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SHOW IT AND SAVE IT Exploring the compromises between exhibition and preservation Online Symposium 14th – 17th February 2022
IMPRINT.
PUBLISHER
International Association of Book and Paper Conservators
Internationale Arbeitsgemeinschaft der Archiv, Bibliotheks und
Graphikrestauratoren (IADA) e.V.
EDITING
Adrienne Bell, Folger Shakespeare Library, Washington D.C., USA
Caroline De Stefani, London Metropolitan Archives, London, UK
Aurelie Martin, National Library of Australia, Canberra, Australia
TECHNICAL COMMITTEE
Caroline De Stefani (coordination)
Aurelie Martin (coordination)
Adele Barbara, National Library of Australia, Canberra
Alberto Campagnolo, adjunct professor of Digital Humanities,
University of Udine, Italy
Femke Coevert, Rijksmuseum Amsterdam, The Netherlands
Malgorzata Grzelec, IADA - International Association of Book and
Paper Conservators
Eliza Jacobi, Dutch National Museum of Antiquities, The
Netherlands
Jasna Malešič, National and University Library, Ljubljana,
Slovenia
Birgit Vinther Hansen, National Library of Denmark, Copenhagen,
Denmark
Michal Sofer, London, United Kingdom
LAYOUT DESIGN
Adrienne Bell, Folger Shakespeare Library, Washington D.C., USA
Aurelie Martin, National Library of Australia, Canberra
Malgorzata Grzelec
Design of the Symposium Logo and Preprints cover: Kevin Cilurzo, Switzerland
© by IADA e.V. 2022
IADA Board
Welcome Dear Participants!
Please browse around all parts of our platform,
familiarise yourself with all the tools, click around the
screen, meet your fellow participants, and look out for
the forums. Check the agenda and find out when the
talks are happening. If you have time, pop by the
information desk or the IADA Information Point where
you can text or video chat with us to share your thoughts
on how we can improve the association.
We would like to take the opportunity to thank all the
authors and speakers who shared their experience,
knowledge, and passion with us. A warm thank you also
goes to our vendors and sponsors who never hesitate to
go on an adventure with us, as well as the individual
participants who made generous donations to support
View of the SHOW IT AND SAVE IT Virtual Lobby © IADA/Meetyoo
IADA.
This virtual symposium would not have seen the light
Thank you for attending IADA’s first virtual symposium. without the valuable work of our behind-the-scenes
contributors, namely, Adrienne Bell, Henry Hebert,
As we all know, these past years have been very Franziska Butze-Rios, Kevin Cilurzo, and Zacarias Garcia
challenging and travel around the world was greatly who worked around the clock for IADA.
affected. The IADA board was committed to holding this
symposium and therefore looked at options for possible Finally, these preprints were usually the result of a
locations to host the event; aside from the most remote collaboration between IADA and Dr Wolfgang Seidel who
places that were good but too difficult to reach, there created their original design with Birgit Reissland, and
wasn’t anywhere we thought we could meet up safely was the JPC publisher for many years. Very sadly, he
and without hassle. So, we decided to host the passed away suddenly in January this year and we
symposium close to you: in your living room, in your would like to take this opportunity to express how much
office, or anywhere else you felt safe. IADA appreciated working with him, his dedication and
We wanted an event that was as close to the real how great a collaborator he was. He will be missed.
experience as possible, and we hope that we will meet
your expectations as well as shorten the distances in our We hope you’ll enjoy the symposium and see you soon
community that have been separated for too long. online!
The topic of our Symposium reflects the changes that
our profession and our jobs have faced in the last years.
We received fascinating submissions, and we hope that
they will give you great food for thought to use in your Your IADA Board
own work and to share with your colleagues.
14-17 February 2022 – IADA2022 Online Symposium 1
PARTNERS.
VENDORS
ALTIMET J. Hewit & Sons Ltd
www.altimet.fr www.hewit.com
BELO KLUG-CONSERVATION
https://belo-restauro.de www.klug-conservation.com
DEFFNER & JOHANN KREMER PIGMENTE
https://deffner-johann.de www.kremer-pigmente.com
DOCUSAVE AG MORIKI PAPER, LTD.
www.docusave.ch/de/startseite https://morikipaper.co.jp
FOTONOWY SCHEMPP BESTANDSERHALTUNG GMBH
www.fotonowy.pl
www.schempp.de
FRATI & LIVI TRU VUE / OPTIUM: INTERAS
www.fratielivi.it https://tru-vue.com
GMW - WILHELM LEOS NACHFOLGER GMBH WILLARD CONSERVATION LTD
https://gmw-shop.de www.willard.co.uk
SUPPORTERS
DEFFNER & JOHANN GMW - Wilhelm Leos Nachfolger GmbH
https://deffner-johann.de https://gmw-shop.de
FRATI & LIVI MORIKI PAPER, LTD.
www.fratielivi.it https://morikipaper.co.jp
J. HEWIT & SONS LTD WILLARD CONSERVATION LTD
WWW.HEWIT.COM www.willard.co.uk
2 14-17 February 2022 – IADA2022 Online Symposium
CONTENT.
IMPRINT
IADA BOARD: WELCOME DEAR PARTICIPANTS! 1
PARTNERS 2
CONTENT 4
PROGRAM: MONDAY, 14 FEBRUARY 2022 5
Abstracts
PROGRAM: TUESDAY, 15 FEBRUARY 2022 13
Abstracts
PROGRAM: WEDNESDAY, 16 FEBRUARY 2022 21
Abstracts
PROGRAM: THURSDAY, 17 FEBRUARY 2022 29
Abstracts
4 14-17 February 2022 – IADA2022 Online Symposium
PROGRAM.
MONDAY / 14 FEBRUARY
14:30-18:30 LOBBY.
Information Desk, Agenda, Networking Lounge, Vendors’ Wall
14:40-14:55 FORUMS.
Student Networking IADA Info Point Journal of Paper Conservation Info
Connect with fellow Stop by to say HELLO to IADA board Point
students from around members in a casual setting. Ask all Do you have an interesting project you
the world. the questions you have never dared to would like to share? Please come in and
ask. talk to our editors!
