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POTPOURRI – Berlin Colleagues’ Short Presentations on Mounts in Exhibitions

When Berlin was chosen to be the venue for the XIIIth IADA Congress in 2015, 12 of the local colleagues decided to welcome all congress guests with a joint potpourri of short presentations. Looking for a representative element which reflects the daily practice of many Berlinian paper conservators1 and is therefore suitable to serve as a joining topic for a shared IADA presentation, it was decided on mounts in exhibitions. Exhibition work has certainly become an increasingly dominant aspect in paper conservators’ jobs in Berlin (and elsewhere). Beyond the classical hands – on treatments in the conservation lab, we are facing the challenges that arise during both installation and dismantling periods which are intensive processes of handling artefacts and preparing their mounts for display. Generally, object mounts for exhibitions should meet many different requirements simultaneously which are mostly compiled by the curator, the designer, and the conservator. Beside the main purpose of holding and securing the artefact, the requirements for object mounts range from material and economical to esthetical and last but not least practical criteria. The list is long: every mount should be stable and yet light, emission-free, and it should be low-cost. Of course it must be accurate, unobtrusive and aesthetically consistent with the overall exhibition design. Furthermore, re-usability and space-saving storability can be desirable. Exhibition work requires a high degree of cautiousness, efficiency, and sound manual skills. Qualities such as experience, coolness and creativity (plus a good sense of humour) will prove beneficial in unexpected situations – unexpected situations often being typical for exhibition installations with usually tight schedules. A wide range of intricacies, such as deviant measurements of items or of provided frames or showcases or the delayed delivery of loans can cause strains in the planned routine. This can call for spontaneous, inventive and individual mounts although usually, the concept for preparing both flat and three-dimensional paper works for display is well planned and scheduled in advance. Conservators with their professional expertise and sound knowledge of the object should overlook the general set-up including climate, lighting, pollutants, transportation, duration, etc. They should be alert to identify risks, and should take the responsibility – in some cases perhaps versus curator and/or designer – to preserve all artefacts in their given condition during the exhibition, and to avoid any damage. Before presenting the following highly practice oriented articles, a short mention should go to some downside aspects of exhibition work, such as stress and often relentless time pressure with long working hours, weekend working and perhaps night shifts. Tedious waiting before one’s entry, endless walking, tiredness and hunger. The working situation might be loud, busy and turbulent, or atmospheric tensions might occur in the team. And yet: many colleagues will appreciate exhibition work for its team-work spirit and its never-ending diversified challenges. Therefore our articles aim to be helpful both for everyday mounting work and in dealing with decision making on very specific objects.