The first non-invasive examinations of works of art were carried out by the eye of the expert. That of the curator, the art historian, the conservator, or the scientist. This in-depth observation of cultural object materiality, for conservation purposes, was first carried out as part of condition reports and surveys, for which photographic records progressively replaced freehand sketches. Photographic techniques can thus be considered the first non-invasive examination technology used to objectively characterize the materiality of a work of art.

Since then, non-invasive techniques have continued to progress, enabling us to obtain more information about works of art while minimizing the number of samples, taken for study or research. This evolution of scientific examination towards a minimal invasiveness is in line with the “minimal intervention” deontology of restoration.

The progress of scientific instrumentation, even more powerful and miniaturized, has given us access to new, transportable devices that can be used in situ, for preliminary studies or during restoration work. In recent years, the development of 2D/3D imaging techniques, microscopy and non-invasive analyses has created a new scientific environment, contributing to a new paradigm that tends to move the laboratory towards workshops and the works themselves.

The growing use of non-invasive tools and techniques nonetheless raises a number of questions: What are their advantages and limits ? To what extent can they replace or complement laboratory micro-destructive techniques ? How can conservation/restoration professionals access and use the results ? How should we archive and reuse the data they produce ?

This evolution has strongly increased the amount of data available for the scientific documentation and characterization of cultural assets. This clearly enhances the decision-making process for conservation-restoration work, but it also raises questions about the way in which this new objective data interacts with our subjective appreciation of the works.

The SFIIC 2026 international symposium, organised on the initiative of all seven SFIIC working groups, will deal with the conservation-restoration of movable and immovable heritage, both ancient and modern, and made up of a wide range of materials. This non-invasive approach, which we understand in the broadest sense of the term, will address from a variety of angles issues relating to the knowledge and documentation of works of art, as well as studies and research into their materiality. The single and multi-voice presentations will reflect the interdisciplinary approach so dear to the values of the SFIIC.

The conference languages will be French and English (with simultaneous translation).

A poster session will also be part of the program, with Flash presentations (1 minute/1 slide).

The oral presentations will be the subject of a manuscript article in the symposium proceedings, scheduled for publication in the second half of 2026.