SESSION 1 15:00 – 17:00 (CET)
15:00-15:15 Welcome Renate Mesmer
IADA President
15:15-15:30 Beyond Compromise is Optimize Jane Henderson Robert Waller
Cardiff University (UK) Protect Heritage
Corp. (CA)
15:30-15:45 Safely into the light: Challenges and results derived from a multi- Maria Chiara Palandri, Marte-Kine
professional collaboration for the permanent exhibition at the Sandengen & Laila Meyrick
National Library of Norway The National Library of Norway (NW)
15:45-16:00 Keeping it Cool: Designing the library's New Gutenberg Bible Nancy Lev-Alexander & Elmer Eusman
display case Library of Congress (USA)
16:00-16:15 The ‘Exhibition Scale’: A decision-making tool for loan requests Laure Jeannottat, Agnes Blueher,
Luzius Dinkel & Andre Eugene Page
Swiss National Library (CH)
16:15-16:30 Q&A with moderator (Live – 15 min) (Auditorium)
16:30-16:45 Q&A Follow-up Questions (Forum)
16:30-17:00 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
SESSION 2 17:00 – 18:30 (CET)
17:00-17:15 Setting risk control priorities for light exposure and strategize Christel Pesme
micro-fading at collection level Heritage Conservation Center (SG)
17:15-17:30 Exhibitions are the real thing, or not? Gabriëlle Beentjes, Femke Prinsen &
Charlene Mac Donald
National Archives (NL)
17:30-17:45 Museum Routine: Adapting tools and equipment at the Lina Wyss
Kunstmuseum Basel Kunstmuseum Basel (CH)
17:45-18:00 Q&A with moderator (Live – 15 min) (Auditorium)
18:00-18:15 Q&A Follow-up Questions (Forum)
18:00-18:30 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
14-17 February 2022 – IADA2022 Online Symposium 5
Jane Henderson1 and Robert Waller*2
Beyond Compromise is Optimize
Employing strategies for effective decision-making while Another tool is setting system level goals - that is
managing preservation during exhibition can transform identifying not only the immediate and tangible risks -
a need to compromise into an opportunity to optimize. such as the danger of tearing a page in a book, but also
Decisions around selecting items for exhibition and the a steadily accruing risk such as failing to demonstrate
conditions of their display are explored to illustrate, in a the relevance of the collection.
practical way, how simple changes in decision strategies The goal is to help conservators engage in decision-
can improve decisions. The adoption of a psychological making in the most constructive way possible by
approach known as broad framing will be used to focusing on gains and benefits while avoiding picking
illustrate how the context, including time horizons battles with less significant benefit for preservation.
around a decision, is expanded to reduce the emotional Optimal preservation management must see specific
biasing of a decision in favour of short-term benefits, risks in context while using higher level perspectives to
costs, and risks. ensure long-term benefit to the collection, to the field of
Tactics for broad framing a problem will be applied to the conservation and to our institutions.
experience of risk managing an exhibition. One such
tactic is to reconsider or re-frame risk from focusing on 1
Cardiff University, UK
a single potential occurrence to contemplating risk from *2
Corresponding author: Protect Heritage Corp
a continual stream of choices. rw@protectheritage.com
Figure 1. Perceived importance depends on perspective. Values are Figure 2. Broad framing enables us to see a more holistic view
arbitrary but reasonably representative. Which perspective do you
usually adopt?
6 14-17 February 2022 – IADA2022 Online Symposium
Maria Chiara Palandri*1, Marte-Kine Sandengen1 and Laila Meyrick1
Safely Into the Light
Challenges and results derived from a multi-professional
Collaboration for the permanent exhibition at the National
Library of Norway
The permanent exhibition “Enlightened. Glimpses of a Being a permanent exhibition, sustainability was a
Norwegian Cultural History” displays a careful selection second key issue of “Enlightened”. All materials were
of objects, dating as far back as the 1100s. The selection selected to be of high quality, sustainable, durable and
offers entries to understand the public sphere in Norway. suitable for the materials on display. All the elements in
Every single object communicates a type of material, a the room were chosen to both highlight the objects and
medium, a specific event and a period in history making to secure their long-term conservation. The objects
the exhibition a comprehensive introduction to demanded very different conservation needs which
Norwegian cultural history. consequently required tailor made display solutions.
The exhibition concept was to design the space and the Prior to the installation of the exhibition, objects were
showcases in such a way that the displayed objects analysed to measure both their sensitivity to light and
seemed to be “floating” in space. This gives the their structural stability, to be able to create a rotation
impression of spotlights sweeping over the storage program.
vaults, making an apparently random decision about
which objects from the totality of the collection have
been brought into the light and made visible. In line with
this concept, the showcases had to appear almost
invisible. This, as far as conservation and preservation
was concerned, was certainly the most complex 1
National Library of Norway, NO
challenge. *
Corresponding author: chiara.palandri@nb.no
Figure 1 Enlightened: The exhibition hall (© Gareth Gardner) Figure 2. Showcase n.4: detail of the mounting system (© Gareth
Gardner)
14-17 February 2022 – IADA2022 Online Symposium 7
Nancy Lev-Alexander*1 and Elmer Eusman1
Keeping it Cool
Designing the Library’s new Gutenberg bible display case
The Library of Congress' Gutenberg Bible, one of only control temperature and maintain RH within 2% in a
three perfect vellum copies known to exist, is on public hall where RH fluctuates seasonally between 20%
permanent display in the Thomas Jefferson Building. and 55% with extended periods below 30%. The exhibit
While its three volumes are rotated on a regular schedule case also provides conditions very close to the
with the opening changed each time the volume is independently conditioned storage vault which holds the
reinstalled, concerns over the potential adverse effects volumes when not on display. The dedicated mechanical
of such extended display required Library Conservation unit does not require connection to water or building
staff to define exhibit criteria and identify preservation drains and expels the modest amount of process heat
strategies to mitigate the effects of incorrect or generated through a filtered vent at the top of the case.
fluctuating environment, harmful light exposure, and The speaker will share information about networked
pollutants. The speaker will discuss the design process monitoring that allows 24/7 remote access to exhibit
including the integration of various stakeholder expertise case data and the VESDA smoke detection system
and requirements, highlight preservation features of the which is monitored all hours through the building alarm
new case, and share lessons learned. Environmental system.
