At every IIC Congress, a distinguished member of the conservation profession is invited to give the Forbes Prize lecture. The prize is named after Edward Waldo Forbes (1873 – 1969) who was Director of the Fogg Art Museum at Harvard University from 1909 to 1944 and the first Honorary Fellow of IIC in 1958. The Forbes Prize lecture was established in 1958 by IIC’s Council to acknowledge an individual’s success and conspicuous service to conservation and provides an opportunity to address the assembled Congress.
It is our pleasure to announce that IIC’s 2024 Forbes Prize lecture will be delivered by Prof. Dr Luiz A. C. Souza FIIC, Full Professor - Conservation Science - CECOR - Center for Conservation of Cultural Heritage at the School of Fine Arts, Federal University of Minas Gerais in Belo Horizonte, Brazil on the opening day of the Congress.
The lecture by Prof. Dr. Luiz Souza will focus on, ‘Promoting Social Diversity and Inclusion in Cultural Heritage Preservation: Advancing a Global Community Committed to Conservation’. This preliminary title for the lecture entails not only respecting - and knowing more about - the cultural heritage of minorities, but also delving into the intricate technicalities concerning the climate, material composition, and overall vulnerability of cultural heritage sites, collections and immaterial heritage, on a global scale.
The Forbes Prize has been given for outstanding work in the field of conservation since 1960 and is named after Edward W Forbes, himself a significant conservator. IIC provides a prize of £1000 and invites the winner to give a lecture at its biennial Congress. You can read about previous winners here.
The Keck Award is given every two years to the individual or group who has contributed the most towards public understanding of the conservation profession, as judged by IIC’s Council. The biennial of £2500 award was generously endowed by Sheldon and Caroline Keck to commemorate their shared lives of distinguished achievement in conservation.
Our 2024 winner will be revealed at the Closing Ceremony of the Congress.
A life-sized bull surrounded by farm animals in a Dutch landscape is an exceptional subject for the biggest 17th-century painting in the Mauritshuis collection. Paulus Potter’s The Bull (De Stier, 1647) is undergoing a full scientific examination and restoration treatment between March 2023 and late 2025...and everyone is welcome to come take a Peek at Potter!
Learn about the project
This project, led by the Getty Conservation Institute (GCI) in partnership with Museo del Novecento, the Museum of Cultures in Milan (MUDEC), and Centro Conservazione e Restauro La Venaria Reale, centered around the treatment of Giraffa Artificiale by Gino Marotta. This 3-meter-tall sculptural giraffe, made of transparent plastics, was in storage for 20 years due to severe damage and lack of treatment solutions for these materials. GCI recently completed research on repairing transparent plastics and identified this sculpture as a representative case study to bring research into practice.
Learn about the project
Although street art is often seen as ephemeral, it has recently begun to be recognized as cultural heritage and, in many instances, a valuable asset worth preserving. The TAREA Center, supported by the Ministry of Culture of Argentina, was approached by the community of 25 de Mayo in Buenos Aires to preserve the urban murals of Santiago Maldonado. Maldonado was an artist deeply connected with the community and the fight for the ancestral rights of indigenous peoples. His legacy has had both national and international significance, especially after his tragic death in 2017 during the eviction of the Mapuche community in the Chubut province of Argentine Patagonia.
Learn about the project
Is Conservation actually reflected in the main discourse of Museums? The answer is, unfortunately, no. Therefore, the starting point of this proposal is to integrate conservation into the museographic discourse and to raise public awareness about the significance of conserving cultural heritage.
Learn about the project
Following discovery of the ship’s remains in 2002 during building work in Newport, vocal public campaigning for “our ship” led to the surviving timbers being lifted from the mud, piece by piece. Having gone through years of conservation, including immersion in synthetic wax (PEG) and freeze-drying, the several thousand timbers are now in controlled stores where visitors come to see them and marvel at their conservation, learning about tree-ring dating of the wood and its sourcing in the Basque country, as well as medieval ship construction.
Learn about the project
From 2016 to 2019, the Department of Conservation, Physical-Chemical Research & Archaeometry of the Hellenic National Archaeological Museum implemented the "OPEN MUSEUM" activity. The activity included a, by appointment, series of image projection aided presentations, on different days, in the exhibition galleries of the museum, which highlighted to the general public the multifaceted work carried out for research, conservation and the enhancement of antiquities.
Learn about the project
Fengxian Museum, the only museum qualified in oil painting conservation in Shanghai, has emerged as the pioneering institution in China to showcase the entire process of oil painting conservation. Fengxian Museum has planned and created the "Conservation Diary" series of exhibitions starting in 2022. Using 'oil painting conservation’ as a clue, it has launched "Conservation Diary - The Resurrection of an Oil Painting" and "Conservation Diary II- Red Long Lasting” Exhibitions, to demonstrate modern oil painting conservation and conservation science to Chinese audience.
