safekeeping and exhibiting conditions in serbian museums

The paper shows the process and the results of surveys1 conducted in several Serbian museums, carried out in accordance with their actual needs. The data obtained through the analyses led to written reports with recommendations for improvement of the conditions, which were only partially realised.2

The paper consists of general information, description of the museums where the surveys wereconducted, building and environment description, as well as organisation and functioning of theseinstitutions. The methodology used for the data processing is presented together with conclusions.

The analysis method, based on indicators and a criteria system, was applied so as to obtain ageneral picture of conditions in Serbian museums through the given sample.

MUSEUM DESCRIPTIONAmong the eight museums in Serbia3 whose data were processed, there were regional and citymuseums, one of a complex type and one open-air museum. Variety of museums means variety of collections, therefore variety of material as well (ceramics, metal, stone, glass, organic materials,archives), which further implies a need for diverse safekeeping and exhibiting conditions.

CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION

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Aleksandra D@IKI] NIKOLI], Tatjana NEDELJKOVI], Maja @IVKOVI], Vesna @IVKOVI]National Museum in Belgrade – Department for Preventive Conservation DianaSerbia

UDK 903.2 »632/638« (497.11)

SAFEKEEPING AND EXHIBITING CONDITIONS IN SERBIAN MUSEUMS

Abstract. The paper presents the results of the safekeeping and exhibiting conditions assessment carriedout in eight museums in Serbia. Department for preventive conservation Diana of the National Museumin Belgrade was asigned to conduct surveys and provide recommendations for improvement of museumcollections safekeeping conditions. Apart from general information, the paper covers short description ofthe museums where analyses took place, description of the museum buildings, working areas and theorganisation of work in the museums, description of methods used in data processing, as well as a finaldiscussion. The methodology was based on the system of indicators and criteria reffering to functionalityand organisation of museum facilities, surroundings and planning and organisation of preservation.

The assessment results show the need for introduction of organized preservation system in order to improve safekeeping and exhibiting conditions in museums in Serbia. Systematic assessments, as the basis of future plans and activities in the conservation field, are also indispensable.

1) The survey was conducted by the Department for Preventive Conservation Diana – National Museum in Belgrade, inthe period between 2003 and 2006.

2) No data were obtained on the current situation in terms of safekeeping and exhibiting conditions in these museums.

3) City Museum in Belgrade, City Museum in Vr{ac, Regional Museum in U`ice, Regional Museum in Kru{evac,Museum Staro selo Sirogojno, Regional Museum in Leskovac, Regional Museum in Aleksinac, Museum of Nikola Tesla.

BuildingsThe majority of the museums are housed in historical buildings built for different purposes in the XIX and XX century.4 They vary in architectural concepts, which provides adequatemuseological context but limits the possibilities for proper safekeeping and exhibiting. In mostcases, the buildings were not well adapted even upon the foundation of the museum, and all laterinterventions were within the urgent measures carried out to solve some current problems. Thereare no loading and unloading bays in any of them.

All the museum buildings, save the open-air museum, are located in city centres, surrounded by parks and streets with heavy traffic.

The museums have well-organised guards services, but there is no technical security system,such as video-cameras, intrusion detectors, alarms. The buildings are partially illuminated; the weak points, such as ground floor windows, are not secured; some of the museums have an additional function which makes the access more difficult to control; there are also problems of multiple passages, backyards and other specific surroundings.

No inundation possibilities are registered, except in two museums. There is a river near one of them, while the other is exposed to heavy rains and thus there is a possibility of torrent due to the ground slope.

Functional zones in the museum buildings are not defined and in most cases, various functional areas are not separated (for example offices are also used for safekeeping and research). At the same time, there is no continuity of area because rooms with the same function are often partitioned.

The buildings do not have adequate connection between separate functional zones (in somecases they are in separate buildings); there are no elevators while the staircases and corridors are narrow. This makes access to storages or the exhibiting area more difficult.

Existing conservation workshops are mostly situated in small utility rooms.As to climate, all the museums are subject to at least one of the negative climate conditions

– capillary water action in walls, roof damages, mechanical damage on facades and lack of thermalinsulation.

The museums have functional fire protection equipment, but also a high level of fire risk due to old wooden building constructions, lack of maintenance of electric system, storage andexhibiting equipment.

StoragesStorages are located in every part of the museum buildings (cellar, attics, ground floor and other floors). Existing space is mostly insufficient for the collection volume and usually there is nopossibility of adaptation. Moving through storages is difficult because of a non-functional usage ofspace (disposition and arrangement of furniture), rooms overcrowding and narrowness of passages.

The existing number of pieces of furniture suitable for the safekeeping of certain types ofobjects and materials is insufficient and of inadequate size and thus cannot support the weight of objects and is not modular.

Collections are organized by type of material, typology and historical and cultural period,without regard to sensitivity of material and size of objects. The objects are not functionally stored,not all of them are reachable; many of them are placed on top of the others, mostly without any


2 [

4) The Regional Museum in Leskovac is among the few museums in Serbia that were built as museum buildings.


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support or box and placed on open shelves. Some parts of the collections are in cardboard or wooden boxes, which were not originally made for museum preservation purposes. Some ofthem are in wooden cabinets or wooden shelves without adequate physically and chemically stablesupports. Still, there have been no alterations caused by chemical reactions between organic acidsfrom storing materials and collections (Fig. 2).

It has been noted that there is no adequate equipment (boxes, trolleys, ladder…) for objectshandling in the museums.

It is also noted that there are no uniform and standardised systems of marking collections andsignalization in the storages. Existing systems are usually applied only to a part of a collection or on some of the collections in the museums.

Exhibiting areasIn the museums where we had access to the exhibiting area, safekeeping was either in the serviceof the exhibiting concept or completely neglected. Existing display cases are old, difficult to handleand maintain. They are badly maintained and unsealed and not protective enough for objects on display. There are cases of direct sunlight in exhibiting area and the artificial lighting is notadapted to light-sensitive materials (Fig. 1).

Organization and functioning of the museums None of the surveyed museums had a climate control and regulation system subject to regularchecks, processing of collected data, equipment maintenance, even though some of them havemeasuring devices.

There is a high probability of pest problems, having in mind that the buildings are badlymaintained and that they have many openings suitable for pests. Additionally, no museum has an organised system of preventive measures against pests.

The majority of museum buildings are maintained and cleaned not more than the everyday workof a certain number of employees requires. This does not satisfy the needs of safekeeping andexhibiting of museum collections. Collections condition surveys are not carried out regularly or systematically and conservation treatments are mostly a result of current needs (Fig. 3).

No museum has a developed conservation plan, or an emergency plan. Most of the museums have conservation departments, but they do not cover all the museum

materials and are inadequately equipped. Museums that do not have a conservation servicecooperate with other institutions or engage conservators for special conservation projects.

A certain number of museums do not have enough professional staff, while most of them lacktechnicians to handle the collections or the exiting technicians lack training for proper objectshandling. Nevertheless, some of the museums support training in the field of collectionspreservation through participation in professional meetings and specialised courses.

METHODOLOGYSafekeeping and exhibiting conditions diagnosis is based on a referential system developed on the bases of data collected in museum surveys and existing information and experience in the field of collections preservation. Even though the specific characteristics of individual museums weretaken into consideration, the application of the method led to an obvious exclusion of certainmuseums from the average picture, but this has not influenced the conclusions.


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The referential system enables comparison of the registered situation with an imagined, idealone. It consists of 24 indicators referring to functionality and organisation of museum facilities,environment and preservation planning and organization.

Each indicator is estimated according to four criteria, standing for four value levels establishedagainst an optimal situation, which would absolutely fulfil the following requirements:

– Museum facilities are sufficiently spacious, adequate for safekeeping and exhibiting purposes;they are interconnected and organised in the way that follows the moving and treatment sequence,and they are completely secured;

– Safekeeping and exhibiting conditions are regularly monitored and controlled with specialisedequipment; all the museum facilities are regularly cleaned and maintained in accordance withsafekeeping requirements; facilities are used in an optimal way, there is enough furniture andcollections are safely placed in it;

– There is a sufficient number of professionals, well trained for collections preservation, as wellas all the other necessary museum services, well-organized and functioning according to officiallyestablished procedures.

Value four refers to a situation where the majority of requirements for collections preservationare fulfilled; value three refers to a situation where one part of the requirements is fulfilled; valuetwo denotes a situation fulfilling a minimal number of requirements, and value one applies to asituation that does not fulfil any of the requirements.

Facilities functionalityFacilities functionality is assessed according to the existence of separate functional areas in a museum building, characteristics of communications within a building, the organisation of building areas, the extent to which storerooms and exhibiting space meet the requirements for adequate object storing and exhibiting and finally, according to characteristics of access to a museum building.

Functional zones in a museum have to be rooms clearly divided according to their purpose (materials delivery, storerooms, exhibiting space, consultations), mutually connected and arranged in a way that follows the requirements of treatment and transport of museum objects. Condition assessment in the Serbian museums determined that the zones are partially divided and organised according to specific purpose, where the space positioning and organisation often do not suit its function. Spaces are frequently used for different purposes, while the complementarity of their basic functions is fully neglected. Thus, their organisation is much too complicated due to which the moving of objects through the museum is hindered, which can subsequently lead to object damaging.

The communications within the building should be spacious and they should have a simplegeometry without sharp angles and obstacles that would make movement difficult and could be thecause of mechanical damages of objects. On the basis of the analysed museum sample it has beendetermined that the use of communications within the building was difficult due to the existenceof narrow hallways and numerous staircases, and particularly due to the fact that the museumareas are often located in various buildings. Most often there is no possibility for space adaptationsince the adaptation of buildings in question would not improve the space organisation andcommunications, or it is impossible because the buildings in question are historical monuments so their appearance must not be violated, or would demand great financial investments.

