REWORKING AN INTERIOR SKETCHBOOK: THE CONSERVATION AND DISPLAY OF ‘RØD OG BLÅ’ ANAMORPHOSIS

Abstract

The second hanging of the permanent collection of contemporary art in the new extension to Statens Museum for Kunst, Copenhagen, was fuelled by the desire to utilize the characteristics of the architectural structure, such as the very high ceilings. This was achieved by conscious employment of the entire, often previously unused, wall surfaces as well as displaying works at various unconventional heights. Plans for the rehang coincided with the conservation treatment of more than 30 fragile works from the late 1970s by the influential Danish artist Albert Mertz (1920-90). These works like many others in the collection, challenge traditionally held ideas of artwork, including conventional display. Executed in modern synthetic paints, the supports of the rød og blå (red and blue) Anamorphosis consisted of various sizes and thicknesses of poster card, card and cardboard. The conservation policy that was devised, which involved liaising with curators and with the artist’s widow, emphasized safe handling, storage and, in particular, display of the works, bearing in mind that the artist had tended to use his wall space as a large, re-workable ‘sketchbook’. Lamination to thin Plexiglas and attachment to specially prepared walls using magnetic strips caused minimum interference in the integrity of the works and employed display principles faithful to those of Mertz himself.