Performance artist Deborah De Robertis in Musée d'Orsay (Luxemburger Wort, screenshot of YouTube video)

by Catherine Sezgin, ARCA Blog Editor

As reported by Luxemburger Wort last week in "Luxembourg artist flashes Paris museum-goers", performance artist Deborah De Robertis exposed her female genitalia in front of Gustave Courbet's L'origine du monde (1866) in the Musée d'Orsay in Paris on May 29:

Dressed in a gold sequin dress, the artist walked into the museum on May 29, sat down below the painting and spread her legs to reveal her vagina in a reflection of the artwork, which shows a woman's genitals and abdomen under the title The Origin of the World. A museum guard alerted police who took De Robertis into custody for indecent exposure. However, the prosecution decided not to press charges and the Luxembourg artist was released. Speaking to wort.lu, De Robertis explained that her performance was not simply an act of exhibitionism, but a reflected action, creating a new tableau in play with the original artwork. An invitation to the performance, distributed to a limited number of people, said that De Robertis aims to destabilise power relations, as well as reflecting on relationships between men and women, and artists and control over their work.

Art Detective aims to improve knowledge of the UK’s public art collection. It is a free-to-use online network that connects public art collections with members of the public and providers of specialist knowledge. Art Detective Launched in March 2014, Art Detective comprises a digital network built on top of the Public Catalogue Foundation’s (PCF) existing art object database. Art Detective is accessed through the Your Paintings website and the PCF website.

Dr. Christos Tsirogiannis

This study is the first academic approach to an immense and incriminating body of material: the confiscated photographic archive of Robin Symes and Christos Michaelides, the top antiquities dealers in the world until 1999. I show how this archive interacts with the archives previously confiscated from the dealers Giacomo Medici and Gianfranco Becchina. Forensic research by Italian and Greek police authorities on those archives first proved that - from at least 1972 until 2006 - the antiquities market was based largely on looted and smuggled objects, controlled by an international network of looters, middlemen, dealers, auction houses, conservators, academics, museums and private collectors. During the last seven years, this situation has worsened, despite the convictions of Symes, Medici, Becchina and multiple repatriations of their looted and smuggled antiquities from North American museums, collectors and dealers to Italy. My PhD tackled this most recent period. 

The project of demonstrating the involvement of reputable institutions, companies and individuals in the illicit antiquities trade, as well as the corruption of the art market, is by its nature interdisciplinary; its results are important for the fields of archaeology, art history, criminology, politics and law. I brought to the PhD a unique combination of an academic background in archaeology and extensive work experience in the field. Following my undergraduate degree, I was employed for several years by the Greek ministry of Culture as an archaeologist before receiving an invitation to work on the exposure of the international illicit antiquities network with the Greek Police Art Squad. My specific interest in Symes-Michaelides comes from the fact that I participated in the police raid on their home on Schinousa, from where the archive was seized, and I was later the sole investigator of the contents, working as forensic archaeologist at the Greek Ministry of Justice. 

The PhD began with a historical review, and then surveyed the main members of the international illicit antiquities network (ch. 1). I systematically catalogued the contents of the Symes-Michaelides archive (ch. 2) and then outlined, with examples, the ways in which Symes traded with Medici and Becchina (ch. 3). The central chapter documents ways in which academics from reputable institutions were involved in ‘laundering’ this illicit material, via publications then used by museums and auction houses (ch. 4). In the last main chapter, I presented and analyzed a series of hitherto undiscovered cases of illicit antiquities in the antiquities market, mainly in auction houses since 2007. My conclusion drew out the wider picture (implications) from the network’s activities and suggested solutions towards different attitudes in antiquities trading, as well as fighting the antiquities trafficking. 

The project I would be concerned with as Writer-in-Residence this summer, therefore, is the transformation of the completed PhD into a book. As well as editing the text, I need to update the story of some individual case studies, and my description of the ways in which protagonists are selling artifacts. The PhD was about 77,000 words, plus three appendices of transcripts etc. and bibliography; I expect that the book would be c.100,000 words all told. I am currently putting together a book proposal to send to publishers in the next month; I hope that by July I would have a sense of what the publisher requires by way of editing and expansion. 

