Podcasts about Louvre Abu Dhabi

In the fifth and final episode of this special Valrhona x Chef JKP Podcast series recorded at the iconic Louvre Abu Dhabi, we're bringing it home with one of the UAE's rising culinary stars — Chef Khaled Al Saadi. Host James Knight-Pacheco dives into an inspiring conversation about:

What happens when two of the world's most creative chefs meet in the halls of the Louvre? They've cooked for royals, redefined fine dining, and now - they're reimagining chocolate. Join in the conversation with two luminaries of the culinary world: Chef Carmen Rueda Hernandez, recently honored as MENA's Best Pastry Chef 2025 by the Middle East & North Africa's 50 Best Restaurants, and Chef Kelvin Cheung, the visionary behind Dubai's acclaimed Jun's restaurant, renowned for its innovative 'Third Culture' cuisine. Recorded at the iconic Louvre Abu Dhabi, this episode delves into the artistry of fine chocolate, celebrating creativity, culture, and community in partnership with Valrhona. The chefs share nostalgic food memories, their unique approaches to crafting sophisticated dishes, and the significance of storytelling through food.  00:00 Introduction 01:53 Special Edition: Celebrating Fine Chocolate 03:19 Food Memories with Chocolate 06:50 Creating Dishes for the Event 16:35 Challenges and Inspirations in Culinary Arts 23:03 Quick Fire Questions 29:49 Conclusion and Farewell Follow the guests on Instagram:  https://www.instagram.com/chefkelvincheung/  https://www.instagram.com/chefcarmenrueda6 A huge thank you to our partners Valrhona for making this special series possible! www.valrhona.com Please leave us a review on any podcast platform - it's the best way to support the show! Food is Memories ! Learn more about your ad choices. Visit megaphone.fm/adchoices

Host James Knight-Paccheco takes listeners on a rich, multi-sensory journey into the world of fine chocolate in partnership with Valrhona and the Louvre Abu Dhabi. The episode spotlights Le Fil Rouge, a one-of-a-kind event uniting over 250 chefs, artists, and visionaries from around the globe! This episode's guest Olivier Morel, Chief Business Officer at Valrhona, shares insights on the fusion of community, creativity, and culture through the lens of chocolate. He offers reflections on his global chocolate journey and discusses how shifting cocoa markets are shaping the future of fine chocolate. Joining the conversation are celebrated chefs Reif Othman and Hadrien Villedieu, who speak about their culinary inspirations, memorable chocolate moments, and the artistry behind collaborating with Valrhona. From sourcing premium ingredients to curating unforgettable menus, this episode is a heartfelt tribute to chocolate as both craft and culture. 00:00 Introduction 01:06 Celebrating Fine Chocolate with Valrhona 02:15 Olivier's Chocolate Journey 08:45 Global Chocolate Trends & Challenges 22:02 The Art of Chocolate & Culinary Fusion 28:40 Personal Chocolate Memories 29:10 Hadrian's Culinary Creations 29:52 Curating the Menu 31:02 Raf's Chocolate Philosophy 31:37 Collaborating with Valrhona 34:44 Chefs' Tips for Collaboration 36:55 Conversations Beyond the Kitchen 38:15 Using Chocolate in Cooking 39:42 Describing Themselves as Desserts 40:18 Quick Fire Questions 41:39 Conclusion and Farewell Follow the featured guests on socials: https://fr.linkedin.com/in/olivier-morel-58689313  https://www.instagram.com/reifo.kee  https://www.instagram.com/hadrienvilledieu/  A huge thank you to our partners Valrhona for making this special series possible! www.valrhona.com Please leave us a review on any podcast platform - it's the best way to support the show! Food is Memories ! Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when chocolate, culture, and craftsmanship come together? In this special edition of the Chef JKP Podcast, host James Knight-Paccheco shares the 2nd episode of a special series with Valrhona, one of the world's most prestigious chocolate makers. This episode highlights a collaboration between Valrhona and Louvre Abu Dhabi, exploring how fine chocolate is both an art form and a cultural connector. JKP sits down with Valrhona's General Manager Guillaume Lafaix, who shares his personal chocolate memories, his career journey across continents, and his thoughts on the Middle East's growing love for sweets. Whether you're a chef, a chocolate enthusiast, or simply love a good story, this short but rich episode offers a glimpse into how gastronomy, artistry, and global connection all melt into one unforgettable experience. 00:00 Introduction  01:34 Celebrating Fine Chocolate: A Special Edition 03:03 Meet Valrhona's General Manager 04:53 Chocolate Memories, Career Journey & Global Trends 07:32 Why the Middle East Loves Chocolate 09:13 Valrhona x Louvre Abu Dhabi: A Cultural Collaboration 17:39 Personal Favorites & Culinary Reflections 19:30 Conclusion and Farewell You can follow Valrhona on HERE A huge thank you to our partners Valrhona for making this special series possible! www.valrhona.com Please leave us a review on any podcast hosting platform - it's the best way to support the show! Food is Memories ! Learn more about your ad choices. Visit megaphone.fm/adchoices

O Presidente francês, Emmanuel Macron, anunciou um plano de renovação do Louvre, o museu mais visitado do mundo. A instituição deverá ter uma nova entrada e a obra mais procurada, a Mona Lisa, com 20.000 visitantes diários, deverá passar a ter “um espaço particular”, provavelmente com um bilhete à parte. Neste programa ARTES, falámos com a historiadora de arte Andréa Rodrigues sobre os planos para o Louvre. RFI: O que representa o Museu do Louvre para França?Andréa Rodrigues, Historiadora de Arte: O Louvre tem uma importância muito grande porque o Louvre é "o museu da França". Antes de ser museu, foi uma fortaleza construída por Philippe Auguste na época medieval, no século XII. Foi transformado em residência de reis, no século XIV, por Carlos V, e, durante muitos séculos, esse lugar foi realmente marcado pela monarquia francesa e por esses grandes reis coleccionadores.O Louvre quando foi transformado em museu, foi crescendo, a colecção foi aumentando e hoje é um centro internacional mundial de arte. O objectivo do Louvre não é só mostrar as obras que estão ali, é também ensinar porque é um local de ensino, as pessoas vêm com esse objectivo de aprender, de ganhar conhecimento sobre história da arte. Eu considero que é um local de importância realmente mundial ao nível de arte, por toda a história que tem e toda a colecção que ele conserva.É também o museu mais visitado do mundo. Economicamente tem um peso muito grande para França?Com certeza. Economicamente tem um peso muito grande. O Louvre é frequentado por pouco mais de oito milhões de visitantes por ano. O público estrangeiro é o número maior, se não me engano, mais ou menos 60 a 70% é público estrangeiro de fora da União Europeia, são os americanos - antes eram os chineses, mas agora são os americanos que estão em número mais importante. Depois, há uma percentagem de público francês. Então, a nível financeiro tem muitos ganhos ligados a este museu.Nos anúncios de renovação do Louvre, que foram feitos pelo Presidente francês, ele falou na possibilidade de aumentar o número de visitantes para 12 milhões por ano. O que acha deste aumento? É exequível?Este anúncio do Presidente, essa “Nouvelle Renaissance du Louvre”, com uma nova entrada, vai trazer realmente um fluxo maior. Porém, sim, hoje o Louvre, o percurso clássico com as obras-primas clássicas que todo o mundo quer ver, é um percurso bem difícil, que tem muita gente. Com este novo projecto e esta nova entrada que será feita, o objectivo é aumentar o fluxo, mas facilitar também a circulação desse fluxo no interior do museu. Então, com certeza vai aumentar, mas eu acredito que terá um fluxo muito melhor distribuído dentro do museu.O que pensa da hipótese de colocar a Mona Lisa, de Leonardo da Vinci, que é a obra mais procurada do museu, numa “sala particular”?Eu concordo e gosto porque infelizmente tem muita gente que vem só para ver a Mona Lisa. Eu já tive grupos, na alta estação turística que tem muita gente mesmo, que me pediram para os levar à Mona Lisa. Muita gente vem com esse objectivo de ver essa obra-prima, que é a mais famosa do mundo e a mais famosa do museu. Então, uma sala específica para ela, com todo um recurso pedagógico para facilitar a compreensão também dessa obra, eu acredito que é uma ideia boa. Estou já aguardando e ansiosa para poder fazer essa nova visita do Louvre e poder entrar na “Sala dos Estados” e conseguir mostrar um Ticiano que também está ali, ou um Paolo Veronese que está ali diante da Mona Lisa e que a gente, às vezes, nem consegue explicar por causa de tanta gente que tem. Eu acho que é uma boa opção.Essas obras maiores são esquecidas perante a Mona Lisa?Sim, sim. A “Sala dos Estados” tem uma riqueza enorme de obras do Renascimento, pintores venezianos que, muitas vezes, as pessoas nem olham. Elas vão ali e é só um mar de telefones, tirando fotos da Mona Lisa. Às vezes nem a Mona Lisa elas olham direito, porque é tanta gente que não tem como passar tempo admirando essa obra. E há obras que, infelizmente, passam…Outrora, o Louvre foi considerado como um “templo da arte”. Quando se vai, por exemplo, à sala onde está a Mona Lisa, o Veronese e o Ticiano, ainda podemos olhar para essa parte sacralizada da arte ou é mais uma experiência de turismo de massa?Infelizmente, às vezes, naquela sala, a gente tem um pouco essa impressão de turismo de massa. Mas a nossa responsabilidade enquanto conferencistas, enquanto guias que trabalham com esse público ali, é tentar mostrar para essas pessoas que não há só essa obra, que elas têm que tentar separar um tempo para ver as outras, para tentar tirar esse lado de turismo de massa naquela sala. Nós temos esse papel, eu tenho esse papel.Para toda esta renovação do Louvre, vai ser preciso financiamento. Uma das formas para esse financiamento é a hipótese de bilhetes mais caros para os visitantes que vêm de fora da União Europeia. O que pensa desta medida?É um pouco complicado, realmente. O facto de pagar um bilhete à parte para a Mona Lisa, eu até concordo. Agora, aumentar o custo para os estrangeiros eu acho meio complicado, eu não concordo muito. Claro que vai ser preciso dinheiro para as obras, mas tem muitos mecenas também envolvidos, tem o Louvre Abu Dhabi. Eu acho meio delicado aumentar só para os estrangeiros.A directora do Louvre tinha alertado a ministra da Cultura para problemas no museu. Sente que há problemas de congestionamento, de salas desadequadas, em termos de temperatura, para a conservação das obras, por exemplo?Na verdade, sente-se um pouco. Dentro do próprio museu, como tem um fluxo que está muito dirigido no percurso das obras mais clássicas, a gente vê que tem muitas partes do Louvre que quase não têm fluxo de pessoas e durante a semana há muitas salas que ficam fechadas. Segundo eles, é porque não tem a quantidade correcta de pessoas para trabalhar e para cuidar dessas salas. Então, é meio complicado, sente-se um pouco alguns problemas, até um pouco de stress entre os funcionários.Eu queria agora que falássemos de uma exposição que termina esta semana, "Figures de Fou – Du Moyen Âge aux Romantiques". Houve uma grande evolução na história da arte relativamente a esta "figura"...Sim. Esta exposição, "Figures du Fou" ["As figuras do louco da Idade Média até ao Romantismo"], tem como objectivo mostrar como essa personagem de “o louco” foi representada no decorrer desses diferentes momentos da história da arte. As pessoas não podem imaginar vir visitar essa exposição pensando que vão encontrar uma história da loucura enquanto doença psicológica ou psiquiátrica. Não, não é isso. Na verdade, “o louco” teve vários significados ao longo da história. Havia, por exemplo, “o louco” que era aquele que não acreditava em Deus. Na época da Idade Média, essa pessoa era colocada de lado, à margem da sociedade, era aquele que não tem o senso do mundo e da verdade de Deus, porque a Idade Média é Deus, no período medieval tudo é Igreja e Deus. Depois, houve “o louco” no sentido daquele que deixa tudo na vida para seguir Deus, abandona a riqueza, tudo, como São Francisco de Assis. Há, ainda, o bobo da corte, aquele que vai divertir a corte, o rei, a família real e assim por diante. Depois, há o carnaval, por exemplo, onde as pessoas se fantasiam e esse também era um tipo de louco, de bobo também... A exposição também denuncia "o louco de amor"...O “louco de amor” porque o amor, em si, já era considerado desde a Idade Média como uma loucura porque a pessoa faz loucuras quando está apaixonada. A exposição termina com a questão da loucura enquanto doença que os artistas vão representar, incluindo artistas com problemas psiquiátricos. Então, é uma exposição que traz várias leituras do louco, do bobo. É uma exposição que vale a pena visitar realmente.Qual é a obra-chave para a leitura desta exposição? Há mais de 300 obras expostas, mas há alguma que, para si, melhor represente a exposição?Bom, a exposição abre com uma escultura que vem de uma igreja de Bois-le-Duc e essa escultura é interessante porque desde a Idade Média essa personagem de “o louco” é colocada à margem porque essa escultura está representada na parte externa de uma igreja, no arcobotante da igreja, representando esse louco. Gostei bastante da parte de "o louco de amor" que tem, por exemplo, uma caixinha de marfim, decorada de todos os lados com cenas ligadas a essa questão. Temos aquela história de Aristóteles que se apaixona por Phyllis, amante de Alexandre, o Grande, e faz de tudo para ela deixar Alexandre e ficar com ele. Até esse filósofo, esse homem com o pensamento bem no lugar, pode sucumbir ao amor. Como é que esta figura de “o louco” acabou por ser instrumentalizada e usada como propaganda quer pela Igreja, quer pela monarquia?Sim, é verdade. A gente vê logo ali, na primeira sala, onde tem vários manuscritos religiosos. Esses manuscritos, essas Bíblias, esses livros da época, esses livros de oração vão ser realizados com a figura dessa pessoa que recusa Deus, alguém que é marginalizado, que é representado nu, como um mendigo, como aquele que é jogado de escanteio nos vilarejos e nas cidades da época. São figuras marginalizadas, xingadas, discriminadas e isso é realmente divulgado e os manuscritos são enriquecidos com essas figuras. Mesmo na questão do bobo da corte, essas figuras estão ali só para divertir…Isso também incita a população a seguir sempre o caminho ditado pela sociedade e a não ir para as margens. Não é uma forma de controlar as pessoas?É isso mesmo, é uma forma de controlar, porque tem que se seguir o que é posto como regra, porque senão você está à margem. Então, realmente o controlo existe e vai continuar no decorrer dos séculos, mesmo depois da Idade Média.Também há uns símbolos muito curiosos, grotescos, que surgem nas obras de Bosch, que são os ovos e a galinha. Qual é a simbologia destes elementos?Nós temos várias etapas da figura do louco, da Idade Média até ao Renascimento e ao Romantismo, e chega um momento em que a figura do louco, do bobo, está tão difundida, tão espalhada, que se vê em todo o lugar. Os artistas começam a representar como se o louco aparecesse nas árvores, em vez de frutos e de folhas; as galinhas vão botar ovos e vai sair louco daquele ovo. Vai-se espalhar tanto esse personagem no espaço urbano que ele vai brotar de todo o lugar. Ele vai nascer de todo o lugar, inclusive do ovo da galinha e assim por diante. 