data from the within the case and surrounding historic
1
building space will demonstrate the ability of the case to Library of Congress, Washington, DC, USA
*
Corresponding author: nlal@loc.gov
Figure 1 Gutenberg Bible displayed in the Great Hall, Thomas Figure 2. Gutenberg Bible displayed in previous exhibit case
Jefferson Building, Library of Congress 2019 (© Shawn Miller) (© Conservation Division)
8 14-17 February 2022 – IADA2022 Online SymposiumLaure Jeannottat*1, Agnes Blueher1, Luzius Dinkel1, and Andre Eugene Page1
The “Exhibition Scale”:
A decision-making tool for loan requests
The Conservation Section of the Swiss National Library light sensitivity of documents is difficult to assess
(NL) is responsible for the conservation of all the objectively, the NL has been using a new tool, the Micro
institution's collections and, until now, has been primarily Fading Tester (MFT), for this purpose since 2020.
responsible for making decisions about loan requests for The introduction of the "Exhibition Scale" leads to
exhibitions. Over the past ten years, the number of loan fundamental considerations about the value of the
requests for external and internal exhibitions has risen collections, the accepted changes and the desired
sharply and, at the same time, the length of time required conservation horizon. Use of the “Exhibition Scale”
for loans has increased. Conflicts between exhibition and increases the effort involved in preparing demanding
conservation interests have continued to grow and have exhibition decisions but the comprehensible and smooth
required a solution. processes mitigate this. This article describes the
The NL moved away from its usual strict guidelines functioning of the "Exhibition Scale", the possibilities for
based on standards and developed a new system for development and the research areas that result from it.
evaluating complex loan requests. Called the "Exhibition
Scale", this system uses different parameters to
compare the importance of preservation and cultural
mediation on a point scale. To obtain as objective a basis
for decision as possible, experts from different 1
Swiss National Library, CH
departments provide the necessary estimates. Since the *
Corresponding author: laure.jeannottat@nb.admin.ch
Figure 1. Decision making before a loan for exhibition (© NL) Figure 2. A solution for sensitive object exposure: the production of
Facsimile (© NL)
14-17 February 2022 – IADA2022 Online Symposium 9Christel Pesme*
Setting Risk Control Priorities for Light
Exposure and Strategize Microfading
at Collection Level
This paper discusses a benchmarking method to help implement more sustainable collection use and care
collection care managers define levels of light control for practices involving light exposure that also consider its
highly sensitive collection items and subsequently social and societal commitments to provide the best
identify priorities for microfading. Applying the lifetime access to its collection for current and future audiences.
driven approach of Museum Lighting as presented by D. How to select the regrouping scenario of relative Value-
Saunders, it is proposed to implement a value-based at- Risk-to light that best fits collection needs and
approach in which an item’s lifespan is set according to institution capacities will also be discussed.
its Collection Value. The subset of the collection likely to
be highly sensitive to light is regrouped into a
manageable number of categories of Value-at-Risk-to-
light while factoring in the role of colour information. It *
Corresponding author: Heritage Conservation Center, SG
will be shown how this approach allows the institution to christel_pesme@nhb.gov.sg
10 14-17 February 2022 – IADA2022 Online SymposiumGabriëlle Beentjes1, Femke Prinsen1, and Charlene Mac Donald*1
Exhibitions are the real thing, or not?
Conservators and exhibition makers are often advocates important the story told by the object is. Based on this,
for opposing causes: conservators prefer objects safely decisions can be made about using the original object or
stored, while exhibition makers would rather see objects a facsimile.
shown. In recent years, the National Archives of the In this talk we would also like to consider what happened
Netherlands changed their exhibition policy resulting in that both conservator and exhibition maker seem to have
long exhibitions with a duration of at least 6 months. become more flexible. Why do we accept longer
Because of this, those involved had to reconsider their exhibitions of originals and facsimiles as acceptable
professional attitude. alternatives when these used to nonnegotiable? What
When an object is chosen for a semi-permanent developments have led to this change? In our case, the
exhibition, the first consideration is “Is this problematic establishment of procedures and a lighting policy have
for the specific object?”. To this end, one must establish helped, as well as an open mind and positive cooperation
criteria, other than the conservator’s gut feeling, that can between conservators and exhibition makers.
be used to assess the objects vulnerability. If exhibiting
turns out to be problematic, an open discussion between
the conservator and exhibition maker is vital. The
exhibition maker must consider how important that 1
Nationaal Archief, NL
specific object is to that part of the exhibition and how *
Corresponding author: charlene.mac.donald@nationaalarchief.nl
Figure 1. Adversaries (© Femke Prinsen ) Figure 2. The manuscript containing the Story of Tula (above) and a
facsimile of just the Story of Tula (below) (© Femke Prinsen)
14-17 February 2022 – IADA2022 Online Symposium 11Lina Wyss*
Museum Routine
Adapting tools and equipment at the Kunstmuseum Basel
Kunstmuseum Basel and its three venues is one of the (using tablets), a mobile tripod for zoom couriers and
largest art museums in Switzerland and houses the fabric covers for light sensitive artworks. In addition, we
oldest public art collection in the world. In addition to devised a baker’s rack with removable trays out of
taking care of its own collection, several – partly quite corrugated board to support mounted items as well as
labour intensive – exhibitions are held each year. to be used as storage space. These adapted tools and
As conservators, we participate in the preparations for devices are – especially in their simplicity and practicality
the exhibitions from the very beginning and are –incredibly helpful in our daily work at the museum and
intensively involved in preparing the works on display. lead decisively to an efficient and successful workflow.
The sheer number of exhibition objects (including loans) We would like to present and share our ideas and tools
and the frequency with which they must be handled – and maybe we can inspire or even motivate other
requires not only careful planning, but also a smooth institutions to create and develop their own useful items
workflow on our part. In addition, the last couple of years and tools.
have brought certain changes in the workflow due to the
pandemic (e.g. Zoom Courier). To meet these
requirements, we have adapted and developed tools and
equipment over time – such as digital condition reports *
Corresponding author: Kunstmuseum Basel, CH
lina.wyss@bs.ch
Figure 1. Mobile tripod for Zoomcourier (© Kunstmuseum Basel, J. Figure 2. Installation of an exhibition at Kunstmuseum Basel (©
Hänggi) Kunstmuseum Basel, A. Seger)
12 14-17 February 2022 – IADA2022 Online SymposiumPROGRAM.
TUESDAY / 15 FEBRUARY
14:30-18:30 LOBBY.
Information Desk, Agenda, Networking Lounge, Vendors’ Wall
14:40-14:55 FORUMS.