The ARCA Writer-in-Residence also offers me a rare opportunity to check the publications of auction houses, galleries, museums and private collections kept in libraries in Rome. These publications have proved valuable to forensic archaeologists Maurizio Pellegrini and Daniela Rizzo in the identification of dozens of antiquities from the same archives (Medici, Becchina, Symes) for the Italian state during the period 1995-2008. No library in Europe has a complete series of auction house -- and gallery -- publications, but I expect to add to my own catalogue from a systematic check in Rome, due to the recent successful repatriation claims of the Italian state.

I was drawn to Robert Bevan’s book after conducting a literature review for an article I was working on. After reading the sections I was interested in, I left the book nearby, as I was eager to read the entirety of its contents the sooner the better. Bevan, former editor of the magazine Building design, chronicles and deeply analyzes along the 240 pages of the book (divided in seven chapters) several cases of architectonical destruction and how it has an impact in obliterating not only an ethnic group but also what they represent. 

Chapter one sets the tone for the chapters that follow: in an introductory, broader approach if compared to the rest of the chapters, which are more specific and deal with particular issues of cultural heritage destruction, the author explains how architecture achieves a totemic status with a meaning that needs to be destroyed in order to ensure the eradication of a particular ethnic group. It is interesting to see how the author delineates the history of architectonical destruction, and for the readers interested in the legislation related to destruction of cultural heritage, it is also briefly described in this chapter. 

Chapter two talks about cultural cleansing: the author looks for similarities and differences between kristallnacht and the beginning of the treatment of the Jewish by the Nazi regime, and the Balkan wars. The genocide of the Armenians, another important one of the twentieth century, is explained in order to highlight the need not only to eradicate the individuals but also its collective memory and identity.

Critical to their return was Tess Davis, a U.S. art lawyer and affiliate researcher at the University of Glasgow, who stressed Cambodia had only won the first in a series of battles, in what could prove to be a protracted war over the return of looted art. “The kingdom has taken on the art market, an entire industry, and a powerful one at that,” Davis told The Diplomat. “Collectors, dealers, museums, auction houses, they have deep pockets and top lawyers on their side. But Cambodia has something even more important: the truth and the law. And that’s something no amount of money can buy.”

[...]

Davis, dubbed by some as ‘Indiana Jane,’ said the looting and trafficking of antiquities was a crime that would no longer be tolerated, “not by governments, not by law enforcement, and not by the leaders in the art world itself.” The thefts have also been seen as a symbol of Cambodia’s perennial problems, ranging from corruption to a culture of impunity among the country’s well-heeled and politically connected. Davis said Cambodia had given the art world a simple choice, “to do the right thing or not.” She said the Metropolitan Museum of Art in New York and Christie’s had stepped up and fulfilled their obligations, but others like the Cleveland Museum of Art and Sotheby’s have been more reluctant. “They are fighting with everything they have to stay in the past, a past where they could do whatever they wanted. They act like antiquated colonial relics, while their competitors have entered the 21st-century, and are thriving in it,” Davis said.

Sofia Cecchi: What was the initial spark that made you want to study the ethics of collecting and the trade in illicit antiquities? 

Professor Elia: While a grad student digging at Stobi (then Yugoslavia, now the Republic of Macedonia) in the late 1970s, my mentor, James R. Wiseman, showed me how looters were destroying archaeological sites in the search for marketable antiquities. Prof. Wiseman also created an innovative section of the new Journal of Field Archaeology, called “The Antiquities Market,” which featured articles about the topic. I also learned a lot from the writings of Oscar White Muscarella, who among other things destroyed the myth of the "reputable dealer" in the antiquities market. 

Sofia Cecchi: “Collectors are the real looters.” More than twenty years have passed since you made this memorable statement. Have any positive changes occurred in the past decade? 