The depot area and the exhibition areas should also provide for the undisturbed movement of employees and museum artefacts, as well as adequate accommodation and exposition. It is

necessary for the space capacity to be sufficient and that, in case of collection increase, theexpansion or adaptation of the existing space is possible. It was determined that most of themuseums in Serbia do not have the space that facilitates mobility, that they do not have enoughcapacity for the accommodation of all artefacts belonging to the museum fund and that they do nothave adequate conditions for the exhibition of the collections. In most of the museums there is no possibility for expanding the available areas, which would enable the suitable placement andexhibiting of the existing artefacts and future acquisitions.

When it comes to the access to the museum building, it is necessary for access to be simple and safe, with an access ramp, and a special entrance of proper dimensions for the delivery and shipping of materials, so that the delivery of large-sized objects may be performed undisturbed. It was determined that there are no special entrances for delivery of materials in the museums where the condition assessment was done, and the existing access entrances to the buildings do not suit the stated demands, which is a result of the fact that the museums are situated in city centres and of buildings whose characteristics do not correspond to protection requirements. It was noted, however, that the level of the artefact security is mostly acceptable thanks to the commitment of the employees (Radar 1).

The space organisation The values which are related to the space organisation are established on the basis of access to the collections, the functional exploitation of the furniture and its characteristics, the existence of equipment for the artefact manoeuvring, as well as on the basis of the organisation and locationof the artefacts and their labelling and identification system.

The existing communications in the building should enable an uncomplicated approach to thecollections, because physical obstacles may cause mechanical damage to the artefacts. Consideringthat most of the museums in Serbia are located in partly adapted buildings with a different originalpurpose, access to the collections is mostly made difficult because of narrow staircases, smalldimensioned doors, partitioned spaces, a great number of small rooms and hallways; however, the existing limitations are taken into account during the process of moving and manoeuvring the artefacts and the process is adapted to their physical safety.

The whole collection should be placed in standard, modular furniture, whose capacitycorresponds to the collection size, while the depot space should be used to the maximum. It was


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Functional zones

Building entrance Communication and movingthrough the building

Storeroom and exhibiting space

RADAR 1

established that in the museums where the state assessment was done, improvised or temporaryfurniture is being used, acquired without planning and insufficiently adjusted to the space. Becauseof the dysfunctional usage of the furniture and the depot space, more than a half of the artefactsare situated on the floor, often in inadequate, temporary packaging, that is to say cardboard orwooden boxes, which results in difficulties in access and artefacts manoeuvring, as well as theendangerment of their physical safety.

It is necessary that the characteristics of the furniture for holding and displaying be inaccordance with the peculiarities of the artefacts or the collection, taking into account the materialfrom which the artefact was made, its height, width, and solidity. The furniture has to have theappropriate carrying capacity and physical stability, to be suited to the artefact dimensions andmade out of stable materials, which do not discharge harmful fumes. It was determined that thefurniture in museums has just one of the necessary characteristics or is partly adjusted to thecharacteristics of the artefacts. It is obvious that the insufficient capacity of the furniture andspace are the primary problem, along with the use of improvised furniture, which compromises the physical stability of the artefacts. Most of the furniture is made of wood, while only thesmallest proportion is made of adequate, stable materials.

It is necessary for the equipment for artefact manoeuvring to be diverse and adjustable to the space, the way of placing and to the artefact characteristics. The existence of adequate equipment (crane, cart, ladder, cardboard boxes, plastic packaging, and folders) and its consequent usage reduces the risk from mechanical damage to the artefacts. Adequate equipment usage is particularly significant in handling artefacts that have mechanical and structural damages, whose state is unstable or which are made of sensitive materials. The museums in Serbia are supplied with simple manoeuvring equipment, but it has been determined that it is rarely used, even when manoeuvring sensitive artefacts and when the depositories are fully loaded and the artefacts are hard to reach.

A good organisation of the storage and display of artefacts means that all the artefacts are easily accessible and neatly sorted by category and sensitivity of artefact/material, type of artefact,historical or cultural period and dimensions. Because of the disfunctionality and insufficientcapacity of the existing furniture, just a portion of the artefacts are stored and displayed in avisibly accessible manner in the Serbian museums, while the other artefacts are stored on the floor, one on top of the other or inside one another or their setup is not subordinated to thedemands of form and dimensions, bringing risks of mechanical damage. The collections arecommonly organised by material type and historical or cultural period.

The usage of a uniform, standardized and clear system of labelling and identifying the artefactsshould be applied to the entire museum fund. Since there is no standardized system of labellingand identifying of museum artefacts in Serbia, no unified system is being used, other than that of artefact identification number. And in cases when the museum or the curators have establisheda specific labelling system, it encompasses only parts of the fund or several collections within themuseum (Radar 2).

The immediate ambient of the collections The immediate ambient of the collections is considered on the basis of climate conditions regulations,lighting, storage mode and artefact conditioning, security level and protection from fire and flood.

When it comes to climate condition regulation, it is necessary that the building have maximal thermal inertia and proper isolation, which will secure minimal climate oscillations. Although there are


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not any data on climate conditions in the museums where the condition assessment was performed, on the basis of a visual overview of the rooms where the collections are kept, the found traces of water penetration, the fact the depots are most often located in parts of the building most exposed to the effects of climate changes and interviews with employees, it was concluded that significant climate oscillations exist in the museum buildings, which is a danger to the bigger part of the funds.

Natural and artificial light should be regulated with filters and shutters so that direct objectexposure to light may be prevented, since it causes gradual decay of specific, especially sensitivematerials. However the analysed sample of museums in Serbia showed that the light is at bestpartially regulated with curtains or coatings on the glass.

Artefact storage and conditioning means that the furniture, packaging and braces/supportsshould be completely adjusted to the peculiarities of the artefacts, their size, weight, form, andmaterial from which they are made, and made out of stable, hard and lasting materials, with thepossibility of moving the artefacts inside their packaging without having to handle them directly.Since artefact storage and conditioning in the museums in Serbia is mostly done in improvisedfurniture and packaging, without adequate supports adjusted to the artefact characteristics, it was concluded that the artefacts are not entirely mechanically secured. On the other hand, the materials that are used are not harmful for the artefacts, in fact they do not release dangerousfumes, because they have been in use for quite some time.

When security is the issue, an organised security system presumes the existence of a burglaryalarm, perimeter security and equipment for the personnel. It was determined, however, that the only organised security was the physical security of the museums.

On the fire protection security level it is necessary for the museum to have smoke detectorsinstalled and an automatic fire extinguishing system, even if all the particular and usual risks from fire are eliminated, such as defective or old electrical installations. According to the Law on protection against fire, there are operational fire extinguishers in the museums in Serbia; however, that is the only line of defence in rooms where different risks from fire are imminentbecause of the state of the buildings, installations and interiors.

The risks from floods should be eliminated or brought to a minimum, whether they originatefrom a flooding river nearby or from roof leakage, cracked pipes, or as a result of impropermuseum building maintenance. In the museums where the condition analyses were done, the risks from flooding or roof leakage, or installations and sewage problems are credible (Radar 3).


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Access to collections

Object storing and furnitureadequacy for the space

Adequate capacity,stability anddimensions of furniture

Organisation and the manner in which the objects are stored and exhibited

Marking in the storeroomsand object identification

RADAR 2

Equipment for object handling

Protection planning and organising The evaluation of the level of protection planning and organising was performed through ananalysis of the expert staff, procedures and technical possibilities for handling the collections,climate conditions and pest control, museum area cleaning, emergency situations procedure,checking the collection state and organising the conservation-restoration service in the museums.

For the museum expert staff, besides the number of the employees needed for an unobstructedfunctioning of the institution and the work quality, it is necessary to possess a consciousness about the significance of the influence of safekeeping conditions on the collection state. Thisdemand applies to curators as well as to custodians, because both should equally participate in thedecision-making related to the protection of museum collections. The analysed museums mostlyhave sufficient numbers of employees for the basic expert functions. Their work is mostly orientedtowards collection research, but the lack of training, information, and, thereby, engagement in the field of protection is evident.

The existence of procedures or regulations related to museum collections handling is one of the preconditions for reducing risks from mechanical damages. For the same purpose a museum should own certain technical means for artefact manoeuvring. This mostly means various types of carts, palettes and smaller cargo vehicles – forklifts, used for carrying heavy and bulky objects, but also for all types of trays and packaging that are used for safe collection handling. The results acquired during the museum condition assessment show a general absence of any documents prescribing modes of artefact handling. The museum workers did not have the opportunity to acquire the knowledge about the necessary measures and possible consequences of inadequate artefact handling, although the museums have some technical means for manoeuvring and the employees use them, mostly when it is physically impossible to move something without aid. This practically means that the mode of artefacts handling depends on the needs of the employees, and it is not adjusted to the needs of artefacts protection.

Toward the goal of maintaining the optimal conditions for safekeeping and collection exhibition,the control and analysis of climate condition should be performed in continuity. Most of themuseums where the condition assessment was done do not have the means of acquiring theequipment or of monitoring climate conditions so, at best, climate control comes down to currentmeasuring either with classical or digital instruments, and the data is not recorded or analysed.


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Climate conditions regulation

Light

Object storing and conditioning

Safety

Protection against fire

Flood risk

RADAR 3

The usual maintenance of museum buildings in our conditions is not different from themaintenance mode of the government administration buildings or similar institutions withdifferent functions. So, the needs for maintenance are not being fulfilled even in the quantitynecessary for the normal performing of museum work and the everyday work of the employees,although regular cleaning of the museums’ public and administrative chambers, and the depots isnecessary for the purposes of safekeeping museum collections, with full attention and familiaritywith methods that do not endanger the collection state in any way.

