ANN: Registration open – Responsible Art Market Initiative 3rd edition (Geneva, 1st February 2019)

Registrationare now open for the 3rdResponsible Art Market Initiative event, Geneva, 1st February here: Programme available here:

For its third conference, the Responsible Art Market Initiative (RAM) will focus on “responsible art market measures in practice”, with workshops built around the “RAM Transaction Due Diligence Toolkit”. These workshops will illustrate how RAM’s toolkit, with its risk-based approach to client, artwork and transaction due diligence, can help art professionals and businesses navigate difficult situations and answer challenging questions. This conference will also consider the impact of the 5th European Anti-Money Laundering Directive on the Swiss and European art markets.

Confirmed speakers so far include Georgina Adam (Financial Times and The Art Newspaper, London), Philippe Davet (Blondeau & Cie, Geneva), Aude Lemogne (Link Management, Luxembourg), Jean-Bernard Schmid (Ochsner & Associés, Geneva) and Roland Foord (Stephenson Harwood, London). The conference program and registration details will be available shortly.

CONF: La “diaspora” des artistes venitiens (Paris, 12-13 Dec 18)

Paris, Auditorium du Louvre/ Institut Culturel Italien, December 12 – 13, 2018

La “diaspora” des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle

L’exposition Éblouissante Venise. Venise, les arts et l’Europe au XVIIIe siècle (Galeries nationales du Grand Palais, 26 septembre 2018 – 21 janvier 2019) propose un parcours de la civilisation vénitienne du XVIIIe siècle au travers d’un choix de peintures, sculptures, objets d’art, costumes et instruments de musique.

À cette occasion l’auditorium du Louvre organise un colloque en collaboration avec l’Institut Culturel Italien et l’Association des Historiens de l’Art Italien (AHAI), qui portera sur la diaspora des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle. Ce rayonnement de Venise au-delà de ses frontières constitue une singularité et s’explique par différents facteurs économiques, diplomatiques et politiques au-delà du génie propre aux artistes qui attire les mécènes les plus puissants. Le colloque se propose d’approfondir certains des aspects les plus complexes et les plus riches de ce phénomène.

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CONF: Postwar Narratives of Collecting (Rome, 14 Dec 18)

Rome, Royal Netherlands Institute in Rome, December 14, 2018

Why do we collect, how do we legitimise it for ourselves or for others, and what does that say about our culture? Collecting as a practice has been studied from various perspectives, beginning with Julius von Schlosser who in 1908 regarded it as a characteristic trait of the human soul – collecting objects was part of an inborn urge. Based on Lacan, Mieke Bal sustained the same in her famous essay on collecting, but then from a narrativist perspective – each collection is an on-going narrative for the collector as an individual by which means (s)he sublimates anxieties. Meanwhile, the collecting of contemporary art has attracted a lot of scholarly and critical attention in the last decades, but the discussion of this phenomenon decidedly deviated from the psychological perspective by focusing on the economic aspects of the art markets and their global development, the postcolonial situation, interculturality and the rise of the non-western artist. While the former, psychological perspective suggests that collecting does not change over time, the latter strand of research starts from the assumption that indeed collecting has very recently changed, quite radically even, turning into a global phenomenon.

The present workshop, organized by Arnold Witte, aims to open up a new perspective by building on both traditions but confronting the underlying assumptions. It starts with the observation that after 1945 the acquisition of contemporary art works became ever more important for a growing public – thanks to new buyers and as a result of government policies in industrialized countries – and institutions such as museums who increasingly collected contemporary art. Furthermore, new actors appeared on the scene, such as auction houses and corporate art collections. Businesses started to buy or commission contemporary art in order to embellish their employees’ offices or show it to a wider public. Belonging to this latter group are also non-profit institutions such as hospitals, which embraced art as part of their medical philosophy. Finally, artists and galleries were confronted with new expectations and adjusted their art and strategies to this new situation by incorporating, avoiding or refuting these narratives.

All these changes created the need for new legitimations that took the form of narratives, invented to justify the act of collecting for individuals, institutions and governments. It could also lead to counter-narratives, in the form of an art that defied the market, as in the case of (early) Arte Povera. These narratives also have implications for how then and now art was and is defined. This workshop aims to explore these narratives and their dynamics, by mapping the various motives formulated by actors in the field of collecting between 1945 and the early 2000s, in order to explore in what ways the act of collection adapted to the ideologies of the post-war era.

14:00 to 19:00

Jim Carter (American Academy in Rome):
-Industry, Culture and the New Humanism in Postwar Italy: The Case of Il Menabò – Jim Carter

Sara Piccinini (Collezione Maramotti)
-Collezione Maramotti. An out of fashion art collecting

Sabrina Kamstra (Academic Medical Center, Amsterdam)
-Why collecting for an Academical medical center?

Monika Kackovic (University of Amsterdam)
-Identify with your employer? You probably like the Art: A study on identity orientations and organizational non-core activities

Jan de Groot (University of Amsterdam)
-History for legitimacy: how curators of corporate art collections explain their acquisition decisions

Francesca Gallo (Università di Roma La Sapienza)
-Interview with Giuseppe Garrera on collecting

TIAMSA Legal: Third All Art and Cultural Heritage Law Conference, Saturday 10th November, 2018

The Art-Law Centre and the UNESCO Chair in the International Law of the Protection of Cultural Heritage of the University of Geneva are proud to invite you to participate in the “Third All Art and Cultural Heritage Law Conference”. This event will take place at the University of Geneva on Saturday 10 November 2018.

This conference is jointly organised by the Art-Law Centre and the Art Law Foundation. Programme and registration form are available here:

TIAMSA Legal: Art Market Conference in Geneva

TIAMSA Legal would like to inform you of the up-coming conference Cross-border movement of works of art in Europe – freedom or constraints being held at the University of Geneva on 9th November, 2018

More information available at:

CONF: Creating Markets, Collecting Art, 14-15 July, London

Christie’s Education Conference 2016

Celebrating 250 years of Christie’s, 14-15 July 2016

To commemorate the anniversary of the foundation of Christie’s auction house in 1766 a two-day conference will be held at Christie’s King Street, St James’s. Organised by Christie’s Education, and celebrating 30 years of the Christie’s Education Trust, the theme of ‘Creating Markets, Collecting Art’ has been chosen to reflect a progressive, collaborative and cross-disciplinary approach to the study of works of art. The conference is designed to explore the interrelationship between commerce, collecting and the idea of the ‘academy’ and how this has evolved over time.

Confirmed keynote speakers at the Conference include Professor Craig Clunas, University of Oxford and Dr Inge Reist, Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library.

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CONF: The Art Market, Collectors and Agents: Then and Now, Part I, 13 July, London

London, The Warburg Institute, July 13, 2016

Studies of the art market have paid great attention to the rise of auctions and the subsequent opening of the art market. However, there was another, equally important part of the art market in the early modern period, namely the agent, who discovered, bought and sold works of art to many of the most important collectors of the day. Agents not only acted as advisors; they set up networks across Europe and even beyond to acquire works of art; they negotiated with sellers and acted as intermediaries for buyers. At a time when prices were negotiable, the agent was often the person who created the true value of a work of art.

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