Institutions with collections of objects face a variety of challenges. From collection policy and setting directions that support ecological practice, to specific solutions in storage and conservation practices which create the conditions for the best possible care of monuments, works of art and archives, while caring for the natural environment. The very idea of conservation, which is about extending the life of material objects, seems to contradict ecological thinking. Conservation practices which rely on the use of chemicals have a negative impact on the environment. However, this is not always the case. It is possible to care for objects on an ongoing basis, allowing for more subtle interventions in their materiality. On a meta-level, conservation allows us to preserve our material heritage so that we do not create more of the same.
STEP 1
A well looked after building and its operations
Remember that the basis for green change for a stationary cultural institution is the building – how we use energy, water and other materials in it, how our service points, such as cafés or bookshops, but also warehouses or conservation spaces, operate. In conservation workshops, it is worth ensuring that there is a fume cupboard, i.e. a special ventilation chamber that protects against harmful vapours, dust and gases, as well as fires and explosions. This ensures the safety of the people working there.
Ongoing monitoring of environmental conditions of collections
This solution may require financial investment, but it allows you to monitor changes in temperature and humidity on an ongoing basis, create reports and visualisations, send alerts, and support proactive conservation decisions.
The most basic issues include:
1. Adapt the temperature and humidity to the specificity of the collection.
2. Minimise energy-intensive systems.
3. Filter the air and monitor its quality to prevent excessive levels of pollution developing.
4. Reduce water consumption.
5. Reduce the use of disposable materials.
6. Monitor resource consumption to identify areas where institutional performance can be improved.
7. Protect the collection from dust.
More on this topic in BUILDING.
> Read about conservation experiences at The Royal Albert Memorial Museum. The text highlights the specific nature of the objects and the importance of carrying out conservation work as soon as possible, as the later the work begins, the greater the interventions required. When working with individual lenders, find out what conditions the object requires. You can also secure a ‘buffer’ space in the institution where the objects will be stored before they enter the galleries.
Cooperation between departments
Conservation departments should work closely with curators and those responsible for installing exhibitions. The condition of objects loaned for exhibition must be analysed, and sometimes loaned works are refurbished. Conservation care also involves cooperation in the selection of transport (see: TRANSPORT), packaging and courier services. In the case of external transport companies, reusable packaging may be suggested.
Raising awareness and educating
It is worth drawing on the knowledge and experience of national or international museum networks.
> The CIMAM network promotes the idea of sustainable development and calls for urgent action in response to the climate and ecological emergency. It provides its members with access to resources, tools and guides which demonstrate how to reduce their carbon footprint. You can familiarise yourself with the ‘Toolkit on Sustainability in Museum Practice,’ which was created in 2021 and addresses topics such as intervention practices, sustainability planning, carbon footprint measurement and certification, sustainability consulting, inspiring projects, platforms, resources and bibliography. It is updated on a monthly basis.
> The ICOM network (International Council of Museums) builds its concept of sustainable development around three imperatives: needs, limits and justice. Listen to the podcast ‘Museums and Chill,’ in which environmental and climate reflection is one of the most important topics. ICOM also consciously promotes the idea of climate justice – without social sensitivity and changes in this area, green change will not be possible, as you can hear in one of the podcast episodes. ICOM’s recommendations for museum collections can be found here.
> The Declaration on the Collections Preservation Environment of The Smithsonian Institution.
> The Sustainability in Conservation initiative is a community organisation bringing together people interested in introducing sustainable practices in conservation.
STEP 2
Sustainable materials in conservation
As in other areas of cultural institutions’ activities, it is also worth ensuring that reusable materials are used in conservation. The easiest area to make a change in is packaging.
> ‘Sustainability in Conservation’ publishes posts on green chemicals used in conservation on social media. One of the projects concerned solvents.
> We recommend watching the webinar (2022) prepared by the Image Permanence Institute – a non-profit organisation founded at the Rochester Institute of Technology. The organisation conducts research, including laboratory research, on the conservation of cultural materials. The presentation discusses issues related to IPI research, such as packaging, transport, environmental conditions and light levels.
> In 2023, the Bizot Group, i.e. the International Group of Organizers of Major Exhibitions, published an update of The Green Protocol. This is a document containing recommendations for museums concerning, among other things, climate parameters. Two handbooks have also been developed, in which the members of the Group shared their experiences related to the implementation of green solutions, conclusions from observations and research, and recommendations.
Preventive conservation
This is an increasingly common practice in Poland, which helps to keep works of art in good condition. In the past, conservation work was rare and irregular, less thorough, and historical objects were subject to heavy soiling and decay. Work on heavily soiled objects required strong chemicals. Today, when we take care of objects on an ongoing basis and protect them properly from dirt and damage, conservation is more delicate and interference is kept to a minimum. It is important to educate and spread knowledge about the proper storage conditions for historical objects, which age and will never look like new.
STEP 3
Collection policy
When planning to purchase new objects for your collection, consider whether you can choose ones that do not require complex conservation work. Interesting works or documents may already be held by other institutions. In such cases, perhaps there is no need to duplicate the purchase. It is worth contacting other institutions and asking about the conditions for borrowing items. Another approach you can try is to purchase instructions or scripts for the collection, which can be used to create works if they are needed for an exhibition.
> Dutch and British cultural institutions such as Tate Modern are analysing, within the framework of a network they have established, ways of documenting and preserving artistic practices which have originated from performance, dance or activism. Research teams are considering how to include such works in their collections.