Student Networking IADA Info Point Journal of Paper Conservation Info
Connect with fellow Stop by to say HELLO to IADA board Point
students from around members in a casual setting. Ask all Do you have an interesting project you
the world. the questions you have never dared to would like to share? Please come in and
ask. talk to our editors!
SESSION 3 15:00 – 17:00 (CET)
15:00-15:15 Fear of Fading: Investigating the potential light sensitivity of a Elizabeth Hepher
mystery architectural photo-reproduction Historic Environment Scotland (UK)
15:15-15:30 ‘Recommendations and trust’: How Gothenburg Museum of Art Mariateresa Pullano & Tanja Axelryd
handled two big international exhibitions amid a global pandemic Göteborgs konstmuseum (SW)
15:30-15:45 ‘The show must go on’: Preparing an archival display with limited Mathilde Renauld, Donna Rose & Grace
access to collections O'Boyle
National Gallery of Ireland (IR)
15:45-16:00 Q&A with moderator (Live – 15 min) (Auditorium)
16:00-16:15 Q&A Follow-up Questions (Forum)
16:00-17:00 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
SESSION 4 17:00 – 18:30 (CET)
17:00-17:15 ‘The backside looks good’: Digital couriering between the Eliza Jacobi, Helbertijn Krudop &
Netherlands and Japan. An archaeological collection on the road Hanneke Kik
Dutch National Museum of Antiquities
(NL)
17:15-17:30 Diving into the Courier Pool: Establishing a courier training Stephanie Wiener & Brenna Campbell
program at Princeton University Library Princeton University Library (USA)
17:30-17:45 Collapse, Covid, Move: Making conservation work at the Kathrin Lehmer
Historisches Archiv der Stadt Köln accessible to the public Historisches Archiv der Stadt Köln (DE)
17:45-18:00 Q&A with moderator (Live – 15 min) (Auditorium)
18:00-18:15 Q&A Follow-up Questions (Forum)
18:00-18:30 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
14-17 February 2022 – IADA2022 Online Symposium 13Elizabeth Hepher*
Fear of Fading
Investigating the potential light sensitivity of a mystery
architectural photoreproduction
There are many types of photoreproductions and the risk of fading during a potential exhibition display
photomechanical copies that are commonly found in period. Working in partnership with the National
archive collections, especially those containing Galleries of Scotland, scientific analysis using
architectural drawings and technical plans. These, microfading was used to assess the chemical stability of
however, can be difficult to identify and vary in their the pigments or dyes present under exposure to light.
stability and ageing characteristics. Most notably, some The results of this analysis indicated that the media
types are well known to be highly sensitive to light and present were at the more stable end of the Blue Wool 1
are therefore routinely not selected for exhibition as the to 3 lightfastness scale. The conclusions drawn from
risk (and fear) of fading is too great. this informed the decision whether to display the object
The archive at Historic Environment Scotland, The or not and the subsequent appropriate allocated light
National Record of the Historic Environment has budget: display duration and lux levels. The results of
numerous examples of different types of this investigation will ultimately allow the display of a
photoreproductions from a range of dates in its rarely exhibited architectural reproduction informed by
expansive collections. its measured sensitivity to light.
Examining a 20th Century architectural reproduction on a
transparent support, this presentation describes the
steps taken to identify the process used to produce the *
Corresponding author: Historic Environment Scotland, UK
image, the media present and how to practically assess elizabeth.hepher@hes.scot
Figure 1. A detail of a gel lithograph showing both recto and verso Figure 2. The lithograph during Microfading testing © HES (Sir Basil
Spence Archive)
14 14-17 February 2022 – IADA2022 Online SymposiumMariateresa Pullano*1 and Tanja Axelryd1
Recommendations and Trust
How Gothenburg Museum of Art handled two
big international exhibitions amid a global pandemic
The Gothenburg Museum of Art is the third biggest art war period. This paper will discuss how the museum was
museum in Sweden; its collection covers international challenged in the installation of both exhibitions; how the
artworks from the 1400s until today. In 2020, how the staff worked in a collaborative way, learned different
Swedish government decided to handle the pandemic practices like digital couriering and managing
became an international headline, both with praises and environmental monitoring and pest control. All of this
criticism. Before the pandemic, the Gothenburg Museum was learned in a time of pandemic when the Gothenburg
of Art planned two major exhibitions with international Museum of Art was still open and later when it was
loans in 2020 and 2021. The first, a retrospective of closed for 6 months. The results will present the
Ingrid Vang Nyman, Danish artist and illustrator of Pippi challenges and achievements of managing two big
Longstocking, was comprised of 200 works, including installations during the pandemic in Sweden, where a
children's book illustrations, paintings, sketches, total lockdown never took place.
sculptures, original prints, and letters. The second,
“Focus on Europe. New Objectivities 1919–1939,” was a 1
Göteborgs konstmuseum, SE
large, international exhibition of paintings from the inter- *
Corresponding author: mariateresa.pullano@kultur.goteborg.se
Figure 1. Exhibition Focus on Europe. New Objectivities 1919–1939, Figure 2. During virtual installation of Focus on Europe. New
Gothenburg Museum of Art (© Hossein Sehatlou) Objectivities 1919–1939, Gothenburg Museum of Art (© Victoria
Skalleberg)
14-17 February 2022 – IADA2022 Online Symposium 15Mathilde Renauld*1, Donna Rose1 and Grace O’Boyle1
The Show Must Go On
Preparing an archival display with limited access to collections
In March 2020, the National Gallery of Ireland closed its process. Different appreciations of objects between
doors to staff and visitors. Working on-site has been Curatorial and Conservation are also highlighted, with
restricted and intermittent, leading to most staff being the lack of physical access leading to a lowered
unable to access workspaces and collections. During awareness of the material condition of objects in relation
this time, exhibition planning has gone ahead to ensure to their availability for display. Finally, this paper focuses
the delivery of the expected programme upon reopening on the decision-making, sometimes ruthless, in
and beyond. Conservation to prepare material for display with the
The exhibition ‘Anne Yeats: The Everyday Fantastic’ will constant uncertainty of studio access.
be used as a case study to reflect on the process of The final reflection targets the impact on the project,
exhibition planning for archival material during the Covid- staff, and objects, featuring missed conservation
19 pandemic. Sketchbooks and loose works in various opportunities, and increased digitisation and
media and condition were selected for display. Covid documentation. Conservation assessment and
restrictions led to challenges, from initial curatorial decisions are stressed as the crux of a pragmatic
processes to display preparations, including delivery of exhibitions, especially when working under
conservation. This paper highlights the key issues unknown conditions.
brought on by the lack of access to collections and
restrictive on-site working patterns for staff.