Le Musée du Louvre prévoit une augmentation du prix d'entrée, notamment pour les visiteurs non européens, afin de financer un vaste projet de rénovation et d'amélioration de ses infrastructures. Cette initiative vise à moderniser le musée et à offrir une meilleure expérience aux visiteurs.Projet de rénovation du LouvreAnnoncé par le président Emmanuel Macron, le plan intitulé "Renaissance du Louvre" comprend plusieurs mesures majeures :- Nouvelle entrée : Une nouvelle entrée sera créée près de la Seine pour remplacer l'actuelle pyramide de verre, jugée obsolète face à l'afflux massif de visiteurs. Cette nouvelle entrée vise à améliorer la gestion des flux et à réduire la congestion.- Salle dédiée à la Joconde : La célèbre peinture de Léonard de Vinci, actuellement exposée dans une salle souvent surpeuplée, sera déplacée dans une salle spécialement conçue pour elle. Cette mesure permettra aux visiteurs d'apprécier l'œuvre dans de meilleures conditions et de désengorger les autres parties du musée.- Rénovation des infrastructures : Le musée prévoit des travaux de modernisation pour remédier aux problèmes d'infrastructures vieillissantes, tels que les fuites d'eau et les variations de température, qui menacent la conservation des œuvres.Financement du projetLe coût total des travaux est estimé entre 100 et 500 millions d'euros. Pour financer ce projet ambitieux, plusieurs mesures ont été annoncées :- Augmentation du prix des billets : À partir de janvier 2026, les visiteurs non européens devront payer un tarif d'entrée plus élevé. Cette mesure vise à générer des revenus supplémentaires pour financer les rénovations. ([lefigaro.fr](https://www.lefigaro.fr/culture/au-louvre-le-tarif-specifique-et-plus-cher-pour-les-touristes-extra-europeens-en-place-des-2026-20250128?utm_source=chatgpt.com))- Billet spécifique pour la Joconde : L'accès à la nouvelle salle dédiée à la Joconde nécessitera l'achat d'un billet supplémentaire, indépendant du billet d'entrée général. Cette tarification vise à réguler le nombre de visiteurs et à financer l'entretien de cette salle spécifique.- Mécénat et partenariats : Le musée compte également sur le soutien de mécènes et sur les revenus générés par des partenariats, notamment avec des institutions comme le Louvre Abu Dhabi, pour compléter le financement nécessaire.Justification de l'augmentation des tarifsL'augmentation des tarifs pour les visiteurs non européens se justifie par plusieurs facteurs :- Saturation du musée : Avec environ 9 millions de visiteurs annuels, le Louvre est confronté à une surfréquentation qui affecte la qualité de la visite et la conservation des œuvres.- Coûts de maintenance élevés : Les infrastructures vieillissantes nécessitent des investissements importants pour garantir la sécurité et la préservation des collections.- Contribution équitable : Étant donné que les visiteurs étrangers représentent une majorité du public, il est considéré équitable qu'ils contribuent davantage au financement des améliorations du musée.En conclusion, ces mesures visent à assurer la pérennité du Musée du Louvre et à améliorer l'expérience des visiteurs, tout en garantissant la conservation optimale des œuvres d'art qu'il abrite. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

https://www.esinaydingoz.com/Instagram BioEsin Aydingoz is a versatile composer and conductor from Turkey, working across animation, film, TV, video games, and stage musicals. A graduate of Berklee College of Music, she served as Assistant Chair of the Screen Scoring Department.In 2024, Aydingoz was Grammy-nominated for her cello arrangement of "Paint It Black" for Netflix's "Wednesday," reaching #1 on the Billboard Classical Charts with over 37 million Spotify plays. Her score for "Black Barbie" premiered at SXSW, and her feature film "Simchas and Sorrows" earned her a David Raksin Award nomination. Her work is featured on major platforms like Netflix, Apple TV+, and Amazon Prime Video.Aydingoz has conducted tours with Disney Concerts, worked with the Royal Bangkok Symphony Orchestra, and created acclaimed arrangements for Disney. Her concert compositions have been performed globally, including at Carnegie Hall and the Louvre Abu Dhabi.As a mentor and leader in organizations like Sound Thinking NYC, the SCL, and the Alliance for Women Film Composers, Aydingoz is committed to enhancing the world through music.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Pazar günkü yazımı “Louvre Abu Dhabi'den sonraki durağım Körfez bölgelerini kapsayan ve 5 yılda bir tekrar edecek olan (quinquennial) NYU Art Gallery'deki Between the Tides başlıklı sergiydi. Bu sergiyi de bir sonraki yazıda ele alacağım.” diyerek noktalamıştım. Açıkçası quinquennialın sanat dünyasındaki karşılığından emin değilim. Şimdiye kadar ilk kez karşılaştığım bir quinquennial. Ama bu çok da önemli değil.

Today, we're exploring the exhibition “Post-Impressionism. Beyond Appearances” with Aisha AlAhmadi, Curatorial Assistant at Louvre Abu Dhabi. This extraordinary show brings together iconic masterpieces from the Post-Impressionist period, with exceptional loans from Musée d'Orsay, featuring works by visionary artists like Van Gogh, Cézanne, Gauguin, Seurat, and many others. But Post-Impressionism is also the fascinating story of a new generation. Join us as we learn about a group of young artists who paved the way for some of the most influential artistic movements of the 20th century by redefining the rules of art as we knew it. The exhibition “Post-Impressionism. Beyond Appearances” is on show at Louvre Abu Dhabi from 16 October 2024 to 9 February 2025. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warm thanks to Aisha AlAhmadi for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Sarah AlNuaimi. Artwork credits: Vincent Van Gogh, The Bedroom at Arles, 1889, Oil on canvas, Musée d'Orsay, RF 1959 2. Photo © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski  See omnystudio.com/listener for privacy information.

Our host, Adrian Ellis, speaks to His Excellency Mohamed Khalifa Al Mubarak, Chair, Department of Culture and Tourism – Abu Dhabi, on the ambitious plans to position Abu Dhabi as a major tourism and cultural destination – particularly through the Saadiyat Island Cultural District, home to Louvre Abu Dhabi and a host of other world-class cultural institutions set to open their doors in the coming years. External references: Abu Dhabi DCT: https://dct.gov.ae/en/default.aspxDCT Museums and Cultural Assets: https://dct.gov.ae/en/what.we.do/culture/museums.aspxSaadiyat Cultural District: https://scdabudhabi.ae/enLouvre Abu Dhabi: https://www.louvreabudhabi.ae/Zayed National Museum: https://zayednationalmuseum.ae/en/The Natural History Museum Abu Dhabi: https://abudhabiculture.ae/en/experience/museums/natural-history-museum-abu-dhabiteamLab Phenomena Abu Dhabi: https://abudhabiculture.ae/en/experience/culture-centres/teamlab-phenomena-abu-dhabiGuggenheim Abu Dhabi: https://abudhabiculture.ae/en/experience/museums/guggenheim-abu-dhabiGCDN Athens Convening: https://gcdn.net/convenings/athens-2024/Guardian article: The Parthenon marbles evoke particularly fierce repatriation debates – an archaeologist explains why, dated Nov. 29 2023: https://www.theguardian.com/commentisfree/2023/nov/29/parthenon-marbles-british-museum-european-cultureConversation article : The Parthenon marbles evoke particularly fierce repatriation debates – an archaeologist explains why, dated June 7, 2024: https://theconversation.com/the-parthenon-marbles-evoke-particularly-fierce-repatriation-debates-an-archaeologist-explains-why-219152Benin bronzes: https://en.wikipedia.org/wiki/Benin_BronzesCambodia tracking down thousands of priceless looted antiquities | 60 Minutes: https://www.youtube.com/watch?v=f1DFOGHHcm4French president Macron's 2017 speech in Burkina Faso, Africa: https://www.youtube.com/watch?v=IA1gBuIbrR0&t=160sHis Excellency Mohamed Khalifa Al Mubarak BioA member of the Abu Dhabi Executive Council, His Excellency Mohamed Khalifa Al Mubarak is a prominent Emirati leader overseeing the growth of Abu Dhabi's cultural, entertainment, real estate, and tourism sectors. In 2016, His Excellency was appointed the Chairman of the Department of Culture and Tourism Abu Dhabi (DCT Abu Dhabi), where he oversees the preservation of the emirate's heritage and history whilst inspiring its dynamic, world-leading approach to creating a recognised cultural capital, where culture is a driver of social and economic development. Mubarak is accountable for ensuring that Abu Dhabi is a top-of-mind destination for all leisure and business travelers, growing Abu Dhabi's MICE share, and partnering with global IPs to bring the best of international entertainment to the emirate as well as high profile sporting events including F1, NBA, and UFC. One of the major achievements in Al Mubarak's journey at DCT Abu Dhabi is the development of Saadiyat Cultural District – a curated destination for inspiration, artistic expression and cultural dialogue, that is currently home to Louvre Abu Dhabi and once finished will house, Zayed National Museum, Guggenheim Abu Dhabi, The Natural History Museum Abu Dhabi and teamLab Phenomena Abu Dhabi. Al Mubarak serves as Chairman of Aldar Properties PJSC, the leading real estate developer in Abu Dhabi responsible for some of the most iconic landmarks and pioneering architecture in the emirate, including residential, commercial, and retail assets. Al Mubarak is Chairman of Miral, the leading creator of immersive experiences in Abu Dhabi, where he has led the transformation of key areas within the emirate, including Yas Island, and has developed strategic partnerships such as the one established with Warner Bros. World Abu Dhabi™. Al Mubarak is the President of the Abrahamic Family House and a member of the Higher Committee of Human Fraternity, where he is joined by international religious leaders, educational scholars, and cultural leaders across the world, to support and spread the values of mutual respect and peaceful coexistence. Al Mubarak serves as Vice-Chair on the Foundation Board of ALIPH, the international alliance for the protection of heritage in conflict areas. Al Mubarak is a graduate of Northeastern University (Boston, USA), with a double major in Economics and Political Science.

Is it from work, gym or any activities that you joined? You all share where you met and nurture your friendships and we're joined live in the studio by Anna Cartwright, founder of How About, a meetup group in Dubai It's Clementine Munro from Haus & Haus answering your property questions today Anthony Frances is on the hot seat for the first time for our Legal Clinic, covering a vast range of topics from money, consumer rights and more And we're bringing you to space and Expo City for our summer camps roundup this Monday.See omnystudio.com/listener for privacy information.

Saudi Arabia's leading contemporary artist Manal Aldowayan joins The TWENTY30 for an exclusive conversation and interview to discuss the Venice Biennale, her journey from computer science major to leading artist, and the development of art in Saudi Arabia. Aldowayan is representing Saudi Arabia at the 2024 Venice Biennale with a multimedia installation entitled Shifting Sands: A Battle Song, showing from April to November. Manal AlDowayan is one of Saudi Arabia's most significant contemporary artists working internationally. Her work, which spans various mediums including photography, sound, sculpture, and participatory practice, interrogates traditions, collective memories, and the status and representation of women. AlDowayan's work has been exhibited regionally and internationally in the most prestigious art institutions such as  the Guggenheim and the Louvre Abu Dhabi, The British Museum, and many others. Born in Dhahran, Saudi Arabia in 1973, AlDowayan currently lives and works between London and Dhahran. Before the conversation, co-hosts Hanaa and Lucien discuss Aramco's recent announcement of a share sale and some look into how a shift in dividends may attract more foreign investors.  The host wrap up the show as always with a discussion of some of the latest news on Saudi Arabia.  Subscribe for free wherever you get your podcasts:   Spotify: https://open.spotify.com/show/0uuKNWrgbQPMBIx3XY6YGU   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-twenty30/id1742574206   YouTube: https://www.youtube.com/@thetwenty30   Get episodes and exclusive content delivered to your email inbox free: https://twenty30.beehiiv.com/ You can also email the show's hosts with their first names (Lucien @TheTWENTY30.com) or (Hanaa @thetwenty30.com) or email Hosts @ TheTwenty30.com. The TWENTY30 Podcast is a production of The TWENTY30 Media Group, LLC.  ©The TWENTY30. All rights reserved. *** About The TWENTY30 Podcast New futuristic cities built from scratch. Giga-projects. Major sports investments. Trillions in spending. An economy and society changing so quickly even locals sometimes can't believe their eyes. Saudi Arabia is on a mission to change itself from a conservative society with an oil-dominated economy to a modern and open society with a diversified economy - and to become a global tourism destination. Such a transformation has never before been attempted, and the stakes for the Middle East - and the world - are high. The TWENTY30 is a new media network and podcast that explores the seemingly endless dimensions of the social and economic transformations in Saudi Arabia, which few living outside the Kingdom can truly grasp. From the creator and co-host of The 966 Podcast comes a new platform that tackles the news, issues, challenges, and opportunities in Saudi Arabia and the Middle East region as it continues forward in a full-throttle effort to remake itself while the world watches. Featuring exclusive interviews, frank conversations, and in-depth topic exploration, The TWENTY30 is the first bi-weekly English program of its kind dedicated to uncovering and highlighting the road ahead for Saudi Arabia and the region and why it matters.

In this episode, we visit the exhibition “From Kalila wa Dimna to La Fontaine: Travelling through Fables” with Rawdha Ahmed AlAbdouli, Curatorial Assistant at Louvre Abu Dhabi. Together, we delve into the fascinating world of animal fables, and their evolution through time. Did you know that fables originated from India and Greece? Tune in to learn more, and hear about the influence of majors figures, such as Ibn al-Muqaffa' and Jean de La Fontaine, and how these stories continue to inspire artists today. The exhibition “From Kalila wa Dimna to La Fontaine, travelling through Fables” is on show at Louvre Abu Dhabi from 26th of March to the 21st of July 2024. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warm thanks to Rawdha Ahmed AlAbdouli for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Additional music: Yarub Smarait (composer, music producer, violinist)Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.

28 Mar 2024. We have the latest on the new ADNOC oil field which has started production at the offshore Belbazem oil field, which will pump up to 45,000 barrels per day. We also speak to Capt. Zarir S. Irani, Managing Director, Constellation Marine Services about the fears that have been raised around potential disruption to global supply chains following the Baltimore bridge collapse. Plus, Dubai is contemplating the possibility of an initial public offering (IPO) for construction firm ALEC Engineering & Contracting, amidst a surge in its real estate sector as property prices in the emirate hit near-record levels, reported Bloomberg. Ziad Awad, Founder and CEO, Awad Capital explains what could happen. And, 1.2 Million people visited Louvre Abu Dhabi last year. Manuel Rabaté, Director, Louvre Abu Dhabi explains how many of the visitors were UAE residents, and how many were tourists.See omnystudio.com/listener for privacy information.

For this second episode in our mini-series looking at the architecture of the Louvre Abu Dhabi, join us under the dome for an interview with architect Hala Wardé. An associate of Jean Nouvel and director of the project, Hala Wardé looks back with us at the Louvre Abu Dhabi adventure. From the very first sketch to the final installation of the dome, join us as we talk about the key stages of this highly challenging project.  If you liked this episode, don't miss out on our interview of Jean Nouvel. We have explored the permanent collections together; and we discussed with Jean Nouvel his response to a historic challenge, namely building the first universal museum in the Arab world. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warmest thanks to Hala Wardé for giving us this interview. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.

