rengøring pga. bl.a. fingeraftryk, støv og snavs. Blødgørere kan med tiden migrere ud og tiltrække støv og snavs. 6 forskellige typer plast blev testet: PMMA, PVC, HDPE, HIPS, EPS, CA ud fra ønsket om at finde et værktøj til konservatorer. 22 forskellige redskaber blev udvalgt til at teste tørt på ny plast, heriblandt fjerkoste, mårhårspensler, trykluft mv. Her af blev 6 heraf valgt ud til test på snavsede prøver, tilsnavset med fingeraftryk og snavs og slutteligt testedes på rigtige genstande. De anvendte evalueringsteknikker undersøgte for optiske (farve, glansændringer), fysiske (SEM, kontaktvinkelmåling og måling af %areal dækket af ridser) eller kemiske ændringer (FTIR). Til billedbehandling benyttedes et gratis program, kaldet ImageJ. Gode resultater opnåedes med mikrofiberklude, mens man bør undgå Duzzit-svamp fuldstændig. Heller ikke vaskeskind, Wishab-svamp eller Scotch Brite er anbefalelsesværdige. Ved test med vand og solventer, viste det sig at mange af redskaberne indeholdt et produkt, der blev efterladt på overfladen. Det generelle billede var, at der kom flere ridser ved rensning med enten tør eller solventvæddet klud. Ved vand med eks. Orvus WA Pasta sås væsentligt færre ridser, hvorfor det var det bedste resultater på de ikke-beskidte prøver. Derimod kunne Sebumsnavs (fingeraftryks-imitation) ikke fjernes med vandige rensemidler. Generelt var der flere ridser på snavsede overflader, da flere partikler trækkes over overfladen, derfor er det vigtigt at undgå at gå for mange gange over overfladen. Snavs reagere med genstanden relativt hurtigt og bør fjernes hurtigt. Alle forsøg beskrevet på Nationalmuseets hjemmeside. Litteratur: Conservation of Plastic Artifacts in Museum Collections. Det meste af bogen er gratis på Popart s hjemmeside nu. KATJA SONNE-HANSEN STUD. CAND. SCIENT. CONS. RAVNSBORG TVÆRGADE 4B København N [email protected] & EVA BØJE NIELSEN CAND. SCIENT. CONS. APPLEBYS PLADS 23, 2TV 1411 KØBENHAVN K [email protected] 32

33 NY FORBUNDSORDFØRENDE Som ny forbundsordførende har lands Nationalmuseum varierede jeg overtaget posten som ansvarshavende redaktør for Meddelelser om Konservering. I den forbindelse, er jeg blevet bedt om at skrive nogle ord om mig selv. Jeg var den første islandske konserveringstekniker fra Kulturhistorisk linie på Konservatorskolen i København 1982 (Hold IV). I min sommerpraktik var jeg i Haderslev, Olympia i Grækenland og på Nationalmuseet i København. Min meget og det var spændende med stadigt nye udfordringer. Museet blev bl.a. lukket grundet renovering, magasiner blev taget i brug og nye udstillinger åbnedes. Derudover fik jeg mulighed for at deltage i forskellige kurser og kongresser. Jeg arbejdede på samme arbejdsplads indtil 2010, hvor jeg besluttede at starte mit eget firma. Jeg er nu også uddannet som turistguide og studerer nordisk kultur på Islands Universitet. afgangsopgave handlede om Tilbage i 1983 startede jeg indenfor alabast. den islandske sektion af I januar 1983 startede jeg på Islands Nationalmuseum i Reykjavik hvor jeg iøvrigt havde arbejdet som sekretær inden jeg begyndte på Konservatorskolen. Min første opgave var at planlægge arbejdslokaler. Opgaverne på Is- NKF. Der har jeg efterhånden siddet som formand eller i bestyrelsen for det islandske sektion i mange år og har også været den islandske redaktør for Meddelelser om Konservering. Jeg har dermed en del erfaring og har fulgt med i det som sker i forbundet. Desuden har jeg været formand og i bestyrelser for ICOM-Island og i FÍSOS (Foreningen for museer og museumsansatte i Island). Håber at alt dette vil gavne mig til posten som forbundsordførende. Jeg glæder mig til samarbejdet og til at møde nye og gamle kollegaer. Halldóra Ásgeirsdóttir HALLDÓRA ÁSGEIRSDÓTTIR FORBUNDSORDFØRENDE [email protected] NYT MEDDELELSER OM KONSERVERING PÅ NETTET? Forbundsrådet har vedtaget at Meddelelser om Konservering skal lægges på NKF s hjemmeside - desværre er der vanskelligheder ved lovligt at digitalisere og lægge de gamle numre op på internettet. Dette skyldes at redaktionen ikke har de fornødne tilladelser til at publicere artiklerne på internettet. Jeg har på redaktionens vegne kontaktet forskellige myndigheder i Danmark og således fået følgende svar fra Copydan Tekst & Node, der håndterer rettigheder for forfattere, fotografer med videre i Danmark: For at anvende et værk skal man have tilladelse. Det kan man få på følgende måder: 1. individuel klarering, hvor man kontakter den enkelte rettighedshaver 2. kollektiv aftale, hvor man anvender aftale-licenssystemet jf. ophavs-retslovens 50, stk. 2 En kollektiv aftale, dvs. en aftale med aftalelicensvirkning, betyder, at I mod et årligt vederlag til Copydan, vil kunne dække alle forfatter rettighederne under én aftale. En sådan aftale kræver dog, at der er tale om et projekt med mange rettighedshavere involveret, og at det ikke er muligt at klarere individuelt af den ene eller anden årsag. Umiddelbart vil jeg sige, at din henvendelse opfylder kriteriet om mange involverede rettighedshavere. Dog gælder denne form for aftale kun udnyttelse i Danmark. Jeres udgivelse er en fælles nordisk udgivelse og skal kunne udnyttes i andre lande end Danmark. På nuværende tidspunkt er vi ikke i stand til at hjælpe jer med digitaliseringsprojektet ved indgåelse af en aftale med aftalelicensvirkning. Hvis vi publicerer uden tilladelse, kan vi således blive erstatningsansvarlige overfor forfattere, fotografer eller ejerne af den fotograferede genstand. Redaktionen kan ikke kontakte alle forfattere/efterkommere af forfattere siden bladets start i Derfor bliver tidligere blade ikke lagt på nettet. Hvis nogle af læserne har gode råd til redaktionen angående dette, vil vi blive taknemmelige for en henvendelse. JAN BRØNDSTED KASSERER [email protected] 33

