Luca Vitone: Monitoring of Four Living Canvases-Reference-Cited by-同舟云学术

Luca Vitone: Monitoring of Four Living Canvases

Published:2024-03-10 Issue:3 Volume:7 Page:1438-1452
ISSN:2571-9408
Container-title:Heritage
language:en
Short-container-title:Heritage

Author:

Zaratti Camilla¹²,Brunetti Simona³,Fondi Veronica⁴,Alisi Chiara⁵,Prestileo Fernanda⁶^ORCID,de Caro Tilde⁷^ORCID,Montorsi Stefania³,Macchia Andrea¹⁸^ORCID

Affiliation:

1. YOCOCU APS, Youth in Conservation of Cultural Heritage, Via T. Tasso 108, 00185 Rome, Italy

2. Lab4green, Via T. Tasso 108, 00185 Rome, Italy

3. National Centre for the Contemporary Art and Architecture, MAXXI, The National Museum of 21st Century Arts, Via Guido Reni 4a, 00196 Rome, Italy

4. Istituto Villa Adriana e Villa d’Este, Ministero della Cultura, Piazza Trento 5, Tivoli, 00019 Rome, Italy

5. Department of Environment, Global Change and Sustainable Development, National Agency for New Technologies, Energy and Sustainable Economic Development, ENEA, CR-Casaccia, 00123 Rome, Italy

6. Institute of Atmospheric and Climate Sciences, CNR-ISAC, Via Fosso del Cavaliere 100, 00133 Rome, Italy

7. Institute for the Study of Nanostructured Materials, CNR-ISMN, Strada Provinciale 35 d. n. 9, 00010 Rome, Italy

8. Department of Biology, Ecology and Earth Sciences DIBEST, University of Calabria, Via Pietro Bucci, Arcavacata, 87036 Rende, Italy

Abstract

“Atmospheric” painting stands as a new frontier in contemporary art, presenting challenges and new considerations in museum practices. This article aims to analyze the possible evolution of four atmospheric paintings created by artist Luca Vitone during their transition from exhibition halls to the storage facilities of the MAXXI museum. The presence of active microbiological consortium raises question regarding the potential interaction these artworks may have with the surrounding environment. The year-long monitoring involved macroscopic and microscopic observation, spectrophotometric analyses, and cell vitality assessments using a bioluminometer. Additionally, the collected data were correlated with the prevailing microclimate within the storage. Indeed, the canvases underwent an evolution during their transfer to the storage; it was mainly the photosynthetic part of the consortium that underwent the greatest changes, resulting in changes in the color tones of the canvases. The viability of the cells in the consortium also underwent changes as indicated by measurements obtained with the bioluminometer. The monitoring has provided invaluable insights into the dynamic evolution of Vitone’s artworks and allowed the authors to hypothesize some strategies for the conservation of these types of artworks.

Publisher

MDPI AG

Link

https://www.mdpi.com/2571-9408/7/3/69/pdf

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