Professor Elia: There is definitely more public awareness than ever about the problem of looting and the fact that collectors, both private and institutional, are driving the market by creating the demand for antiquities. Looters, of course, are the ones doing the looting, but they are operating in a supply-and-demand economic system that starts with the creation of demand for cultural objects. So collectors, whether they are private individuals or museums are, indeed, the real looters and in the last two decades there has been a huge growth in public awareness of this fact. This comes from several sources: increased media attention; more aggressive legal actions by source countries; and a depressing spate of armed conflicts in the world that have resulted in both destruction looting of archaeological sites.

Photo credit to Tess Davis (Facebook)

Three of Cambodia’s ancient sandstone warriors were welcomed back to their birthplace yesterday, greeted by lotus wreathes and a troupe of traditional dancers adorned in gold. The ceremony marked the end of a 40-year absence for the Duryodhana, Bhima and Balarama statues. The mammoth, 10th-century characters all belong to the same tableau of mythological Hindu figures once locked in battle at Prasat Chen, a remote jungle temple in Preah Vihear. Over the past year, Cambodia has regained five of the nine statues pillaged from the temple’s Eastern entrance, haphazardly hacked from their pedestals and sold on to international art markets during the Khmer Rouge era. “Surviving civil wars, looting, smuggling and travelling the world, these three have now regained their freedom and returned home,” Deputy Prime Minister Sok An said during yesterday’s repatriation ceremony.

With the help of the U.S. government and UNESCO,Cambodia first got the ball rolling in 2012 when it filed a suit against the New York-based auction house Sotheby's after the institution put a statue known as "The Duryodhana" -- valued at about $3 million -- up for sale. Earlier this year, with the case still ongoing, Sotheby's agreed to return the statue. The mighty "Duryodhana" was one of the impressive pieces unveiled at Tuesday's ceremony, alongside statues known as the Bhima and Balarama, returned by the Norton Simon Museum of California and Christie's auction house, respectively. While legal action was originally taken against Sotheby's in the case of the "Duryodhana," Christie's returned its statue voluntarily after discovering it was looted. The Norton Simon Museum did the same. 

Tess Davis, an affiliate researcher at the University of Glasgow who specializes in cultural heritage law, said Tuesday, "It's a very exciting day, not just for Cambodia, but for all countries that have been plundered." "Cambodia's on the right side of history here," she added. 

Anne Lemaistre, head of Cambodia's UNESCO office, called the statues' return "a big coup" for Cambodia and said that it might act as an incentive for other museums and private collectors to return looted antiquities. "Now let's see what Cleveland would say," Lemaistre said, referring to the museum’s recent denial that the Angkor statue in its possession was looted. 

Buddhist majority Cambodia, which has a rich cultural heritage influenced by Indian traditions and Hindu legends, is famed for its temples, and the intricate engravings of graceful traditional dancers and mythological characters adorning their walls. Representatives from Christie's and the Norton Simon who attended the ceremony said they were delighted to have been able to help Cambodia recover some of its valuable cultural heritage. "These statues... were callously hacked... and trafficked on the international art market," Jeff Daigle, deputy chief of mission for the U.S. Embassy in Cambodia, said in a speech, expressing the U.S.’s commitment to stopping the illegal arts trade. "We must not forget that the commercial trade in illicit art remains," he added.

NYTimes: Matisse's Odalisque

BMG - discussing faking of Matisse's 'Odalisque in Red Pants', all manner of issues with authentication once fake discovered #artcrime

The theft of the painting was first discovered in late 2002, when the Contemporary Art Museum of Caracas was contacted by a Miami gallery owner saying that someone had offered to sell it to him. Experts at the museum inspected the likeness and were shocked to find that it was a fake, and not a very good one, at that. Someone had removed the original painting from its frame and put the fake in its place, leaving it to be exhibited as if it were the real thing. And no one noticed. The fake painting appears to have been hanging in the museum for at least two years and perhaps longer. Marianela Balbi, a journalist who wrote a book about the theft, said that a photograph taken in September 2000 shows President Hugo Chávez standing in the museum in front of the fake Matisse. That is the earliest indication of the switch, she said. The next month the museum heard from a Matisse expert that someone was shopping the painting around, Ms. Balbi said. But it appears no one followed up, and the theft went undiscovered for an additional two years.