The remote nature of curatorial work, and the incomplete 1
National Gallery of Ireland, IE
*
cataloguing of selected collections impacted the overall Corresponding author: mathilde.renauld@gmail.com
Figure 1. Treatment of the artist's etching proofs notebook, reducing Figure 2. Installation of the Anne Yeats display at the National Gallery
adhesive mass and staining of failed pressure-sensitive tape before of Ireland (© Grace O'Boyle)
stabilisation for display (© Mathilde Renauld)
16 14-17 February 2022 – IADA2022 Online SymposiumEliza Jacobi*1, Helbertijn Krudop1, and Hanneke Kik1
The Backside Looks Good
Digital couriering between the Netherlands and
Japan: an archaeological collection on the road
In March 2020, the month the world shut down due to Microsoft Teams meeting to oversee (un)packing,
Covid, the Dutch National Museum of Antiquities (RMO) condition checking – with the help of an independent
was in the middle of packing 38 crates with 250 objects Japanese conservator – and installation. All collection
for a two-year traveling exhibition to Japan: “Egypt: Land managers and conservators at the museum participated
of Discoveries”. The objects vary from modern scale in turn in the remote sessions, thereby getting to know
models and 18th century prints to 2,500-year-old the Japanese colleagues, the work routine, and the ins
mummies, coffins, papyri, jewellery and stone statuary. and outs of the process. Although we hope to return to
Since then, the exhibition has travelled to 8 different real-life couriering in Japan and other traveling
venues with a lot of installation and de-installation exhibitions and future loans, chances are, digital
involved. Within the RMO, possibilities for how to tackle couriering is here to stay, at least in some form. With this
an installation without couriers were thoroughly case-study we hope to highlight some of the positive
discussed. It was soon decided with the partners in aspects of digital couriering, as well as some of the
Japan that the exhibition would be installed remotely via difficulties.
a digital connection. At 6 am every morning (2 pm Japan
time) one conservator, one collection manager, the 1
Dutch National Museum of Antiquities, NL
interpreter and the project manager opened the link to a *
Corresponding author: e.jacobi@rmo.nl
Figure 1. SKR_1269: online couriering in Leiden and installing an
exhibition in Nagoya, Japan
14-17 February 2022 – IADA2022 Online Symposium 17Stephanie Wiener*1 and Brenna Campbell1
Diving into the Courier Pool
Establishing a courier training
program at Princeton University Library
The Princeton University Library (PUL) Preservation & program and adaptations made to courier procedures
Conservation Department (P&C) serves a library system will also be discussed. Since the first training in 2019, the
of over 10 million volumes including extensive rare courier pool has expanded to include new members with
collections. PUL’s outgoing loans are managed through a broad range of collections expertise and experience.
P&C by the Exhibitions Registrar, who works closely with This diverse pool enables the Exhibitions Registrar to
P&C staff to track and prepare items going on loan. identify the best courier for each loan based on factors
Outgoing loans are generally accompanied by a courier. such as foreign language skills and conservation needs.
With demand for exhibition loans increasing every year, In addition to learning about the courier training process
an expansion to the courier pool was necessary. In at PUL, attendees will leave the talk with a list of practical
response to this need, P&C staff created a suggestions for launching a courier training program at
comprehensive courier training program. This their own institution.
presentation will outline the criteria for selecting
couriers, describe the day-long training and post-training
skill development. New members of the courier pool
leave the training with resources including a handbook,
a travel checklist, and a “courier kit” with essential 1
Princeton University Library, USA
supplies. The effect of COVID-19 on the courier training *
Corresponding author: stephanie.wiener@princeton.edu
Figure 1. PUL courier training crate packing tutorial Figure 2. PUL courier tools
18 14-17 February 2022 – IADA2022 Online SymposiumKathrin Lehmer *
Collapse, Covid, Move
Making conservation work at the Historisches
Archiv der Stadt Köln accessible to the public
The Historisches Archiv der Stadt Köln typically interacts projects created to show interested people the diverse
with its users by making archival objects available for topics in an archive. What happens in the largest paper
research, giving guided tours and housing exhibitions. In conservation workshop in Europe and what do the new
the past two years, this has been complicated by the premises look like? How do you move 32 km of archival
Corona Pandemic as well as the archive's move to a new, material? What do you need an emergency container
shared location. Due to the 2009 collapse of the archive for? What is ink corrosion? How do you remove self-
building and the resulting disarray of the archival objects, adhesive tapes? We now successfully communicate all
as well as the redistribution of the archives over several these topics and many more through channels such as
locations, we were already used to breaking new ground our website, Facebook, YouTube videos, podcasts and
and thinking out of the box. We accepted the challenge reports. Our subscribers now include not only local
to present not only our objects but also the work of our users, but also conservators, historians and cultural
staff, which all too often happens behind the scenes, in institutions from all over the German-speaking region.
new formats. Close cooperation between public *
Corresponding author: Historisches Archiv der Stadt Köln, DE
relations, archivists and conservators resulted in various kathrin.lehmer@stadt-koeln.de
Figure 1. Report by „Wissen macht Ah!“ about the emergency Figure 2. Facebook post about the special features of the stitching of
container 2020 (© HAStK) prussian files (© HAStK)
14-17 February 2022 – IADA2022 Online Symposium 19REMARKS. 20 14-17 February 2022 – IADA2022 Online Symposium
PROGRAM.
WEDNESDAY / 16 FEBRUARY
14:30-18:30 LOBBY.
Information Desk, Agenda, Networking Lounge, Vendors’ Wall
14:40-14:55 FORUMS.
Student Networking IADA Info Point Journal of Paper Conservation Info
Connect with fellow Stop by to say HELLO to IADA board Point
students from around members in a casual setting. Ask all Do you have an interesting project you
the world. the questions you have never dared to would like to share? Please come in and
ask. talk to our editors!
