Back in time: Here's how this Kolkata institution is spearheading art conservation and awareness in the city
While we often remark at the well-conserved art, artifacts and buildings of the city, a lot goes on behind the process. In this regard we take a look at the Kolkata Centre for Creativity’s (KCC) Conservation Lab, established in 2019 under the leadership of Richa Agarwal, Chairperson, KCC. This path-breaking establishment has already worked on 4000 objects and is currently working on 15 along with an archival project. We speak to Richa to gain further knowledge about the lab and its steps in conservation.
Excerpts:
How did the thought of establishing a one-of-its-kind conservation lab in Kolkata come into being?
The idea stemmed from the need to preserve Bengal’s rich art and artifacts, a pressing issue that had seen minimal efforts. As a gallery housing modern, early modern and contemporary art, the necessity to maintain and conserve the collection was constant. Establishing a full-fledged lab aimed to address these needs while also serving as a crucial resource for eastern and northeastern Indian regions lacking adequate conservation facilities. This initiative sought to bridge the gap in preserving cultural heritage while supporting the long-term care of diverse artistic treasures.
For the unversed, how similar or different are the terms conservation, preservation, restoration and renovation?
The terms conservation, preservation, restoration, and renovation are often used interchangeably but have distinct meanings, especially as art and heritage conservation has evolved academically and professionally. Conservation focuses on protecting an item’s historical layers through actions like cleaning and stabilization to ensure its longevity. Preservation emphasizes maintaining an object’s current condition to prevent further deterioration. Restoration involves returning an item to its original or assumed state by removing later additions or recreating missing parts. Renovation, often applied to structures, updates or modernizes while retaining functional or aesthetic elements.
Can you take us through the process of conservation?
The process of conservation varies based on an object’s physical condition, custodian requirements, and purpose. Typically, it begins with visual documentation to analyse material aspects, previous interventions, and damage extent. This documentation preserves historical information for accurate interpretation and guides further treatment decisions. Conservation prioritizes addressing decay mechanisms to prevent further deterioration, ensuring the object’s stability. Aesthetic enhancements, if needed, are carried out later in the process.
Since the objects handled are very delicate and different from each other, what kinds of challenges are faced during the process and how are they overcome?
The primary challenge in conservation lies in understanding each object’s unique issues and identifying feasible solutions. Visual documentation, research, photographs, and relevant information are critical in addressing these challenges. Each step of treatment requires specialized skills and in-depth knowledge of materials and techniques to navigate complexities and ensure proper care.
Could you tell us about some important / iconic works that have been restored at the Lab?
The KCC Conservation Lab has restored numerous significant works, including Adbhut Lok (Realm of the Absurd), a collection of lithographic prints by Gaganendranath Tagore, and a series of Early Bengal oil paintings. Other notable restorations include drawings and prints by Ramkinkar Baij, Nandalal Bose, Somnath Hore, K.G. Subramanyan, F.N. Souza, Ganesh Pyne, and A. Ramachandran, as well as iconic oils by Hemen Mazumdar, Ram Kumar, and Krishen Khanna. The lab has also worked on prints from Chore Bagan, Calcutta, and Kansari Para Art Studios, alongside traditional patachitra, sculptures, rare books, manuscripts, maps, textiles, and decorative objects.
In the course of time, how aware have you felt common people are about conservation?
Awareness about conservation has grown gradually over time. Collectors, gallerists, and artists, in particular, have become increasingly conscious of its importance compared to earlier years, reflecting a positive shift in understanding the value of preserving art and heritage.
KCC has been a premier institution in bringing new thoughts to the forefront. What future plans do you have to put the idea of conservation on the city map of the Cultural Capital of India?
KCC aims to establish itself as a leader in conservation by setting ethical standards in art and heritage preservation. Future plans include launching educational initiatives to train conservators, engage stakeholders, and raise awareness about India’s rich cultural heritage. The institution is committed to contributing to the preservation of Bengal’s cultural legacy while addressing national conservation needs.
What is your vision with the KCC Conservation Lab?
The vision for the KCC Conservation Lab includes expanding its infrastructure to accommodate diverse materials such as photographs, textiles, rugs, and wood. Plans are underway to establish an analytical and research unit, fostering a transdisciplinary approach to art and heritage conservation. The Lab envisions collaborations with individuals and institutions to advance conservation practices in India. Key initiatives include heritage walks, artist-led workshops, art analysis, outreach programs, residencies, and grants. KCCCL also aims to enhance expertise, facilities, and knowledge-sharing to set new benchmarks in art conservation and cultural preservation.