The authenticity of digital art – by Roberto Concas
THE AUTHENTICITY OF DIGITAL ART
By Roberto Concas
How to preserve, collect, exhibit and restore a Digital Artwork?
It is possible that the question may create different reactions between, direct interest, simple curiosity, parallels, possible solutions.
Just on the authenticity of Digital Art , an article by Michele Foti , published on the Digital Magazine of the University of Bologna , opens a debate with” boundless “borders.
The analysis proceeds on technical IT aspects and other distinctions regarding the originality of the digital work of art, its conservation over time, its use and finally its restoration, or rather the “theory of restoration”.
On the digital art, in theoretical terms, today we discuss the authenticity of the works by understanding the whole process that from the action of the artist and from the social context in which he worked, passes through the technology used, both hardware and software, and personalized use by the artist, up to “the authenticity of the bits”.
MUSEUMS AND DIGITAL ART
In figurative terms, and according to these new theories, for each Digital Art Work one should keep the whole whole , and for this it can be stated that for each painting it would be appropriate also keep the brushes, colors, solvents, easel and atelier where the work was created and even preserve the pregnant smells of linseed oil, white spirit or trichlorethylene.
In addition to the extreme, it remains necessary to follow the linearity of the reasoning because research institutions and museums have long been working on these aspects of the conservation of the original such as the Guggenheim Museum.
DIGITAL HUMANITIES
Digital Art has entered the study subjects of the so-called DIGITAL HUMANISTIES now promoted with real training courses in many universities.
The commitment of this new “thinking” in Digital Humanities (DH), could be summarized in the desire to unite the humanistic and IT roots together, in a updated vision of our multi-ethnic, multi-technological and multitasking societies.
THE NEW SUBJECTS
For the study of Digital Art, new subjects such as “ retro-engineering ” and “ retro-computing ” also appear to deal with the originality of the hardware software and machine languages, configuring the new discipline of “ Media Archeology “.
In addition, the same artists of Digital Art firmly claim respect for the authenticity of their work, not even considering updating a graphics card for processing and output. For this reason we may be “forced” to keep our Commodore 64 in constant operation , in order to continue to appreciate the artistic expression of the enchanting and unsurpassed Tetris .
The player and the tape with its “interstellar” sound of the software also transmitted via radio by Rai in 1984 (Radiotex) must be preserved, displayed and used in the same system.
THE THEORY OF RESTORATION FOR DIGITAL ART
To study Digital Art, subjects such as the “Restoration Theory” migrate, a theme that remembers the discussion started in the mid-twentieth century by Cesare Brandi. (C. Brandi, Restoration Theory, History and Literature Editions, Rome 1963.)
A theoretical debate that has gone from the orthodox “archaeological visions” for which only the parts recognized as original should be saved from an ancient work of art, to the imperative of Bernand Berenson who preached “where he was and how he was” (How to rebuild demolished Florence, 1945 Bridge 1, pp. 33-38), to the “visionary pragmatism” of Ranuccio Bianchi Bandinelli, (How not to rebuild demolished Florence, 1945 Bridge 2, pp. 114-118).
Among these “extremes” also takes place the “rigor” for the fruition, conservation and restoration of Digital Art, a rigor with scientific profiles that, necessarily, must be traced, as already for the restoration of other works of art, to a profile of actualization and concrete operation.
CONSERVATION AND USE OF DIGITAL ART
However, going in order it is also true that a piece of Louis Armstrong can, indeed must, maintain a profile of “vinyl sound”, as well as a forerunner of Digital Art created by strong Nam June Paik , in the 1960s, will have reason to be displayed exclusively on black and white televisions, with cathode ray tube and valve technology dated from the 1950s and 1960s.
For each era and artist there is its own technology, a method, a technique, which we will have to learn to distinguish with professionalism and discipline, just as in the past we have learned to distinguish a hand-woven linen cloth from an industrial one, a priming from another, a nail hand-beaten by a seller or a stainless steel nail.
Today, the “tools of communication” (McLuhan) are in constant technological evolution and for this reason they begin to “distinguish” as to “order” and “Theorizing” becomes indispensable, because in an exhibition, the charm of a “primordial” digital work will be right of the technologies of its time, as well as a Digital Art in 4K, 3D – 4D or holographic format, will only be able to express itself only on a plasma screen or with the latest OLED.