For this first episode in our mini-series looking at the architecture of the Louvre Abu Dhabi, we have met up with Jean Nouvel, the museum's architect, for an exclusive tour of the museum. Exploring the permanent collections together, we discussed with Jean Nouvel his response to a historic challenge, namely building the first universal museum in the Arab world.  If you liked this episode, don't miss out on the second episode of our mini-series dedicated to the architecture of the Louvre Abu Dhabi, featuring architect Hala Wardé, Jean Nouvel's associate and director of the project. From the very first sketch to the final installation of the dome, join us as we talk about the key stages of this highly challenging project. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warmest thanks to Jean Nouvel for giving us this interview.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.

In this episode, we are visiting the exhibition “Cartier, Islamic Inspiration and Modern Design” with Fakhera Alkindi, senior curatorial assistant at Louvre Abu Dhabi. Through the lens of Cartier's creations, we will see how the Islamic arts became a major source of inspiration for western designers as the world stepped into modernity at the turn of the 20th century.   From masterpieces of the Islamic arts to the design sketches made in Cartier's workshops, and finally to magnificent pieces of jewellery, dive with us into the mind of Cartier's designers and discover how this Islamic inspiration lives on today.  The exhibition “Cartier, Islamic Inspiration and Modern Design” is on show at Louvre Abu Dhabi from the 16th of November 2023 to the 24th of March 2024.    “On Show” is a podcast produced by the Louvre Abu Dhabi. A special thanks to our guest Fakhera Alkindi for her kind participation to this episode, and the team of France Muséums for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.

In this episode, we visit the exhibition Letters of Light with our host Marine Botton accompanied by Laurent Héricher – curator of the show and chief curator at the French National Library – and Mariam Al Dhaheri – assistant curator at Louvre Abu Dhabi. As we walk through the five different sections of the exhibition, we will take a close look at some of the oldest and most important manuscripts from the three monotheistic religions: Judaism, Christianity, and Islam. Join us as we dive into the birth of the three monotheisms and the origins of the sacred writings from the Hebrew Bible, the Christian Bible and the Holy Quran.   The exhibition Letters of Light is on show at Louvre Abu Dhabi from the 13th September 2023 to 14th January 2024.  On Show is a podcast produced by the Louvre Abu Dhabi. A special thanks to our guests Laurent Héricher and Mariam Al Dhaheri for their participation, and the team of France Muséums for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Preparation, scripting and episode host: Marine Botton.Recording: Amine Kharchach and Richard Hagan.Post-production, music and mix: Making Waves.Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.

In this first episode of our podcast, join Amna Al Zaabi and Eiman Al Hammadi on a tour of the exceptional loans from the seven emirates displayed in the Permanent galleries of Louvre Abu Dhabi. On this tour, learn about the Tales of Exchanges from the Emirates which recount the history of the Emirates through the millennia in celebration of the United Arab Emirates' 50th anniversary. The artworks of this special display are visible from November 2021 until November 2022 in the Permanent galleries of Louvre Abu Dhabi. On Show is a podcast produced by Louvre Abu Dhabi. Our warm thanks go to our guest Amna Al Zaabi, Senior Curatorial Assistant at Louvre Abu Dhabi, for her participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Episode host: Eiman Al Hammadi.Preparation and scripting: Marine Botton, Eiman Al Hammadi.Recording: Richard Haggan.Post-production, music and mix: Making Waves.Show cover: Maysa Sultan. Artwork credits: Vase with geometric motifs imported from Mesopotamia, United Arab Emirates, Abu Dhabi, Marawah Island, About 5500 BCE, Painted terracotta, Department of Culture and Tourism, Abu Dhabi. © Department of Culture and Tourism - Abu DhabiSee omnystudio.com/listener for privacy information.

In this episode, we visit the exhibition Versailles & the World in company of Hélène Delalex and Bertrand Rondot, curators of the exhibition and respectively Curator and Head Curator of Furniture and Decorative Arts at the Musée national des châteaux de Versailles et de Trianon. The exhibition invites you for an immersion within the dazzling 17th and 18th century court of Versailles. You will discover how the palace became a unique meeting place of knowledge and art for different civilisations through a selection of key masterpieces on display in the exhibition. The exhibition Versailles & the World is on show at Louvre Abu Dhabi from the 26th of January until the 4th of June 2022.  On Show is a podcast produced by Louvre Abu Dhabi. Our warm thanks go to our guests Hélène Delalex and Bertrand Rondot for their participation and the team of France Museum for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production, preparation and scripting: Amine Kharchach, Marine Botton.Episode host: Marine Botton.Recording: Richard Haggan.Post-production, music and mix: Making Waves.Show cover: Maysa Sultan Artwork credits: View of the Château de Versailles and the Orangerie, Attributed to Etienne Allegrain (1644-1736), c. 1695, Oil on canvas, Versailles, Musée National des Châteaux de Versailles et de Trianon. © RMN-Grand Palais (Château de Versailles) / Franck RauxSee omnystudio.com/listener for privacy information.

In this episode, we visit the exhibition Stories of Paper with the exhibition's curators Xavier Salmon and Victor Hundsbuckler, respectively Director and Curator at the Department of Drawings & Prints at the Musée du Louvre. Stories of Paper explores the special material's qualities and how, even as digital technologies threaten to make paper obsolescent, this most universal of media continues to occupy an essential place in contemporary creativity, enquiry, and self-expression. The exhibition Stories of Paper is on show at Louvre Abu Dhabi from the 20th of April until the 24th of July 2022.  On Show is a podcast produced by Louvre Abu Dhabi. Our warm thanks go to our guests Xavier Salmon and Victor Hundsbuckler for their participation and the team of France Museum for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production, preparation and scripting : Amine Kharchach, Marine Botton.Episode host: Marine Botton.Recording: Amine Kharchach, Richard Haggan.Post-production, music and mix: Making Waves.Show cover: Maysa Sultan Artwork credits: Under the Wave off Kanagawa. Katsushika Hokusai (1760 – 1849), c. 1830 – 1832, Japan, ink and colour on paper. Louvre Abu Dhabi (LAD 2020.91). © Department of Culture and Tourism – Abu Dhabi. Photo: Ismail Noor / Seeing ThingsSee omnystudio.com/listener for privacy information.

In this episode, we visit the exhibition Impressionism: Pathways to Modernity with the exhibition's curators Sylvie Patry and Stéphane Guégan, respectively Chief Curator, Deputy Director for Curatorial Affairs and Collections at Musée d'Orsay, and Advisor to the Presidency of the Musée d'Orsay and the Musée de l'Orangerie. The exhibition brings together more than 150 masterpieces and features pioneering works by Manet, Monet, Renoir, Morisot, Cézanne... inviting visitors to explore why Impressionism was considered so shocking in the 19th century and how it paved the way for the artistic revolutions that were to come. The exhibition Impressionism: Pathways to Modernity is on show at Louvre Abu Dhabi from the 12th of October 2022 until the 5th of February 2023.  On Show is a podcast produced by Louvre Abu Dhabi. Our warm thanks go to Sylvie Patry and Stéphane Guégan for their participation and the team of France Museum for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Preparation, scripting and episode host: Marine BottonRecording: Amine Kharchach, Richard Haggan.Post-production, music and mix: Making Waves.Show cover: Maysa Sultan. Artwork : Pierre-Auguste Renoir, (Limoges, 1841–Cagnes-sur-Mer, 1919), The Cup of Chocolate , 1877–78, Oil on canvas, Louvre Abu Dhabi (LAD 2022.002). © Department of Culture and Tourism – Abu Dhabi / Photo Sylvie Van RoeySee omnystudio.com/listener for privacy information.

In this new episode of our podcast, our host Aisha AlAhmadi, Assistant Curator at Louvre Abu Dhabi, visits the exhibition Bollywood Superstars: A Short Story of Indian Cinema with the exhibition's curators Julien Rousseau, Head of the Asian Collection at the Musée du quai Branly – Jacques Chirac, Hélène Kessous, Anthropologist, and specialist of South Asian cinema,  Featuring extracts from some 40 films and more than 80 artworks, Bollywood Superstars investigates the diverse origins of Indian cinema. From 19th century traditional shadow theatre and early silent movies to the 21st century gods of the screen, the exhibition presents the richness of the India's image-making traditions alongside the influence of popular arts such as storytelling, dance, and theatre, and its close relationship with mythology and religion. The exhibition Bollywood Superstars: A Short Story of Indian Cinema is on show at Louvre Abu Dhabi from the 24th of January until the 4th of June 2023.  On Show is a podcast produced by Louvre Abu Dhabi. Our warm thanks go to our guests Julien Rousseau and Hélène Kessous for their participation and the team of France Museum for their support.  This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach; Marine Botton.Episode Host: Aisha AlAhmadi.Preparation and scripting: Marine Botton, Aisha AlAhmadi.Recording: Amine Kharchach and Richard Haggan.Post-production, music and mix: Making Waves.Show Cover: Maysa Sultan. Artwork credits: Emperor Aurangzeb in Public Audience, Mughal Empire, India, Udaipur, 1710-1720, gouache on paper, gold highlights, Louvre Abu Dhabi (LAD 2012.092). © Department of Culture and Tourism – Abu Dhabi / APFSee omnystudio.com/listener for privacy information.

“Ouvrir l'album du monde”Photographies (1842-1911)au musée du quai Branly – Jacques Chirac, Parisdu 4 avril au 2 juillet 2023Interview de Christine Barthe, Responsable de l'unité patrimoniale des collections photographiques, musée du quai Branly – Jacques Chiracet de Annabelle Lacour, Responsable des collections photographiques, musée du quai Branly – Jacques Chirac, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 3 avril 2023, durée 20'29.© FranceFineArt.https://francefineart.com/2023/04/04/3416_album-du-monde_musee-du-quai-branly/Communiqué de presseCommissairesChristine Barthe, Responsable de l'unité patrimoniale des collections photographiques, musée du quai Branly – Jacques ChiracAnnabelle Lacour, Responsable des collections photographiques, musée du quai Branly – Jacques ChiracPrenant comme point de départ la collection de photographies du musée du quai Branly – Jacques Chirac, collection de référence pour la représentation du monde extra-européen dans les premières années de la photographie, l'exposition s'intéresse aux trajectoires et aux géographies du médium hors Europe au 19e siècle, dès son invention. À travers une sélection de près de 300 photographies produites entre 1842 et 1911 en Asie, en Afrique, en Océanie et aux Amériques, elle cherche à mieux comprendre le phénomène de dissémination mondiale de la photographie et les histoires régionales de la photographie extra-européenne.[...]Cette exposition est une adaptation de l'exposition Ouvrir l'album du monde : Photographies 1842-1896 conçue par le musée du quai Branly – Jacques Chirac et présentée au Louvre Abu Dhabi du 25 avril au 13 juillet 2019.Publication – Mondes photographiques, histoires des débuts / Coédition musée du quai Branly – Jacques Chirac et Actes Sud Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Zeinab Alhashemi is an Emirati conceptual artist based in Dubai. Since graduating from Zayed University with a BA in arts and science specialising in multimedia design, she has become known for her large-scale contemporary site-specific installations. Alhashemi is fascinated with capturing the transformation of the UAE and examines the contrast and interdependence between the abstract, geometric shapes of urbanism and the organic forms associated with her country's natural landscape. Since the days of Alhashemi's childhood, the familiarity of traditional scenery and nature has largely been disturbed to facilitate the rise of the man-made. In her experimental installations, she searches for a new identity appropriate to the modern condition and deconstructs the viewers' understanding of their surroundings, introducing an alternative point of view, and creating a new perception of that reality. Drawing inspiration from the natural topography of the UAE, Alhashemi experiments with a variety of materials to position the viewer over the intangible boundary between the natural and the artificial. While colour and texture make her work reminiscent of the traditional landscape, such familiarity is disturbed by the striking contrast of industrial materials that remind the viewer of human interference. Alhashemi's work captures the essence of her homeland today, striking a delicate balance between modernism and tradition in an unexpectedly harmonious coexistence. She has participated in numerous art fairs and festivals such as Sikka Art Fair, Dubai Design Week, and Sharjah Biennial 11 and was recently commissioned by the Institute de France and the Department of Culture and Tourism (DCT) Abu Dhabi to showcase her work at the inauguration of the Louvre Abu Dhabi. Currently she is one of the artists in residence for SETI-Institute in San Francisco, and her work was featured in EXPO2020 Dubai at the Sustainable Pavilion. She also participated in Desert X in AlUla, KSA in 2022.

We're live on location from the Nation's capital. We get the inside story on Abu Dhabi's tourism industry from some of its leading lights: Managing Director of Wizz Air Abu Dhabi and Nancy W Gleason of NYU Abu Dhabi, Saadiyat Campus. Plus, we look at projections for the UAE economy with the chief economist of Oxford Economics Middle East, Scott Livermore. And, we have a look at that new PMI numbers for the UAE show a softening of the non-oil private sector.See omnystudio.com/listener for privacy information.

Musée du Louvre d'Abu-Dhabi, Musée national de Doha, Musée d'art islamique... Les pays du Golfe se livrent une concurrence acharnée pour faire sortir de terre des musées ultrasophistiqués imaginées par les architectes les plus en vogue. Formidables écrins abritant d'extraordinaires collections, ces lieux ont entre autres vocations celle d'asseoir le prestige national et d'inscrire leur pays hôte dans la longue histoire mondiale de l'art. Cette politique culturelle est au cœur de la recherche de l'historienne de l'art Lorraine Engel-Larchez, doctorante en histoire de l'art contemporain à l'Université de Strasbourg/ Ecole du Louvre, et enseignante en histoire de l'art à l'Ecole supérieure de design, des arts appliqués et de communication de Rennes. Elle est l'invitée de Noémie Guignard. Photo: des rais de lumière transpercent le double dôme en aluminium du Louvre Abu Dhabi, juste avant son ouverture en novembre 2017. Le musée, conçu par l'architecte français Jean Nouvel, a coûté environ 500 millions d'euros. (© Martin Dokoupil/EPA Keystone)

Alors qu'il fête ses cinq ans le Louvre d'Abu Dhabi est l'objet d'une enquête sur les pratiques douteuses portant sur les acquisitions d'antiquités. Pour « La Story », le podcast d'actualité des « Echos », Pierrick Fay et ses invités reviennent sur une affaire mondiale.Vous souhaitez prendre la parole et nous aider à poursuivre le développement de nos podcasts et plus largement des services « Les Echos » ? Nous vous invitons à rejoindre notre panel de lecteurs pour partager très prochainement votre opinion sur nos podcasts en suivant ce lien.La Story est un podcast des « Echos » présenté par Pierrick Fay. Cet épisode a été enregistré en novembre 2022. Rédaction en chef : Clémence Lemaistre. Invités : Pierre de Gasquet (grand reporter aux « Echos Week-end ») et Valérie de Senneville (grand reporter au service Enquêtes des « Echos »). Réalisation : Willy Ganne. Chargée de production et d'édition : Michèle Warnet. Musique : Théo Boulenger. Identité graphique : Upian. Photo : FRED SCHEIBER/SIPA. Sons : France 2, Euronews, « La Momie » (2017), Institut du monde arabe, Holala, AFP, « Astérix et Cléopâtre » (1968), « Il était une fois dans l'Ouest » (1968). Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le 15 novembre 2022, Jenifer fêtera ses 40 ans et deux décennies d'une carrière exemplaire. Elle revient aujourd'hui avec un neuvième album, aux sonorités vintage, à la fois festif, pétillant et intime, confectionné entre Londres et Paris. Il y a quelques semaines la chaîne de télévision TF1 relançait son émission culte « La Star-Academy ». À cette occasion, la nouvelle promotion a pu croiser Jenifer, la gagnante de la toute première saison, qui leur a offert un medley de ses plus grands succès, lesquels sont souvent devenus de véritables titres cultes pour toute une génération. Il faut dire qu'elle en a fait du chemin la petite Niçoise : 20 ans de carrière, 5 millions d'albums vendus, et quelques récompenses estampillées NRJ et MTV. Elle est devenue une vraie chanteuse populaire, à la voix sûre et capable d'épouser une grande diversité de styles musicaux, et de changer de peau d'un album à l'autre. Voici le neuvième, intitulé en toute simplicité « N°9 ». Un album à la fois festif et personnel, où cordes, cuivres et percussions se marient en une tonalité vintage qui lui sied à merveille. L'album vient de sortir chez Universal Music. La chanteuse Jenifer est l'invitée de VMDN. Reportage : Nicolas Keraudren s'est rendu au Louvre Abu Dhabi. Le musée propose, jusqu‘en février 2023, une exposition sur les grands artistes impressionnistes. Jamais autant de chefs-d'œuvre issus de la collection du musée d‘Orsay n'ont été prêtés en même temps. Un « cadeau » pour le cinquième anniversaire de l‘unique antenne du Louvre en dehors de France.