Learn about the project
At Heritage Preservation and Field Support Solutions (HPFS Solutions), our initiatives promote the ambitions of regional communities to engage with their cultural heritage through accessible, community-driven conservation practices including examples of community-led decision-making, collaborations with allied professionals and outreach through workshops and a podcast.
Learn about the project
The 2023 Gariwerd Rock Art Management Forum was a significant event in Australia bringing together over 150 Elders and Indigenous Rangers from more than 40 organizations. Attendees shared experiences, challenges, and successes they face in managing rock art within the Gariwerd Cultural Landscape and beyond. This ground-breaking event has led to the creation of the forthcoming 'Practitioner's Guide for Indigenous Rangers in the Management of Rock Art Cultural Landscapes’, the first manual relating to the conservation and management of rock art in Australia collated and published from an Indigenous perspective, giving primacy to worldviews of Australia’s first peoples. The Guide will also be a valuable tool for First Nations people’s internationally in the management of rock art.
Learn about the project
Shesrig Ladakh is a women-led art conservation practice based in Ladakh, actively engaged in preserving cultural heritage through the on-site restoration of wall paintings of Ladakh and expanding their efforts to Mustang, Nepal recently.
Learn about the project
Driven by the goal to raise the profile of conservators and stoke an interest in conservation, the Archives Conservation Lab of the National Archives of Singapore endeavoured to bring conservation to the masses. Conservation is now front and centre, gracing social media platforms such as Facebook, Instagram, YouTube and most recently TikTok.
Learn about the projectWe are once again holding our poster and student poster prizes at Congress.
This year, you can vote for your favourite poster during Congress alongside a judging panel from IIC’s Technical and Local Organizing Committee. The winner will receive £150 towards professional development, and free membership for a year.
The poster winners will be announced during the Closing Ceremony on Friday 27 September.
To vote for your favourite poster, please ensure you are logged in. Then, visit the poster's page and click the "Vote for Best Poster" button. Don't forget to browse all the posters.
Voting for your favourite poster has been extended to 4th October 2024, 6pm (BST) the winner will be announced on the IIC website.
A life-sized bull surrounded by farm animals in a Dutch landscape is an exceptional subject for the biggest 17th-century painting in the Mauritshuis collection. Paulus Potter’s The Bull (De Stier, 1647) is undergoing a full scientific examination and restoration treatment between March 2023 and late 2025...and everyone is welcome to come take a Peek at Potter!
Museum visitors can see into the glass studio, over the shoulder of the conservators as they work in one of the galleries. From elemental scanning to varnish removal to retouching: both investigation and restoration are on full view. In the public space, a timeline reveals the painting’s turbulent history, and touchscreens show the conservators as cartoon avatars who introduce the objects, tools and technologies that are found in the studio.
The conservators engage the public in a weekly Q&A session and frequent Stier Saturdays, with activities for the whole family. If you can’t come to the Mauritshuis in person, a storyline on the website and social media content (#potterkijkers) will teach you more about Potter, and the reasons why even a strong young bull needs to be cared for every once in a while.
This project, led by the Getty Conservation Institute (GCI) in partnership with Museo del Novecento, the Museum of Cultures in Milan (MUDEC), and Centro Conservazione e Restauro La Venaria Reale, centered around the treatment of Giraffa Artificiale by Gino Marotta. This 3-meter-tall sculptural giraffe, made of transparent plastics, was in storage for 20 years due to severe damage and lack of treatment solutions for these materials. GCI recently completed research on repairing transparent plastics and identified this sculpture as a representative case study to bring research into practice.
Given the widespread presence of plastics in collections, the project promoted public understanding of the challenging field of plastics conservation, engaged local communities of all ages and global audiences digitally, fostered education, supported professional development, highlighted conservation efforts, and achieved extensive press coverage.
Activities included: behind-the-scenes tours by conservators at MUDEC laboratory, live streaming during treatment at museum entrance, a storytelling social media campaign featuring an episodic "conservation journey" of the plastic giraffe, a free workshop on plastics conservation for local conservators, the display of Giraffa Artificiale at Milan’s Natural History Museum showcasing its treatment as part of an art-science exhibition, a project webpage, and an upcoming open-source publication and video highlighting the treatment.