The needs of protecting the collections against pests, from insects and rodents tomicroorganisms, do not require only regular inspection control (control of entrances, collections,etc.), but preventive and curative protection measures as well. In the case of a large number ofSerbian museums, microorganism infestation and the presence of other pests is usually attested,but no systematic treatment is applied or, if it is, inadequate means are used, which are harmful to the artefacts.

As is the case with artefact handling rules, there are no documents, not even for emergencysituations, which give detailed instructions to the museum workers in case of fires, floods, andother catastrophes, and the knowledge of rules of behaviour in emergency occasions among themuseum workers is entirely basic. Ideally, there should be special, obligatory procedures in case of such dangers, by which potential damages are reduced to the smallest possible degree.

Although a check of the state of conservation should be performed at least once every threeyears, and ideally once a year thoroughly, the analysed museum sample showed that collection state control was done only generally, either in the process of takeover or during inspections, which means that in most cases the museum artefacts were systematically checked once or not at all. The usual practise is that the conservator responds to the call of a curator, whose need forconserving a certain number of artefacts comes from the wish to prepare them for exhibition,having only the aesthetic sense in mind.

In the end, the great part of the responsibility for the control of safekeeping conditions rests on the museum conservation services, which need to be not only numerous and expert enough tocover all the material types the museum owns, but to be aware of the significance of preventiveconservation and have the necessary knowledge to monitor and control the state of the collections


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Professionalpersonnel

Handling procedures and technical possibilities

Control of climate conditions

Cleaning of collections and spaces

Pest and micro-organism control

Emergency procedures

Control of collections state

Organization of conservation and restoration service

RADAR 4

and their surroundings. The analysed museums mostly have at least one conservator andtechnicians who with their knowledge and experience cover the conservation treatment needs of a greater number of materials in their museums, but with only modest technical and financialmeans, coupled with a lack of awareness for the need of securing adequate conditions forsafekeeping and display, as well as for reducing the need for conservation treatment to theminimum (Radar 4).

THE RESULTSThe results for the each indicator are presented in the pie chart where the blue field corresponds to the values obtained by examining 24 indicators.

Most of the indicators, 19 indicators to be exact, received the evaluation mark of 2, which represents a situation where the minimum of the demands was fulfilled. These are theindicators that include the problems of building and depot and exhibition space, which implies thatan equal number of problems is emerging in the domain of functionality and space organisation,safekeeping conditions and collection exhibition, as well as the system protection planning area,and that in some cases these are directly tied to the problems of insufficient financial funding.

Four indicators received the evaluation mark of 1, representing a situation that does not fulfil even the minimum of protection demands. Those are indicators related to depot space and exhibition space (because of the fact that these are mostly unsuitable buildings), the cleaning of the space and the collections, pest control and emergency procedures (due to lack of planning and organisation).

In one case the evaluation mark of 3 was given, representing a situation in which one part of the demands was fulfilled and this is the indicator related to the museum expert staff.

CONCLUSIONThe results of analysing and determining the state of safekeeping condition and display on a selectsample of museums in Serbia show that in most of these museums the solution for improving thesafekeeping and displaying conditions requires the introduction of an organised protection systemthat would represent an optimal proportion between necessary investments and wanted results.This would mean:

– Safekeeping conditions improvement planning through the gradual introduction ofappropriate materials for collection conditioning;

– Regular controls and conservation plan preparation;– Preparing the documents that would facilitate the organisation of collection preservation

and collection handling; – Reorganisation of collection space and displays;– Channelling available resources toward securing the necessary equipment for safekeeping

conditions control and regulation; – Additional training for expert staff in the field of preservation.However, this kind of analysis gives only a picture of the general state. On the one hand, its

limitations lie in the small number of analysed museums and, on the other, it should representmerely the first phase of a systematic analysis and condition assessment in the museums, whichwould form the basis for establishing priority systems and action sequences in the context ofmuseum preservation. In this regard, it is the state that should both make the initiative andprovide the necessary support for their execution.


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are

stor

ed in

mod

ula

r an

d st

anda

rd f

urn

itu

re; t

he s

pace

is f

ully

use

d4

80%

of

obje

cts

are

stor

ed in

sta

nda

rd f

urn

itu

re; t

he s

pace

is f

ully

use

d3

Less

tha

n 5

0% o

f ob

ject

s ar

e st

ored

in im

prov

isat

ion

al o

r te

mpo

rary

fu

rnit

ure

; spa

ce is

not

fu

nct

ion

ally

use

d2

Less

tha

n 2

0% o

f ob

ject

s ar

e st

ored

in f

urn

itu

re o

r th

ere

is n

o fu

rnit

ure

1

Ade

quat

e ca

paci

ty,

stab

ility

an

d di

men

sion

sof

fu

rnit

ure

Furn

itu

re is

com

plet

ely

adap

ted

to o

bjec

ts/c

olle

ctio

ns

pecu

liari

ties

4

Furn

itu

re is

phy

sica

lly s

tabl

e, a

dapt

ed t

o ob

ject

dim

ensi

ons

and

wei

ght,

bu

t th

e fu

rnit

ure

mat

eria

ls d

o n

ot c

orre

spon

dto

the

obj

ect

pecu

liari

ties

3

Furn

itu

re p

arti

ally

su

its

one

or m

ore

obje

ct c

hara

cter

isti

cs2

Furn

itu

re is

not

ada

pted

at

all t

o ob

ject

s/co

llect

ion

s1

Equ

ipm

ent

for

obje

ctha

ndl

ing

Equ

ipm

ent

for

obje

ct h

andl

ing

is v

ario

us

and

adap

ted

to d

iffe

ren

t st

orin

g m

etho

ds a

nd

mat

eria

l/ob

ject

typ

e4

The

re a

re w

heel

barr

ows,

ladd

ers

and

sim

ple

equ

ipm

ent

for

han

dlin

g si

ngl

e ob

ject

s (c

arto

ns,

pla

stic

con

tain

ers,

fol

ders

,al

l use

d w

hen

han

dlin

g3

The

re is

sim

ple

obje

ct h

andl

ing

equ

ipm

ent,

whi

ch is

rar

ely

use

d2

The

re is

no

han

dlin

g eq

uip

men

t/eq

uip

men

t is

not

use

d1


12 [

IMM

ED

IAT

ESU

RR

OU

ND

ING

SO

F C

OLL

EC

TIO

NS

Clim

ate

con

diti

ons

regu

lati

on

Bu

ildin

gs w

ith

max

imal

iner

tia

and

min

imal

neg

ativ

e cl

imat

e in

flu

ence

4

Hu

mid

ity

and

tem

pera

ture

are

con

trol

led

by p

orta

ble

devi

ces

or b

y cl

imat

e re

gula

tion

sys

tem

– c

ontr

olle

d n

egat

ive

clim

ate

infl

uen

ce3

The

re is

no

syst

emat

ic c

ontr

ol a

nd/

or r

elat

ive

hum

idit

y an

d te

mpe

ratu

re a

re n

ot a

dequ

ate;

the

re is

neg

ativ

e cl

imat

e in

flu

ence

an

dth

reat

to

one

part

of

the

colle

ctio

n2

The

re is

no

con

trol

of

rela

tive

hu

mid

ity

and

tem

pera

ture

; bu

ildin

g is

wit

hou

t in

erti

a; t

here

is s

ign

ific

ant

neg

ativ

e cl

imat

e in

flu

ence

thre

aten

ing

the

obje

cts

1

Ligh

t

Nat

ura

l an

d ar

tifi

cial

ligh

t is

reg

ula

ted

by f

ilter

s an

d cu

rtai

ns

4

Pla

nn

ing

of a

sses

smen

t an

d re

gula

tion

of

light

ing

leve

l is

ongo

ing

3

Ligh

tin

g le

vel i

s pa

rtia

lly r

egu

late

d by

cu

rtai

ns

2

The

re is

no

light

con

trol

1

Obj

ect

stor

ing

and

con

diti

onin

g

Furn

itu

re, c

onta

iner

s an

d su

ppor

ts a

re c

ompl

etel

y ad

apte

d to

obj

ect

pecu

liari

ties

(st

able

, fir

m a

nd

dura

ble

mat

eria

ls)

and

enab

lesh

ort-

ran

ge o

bjec

t m

ovin

g4

Con

diti

onin

g is

ada

pted

to

the

obje

ct; o

bjec

t is

mec

han

ical

ly s

ecu

red

and

ther

e is

no

thre

at o

f ch

emic

al r

eact

ion

3

Use

d m

ater

ials

are

obj

ect-

frie

ndl

y, i.

