Further and throughout the year, we continued providing support to artists with their exhibitions and projects, as you can read in this newsletter, and attended professional seminars focusing on sustainability and reducing CO2 emissions in our working practices. We also had the opportunity to visit the Document fifteen in Kassel, Germany, and the 59th Biennale Arte in Venice. It has been an eventful year, much welcomed after various lockdowns during the pandemic.
VAN GOGH IN AMERICA
Being involved in the Van Gogh in America exhibition entailed dealing with a number of loans from the United Kingdom. One of the lent artworks travelled as unknown cargo, and the crate had to be screened at the airport. During this process, we discovered that a device was attached at the back of the artwork. As no further information was provided by the owner, the crate had to be opened, and the artwork had to be examined to ensure the consignment would be approved as safe cargo and be able to travel to Detroit. Before starting this process, I contacted the owner but was unable to reach the individual.
We carefully opened the crate and found the condition report, which mentioned the attached alarm. This device should have been removed before the artwork was packed, as it constituted a serious security breach. We unpacked the artwork and carefully removed the active alarm. Once this was achieved, we repacked the artwork and returned it with the condition report in its crate. The artwork was screened again, declared safe, and permitted to travel.
The entire process was documented, and a report was written and shared with all stakeholders involved. The alarm device was returned to the owner.
WORKING IN TBILISI, GEORGIA
We were appointed to cooperate with private clients in Tbilisi, providing collection care services. The projects were interesting and delivered successfully in unconventional circumstances. It required a rare breadth and strength of expertise and experience.
Whatever the challenge, we collaborate closely with our clients to prepare and provide solutions, as well as see the project through to a fruitful conclusion.
BUILDING A PRIVATE ART COLLECTION
Private collections have long existed in the public realm – once a family affair, today a surfeit of would-be Medicis. Unsurprisingly, it is the dream of many art professionals advising clients on building and enhancing their private art collections. Where to start from the apparent obvious? Providing tailored and personal advice entails knowing the clients’ ambition, budget, taste and affinity with specific artists, art movements, and a particular medium. Can the suggested pieces live outside the realm of art-historical importance or market drama, or are they intended as an investment vehicle? At no point can one forget the importance of developing a personal bond with your client, earning their trust.
Video: Courtesy and ©Beat Kuert, Emma Witter, Maria Teresa Ortoleva, Stefano Castelli, Detroit Institute of Art and Renée Pfister Art & Gallery Consultancy (text), Benjamin Tissot, (music) https://www.bensound.com/royalty-free-music/track/straight ,with the assistance of Georgia McConnell. All rights reserved.
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