rosa senserrich | University of Barcelona (original) (raw)
Papers by rosa senserrich
Ge-conservación Conservação | Conservation. Arte urbano y museo. Competencias e (in)compatibilidades, 2019
Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar... more Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar una múltiple variedad de espacios
de naturaleza muy diversa sin demasiados lazos en común. Así pues, existen museos de arte urbano creados desde una perspectiva
más tradicional, es decir, espacios-contenedores cerrados, con la obra concentrada dentro de sus paredes, en contraposición a otros,
más innovadores, ubicados en espacios abiertos o con la obra dispersa por la ciudad. También existen museos desligados de toda
materialidad, que se desarrollan exclusivamente en el espacio virtual. La voluntad inicial de los creadores de estos espacios es también
muy variada, y persigue objetivos que van desde el querer ser considerados como anti-museos a integrarse en la red existente de museos de arte contemporáneo.
Esta recopilación pretende ser un catálogo de iniciativas que sirva de complemento a los artículos del presente monográfico, que facilite
un estudio ordenado y pormenorizado de las iniciativas existentes. Para lograr entender cómo llegan a fundirse dos propuestas tan
divergentes, museo y arte urbano, es necesario analizar los motivos que llevan a los gestores de estos espacios a identificarlos así.
Abstract: The concept of “urban art museum” is currently being used to describe a wide variety of spaces of a very diverse nature without
too many ties in common. Thus, there are urban art museums created from a more traditional perspective, that is, enclosed spaces,
with the work concentrated within its walls, as opposed to others, more innovative, located in open spaces or with works scattered
throughout the city. There are also museums that lack any type of materiality, and that exist exclusively in the virtual space. The initial
vision of the creators of these spaces is also extremely varied and pursues objectives that range from wanting to be considered as antimuseums to integration into the existing network of contemporary art museums.
This compilation aims to be a catalog of initiatives that complements the articles in this monograph, to facilitate an orderly and detailed
study of existing initiatives. To understand how divergent entities come to merge, museums and urban art, it is necessary to analyze the
reasons that lead the creators of these spaces to identify them in their own way.
Ge-conservación nº 16. ISSN: 1989-8568 , 2019
Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar... more Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar una múltiple variedad de espacios
de naturaleza muy diversa sin demasiados lazos en común. Así pues, existen museos de arte urbano creados desde una perspectiva
más tradicional, es decir, espacios-contenedores cerrados, con la obra concentrada dentro de sus paredes, en contraposición a otros,
más innovadores, ubicados en espacios abiertos o con la obra dispersa por la ciudad. También existen museos desligados de toda
materialidad, que se desarrollan exclusivamente en el espacio virtual. La voluntad inicial de los creadores de estos espacios es también
muy variada, y persigue objetivos que van desde el querer ser considerados como anti-museos a integrarse en la red existente de museos de arte contemporáneo.
Esta recopilación pretende ser un catálogo de iniciativas que sirva de complemento a los artículos del presente monográfico, que facilite
un estudio ordenado y pormenorizado de las iniciativas existentes. Para lograr entender cómo llegan a fundirse dos propuestas tan
divergentes, museo y arte urbano, es necesario analizar los motivos que llevan a los gestores de estos espacios a identificarlos así.
Abstract: The concept of “urban art museum” is currently being used to describe a wide variety of spaces of a very diverse nature without
too many ties in common. Thus, there are urban art museums created from a more traditional perspective, that is, enclosed spaces,
with the work concentrated within its walls, as opposed to others, more innovative, located in open spaces or with works scattered
throughout the city. There are also museums that lack any type of materiality, and that exist exclusively in the virtual space. The initial
vision of the creators of these spaces is also extremely varied and pursues objectives that range from wanting to be considered as anti-museums to integration into the existing network of contemporary art museums.
This compilation aims to be a catalog of initiatives that complements the articles in this monograph, to facilitate an orderly and detailed
study of existing initiatives. To understand how divergent entities come to merge, museums and urban art, it is necessary to analyze the
reasons that lead the creators of these spaces to identify them in their own way.