e., t

hey

do n

ot r

elea

se h

arm

ful g

ases

, bu

t ob

ject

is n

ot c

ompl

etel

y m

echa

nic

ally

sec

ure

d2

Obj

ect

is e

nda

nge

red

due

to il

l man

ner

in w

hich

it is

sto

red

and

pack

ed1

Safe

ty

Org

anis

ed s

ecu

rity

sys

tem

– b

urg

lar

alar

ms,

per

imet

ric

prot

ecti

on a

nd

equ

ipm

ent

for

pers

onn

el4

The

re a

re b

urg

lar

alar

ms

and

the

staf

f ar

e tr

ain

ed3

Mu

seu

m is

phy

sica

lly s

ecu

red

2

Mu

seu

m is

not

sec

ure

d1

Pro

tect

ion

aga

inst

fir

e

The

re is

no

spec

ial r

isk

of f

ire;

sm

oke

dete

ctor

s ar

e in

stal

led

alon

g w

ith

auto

mat

ic f

ire

exti

ngu

ishi

ng

syst

em4

Ris

ks a

re m

inim

al; s

mok

e de

tect

ors

are

inst

alle

d; t

here

are

ade

quat

e fi

re e

xtin

guis

hers

3

The

re a

re f

ire

risk

s; n

o sm

oke

dete

ctor

s ar

e in

stal

led;

the

re a

re f

ire

exti

ngu

ishe

rs2

The

re a

re s

erio

us

fire

ris

ks a

nd

the

room

s ar

e in

acce

ssib

le t

o fi

re f

ight

ers

1

Floo

d ri

sk

The

re is

no

obvi

ous

floo

d ri

sk4

Slig

ht f

lood

ris

k3

Pot

enti

al f

lood

ris

ks o

r ri

sks

of w

ater

leak

ing

due

to r

oof

leak

age;

inst

alla

tion

an

d se

wag

e pr

oble

ms

2

Incr

ease

d fl

ood

prob

abili

ty d

ue

to in

stal

lati

on b

reak

dow

n o

r ri

ver

floo

din

g1

SUB

JEC

TIN

DIC

AT

OR

CR

ITE

RIA

SPA

CE

OR

GA

NIS

AT

ION

Org

anis

atio

n a

nd

the

man

ner

in w

hich

the

obj

ects

are

sto

red

and

exhi

bite

d

All

obje

cts

are

stor

ed v

isib

ly a

nd

exhi

bite

d ac

cord

ing

to t

ype

and

sen

siti

vity

of

obje

cts/

mat

eria

ls, o

bjec

ts t

ypol

ogy,

his

tori

cal o

rcu

ltu

ral e

poch

, dim

ensi

ons;

obj

ects

are

eas

ily a

cces

sibl

e1

Mos

t of

the

obj

ects

are

sto

red

visi

bly

and

exhi

bite

d ac

cord

ing

to t

ype

of o

bjec

ts/m

ater

ials

, obj

ects

typ

olog

y, h

isto

rica

lor

cu

ltu

ral e

poch

2

Par

t of

the

obj

ects

are

sto

red

and

exhi

bite

d vi

sibl

y, a

ccor

din

g to

typ

e of

mat

eria

l, hi

stor

ical

or

cult

ura

l epo

ch3

Obj

ects

are

sto

red

and

exhi

bite

d in

a m

udd

led

man

ner

, on

e in

/on

the

oth

er; t

hey

are

diff

icu

lt t

o ac

cess

, dis

orga

nis

ed o

r or

gan

ised

only

acc

ordi

ng

to h

isto

rica

l or

cult

ura

l epo

ch4

Mar

kin

g in

the

sto

rero

oms

and

obje

ct id

enti

fica

tion

The

re is

a u

nif

orm

, sta

nda

rdis

ed a

nd

plai

n s

yste

m o

f ob

ject

mar

kin

g an

d id

enti

fyin

g fu

lly a

pplie

d4

Un

ifor

m s

yste

m o

f m

arki

ng

and

iden

tify

ing

is a

pplie

d to

the

maj

or p

art

of o

bjec

ts/c

olle

ctio

ns

(60%

)3

Syst

em o

f m

arki

ng

and

iden

tify

ing

is n

ot u

nif

orm

an

d it

is a

pplie

d on

ly t

o on

e pa

rt o

f ob

ject

s/co

llect

ion

s (4

0%)

2

The

re is

no

syst

em o

f ob

ject

s/co

llect

ion

s m

arki

ng

and

iden

tify

ing

1


13 [

PR

OT

EC

TIO

N (

pres

erva

tion

)P

LAN

NIN

GA

ND

OR

GA

NIS

AT

ION

Pro

fess

ion

al p

erso

nn

el

Nu

mbe

r an

d qu

alit

y of

pro

fess

ion

al p

erso

nn

el m

eet

job

requ

irem

ents

of

a m

use

um

ser

vice

; the

re is

aw

aren

ess

of im

port

ance

of c

ondi

tion

s of

col

lect

ion

saf

ekee

pin

g4

Nu

mbe

r an

d qu

alit

y of

pro

fess

ion

al p

erso

nn

el is

su

ffic

ien

t fo

r ba

sic

fun

ctio

nin

g of

mu

seu

m s

ervi

ces;

litt

le a

tten

tion

is g

iven

to c

ondi

tion

s of

col

lect

ion

saf

ekee

pin

g3

Inad

equ

ate

nu

mbe

r of

pro

fess

ion

al p

erso

nn

el w

hose

wor

k do

es n

ot m

eet

job

requ

irem

ents

an

d/or

who

lack

aw

aren

ess

of im

port

ance

of

con

diti

ons

of c

olle

ctio

n s

afek

eepi

ng

2

Nu

mbe

r of

pro

fess

ion

al p

erso

nn

el is

min

imal

; the

ir w

ork

does

not

mee

t jo

b re

quir

emen

ts a

nd

they

lack

aw

aren

ess

of im

port

ance

of c

ondi

tion

s of

col

lect

ion

saf

ekee

pin

g1

Han

dlin

g pr

oced

ure

san

dtec

hnic

al p

ossi

bilit

ies

Em

ploy

ees

follo

w e

stab

lishe

d pr

oced

ure

s an

d u

se t

echn

ical

dev

ices

exi

stin

g in

the

mu

seu

m4

Em

ploy

ees

follo

w e

stab

lishe

d pr

oced

ure

s fo

r ob

ject

han

dlin

g to

som

e ex

ten

t an

d u

sage

of

tech

nic

al d

evic

es is

bas

ed o

n p

revi

ous

expe

rien

ce a

nd

know

ledg

e w

itho

ut

esta

blis

hed

proc

edu

res

3

The

re is

no

esta

blis

hed

proc

edu

re f

or h

andl

ing

and

the

empl

oyee

s ar

e n

ot f

amili

ar w

ith

han

dlin

g ru

les,

tho

ugh

the

y u

se t

echn

ical

devi

ces

exis

tin

g in

the

mu

seu

m2

The

re is

no

proc

edu

re f

or c

olle

ctio

n h

andl

ing

nor

acq

uai

nta

nce

wit

h ha

ndl

ing

rule

s; m

use

um

doe

s n

ot p

osse

ss t

echn

ical

dev

ices

for

colle

ctio

n h

andl

ing

1

Con

trol

of

clim

ate

con

diti

ons

Mea

sure

men

ts a

nd

anal

yses

of

clim

ate

con

diti

ons

are

take

n r

egu

larl

y4

Mea

sure

men

ts a

nd

anal

yses

of

clim

ate

con

diti

ons

are

take

n r

ando

mly

3

Ran

dom

mea

sure

men

ts o

f cl

imat

e co

ndi

tion

s ar

e co

ndu

cted

wit

hou

t da

ta a

nal

yses

2

The

re is

no

con

trol

of

clim

ate

con

diti

ons

1

Cle

anin

g of

col

lect

ion

san

d sp

aces

Ade

quat

e an

d re

gula

r cl

ean

ing

of m

use

um

spa

ces

and

colle

ctio

ns

4

Spac

e is

cle

aned

on

dai

ly b

ases

in t

erm

s of

cle

an w

orki

ng

spac

e fo

r th

e em

ploy

ees

wit

h oc

casi

onal

cle

anin

g of

col

lect

ion

s3

Spac

e is

cle

aned

on

dai

ly b

ases

in t

erm

s of

cle

an w

orki

ng

spac

e fo

r th

e em

ploy

ees

2

Spac

e is

irre

gula

rly

clea

ned

or

the

clea

nin

g is

not

ada

pted

to

mu

seu

m n

eeds

1

Pes

t an

d m

icro

-org

anis

m c

ontr

olw

ith

esta

blis

hed

exte

rmin

atio

npr

oced

ure

s if

nee

d ar

ises

Pes

t an

d m

icro

-org

anis

m c

ontr

ol is

reg

ula

rly

con

duct

ed; p

reve

nti

ve m

easu

res

are

regu

larl

y ta

ken

; mea

sure

s ar

e ad

opte

d in

cas

eof

mas

s in

fect

ion

4

Pes

t an

d m

icro

-org

anis

m c

ontr

ol is

con

duct

ed; m

easu

res

are

adop

ted

in c

ase

of m

ass

infe

ctio

n3

Pes

t an

d m

icro

-org

anis

m c

ontr

ol; t

reat

men

ts a

re o

ccas

ion

ally

con

duct

ed2

Pes

t an

d m

icro

-org

anis

m a

re id

enti

fied

alo

ng

wit

h ob

ject

dam

ages

; tre

atm

ents

are

not

sys

tem

atic

ally

con

duct

ed;

ther

e is

no

use

of

adeq

uat

e de

vice

s1

Pro

cedu

res

in c

ase

of e

mer

gen

cy(f

lood

, fir

e, e

tc.)

Pro

cedu

res

in c

ase

of e

mer

gen

cy a

re d

evel

oped

4

Pro

cedu

res

in c

ase

of e

mer

gen

cy d

o n

ot e

xist

, bu

t a

shor

t-te

rm e

mer

gen

cy t

reat

men

t is

def

ined

3

Pro

cedu

res

in c

ase

of e

mer

gen

cy d

o n

ot e

xist

, bu

t th

e em

ploy

ees

are

trai

ned

to

reac

t pr

oper

ly in

cas

e of

em

erge

ncy

2

The

re a

re n

o pr

oced

ure

s in

cas

e of

em

erge

ncy

1

Con

trol

of

colle

ctio

ns

stat

e

Con

trol

is c

ondu

cted

reg

ula

rly

and

syst

emat

ical

ly, o

nce

in o

ne

to t

hree

yea

rs o

r in

cyc

les

for

sin

gle

colle

ctio

n4

Con

trol

is c

ondu

cted

occ

asio

nal

ly, b

ut

it is

red

uce

d to

su

perf

icia

l ass

essm

ent

of m

ater

ial m

ass

3

Con

trol

is c

ondu

cted

par

tial

ly a

nd

un

syst

emat

ical

ly o

nly

du

rin

g re

visi

on o

r co

llect

ion

tra

nsf

er2

Con

trol

of

colle

ctio

ns

stat

e ha

s n

ever

bee

n c

ondu

cted

1

Org

anis

atio

n o

f co

nse

rvat

ion

and

rest

orat

ion

ser

vice

Con

serv

atio

n s

ervi

ce h

as s

uff

icie

nt

nu

mbe

r of

exp

erts

to

cove

r th

e tr

eatm

ent

of a

ll m

ater

ials

the

mu

seu

m h

olds

; saf

ekee

pin

gco

ndi

tion

s ar

e ob

serv

ed4

The

re is

a c

onse

rvat

ion

ser

vice

bu

t th

e pe

rson

nel

is s

pars

e an

d la

cks

prof

essi

onal

ism

; no

atte

nti

on is

giv

en t

o sa

feke

epin

gco

ndi

tion

s in

mu

seu

m3

The

re is

a c

onse

rvat

ion

ser

vice

, bu

t th

e ex

isti

ng

equ

ipm

ent

can

on

ly b

e ap

plie

d in

tre

atm

ent

of c

erta

in t

ypes

of

mat

eria

ls;