These are the new themes of the authenticity of art, museology and digital curatorship.
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Interview with Clarenza CATULLO Registrar at MART of Rovereto – ProfessioneARTE.it
The interviews of ProfessioneArte.it
She is Clarenza Catullo Registrar at MART of Rovereto.
Five questions to get a preview of the great art professionals, the daily challenges to face, the choices that have determined their path in the system and in the art market, the changes under the banner of digital and the advice for those who want to undertake the same career in collaboration with ProfessioneARTE.it.
Art Rights is born
ART RIGHTS IS BORN
The digital platform for a new vision of art 3.0
Art Rights is innovating, digitizing and automating the process of authenticating artworks typical of the Artist Archives, offering this opportunity also to Artists, Galleries, Curators, Museums and Professionals in favor of the authenticity and to track the artworks history.
One every two artworks placed on the market would be false, while in Italy amounts to over 218 million euros the value of the false works seized by the Carabinieri Command for the Protection of Cultural Heritage for the contemporary sector, which is continuously growing year by year.
Behind each exhibited work there is a story, a path that involves the artist, together with galleries, collectors, auction houses, fairs and museums involving as many professionals in the management and enhancement of the works.
Today all this information is forgotten, sometimes lost, even omitted, making the procedure for authenticating, attributing and evaluating works of art complex, also affecting their cultural and economic value.
Art Rights becomes an information exchange and verification protocol , with a unique system for validating the history of the artwork and documentary equipment by multiple professionals in favor of authenticity , provenance and for a correct due diligence.
The Vision of an Art 3.0 is concrete with Art Rights, the first digital platform with a legal value to manage, certify and protect works of art in favor of Artists, Collectors and Operators in the sector.
An international art community where users earn, confirming the truthfulness of the information on the works, thus creating a value chain and a real digital passport of the work of art, private and personal, but verifiable in complete privacy and security.
Thousands of art players are already creating the Art Rights Certificates, safe and not falsifiable, to demonstrate the authorship, origin and authenticity of their works of art, with an advanced technological system using Blockchain and Artificial Intelligence, to protect the Copyright
After two years of development and testing with artists and protagonists of the art, the professional platform is now available, offering its users an Art Manager to manage the collection, Art Rights to certify the works and an exclusive Art Concierge to get in touch with the best service professionals to support the management and enhancement of art collections.
The time has come to protect, manage and enhance works of art
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The Fake Artworks Exhibitions
LE MOSTRE SULLE OPERE D’ARTE FALSE
The fake works of art, the nightmare of every collector and professional, exhibited in some exhibitions.
Discover the most important ones and the new digital solution to support the art world
How often we have told about the problem of fakes not only affects Collectors, but above all damages the market of the counterfeit Artist and consequently the professionals involved.
If in 2014 the Fine Art Expert Institute of Geneva estimated that more than half of the works examined in their laboratories are false or wrongly attributed, there have been numerous cases abroad of acquisitions and still the display of works by Collectors and Museums, such as the striking one of the Genoese exhibition dedicated to the masterpieces of Amedeo Modigliani .
The case of the Etienne Terrus museum, of the French town Elnus, which after some restoration works, discovered to own and exhibit 82 fake works out of 140; a scandal that shook the art world.
Over the years, however, there has been a willingness on the part of prestigious institutions to voluntarily organize exhibitions dedicated to works recognized by experts as false, erroneously attributed or counterfeited, with the aim of making collectors and operators aware of the extent of the problem and art lovers.
Below a selection of the most famous:
“Intent to Deceive: Fakes and Forgeries in the Art World”, at Springfield Museums(2014)
This revolutionary exhibition told some of the most famous scammers in the world , examining how they managed to counterfeit the most important works of art for much of the twentieth century, up to the present day. On display over 60 works of art produced by counterfeiters such as Han van Meegeren, Elmyr de Hory and Eric Hebborn, but also John Myatt and Mark Landis. The profile of each counterfeiter included a sample of their counterfeit works , together with personal effects, photographs, videos and representations of the materials and techniques used to create the fakes. Of particular interest were the reports of how art experts were able to use new technologies to reveal their fraud.
