ERC – pubblico

The third European conference of art registrars, organised by Registrarte with the patronage of the Ministry of Cultural Heritage and Activities, the Municipality of Rome, Department of Cultural Policies and the support of various private operators, followed the two previous editions of the same event (London 1998, Paris 2000), constituting a further opportunity for debate and in-depth analysis for operators in the sector, as well as an event of particular relevance in the panorama of Italian Cultural Heritage, not least by virtue of the presence of over three hundred participants including registrars and insiders from all over Europe and the United States.

Il programma degli interventi dà la misura di quanto le tematiche affrontate abbiano contribuito alla diffusione della conoscenza della figura professionale del registrar di Opere d’arte in Italia, permettendo ai professionisti del settore di confrontarsi su problematiche di comune interesse. Dall’ampia trattazione dei temi è emerso infatti un panorama multiforme e variegato – per modalità operative individuali o nazionali, per efficacia o potenzialità tecnica e gestionale, per finalità e caratteristiche delle singole professionalità coinvolte – delle attività che il registrar è chiamato ad assolvere secondo i principi dell’attuale modello di riferimento europeo, di cui l’Italia solo ora (purtroppo in ritardo) inizia a prendere concretamente coscienza. A ribadire che lo scopo dichiarato di questa terza edizione della Conferenza era proprio quello di definire e promuovere il profilo professionale del registrar anche nel nostro Paese.

The programme of speeches gives a measure of how much the topics addressed contributed to the dissemination of knowledge of the professional figure of the art registrar in Italy, allowing professionals in the sector to discuss issues of common interest. In fact, a multiform and variegated panorama emerged from the wide-ranging discussion of the topics – in terms of individual or national operating methods, technical and management effectiveness or potential, and the purposes and characteristics of the individual professions involved – of the activities that the registrar is called upon to perform according to the principles of the current European reference model, of which Italy is only now (unfortunately late) beginning to become concretely aware. To reiterate that the declared purpose of this third edition of the Conference was precisely to define and promote the professional profile of the registrar also in our country.

The conference proceedings, ‘Registrar of Works of Art. Proceedings of the Third European Conference’ were published by Silvana Editoriale.

The conference was promoted and organised by: Registrarte – Associazione Italiana dei Registrar di Opere d’Arte

under the patronage of
MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI
COMUNE DI ROMA – ASSESSORATO ALLE POLITICHE CULTURALI

in collaboration with
UK Registrar’s Group (UKRG)
Association Française Régisseurs Oeuvres d’Art (AFROA)
Azienda Speciale Palaexpo
Galleria Nazionale d’Arte Moderna

and with the support of
André Chenue (Paris), Aon Artscope (Amsterdam), Arterìa (Milano), Assitalia (Roma), Blackwall Green, Jewellery and Fine Art (London), Borghi International (Milano), Cienne Transport (Roma), Constantine (London), Crozier Fine Arts (New York), Dietl International Services (Jamaica, NY), Edict Transporte Especial (Madrid), Epoca Insurance (Bologna), Exel Logistics (Oslo), Expositions Natural Le Coultre (Genève), Gander and White Shipping (London), Geodis Züst Ambrosetti (Milano), Gerlach Art Packers & Shippers (Schiphol), Gondrand (Milano), Gras Savoye (Neuilly-sur-Seine), Harsch Transports (Genève), Hasenkamp Internationale Transporte (Köln), HS Art Service (Wien), Interlinea Fine Arts Packers and Forwarders (Venezia), Hungart International Fine Art Shipping (Budapest), Khepri (St. Petersburg), Kuhn & Bülow Versicherungsmakler (Berlin), Kunsttrans Spedition (Wien), Léon Aget (Marseille), LP Art (Paris), Masterpiece International (New York), Mat Securitas Express (Zürich), Møbeltransport Danmark (Rødovre), Möbel-Transport (Zürich), Momart (London), MT Art Services (Senningerberg), MTAB Transport & Spedition (Stockholm), Oxford Exhibition Services (London), Panzironi Art Transport (Milano), Piccin Trasporti d’Arte (Milano), Progress Insurance Broker (Roma), RBA Racine Berkow Associates (New York), SIT Transportes Internacionales (Madrid), Stebich Ridder International (New York), Tti Tecnicas de Transportes Internacionales (Barcelona), Tratto (Venezia), Van Kralingen (Den Haag), West Coast Keating (San Francisco), ZF Josef Roggendorf (Köln).