ther

e is

lack

of

prof

essi

onal

per

son

nel

2

The

re is

no

con

serv

atio

n s

ervi

ce, m

use

um

occ

asio

nal

ly c

oope

rate

s w

ith

con

serv

ator

s fr

om o

ther

inst

itu

tion

s1

SUB

JEC

TIN

DIC

AT

OR

CR

ITE

RIA


14 [

U radu su predstavqeni proces i rezultati obrade

podataka dobijenih prilikom analize stawa1

nekoliko muzeja u Srbiji, ra|enih na poziv muzeja

i u okvirima wihovih trenutnih potreba. Na osnovu

dobijenih podataka tokom analiza napravqeni

su izve{taji s preporukama za poboq{awe uslova,

koje su samo u izvesnoj meri bile realizovane.2

Rad sadrì op{te informacije, opis muzeja

u kojima su ra|ene analize, opis zgrada, prostora

i na~ina na koji su muzeji i rad u wima

organizovani. Predstavqena je i metodologija

koja je primewivana prilikom obrade podataka,

kao i zakqu~na razmatrawa.

Radi dobijawa globalne slike stawa u

muzejima Srbije, na postoje}em uzorku muzeja u

Srbiji primewen je metod analize i dijagnostike

zasnovan na sistemu indikatora i kriterijuma.

OPIS MUZEJA

Obra|eni su podaci iz osam muzeja na teritoriji

Srbije,3

me|u kojima su regionalni, gradski

muzeji, jedan muzej kompleksnog tipa i jedan

muzej na otvorenom. Iz raznovrsnosti muzeja

proisti~e i raznovrsnost zbirki, dakle

i raznovrsnost materijala (keramika, metal,

kamen, staklo, organski materijali, arhivski

materijal), {to name}e potrebu za razli~itim

uslovima ~uvawa i izlagawa.

Zgrade

Ve}ina muzeja sme{tena je u nenamenski gra|ene,

istorijske zgrade iz XIX i XX veka,4

razli~itih

Aleksandra XIKI] NIKOLI], Tatjana NEDEQKOVI],

Maja @IVKOVI], Vesna @IVKOVI]

Narodni muzej u Beogradu – Department for Preventive Conservation Diana

Srbija

USLOVI ÛVAWA I IZLAGAWA U MUZEJIMA SRBIJE

Apstrakt. U radu su predstavqeni rezultati procene uslova ~uvawa i izlagawa zbirki u osam muzeja u Srbiji.

Odeqewe za preventivnu za{titu Dijana Narodnog muzeja u Beogradu bilo je angaòvano da obavi analizu stawa

i obezbedi preporuke za poboq{awe uslova ~uvawa muzejskih predmeta.

Pored op{tih informacija, rad sadrì opis muzeja u kojima su ra|ene analize, opis zgrada, prostora

i na~ina na koji su muzeji i rad u wima organizovani, opis metodologije koja je kori{}ena prilikom obrade

podataka, kao i zakqu~na razmatrawa. Metodolo{ki pristup zasnovan je na sistemu indikatora i kriterijuma

koji se odnose na funkcionalnost i organizaciju muzejskih prostora, neposredno okruèwe zbirki

i planirawe i organizaciju za{tite.

Rezultati procene ukazuju na to da poboq{awe uslova ~uvawa i izlagawa u muzejima u Srbiji zahteva

uvo|ewe organizovanog sistema za{tite i da je neophodno sprovo|ewe sistematskih analiza stawa koje bi

bile osnova budu}ih planova i aktivnosti u domenu za{tite.

1) Analize je obavilo Odeqewe za preventivnu za{titu

Dijana Narodnog muzeja u Beogradu od 2003. do 2006. godine.

2) Ne postoje podaci o sada{wem stawu kada je re~

o uslovima ~uvawa i izlagawa u ovim muzejima.

3) Muzej grada Beograda, Gradski muzej u Vr{cu, Narodni

muzej u Uìcu, Muzej Staro selo u Sirogojnu, Narodni

muzej u Kru{evcu, Narodni muzej u Leskovcu, Zavi~ajni

muzej u Aleksincu, Muzej Nikole Tesle.

4) Muzej u Leskovcu je jedan od retkih muzeja u Srbiji

koji ima namenski gra|enu zgradu.


15 [

arhitektonskih re{ewa, {to, iako pruà

odgovaraju}i muzeolo{ki kontekst, u velikoj

meri ograni~ava mogu}nosti odgovaraju}eg

~uvawa i izlagawa. Zgrade uglavnom nisu

ni prvobitno u potpunosti bile prilago|ene

funkciji muzeja, a sve naknadne intervencije

svodile su se na brzo re{avawe trenutnih

problema. Samim tim, nije bio obezbe|en

ni poseban prilaz za otpremawe i dopremawe

materijala.

Sve muzejske zgrade, izuzev zgrade muzeja

na otvorenom, nalaze se u gradskim jezgrima,

okruène su mawim zelenim povr{inama

i saobra}ajnicama.

U muzejima postoje organizovane ~uvarske

slu`be, ali ne postoji tehni~ko obezbe|ewe,

to jest nema kamera, detektora, alarma. Zgrade

su delimi~no osvetqene, a slabe ta~ke muzeja,

na primer prozori u prizemqu, nisu obezbe|ene.

Zgrade imaju po nekoliko razli~itih funkcija,

{to oteàva kontrolu pristupa, a postoji

i problem velikog broja prolaza, zadweg

dvori{ta i drugih specifi~nosti okruèwa.

Nije konstatovana mogu}nost poplava, sem

kada je re~ o dva muzeja. U blizini jednog muzeja

nalazi se reka, a zbog konfiguracije terena

na kojem je drugi i koli~ina atmosferskih

padavina tokom godine mogu}e je formirawe

bujica.

Funkcionalne zone u muzejskoj zgradi nisu

definisane i uglavnom nisu razgrani~eni

prostori nameweni razli~itim muzejskim

funkcijama (na primer kancelarije se koriste

i za ~uvawe i obradu materijala). Ujedno je

naru{ena i kontinualnost prostora, budu}i

da ~esto postoje pregrade izme|u prostora

iste namene.

Zgrade nemaju adekvatnu vezu izme|u

pojedinih funkcionalnih zona (u nekim

muzejima one se nalaze u razli~itim objektima);

liftovi ne postoje, a stepeni{ta i hodnici

su uski. Na taj na~in oteàn je pristup depou

ili izlo`benom prostoru.

Konzervatorske radionice uglavnom

su sme{tene u mawe pomo}ne prostorije.

Kada je re~ o klimi u objektima, u svim

muzejima postoje neki od izvora mogu}ih

poreme}aja klimatskih uslova – problemi

kapilarne vlage, proki{wavawa, mehani~kih

o{te}ewa na fasadi, nepostojawa termoizolacije.

Konstatovano je da u muzejima postoje

funkcionalni protivpoàrni aparati,

ali i visoko poàrno optere}ewe zbog

starih drvenih konstrukcija, neodràvanih

elektroinstalacija, opreme koja se koristi

u depoima i izlo`benom prostoru.

Depoi

Depoi se nalaze u svim delovima muzejskih zgrada

(u podrumu, tavanskom prostoru, prizemqu,

na spratovima). Postoje}i prostor naj~e{}e

je nedovoqan za sme{taj zbirki i ne postoji

mogu}nost pro{irewa. Kretawe u depoima oteàno

je usled funkcionalne neiskori{}enosti

prostora (raspored i razme{taj mobilijara),

pretrpanosti i nedovoqne {irine prolaza (sl. 4).

Broj pojedinih vrsta name{taja prilago|enog

tipologiji predmeta i materijalima od kojih

su predmeti izra|eni nedovoqan je, a postoje}i

mobilijar je neadekvatnih dimenzija,

neprilago|en teìni predmeta i nije modularan.

Zbirke su organizovane prema vrsti

materijala, tipologiji i istorijskom ili

kulturnom periodu, bez obzira na osetqivost

i dimenzije predmeta. Predmeti su uglavnom

nepregledno sme{teni, te{ko dostupni

i nalaze se jedni na drugima ili jedni u drugima,

naj~e{}e bez adekvatnih podupira~a i oslonaca

ili ambalaè, i na otvorenim policama.

Deo predmeta nalazi se u kartonskim ili

drvenim kutijama koje nisu prvobitno bile

namewene pakovawu muzejskih predmeta, a deo

u drvenim ormanima ili na drvenim policama

bez odgovaraju}ih fizi~ki i hemijski stabilnih

podloga. Ipak, na predmetima nisu konstatovane

promene koje su nastale usled hemijskih reakcija

izazvanih dejstvom organskih kiselina iz

ambalaè.

Zakqu~eno je da ne postoje odgovaraju}a

ambalaà i oprema za manipulaciju predmetima

u muzeju (kutije, kolica, merdevine itd.) (sl. 2).

Tako|e je uo~eno da postoje}i sistem

identifikacije predmeta i signalizacije

u depoima nije uniforman, standardizovan


16 [

i da obuhvata samo delove zbirki ili pojedine

zbirke u nekim muzejima.

