Bridging the Gap – Poster sessions
Session 1 – Conservation narratives and practices
Connecting the Dots in a coastal memory fort: Collaborative Efforts in Art History, Conservation and community engagement
Vanessa Antunes, Marluci Menezes, Carla Tomás, José Cruz, Gunnar Liestol, João Serra
(Centro de Estudos Históricos da Lourinhã / Laboratório Nacional de Engenharia Civil / NOVA School of Science and Technology / Multiple institutes from Universidade de Lisboa / University of Oslo)
Conservation or Creation? Murals restored by Gerhard Gotaas
Susanne Kaun, Elisabeth Andersen
(Norwegian Institute for Cultural Heritage Research)
Filling the Gap: Tracing the History of a Canvas Insert in The Night Watch
Laura Raven, Ester van Duijn, Mitra Almasian, Annelies van Loon, Alba Alvarez Martin, Petria Noble, Katrien Keune
(Rijksmuseum)
Varnished, overpainted, scrubbed, and ennobled – the plaster cast collection of the National Museum Oslo
Katharina Kruck
(Nasjonalmuseet)
Before derestoring a painting. Combination of Optical Coherence Tomography with analytical methods to unveil a former restoration and enhance the history of conservation in the 19th century Paris
Diane Le Corre, Elsa Perruchini, Chloé Ranchoux, Gaël Latour
(Institut National du Patrimoine / Laboratoire d’Optique et Biosciences, École Polytechnique, CNRS, INSERM, IP Paris, Université Paris-Saclay)
Different contexts, common challenges: Conservation of a distemper wall painting (1690) by Henning S. Munch in Vågå Church, Norway
Lena Porsmo Stoveland, Karen Mengshoel, Anne Apalnes Ørnhøi, Calin Costantin Steindal, Tine Frøysaker
(Norwegian Institute for Cultural Heritage Research / University of Oslo / SciCult-KHM Laboratory)
Dilemmas and decision-making during conservation and restoration of wall painting fragments from church of St Nicholas in Palež, Serbia
Bojana Savić, Radomir Samardžić
(Faculty of Applied Arts, University of Arts, Beograd)
Reasons behind wall painting detachment in Georgia and critical results of the practice
Tamar Kipiani
(Université Paris-Est Créteil (UPEC)
Objects as Performances, Objects that Performs: Fluxus’ legacy and the expanded notion of conservation.
Aga Wielocha
(Bern Academy of the Arts / Hochschule der Künste Bern)
Dancing across ‘the gap’ with 360 Degree Art History
Helen Hughes
(Helen Hughes – Historic Interiors Research & Conservation)
The conservation and restoration of the relief Lamentation of Dead Christ in painted stucco
Conceição Ribeiro, Joana Martins
(National Museum of Ancient Art of Lisbon / Évora University)
Session 2 – Material practices, reconstructions, and archival research
Edward Kienholz: digging a deeper truth
Corina E. Rogge, Kari Dodson
(The Museum of Fine Arts Houston and the Menil Collection)
Reconstructing Multimedia Installation from Uncertain Sources: The Case Study of Blikk (1970-2022)
Jøran Rudi, Jina Chang, Randi Godø
(Nasjonalmuseet / University of Huddersfield)
Commercial synthetic artists’ varnishes for acrylic paintings
Laura Homer
(Nasjonalmuseet)
Inflatable structures and “new” plastic material in the democratic design of de Pas d’Urbino Lomazzi Studio: the archival research as an action for the conservation of the design object and their history
Ilaria Saccani, Grazia Cavanna , Davide Riggiardi, Maria Fratelli, Elisabetta Pernich, Mariella Brenna, Maria Teresa Feraboli
(CESMAR7- Centro per lo Studio dei Materiali per il Restauro / CASVA- Gli archivi di progetto del Comune di Milano / Dipartimento di Architettura e Studi Urbani- Politecnico di Milano / Dipartimento di Design- Politecnico di Milano)
Hand in Hand in front of Nazarene Paintings: New Aspects through an Art Technological Perspective
Eva Reinkowski-Häfner
(Freelance conservator)
Honey-coatings in an early 18th century recipe for smalt processing
Paul J.C. van Laar, Dominique M.E. Thies-Weesie, Thijs Hagendijk, Maartje Stols-Witlox, Gert Jan Vroege
(School of Science and Technology, Universidade NOVA de Lisboa / Utrecht University / University of Amsterdam)
Thomas Fearnley: Material aspects in art historical context
Tina Grette Poulsson
(Nasjonalmuseet)
Material practice in Morocco: Hilda Rix Nicholas’ Tangiers paintings
Catherine Nunn
(The University of Melbourne)
Learning the golden ways: Communicating old crafts to a new audience
Vilde Dalåsen, Marie Kleivane, Brynhild Slaatto
(Nasjonalmuseet)
The Vilhelm Hammershøi Digital Archive – an interdisciplinary research project into the materials and working methods of the Danish painter Vilhelm Hammershøi
Anne Haack Christensen, Troels Filtenborg, Loa Ludvigsen, Pauline Lehmann Banke, Gianluca Pastorelli, Annette Rosenvold Hvidt, Jørgen Wadum, Annette S. Ortiz
(National Gallery of Denmark / Wadum Art Technological Studies / Independent researcher / The Walters Art Museum)
Drawing with “scales from a butterfly’s wings”: Belgian artists’ use of friable drawing techniques (1850-1914)
Marie-Noëlle Grison
(KU Leuven)
Giorgio Vasari’s book of drawings and an analysis of works attributed to Davide Ghirlandaio
Carina Fryklund, Helen Evans, Tom Sandström, Karin Wretstrand
(Nationalmuseum / Swedish National Heritage Board)
The painter Hans Heyerdahl’s experiments with materials and techniques and their historical context
Trond Erik Aslaksby, Hans-Martin Frydenberg Flaatten
(Independent researchers)
Session 3 – Material changes
The Re-use of Middle Age Cope from the Stavanger Cathedral
Dr. Hana Lukesova
(University Museum of Bergen)
From Ghost Image to Lost Image. How an unwanted degradation phenomena led to the identification of an invisible signature
Maude Daudin-Schotte, Elyse Canosa, Cecilia Rönnerstam
(Nationalmuseum / Swedish National Heritage Board)
Connecting to colour slide film: Overview of an interdisciplinary research project
Lénia Oliveira Fernandes, Élia Roldão, Sanneke Stigter
(NOVA Faculty of Science and Technology / University of Amsterdam)
BioVanitas a matter of Time
Haizea Salazar-Basañez
(University of the Basque Country)
Paint tubes of ultramarine and cobalt blue in the MUNCH’s original artist materials collection – a multi-analytical approach to their study
Beatrice Giorgia Boracchi, Jin Strand Ferrer, Francesca Caterina Izzo, Irena Kralj Cigic, Katharina Muller, Ljiljana Puskar, Terje Syversen, Irina Crina Anca Sandu
(University of Venice / Munch Museum / University of Ljubljana, Faculty of Chemistry and Chemical Technology / IPANEMA - Site du Synchrotron)
Hyperspectral pigment mapping of Edvard Munch’s Self Portrait (1905)
Nina Christine Eckertz, Hilda Deborah
(University of Cologne / Norwegian University of Science and Technology)