Technical sponsor
ExibARTonpaper

Documents:

The second European conference, which was held in the Auditorium des Galeries Nationales du Grand Palais, was organised by AFROA and covered the following topics: condition reports for temporary exhibitions, fundamental clauses in art insurance contracts, claims and depreciation of works, the role of the registrar in preventive conservation, storage organisation, handling and security of works in Europe in air travel, third party claims, registrar and contemporary art.

For completeness, please consult the conference proceedings:
Marie-France Cocheteux; Association française des régisseurs d’œuvres d’art; et al
Actes de la deuxième Conférence européenne des régisseurs d’oeuvres d’art : Paris, Galeries nationales du Grand Palais, 14 & 15 novembre 2000, La Celle Saint-Cloud : 40 cerisiers, ©2002.

Below is the programme of the speeches on the two days.

Conference opening
David Guille, Administrateur General, Galeries Nationales du Grand Palais, Paris
Helene Vassal, Presidente de l’AFROA, Régisseur des collections au musée des arts asiatiques, Guimet, Paris
Jean Naudin,President du comité d’organisation de la Conference, Vice-President de l’AFROA, Responsable du mouvement des oeuvres, Reunion des musées nationaux, Paris

Panel discussion on the subject of condition reports for temporary exhibitions
Présidé par
Carole Farra, Régisseur, Centre Georges Pompidou, Paris
Intervenants
Brigitte Daprà, Museo di Capodimonte, Naples
Jean Rosston, Restauratrice, Kunsthaus Zurich
Krystyna Lubienska, Régisseur, Zamek Krolewski W Warzawie
Anne de Wallens, Régisseur du département des Peintures du musée du Louvre

Insuring art works: the essential clauses in the insurance contract
Présidé par
Annie Boucher, Chef du service de la regie des oeuvres, Centre Georges Pompidou
Intervenants
Delphine Davenier, Adjointe au chef du service de la regie des oeuvres, Centre Georges Pompidou
Marie-Christine Alves Bonde, Chef du service juridique, Centre Georges Pompidou
Cees Kortleve, Directeur Property Department, Aon Nederland

Handling claims and depreciation: a «user’s manual»
Présidé par
Jean Naudin, Responsable du mouvement des oeuvres Reunion des musées nationaux, Paris
Intervenants
François Privat, Expert judiciaire auprès de la Cour d’Appel, Paris
Yves Première, Axa Global Risks, Paris
Frank Bülow, Kuhn & Bülow, Berlin

The role of the registrar in preventative conservation

Part one: Four registrars speak about their experience
Présidé par
Anne de Wallens, Régisseur du département des Peintures du musée du Louvre
Intervenants
Wim Hoeben, Régisseur, département des peintures, Rijksmuseum, Amsterdam
Caterina Bon, Soprintendenza di Umbria, Perugia
Hélène Vassal, Régisseur des collections, musée national des arts asiatiques -Guimet
Lillie Johansson, Régisseur, National Museum, Stockholm

Part two: “Panel discussion on preventive conservation”
Présidé par
Vincent Pomarède, Conservateur du Patrimoine, Directeur du musée des Beaux Arts de Lyon
Intervenants
David Cueco, President de la Federation Françise des Conservateurs Restaurateurs
Gwënael Rimaud, LP Art, Paris
Denis Guillemard, DESS Conservation preventive Université Paris I
Antonio Addari, Propileo, Rome
Caterina Bon, Soprintendenza di Umbria, Perugia
Wim Hoeben, Régisseur, département des peintures, Rijksmuseum, Amsterdam
Lillie Johansson, Régisseur, National Museum, Stockholm
Hélène Vassal, Régisseur des collections, musée national des arts asiatiques Guimet
Anne de Wallens, Régisseur du département des Peintures du musée du Louvre
Anne Van Grevestein, Restauratrice, Maastricht