Izlo`beni prostori

Zakqu~eno je da je za{tita u izlo`benim

prostorima, u onim muzejima u kojima smo imali

pristup u taj prostor, podre|ena koncepciji

izlagawa ili da je potpuno zanemarena. Postoje}e

vitrine su zastarele, komplikovane za rukovawe

i odràvawe, neodràvane, lo{e zaptivene

i ne pruàju adekvatnu za{titu izloènim

predmetima. U pojedinim slu~ajevima postoji

prodor direktnog dnevnog svetla u izlo`beni

prostor, a ve{ta~ko osvetqewe nije prilago|eno

potrebama posebno osetqivih predmeta (sl. 1).

Organizacija i funkcionisawe muzeja

Utvr|eno je da ni u jednom muzeju ne postoji

sistematska kontrola i regulacija mikroklime,

u smislu redovne obrade, tuma~ewa, kori{}ewa

podataka i odràvawa opreme, iako u nekim

muzejima postoje merni instrumenti.

Konstatovana je velika mogu}nost pojave

{teto~ina s obzirom na to da zgrade nisu

odràvane u dovoqnoj meri i da postoje brojni

otvori pogodni za prolaz insekata i glodara,

a ni u jednom muzeju nisu predvi|ene sistematske

preventivne mere za spre~avawe pojave {teto~ina.

Ve}ina muzejskih zgrada odràva se i ~isti

u meri koja podrazumeva svakodnevni boravak

zaposlenih, {to ne zadovoqava zahteve ~uvawa

i izlagawa muzejske gra|e. Kontrola stawa

zbirki ne obavqa se ni redovno ni sistematski,

a konzervatorske intervencije uglavnom se

preduzimaju prema trenutnim potrebama (sl. 3).

Nijedan muzej nema razvijen plan za{tite

zbirki, niti plan u slu~aju vanrednih situacija.

Konzervatorske slu`be uglavnom postoje, ali

ne pokrivaju sve materijale i nisu opremqene

u dovoqnoj meri. Muzeji u kojima ne postoji

razvijena konzervatorska slu`ba sara|uju

s drugim institucijama za{tite ili angaùju

konzervatore saradnike prema potrebi.

Uo~eno je da neki muzeji nemaju dovoqno

stru~nog kadra za funkcionisawe, a u ve}ini

muzeja ne postoji dovoqan broj tehni~kog osobqa

za potrebe rukovawa zbirkama ili tehni~ki

kadar nije obu~en za te poslove. Me|utim,

u nekim muzejima postoji podr{ka za edukaciju

i specijalizaciju stru~nog kadra kroz u~e{}e

na stru~nim skupovima i kursevima.

METODOLOGIJA

Dijagnostika uslova ~uvawa i izlagawa zasnovana

je na referentnom sistemu, razvijenom na osnovu

podataka dobijenih analizom stawa u muzejima

i postoje}ih znawa i iskustava u oblasti

za{tite. Prilikom primene metoda, iako su

uzete u obzir specifi~nosti pojedinih muzeja

u Srbiji, kao i specifi~nosti ovog podru~ja,

dolazilo je do izdvajawa primera koji se nisu

uklapali u prose~nu sliku, ali to nije zna~ajno

uticalo na op{te zakqu~ke.

Referentni sistem omogu}uje upore|ivawe

zate~ene situacije sa zami{qenom idealnom

situacijom. îne je 24 indikatora koja se

odnose na funkcionalnost i organizaciju

muzejskih prostora, neposredno okruèwe

zbirki i planirawe i organizaciju za{tite.

Svaki indikator procewen je na osnovu

~etiri kriterijuma, koja, zapravo, predstavqaju

~etiri nivoa vrednosti ustanovqena u odnosu

na optimalnu situaciju, u kojoj su u potpunosti

zadovoqeni slede}i zahtevi:

– muzejski prostori su dovoqnog kapaciteta,

odgovaraju funkcijama ~uvawa i izlagawa zbirki,

me|usobno su povezani i raspore|eni na na~in

koji prati kretawe i obradu muzejskog predmeta,

potpuno su obezbe|eni;

– uslovi ~uvawa i izlagawa redovno se prate

i reguli{u uz pomo} odgovaraju}e opreme, svi

muzejski prostori se redovno ~iste i odràvaju

u skladu s potrebama za{tite zbirki, muzejski

prostori su optimalno iskori{}eni, postoji

dovoqna koli~ina odgovaraju}e opreme za

sme{taj zbirki, a predmeti u wima bezbedno

su raspore|eni;

– postoji dovoqan broj stru~nog kadra, obu~enog

za poslove za{tite zbirki, kao i sve neophodne

slu`be, koje su dobro organizovane i funkcioni{u

po ustanovqenim procedurama za za{titu.

Vrednost ~etiri odnosi se na situaciju koja

ispuwava ve}i deo pomenutih zahteva za{tite

muzejskih zbirki, vrednost tri na situaciju koja

ispuwava deo zahteva, vrednost dva ozna~ava

situaciju koja ispuwava minimum zahteva,

a vrednost jedan situaciju koja ne ispuwava

nijedan zahtev.

Funkcionalnost prostora

Funkcionalnost prostora procewena je na osnovu

postojawa razdvojenih funkcionalnih zona

u muzejskoj zgradi, karakteristika postoje}ih

komunikacija unutar zgrade, organizacije

prostora u zgradi, stepena u kojem depoi

i izlo`beni prostori ispuwavaju zahteve

odgovaraju}eg sme{taja i izlagawa predmeta,

kao i na osnovu osobina prilaza zgradi muzeja.

Funkcionalne zone u muzeju treba da ~ine

prostori koji su jasno razdvojeni prema

nameni (prijem materijala, depoi, izlo`beni

prostor, konsultacije) i me|usobno povezani

i raspore|eni na na~in koji prati kretawe

i obradu muzejskog predmeta. Na osnovu analize

stawa u muzejima u Srbiji utvr|eno je da su zone

delimi~no izdvojene i organizovane prema

specifi~noj nameni i da poloàj i organizacija

prostora ~esto ne odgovaraju funkciji koja

mu je odre|ena. Prostori se naj~e{}e koriste

u razli~ite svrhe, pri ~emu su zanemareni sled

i komplementarnost funkcija koje treba da

ispuwavaju, {to ~ini wihovu organizaciju

komplikovanom, oteàva kretawe predmeta kroz

muzej i moè dovesti do wegovog o{te}ewa.

Komunikacije unutar zgrade treba da budu

prostrane i da imaju jednostavnu geometriju,

bez o{trih uglova i prepreka koje bi oteàvale

kretawe i koje bi mogle da budu uzrok

mehani~kih o{te}ewa predmeta. Na osnovu

analiziranog uzorka muzeja ustanovqeno je

da je kori{}ewe komunikacija unutar zgrade

oteàno usled postojawa uskih hodnika i brojnih

stepeni{ta, a naro~ito zbog ~iwenice da se

prostori muzeja ~esto nalaze u razli~itim

zgradama. Naj~e{}e ne postoji mogu}nost

adaptacije prostora, budu}i da je re~ o zgradama

~ija adaptacija ne bi doprinela poboq{awu

organizacije prostora i komunikacija ili je

neizvodqiva zbog toga {to su te zgrade istorijski

spomenici, te se wihov izgled ne sme naru{avati

ili bi bila potrebna velika finansijska ulagawa.

U depoima i izlo`benim prostorima tako|e

treba da bude omogu}eno neometano kretawe

zaposlenih i muzejskih predmeta, kao i adekvatan

sme{taj i izlagawe. Neophodno je da kapacitet

prostora bude dovoqan i da postoji mogu}nost

pro{irewa ili adaptacije prostora u slu~aju

pove}awa zbirke. Ustanovqeno je da u ve}ini

muzeja u Srbiji ti prostori nisu lako prohodni,

da nemaju dovoqan kapacitet za sme{taj svih

predmeta koji pripadaju fondu muzeja i da ne

pruàju uslove za adekvatno izlagawe zbirki.

U najve}em broju muzeja ne postoji mogu}nost

pro{irewa raspoloìvih povr{ina, ~ime bi

se omogu}ili odgovaraju}i sme{taj i izlagawe

postoje}ih predmeta i budu}ih akvizicija.

Kada je re~ o prilazu zgradi muzeja, potrebno

je da prilaz bude jednostavan i bezbedan,

s postavqenom kosom ravni i posebnim

ulazom za dopremawe i otpremawe materijala

odgovaraju}ih dimenzija, ~ime bi se obezbedilo

nesmetano dopremawe predmeta velikih

dimenzija. Konstatovano je da u muzejima

u kojima je ra|ena analiza stawa ne postoje

posebni ulazi za dopremawe materijala,

a postoje}i prilazi zgradama ne odgovaraju

postavqenim zahtevima zbog toga {to se muzeji

nalaze u gradskim jezgrima i zgradama ~ije

karakteristike ne odgovaraju potrebama za{tite.

Me|utim, uo~eno je da je nivo bezbednosti za

predmete uglavnom prihvatqiv zahvaquju}i

angaòvawu zaposlenih (radar 1).

Organizacija prostora

Vrednosti koje se odnose na organizaciju prostora

odre|ene su na osnovu pristupa zbirkama,

funkcionalne iskori{}enosti name{taja

i wegovih karakteristika, postojawa opreme

za manipulaciju predmetima, kao i na osnovu

organizacije i na~ina sme{taja predmeta i

sistema wihovog obeleàvawa i identifikovawa.

