In 2017, Victoria Miro Gallery took over Il Capricorno, a gallery space housed in a 17th-century building, near St Mark’sSquare.
This was a big operational undertaking with only 2 sales team members on the ground. The Registrars – all based in London - had to deep dive into the logistics of shipping artworks in Venice. That’s when we learned that in Venice, rubbish trumps art! Then Brexit happened 3 years later. As a UK based gallery, the intricacies of Italian customs had to be understood and applied. Setting up a Temporary Admission account, understanding the physicality of the art formalities, planning and strategizing the gallery exhibition program while keeping a green eye, all have been a very interesting experience. We have an annual programme of 6 exhibitions from our artists’ stable including Chris Ofili, Alice Neel and Sarah Sze. We also have developed a strong relationship with Venice’s artistic scene – from Paula Rego and her solo presentation at the 2022 Venice Biennale to Tal R at the canalside Garden of the Palazzo Experimental in 2023.
Victoria wanted our artists to immerse themselves in Venice: the establishment of a residency set opposite the GrandCanal in 2020 has enhanced our relationship with local suppliers including marble quarry, framers and conservators. From shipping artwork and material across the world to and from Venice; to delivering them safely to the gallery and the studio, not only are.

My presentation focuses on Italian fine art formalities, a complex topic often explained through extensive lists of cases and documents in conferences like Icefat and ARCS, where I've also presented, drawing on my experience as a cultural logistics lecturer since 1996. In contrast to these approaches, I've developed a method that distills the essence of this intricate subject from a single phrase.
Fine art formalities for dummies" isn't meant to be derogatory, but rather a basic explanation of the foundational principles underlying Italian cultural heritage protection laws. It aims to provide clarity without unnecessary complexity, which can be misleading at first glance.

Control activity of the security levels of places of culture against damage crimes, theft and robbery
Captain Lorenzo Galizia, will present the Carabinieri Command for the Protection of Cultural Heritage (TPC) and will focus on the "Control activities of the security levels of places of culture against crimes of damage, theft and robbery".
Italy is the first nation to equip itself with a specialized nucleus in order to counteract the cultural impoverishment of the territory.
The Carabinieri Command for the Protection of Cultural Heritage (TPC) is indeed a special department of the Carabinieri and functionally depends on the Ministry of Culture (MiC). Established in 1969, the TPC carries out tasks concerning the safety and protection of the National Cultural Heritage through the prevention and repression of violations of the legislation for the protection of cultural and landscape assets.
Today the Command is made up of around 300 units, making it the most important in the world in numerical terms.

Since 2004, the Fondazione Museo Egizio di Torino has been managing, enhancing and promoting a public archaeological collection of some 40,000 artefacts, conferred by the Ministry of Culture. While the management and enhancement of the Collection is a responsibility of the Fondazione Museo Egizio, it remains under the jurisdiction of the Ministry (founding partner) to safeguard the collection and maintain its integrity. In managing an outgoing loan the Exhibition Department interfaces therefore with the Archaeological Superintendence of Turin and indirectly with the Ministry at every stage, following the guidelines of the Cultural Heritage Code and related circulars.

To conduct a preliminary evaluation of the exhibition’s scientific project and to start the paperwork with the Ministry on time, the loan application should reach the Museo Egizio di Torino at least six months earlier than the exhibition’s opening.

The documentation to submit slightly varies depending on the exhibition venue and the nature of the artefacts; deadlines are strict and the correctness of the documents is important for obtaining the necessary permits, which may arrive shortly before the loan departure or even delay it.

The presentation will analyse- from our lender perspective- the various bureaucratic steps to be taken to obtain the final ministerial authorisation and allow the shipment to depart on time; with the support of case studies* we will also highlight critical issues encountered.

Case studies:
- Loan including artefacts whose authorisation cannot be delegated to the local Superintendence.
- Loan request of both archaeological and archival materials.
- Loan out of the UE

Manlio Frigo - Abstract
This presentation focuses on the international practice in the field of cultural property disputes and examines the most effective and reliable dispute resolution methods in restitution and return of cultural property. Particularly in cases of disputes between Governmental authorities and foreign museums concerning the return or restitution of cultural property one of the privileged solutions may consist in negotiating contractual agreements. The recent international and Italian practice have proved that these agreements may either prevent any judicial steps or lead to a conclusion of pending administrative or judicial proceedings and have been successfully tested in recent years, more frequently within a wider frame of agreements of cultural cooperation. These agreements provide new forms of cooperation between the parties involved in such disputes and represent a mutually beneficial way-out with a view to a future of collaboration.

Francesco Sbisa' Abstract
The conference presentation will deal with the protection of cultural heritage through the tools of criminal law and of the “231” corporate liability. Firstly, the focus will be on the recent inclusion of crimes related to the protection of cultural heritage in the 231 predicate offences and on the resulting impact on corporate internal organization, especially in terms of procedures and protocols (e.g., the due diligences in art transactions). Additionally, the presentation will examine relevant case studies.

Alfredo Malguzzi and Pietro Villa Abstract
The subject of the presentation will be a preliminary overview of the application of value-added tax (VAT) in the context of the national and international circulation of works of art. Beginning with an analysis of the key aspects of the current Italian legislative framework, in comparison with certain foreign jurisdictions, the presentation will develop observations and reflections on the upcoming and unavoidable tax reform in this area.

Registrarte will provide an overview of its association’s Code of Ethics realized and published in 2024.
Registrarte and ARCS colleagues are going to highlight and discuss differences and similarities between Italian and US Codes of Ethics, their roots, their essence and evolution, hoping other registrars associations worldwide will also develop this relevant tool.