SESSION 5 15:00 – 17:00 (CET)
15:00-15:15 Attractive in every respect: New approaches in presenting the Carly Taylor-Mittmann & Julia Bispinck-
treasures of a universal library Roßbacher
Staatsbibliothek zu Berlin (DE)
15:15-15:30 Realizing Sensations: Balancing the Exhibition and Preservation Abed Haddad & Laura Neufeld
of Cézanne's Watercolors The Museum of Modern Art (USA)
15:30-15:45 Impact of COVID-19 on the Preventive Conservation of Keeley Wilson
Temporary Exhibitions at the British Museum British Museum (UK)
15:45-16:00 Q&A with moderator (Live – 15 min) (Auditorium)
16:00-16:15 Q&A Follow-up Questions (Forum)
16:00-17:00 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
SESSION 6 17:00 – 18:30 (CET)
17:00-17:15 Installations go virtual: The good and the bad Nicole Schmidt & Barbara Korbel
Deutsches Historisches Museum (DE)
17:15-17:30 Displaying bound books: Re-evaluating Chester Beatty’s book Julia Poirier
cradle system Chester Beatty (IR)
17:30-17:45 Displaying hidden fore-edge paintings: Challenges and solutions Alessandro Scola
Johns Hopkins University (USA)
17:45-18:00 Q&A with moderator (Live – 15 min) (Auditorium)
18:00-18:15 Q&A Follow-up Questions (Forum)
18:00-18:30 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
14-17 February 2022 – IADA2022 Online Symposium 21Carly Taylor-Mittmann*1 and Julia Bispinck-Roßbacher1
Attractive in Every Respect
New approaches in presenting
the treasures of a universal library
In 2009, the planning of the library museum in the State a modular system of book supports, constructed out of
Library Berlin (due to open March 2022) started with an metal, in standard sizes that can be quickly assembled
architectural competition. The winning design and easily reused. The inner walls of the museum cases
incorporates over 100 showcases and drawers of are also constructed out of metal, and flat objects will be
various sizes and shapes. The long history of the library mounted using magnets. The use of a modular system
and its collections is shown through about 380 objects. is more sustainable than building individual book
Alongside the complex curation process, our task was supports for each display and reduces the time needed
to incorporate all conservation concerns into the for exhibition preparation. The process of deciding which
planning - specifications for climate and lighting, sizes of book supports should be produced involved the
selection of materials, and equipping and securing the analysis of the dimensions of the exhibits, then finding
display cases. Major components of this task were compromises to reduce the number of costly variants,
internal discussions about the conditions in the while ensuring that the books will be safely supported.
museum versus existing conditions within the loan
system, decisions regarding display periods and the
resulting consequences for the operation of the
museum.
A new museum offers the opportunity to try new
methods of display. With the architects, the authors 1
Staatsbibliothek zu Berlin, DE
*
have developed mounting systems using magnets, and Corresponding author: Carly.Taylor-Mittmann@sbb.spk-berlin.de
Figure 1. A book presented on a modular book support designed for Figure 2. Neodymium magnets being covered with Japanese
the Berlin State Library’s new museum (©Sbb-PK Foto Anka tissue.(©Sbb-PK Foto Anka Bardeleben)
Bardeleben)
22 14-17 February 2022 – IADA2022 Online SymposiumAbed Haddad*1 and Laura Neufeld*1
Realizing Sensations
Balancing the Exhibition and Preservation
of Cézanne's Watercolors
The exhibition Cézanne Drawing at The Museum of Red Reflectography, Ultraviolet Fluorescence Photogra-
Modern Art (MoMA) brought together an exceptional phy, Raman, Surface Enhanced Raman (SERS), and
group of works on paper from public and private micro-Fourier Transform Infrared (µ-FTIR)
collections across the globe. Cézanne’s watercolors of Spectroscopies in addition to large area micro X-Ray
still-lifes, landscapes, portraits, and bathers were a focus Fluorescence Scanning (µ-XRF). To assess the condition
of the exhibition, which explored the artist’s fervent and sensitivity of the watercolors in their current state,
drawing practice. Recognizing the inherent light microfade testing (MFT) was performed on the paper
sensitivity of both the paper and paint, controlling, and and each identified pigment. This information aided the
tracking light exposure was central to exhibition design and lighting of the exhibition. Spectrophotometry
planning, requiring cross-departmental collaboration at was also carried out on each color before and after
the museum. Within conservation at MoMA, this concern display to collect real-time data for comparison with the
led to a systematic study of three watercolors in the microfadometry results. Together these techniques
Museum’s collection, Mont Sainte-Victoire, Foliage, and inform policies for future display and loan of these and
Study of Trees, to characterize the pigments used by similarly light sensitive watercolors in Cézanne’s oeuvre.
Cézanne for their execution. This was done to better
qualify any changes to the compositions based on the 1
The Museum of Modern Art, USA
palette’s chemistry. Analysis was undertaken invasively *
Corresponding authors: abed_haddad@moma.org &
and non-invasively with the following techniques: Infra- laura_neufeld@moma.org
Figure 1. Performing spectrophotometry on Paul Cézanne’s, Mont Figure 2. Paul Cézanne. Mont Sainte-Victoire, 1902-06. Pencil and
Sainte-Victoire, 1902-06. Watercolor and pencil on wove paper, 42.5 x watercolor on wove paper (detail). The Museum of Modern Art, New
54.2 cm. The Museum of Modern Art, New York (© The Museum of York (© The Museum of Modern Art)
Modern Art)
14-17 February 2022 – IADA2022 Online Symposium 23Keeley Wilson *
Impact of COVID-19 on the Preventive
Conservation of Temporary Exhibitions
at the British Museum
In March 2020, the team at the British Museum were and the discussion of the different options with the
preparing to install a new temporary exhibition, Tantra: lenders. It will also examine the methods used to
from enlightenment to revolution. Featuring loans from preserve the manuscripts on display, and the issues that
New York, Dublin and Delhi, the exhibition explored the arise when access to the galleries is severely curtailed.
link between the philosophy developed in medieval India Lockdown has highlighted a number of areas that
and the transformation of the religious, cultural, and require further thought and research. Future proofing
political landscape of India and beyond. The exhibition options that account for the lessons learned from 2020
was due to open in April 2020 and had been in planning will be discussed, including further suggestions with a
for two years prior, Instead, the British Museum closed view to improving sustainability and reliability of the
on 18 March due to the nationwide lockdown. Following conditioning used in the temporary exhibition
the successive lockdowns, this paper will consider the programme at the British Museum, and the expansion of
impact of the pandemic on the temporary exhibitions the collections emergency plan to include pandemics.
