2023-11-08 01:21:43
The International Conference Artwork Expertise (ICAE) stands out for being the first international art expertise congress in Latin America. After its editions in Buenos Aires, in 2016, and in Rio de Janeiro, in 2018, the third meeting took place in São Paulo, precisely at the Museum of Modern Art (MAM), in Ibirapuera Park. With the support of important institutions, such as UNESCO, ICOM and IBRAM, as well as several other public and private entities, ICAE is a space for exhibition and dialogue on various areas, from legislation and authentication of works to the universe of the art market. and collecting. The event, which took place last Sunday, November 5th, focused on exploring these areas in detail. Artsoul is a partner of ICAE and, below, we present the most notable moments that marked this experience.
The day began with welcoming words from Gustavo Perino and Anauene Dias Soares, event organizers. Gustavo, professor and coordinator of the postgraduate program in Expertise and Evaluation of Works of Art at Universidade Santa Úrsula, is the founder of Givoa Art Consulting, a company specialized in expert examination and evaluation of works. Anauene, lawyer, master and doctor in law specializing in cultural rights, is the founder of Anauene Art Law, an office dedicated to the field of art and heritage law. In their inaugural speech, they highlighted the importance of this event and its holistic approach, which sees expertise, law and the art market as interconnected components of a large field. This broad view of art helps its development as a whole, as different stages of its process, from artistic creation to the protection of historical cultural heritage, pass through these three pillars.
Then, the discussion continued with contributions from Cauê Alves and Daniela Matera Lins. Cauê, chief curator at the São Paulo Museum of Modern Art, and Daniela, museologist and director of the National Museum of Fine Arts in Rio de Janeiro, shared the trajectories of their respective institutions. Both highlighted the relevance of themes such as art expertise and collecting in the historical context and in the initiatives of their museums. Cauê highlighted the MAM Collectors’ Club, a project that promotes art collecting, with an emphasis on engravings and photographs. In turn, Daniela shared details regarding the significant renovation underway at MNBA, expected to reopen in mid-2024.
The morning ended with the first panel entitled Art Authentication, focused on the authentication and expertise of works of art, as well as their nuances and relevance. The panel was subdivided into two parts, the first being composed of Alejandra Leyba, from Givoa Argentina, Luciano Delgado Tercero, professor at the Universidad de Nebrija in Spain, and Gustavo Perino. The panel was mediated by researcher Vanessa Bortulucce. During the discussions, the emphasis fell on the application of Due Diligence, which in Portuguese means “due diligence”, in the expert assessment of works of art. This concept, widely known in the legal field, refers to the thorough investigation and analysis necessary before making crucial decisions. In the context of authenticating works of art, due diligence addresses several aspects, including their origin, documentation and technical reports. As exemplified by Gustavo, a good provenance, provenance and art expertise, can increase its value by up to 54%. However, relying on provenance alone is not enough, as it is necessary to analyze elements such as technique, style, paints and pigments used, which also plays a fundamental role in verifying the authenticity of the work.
In the second part of the panel, the focus was on contemporary techniques, standards and technologies applied to the authentication of works of art. José Roberto Roque, director of the Institute for Authentication and Evaluation of Works of Art in Brazil (i3A), acted as mediator, accompanied by Marcelo Redigolo, from the Institute of Energy and Nuclear Research (IPEN), and Paulo Rocha, from Essencis Technologies. Speakers addressed the technical challenges inherent to the forensic process, exploring issues such as analyzing the chemical composition of paints and the effectiveness of technologies such as X-ray and infrared photography. Closing the session, Paulo Rocha led a demonstration involving one of Essencis’ devices, presenting a chemical analysis of a work on display in the auditorium and illustrating how the origin of a work can be understood through its chemical composition.
