Outline Władysław Hasior's works - selected conservation issues, history, and new perspectives on preservation 

[supervisors: dr. hab. Sławomir Adam Kamiński prof. UMK, NCU/prof. akad. mal. Tomáš Lahoda, University of Pardubice , Faculty of Restoration].

Modern art poses entirely new challenges to a conservator, especially within the orbit of material. In conservation of traditional art the already developed methodology enables rather safe functioning within the framework of professional ethics, whereas works of every modern artist and their “own technique” requires profound research. Characteristic issues associated with conservation of modern art are perfectly visible in pieces of Władysław Hasior, the classic of Polish artistic avant-garde of the second half of the 20th century. The project focuses on the conservation issues concerning thirteen of his artworks. The collection belonging to National Museum of Poznań serves as a very good representation of his artistic achievements – it contains works created over the course of two decades for several cycles, constructed from wide variety of non-pictorial materials. In that it constitutes an excellent starting point to formulate research and conservation methodology not only for this particular artist’s legacy but for modern art in general.

Although many papers on Władysław Hasior and his artistic creations were written, we still lack a wider study on technical and conservation issues. One of the main problems of the collection are deficient records, disenabling to explicitly determine the original appearance and condition of particular pieces. The situation results from inadequacy of standard documentation methods to constructions of modern artworks. Multiple-element spatial compositions are easily deformed, even due to its own parts (structural issues), are extremely sensitive to external factors (material with adversarial humidity-temperature needs), are very difficult to transport and require individual exhibition system. These and other factors, like previously mentioned limitations of documentation methods and conservation tutelage conducted without profound material and structural analysis led to the situation when during in situ examination one cannot answer many simple questions. How did the artwork look like when bought by the museum? What was the original configuration of its elements? What is the scope of previous interferences and why were they conducted?

Atypical construction of these artworks makes the standard documentation methods, based on written descriptions and photography, insufficient as repertories of the information. Having a brush with pieces of such complicated structure as Hasior’s assemblages, it is essential to attach to the documentation 3D scans of the objects, allowing to properly monitor its aging changes and deformations resulting from transportation, exposition and storage. Juxtaposition of various materials requires numerous identification investigations and formulation of new conservation guidelines in cooperation with conservators of different specialisations. The work on the repertory will be preceded by a query embracing the biggest collections of Władysław Hasior’s pieces. Subsequently a wide state of research will be devised, material and structural examination of the discussed group conducted, what can cause a reformulation of some ethical aspects and – through taking concrete actions – a refinement of past conservation and preservation methods of this type of artworks. One of the main goals of the Ph. D. project is determination of the original form of the objects, and the artist’s intentions. Material identification and construction recognition will not only enable conservation of the relevant objects but also development of their safe transport, storage and a main premises of conservation prophylaxis. All these actions will set an example of not unitary, but broad approach to modern art and so will have an impact on recognition of conservation issues and delineating course of further dealing not only with artworks of Władysław Hasior, but also of other modern artists.

What is funded

A doctoral student who does not hold a degree of doctor shall receive a doctoral scholarship.

The amount of a monthly doctoral scholarship shall be at least:1) 37% of a professor’s salary – up to the month in which the mid-term evaluation was conducted*; 2) 57% of a professor’s salary – after the month in which the mid-term evaluation was conducted*.

[*According to the legal status in 2020, the scholarship is gross: 1) 2.371,70 PLN, 2) 3.653,70 PLN.]

Duration

4 years.

Eligibility

A Master degree (a magister or a magister inżynier degree) or an equivalent degree, or the diploma, entitling to apply for the award of a degree of doctor in the country in the education system of which the higher education institution which issued it operates.

Taking part in the recruitment process.