MNAC, the voice of his director, museologist Peper, finally performed after more than a month of silence after the decision of the Supreme Court, who gave the reason to the Houshus court, who sentenced the museum to restore the hall of the head of the monastery of Vilianev de Saghen (Huguesk). The frescoes are extracted there.
Serra expanded his explanation and MNAC’s argument for almost two hours of conversation with journalists, in which he also answered these questions. Two addresses of deliberate can be extracted from a brief presentation of the director’s explanation in the museum procedure from the moment of a well -known resolution of a high court.
Firstly, to fulfill the entire path of the court route, which last week opened the presentation of the MNAC of a brief trial to the Hesa court, asserting, on the one hand, the inability to transmit paintings of the Syezhenen at that time provided for in the sentence, and on the other hand, the technical inability to execute did not take risks.
“Now this is a request for the enforcement of Aragon by the government, and after that the judge will provide us with a voice to imagine, as you know, as a“ shift of the opposition ”before managing it,” said Serra. In this line, he assured that “MNAC will present new and more stringent research.” He admitted that the hope is that “finally, the technical weight is enough to have no choice but to declare a calm offer.”
Legal protection for workers who must translate
Nevertheless, Serra admitted that “this is not a simple way” and that “the possibilities are unclear.” “In the event that we must finally fulfill the proposal,” he continued, “our goal is that our employees in which the decision dictates, it must be responsible for the implementation of the transfer of paintings, is exempted from legal liability in the face of any damage that can be received in them during the same.”
To do this, Serra notes that the board of trustees of the museum at his recent meeting unanimously approved a series of proposals, among which there were “that the specialists who make up the commission (and come from three institutions who control the Council of the Trustees: the City Council of Barcelona, the Government for Summarizing and Serving Culture), recognize all the works and reports that create the names and the heads, so the same, like the names.
He also regretted that the two specialists appointed by the Aragon government “abandoned the commission” after the submission of the judicial incident to the Hughm MNAC court. And he explained that their position, which, in his opinion, “had a logical interest in” when “, the transfer will be made without technical difficulties and high risk.”
As Serra said, “the execution of this proposal is an extreme complexity case, from which there are hardly precedents on how to do it.” In addition, he appreciated that “it is not discussed here, can you do everything, because you can do everything, but that the risk includes paintings for their special circumstances after passing the fire (they were stolen from their initial walls after the fire in 1936), and in this sense all messages advise against their transmission.”
In the same direction, he is an apostille that “I still do not know a single report signed by a certified technician who supports the transfer.” “All statements in the press, radio and television,” concludes the museologist. Serra, on the other hand, refuted statements about the former heritage of the government of Aragon Marisancho Mendzhon, who assured in an interview published in Eldiario.es that MNAC did not introduce any technical study in his appeal to the Supreme Court. Serra assures that “the Supreme Court corresponds to issues of a legal, non -lactic nature, so not a single study can be represented by this body that would not have been presented in the Hugo court.”
Extremely fragile patrimonial interest too
Serra also spread according to technical aspects, which, according to MNAC, consult against transmission. “Sagenes’ frescoes have maximum qualifications that can be given to cultural good in the Spanish state, which represents the dignity of patrimonial interest,” the museologist said. “That’s why I said from the beginning of the trial that the museum’s priority is to maintain this good that is our obligation,” he added.
He then emphasized that “compliance with the proposal implies the presentation of the picture with a great risk of irreparable damage.” “We are not talking about whether you can or cannot, but about the consequences that would have a transfer …” he insisted. In any case, he admits that “we do not like the proposal, but we accept it, how it could be otherwise.”
For Sergey, “there is a certain risk from a scientific point of view that good cannot be conveyed in the conditions in which it is”, and is mentioned in the 2016 study, which has already indicated risks. “In 2025, they will not be improved magically,” said Serra in the irony of fate that he reaches that risk assessment does not stop: “We are doing new research and are very important in this.”
“There are 132 meters of the surface of the paint of 1200 years, in which the thicker part has a thickness of 1 millimeter, and most of the details barely reach microns,” said MNAC Director. “They began Strappo (Aggressive technique of subtracting frescoes) and moved to wooden support, ”he added to illustrate his fragility, not forgetting to emphasize that“ these are paintings that passed through the fire. ”
For all these reasons, Serra resisted to talk about these paintings, as they did about others that were in good condition: “We are talking about an artifact with various materials in different layers in which each layer has completely different behavior.” “The original layer of paint represents the points of defogical everywhere,” he said. Finally, he added to the problems of physical dishes of the layers “The problem of the huge potential of chemical reactivity from it through its passage through the fire.” This is that any change in temperature or relative humidity, which is not controlled, can lead to the formation of salts that make crystals and pass the paint.
“Four years ago, the museum removed a sample of a microman to place them in the dispatch environment and see what happened; These samples are currently full of crystals, ”he said, then to indicate the conditions in which there may be paintings in Sygen. “I have no information that I created a room with the conditions that exist in MNAC, and which managed to stop a deterioration over the past 30 years,” he said in connection with the claims of the Aragon government.
Claim
Serra also wanted to claim the story supported in all these years, and this explains the presence of paintings that were in the frescoes of the Hall of the head of Sagena in MNAC to this day. “We are not talking about robbery or robbery, as it was said or colonial behavior, as someone said slightly and without coming to history, because these are works that come from the same country, so this denomination cannot be applied,” Serra said before a story introduced into certain sectors of the aragated society.
He defended that the work was “saved after the 1936 incident, largely preserved and restored, and also, thanks to MNAC, they were able to appreciate the public.” As the climax of his defense, Serra recalled that “the museum always had them in a deposit, he never said that they were his property, as well as, at the time when they were saved, Sagena was under the bishopric of Llade.”