Key words: street art, street art museum, cultural management of street art, public art, urban art
The altar frontal from the church of Sant Llorenç de Morunys is a late thirteenth-century or earl... more The altar frontal from the church of Sant Llorenç de Morunys is a late thirteenth-century or early fourteenth-century polychrome wooden structure. At present, the altar frontal is in a precarious condition that neither allows the iconographical identification of its figures, nor its exhibition. However, a more in-depth study, together with contemporary bibliographical source cross-referencing, has permitted the authors to extract new information and draw conclusions. In order to obtain information about the evolution of the creative process, the study focuses on the marks made both in the ground layer for the realisation of the design, and on the high-relief decorations. Material components present in the traces left by a tool to implement the preliminary drawing have identified by Xray Fluorescence Spectroscopy (XRF) and confirm the use of a dry technique using a lead-tin stylus. Polychrome
techniques applied over tin leaf, such as glazing, were also studied. The iconography of the altar frontal has been revealed, and the identification of the final scene is now clear.
Estudio de las posibilidades de conservacón de algunas obras de arte urbano
Entrevistas y Auto-Grafías
Análisis de las posibillidades de conservación de algunas obras de arte urbano
Analisis de las posibilidades de Conservación de algunas obras de arte urbano
ARTE URBANO. Conservación y restauración de intervenciones contemporáneas, 2016
El monográfico, adjunto al nº 10 de la revista especializada GE-CONSERVACION del International In... more El monográfico, adjunto al nº 10 de la revista especializada GE-CONSERVACION del International Institute for Conservation, resume un año y medio de trabajo del grupo de investigación en Arte Urbano.
Presenta sus particularidades ante posibles intervenciones de conservación y añade una propuesta de código deontológico que ayuda a analizar las intervenciones artisticas urbanas, su reconocimiento y posibilidades de trascendencia.
The Conservation of the Subterranean Cultural Heritage. Seville, Spain, 25-27 March 2014. Programme and Abstracts, Mar 25, 2014
During the year 2010 an intervention of conservation-restoration was carried-out in the cubicle "... more During the year 2010 an intervention of conservation-restoration was carried-out in the cubicle "dei Fornai", in Domitilla’s Catacombs, in Rome. The cubicle is located in a section of the first floor of the catacomb, topographically assignable to an advanced Constantinian age. It presents a particularly monumental spaces and an extremely unique pictorial decoration because the subjects and topics represented. ...
Conference Presentations by rosa senserrich
A. Brunetto (ed.), APLAR 4. Applicazioni laser nel restauro, 2013
In questo lavoro sono presentati i risultati del restauro dei dipinti murali che decorano il cubi... more In questo lavoro sono presentati i risultati del restauro dei dipinti murali che decorano il cubicolo "dei fornai" nelle catacombe di Domitilla a Roma. La pulitura degli affreschi, occultati da incrostazioni calcaree eterogenee, è stata portata a termine utilizzando due sistemi laser Nd:YAG con emissione a 1064 nm: un laser Short Free Running (SFR, durata impulso variabile fra 30 s e 120 s) e un laser Long Q-Switched (LQS, impulsi multipli di durata di 120 ns distanziati fra loro da 40 s). Il restauro ha previsto inoltre una campagna diagnostica eseguita sia con analisi stratigrafiche in laboratorio su campioni prelevati (microscopia ottica, SEM-EDX) sia con analisi in situ tramite strumentazioni portatili (spettroscopia LIPS e Raman, riflettanza nel visibile).
G. Biscontin, G. Driussi (edd.), Proceedings of the International Congress Scienza e Beni Culturali XXIX”, 2013
The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, ... more The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, dated II-III century. The cubicle presents a contradiction in its style: subjects and themes suggest the attribution to a customer belonging to the upper class and having an important position, whilst some utilized expedients were hurried and not well-finished. In order to better shine a light on this nonsense, a diagnostic campaign was carried out, by means of exclusively non invasive methods and techniques. In a first phase of the work, Fiber Optics Reflectance Spectroscopy (FORS) measures were employed in order to investigate barely readable areas, due to carbonate concretion having different thickness and color. Such analyses gave also useful suggestions for the cleaning intervention of the decorative setup. In the second phase of the work, subsequent to the laser cleaning, other non invasive techniques were added to FORS, in order to univocally identify pigments and materials used in mural paintings. Infrared Spectroscopy in total reflection (TR FT-IR), X-ray Fluorescence Spectrometry (XRF), Colorimetric Measures, Digital Microscopy (DM) and Visible Induced Luminescence (VIL) were therefore utilized together with FORS in absolutely not invasive protocols, and brought to unambiguously assign the color palette.