The followingnoon began with the panel Art Law, which focused on laws related to art, cultural production and historical heritage. Anauene led the dialogue, accompanied by Nichollas Alem, lawyer at BSA Advogados, and José Miguel Puccinelli, Argentine lawyer at Beccar Varella. The main focus of the panel was the application of due diligence within the scope of art law, an action necessary to prevent the acquisition and sale of stolen, lost or counterfeit goods, avoiding losses not only for collectors, but also for national heritage. In the context, relevant initiatives were shared, such as the ICOM Red List, a project of which Anauene was coordinator, which classifies protected objects that should not be sold but circulate in the informal market, and the Interpol website, which also maintains a bank of data on sought-following art objects. Another relevant point addressed was the discussion on the drafting of contracts for the acquisition of works of art. It is necessary to detail the rights of reproduction, digitization, exhibition, resale, among others, which are not necessarily covered by the right to possess a work. This aspect becomes even more crucial when the art in question is a performance or an installation, requiring detailed considerations, such as exposure and lighting conditions, among other details.
The last panel, Art Market, focused on the art market, was divided into two moments. The first table was attended by Nei Vargas, professor at Universidade Santa Úrsula, Thaís Franco, director of collections management at KURA, Leonardo Wengrover from W.Advisor, Ana Maria Lima from Hurst Capital and Alex Tso, founder of Diáspora Galeria, who approached collecting from different perspectives.
Nei Vargas shared the results of his research, highlighting that collecting is not directly linked to purchasing power, and that the majority of Brazilian collectors invest up to R$50 thousand per year in their collections. Thais Franco presented the work of KURA, which offers art consultancy services. This is a personal and customized service, which includes everything from mediation between collectors and galleries to installation, maintenance of works and management of collections. Leonardo Wengrover discussed his professional role in supporting family heritage, considering heritage in a broad sense. In this context, an art collection can enrich a family’s intellectual, cultural and social capital, bringing a complexity that goes beyond simple material assets. Ana Maria shared information regarding Hurst Capital’s collective investment operation, which invests in specific artists each year, and once the works are sold, the profits are divided among shareholders. This type of operation has yielded between 16% and 18% per year, with artists such as Abraham Palatnik achieving an even higher rate of 27% per year, exceeding market averages. Furthermore, Ana Maria highlighted the growth in the view of art as an investment, citing data from the Artsy Report that illustrates this growth. To conclude, Alex Tso shared the story of Diáspora Galeria, the first institution in the sector to adopt ethnic-racial representation quotas. During his exhibition, Alex raised relevant questions regarding the role of galleries and collectors, asking whether they can also play an influence on the social and cultural scene, and, if so, how they can follow this path.
In the second part of the panel Art Market, Tamara Perlman, director of new business at SP-Arte, acted as mediator in the dialogue between Ulisses Cohn, from the Association of Art Galleries of Brazil (AGAB), and Victoria Zuffo, president of the Brazilian Association of Contemporary Art (ABACT). Both institutions include galleries, but with different focuses. ABACT focuses on the primary market, where works of art are sold for the first time, while AGAB operates on the secondary market, which involves the resale of works, generally associated with renowned artists. The discussion explored the similarities and differences between these approaches. For example, the secondary market deals with counterfeiting issues more frequently, which is not as common in the primary market. ABACT is concerned with playing a promotional role, encouraging Brazilian galleries and artists through exhibitions abroad and international exchanges. Finally, Ulisses highlighted that the effective work of galleries in the primary market also reflects positively on the secondary market, resulting in works with more complete and organized documentation, thanks to the galleries’ recent efforts in this direction.
At the closing of ICAE, Ulisses, Victoria and Tamara emphasized the importance of similar events. They recalled a point brought up at the beginning: that the scenario of production and the art market is intricate and interdependent, involving aspects ranging from creation and sale to exhibition, restoration and validation, among other fundamental elements. In this sense, it is essential to understand that the art market does not compete with museums, institutions or public heritage. On the contrary, it plays a crucial role in preserving society’s cultural memory, working collaboratively and synergistically with other sectors. If you are interested in the world of art and wish to attend the panels, you can do so online, on the ICAE website. After registering, you will have access to recordings of the event and the presentations made by the speakers, exploring in detail the various reflections and discussions regarding authentication, laws and the art market.
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