Welcome to THE EDIT from Esquire Middle East, a weekly check in with all the news, views and shoes from the editor's desks... In this week Matthew Baxter-Priest and Nasri Atallah shoot the breeze about how Karim Benzema is becoming a low-key style icon, how the Louvre Abu Dhabi celebrates its fifth anniversary, and discuss how No-Lo is becoming the new YOLO.

Today I'm delighted to be talking to Marina Gross Hoy about how to look, and in particular, how to look at your daily life as if you were looking at a work of art. Marina Gross Hoy is a museum studies PhD candidate and a writer. Her doctoral research at the University of Quebec in Montreal focusing on how museums develop digital projects to create engaging experiences for visitors. She has a Master's in Museology from the École du Louvre, and she has previously worked on the education team at Agence France-Museums, the French agency that supported the creation of the Louvre Abu Dhabi. Marina's writing, which is wonderful, explores how looking at daily life with the same gaze we use with art in a museum can open us up to wonder, wholehearted living, and empowerment. In today's episode, Marina shares how one evening in 2020, she realised that she would look more closely into a painting of a sunset than looking at the one right in front of her. And this led her to experimenting with what it would mean to look at her life like a work of art, using what she started calling 'the museum gaze'. In today's episode, Marina shares the main characteristics of 'the museum gaze' and how it works in practice. We discuss how observing life with the same gaze we use with art in a museum works in practice and the numerous benefits we can glean from a regular practice of looking at life in this way. Links https://www.buymeacoffee.com/clairebown (Support the Show) Join the https://www.facebook.com/groups/slowlookingclub (Slow Looking Club) Community on Facebook https://thinkingmuseum.com/2021/06/03/how-to-develop-a-daily-slow-looking-practice/ (Episode 7 How to Develop a Daily Slow Looking Practice) Marina Gross-Hoy's https://www.marinagrosshoy.com/ (website) Marina's newsletter https://marinagrosshoy.substack.com/ (The Museum Gaze) Marina's https://www.instagram.com/marinagrosshoy/ (Instagram)

Today I'm so happy to be talking to Richa Mehta about her work. We're talking about what a mindful museum is, museum-based art therapy and how art can support the development and exploration of identity and connection https://www.linkedin.com/in/richa-mehta-med-dvati-9385517a/ (Richa Mehta) is a certified art therapist and educator working as a museum education and wellness professional at the https://www.louvreabudhabi.ae/ (Louvre Abu Dhabi). Richa believes that the museum space can be more accessible to marginalised community members, through implementing museum-based wellness and art therapy programming and resources,. In today's episode we talk about her journey from the classroom to the museum and her recent studies in art therapy. We discuss the Louvre Abu Dhabi's journey to being a Mindful Museum and what this means for the staff and for the visitors, the collection and the museum space itself. We explore what museum-based art therapy is and how it might work in practice. Richa shares a model of how she views museum-based art-therapy and an adaptation of See Think Wonder that could be used for these sessions. We also chat about how an art therapist would work with any strong emotions that came up in the museum environment. And finally we talk about how being a third culture kid, and her cultural identity and background has influenced her practice and work today. So here is our chat - enjoy! Links https://www.buymeacoffee.com/clairebown (Support the Show) Join thehttps://www.facebook.com/groups/slowlookingclub ( Slow Looking Club) Community on Facebook https://www.linkedin.com/in/richa-mehta-med-dvati-9385517a/ (Richa Mehta) Article for the Canadian Art Therapy Associationhttps://www.canadianarttherapy.org/envisage/envisage-spring-2022-mehta ( https://www.canadianarttherapy.org/envisage/envisage-spring-2022-mehta) https://www.louvreabudhabi.ae/ (Louvre Abu Dhabi) Louvre Abu Dhabi's A Mindful Museum - https://www.louvreabudhabi.ae/en/about-us/a-mindful-museum (https://www.louvreabudhabi.ae/en/about-us/a-mindful-museum) Mindful Art Moments - https://www.louvreabudhabi.ae/en/Whats-Online/mindful-art-moments (https://www.louvreabudhabi.ae/en/Whats-Online/mindful-art-moments) Reflect & Express - https://www.louvreabudhabi.ae/learning-resources/the-arts-for-health-and-wellbeing/en/reflect-and-express.html (https://www.louvreabudhabi.ae/learning-resources/the-arts-for-health-and-wellbeing/en/reflect-and-express.html)  

To open Season 6, Katie and Steve discuss the shocking arrest of Jean-Luc Martinez, director of the Louvre in Paris from 2013 to 2021, related to his involvement in the alleged trafficking of antiquities for the Louvre Abu Dhabi with French criminal lawyer Sarah Arpagaus. They discuss cultural property crimes more broadly and take a detour into the world of French criminal law and its striking difference with the system here in the US.

Abu Dhabi city tour is also another great touring spot for tourists after Dubai. It's located near the Persian Gulf near the Central West Coast. By visiting Abu Dhabi, you can have a glimpse of 300) BC of Arabian culture because that's what makes it great for the city.In the last couple of years, the tourism level of Abu Dhabi is skyrocketed. People from all around the world visit Abu Dhabi every year. There was a 10% increase in tourism in 2019 from the previous year, 2018, which is impressive.You wouldn't like to miss visiting Sheikh Zayed Grand Mosque and Louvre Abu Dhabi, which are attention-grabbing with eye-catching designs.

The creative economy. The term refers to the interchange of ideas, intellectual property, knowledge and technology. But it is an ever-evolving concept, and resists being pigeonholed into a single definition. It has also become a bit of a buzzword in the UAE, especially in the last 15 years as the country has endeavoured to bolster its creative sector. In this time, several cultural institutions have been launched that reshaped the local creative landscape, notably Louvre Abu Dhabi and NYUAD on Saadiyat, Jameel Arts Centre and AlSerkal Avenue in Dubai and the House of Wisdom in Sharjah. But launching cultural institutions is only the first step. Next comes the challenge of engaging with the public and inspiring the next generation of artists, architects, software engineers, writers, publishers, researchers and filmmakers. Maya Allison, Executive Director of The NYUAD Art Gallery, and Bill Bragin, Executive Artistic Director at NYUAD Arts Centre, discuss the role NYUAD is playing in nurturing and developing this creative economy.

Directeur du Louvre Abu Dhabi. Construit par l'architecte Jean Nouvel, le Louvre Abu Dhabi, inauguré en 2017, est l'un des symboles de l'influence culturelle française dans le monde. Fruit d'une collaboration avec les Émirats arabes unis, le Louvre Abu Dhabi est présenté comme le premier musée universel du monde arabe. Qu'est-ce que cela signifie ? Qu'est ce qui en fait un lieu d'exception ? Quelles sont ses particularités ? Comment s'est constituée la collection permanente du musée ? Manuel Rabaté répond. Présentation : Antoine Genton (TV5MONDE), Guillaume Fraissard (« Le Monde »). Depuis Abu Dhabi (Émirats arabes unis).

Jason Greenblatt sits down with Manuel Rabaté, the director of the Louvre Abu Dhabi, to discuss what made the Louvre want to expand outside of France, why it decided on Abu Dhabi, and what to expect from the museum. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Speaking to Gilles Kepel from the Arab World Institute in Paris, renowned French architect Jean Nouvel talks about his experience designing world-famous buildings throughout the Middle East — including in Qatar, the UAE and Saudi Arabia — as well as adapting Arabian architectural elements into Parisian projects under the principle that “all architecture is local.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tout n'a pas été dit sur Marie-Antoinette, et tout n'a pas été montré non plus. En s'appuyant sur les extraordinaires collections de la Bibliothèque nationale de France, Hélène Delalex a repris le dossier pour un salutaire retour aux sources : documents d'archives, livres, lettres, gravures et dessins, méconnus ou inédits, confèrent un éclairage original à cette biographie centrée sur la femme, sa vie quotidienne et son entourage, encore enrichie par des documents rares provenant des Archives nationales et des œuvres prestigieuses du château de Versailles. Hélène Delalex est l'invitée de Christophe Dickès. L'invitée: Hélène Delalex est conservateur du patrimoine au musée national des châteaux de Versailles et de Trianon. Elle a été commissaire de plusieurs grandes expositions dont Louis XV. 1722-2022 (2022, Château de Versailles), Versailles & le Monde. Au cœur des échanges entre Orient et Occident (2021, Louvre Abu-Dhabi), Le château de Versailles en 100 chefs-d'œuvre (Canberra, National Gallery of Art, 2016-2017, et Arras, musée des Beaux-Arts 2014-2015), Roulez carrosses ! (2011-2013, Arras, musée des Beaux-Arts). Elle est chargée de cours d'histoire de l'art et du patrimoine à l'Université Sorbonne-Paris-IV, et est également l'auteur de nombreux ouvrages dont Le Carrousel du Roi-Soleil (Gallimard, 2016), Louis XIV (Gallimard, 2015) et Un Jour avec Marie-Antoinette (Flammarion, 2015). Elle vient de publier chez Perrin, Marie-Antoinette, la légèreté et la constance (25€, 312 pages).

Découvrez la clinique esthétique Abu Dhabi, une clinique fondée par trois soeurs émiriennes. Dans cet entretien, Hessa, l'une des fondatrices, revient sur l'importante de la beauté dans la culture locale tout en présentant les différents traitements esthétiques proposés.

A l'occasion du grand final du championnat de F1, Jean-Sébastien vous conduit, ce matin, aux Emirats Arabes Unis. Des gratte-ciels ultramodernes et luxueux aux déserts suffocants, les paysages sont riches et variés : vous allez vous en rendre compte. Petite enclave française : le Louvre Abu-Dhabi, qui regorge de trésors à découvrir.

The conversation with Lamya Tawfik continues to unchartered waters...Sharing her story about her journey in learning Italian and her love of Italian culture. Explaining how curiosity made her stumble upon her passion - the performing arts.   Dr. Lamya Tawfik is a Dubai-bred/based Egyptian performing artist. She's an actress, storyteller, and presenter. Over the last decade, she has performed in English, Arabic, and Italian with several theater groups in Dubai including Danú, Dubai Drama Group, DramaDonne, and Artbox Group. As a storyteller, she has performed in many children's events and has also taken part in storytelling festivals. She has also told stories at the Sharjah International Book Fair and the Louvre Abu Dhabi. Lamya holds a Bachelor's and Master's degree in Journalism and Mass Communication from the American University in Cairo and a Doctorate Degree in Childhood Studies from the Mass Communication and Child Culture Department, Institute for Postgraduate Childhood Studies at Ain Shams University in Cairo. Don't forget to subscribe, rate, and of course SHARE! And above all, reflect and enjoy!

Chatting with Dr. Lamya Tawfik brings up a lot of good vibes and commitment of oneself and others. Analyzing how curiosity made her stumble upon her passion - the performing arts. Explaining why she doesn't believe in having just one career and why it is important to always try new things.   Dr. Lamya Tawfik is a Dubai-bred/based Egyptian performing artist. She's an actress, storyteller, and presenter. Over the last decade, she has performed in English, Arabic, and Italian with several theater groups in Dubai including Danú, Dubai Drama Group, DramaDonne, and Artbox Group. As a storyteller, she has performed in many children's events and has also taken part in storytelling festivals. She has also told stories at the Sharjah International Book Fair and the Louvre Abu Dhabi. Lamya holds a Bachelor's and Master's degree in Journalism and Mass Communication from the American University in Cairo and a Doctorate Degree in Childhood Studies from the Mass Communication and Child Culture Department, Institute for Postgraduate Childhood Studies at Ain Shams University in Cairo.   Don't forget to subscribe, rate, and of course SHARE! And above all, reflect and enjoy!

Beloved pets, a visit to the Louvre Abu Dhabi, and remembering Tony McMahon, with Kevin McDermott, Ann Marie Durkan, Lani O'Hanlon, Grace Wilentz, Michael O'Connor, Declan Collinge and JM Dolan

11 August 2021: Mark finds out what scent or smell is your favourite and why. Nada gives us top tips when it comes to booking bargain flights. A new kids concept is taking place at the Louvre Abu Dhabi Museum. And Karim from Kidzapp has a whole list of workshops to keep your kids as busy as a bee. See omnystudio.com/listener for privacy information.

Episode No. 503 features artist Wael Shawky and curator Elaine Yau. Shawky's work is on view at the Modern Art Museum of Fort Worth in "FOCUS: Wael Shawky" through July 25. The exhibition features a film from Shawky's Cabaret Crusades trilogy, along with new and related drawings and sculpture. The MAMFW presentation was curated by Alison Hearst. Shawky's research-driven work considers and revises global histories through film, peformance, sculpture and installation. His work has been the subject of exhibitions at the Louvre Abu Dhabi, MOCA, the Hammer Museum, the Castello di Rivoli and Turin, and more. On the second segment, Berkeley Art Museum curator Elaine Yau discusses "Rosie Lee Tompkins: A Retrospective," which is on view at the museum through July 18. Tompkins was an Arkansas-born, East Bay-based quiltmaker whose work addressed textile traditions, the Bible, and American histories.