“Close Examination: Fakes, Mistakes and Discoveries”, at the National Gallery of London (2010)
La prestigiosa National Gallery di Londra ha organizzato una mostra incentrata su 40 dipinti contraffatti, comprati The prestigious National Gallery in London organized an exhibition focused on 40 counterfeit paintings , bought by the museum institution by mistake. The protagonist of the exhibition was a painting called ” the most sensational error that the National Gallery has ever made, even become famous ” : a fake Botticelli bought for a higher amount than that for which, in the same days, another authentic one was bought. Among the other works on display there were fakes by Rembrandt, Andrea del Verrocchio, Piero della Francesca, Giorgione and also a Hans Holbein.
“Seconde Main (Second Hand)”, at Museé d’Art Moderne de la Ville de Paris (2010)
This exhibition was a wide selection of “double-works”, created from the 1960s to today, which compare, on the one hand, with the layout of the permanent collection and, on the other, trigger a more general reflection on the problems of copy of the forgery, the quote, plagiarism and appropriation. All practices implemented in different ways that range from the more comprehensible ones of counterfeiters and copyists to the more sophisticated and provocative ones of conceptual and modern artists. Duchamp, Mondrian, Pollock, Jasper Johns, Warhol are among the many looted and overhauled masters.
“In difesa della bellezza”, at Università degli Studi Roma Tre (2019)
The “In defense of beauty” exhibition presented 108 works seized by the Carabinieri Command Corps for the Protection of Cultural Heritage (TPC) and analyzed by students, teachers and experts of the Laboratory of forgery Roma Tre University. Yes, but all false masterpieces: Burri’s material art with his Sacco, Schifano’s multimedia art, Sironi’s expressionist art, Balla’s futuristic and revolutionary art and the Macchiaiolo Fattori’s with his Tuscan Maremma.
How can you distinguish fakes from originals without being an art expert? Who are the most counterfeit artists? How much is the black market of fake art worth? These are some of the questions the exhibition has attempted to answer.
Behind every exhibited work of art there is a story, a path that involves the artist, together with galleries, collectors, auction houses, fairs and museums involving as many professionals in the management and enhancement of the works.
Today all this information is forgotten, sometimes lost, even omitted, making the procedure of authentication, attribution and evaluation of works of art complex, affecting the counterfeit market and the cultural and economic value of the same.
This is why Art Rights is born, a digital platform that is innovating, digitizing and automating the authenticity process of works of art typical of the Artist Archives, offering this opportunity also to Artists, Galleries, Curators, Museums and Professionals in favor of authenticity and tracing the history
The platform becomes a protocol for the exchange and verification of information, with a unique system of validation of the historian of the works and of the documentary equipment by several professionals in favor of authenticity, provenance and during due diligence.
After two years of development and testing with artists and protagonists of the art, the professional platform is now available, offering its users an Art Manager to manage the collection, Art Rights to certify the works and an exclusive Art Concierge to get in touch with the best service professionals to support the management and enhancement of art collections.
Are you ready to fight the fakes?
Art Digitisation: legal guidelines to restart
ART DIGITISATION: LEGAL GUIDELINES TO RESTART
By Angela Saltarelli
The restrictions adopted in Italy for the containment of the Coronavirus pandemic and social distancing are speeding up the process of digitising art for museums, auction houses, fairs, galleries, artists and art operators.
it is essential to understand which guidelines to follow from a legal point of view, for the fruition, enhancement, promotion and sale of Art in full compliance with copyright provisions.
Please find here below the legal guidelines written by Avv. Angela Saltarelli, associate of Chiomenti Studio Legale.
MUSEUMS
Many museums – though already having their own websites where they made content related to their collection available to the public – have increased and are increasing the number of contents freely accessible by the public, implementing virtual guided tours, streaming conferences and podcasts, sharing videos and images also on social media.
We are witnessing an increasing digitization of museum content , which entails new legal problems with reference to copyright, the protection of cultural heritage, the protection of the image and of personal identity, to the protection of privacy . With specific regard to issues relating to copyright and cultural heritage, it should be noted in particular that:
– should the works of art belonging to the museum collection and/or the analog format content be digitized and reproduced online, the museum shall request and obtain due authorization from the copyright holders about this specific type of exploitation, unless it obtained it in advance;
– as to the artworks belonging to public museum collections, if they meet some legal criteria (i.e. works created more than seventy years ago from a non-living author) they shall be considered as cultural heritage. Therefore, for their reproduction, also in digital format, is required the payment of a fee pursuant to art. 108 of the Code of Cultural Heritage (Legislative Decree 42/2004) unless it is made for the purpose of enhancement and non-profit;
– as to online virtual exhibitions, it is necessary to obtain prior authorization from the copyright holder in order to digitally exhibit and reproduce the work. Likewise, it will be necessary to request authorization to the curator if the curatorial concept does not encompass such kind of exhibition method;
– as to the reproduction and distribution of videos, interviews or podcasts, the museum shall obtain due authorizations from the copyright holder and from the person portrayed during such videos or interviews.