34 Annonce 06/01/03 10:53 Side 1 Storfagsreoler i et eller flere plan til opbevaring af store genstande Tegningsskabe til plancher, plakater og kalker Mobil-Reoler til malerier og arkivalier mm. SCAN-FLEX har i flere år beskæftiget sig med magasinindretning til museer og arkiver. Vi spænder lige fra småvarereoler til de store komplette indretninger. Vi tilbyder Dem en reel og kompetent vejledning, lige fra de tomme rum til det færdige magasin kontakt os for yderligere information. STÅLREOLER ApS Højvangsvej Tølløse Tlf: Fax: E-post: [email protected] Hjemmeside:

35 Meddelelser om Konservering Redaktion: Halldóra Ásgeirsdóttir (Ansvarshavende), Thomas Gütebier, Solveig Jónsdóttir, Kristin Kausland, Liisa Valkeapää, Loa Ludvigsen (Hovedredaktør) Service: Museumstjenesten Sørupvej 1, Lysgård DK-8000 Viborg Danmark Giro Tel.: Fax: [email protected] Redaktører: Solveig Jónsdóttir Store Mølle Vej 16, 3th 2300 København S Danmark [email protected] Thomas Gütebier Sveagatan 27 SE Göteborg Sverige [email protected] Kristin Kausland St Halvardsgate 25 D 0192 Oslo Norge [email protected] Liisa Valkeapää Finland [email protected] Kasserer: Jan Brøndsted Hellerupgårdvej 3, st 2900 Hellerup Danmark [email protected] Bidrag kan sendes til: Hovedredaktør Loa Ludvigsen Florsgade 7, 3.th 2200 København N Danmark [email protected] ISSN X

36 INDHOLDSFORTEGNELSE ARTIKLER MED PEER-REVIEW SIDE 3 CLEANING PLASTICS IN MUSEUMS Yvonne Shashoua and Kathrine Segel SIDE 13 A CHANCE FOR DAYDREAMING: CONSERVATION-RESTORATION AND TECHNICAL RESEARCH OF AN OUTDOOR UPR PLASTICS INSTALLA- TION FROM 1992 PÄIVI KYLLÖNEN-KUNNAS AND ULLA KNUUTINEN NYT SIDE 23 PROJEKT OM FOGNING AV STYRENPLAST THEA WINTHER SIDE 24 FUTURE_TALKS 2013 THEA WINTHER SIDE 28 PLAST PÅ MUSEUM KATJA SONNE-HANSEN OG EVA BØJE NIELSEN SIDE 33 FORBUNDSORDFØRENDE HALLDÓRA ÁSGEIRSDÓTTIR MEDDELELSER OM KONSERVERING PÅ NETTET? JAN BRØNDSTED Retur til: Meddelelser om Konservering att. Jan Brøndsted hellerupgårdvej 3, st 2900 hellerup Danmark FORSIDE: Migrating plasticiser from Crash Test Dummy Sierra Sammy s head is sticky and traps dirt from the surrounding environment (photograph by Yvonne Shashoua). Snavs fra omgivelserne sidder fast i klæbrig migrerende blødgører fra Crash Test Dummy Sierra Sammys hoved (foto af Yvonne Shashoua).