Kris Coleman is the Founder, CEO and President of Red Five Security, an agency that provides world-class security and protective services that he established in 2004 and continues to grow to this day into a multi-faceted company focused on bespoke security solutions for unique clientele. In his 20+ years of experience in the security and protective intelligence industry, he has served with the Central Intelligence Agency (CIA) and the Federal Bureau of Investigation (FBI) and was a former Principal with Good Harbor Consulting. These contributed greatly in establishing Red Five Security's specialization for high quality, proactive, and discreet security services that come in the form of tailored low-profile security operations, analysis, training, and program and system design. Apart from re-evaluating protective units and residential security for US-based Fortune 50 CEOs and their global properties, Kris is also a well-known international consultant with one of his projects having to work on the pre-construction security design review for the Louvre Abu Dhabi, Guggenheim, and Sheik Zayed National Museums on Saadiyat Island in the United Arab Emirates as part of a multi-disciplinary team. Named an Kris is a Member of the American Society for Industrial Security, Society of Former Special Agents of the FBI, and the Association of Former Intelligence Officers. He is the author of Raise Your Resiliency: You, Your Family and Your Business Can Achieve Resiliency in an Uncertain World - available in all major bookstores. Find out more and reach out to Kris Coleman and Red Five Security through the following links: LinkedIn - https://www.linkedin.com/in/kris-coleman-5359466/Website - https://red5security.com/To hear more episodes of The Fearless Mindset podcast, you can go to https://fearlessmindsetpodcast.com/ or listen to major podcasting platforms such as Apple, Google, Spotify, etc. You can also subscribe to the Fearless Mindset YouTube Channel to watch episodes on video.

Eclettico archistar francese che ha realizzato tra cui Museo nazionale del Qatar a Doha o il Louvre Abu Dhabi e tanti altri...

durée : 00:37:00 - Le Temps du débat - par : Emmanuel Laurentin, Bruno Baradat - Alors que les musées ont retrouvé leur public dans les pays voisins, une réouverture est à nouveau débattue en France. De cette longue période d'activité confinée, quels enseignements tirent les professionnels ? Les expérimentations mises en œuvre resteront-elles entre parenthèses ? - réalisation : Alexandre Manzanares - invités : Diane Dufour Directrice du BAL; Simone Verde Directeur du Palazzo della Pilotta à Parme, ancien responsable des recherches au Louvre Abu Dhabi

durée : 00:37:00 - Le Temps du débat - par : Emmanuel Laurentin, Bruno Baradat - Alors que les musées ont retrouvé leur public dans les pays voisins, une réouverture est à nouveau débattue en France. De cette longue période d'activité confinée, quels enseignements tirent les professionnels ? Les expérimentations mises en œuvre resteront-elles entre parenthèses ? - réalisation : Alexandre Manzanares - invités : Diane Dufour Directrice du BAL; Simone Verde Directeur du Palazzo della Pilotta à Parme, ancien responsable des recherches au Louvre Abu Dhabi

実家の本棚から本をスーツケースに詰めて帰ってきたSHODAIが、本を1冊ずつ説明する回です。  ■前川修『イメージを逆撫でする: 写真論講義 理論編』 ■ギャレット・エクボ『景観論』 ■村上春樹『夢を見るために毎朝僕は目覚めるのです』 ■『完全版ヴェネチア』 ■『GENSHO SUGAHARA 18-19』 ■『ウィーン・モダン クリムト、シーレ 世紀末への道』 ■『The Octopus Eats Its Own Legs - TAKASHI MURAKAMI』  ■テッド・チャン『息吹』  ■ラッタウッド・ラープチャルーンサップ『観光』  ■『世界のシティガイド: 香港』  ■武田龍夫『物語 北欧の歴史- モデル国家の生成』  ■『SD 92年2月号 特集ｰ ロンドン・アヴァンギャルド』  ■チャールズ・ジェンクス『ポスト・モダニズムの建築言語』  ■『Yohjiを愛したサプール』  ■『フィレンツェ- 芸術都市の誕生』  ■『GA DOCUMENT 149 - Jean Nouvel, Louvre Abu Dhabi』  ■『AREA 162 - Buenos Aires』  ■『AREA 144 - Singapore』

En este episodio veremos el ambiente económico en el cual surge el complejo cultural de la isla Saadiyat. Nos concentraremos en la relación entre la diplomacia cultural, globalización y turismo. Finalmente, nos detendremos en el museo del Louvre Abu Dhabi para hablar de su arquitectura y algunas de sus obras de arte contemporáneo.

“Luxes” au musée des Arts Décoratifs, Parisdu 15 octobre 2020 au 2 mai 2021Extrait du communiqué de presse :CommissairesOlivier Gabet, Commissaire général, Directeur du Musée des Arts DécoratifsAssisté de Cloé Pitiot, Conservatrice au Département moderne et contemporain au Musée des Arts DécoratifsÀ la suite de « Dix mille ans de luxe », conçue en partenariat avec le Louvre Abu Dhabi en 2019, le Musée des Arts Décoratifs présente, du 15 octobre 2020 au 2 mai 2021, « Luxes ». L'exposition propose un voyage à travers le temps et la géographie, alliant des moments de contemplation et des scansions plus monumentales, offrant à chacune des 100 oeuvres présentées l'espace le plus pertinent pour la délectation et la compréhension.Le parcours, chronologique et thématique, ouvre deux lieux emblématiques pourtant habituellement fermés à la visite : le salon 1900, mémoire vivante de l'Exposition universelle de Paris, une commande du musée pour célébrer l'Art nouveau et les arts décoratifs français, et le salon des Boiseries, dévoilant d'autres chefs-d'oeuvre du décor européen, dont un incroyable lustre de Venini exposé à Paris en 1925, une salle généreuse où lire et rêver, en prenant le temps, face aux Tuileries et au rythme de la ville. Sensible et encyclopédique, sélective et historique, l'exposition offre ainsi, pour la première fois à Paris et au Musée des Arts Décoratifs, une certaine idée du luxe à l'usage du monde contemporain. La scénographie a été confiée à Nathalie Crinière et à son agence, avec la participation exceptionnelle de la Confédération européenne du Lin et du Chanvre.Fondé en 1864 par les représentants des industries d'art qui devaient devenir plus tard ce que nous connaissons sous le nom d'industries du luxe, le Musée des Arts Décoratifs a, sans aucun doute, une légitimité particulière à proposer une exposition sur un tel sujet. Ses collections se sont constituées de manière rétrospective ou simultanée afin de défendre une certaine idée des arts décoratifs à la fois français et ouverts sur toutes les cultures artistiques, c'est-à-dire de l'art de vivre, de la créativité dans le domaine de l'objet, objet d'art ou objet de mode. En plus de 150 ans, il a su tisser des liens étroits avec les manufactures du XIXe siècle, comme avec ce qui en transmet l'héritage contemporain, les maisons du luxe français. Très tôt en ses rangs, des personnalités aussi remarquables que Charles Christofle ou Louis Cartier ont contribué à faire du musée, dans ses expositions comme dans ses collections, ce qu'il est aujourd'hui.Sans se limiter à l'idée d'un luxe à la française, l'exposition Luxes s'emploie à donner à ce sujet si vaste, d'un point de vue anthropologique et culturel, toute son ampleur universelle, portée par un choix très serré d'oeuvres ou d'ensembles d'oeuvres, qui sont autant de moments cruciaux, témoins d'une évolution de la notion de luxe, de son emploi dans une civilisation donnée. Elle souligne des points moins connus du grand public pour lequel la notion de luxe est de nos jours très profondément définie par la présence massive des marques dans notre quotidien, mots-sésames du fantasme de la consommation, logos surreprésentés dans l'espace urbain, artères des métropoles ou aéroports d'un monde globalisé, en somme une nouvelle lingua franca à l'échelle de la planète. Si certaines maisons apparaissent dorénavant comme consubstantielles à l'idée même du luxe, l'idée force de l'exposition Luxes est de ne pas s'y réduire.À travers siècles et civilisations, des objets insignes marquent une sorte de généalogie du luxe, commençant par le sablier de Marc Newson, objet suprême qui symbolise le luxe du temps, puis par les plus beaux exemples de l'Antiquité, cuiller à fard égyptienne ou pièces insignes du Trésor de Boscoreale. Faite de choix drastiques et de partis pris, l'exposition dessine une histoire du luxe qui pourrait être toute autre selon l'optique de commissaires différents.Elle souligne l'aspect matériel et objectif de cette incarnation du luxe, cette patiente défense de savoir-faire transmis d'une génération à l'autre. Elle rappelle combien l'histoire de l'art en général, et l'histoire des arts décoratifs en particulier, est modelée par l'archéologie du luxe, les objets précieux conservés avec soin et transmis, qu'ils soient cachés dans la panique de l'éruption du Vésuve (Boscoreale) ou pieusement légués par les trésors princiers (coffret de Mangot). Notion mouvante et poreuse, le luxe s'incarne dans tant de réalités différentes, quelquefois façonnées de paradoxes radicaux.Au XVIIIe siècle, l'effervescence décorative du luxe chinois offre un saisissant contraste au sentiment de l'épure si cher au luxe japonais, ces céramiques élémentaires, réparées avec délicatesse lorsqu'elles ont été brisées, à l'instar de la pratique du Kintsugi. Aux temps médiévaux, le luxe, ce sont les épices, le sel, les produits les plus répandus à notre époque.À la Renaissance, une cuiller ouvragée épousant un coquillage de porcelaine est d'un luxe éblouissant et distinctif. Au XVIIe siècle l'Europe se ruine pour les tulipes…Aux XVe et XVIe siècle, l'otium, le loisir des Romains, est une autre forme de luxe, quand le peuple lui n'a d'autre choix que de travailler : jeux de cartes d'un raffinement extrême, backgammon marqueté, mais aussi instruments scientifiques et manuscrits rares, tant le savoir est une forme de luxe en soi. C'est plus tardivement, au XVIIe siècle avec les manufactures royales assises sur le pouvoir et le rayonnement louisquatorziens, puis au XVIIIe siècle avec l'avènement des marchands-merciers, « marchands de tout, faiseurs de rien », habiles à créer des objets dont les clients raffolent même s'ils n'en ont guère besoin, que le luxe proche de son acception contemporaine s'épanouit, renforcé au XIXe siècle par les luttes artistiques qu'incarnent aussi les Expositions universelles où créativité et progrès technologique deviennent l'obsession des industries d'art en Europe, aux États-Unis mais aussi, déjà, en Asie. Au même moment, en révolutionnant l'idée de ce qu'est la mode, non plus une simple toquade de cliente, mais la signature, la griffe, qui impose un geste créateur en tant que tel, Charles Frederick Worth promeut la naissance de la haute couture. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

C’est la réouverture du plus grand musée du monde. Après près de quatre mois de fermeture, on pourra de nouveau accéder au cœur du Louvre. Un Louvre comme vous ne l’avez jamais vu, avec une fréquentation limitée à 30% de l’affluence habituelle, Covid-19 oblige, et dans le plus grand respect des règles sanitaires. En temps normal, le musée du Louvre accueille 10 millions de visiteurs par an : jusqu'à un million par mois en été, 40 000 personnes par jour. Pendant le confinement, un silence de cathédrale régnait dans les murs de ce palais vieux de 800 cents ans. Leila Cherif-Hadria, adjointe au directeur en charge de la surveillance : « C’était très silencieux, calme. Je n’avais jamais connu depuis que je suis au musée, j’y travaille depuis une vingtaine d’années. Donc, un musée vide de personnes, quelques agents pour gérer la sécurité, suivre la conservation des œuvres. On n’a pas vu de fantôme (rigole). On était seul et pendant très longtemps sans aucun bruit. C’est assez déroutant. On savait qu’on vivait quelque chose d’unique et qui se reproduirait, j’espère, plus jamais, mais c’était un moment assez magique puisqu’il n'y avait aussi personne dans les rues tout autour, donc un moment un peu suspendu dans le temps. » Pour redémarrer la machine, le Louvre a mis en place tout un arsenal de mesures sécurisantes : gel, masques, parcours fléchés, vestiaires fermés, mais prêt de poussettes ou de fauteuils roulants désinfectés possible - tout est fait pour rassurer les visiteurs dont le nombre est régulé via les réservations en ligne. Jean-Luc Martinez, directeur du Louvre : « Psychologiquement, on sort aussi de deux, trois mois de confinement. Peut-être que les gens n'ont pas envie de se retrouver dans des lieux confinés. Or, le Louvre, ce n’est pas un lieu confiné. Il y a des grandes cours de sculptures, des grands espaces. Mais pour autant, c’est vrai que tous les sondages semblent l’indiquer : il y a déjà 60% des Français qui ne vont pas au musée. » L'objectif premier : reconquérir le public de proximité, à travers des visites plus personnalisées par exemple. Car en l'absence des touristes non-européens - Américains et Chinois avant tout -, la fréquentation du musée se trouve en chute libre : « Si le public français et européen est au rendez-vous, la fréquentation sera entre 20 et 30%, donc maximum 10 000 personnes par jour. Donc, c'est aussi l'occasion de voir ou de revoir des salles du musée autrement. » La Joconde, la star du Louvre, accessible via un parc d'attente avec des points de stationnement, fait partie des 30 000 œuvres étalées sur 45 000 m2, soit 70% des espaces. Après, on avisera : « Nous avons perdu 10 millions d’euros par mois, donc là, on a dépassé les 40 millions depuis le début de la fermeture. Donc aujourd'hui, c'est vrai que nous ne savons pas de quoi sera fait l'avenir. En revanche, le désir du Louvre à l’international, la diversification aussi des ressources avec le Louvre Abu Dhabi, avec un certain nombre d'expositions à l'étranger, avec notre fonds de dotations également qui garantit des revenus, nous ne dépendons pas que de la billetterie. Et ensuite, même si nous pensons traverser ce passage difficile, nous savons que nous allons rebondir. »

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guest Elizabeth Streb. [Live show recorded: May 12, 2020.] MacArthur “Genius” Award-winner, Elizabeth Streb has dived through glass, allowed a ton of dirt to fall on her head, walked down (the outside of) London’s City Hall, and set herself on fire, among other feats of extreme action. Her popular book, STREB: How to Become an Extreme Action Hero, was made into a hit documentary, Born to Fly directed by Catherine Gund (Aubin Pictures), which premiered at SXSW and received an extended run at The Film Forum in New York City in 2014. Streb founded the STREB Extreme Action Company (https://streb.org/) in 1979. In 2003, she established SLAM, the STREB Lab for Action Mechanics, in Williamsburg, Brooklyn. SLAM’s garage doors are always open: anyone and everyone can come in, watch rehearsals, take classes, and learn to fly. Elizabeth Streb was invited to present a TED Talk (‘My Quest To Defy Gravity and Fly’) at TED 2018: THE AGE OF AMAZEMENT. She has been a featured speaker presenting her keynote lectures at such places as the Rubin Museum of Art (in conversation with Dr. John W. Krakauer), TEDxMET, the Institute for Technology and Education (ISTE), POPTECH, the Institute of Contemporary Art (in conversation with physicist, Brain Greene), The Brooklyn Museum of Art (in conversation with author A.M. Homes), the National Performing Arts Convention, the Association of Performing Arts Presenters (APAP), the Penny Stamps Speaker Series at the University of Michigan, Chorus America, the University of Utah, and as a Caroline Werner Gannett Project speaker in Rochester NY, among others. "Rough and Tumble," Alec Wilkinson’s profile of Elizabeth Streb, appeared in The New Yorker magazine in June, 2015. Streb received the John D. and Catherine T. MacArthur Foundation ‘Genius’ Award in 1997. She holds a Master of Arts in Humanities and Social Thought from New York University, a Bachelor of Science in Modern Dance from SUNY Brockport, and honorary doctorates from SUNY Brockport, Rhode Island College and Otis College of Art and Design. Streb has received numerous other awards and fellowships including the Guggenheim Fellowship in 1987; a Brandeis Creative Arts Award in 1991; two New York Dance and Performance Awards (Bessie Awards), in 1988 and 1999 for her “sustained investigation of movement;” a Doris Duke Artist Award in 2013; and over 30 years of on-going support from the National Endowment for the Arts (NEA). In 2009, Streb was the Danspace Project Honoree. She served on Mayor Bloomberg’s Cultural Affairs Advisory Commission and is a member of the board of the Jerome Foundation. Major commissions for choreography include: Lincoln Center Festival, Jazz at Lincoln Center, MOCA, LA Temporary Contemporary, the Whitney Museum of Art, Wolf Trap National Park for the Performing Arts, the Park Avenue Armory, London 2012, the Cultural Olympiad for the Summer Games, CityLab Paris 2018, the opening of Bloomberg’s new headquarters in London, Musée D’Orsay, the re-opening of the Théâtre du Châtelet, and the Louvre Abu Dhabi. Born to Fly aired on PBS on May 11, 2014 and is currently available on iTunes. OXD, directed by Craig Lowy, which follows STREB at the 2012 London Olympics, premiered at the IFC theater in New York City on February 2, 2016. Streb and her company have also been featured in PopAction by Michael Blackwood, on PBS’s In The Life and Great Performances, The David Letterman Show, BBC World News, CBS Sunday Morning, CBS This Morning, Business Insider, CNN’s Weekend Today, MTV, on the National Public Radio shows Studio 360 and Science Friday, and on Larry King Live.

