ABSTRACT

A chance for cooperation between artist and conservator appeared during the exhibition of David Lynch's works in the Centre of Contemporary Art in Toruń. This case considers Lynch's diverse materials, secret techniques, and desire to repair his own works, with just the assistance of a conservator. The author's decision to take part in the first non-traditional artist's interventions started the communication. The collaboration enabled the recognition of original materials and artists' aesthetical expectations – and as a result, proper conservation treatment, based on built trust and mutual knowledge exchange. Assisting in the artist's repair allowed a conservator to treat subsequent works using ethically acceptable conservation methods, to recognize, research, and document materials and techniques, and to define the artist's preferences for future treatments. This case study provides a framework to approach an artist's active presence as a precedent; their impact on the conservation process should be helping to create an inclusive, dynamic, and flexible process, most effective when remaining open-ended. This article presents the axiological shift of declaring the artist as the most important decision-making voice and considers the ethical consequences to both conservation practice and the artworks themselves if such an inclusive process were to be embraced.

摘要

在托伦当代艺术中心展出大卫林奇的作品时，出现了艺术家和保护者合作的机会。本案考虑了林奇的各种材料、秘密技术以及在保护人员的协助下修复自己作品的愿望。作者决定参加第一个非传统艺术家的干预，开始了交流。合作使原始材料和艺术家的审美期望得到认可，从而在建立信任和相互知识交流的基础上进行适当的保护处理。协助艺术家修复允许保护者使用道德上可接受的保护方法处理后续作品，识别、研究和记录材料和技术，并确定艺术家对未来处理的偏好。本案例研究提供了一个框架，将艺术家的积极存在视为先例；它们对保护过程的影响应该有助于创建一个包容、动态和灵活的过程，在保持开放性时最有效。本文介绍了将艺术家宣布为最重要的决策声音的价值论转变，并考虑了如果要接受这种包容性过程对保护实践和艺术品本身的伦理后果。