with a particular focus on the loan of nine early medieval
palm leaf manuscripts from Cambridge University
Library for the Tantra exhibition; the decisions that were
made to ensure the safety of the objects by the *
Corresponding author: British Museum, UK
continuous provision of a stable and safe environment; kjwilson@britishmuseum.org
Figure 1. Desktop showcase with palm leaf manuscripts (© The Figure 2. Hahn Lauder showcase wit palm leaf manuscript and
Trustees of the British Museum) bronze statuettes (© The Trustees of the British Museum)
24 14-17 February 2022 – IADA2022 Online SymposiumNicole Schmidt1 and Barbara Korbel*1
Installations Go Virtual
The good and the bad
The pandemic situation around Covid had us facing territory for everyone. As a Conservator and as a
major new challenges in the context of exhibitions. Registrar at the German Historical Museum in Berlin, we
Despite the exceptional situation, exhibitions had to be would like to share our experiences during the
de-installed on time and objects returned to the lending installation and de-installation of international
institutions. National and international travel restrictions, exhibitions over the last years. In our future museum
high incidences of infection, long-term work from home, work, we will continue to follow the paths we have taken
etc. made in person courier trips impossible. Can courier so far, and we would like to provide an outlook with the
trips be completely canceled? If not, how will the safe advantages and disadvantages.
and secure transfer of loans be guaranteed? New
approaches had to be found when lockdowns brought 1
Deutsches Historisches Museum, DE
everything to a standstill. Virtual courier trips were a new *
Corresponding author: korbel@dhm.de
Figure 1. Condition check during a virtual couriering (© Martina Figure 2. Detail of Condition check during a virtual couriering (©
Homolka, DHM) Martina Homolka, DHM)
14-17 February 2022 – IADA2022 Online Symposium 25Julia Poirier*
Displaying Bound Books
Re-evaluating Chester Beatty’s book
cradle system
The Chester Beatty collection showcases the Arts of the This paper will compare the existing Chester Beatty
Book across four and a half millennia. Questions of system to the mounting systems for bound books used
efficiency, sustainability and environmental impact are by other major institutions, with reference to a short
of growing concern when displaying bound items, as the survey, and will highlight what a new book cradle system
museum maintains a busy exhibition schedule including for the Chester Beatty must provide. It is hoped that
temporary displays and rotations of objects in the through a detailed review of the field, and with more
permanent galleries. collaboration, the museum industry will be able to
The current system of bespoke Perspex cradles was develop better systems for display which will answer
designed 20 years ago with preservation of the book both preservation issues and provide an environmentally
structure and aesthetics of the galleries in mind. The responsible option for museum professionals.
limitations of this system will be discussed, alongside a
more recent initiative to increase efficiencies by re-using
cradles, better storage, and the use of a system to track *
Corresponding author: Chester Beatty, IE
items. jpoirier@cbl.ie
Figure 1. Group of Islamic manuscripts in bespoke acrylic cradles at Figure 2. Acrylic profile and base to fit a specific manuscript opening
the Chester Beatty
26 14-17 February 2022 – IADA2022 Online SymposiumAlessandro Scola*
Displaying Hidden Fore-Edge Paintings
Challenges and solutions
The fore-edges of books have been used as canvases for me to create a new book cradle specifically designed for
titling and/or decorations since the Middle Ages. The that purpose. Tested later that year for an exhibit held at
practice took a different direction in the mid-seventeenth the Loyola-Notre Dame Library, the new glue-free cradles
century when artists started to paint with the volume were made of polyethylene terephthalate glycol (PETG)
held in a wooden press with its boards open and text- tubes interlocked to a frame made with PETG sheets.
block bent and fanned-out to reveal a tiny area of the Using common tools, the tubes were cut-to-size, and the
fore-edge of each page. The decoration was now hidden sheets were cut, cold-bent, and drilled following custom
when the book was shut. geometries. PETG has good physical and chemical
To exhibit such artwork, the volume needs to be held in properties and is cheap and easy to machine. The new
the same fanned-out arrangement. This is problematic: design is visually minimalistic and provides full control
due to aging, the binding’s components and text-block of the opening of the boards, the movement of the spine,
are likely less tolerant of uncontrolled handling and and the bending radius of the text-block. It also allows
prolonged physical distortion. for a simple installation/de-installation.
In 2017, the lack of a ready answer when asked for
suggestions on how to display hidden fore-edge *
Corresponding author: Johns Hopkins University, USA
paintings tickled my professional curiosity and prompted ascola1@jhu.edu
Figure 1. Ice skating fore-edge painting (© Alessandro Scola / Johns Figure 2. Split fore-edge painting (© Alessandro Scola / Johns
Hopkins University) Hopkins University)
14-17 February 2022 – IADA2022 Online Symposium 27REMARKS. 28 14-17 February 2022 – IADA2022 Online Symposium
PROGRAM.
THURSDAY / 17 FEBRUARY
14:30-18:30 LOBBY.
Information Desk, Agenda, Networking Lounge, Vendors’ Wall
14:40-14:55 FORUMS.
Student Networking IADA Info Point Journal of Paper Conservation Info
Connect with fellow Stop by to say HELLO to IADA board Point
students from around members in a casual setting. Ask all the Do you have an interesting project you
the world. questions you have never dared to ask. would like to share? Please come in and
talk to our editors!