PROJECT PARTNERS
Project leader: Anna Laganà (Senior Research Specialist, Getty Conservation Institute)
Project Partners:
Although street art is often seen as ephemeral, it has recently begun to be recognized as cultural heritage and, in many instances, a valuable asset worth preserving. The TAREA Center, supported by the Ministry of Culture of Argentina, was approached by the community of 25 de Mayo in Buenos Aires to preserve the urban murals of Santiago Maldonado. Maldonado was an artist deeply connected with the community and the fight for the ancestral rights of indigenous peoples. His legacy has had both national and international significance, especially after his tragic death in 2017 during the eviction of the Mapuche community in the Chubut province of Argentine Patagonia.
TAREA led the project, coordinating various tasks and fostering spaces for interaction, reflection, and consensus among Maldonado's family, local residents, and authorities. Throughout this process, all stakeholders contributed to promoting a wide range of educational and cultural activities. The intersection of art, conservation, and community engagement transformed this initiative into an educational project for all participants. The project culminated in the development of diverse strategies to mitigate alterations and restore the visibility of the murals, which are considered important remnants of Santiago Maldonado's impact and legacy.
Is Conservation actually reflected in the main discourse of Museums? The answer is, unfortunately, no. Therefore, the starting point of this proposal is to integrate conservation into the museographic discourse and to raise public awareness about the significance of conserving cultural heritage.
The main objective of this project is to show the public the various actions aimed at recovering deteriorated objects throughout history, showcasing the interaction between original pieces and their conservation background.
Old repair techniques have often been overlooked by conservation and archaeology, despite clear evidence of their widespread practice and socio-economic importance.
A pioneering thematic tour on conservation history has been developed, leveraging all resources of dissemination of the institution—through images, texts and voiceovers in Spanish, English, and French— providing visitors with a personalized approach to the history of the restoration of the piece, tailored to their particular interests and accessibility needs*.
We have categorized interventions, from the Neolithic repairs to the 21st-century scientific conservation techniques, into four types, each with a graphic identification code. These types outline the objectives, protagonists, criteria, and techniques of the interventions, encouraging the public to understand, enjoy, and ultimately, love conservation.
Come on! Take this walk on the conservation side!
Following discovery of the ship’s remains in 2002 during building work in Newport, vocal public campaigning for “our ship” led to the surviving timbers being lifted from the mud, piece by piece. Having gone through years of conservation, including immersion in synthetic wax (PEG) and freeze-drying, the several thousand timbers are now in controlled stores where visitors come to see them and marvel at their conservation, learning about tree-ring dating of the wood and its sourcing in the Basque country, as well as medieval ship construction.
They hear how the ship’s cradle collapsed while it was in dock for repairs following its last voyage bringing wine to Bristol from Lisbon. Guided by volunteers, visitors see graphic displays, a 1:10 scale model of the ship and animated films, and will soon be offered audio-guides narrated we anticipate by celebrated Welsh actor, Michael Sheen.
They are offered guide books, membership, and the chance to join our communication channels so as to follow progress towards eventual re-assembly of the ship as a major visitor attraction. Public excitement in the conservation project has been unwavering, enhanced by the recent visit of HRH the Princess Royal. Media coverage continues, with a full-length documentary in preparation.
From 2016 to 2019, the Department of Conservation, Physical-Chemical Research & Archaeometry of the Hellenic National Archaeological Museum implemented the "OPEN MUSEUM" activity. The activity included a, by appointment, series of image projection aided presentations, on different days, in the exhibition galleries of the museum, which highlighted to the general public the multifaceted work carried out for research, conservation and the enhancement of antiquities.
The presentations, which were carried out predominantly by the conservators of the Department, were followed by the attendees visiting the museum’s corresponding conservation laboratories for an up-close look of their everyday activities.
The themes of the presentations were:
Seeking the Original Look: The Restoration of Museum Sculpture
Polychrome and Gilded: A Different Look in the World of Ancient Greek Sculpture
Secret Care: Preventive Conservation as Means of Protection
Sensitive Colours: The Painted Wooden Panels of Pitsa
Sensitive Colours: The White Lekythoi and Clay Figurine
Invisible Supports: The Inner Secrets of Bronze Statues
Restoring Beauty: The Conservation of an Unknown Aphrodite Statue
The Contribution of Museum Painters: Towards the “Reading” of Antiquities
Fengxian Museum, the only museum qualified in oil painting conservation in Shanghai, has emerged as the pioneering institution in China to showcase the entire process of oil painting conservation. Fengxian Museum has planned and created the "Conservation Diary" series of exhibitions starting in 2022. Using 'oil painting conservation’ as a clue, it has launched "Conservation Diary - The Resurrection of an Oil Painting" and "Conservation Diary II- Red Long Lasting” Exhibitions, to demonstrate modern oil painting conservation and conservation science to Chinese audience.
The museum also convened "First China Oil Painting Collection Investigation and Preservation Conference", which held a special discussion on the overall situation, preservation status, and preservation techniques of China's oil painting collections. The first exhibition garnered over 70,000 online viewers, while the second attracted more than 100,000 visitors online and offline with over 50 renowned media and press outlets covering this innovation in China.
