Patron of the Arts

In an art museum, it is the conservator’s job to make sure the art works feel good and are seen as closely as possible in their original form, also in the future. There are two full-time conservators in Kiasma.

“Light is often the number one enemy of art works. Photographs and paper-based works are particularly sensitive to light. UV radiation from the sun and large volumes of light promote the disintegration of paper and the fading of pigments. In the the Image and After exhibition we had to limit the displaying of Joseph Kossuth’s large photographs. They were restored for the exhibition and stored in the dark for the summer and replaced with Kristján Gudmundsson’s drawings. The intention is to display Kossuth’s works again later in the autumn. However, the condition of the works will have to be assessed before the decision of further displaying them is made,” says Siukku Nurminen, Conservator.

“In principle, contemporary art faces the same threats as older art: wrong storage and display conditions, people, insects. Exhibition guests can trip over sculptures or children can touch sensitive works. There are also works that, for one reason or another, awaken an impulse to destroy them in a spectator. Fortunately, these cases are immensely rare. We have had to fight insects, for example, with Simryn Gill’s over 600-piece work made of pinecones, coconuts and other natural materials. Sometimes the artist chooses materials that are problematic with regard to conservation in the first place.”

Siukku Nurminen has worked as a conservator in the Finnish National Gallery since 1987. She has worked with contemporary art since the founding of Kiasma. “The good thing about working with contemporary art is that you get a chance to discuss the manufacturing history of the work with the artist and the possibility of replacing some of the materials.”

Kaija Suni