SESSION 7 15:00 – 17:00 (CET)
15:00-15:15 What do we want, what can we do? Conservation dilemmas Karolina Komsta-Sławińska, Jolanta
pertaining to accessing and exhibiting objects of cultural heritage Czuczko & Dorota Jutrzenka-Supryn
University of Nicolaus Copernicus,
Department of Conservation and
Restoration of Paper and Leather (PL)
15:15-15:30 Dimensioning mounts for the display of books: A new device Maria Sutor, Karin Eckstein & Thorsten
Allscher
Bavarian State Library, Institute of
Conservation, Munich (DE)
15:30-15:45 Exhibitions and Loans: Challenges, collaborations, compromises, Penelope Banou & Angeliki Stassinou
and concerns in the occasion of the 200 years anniversary of the General State Archives of Greece (GR)
Greek revolution
15:45-16:00 Q&A with moderator (Live – 15 min) (Auditorium)
16:00-16:15 Q&A Follow-up Questions (Forum)
16:00-17:00 Vendors’ exhibition, Networking, Info Lounge, Break (Lobby)
SESSION 8 17:00 – 18:15 (CET)
17:00-17:15 The Cologne Book Cradle: A sustainable book presentation Pavlos Koemtzidis
system made of transparent acrylic glass Historisches Archiv der Stadt Koeln (DE)
17:15-17:30 Interfacing conservation practice and virtual presentation Mareike Gaubitz
Deutsches Forum für Figurentheater und
Puppenspielkunst e.V. (DE)
Bettina Gärtner
ABK Stuttgart (DE)
Andrea Pataki Hundt & Nicole Reifarth
Technische Hochschule Köln (DE)
Alexander Philippi
Digifactura (DE)
17:30-17:45 Q&A with moderator (Live – 15 min) (Auditorium)
17:45-18:15 Concluding Remarks & End of the Symposium Renate Mesmer
IADA President
14-17 February 2022 – IADA2022 Online Symposium 29Karolina Komsta-Sławińska*1, Jolanta Czuczko1 and Dorota Jutrzenka-Supryn1
What Do We Want, What Can We Do?
Conservation dilemmas pertaining to accessing
and exhibiting objects of cultural heritage
The conservator struggles with a paradox: reconciling display them and make them accessible. The result of
the owner’s expectations of accessibility and the conservation work is a multidimensional identification
constraints of preservation. “Arresting” the historical and “appreciation” of the object. This knowledge
object in a storage space facilitates its full protection provides a good basis for ensuring conscious and more
from external factors. Therefore, a partial solution is the effective prevention. It also makes it possible to propose
recent trend of enabling access to copies only. However, a method of exhibiting the material form of the artefact
in many cases, contact with the material substance of and making its value accessible from a wide perspective.
the historical object is an irreplaceable emotional In this context, various examples of solutions pertaining
experience and sometimes the only possibility of to a whole range of artefacts will be discussed, from
contributing to the development of scientific studies. medieval manuscripts, incunabula with marginal notes
Within broadly defined conservation efforts, we by Copernicus, a large hand-drawn map, through a
constantly seek a compromise between restricting Chinese scroll, to small, artistic oil and watercolour
access to the artefact for the sake of protecting the sketches.
historical substance and enabling contact with the
original. We make use of several possibilities,
incorporating new technical solutions. The analyses
carried out during our work often allow us to discover a
given object in a more comprehensive way and ap- 1
University of Nicolaus Copernicus, PL
preciate its various aspects, not only aesthetic, and then *
Corresponding author: k.komsta-s@umk.pl
Figure 1. A fragment of a 17th century print with endleaf guards Figure 2. Chinese hanging scroll, Qing Dynasty (1644-1911), detail
made of a 11th century manuscript, before conservation (© D. showing a canvas infill with a painting layer, before conservation (©
Jutrzenka-Supryn) A. Skowroński)
30 14-17 February 2022 – IADA2022 Online SymposiumMaria Sutor*1, Karin Eckstein1 and Thorsten Allscher1
Dimensioning Mounts for the Display of Books
A new device
The ideal presentation of bound books on display angles. This is necessary, because the dimensions of the
requires well-fitting, customized book mounts. book differ, depending on whether it is lying flat or tilted.
Measuring the dimensions of a book precisely is crucial This is especially true for oversized and heavy books.
for preparing an individual book mount for exhibition. In addition, we introduced a form to systematically
The Bavarian State Library has been displaying record all data necessary to manufacture a book mount.
manuscripts and rare prints in in-house exhibitions and The data can be applied to any type of book mount, and
as loans at external venues over many years. We have thus can be adapted to any exhibition design. The form
therefore gathered a lot of experience in this field. serves as a reliable tool for communication with
In order to improve and to simplify the preparation providers or borrowers.
process for book mounts, we developed a special Both the new device and the form allow us to obtain easy
dimensioning device many years ago. The device and accurate dimensions for book mounts.
operates as a temporary support by which the book is
held in exactly the position it will be displayed in the
exhibition. Thus, it is possible to measure precisely the
dimensions needed for a custom book mount.
The dimensioning device has been modified recently. A 1
Bavarian State Library, DE
new feature now offers a support for open books at tilted *
Corresponding author: maria.sutor@bsb-muenchen.de
Figure 1. Munich Measuring Device (© Bayerische Staatsbibliothek/ Figure 2. Munich Measuring Form (© Bayerische Staatsbibliothek/
IBR) IBR)
14-17 February 2022 – IADA2022 Online Symposium 31Penelope Banou*1 and Angeliki Stassinou1
Exhibitions and Loans
Challenges, collaborations, compromises and
concerns in the occasion of the 200 years anniversary
of the Greek revolution
The impact of the digital era, and long-distance access photography; packaging; and transfer. Moreover,
to the fonds, created a need for the Archives to include conservators had to collaborate with curators and
exhibitions and events among their principal annual architects for the selection of materials and lighting for
aims and goals, as a medium to attract visitors and the showcases and the methodology of display. At the
scholars, as well as to promote the collections to the same time, they were also involved in the preparation of
public. In 2021, Greece celebrated the 200th anniversary the exhibition areas, the control of the environmental
of the Greek revolution; the General State Archives of conditions, and the handling, hanging and placement of
Greece organized a thematic exhibition and participated the artifacts. This situation raises several issues
in several temporary, long-term, and virtual exhibitions in associated with the preservation of materials in
Greece and abroad. This new focus in combination with exhibition due to the required compromises in treatment
the pandemic restrictions had a tremendous impact on and conditions of display, but also with the preservation
the priorities of the Conservation Department, requiring of material in collections, as surveys and systematic
a shift in workload management. Conservators were treatment and housing were significantly reduced.
almost exclusively occupied with the preparation of the
exhibitions: completion of condition reports; application
of limited treatments; preparation of mounts and
secondary supports, as well as plexiglass cradles and 1
General State Archives of Greece, GR
supporting structures; hinging; framing; digitization and *
Corresponding author: pbanou@yahoo.gr
Figure 1. Custom made boxes for the transportation of exhibits (© Figure 2. Exhibition works in progress during the installation of the
A.Stassinou) exhibition GAK-Art (© A.Pappa)
32 14-17 February 2022 – IADA2022 Online SymposiumYou can also read