Ge-conservación Conservação | Conservation. Arte urbano y museo. Competencias e (in)compatibilidades, 2019
Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar... more Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar una múltiple variedad de espacios
de naturaleza muy diversa sin demasiados lazos en común. Así pues, existen museos de arte urbano creados desde una perspectiva
más tradicional, es decir, espacios-contenedores cerrados, con la obra concentrada dentro de sus paredes, en contraposición a otros,
más innovadores, ubicados en espacios abiertos o con la obra dispersa por la ciudad. También existen museos desligados de toda
materialidad, que se desarrollan exclusivamente en el espacio virtual. La voluntad inicial de los creadores de estos espacios es también
muy variada, y persigue objetivos que van desde el querer ser considerados como anti-museos a integrarse en la red existente de museos de arte contemporáneo.
Esta recopilación pretende ser un catálogo de iniciativas que sirva de complemento a los artículos del presente monográfico, que facilite
un estudio ordenado y pormenorizado de las iniciativas existentes. Para lograr entender cómo llegan a fundirse dos propuestas tan
divergentes, museo y arte urbano, es necesario analizar los motivos que llevan a los gestores de estos espacios a identificarlos así.
Abstract: The concept of “urban art museum” is currently being used to describe a wide variety of spaces of a very diverse nature without
too many ties in common. Thus, there are urban art museums created from a more traditional perspective, that is, enclosed spaces,
with the work concentrated within its walls, as opposed to others, more innovative, located in open spaces or with works scattered
throughout the city. There are also museums that lack any type of materiality, and that exist exclusively in the virtual space. The initial
vision of the creators of these spaces is also extremely varied and pursues objectives that range from wanting to be considered as antimuseums to integration into the existing network of contemporary art museums.
This compilation aims to be a catalog of initiatives that complements the articles in this monograph, to facilitate an orderly and detailed
study of existing initiatives. To understand how divergent entities come to merge, museums and urban art, it is necessary to analyze the
reasons that lead the creators of these spaces to identify them in their own way.
Ge-conservación nº 16. ISSN: 1989-8568 , 2019
Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar... more Resumen: El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar una múltiple variedad de espacios
de naturaleza muy diversa sin demasiados lazos en común. Así pues, existen museos de arte urbano creados desde una perspectiva
más tradicional, es decir, espacios-contenedores cerrados, con la obra concentrada dentro de sus paredes, en contraposición a otros,
más innovadores, ubicados en espacios abiertos o con la obra dispersa por la ciudad. También existen museos desligados de toda
materialidad, que se desarrollan exclusivamente en el espacio virtual. La voluntad inicial de los creadores de estos espacios es también
muy variada, y persigue objetivos que van desde el querer ser considerados como anti-museos a integrarse en la red existente de museos de arte contemporáneo.
Esta recopilación pretende ser un catálogo de iniciativas que sirva de complemento a los artículos del presente monográfico, que facilite
un estudio ordenado y pormenorizado de las iniciativas existentes. Para lograr entender cómo llegan a fundirse dos propuestas tan
divergentes, museo y arte urbano, es necesario analizar los motivos que llevan a los gestores de estos espacios a identificarlos así.
Abstract: The concept of “urban art museum” is currently being used to describe a wide variety of spaces of a very diverse nature without
too many ties in common. Thus, there are urban art museums created from a more traditional perspective, that is, enclosed spaces,
with the work concentrated within its walls, as opposed to others, more innovative, located in open spaces or with works scattered
throughout the city. There are also museums that lack any type of materiality, and that exist exclusively in the virtual space. The initial
vision of the creators of these spaces is also extremely varied and pursues objectives that range from wanting to be considered as anti-museums to integration into the existing network of contemporary art museums.
This compilation aims to be a catalog of initiatives that complements the articles in this monograph, to facilitate an orderly and detailed
study of existing initiatives. To understand how divergent entities come to merge, museums and urban art, it is necessary to analyze the
reasons that lead the creators of these spaces to identify them in their own way.