Postoje}e komunikacije u zgradi treba da

omogu}e jednostavan pristup zbirkama jer bi

fizi~ke prepreke mogle da dovedu do mehani~kih

o{te}ewa predmeta. S obzirom na to {to se

ve}ina muzeja u Srbiji nalazi u delimi~no

adaptiranim, nenamenski gra|enim zgradama,

pristup zbirkama uglavnom je oteàn zbog uskih


17 [

stepeni{ta, malih dimenzija vrata, pregra|enih

prostora, velikog broja malih prostorija

i prolaza. Prilikom preme{tawa predmeta

i manipulacije predmetima, me|utim, u obzir

se uzimaju postoje}a ograni~ewa i postupak se

prilago|ava wihovoj fizi~koj bezbednosti.

Celokupna zbirka treba da bude sme{tena

u tipski, modularan name{taj, ~iji kapaciteti

odgovaraju veli~ini zbirke, dok prostor

depoa treba da bude maksimalno iskori{}en.

Konstatovano je da se u muzejima u kojima je

ra|ena analiza stawa koristi improvizovan

ili privremen name{taj, nabavqen neplanski

i nedovoqno prilago|en prostoru. Usled

nefunkcionalne iskori{}enosti name{taja

i prostora depoa vi{e od polovine predmeta

nalazi se na podu, ~esto u neadekvatnoj,

privremenoj ambalaì, to jest u kartonskim ili

drvenim kutijama. To kao posledicu ima oteàn

pristup i oteànu manipulaciju predmetima,

kao i ugroàvawe wihove fizi~ke bezbednosti.

Neophodno je da karakteristike name{taja

za sme{taj i izlagawe budu u skladu sa

specifi~nostima predmeta ili zbirke, pri

~emu treba uzimati u obzir materijal od kojeg je

predmet izra|en, visinu, {irinu i zapreminu

predmeta. Name{taj mora da ima odgovaraju}u

nosivost i fizi~ku stabilnost, da bude

prilago|en dimenzijama predmeta i izra|en od

materijala koji su stabilni, to jest od onih koji

ne emituju {tetna isparewa. Ustanovqeno je da

name{taj u muzejima ima samo jednu od potrebnih

karakteristika ili da je delimi~no prilago|en

karakteristikama predmeta. O~igledno je da je

osnovni problem nedovoqan kapacitet name{taja

i prostora, kao i kori{}ewe improvizovanog

name{taja, tako da je ugroèna fizi~ka

stabilnost predmeta. Preovladava name{taj

izra|en od drveta, a name{taj od adekvatnih,

stabilnih materijala najmawe je zastupqen.

Potrebno je da oprema za manipulaciju

predmetima bude raznovrsna i prilago|ena

prostoru, na~inu sme{taja i karakteristikama

predmeta. Postojawe adekvatne opreme

(dizalica, kolica, merdevina, kartonskih kutija,

plasti~ne ambalaè, fascikli) i weno dosledno

kori{}ewe smawuju rizik od mehani~kih

o{te}ewa predmeta. Upotreba odgovaraju}e

opreme posebno je zna~ajna prilikom rukovawa

predmetima koji su mehani~ki i strukturalno

o{te}eni, ~ije je stawe nestabilno ili onima

koji su izra|eni od osetqivih materijala. U

muzejima u Srbiji postoji jednostavna oprema za

manipulaciju, ali je ustanovqeno da se ona retko

koristi, ~ak i kada se manipuli{e osetqivim

predmetima i kada su prostori za sme{taj

pretrpani, a predmeti te{ko dostupni.

Dobra organizacija sme{tawa i izlagawa

predmeta podrazumeva da su svi predmeti lako

dostupni i pregledno raspore|eni prema vrsti

i osetqivosti predmeta/materijala, tipologiji

predmeta, istorijskom ili kulturnom periodu


18 [

Funkcionalne zone

Prilaz / ulaz u zgraduKomunikacije i

kretawe kroz zgradu

Prostor depoa i izlo`benog prostora

RADAR 1

i dimenzijama. Usled nefunkcionalnosti

i nedovoqnog kapaciteta postoje}eg name{taja

u muzejima u Srbiji samo je deo predmeta

sme{ten i izloèn pregledno, dok su ostali

predmeti sme{teni na pod, jedan na drugi ili

jedan u drugi, ili wihov raspored nije podre|en

zahtevima forme i dimenzija, tako da postoje

rizici od mehani~kih o{te}ewa. Zbirke su

naj~e{}e organizovane prema vrsti materijala

i istorijskom ili kulturnom periodu.

Kori{}ewe uniformnog, standardizovanog

i jasnog sistema obeleàvawa i identifikovawa

predmeta treba da bude dosledno i u potpunosti

primeweno na celokupni muzejski fond. Po{to

u Srbiji nije ustanovqen standardizovan sistem

obeleàvawa i identifikovawa muzejskih

predmeta, jedinstven sistem se ne primewuje,

osim prilikom identifikacije predmeta (IB).

Ukoliko su muzej ili kustosi ustanovili sistem

obeleàvawa, tada su obuhva}eni samo delovi

zbirke ili nekoliko zbirki u muzeju (radar 2).

Neposredno okruèwe zbirki

Neposredno okruèwe zbirki razmatrano je na

osnovu regulacije klimatskih uslova, svetlosti,

na~ina odlagawa i kondicionirawa predmeta,

nivoa bezbednosti i protivpoàrne za{tite

i rizika od poplave.

Kada je re~ o regulaciji klimatskih uslova,

potrebno je da zgrada ima maksimalnu termalnu

inerciju i adekvatnu izolaciju, {to }e

obezbediti minimalne klimatske oscilacije.

Iako ne postoje podaci o klimatskim uslovima

u muzejima u kojima je ra|ena analiza stawa, na

osnovu vizuelnog pregleda prostora u kojima se

nalaze zbirke, konstatovanih tragova prodora

vode, ~iwenice da se depoi naj~e{}e nalaze u

delovima zgrade koji su najvi{e izloèni dejstvu

klimatskih promena, kao i na osnovu usmenih

informacija dobijenih od zaposlenih, zakqu~eno

je da u zgradama muzeja postoje zna~ajne klimatske

oscilacije i samim tim opasnost za deo fonda.

Prirodno i ve{ta~ko svetlo treba da bude

regulisano filterima i zastorima da bi

se spre~ila direktna izloènost predmeta

svetlosnom zra~ewu koje izaziva postepeno

propadawe nekih posebno osetqivih materijala.

Me|utim, na analiziranom uzorku muzeja u

Srbiji konstatovano je da se, u najboqem slu~aju,

nivo svetlosti delimi~no reguli{e zavesama

ili premazom na staklu.

Odlagawe i kondicionirawe predmeta

podrazumeva da name{taj, ambalaà i

podupira~i/oslonci treba da budu u potpunosti

prilago|eni specifi~nostima predmeta, to jest

veli~ini, teìni, formi i materijalu od

kojeg je predmet napravqen, zatim izra|eni od

stabilnih, ~vrstih i trajnih materijala, kao i to

da je mogu}e premestiti predmete u ambalaì,

bez neposrednog rukovawa samim predmetima.

Budu}i da se predmeti u muzejima u Srbiji

naj~e{}e odlaù u improvizovan name{taj


19 [

Pristup zbirkama

Sme{taj predmeta i prilago|enost

name{taja prostoru

Odgovaraju}a nosivost,

stabilnost i dimenzije predmeta

Oprema za manipulaciju

predmetima

Organizacija i na~in sme{tawa

i izlagawa predmeta

Obeleàvawe u depoima

i identifikacija predmeta

RADAR 2

i ambalaù i u wima kondicioniraju, bez

adekvatnih podupira~a koji su prilago|eni

karakteristikama predmeta, zakqu~eno je da

predmeti nisu u potpunosti mehani~ki

obezbe|eni, ali da se ipak koriste materijali

koji im ne {kode, zapravo oni koji vi{e ne

emituju {tetna isparewa jer su ve} duè u

upotrebi.

Kada je re~ o bezbednosti, organizovan

sistem obezbe|ewa treba da obuhvata postojawe

protivprovalnih alarma, perimetrijske za{tite

i opreme za personal. Konstatovano je, me|utim,

daje jedino organizovano fizi~ko obezbe|ewe

muzeja.

Na nivou protivpoàrne za{tite, potrebno je

da su u muzeju instalirani detektori dima i

automatski sistem ga{ewa poàra, ~ak i da su

eliminisani svi posebni i uobi~ajeni rizici

od poàra, kao {to su, na primer, neispravne

ili stare elektri~ne instalacije. U skladu sa

zakonom o protivpoàrnoj za{titi, u muzejima

u Srbiji nalaze se ispravni aparati za ga{ewe

poàra, ali je to jedini vid za{tite u

prostorima u kojima postoje razli~iti rizici

od izbijawa poàra zbog stawa u kojem su zgrade,

instalacije i enterijer.

Trebalo bi da rizik od poplave bude

eliminisan ili minimalan, bez obzira na to

da li je re~ o mogu}nosti poplave usled blizine

plavne reke ili zbog proki{wavawa, pucawa

cevi, to jest zbog posledica neodràvawa

muzejske zgrade. U muzejima u kojima su ra|ene

analize stawa rizici od poplave ili curewa

vode usled proki{wavawa krova, problema sa

instalacijama i kanalizacijom su verovatni

(radar 3).

Planirawe i organizacija za{tite

Procena nivoa planirawa i organizacije za{tite

obavqena je na osnovu analize stru~nog kadra,

procedura i tehni~kih mogu}nosti za rukovawe

zbirkama, kontrole klimatskih uslova

i {teto~ina, ~i{}ewa muzejskih prostora,

procedure za vanredne situacije, obavqawa

kontrole stawa zbirki i organizacije

konzervatorsko-restauratorske slu`be u muzejima.