AUCTION HOUSES, ART FAIRS AND GALLERIES
Due to the current global pandemic situation, many auctions and art fairs have been postponed or canceled in Europe, Asia and the United States, and many dealers and auction houses are therefore trying to strengthen their online sales channels.
In 2019, the online art market represented, according to 2020 Art Basel and the UBS Global Market Report 2020, 14% of the entire global market and, approximately 9% of the auctions carried out globally. The current pandemic has also led to and will probably lead to a change in the current concept of gallery and art fair, which are increasingly moving online for sale, offering viewing rooms and exhibitions online.
Considering the current situation, gallery owners and auction houses operating online should, for example:
– request the due authorizations for online reproduction of the works (e.g. for digital catalogues or virtual visits) to the copyright owners, in most cases through a collecting society (e.g. SIAE), and pay the due amount for this type of use;
– review their sales conditions by inserting “representation” and “warranties” clauses about providing customers with all documentation and information regarding the artworks offered on sale and their material conditions, taking into account the impossibility of a physical examination of the goods before their purchase;
– include clauses in the sale contract, providing dealers with an exemption of liability if the transport and delivery of the works are impossible due to restrictions of the current health situation and consequently review their insurance conditions checking that their coverage also applies to the current pandemic situation;
– ensure full application of the anti-money laundering measures introduced by the 5th Anti-Money Laundering Directive (2018/843), to ensure the correct execution of the transactions carried out online, in order not to incur in any penalties. Indeed, online sales allow to attract new customers with whom the operators have never dealt with, increasing money laundering risks and making a careful Customer Due Diligence necessary.
– comply with all requested policies for the protection of users’ privacy.
AUCTION HOUSES, ART FAIRS AND GALLERIES
In the forthcoming months in which social distancing will still be present, artists shall pay attention, inter alia, to:
– consignment and sale contracts, which shall have clauses to protect them if the counterparty fails or one of the parties is no longer able to fulfill its obligations, possibly providing for a grace period exempting the defaulting party from payment penalties for delays;
– the presence in contracts of force majeure clauses under which the party or parties unable to fulfill their obligations, upon the occurrence of a circumstance falling within this category of events, will not be considered in default. It will be necessary to establish whether the cases of force majeure listed in the contract have been indicated merely by way of example or exhaustively or even, there is a phrase in which events similar to those specifically listed are also included. If the law applicable to the contract is t Italian law, this question is not conclusive since articles 1256 and 1463 ff. of the Italian Civil Code provide that the event of force majeure assumes importance even if not provided for in the contract clause.
– issue the necessary authorizations to all operators who reproduce their works or their image for sale, communication or promotional purposes.
The Art Law is the set of rules that regulate the circulation, protection and art enhancement – Angela Saltarelli
The Art Reports
THE ART REPORTS
I report are useful tools for every professional and art collector, a point of reflection and planning for the future
The Art Reports are the primary source of data and economic results for professionals, enthusiasts, collectors, companies or investors who wish to diversify their business portfolio.
The growing attention to economic value in the purchase of works of art has led the financial world to study, analyze in detail the art market and collectible goods, creating tools like the reports.
Drawing up a report on the art market is not an easy task, not even for the more experienced economists , because it is necessary to take into consideration multiple distinct markets, which intersect and which are in continuous evolution.
The reports dedicated to art exchanges can refer to the global market or to specific niches, and within them different segments are taking into consideration such as:
- Galleries
- Auction Houses
- Collectors
- Art Fairs
- Online Sales
- Impact on global economy
- Gender Gap
- Art Services
However rigorous, the reports cannot be considered 100% reliable due to the information asymmetry that characterizes the art market.
The goal of the reports is to clarify the market trend , based on data such as sales prices and returns , creating real Indices based on different methodologies.
The indexes have to purpose of:
- Indicate the price fluctuations of individual artists or sectors
- Recognize current and long-term market trends
- Compare the economic value of the art market with that of the stock market, bonds and real estate.