Key words: street art, street art museum, cultural management of street art, public art, urban art
The altar frontal from the church of Sant Llorenç de Morunys is a late thirteenth-century or earl... more The altar frontal from the church of Sant Llorenç de Morunys is a late thirteenth-century or early fourteenth-century polychrome wooden structure. At present, the altar frontal is in a precarious condition that neither allows the iconographical identification of its figures, nor its exhibition. However, a more in-depth study, together with contemporary bibliographical source cross-referencing, has permitted the authors to extract new information and draw conclusions. In order to obtain information about the evolution of the creative process, the study focuses on the marks made both in the ground layer for the realisation of the design, and on the high-relief decorations. Material components present in the traces left by a tool to implement the preliminary drawing have identified by Xray Fluorescence Spectroscopy (XRF) and confirm the use of a dry technique using a lead-tin stylus. Polychrome
techniques applied over tin leaf, such as glazing, were also studied. The iconography of the altar frontal has been revealed, and the identification of the final scene is now clear.
Estudio de las posibilidades de conservacón de algunas obras de arte urbano
Entrevistas y Auto-Grafías
Análisis de las posibillidades de conservación de algunas obras de arte urbano
Analisis de las posibilidades de Conservación de algunas obras de arte urbano
ARTE URBANO. Conservación y restauración de intervenciones contemporáneas, 2016
El monográfico, adjunto al nº 10 de la revista especializada GE-CONSERVACION del International In... more El monográfico, adjunto al nº 10 de la revista especializada GE-CONSERVACION del International Institute for Conservation, resume un año y medio de trabajo del grupo de investigación en Arte Urbano.
Presenta sus particularidades ante posibles intervenciones de conservación y añade una propuesta de código deontológico que ayuda a analizar las intervenciones artisticas urbanas, su reconocimiento y posibilidades de trascendencia.
The Conservation of the Subterranean Cultural Heritage. Seville, Spain, 25-27 March 2014. Programme and Abstracts, Mar 25, 2014
During the year 2010 an intervention of conservation-restoration was carried-out in the cubicle "... more During the year 2010 an intervention of conservation-restoration was carried-out in the cubicle "dei Fornai", in Domitilla’s Catacombs, in Rome. The cubicle is located in a section of the first floor of the catacomb, topographically assignable to an advanced Constantinian age. It presents a particularly monumental spaces and an extremely unique pictorial decoration because the subjects and topics represented. ...
A. Brunetto (ed.), APLAR 4. Applicazioni laser nel restauro, 2013
In questo lavoro sono presentati i risultati del restauro dei dipinti murali che decorano il cubi... more In questo lavoro sono presentati i risultati del restauro dei dipinti murali che decorano il cubicolo "dei fornai" nelle catacombe di Domitilla a Roma. La pulitura degli affreschi, occultati da incrostazioni calcaree eterogenee, è stata portata a termine utilizzando due sistemi laser Nd:YAG con emissione a 1064 nm: un laser Short Free Running (SFR, durata impulso variabile fra 30 s e 120 s) e un laser Long Q-Switched (LQS, impulsi multipli di durata di 120 ns distanziati fra loro da 40 s). Il restauro ha previsto inoltre una campagna diagnostica eseguita sia con analisi stratigrafiche in laboratorio su campioni prelevati (microscopia ottica, SEM-EDX) sia con analisi in situ tramite strumentazioni portatili (spettroscopia LIPS e Raman, riflettanza nel visibile).
G. Biscontin, G. Driussi (edd.), Proceedings of the International Congress Scienza e Beni Culturali XXIX”, 2013
The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, ... more The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, dated II-III century. The cubicle presents a contradiction in its style: subjects and themes suggest the attribution to a customer belonging to the upper class and having an important position, whilst some utilized expedients were hurried and not well-finished. In order to better shine a light on this nonsense, a diagnostic campaign was carried out, by means of exclusively non invasive methods and techniques. In a first phase of the work, Fiber Optics Reflectance Spectroscopy (FORS) measures were employed in order to investigate barely readable areas, due to carbonate concretion having different thickness and color. Such analyses gave also useful suggestions for the cleaning intervention of the decorative setup. In the second phase of the work, subsequent to the laser cleaning, other non invasive techniques were added to FORS, in order to univocally identify pigments and materials used in mural paintings. Infrared Spectroscopy in total reflection (TR FT-IR), X-ray Fluorescence Spectrometry (XRF), Colorimetric Measures, Digital Microscopy (DM) and Visible Induced Luminescence (VIL) were therefore utilized together with FORS in absolutely not invasive protocols, and brought to unambiguously assign the color palette.