Pored toga {to je za neometano

funkcionisawe institucije i kvalitet rada

neophodan odre|en broj zaposlenih, potrebno je

da stru~ni muzejski kadar poseduje svest o zna~aju

uticaja uslova ~uvawa na stawe zbirki. Taj zahtev

odnosi se kako na konzervatore tako i na kustose,

s obzirom na to da bi u dono{ewu odluka u vezi

sa za{titom muzejskih zbirki trebalo podjednako

da u~estvuju i jedni i drugi. Analizirani muzeji

uglavnom imaju dovoqan broj zaposlenih za

osnovne stru~ne funkcije. Wihov rad je ve}im

delom usmeren na istraìvawe zbirki, a

o~igledan je nedostatak obuke, informacija,

pa samim tim i angaòvawa u oblasti za{tite.

Postojawe procedura ili pravilnika u vezi

s rukovawem muzejskim zbirkama jedan je od


20 [

Regulacija klimatskih uslova

Svetlost

Odlagawe i kondicionirawe

predmeta

Bezbednost

Protivpoàrna za{tita

Rizik od poplave

RADAR 3

preduslova za smawewe rizika od mehani~kih

o{te}ewa. Zbog istog tog razloga trebalo bi da

muzej poseduje izvesna tehni~ka sredstva za

preme{taj predmeta. To se, pre svega, odnosi

na razne vrste kolica, paleta i mawih teretnih

vozila – viqu{kara – koji se koriste za

preno{ewe te{kih i kabastih predmeta, ali

i na sve vrste podloga i ambalaè koja sluì za

bezbedno rukovawe zbirkama. Rezultati dobijeni

tokom analize muzeja pokazuju generalno

nepostojawe bilo kakvog dokumenta koji

propisuje na~in rukovawa predmetima. Muzejski

radnici nisu imali prilike da steknu saznawa

o potrebnim merama i mogu}im posledicama

neadekvatnog rukovawa predmetima, iako muzeji

poseduju neka tehni~ka sredstva za preme{tawe,

a zaposleni ih koriste uglavnom onda kada je

nemogu}e ne{to pomeriti bez pomagala. To

prakti~no zna~i da na~in rukovawa predmetima

zavisi od potreba zaposlenih, a da nije

prilago|en potrebama za{tite predmeta.

Radi odràvawa optimalnih uslova ~uvawa

i izlagawa zbirki, trebalo bi da se kontrola i

analiza klimatskih uslova odvijaju kontinualno.

Ve}ina muzeja u kojima je obavqena analiza stawa

nema mogu}nost za nabavku opreme i pra}ewe

klimatskih uslova, pa se kontrola klime,

u najboqem slu~aju, svodi na trenutna merewa

bilo klasi~nim, bilo digitalnim aparatima,

te se podaci ne ~uvaju i ne analiziraju.

Uobi~ajeno odràvawe muzejskih zgrada u na{im

uslovima ne razlikuje se od na~ina na koji

se odràvaju zgrade dràvne administracije

ili sli~ne ustanove s druga~ijom funkcijom.

Dakle, potrebe odràvawa nisu zadovoqene ni

u meri koja je neophodna za normalno obavqawe

muzejskih poslova i svakodnevni rad zaposlenih,

iako bi za potrebe ~uvawa muzejskih zbirki

bilo potrebno redovno ~i{}ewe kako javnih

i administrativnih prostorija muzeja tako

i depoa, uz punu pa`wu i poznavawe pristupa

koji ne ugroàva stawe zbirki ni na koji na~in.

Za potrebe za{tite zbirki od {teto~ina,

kako insekata i glodara tako i mikroorganizama,

predvi|ena je ne samo redovna kontrola pojave

(kontrola ulaza, pregled zbirki i drugo) nego

i preventivne i kurativne mere za{tite. U ve}em

broju srpskih muzeja zaraza mikroorganizmima

i prisustvo drugih {teto~ina uglavnom se

konstatuju, ali se ne sprovodi sistematski

tretman ili se pri tretmanu koriste neadekvatna

sredstva, {tetna za muzejske predmete.

Kao i kada je re~ o pravilima rukovawa

predmetima, ne postoje dokumenti koji detaqno

predvi|aju pona{awe muzejskih radnika u

vanrednim situacijama, u slu~ajevima poàra,

poplava i drugih katastrofa. Poznavawe pravila

pona{awa u vanrednim prilikama kod muzejskih

radnika je na osnovnom nivou. Idealna situacija

podrazumeva posebnu, obavezuju}u proceduru u

slu~aju takve opasnosti, kojom se izazvana {teta

svodi na najmawu mogu}u meru.


21 [

Stru~ni kadar

Procedure rukovawa

i tehni~ke mogu}nosti

Kontrola klimatskih uslova

î{}ewe prostora i zbirki

Kontrola pojave {teto~ina

i mikroorganizama

Procedure u slu~aju vanrednih situacija

Kontrola stawa zbirki

Organizacija

konzervatorsko-restauratorske slu`be

RADAR 4

Iako je za odràvawe zbirki potrebno da se

provera stawa konzervacije obavqa bar jednom u

tri godine, a idealno jednom godi{we detaqno,

na analiziranom uzorku muzeja pokazalo se da se

kontrola stawa zbirki obavqa tek okvirno, i to

prilikom primopredaja ili revizija. To zna~i

da su muzejski predmeti naj~e{}e sistemati~no

pregledani jednom ili nijednom. Uobi~ajeno je

da konzervator reaguje na poziv kustosa, ~ija

potreba za konzervacijom predmeta poti~e od

èqe da se predmeti pripreme za izlagawe,

i to u estetskom smislu.

Na kraju, veliki deo odgovornosti za

kontrolu uslova ~uvawa i izlagawa zbirki leì

na muzejskim konzervatorskim slu`bama, koje

treba da budu ne samo dovoqno brojne i stru~ne,

kako bi pokrile sve vrste materijala koje muzej

poseduje, ve} je potrebno i da poseduju svest o

zna~aju preventivne za{tite i neophodno znawe

za pra}ewe i kontrolu stawa zbirki i wihovog

okruèwa. Analizirani muzeji ve}inom imaju

bar jednog konzervatora i tehni~are koji

svojim znawem i iskustvom pokrivaju potrebe

konzervatorskog tretmana ve}eg dela materijala

u muzeju, ali uz skromne tehni~ke i materijalne

mogu}nosti, kao i uz nedostatak svesti o potrebi

obezbe|ivawa adekvatnih uslova ~uvawa

i izlagawa i svo|ewe samog konzervatorskog

tretmana na minimalnu meru (radar 4).

REZULTATI

Rezultati za svaki indikator predstavqeni

su u grafi~koj formi radara, gde plavo poqe

odgovara vrednostima dobijenim u odnosu na

24 razmatrana indikatora.

Ve}ina indikatora, odnosno 19 indikatora,

dobilo je ocenu 2, {to ozna~ava situaciju u kojoj

je ispuwen minimum zahteva. To su indikatori

koji obuhvataju i probleme zgrade i depoa

i izlo`benog prostora, iz ~ega sledi da se

podjednak broj problema pojavquje u oblastima

funkcionalnosti i organizacije prostora,

uslova ~uvawa i izlagawa zbirki, kao i u

oblasti planirawa sistema za{tite, a u

nekim slu~ajevima to se neposredno povezuje

s problemom nedostatka nov~anih sredstava.

êtiri indikatora je dobilo ocenu 1, {to

odgovara situaciji koja ne zadovoqava ni

minimum zahteva za{tite. To su indikatori koji

se odnose na prostor depoa i izlo`beni prostor

(zbog ~iwenice da je uglavnom re~ o nenamenskim

zgradama), na ~i{}ewe prostora i zbirki,

kontrolu pojave {teto~ina i procedure u slu~aju

vanrednih prilika (usled problema nedostatka

planirawa i organizacije).

U jednom slu~aju dodeqena je ocena 3, {to

odgovara situaciji u kojoj je zadovoqen deo

zahteva, a re~ je o indikatoru koji se odnosi

na muzejski stru~ni kadar (tabela).

ZAKQUÂK

Rezultati analize i utvr|ivawa stawa uslova

~uvawa i izlagawa sprovedenih na izdvojenom

uzorku muzeja u Srbiji pokazuju da u ve}ini

tih muzeja re{ewe za poboq{awe uslova ~uvawa

i izlagawa zahteva uvo|ewe organizovanog

sistema za{tite, koji bi predstavqao optimalan

odnos izme|u neophodnih ulagawa i èqenih

rezultata. To bi podrazumevalo:

– planirawe poboq{awa uslova ~uvawa kroz

postepeno uvo|ewe odgovaraju}ih materijala za

kondicionirawe zbirki;

– redovne kontrole i pripremu plana

konzervacije;

– pripremu dokumenata koji bi olak{ali

organizaciju za{tite zbirki i rukovawe

zbirkama;

– reorganizaciju prostora i sme{taja zbirki;

– usmeravawe raspoloìvih sredstava na

nabavku opreme za kontrolu i regulaciju uslova

~uvawa;

– dodatnu obuku stru~nog kadra u oblasti

za{tite.

Me|utim, ovakva analiza daje samo op{tu

sliku stawa. S jedne strane, wena ograni~ewa su u

malom broju analiziranih muzeja, dok bi, s druge,

ona trebalo da bude samo prva faza sistematske

analize i procene stawa u muzejima. To bi bio

osnov za uspostavqawe sistema prioriteta

i sleda akcija u okviru muzejske za{tite, pri

~emu dràva treba da pokrene inicijativu

i pruì podr{ku za weno sprovo|ewe.


22 [


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26 [

Figure 1. Permanent exibition area

Slika 1. Izlo`beni prostor – stalna postavka

Figure 2. Storing system for textile objectsSlika 3. Na~in sme{taja tekstilnih predmeta

1 2

3

Figure 4. Detail from an archaeological storage

Slika 3. Detaq iz arheolo{kog depoa

Figure 4. Organisation of a storage space for art objectsSlika 4. Organizacija depoa umetni~ke zbirke

4

safekeeping and exhibiting conditions in serbian museums

Documents