Teaching borrowed from: Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU) divided into:

Section 4.1 - CONTEMPORARY (Mariella Gnani)

The aim of the course is to outline and critically solve the conservative problems of contemporary works, analyzing them both from a theoretical point of view and in the more technical and application aspects.

Section 4.2 - CONTEMPORARY (Mariella Gnani)

The course will allow students to analyze the execution techniques and the phenomena of degradation of contemporary materials, to plan and carry out maintenance and restoration interventions through practical and operational experiences.
 

Teaching borrowed from: Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU)

Section 4.1 (contemporary) - Synthetic materials worked, assembled and / or painted (5 credits - 125 hours)

FRONTAL LESSONS (32 hours)
0.1. Methodological approach to the restoration of contemporary art (8 hours)
0.2. Analysis of atypical supports, causes and phenomena of degradation (8 hours)
0.3. Conservative problems in temporary exhibitions: reflections and case studies (8 hours)
0.4. Analysis of the techniques for handling and setting up large works (8 hours)
PRACTICAL LESSONS (93 hours)
0.5. Analysis of execution techniques, assessment of the state of conservation and documentation of the works being studied (29 hours)
0.6. Design and implementation of maintenance and restoration interventions on contemporary works of art from museums and private collections (40 hours)
0.7. Educational visits with operational experiences (condition reporting, ordinary maintenance, set-up / dismantling) at museums and private collectors (24 hours)

Section 4.2 (contemporary) - Synthetic materials worked, assembled and / or painted (5 credits - 125 hours)

FRONTAL LESSONS (7 hours) - online lesson on blended
0.1. Executive techniques and conservation issues. Some examples from impressionism to street art (4 hours).
0.2. Cognitive investigations on the executive technique for the conservation of the artwork Teorema by Fausto Melotti (1 hour)
0.3. The aesthetics of plastic in contemporary artistic production, from the Constructivists to the Hyperrealists. Material techniques and procedures. (2 hours)
PRACTICAL LESSONS (118 hours) - Abano Terme educational site
0.4. Implementation of maintenance interventions on artworks on display (41 hours)
0.5. Observation aimed at the cognitive investigation of the artwork in Vis / UV light and under the microscope (18 hours)
0.6. Assistance in setting up works, photographic documentation and condition report (41 hours)
0.7. In-depth study on communication and the catalog (18 hours)

Teaching borrowed from: Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU)

Each section can be attended having followed the previous one with at least 75% presence and in the following order:

Section 4.1 Mariella Gnani
Section 4.2 Mariella Gnani

Knowledge and understanding: the student must know the techniques of execution and evaluate the state of conservation of an ancient and contemporary building, reconstructing the causes and processes of material degradation.
Knowledge and comprehension skills applied: the student must be able to design and carry out restoration work in all its phases, to produce the related technical documentation, to draft a condition report, to manage the operations of handling and packaging of the works during the preparation and dismantling of temporary exhibitions.
Making judgments: the student must have the ability to analyze and critically solve operational problems, evaluating choices and solutions independently, based on the acquired skills and notions.
Communication skills: the student must be able to describe and discuss a restoration project in writing and orally, using clear language and a specific technical vocabulary.
Learning skills: starting from the cues provided during the lessons, the student will have to gain autonomy in research, in the organization of the topics of study and in the bibliographical examination.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Teaching

The teaching activity is based on frontal lectures and practical applications. Educational visits to museums and galleries are also planned.

Attendance

Mandatory frequency of 75% of the total hours, for each section of the laboratory.

Course books

Teaching borrowed from: Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU)

Section 4.1 - 4.2 Mariella Gnani

Preparatory texts for the exam
- Giovanna Cassese (a cura di), Il futuro del contemporaneo: conservazione e restauro del design, Roma, Gangemi, 2016.
- Oscar Chiantore, Antonio Rava, Conservare l’arte contemporanea. Problemi, metodi, materiali, ricerche, Electa, Milano, 2005.
- Paolo Cremonesi, Pierre-Antoine Héritier, Un approccio innovativo alla pulitura di superfici dipinte sensibili: la combinazione simultanea di erogazione controllata di liquido e micro-aspirazione, Saonara, Il prato, 2018.
- Paolo Cremonesi, Erminio Signorini, Un approccio alla pulitura dei dipinti mobili, Saonara, Il prato, 2013.
- Mariella Gnani, La conservazione tra metodo e prassi nella Collezione Merlini, in Dalla figura alla figurazione nel 900 italiano, a cura di Stefano Cecchetto, Mariella Gnani, Milano, Silvana Editoriale, 2011, pp. 130-135.
- Mariella Gnani, Indagini conoscitive sulla tecnica esecutiva per la conservazione dell’opera “Teorema” di Fausto Melotti in Melotti Guarda Melotti, a cura di Alberto Salvadori con Mariella Gnani, Milano, Silvana Editoriale (Primo quaderno della Collezione Merlini), 2013, pp. 32-40.
- Mariella Gnani, L’intreccio tessile di Morandi, in Giorgio Morandi Roberto Longhi, opere, lettere, scritti, a cura di Maria Cristina Bandera, Milano, Silvana Editoriale (Secondo quaderno della Collezione Merlini), 2014, pp. 130-139.
- Mariella Gnani, Indagando la materia, in Ennio Morlotti dalla Collezione Merlini al Museo Morandi, a cura di Fabrizio d’Amico, Mariella Gnani, Milano, Silvana Editoriale (Terzo quaderno della Collezione Merlini), 2016, pp. 84-91.
- Mariella Gnani, Una breve riflessione: un punto di arrivo è anche un punto di partenza, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, p. 249.
- Mariella Gnani, Le alchimie di Wildt, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, pp. 250-255.
- Francesco Poli, Il sistema dell'arte contemporanea: produzione artistica, mercato, musei, Roma, Laterza, 1999.
- Marina Pugliese, Tecnica mista. Com’è fatta l’arte del Novecento, Milano, Mondadori, 2012.-Giovanna C.Scicolone, Il restauro dei dipinti contemporanei. Dalle tecniche d’intervento tradizionali alle metodologie innovative, Firenze, Nardini Editore, 1998.

Assessment

Teaching borrowed from: Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU)

After taking the partial exams of each of the 2 sections (sections 4.1 and 4.2 will be evaluated together), the exam will be recorded during the official exam sessions with a single evaluation resulting from the average of the 2 partial assessments.

ORAL EXAMINATION AND WRITTEN REPORT

To take any partial exam, the student must present a technical report of the activity carried out in the laboratory.

The paper must be sent via e-mail at least two weeks before the exam to the teacher and to the assistant.

The partial examination consists of an oral interview to be held with the teacher who is in charge of the section.

The oral exam will focus on:
- theoretical lessons and laboratory operations;
- bibliography provided by the teachers.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Students who have not attended at least 75% of each laboratory section will not be allowed to take partial exams.