AN INTERVIEW WITH AZRA BECIREVIC SARENKAPA , THE SENIOR CONSERVATOR AT THE NATIONAL MUSEUM OF BIH Conservation as a Principle of Minimal Intervention

Can you describe in brief the conservator's work?

The conservator's work is to conserve the object state the way that it is. The goal is to fix the damages with minimal interventions, in terms of adding new materials. Generally, it is all about stopping the deterioration process.

Azra Becirevic Sarenkapa at work / Photo © Islamic Arts Magazine

Can you tell us something about the Department of Ethnology at the National Museum in Sarajevo?

The Department of Ethnology is divided into two parts, spiritual and material culture. The department of material culture, where I work, has different collections: the folk costumes collection, containing the costumes from cities and villages across all parts of Bosnia and Herzegovina; and the collection of individual parts of costumes like shirts, socks, caps, belts. From the collection of carpets, I need to point out the 17th-century Persian carpet. Other collections include textile home furnishings, jewellery, weapons and flags, business supplies, toys, crafts, and urban, and rural furniture and models. The artefacts are mostly from Bosnia and Herzegovina and the region.

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

How do you preserve different materials?

Generally, the approach to different materials should always be the same. First of all, one should have respect towards the artefacts, from the basic use of gloves to other procedures. The same rules apply to all objects. My work is based on the principle of minimal intervention. Generally, I work with textiles. It is very important for that process to be reversible, meaning that everything I do is reversible to the original state.

Azra Becirevic Sarenkapa at work / Photo © Islamic Arts Magazine

Can you point out one artefact you worked on, that is special to you?

It is difficult to answer that question as each artefact is important to me. One of them is a carpet that I worked on when I started working at the Museum as a volunteer. Recently I have been working on the mantle, discovered during the excavation of the necropolis in Koposici, near Ilijas. The representatives of the Department of Archaeology from the Faculty of Philosophy found a garment dating around 1330. When I dug it out, I did the first cleaning and then the conservation. I have also worked on the flag from the Battle of Mohac, which belongs to the Museum of Tesanj and they received it as a gift from one family.

One of the artefacts Azra Becirevic Sarenkapa is working on / Photo © Islamic Arts Magazine

What are your current priorities in terms of conservation?

There is no urgent matter at this moment. The artefacts are packed and stacked in the best way. My colleagues and I have done a lot to restore items that were displaced during the war. All artefacts that come out of the Museum's depot are to be exhibited, when they are returned back, must be first disinfected and then returned to the depot.

One of the artefacts Azra Becirevic Sarenkapa is working on / Photo © Islamic Arts Magazine

What was the situation during the war? Have the artefacts been preserved properly?

It's a wonder that the Ethnology Department survived since we had a lot of exposed woodwork, as you know the National Museum was on the front line during the war. Inside, everything was more or less protected with sandbags. All artefacts were transferred to the Department of Archaeology as they had more space in the basement and were a bit further from the front line. The jewellery collection was taken to the state bank for safekeeping. None of the artefacts was damaged during the war.

The National Museum of Bosnia and Herzegovina / Photo © Islamic Arts Magazine

The National Museum of Bosnia and Herzegovina / Photo © Islamic Arts Magazine

When it comes to conservation is there enough staff in Bosnia and Herzegovina?

No, Bosnia and Herzegovina does not have enough conservators and this is one of the biggest problems. The reason why I came back to Bosnia is my love for Sarajevo and a desire to pass on to the young generation what I have learned. Last year we have opened the first interdisciplinary conservation and restoration studio within the Academy of Fine Arts. I have worked at the Faculty of Philosophy at the Department of Archaeology, where I was teaching the protection of cultural monuments. There is a definitive need for more young people to work in this field.

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

Department of Ethnology at the National Museum in Sarajevo / Photo © Islamic Arts Magazine

Did you collaborate with other museums?

Together with my colleagues I am a part of ICOM BiH. For the past 17 years I am in constant contact with many museums, creating exhibitions as well as consulting.

When the National Museum was closed, I worked for smaller museums throughout the country. I worked on one tapestry from the 17th century at the Museum in Trebinje. I also worked with museums in Mostar, Tesanj, Kakanj, the Historical Museum, the Museum of Sarajevo, the Bosniak Institute, and the Gazi Husrev Beg Library. I worked for the Franciscan Museum in Fojnica, on their permanent exhibition, the Franciscan Museum in Livno and Tomislavgrad, as well as the museums across the region.

As a teacher, I volunteer at Conservators Without Borders in London. For the past three years, I am visiting Albania where I am teaching the conservation of textiles.

Thank you for sharing your experience with our audience.