Organising Store Rooms
Présidé par
Francine Robinson, Coordinateur d’expositions, Reunion des musées nationaux, Paris
Intervenants
Eric Blanchegorge, Conservateur du musée Vivenel, Compiègne
Jackie Britton, Head of collections storage and access, Science Museum, Londres

Air freight handling & security in Europe
Présidé par
Jean Naudin, Responsable du mouvement des oeuvres, Reunion des musées nationaux, Paris
Intervenants
Patrick Delauche, Andre Chenue SA, Paris
John Juson, Momart, Londres
Rene Italiaander, Gerlach, Amsterdam
Hans-Ewald Schneider, Hasenkamp, Cologne

Third Party claims
Présidé par
Julia Toffolo, Registrar, Government Art Collection of United Kingdom, Londres
Intervenants
Sharon Page, Tate Gallery, Londres
Didier Schulman, Conservateur charge de la documentation des collections au Centre Georges Pompidou musée national d’art moderne, Paris
Professeur Norman Palmer, University of London
Professor Wojciech Kowalski, Department of Intellectual & Cultural Property Laws, University of Silesia, Katowice, Poland

The registrar and contemporary art
What are the methods of caring for contemporary art? What is the registrar’s mission and what are the tools available in dealing with contemporary art?
Table ronde présidée par:
Jean-Michel Jagot, Responsable de la diffusion de la collection du Frac des Pays de la Loire

Ouverture de la seance et introduction aux problèmes spécifiques de la regie en art contemporain
Présidé par
Jean-Michel Jagot, Responsable de la diffusion de la collection du Frac des Pays de la Loire

The change of status of an art work: production, preservation and contemporary art
Présidé par
Robert Fleck, Critique d’art, commissaire d’exposition et Directeur de l’Ecole régionale des Beaux arts de Nantes

The relationship between the artist and the registrar. Sarki’s experience
Sarkis, artist

The installation and travelling of a contemporary art exhibition consisting of 1000 heavy and over-sized works
Tina Köhler, Régisseur et coordinatrice d’exposition, Haus der Kunst, Munich

Specifics of preservation and conservation for contemporary art
Irene Civil Plans, Restauratrice d’oeuvre d’art moderne et contemporain, Espagne

Documentation and interpretation of the art work: how can installations be archived?
Jeremy Wood, Directeur, Museum of Installation, Londres
Nicolas Oliveira, Directeur, Museum of Installation, Londres

Documents:

The first European conference of art registrars, organised by the UKRG at the National Gallery in London, was attended by over 300 delegates from 18 different countries.

Topics of particular interest to the profession were discussed: European state indemnities, international laws for the circulation, import and export of works of art, outside and inside Eastern Europe, insurance.

Below, from the table of contents of the conference proceedings ‘The UK Registrars Group, European Conference 1998, National Gallery, London, 3/4 November 1998’ the topics discussed during the two days.

State indemnities
French national indemnity
French national indemnity – Practical information
Italian state indemnity
Dutch government indemnity

Customs procedures – International laws
French import & export regulation for works of art
French customs procedures
The new Italian law on the movement of works of art
Custom and transport issues within europe
Travelling exhibitions to and from Switzerland (a non-ec country)
European export rules

Eastern Europe
Fine art transport in western and eastern Europe
Transportation in eastern Europe
The movement of art by road from the Czech Republic, Slovac Republic, the Ukraine and Armenia: praticalities
Transportation in the Russian Federation
Art in transit in eastern Europe
Rules and problems: the State Hermitage museum

Insurance
Risk & rate
Settlement of claims and depreciation