“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.
Luca Vitone: Monitoring of Four Living Canvases
Alisi C.;
2024-01-01
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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