DE L'ART ET DE LA MODE, lundi et jeudi à 9h10 et 12h10. Actualités des expositions et des manifestations culturelles. Cette semaine Alizée Ternisien nous parle du Louvre d'Abu Dhabi.

Georgina Godwin shakes off the winter chill at the Sharjah International Book Fair in the United Arab Emirates as she takes a tour of the Louvre Abu Dhabi and meets the president and director of the Sharjah Art Foundation.

How welcome are selfies in modern art galleries and museums? What kind of labelling should be on display and should more objects be repatriated? Laurence des Cars from the Musée d'Orsay, Kennie Ting from Asian Civilisations Museum, Singapore and Philip Tinari from UCCA Beijing join Anne McElvoy and an audience at the Royal Institute of British Architects for this year's Frieze Free Thinking debate about the issues facing museum directors. The Frieze Art Fair ran in London October 3-6 and returns to Los Angeles Feb 2020 and New York May 2020. Laurence des Cars became Director of the Musée de l’Orangerie in 2014. From 2007 to 2014, she was the French operator responsible for the development of the Louvre Abu Dhabi. Philip Tinari is Director and CEO of UCCA Center for Contemporary Art in Beijing. During his tenure, UCCA has mounted more than seventy exhibitions. From 2009 to 2012 he founded and edited LEAP, the first internationally distributed, bilingual magazine of contemporary art in China Kennie Ting is the Director of the Asian Civilisations Museum and the Peranakan Museum, and concurrently Group Director, Museums at the National Heritage Board (NHB) Singapore. He has changed the focus from a geographical to a thematic, cross-cultural way of looking at art. He is the author of The Romance of the Grand Tour – 100 Years of Travel in South East Asia and Singapore 1819 – A Living Legacy. You can hear Michael Govan, Sabine Haag and Hartwig Fischer in The Frieze Debate: Museums in the 21st Century https://bbc.in/2O5LF6V and this year's in depth conversation with Michael Govan is also available as a BBC Arts&Ideas podcast https://bbc.in/2mST8tn and in the visual arts playlist on the Free Thinking website.

Meaning. So, the meaning of life is to give life meaning. At least this is the view of Adam Byars, partner of Grid Worldwide, a South African design agency that has blazed a trail to the world stage and to international acclaim. Grid are responsible for the largest and well known branding and design projects and have worked with brands like MTN, ABSA, FNB, Michelin, Qatar Tourism, Liberty, RMB, KFC, Louvre Abu Dhabi, and many, many others. Grid believes that the world doesn’t need another brand, but instead the world needs brands that mean something. It is this philosophy that has propelled them to hall of fame status both locally and abroad. So how do you build a world class brand that means something on a world stage? To get the answers we need, I speak to Adam Byars live inside one of their most recent design projects - the “Saint” restaurant in Sandton JHB.

Invitée : Hala Wardé, architecte. Elle a consacré dix ans de sa vie à construire le musée du Louvre Abu Dhabi aux côtés de Jean Nouvel et c'est l'une des rares femmes architectes qui portent des projets sur la scène internationale. Que pense Hala Wardé des débats autour de la reconstruction de Notre-Dame de Paris ? De la protection du patrimoine au Liban, où elle est née ? Où ailleurs dans le monde, comme en Syrie où la guerre a mutilé villes et monuments ? Présentation : Françoise Joly (TV5MONDE), Sophie Malibeaux (RFI), Isabelle Regnier (« Le Monde »).

  Dubai ist eine Stadt in den Vereinigten Arabischen Emiraten und Andrea hat eine Straßenkatze von dort. Darin: Die Doha-Reise – Bvlgari (Resort) – Welt-Insel – Palme-Insel – Mall of Dubai – Muhammad bin Raschid Al Maktum – Daus – al-Fahidi-Fort (Museum) – Windturm – Alserkal Avenue – Mirzam-Schokolade – Abaya – Louvre Abu Dhabi – Straßenkatzenrettungsfront Flickr-Album – […]