Despite modern oil painting being introduced to China approximately a hundred years ago, public awareness regarding its conservation is insufficient. The Fengxian Museum, with its planned two unique and innovative themed exhibitions, has sparked a warm response from Chinese audiences, and deepened public awareness of oil painting conservation.
At Heritage Preservation and Field Support Solutions (HPFS Solutions), our initiatives promote the ambitions of regional communities to engage with their cultural heritage through accessible, community-driven conservation practices including examples of community-led decision-making, collaborations with allied professionals and outreach through workshops and a podcast.
One example that we feel particularly highlights the spirit of the Keck Award is our role with indigenous Māori communities, promoting a rohe, or tribal boundary, based conservation approach to ensure that taonga (Māori treasures) remain within local regions and do not become disassociated from whānau, or family, when Western ‘museum standard’ conservation is desired.
By involving Māori communities in the conservation process, we promote a collaborative approach that respects and incorporates Mātauranga Māori (Māori knowledge) and traditional practices. These projects, completed in collaboration with iwi and hapū (tribes and sub-tribes), fellow private practice conservators, RedOx Cultural Heritage Services, and the Ministry of Culture and Heritage Manatū Taonga, underscore our commitment to culturally respectful conservation practices.
The significant input from indigenous groups ensures that our methodologies are culturally sensitive and preserve the mana, or spiritual integrity, of these treasured items.
At Heritage Preservation and Field Support Solutions (HPFS Solutions), our initiatives promote the ambitions of regional communities to engage with their cultural heritage through accessible, community-driven conservation practices including examples of community-led decision-making, collaborations with allied professionals and outreach through workshops and a podcast.
One example that we feel particularly highlights the spirit of the Keck Award is our role with indigenous Māori communities, promoting a rohe, or tribal boundary, based conservation approach to ensure that taonga (Māori treasures) remain within local regions and do not become disassociated from whānau, or family, when Western ‘museum standard’ conservation is desired.
By involving Māori communities in the conservation process, we promote a collaborative approach that respects and incorporates Mātauranga Māori (Māori knowledge) and traditional practices. These projects, completed in collaboration with iwi and hapū (tribes and sub-tribes), fellow private practice conservators, RedOx Cultural Heritage Services, and the Ministry of Culture and Heritage Manatū Taonga, underscore our commitment to culturally respectful conservation practices.
The significant input from indigenous groups ensures that our methodologies are culturally sensitive and preserve the mana, or spiritual integrity, of these treasured items.
Shesrig Ladakh is a women-led art conservation practice based in Ladakh, actively engaged in preserving cultural heritage through the on-site restoration of wall paintings of Ladakh and expanding their efforts to Mustang, Nepal recently.
In addition to restoring artefacts such as Thangka paintings, polychrome wood, and old manuscripts, Shesrig Ladakh opens its doors to the public, offering firsthand views of conservation processes at the studio as well as while working on site. This initiative not only educates visitors on preservation techniques but also fosters community involvement by inviting local students and villagers to observe the restoration process, thus raising awareness about cultural heritage.
The establishment of Shesrig Ladakh in the Choskor house was made possible through a grant from the German Embassy, facilitated by Achi Association India. This support has enabled Shesrig Ladakh to not only preserve valuable artworks but also to serve as a hub for education and community engagement. By allowing public access and involving local communities, Shesrig is contributing significantly to the socio-cultural landscape of the Himalayas, promoting a deeper understanding and appreciation of their rich material culture and artistic traditions.
Driven by the goal to raise the profile of conservators and stoke an interest in conservation, the Archives Conservation Lab of the National Archives of Singapore endeavoured to bring conservation to the masses. Conservation is now front and centre, gracing social media platforms such as Facebook, Instagram, YouTube and most recently TikTok.
Notably, Conservation in NAS, a TikTok series, threw the spotlight on our conservators. It has garnered over 1,465,200 views with the comments section ripe with queries on how one can join the profession! It also won the National Library Board’s Outstanding Innovation Award in 2023 – a recognition for being the first conservation series from an institution in our local TikTok scene, making conservation education fun, accessible and reaching new audiences.
We also widened our outreach with carefully curated talks covering topics such as a day in the life of a conservator, paper conservation, caring for family heirlooms that have been popular with local and international audiences. We also engaged the young and old through immersive lab tours, therapeutic box and bookmark making sessions for in person programmes.
Such efforts have allowed for the work of the conservators to be seen, understood, and appreciated. And most rewardingly, it has heightened the public’s own awareness and empowered them to make more informed choices regarding preservation, transforming our roles as conservators.