„Le Vide“. Die Geschichte vom weißen Raum

Abstract

“Le Vide“. The Story of the White Room
How could a conservator use the general conditions for the preservation of works of art and for the mediation of conservational needs? What situation is particularly favourable? The story of the room “Le vide” created by Yves Klein in 1961 in the Krefeld Museum Haus Lange is an apposite example. The conservation preceding an exhibition in 2009 shows how necessities and prerequisites limit the conservator’s activities and at the same time open possibilities for the preservation of works of art. The character of the object in question plays an important role. Should Yves Klein’s room be looked at as a white monochrome in the form of a wall painting? Is it a conceptually intended “immaterial” installation for which the material existence has no meaning and which consequently could be overpainted with white paint? The surface shows a particular structure much like a relief which was already found in Klein’s famous exhibition of empty galleries at Iris Clert’s in Paris 1958. Therefore it could be argued in favour of measures preserving the material aspects on the basis of art technological findings and research. The immaterial atmosphere of the room could thus be reconstructed and refreshed by the restoration and presentation of 2009.