On this month’s podcast, we take a close look at art auctions – how they work, their place in the art market and the rules and regulations that confine/define them.  Auctions at Sotheby’s and Christie’s now regularly net tens and sometimes hundreds of millions of dollars for a single work.  Christie’s recently sold Leonardo da Vinci’s Salvator Mundi painting for $450 million, by far the highest price ever garnered by a piece of art at auction.  At the same time, much about the auction process remains secret.  The identity of the buyer and seller is often known only to the auction house, and the reserve price (below which an artwork will not be sold) is known by the auctioneer but not the bidders.  While the auctioneer may not sell a work of art below its reserve price, it can bid on the work below the reserve to get the auction going.  Steve and Katie discuss these issues and others having to do with regulation, transparency and potential conflicts, and welcome famous Sotheby’s auctioneer Oliver Barker to take us behind the scenes of a big auction. Resources: http://www.sothebys.com/en/specialists/oliver-barker/bio.html https://www.nytimes.com/2013/01/28/arts/design/as-art-market-rise-so-do-questions-of-oversight.html https://www1.nyc.gov/assets/dca/downloads/pdf/about/auctioneer_law_rules.pdf https://www.princeton.edu/ceps/workingpapers/203ashenfelter.pdf https://insight.kellogg.northwestern.edu/article/place_your_bids http://blogs.cornell.edu/info2040/2015/10/15/auction-psychology-emotions-behind-bidding/ https://mindhacks.com/2012/09/19/bbc-column-auction-psychology/ https://www.thecut.com/2016/12/inside-the-mind-of-a-million-dollar-art-bidder.html Episode Transcription Steve Schindler:  Hi, I’m Steve Schindler. Katie Wilson-Milne:  I’m Katie Wilson-Milne. Steve Schindler:  Welcome to the Art Law Podcast a monthly podcast exploring the places were art intersects with and interferes with the law. Katie Wilson-Milne:  And vice versa.   The art law podcast is sponsored by the law firm of Schindler Cohen & Hochman LLP, a premier ligation and art law boutique in New York City. Oliver Barker:  There was that element of, you know, great excitement coupled with complete fear in terms of – kind of the very live nature of that performance, and that’s something which has always appealed to me as an auctioneer.  You know, there’s a very live entertainment kind of perspective of that role. Steve Schindler:  Katie, I received some feedback on the podcast from listeners this weekend, and one of the comments that was made to me was with respect, particularly to the Berkshire Museum Deaccessioning episode, that this listener didn’t think that we were necessarily impartial enough or that we were taking sides.  And I thought about that a little bit and one of the things that I feel is that we're not journalist.  We're not pretending to be journalists and we have points of view, and I think we're going to express them.  What I think is also important, though, is where possible to have people aligned with different points of view, and we are very open to that.  So, I would say if somebody from Berkshire Museum who listened to our podcast, a representative or a member of the Board of Trustees, would like to come on and present their point of view in conversation with us – Katie Wilson-Milne:  We would love that. Steve Schindler:  We would love that.  And similarly with respect to the 5Pointz episode, we spent a lot of time with the artists and people involved in 5Pointz, but certainly if Mr. Wolkoff wants to come on and talk about what motivated him – Katie Wilson-Milne: To develop the site. Steve Schindler:  We're happy to have him on – and have the conversation.  We will still have the same view points that we have, but we certainly would like to engage with people who have other view points. Katie Wilson-Milne:  Right and our goal with this podcast is to raise interesting issues that people may not have thought about in the way that we talk about them that connect the art world and the legal world.  But it’s not to provide a completely even handed news article about these topics, it’s to have an interesting discussion between -- mostly the two of us, and we are who we are and we think what we think what we think.  I think, actually, it may evolve over time depending on who we talk to, how we present certain issues.  We're also constrained by the guests who come on the show, and we want to be respectful of those guests by honoring their opinions and what they have to say. Steve Schindler:  So, if you want to come on the show – Katie Wilson-Milne:  Send us an e-mail. Steve Schindler:  Let us know. Katie Wilson-Milne:  So, Steve on this month’s podcast, we're going to talk about auctions.  We have the May auctions coming up at the big houses - Christie’s, Sotheby’s and Phillips - both in New York and in other international locations, mainly London, in early May.  So, it’s a good time to talk about this.  Auctions tend to dominate the art world both in terms of the publicity they get, the prices that come out of auctions, and obviously they are public in a way that private sales are not.  So, it’s an exciting topic. Steve Schindler:  And we're going to be joined in our podcast by the Sotheby’s auctioneer Oliver Barker who is one of their top auctioneers in the area of contemporary art. Katie Wilson-Milne:  Yes, so he is going to give us an insider’s view on what it feels like to be in an auction, what an auction house like Sotheby’s does to prepare for a big auction and what he notices has changed over time in the auction world.  So, to back up and give our listeners a little bit of background the art market itself is said to be worth between $40 to $60 billion right now.  Auction sales from the main auction houses - which are Sotheby’s, Christie’s and Phillips - make up about $11 billion of that, that was the figure in 2017.  Only beat, I think, by the results in 2007, which were over $12 billion. So, it’s a big chunk of the overall art market takes place at art auctions in these three big houses.  The biggest group of auctions sales take place in the United States.  Although the auctions in London and in Hong Kong are also incredibly significant in terms of the profile works that are sold and the types of buyers that are there.  One thing that makes auctions interesting is how psychological the selling format is.  So unlike a private sale, where a dealer – whether its Sotheby’s or in a gallery or private dealer – will call a client or a contact and say, “look, I have this work for sale,” you know, “here's what the seller will take it for it.” At an auction you get the atmosphere of people bidding against each other, which seems to have great psychological effect, and there have been sales in the recent past that have taken off tremendously and sold for way more than anyone could have imagined.  The most famous example of that is the Salvator Mundi, Da Vinci sale at Christie’s that happened last November, where we had two buyers in the end bidding against each other.  And the work ultimately sold for around $450 million, which is far and away the most expensive work that's ever sold at auction ever, ever, ever.  Right, Steve? Steve Schindler:  Right and in that case you had two buyers who were bidding against each other who each thought that they were bidding against somebody else, as its been reported.  And so it drove the price up even higher than any one even contemplated. Katie Wilson-Milne:  Well, because of who those two bidders were. Steve Schindler:  Sure. Katie Wilson-Milne:  So, the story is actually pretty interesting right.  We found out after the auction that the ultimately winner of the work was a Saudi prince, and he had been bidding against a friend, actually, from the United Arab Emirates who wanted the work for the new Louvre in Abu Dhabi.  They both thought they were bidding against someone from Qatar instead of each other.  When they found out that they weren’t and they bidding against each other, which is the only reason it went for $450 million, they apologized to each other and the Saudi prince said, “oh actually you can take the work for the new Louvre in Abu Dhabi in exchange for a yacht.”  So, it actually all worked out and the great anxiety about that sale, which is that this masterpiece would go into private hands, now resolved and hopefully it will be see at the Louvre Abu Dhabi. Steve Schindler:  I’m not sure what that whole transaction means for art or auctions, but it was amusing. Katie Wilson-Milne:  But it happened. Steve Schindler:  And – but from the point of view of a seller, you see these incredible bidding wars for certain kinds of objects, but the auctions can be a little bit terrifying for a seller, because you never know what the market is going on any given night.  You know at least if you're selling a work at a gallery you have a lot more control over the situation and you can wait until a buyer comes along with a price that you're asking. But in auction one possibility is that the bidding is good and strong and you get a very good price; the other possibility is that there isn’t any bidding that night for a variety of reasons. Katie Wilson-Milne:  Right. Steve Schindler:  And the work is publicly not sold. Katie Wilson-Milne:  Right, so unlike a private sale where something isn’t sold, well, you just wait and you sell it later.  But at auction if it doesn’t go well, that can really taint the marketability of the work. Steve Schindler:  And now the rules require that the auction houses announce that a work has not been sold.  Then, the word that's used for it sometimes is that the work is burned.  And then can't really be sold, at least not at auction, for some period of time. Katie Wilson-Milne:  I would totally take advantage of a burned work if I could -- Steve Schindler:  Well, of course and the auction houses then do try to sell the work privately afterwards and sometimes they know, because they know who the bidders are.  You know, what the interest is and then they are broker a sale immediately after the auction. Katie Wilson-Milne:  Just maybe not for as high a price as they could have before.  So, Steve we've talked a little bit on this podcast and certainly between ourselves about the level of or lack of regulation in the art market and sort of the increasing concerns over transparency, either in terms of money laundering or just transparency about the provenance of a work.  Auctions do function a little bit differently than private sales, right?  I mean there’s more transparency if not complete transparency. Steve Schindler:  Well, auction houses are much more regulated than private sales and -- Katie Wilson-Milne:  Which are not regulated at all. Steve Schindler:  Which are not regulated at all, and there is certainly a lot more transparency in an auction process.  I’m not sure that we can say that there’s 100% transparency.  But there are a lot of rules that the auction houses have to comply with, and they do comply with, that at least ensure a certain fairness and openness in the process. Katie Wilson-Milne:  But one of those things is not who the seller is often, right?  That's the one thing that's still not transparent -- Steve Schindler:  That's right and there was a case that ran all the way up to the court of appeals a few years ago. Katie Wilson-Milne:  In New York. Steve Schindler:  In New York, where we had a buyer at an auction who decided that he didn’t want to pay for the work after the fact and challenged the auction house rules on the theory that there needed to be a written disclosure of the identity of the buyer.  And actually that case went up to the highest court in New York and in the court below, much to the unhappiness of the entire auction industry, the court below actually found for the purchaser and invalidated the sale because there was no written record of who the seller was.  And the court of appeals decided to overturn that much to the relief of the auction industry. Katie Wilson-Milne:  Yeah, there have been efforts over time to require dealers to disclose the identity of the seller to the buyer, but those have not been successful, though.  The art world seems somewhat allergic to idea of disclosing who the owner of a work is. Steve Schindler:  There are really two big secrets now at an auction: one is, sometimes, who the owners are.  I mean, not at every auction.  Sometimes it's in fact a huge selling point. Katie Wilson-Milne:  Like the big Rockefeller sale coming up. Steve Schindler:  Right exactly, so the provenance of those works is incredibly important to the value, but sometimes collectors don’t want the world to know what they’re selling.  And so they insist that their identities be kept private and often those works are offered as the works of a private collector or European collector, an American collector.  And the other big secret at auction is this reserve price. Katie Wilson-Milne:  So, what is the reserve price? Steve Schindler:  Well, the reserve price is the secret price that's agreed to between the seller, or the consigner of the work, and the auction house.  And it’s the price below which the work cannot be sold.  And what's not a secret and what has to be disclosed is the fact that there is a reserve, and that is clearly disclosed in all auction catalogues.  And typically in the major auction houses they disclose that all of the sales are with reserve unless they say otherwise. And the other thing that means is that, the way that the auction is conducted, is that the auctioneer is allowed to submit bids on behalf of the seller up to the secret reserve price. Katie Wilson-Milne:  Why would they do that? Steve Schindler:  Well, it’s really – some people have criticized the practice, the practice is sometimes called chandelier bidding on this idea that the auctioneer is sort of taking bids off the -- Katie Wilson-Milne:  The ceiling, yeah. Steve Schindler:  -- the chandelier in the ceiling, but really it’s just a question of creating some theater and drama, because up until the reserve price is hit, the work can never be sold.  So, even if the auctioneer is engaging in some bidding up to the reserve price, until you hit the reserve price, it really has no real impact, accept to sort of -- Katie Wilson-Milne:  Confuse everyone about what the reserve is. Steve Schindler:  -- or to warm up the room if you're taking it from the auctioneer’s perspective. Katie Wilson-Milne: So, how does the concept of a reserve interact with this other concept of a guaranty?  And what is a guaranty? Steve Schindler:  Well, a guaranty, which is often used now by major auction houses to entice collectors of works to consign the works to them, is basically a contract of promise by the auction house to pay a set amount of money to the consigner of the works regardless of what happens at the auction, and regardless of whether the reserve price is hit. Katie Wilson-Milne:  The seller knows 100% they are going to get at least that amount of money. Steve Schindler:  Right, sometimes that's important to a seller the thing that the seller normally gives up when they agree to take a guaranty, is some of the upside of the auction if the price goes above the guaranty and the reserve price. Katie Wilson-Milne:  So, the auction house would split the profits above the guaranty. Steve Schindler:  Yeah and in some proportion and very often now the auction houses, if they are giving a guaranty will in a sense syndicate that risk to other parties who put up the money and are willing to make the guaranty. Katie Wilson-Milne:  So, it’s a third party that – if the bidding didn’t go higher than the guaranty price they take the work. Steve Schindler:  They would take the work at whatever price they guaranteed it at – most of the individuals or institutions that give guaranties would prefer not to have the work.  What they are doing is making a financial bet that the work will sell at a price that is higher than the guaranty in which case they receive a return on their investment. Katie Wilson-Milne:  So, Steve let’s talk to an auctioneer who actually works at these big night auctions and see what they have to say about how they work.  Our guest today is Oliver Barker.  Oliver is a senior director at Sotheby’s auction house and co-chairman of Sotheby’s Europe.  He is also one of the auction world foremost auctioneers.  So, he is both behind the scenes and in front of the camera at Sotheby’s, which he joined in 1994 moving through roles in contemporary art as a senior international specialist, among others. He has overseen some market-defining auction sales, including two major sales of Damien Hirst works, including one that set the world record for single artist sale.  He has a particular interest in post war British art, which he has promoted at Sotheby’s.  And he was the auctioneer at the May 2017 auction in which a Basquiat work sold for record-breaking $110.5 million. Steve Schindler:  Welcome to the podcast Oliver.  So, what kind of skills do you think a good auctioneer has? Oliver Barker:  Yes, well you know, in any given sort of auction, obviously the auctioneer’s role is to try and help proceed the kind of trading from the consigner to the purchaser.  So, the ability to remember, without slavishly looking down at kind of the auctioneer’s book, which is obviously there as a working tool during an auction, exactly what the estimate is for a particular work and also its protective reserve price, and therefore also it’s kind of opening bid, there’s a number of kind of key financial things in play. And, equally, there are so many means of bidding in this sort of modern day.  So, I suppose most traditionally, the easiest way to bid is actually in the room, whether it’s a private client or whether you choose to bid through an agent who’s sitting there executing bids on your behalf.  And there are also kind of the execution of bids via the telephone through a Sotheby’s representative.  There may also be commission bids, and the commission bids are always ones which are lodged in the auctioneer’s book. So, whilst starting off on a particular – you hear auctioneers say footing, the auctioneer’s footing — one has to be aware where the reserve price is, where a commission bid might be and more importantly where the commission bid ceiling is.  Whilst also kind of orchestrating multiple bids that might come in depending on what the level of interest is in a particular lot. Katie Wilson-Milne:  So, we definitely want to ask you about the stages of an auction, so we’re going to get back to a lot of the items you just mentioned.  But maybe first we should ask you to explain to our audience how you decide what goes into an auction versus a private sale.  I mean, big houses like Sotheby’s and Christie’s do both, maybe there’s a movement towards more private sales now.  So, what is the determination of what goes up for auction and what doesn’t? Oliver Barker:  Well, I think it’s a really interesting question.  I think at the moment because the market is ostensibly very strong, and particularly in the area of contemporary art with which I’m most focused.  I think we have the luxury in contemporary, to a great extent actually, to curate the auctions that we’re handling. In other words, there are far greater more voluminous supplies of great objects of the Post-War period, which is how we loosely define Contemporary, then there might be say of old master, kind of masterpieces.  We use our global network and the conversations that we’re having with museum curators or dealers or gallerists or collectors to really have a insider’s knowledge, if you like, of who are the artists sort of being — sort of collected and who are in high esteem in a particular moment. But then also amongst those artists works, what are the key periods or what are the most rare objects?  And what are the ones that the market has seen a real hiatus of?  And quite quickly, you sort of figure out that, okay you have the real estate of a certain amount of exhibition space prior to an auction.  You have the real estate of a Sotheby’s catalogue, which is a major marketing tool that we use, but equally is one that takes a huge amount laborious work in preparing. One has the audience’s attention span, which generally doesn’t last beyond a certain amount of time and then also you have key experience.  So, we tend to have in an evening sale a context probably not more than about 75 lots.  That will probably be your maximum.  I mean, there’s no hard and fast rule.  But I think much beyond 75 lots you know, it’s hard to keep an audience’s attention and focus.  But at the same time you want to be able to curate a sale so that — there are lesser value things that which you know, are going to be short fast sellers. And you want also want pepper the ordering of the catalogue, which is also particularly critical, to introduce the high value lots at the commercially most optimum moments.  And I think at the end of the day also we’re getting very closely judged both by Wall Street and by the collector community in terms of how many unsold lots we’re handling.  I mean, I think it is fair to say that it’s a rarity to have sales which are 100% sold.  When putting a sale together one intends to try and sell everything as best one can, but market forces obviously and a variety different reasons may mean that things go unsold.  But there may well be through price expectation or physical condition issues, problems of some sort of conservation for example, that on the day the market turns its back.  So, we would like to have a fairly tightly trimmed unsold rate obviously of a percentage as low as possible. Steve Schindler:  Maybe talk us through sort of setting the stage of what it’s like, the atmosphere is like, at one of the big evening Contemporary art auctions that you preside over. Oliver Barker:  No, I mean the big auctions really are you know an amazing spectacle.  I think it’s fair to say that the evening sells are very much the summation of a very intensive three month period since the last set of auctions.  And in many cases, the fruition of many years of engagement with a particular collector, meaning that we have put together an auction of what we believe to be the finest works of art in that particular sale season. So, there’s a tremendous sense of anticipation from a number different perspectives whether it’s the vendors.  Whether it’s the market itself responding to the quality of the objects that we are offering, whether it’s the people within the room itself, in other words the people who attend, whether they be private collectors or consigners or potential purchasers.  From Sotheby’s perspective obviously, there are the management and the financial expectation of the sales and there maybe even be our shareholders or our board members or even Wall Street that are looking in as well. So, I think it’s fair to say that there’s quite a lot of eyes coming from many different disciplines, all of whom are very clearly focused on that start time of 7pm. when we kick off.  And being in a live business as we are, it’s very exciting that all of our presale marketing is conditioedl, obviously to that deadline and approaching that kick off point. So, that we have done our absolute utmost on behalf of the vendor to reach out to the world’s collectors and — you know, I think it’s interesting, in previewing the next major sale season, New York in May, where there are so many superlative objects that are coming to the market at the same time.  You will find that the orchestration of marketing these sales, and therefore how well the auction does, is really crucial in making sure that the world’s global collecting community is very, very focused on participating and being focused from New York at 7pm when we kick off that sale. Katie Wilson-Milne:  So, what do you do in the lead up to an auction?  What are the key things you do to drive up interest in the sales ahead of time? Oliver Barker:  Well, there are kind of three elements, I suppose, in terms of how we best raise interest and therefore the kind of the excitement around a particular object and particularly trying to get somebody to actually come participate in that and bid in an auction.  First of all, there’s the announcement of the sale itself, and actually normally that is the sale catalogue.  So, that’s the very first time that the market’s actually been able to have a very holistic view on all the objects that we’re going to be selling in that particular moment. Sometimes preceding that, sometimes following that, are a series of well-orchestrated marketing campaigns, which might include taking a particularly important object to Hong Kong, for example. I actually think a very good example is the announcement today, in fact, is  the wonderful Modigliani Nude of 1917, which was actually launched online in a live web cast on Sothebys.com but from Hong Kong.  With a very deliberate view that you know, the unlikely buyer for an object like that may very well come from that region of the world. But at the same time you know, that is an object which will now return to the New York to be viewed in the next couple of weeks in a presale exhibition you know, within our building on York Avenue, and that’s the other key part of the exhibition, of suddenly going into an auction.  You know, we have a – usually 10-day, or sometimes longer or sometimes a little bit shorter, preview before a particular sale, which enables collectors to come in and look at the pictures, but I think also most importantly to really do due diligence and talk to experts at Sotheby’s or take their own independent advice and come in with somebody who has some particular knowledge in an artist’s work.  Even seek the opinion of a third party conservator, you know somebody who’s able to come look at an object, take it off the wall.  I mean in the same way that you wouldn’t acquire a house without having a full structural serving on it, collectors do very much the same thing with paintings.  I mean, they like to come onboard and actually have a look at conservator’s reports and get a sense of is it in the original condition from which it left the artist studio?  