Among the reference indices, the most used and accredited one is the Mei Moses Art Index , born in 2002 thanks to the finance teachers Jianping Mei and Michael Moses and subsequently acquired by Sotheby’s in 2016. This is based on the indexing of economic values through the monitoring of the repeated sales of the same work.
Among the most known we can mention:
- The Art Basel and UBS Global Art Market Report: the report was conceived by the famous economist Clare McAndrew, and integrated from the research strands of UBS and of its Chief Investment Office. A comprehensive and macro-level analysis of today’s international art market, the report covers the main market trends in the context of wider economic changes.
- Art & Finance Report of Deloitte in collaboration with ArtTactic: the report, a point of reference for the sector, investigates the market in various aspects: from collectors to art players (auction houses, gallery owners, art advisors), from wealth managers to the integration of new technologies.
- Hiscox Online Art Trade Report in collaboration with ArtTactic: released annually, the report reveals the latest trends on the state of the market on the web, shedding light on the behavior of collectors and on online sales from auctions, e-commerce and sales platforms.
And you, are you ready to discover the results of the art reports?
Interview with Italo CARLI Art Insurance Executive Arte Generali – ProfessioneARTE.it
The interviews of ProfessioneArte.it
He is Italo Carli Art Insurance Executive Arte Generali.
Five questions to get a preview of the great art professionals, the daily challenges to face, the choices that have determined their path in the system and in the art market, the changes under the banner of digital and the advice for those who want to undertake the same career in collaboration with ProfessioneARTE.it.
Gucci and Art
GUCCI AND ART
The Italian Maison becomes an “art gallery”.
Gucci has always been a fashion brand closely connected with Art, the ideal medium to communicate values such as beauty, opulence, transgression, luxury and irreverence.
The bond with the art starts from its owner, François Pinault, among the greatest art collectors in the world. Its collection has a value that exceeds $ 1.2 billion and includes over 3,000 works of modern and contemporary art.
Even more than ever, art also arrives in Gucci’s fashion collections and advertising campaigns thanks to the direction taken with the guidance of Alessandro Michele chameleonic Creative Director of the maison, which allows himself to be freely contaminated by artistic and philosophical influences.
Alessandro Michele, creative and beauty lover, managed to build Gucci’s success by working alongside Italian and international artists, focusing communication campaigns on the artistic and aesthetic value, opening the Instagram channel @guccibeauty and combining works of Classical Art with the personal vision of beauty of the fashion house.
Gucci’s collaborative projects with the art world are truly numerous: among these “#GucciGram“, “# 24HourAce“,”#TFWGucci“ and finally the project “GucciGig“, all united by the aim of opening a dialogue with the creative community of the digital world.
Among the collaborations with the most important artists on the international scene we can mention the English illustrator Angelica Hicks, whose designs appeared on unisex Limited Edition t-shirts. In addition to the t-shirts also the wool cardigans, the bomber jackets and the sweaters from the “Gucci DIY” have been personalized by artists such as Angela Deane, Marc Burckhardt, Amber Vittoria, Ashley Longshore and Isabella Cotier.
Most famous is the artistic collaboration with Ignasi Monreal, born in 2015 on the occasion of the first “#GucciGram” project. Shortly afterwards, on the Gucci Art Walls in Lafayette Street in New York and in Largo La Foppa in Milan, Ignasi Monreal’s illustrations for Gucci Bloom, the first women’s fragrance by Alessandro Michele, came to life.
In 2016 it was the turn of “Gucci 4 room”, When Alessandro Michele chose four artists to create an interactive online experience in a virtual space. The Japanese Chiharu Shiota, Daito Manabe and Mr., together with the co-creator of the GucciGhost collection, Trouble Andrew, have created four surreal spaces based on the new Gucci motifs and themes.
In 2017 Monreal illustrated the book “Gucci Gift 2017“ And in 2018 the campaign”Utopian Fantasy”, Where Ignasi has created works inspired by famous paintings, such as “Ophelia “by John Everett Millais (1852). In the video of the campaign, the artist plays the role of the curator of a hypothetical Gucci gallery.
Not only artists and illustrators but also street artists such as Coco Capitán, the Spanish artist who reinvented the famous Gucci logo in a “graffiti” version for the Autumn / Winter 2017 collection, nicknamed “The Alchemist’s Garden“. A solo exhibition of the artist, “Is It Tomorrow Yet?” inaugurated the first Gucci Place presented in Korea at the Daelim Museum.
Or the much discussed as appreciated Gucci Ghost Collection With Trouble Trevor Andrew, Brooklyn street artist who for years has re-proposed the monogram “GG “on the streets of New York.
Gucci brings art not only on the catwalk or in its own adv campaigns, but promotes it on the field!
ARTIST IS PRESENT is the exhibition curated by Maurizio Cattelan, inspired by the performance THE ARTIST IS PRESENT by Marina Abramović, hosted in 2018 at the Yuz Museum, West Bund Shanghai. The exhibition project curated by Cattelan, and promoted by Gucci with a video of the making of directed by the artist Yuri Ancarani, analyzed the multiple forms and different meanings that the act of appropriation assumes in our age.
Also in 2018 the Gucci Garden, museum dedicated to the famous Italian fashion house, with famous clothing and bags. Designed by Alessandro Michele, the space houses a boutique with unique items, the Osteria da Gucci restaurant of the chef Massimo Bottura, and an exhibition area curated by art critic Maria Luisa Frisa.
Gucci also brings art to social networks with the Instagram account @guccibeauty that pays homage to the infinite varieties of the concept of beauty by playing with the masterpieces of art which, for the occasion, become a source of inspiration in terms of fashion and beauty. Each image is accompanied by the comments of writers and art critics who contextualize the work and focus attention on the most “glamorous” details. The last intervention is by the artist Emma Allegretti.
Finally, Gucci managed to bring art into the homes of the nationalpopular public, when, during the last edition of Sanremo, Achille Lauro, supported by Alessandro Michele, gave life to a real “Art performance” on stage, reinterpreting some of the key personalities of the art world.
And you, are you ready to know the next artistic collaborations of Gucci?
The Best Art Webinars
THE BEST ART WEBINARS
Together with e-learning platforms, webinars dedicated to art training are becoming indispensable digital tools.
Now more used than ever, webinars are online seminars to be followed live thanks to your computer, tablet or smartphone, from the comfort of your own home.
During this period, there is no lack of webinars on the Net, in Italian and English, for artists, collectors, art galleries or operators in the sector, useful for training and updating on art and new dynamics, such as those always related to more to new technologies and digital Here is a selection of the best webinars on art:
ARTSY for art galleries
Artsy offers galleries, but not only, the opportunity to participate in various webinars, to better manage their online and offline activities. The team of experts presents a selection of topics such as selling online in total safety, the development of their social channels or the trends of the 2020 market, how online innovation can be the key to success and the potential of virtual reality applied to art. In-depth opportunities not to be missed
ICOM for museums
The ICOM International Council of Museum is the international organization of museums and museum professionals committed to preserving, ensuring continuity and communicating the value of the world’s cultural and natural heritage, current and future, material and immaterial. The AperICOMs of the Digital Technologies for Cultural Heritage Commission began in April: it is a series of live events, every Thursday, concerning the theme “Museums and Digital at the time of COVID 19”. A way to understand how museum professionals will face the challenge of digital.
PROFESSIONEARTE.it for Art Professional
The ART WEBINARs of ProfessioneARTE.it are online sessions, where you can follow the lessons and interact with the professionals and protagonists of national and international art. Many types of webinars are available, free and paid – among them: “How to protect, preserve and secure your art collection” together with Italo Carli, “How to buy art safely” with the lawyer Annapaola Negri-Clementi, ” How to use Instagram for Art “with Andrea Concas or still discover the professions of the art world, such as” The figure of the Exhibition Registrar “with Linda Pacifici of Fondazione Palazzo Strozzi and” The independent art curator “with Maria Chiara Valacchi.
MIBACT for the protection of the cultural environment
A new distance learning program for the staff of the Ministry of Cultural Heritage and for professionals of culture has recently been inaugurated. Prepared by the School of Cultural Heritage and Activities Foundation, in agreement with the Directorate General for Education, Research and Cultural Institutes of the MiBACT (DG-ERIC), the initiative aims to provide professionals in the sector with the most qualified methodological tools to operate in the cultural sector. Live webinars are available from April 14, while the webinar cycle on technical-scientific topics has started from April 20, dedicated exclusively to the professional updating of MiBACT staff.
And you, are you ready to participate in art webinars?