Have there been some kind of repaintings?  Are there any loses anywhere?  And then obviously, you lead to the auction itself, and that might be proceeded by dinner parties or press releases as well. But as I mentioned a moment ago obviously the sale tends to kick off at a very particular time.  Nowadays also because our auctions are broadcast online, it’s even more important that we kick off in sort of a timely manner.  And we’ve had going on behind the scenes throughout the whole auction process a number of internal meetings at Sotheby’s, which are called interest meetings, which are designed to help orchestrate and choreograph, what are the levels of interest that the works of art that we’re selling are driving in the market place.  In other words has that first lot in the sale had the kind of feedback that we thought it might, because it’s such a rare object, and that it seems to carry comparatively conservative estimates?  So in other words, has it driven three or four people to look as if they’re making the signs they might decide to make a bid on the auction? Steve Schindler:  So, Ollie, when you start the bidding you already have a sense, I gather, of who is interested and what level of interest they have. Oliver Barker:  Right, I think it’s fair to say that you know, auctioneering is a very irrational process, it’s not a fixed price.  I think to a perspective purchaser of art who’s never bought at auction before, there is some level of discomfort.  I mean by comparison to walking into a gallery, where quite often there is a published price or you know it’s known what the end user price might be, and of course barring any room for negotiation, you’ve got a fairly clear idea what you are going to be likely paying for a certain transaction.  When you walk into an auction, obviously, there is absolutely no guaranty that the object is going to be acquirable at a particular level of price, because of course it just – it entirely depends on who ends up bidding against you.  Having said that, what we are trying to do is to make the irrational as a rational as we possibly can.  In other words we are using our experience to try and understand what the likely outcome out of a particular auction might be. Now, obviously we would love to supersede our expectation and know that on the night you know, something might double or sometimes triple or if we’ve done our jobs correctly and we know we’ve got a wonderful object and equally it’s being well marketed and it’s highly desirable in the marketplace and you have been able to drive great interest in that particular object, you might probably might find that something will take off and make a really superlative price that has no precedence in the market to date. Katie Wilson-Milne:  How often does that happen that there’s sort of a runaway bid, bidding on a work that just takes everyone by surprise? Oliver Barker:  Well, I mean, Katiem you know, I wish I could say on every single lot.  I mean, I think that buyers now are particularly savvy.  And I think you know, we would expect them to also be fully aware of and advised of what comparable objects make in the market place.  So, depending on what you’re selling you know, there may be one sale.  And we had a great example of something which did superlatively well last May when we sold a Basquiat painting for $110 million — Katie Wilson-Milne:  Right. Oliver Barker: — it had an estimate somewhere in the region of just over $50 million, so that was a really great example of something which completely superseded what our presale expectations were. Steve Schindler:  And you were presiding over that auction, Ollie, as I remember. Oliver Barker:  Yeah, I had the great privilege of holding that auction. Steve Schindler:  How did that feel at the time? Oliver Barker:  It was terrifying.  I think that because I very much love the entertainment aspect of the auction, it was something, which seems to go very slowly.  Albeit I think time actually sometimes slows down actually when you’re dealing with such high figures.  And particularly when kind the freestyle excitement of two very determined bidders like that kind of really gets going. But it was a great privilege, it was tremendous work of art.  And I think also the signs in the presale activity have been that the market – this is the picture that market was really looking for.  I think you have the trilogy of a great object by a great artist, which is entirely fresh to market.  Really truly all those kind of the elements choreographed together to make a phenomenal price.  And I think in fairness to Sotheby’s also — I think we did a tremendous job in terms of marketing in that work and just making sure that on the night the two most likely bidders or end users ended up sort of fighting against each other and there was a real sort of gladiatorial kind of contest which went on between them. Katie Wilson-Milne:  It’s really interesting how much of the excitement I think of the auction actually happens before the auction, which you’ve talked about in terms of the press and the social media and the events.  And I wonder has that changed over time, in your experience? Oliver Barker:  You know, it’s really interesting to me that you know, well Sotheby’s is actually the – I think we’re the oldest company that’s listed on the American stock exchange.  We’re a company that was founded in 1744 in London by somebody who was a bookseller.  And I think the reason that we remain, or rather, auctioneering remains a really contemporary activity is that I still think it’s one of the most effective ways of selling works of art from one entity to another.  And I think you know, that we’re fortunate you know, being Sotheby’s — and Christie’s and Phillips could say very much the same thing — that we are deemed to be kind of very credible marketplaces for the sale of the greatest works of art and the thing that we particularly handle.  Having said that, I think that you know, particularly with the new opportunities afforded by the internet and social media etc., I think the abilities to market what we’re selling have grown massively within the last two years. And continue to kind of change all the time.  And I think that we as a business are very much at the forefront in terms of kind of trying to get technical innovation, very much front and center in terms of how we get objects sort of into the minds of the prospective purchasers out there. I think it’s fair to say at that actually auctioneering in a way remains a very, you know — it’s quite an old school form of actually selling something.  You know you have a finite amount of time to sell something, it has to be in a particular city, it has to start at a particular time, and you’re somewhat reliant on your audience actually being available and focused at that particular moment.  Having said that, you know and again to use another analogy, I think that’s race horses tend to run a little bit faster when they can hand the hooves of other horses beside them and I think very much — Katie Wilson-Milne:  Right. Oliver Barker:  The same with bidders.  You know I think that there is something very compelling to a major collector to feel that there is a competition for a work, which very much validates that quality of that particular work.  I mean I think in a way to sort of buy something against a reserve price or with no other bidder or under bidder can to a lot of people be quite a difficult situation.  It suggests that your taste has not been validated on the day of acquisition. Steve Schindler:  And some of the language that you use in an auction also is — seems adversarial, you know, when you say to a bidder “against you” or you know it’s — Katie Wilson-Milne:  You’re setting up a competition almost. Oliver Barker:  I think there are people who are very determined when it comes to auction to actually try and acquire something.  So I think the auctioneer’s role is very much to help translate that kind of rigorousness on a bidder’s behalf to really acquire that trophy and acquire that sort of particular masterpiece.  I mean, I think I prefer to use the word cajole in a way, rather than kind of adversarial.  I am not — Steve Schindler:  Fair enough, fair enough. Oliver Barker:  I am not sure how many bidders are overly adversarial — Steve Schindler:  Fair enough. Oliver Barker:  If I am cajoling them well enough.  And if that means kind of questioning their virility of bidding, then that’s definitely something that we like to kind of use as a means.  And I think the audience is very receptive to it as well. Katie Wilson-Milne:  Well, it makes it very exciting, and Steve and I in preparing for this podcast did some reading about work that’s been done on the psychology of the auction, and it’s — it’s really interesting. Oliver Barker:  Yes, yes. Katie Wilson-Milne:  I mean, people just react completely differently in an auction setting than they would in a private sale.  And you know I was thinking of you sort of as this psychological master leading the auction.  Now do you think about — Oliver Barker:  Yeah. Katie Wilson-Milne:  You know.  Do you do any research on that, or how do you think about the psychological? Oliver Barker:  No, very much so, and I think that it’s very hard to kind of really define it particularly when you’re in a live environment like that.  You know, there are examples and you know one sticks to my mind probably more than any was when we did the big Damien Hirst “Beautiful Inside My Mind Forever” Sale in 2008.  I mean in terms of a presale environment, you could not have got a more heady mixture than the imminent collapse of Lehman Brothers happening during the presale exhibition of that sale and then the eventual collapse of the bank and kind of the financial tsunami in the stock exchanges that was the direct result of it, which happened on the 15th of September 2008.  And that was the kind of the back drop to which we then held the sale that evening in London at 7pm. So you know from the announcement first thing in the morning that the bank, or rather the central bankers in America had chose not to support Lehman Brothers and it fell into administration, you suddenly saw opening in the Turkey stock exchange this sort of financial malaise that spread west around the day.  So by 7pm that evening in London, of course there was, you know, this front page news in the Evening Standard.  We were incredibly worried about what would happen and how the transition would affect the auction.  But I think it’s fair to say that you know in any auction environment there is a kind of a vacuum-like opportunity or intensity if you like where the outside world is somehow put on hold and people are particularly focused on the auction itself and I think actually, because the auction of Damien Hirst works was a completely unmitigated success.  I think there was an element of, you know, yes, psychosomatically people were very involved and very engaged with those objects, but as an auctioneer, you know, I was hopefully able to get their real attention that night and there are no rules — I mean, I think also — no rules in terms of what a bidder’s limit might be.  I mean, depending on what their financial means are.  I mean, a lot of our bidders are very astute and they come in with a very fixed idea of what they want to spend on a particular object.  There may be those who on the night have a particular limit, but then blow straight through depending on their mood. Katie Wilson-Milne:  I was going to ask you just that, right, do they stick to it? Oliver Barker:  Yeah.  Well, it’s you know I — I can only speak for my own experience you know when I bid in auctions outside of Sotheby’s, quite honestly you know you set yourself a limit, and I did this actually buying my wife’s engagement ring, you know I set myself a limit and then I just blew straight through it, because it was just an object I had to have.  And I think that’s also dependent on you know the high into the market, you know when you’re dealing with kind of unique Rothko’s or Modigliani’s or Francis Bacon paintings or Picasso’s, and you saw it clearly with the Leonardo painting that came up at Christie’s.  You know I think in that case, when there is an element of scarcity and rarity and kind of you know a one-offness in the marketplace, there’s much more likely and to be a kind of stellar auction price, which will be very hard to replicate. Steve Schindler:  So, Ollie, you’ve been very generous with your time.  And we’re sad to let you go, but I would like to ask just one more question before we conclude.  You are an auctioneer in London, you are an auctioneer in New York.  Is there difference between auctions held in Europe and the United States, or even Hong Kong, just in terms of the atmosphere and the — Katie Wilson-Milne:  The buyers? Steve Schindler:  The buyers? Oliver Barker:  I think the short answer is yes.  But I think as an auctioneer I am very conscious about trying to engage a different audience in a different geographical location.  I mean I think that in New York, in particular, with the auction room at Sotheby’s, it’s a vast space, it seats many more people than our London auction room.  And I think that they are obviously the stakes in terms of the values of the works tend to be a lot of higher.  There is arguably more participation actually from the telephones than there are in any other auction location.  And I suppose for me, being based in London, it’s a slight cultural nuance just on the, in the basis of being in a different city. But you know it’s now become very familiar to me.  I mean, I certainly as an auctioneer I remember the first time I got up in New York to take an auction it really felt as if I was sort of entering in a tremendous environment, a huge kind of stage and obviously with works to kind of back that up.  I think in London just by definition our building here is a little bit more quaint, albeit the auction itself is still to an audience of possibly up to six, seven hundred people.  But I think, you know, one has to be attuned to the kind of the audience that is looking as well as the people who are likely to be tuning in.  I mean, it’s very difficult as an auctioneer to know exactly who is on the end of a telephone line or who is watching from the comfort of their own home in terms of online bidding for example, but — because there are more numerous ways of actually pricing bids these days, we have to be accountable for each for each possible one. Katie Wilson-Milne:  Great.  Well, thank you so much for speaking to us today.  I know our listeners will enjoy hearing your perspective. Steve Schindler:  Thank you, Ollie. Oliver Barker:  My pleasure.  Thanks, Steve.  Thanks, Katie. Katie Wilson-Milne:  Well — so let’s talk about the rules, rules are obviously exciting to us because we’re lawyers. Steve Schindler:  We are lawyers and we love rules. Katie Wilson-Milne:  And auctions, I mean auctions do feel a little bit like the wild west, right, they are theatrical, you have people acting on impulse, it’s really exciting, bids go up 10s of millions of dollars at a time, but there is actually rules to it and regulations, so Steve what are some of those rules? Steve Schindler:  Well, there are really two sets of rules that govern auctions in New York.  One is the uniform commercial code, which is a code of laws that are adopted across all 50 states that governs the sale of goods.  And art is really a fancy kind of good.  So, UCC Section 2328 provides a contractual framework for auctions.  And it basically says that a contract is formed and a sale is complete when the auctioneer’s hammer falls.  And there are some specifications in the UCC about what happens, for example, if the hammer is falling. Katie Wilson-Milne:  Right. Steve Schindler:  And another bid comes in, and the UCC says under those circumstances the auctioneer has discretion to in a sense open up the bidding again.  The other thing that the UCC provides are some rules relating to whether or not there is a reserve or not.  If an auction goes forward without a reserve price, then once the bidding starts, the lot can never be withdrawn. So if the bidding is $5 or $10, it doesn’t matter what the object is worth, at that point the seller is kind of stuck with it and when the hammer falls that’s it.  If there is a reserve then, of course, the object can always be withdrawn from sale unless the reserve is hit. The UCC provides for two kinds of warrantees that are important in the purchase of art.  One is a warranty of title and the other is a warranty of authenticity.  A warranty of title, whether you’re buying from an auction house or from a dealer, is implicit in any sale.  The second warranty is a warranty of authenticity.  A warranty of authenticity, unlike the warranty of title, has to be expressed.  You need to say what you’re warranting in some fashion, and the way that works under the UCC with respect to an auction catalogue is if the work is listed in the catalogue as the work of a particular artist, that constitutes a warranty — Katie Wilson-Milne:  That it is. Steve Schindler:  That it is the work of that artist as supposed to other ways of formulating the catalogue description, such as something is “the school of” or “in the style of,” but whenever it is that you sell something and you list it in the catalogue as being the work of an artist, you are and the auction house is warranting that the work is authentic.  Warrantees of authenticity and title carry with them a four year statute of limitations, but one of the things that the auction house does with respect to its warranty of authenticity is to provide for a five year guarantee of the authenticity of the work, so they actually give you one more year than you normally get. Katie Wilson-Milne:  Right.  So if there is a problem with the work you buy at auction, you can go back to Sotheby’s or Christie’s within five years pretty much no questions asked as long as you have some backup for your concern.  They’ll give you your money back, take the work, and then it’s up to them to go to the consigner or the seller to sort things out with them. Steve Schindler:  Right.  And one of the things we know from working with auction houses is that they do a very thorough job on the consignment side.  So — Katie Wilson-Milne:  Well they have a lot at stake. Steve Schindler:  They have a lot at stake, and so you know that they are working very diligently to make sure that the works that they are selling have title and that they are what they are purporting to be. Katie Wilson-Milne:  And even if something comes up after the contracts have been signed, after the catalogue has been out, if something comes up that one of the auction houses doesn’t feel good about prior to auction, they can withdraw their work at their complete discretion.  And we have seen that a number of times that they’re really cautious, and they’ll pull something at the last minute. Steve Schindler:  Right.  And it’s a very difficult decision to make, because obviously it’s not great for the consigner.  In New York, the New York City Department of Consumer Affairs also has a set of rules for licensing auctioneers and regulating public auctions.  And interestingly these rules were substantially revised in the 1980s, particularly in the aftermath of a scandal that hit Christie’s as an auction house, where a number of works were not in fact sold because reserves were not met, but in order to boost the market, Christie’s and its then chairman falsely reported that the works were in fact sold. And after that happened, the chairman of Christie’s at the time was forced to resign and the Department of Consumer Affairs decided that they needed to get a little bit tougher with the regulation of auctions just to make sure that the public would feel secure in bidding at an auction.  After their obligations to the vendors and the consigners, which, Katie, I know you’ll talk about a little bit, the main obligation the auction house has to the buying public is to really ensure that the bidding is fair and that the sale conditions are transparent and that everybody knows the rules. So a few of the things that were changed at the time that these rules were overhauled was that the existence of the secret reserve price now must be disclosed, not the amount of it, but the fact that there is a secret reserve price must be disclosed.  Also when we talked about guarantees before, if there is a guarantee that is given on a lot, that also must be disclosed.  We know that auctioneers under the rules are never allowed to bid for their own account unless that bidding is disclosed and except up to the reserve price.  We talked about chandelier bidding, for example.  If there is to be chandelier bidding, it has to be disclosed, and all of these disclosures are normally made in the big auction catalogues with — Katie Wilson-Milne:  With little symbols. Steve Schindler:  With little symbols, when you look at the terms of sales, it goes through all these types of items and then indicates whether there are guarantees, whether there are financial incentives of any kind being offered to the sellers.  And the idea is that this kind of information will help inform the market in their bidding.  And sometimes, in fact, when these conditions change even at the last minute, the auction houses will post notices outside the auction room with any disclosures that have to be made. Katie Wilson-Milne:  So the New York City Consumer Affairs rules also require that there be a written contract for every auction between the auction house, or the auctioneer, and the seller, commissions that are charged have to be disclosed.  There has to be a disclosure of any interest that the auction house or any related party has in the work, whether they own a part of the work or, you know, have an interest in a guarantee on the work.  The auctioneer cannot disclaim warranty of title even though under certain circumstances the UCC would permit that, which is what Steve was just talking about, and the consigner has to make a warranty of title.  So there is two ways that the buyer is protected in terms of the title. So there is also this concept in auctions of an enhanced hammer price.  And that means, in the old model, auction houses made most of their money from consigners paying them a fee.  So if I owned a work of art and I went to an auction house and sold it, I would give them a percentage of what I got from the sale.  For a variety of reasons I think mostly, Steve, because of competition among the auction houses to get sellers to consign amazing works, the auction houses for certain clients charge very little if anything of a seller’s commission.  And now they seem to be getting most of their money from what’s called the buyer’s commission. Steve Schindler:  And the buyer’s premium is something that’s set out in the — very clearly in the terms of sale and the buyer’s premium, unlike the seller’s commission, is really never negotiable. Katie Wilson-Milne:  The amount of the buyer’s premium changes depending on the price of the work. Steve Schindler:  Right. Katie Wilson-Milne:  Right so — Steve Schindler:  As the price of the work goes up, the percentage of the premium goes down. Katie Wilson-Milne:  Goes down a little bit.  And so, but it’s even beyond that now right, Steve?  So now the competition is so fierce for sellers or consigners that sometimes the auction house will promise the seller a share of the buyer’s premium which is the original fee that’s supposed to go to the auction house. Steve Schindler:  Right.  And that’s known as an enhanced hammer. Katie Wilson-Milne:  Or under the New York Consumer Affairs Laws a rebate.  So auction houses are agents.  They work for the seller technically, so they are a fiduciary of the seller, not of the buyer.  Although the regulations and rules that we just talked about, the UCC and the New York Consumer Affairs Rules, really mostly serve to protect the buyer.  So it’s sort of an interesting relationship in that is a fiduciary relationship.  The auction house is a fiduciary of the seller, which means that they have to act in the utmost good faith and in the interest of the consigner throughout their relationship, meaning they have to take care of the consigned work, they have a duty to disclose details that influence what the work can sell for, how auction-able it is, if there are any issues that come up in due diligence about the work, then the proceeds from the auction sales are really held in trust for the seller they belong to the seller and the auction house holds them as a fiduciary meaning it can’t use those proceeds for other business purposes. So those basic fiduciary laws exist in the auction-consigner relationship, but they’re overlaid with practices and rules that come up in the UCC and the Consumer Affairs Rules that really make the relationship one towards the buyer as well.  And I think this is unique to the auction world that the auction is facing the seller as a fiduciary, as an agent, and the buyer with all these rules of disclosure that come out. Steve Schindler:  Yeah.  So it’s a little bit different than a sort of gallery situation.  I mean, there you have the same technical legal relationships.  You have a consigner of works to a gallery is in a fiduciary relationship with the gallery owner, and the customers or the clients at the gallery are not, but you don’t have that same level of regulation governing — Katie Wilson-Milne:  Right. Steve Schindler:  The sort of practices vis-a-vis the client. Katie Wilson-Milne:  It seems to be more clear in the private sale world who is responsible to whom, that the gallery is a fiduciary of either the artist whose work they’re selling.  Or if they take a work from a collector to sell, they are the agent of that collector and it’s a little more clear.  In the auction world, there are all these regulations.  Some of the practices that seem to conflict with traditional fiduciary-like obligations are guarantees where the auction house has an incentive to make money on its own account if it can sell work for above the guarantee, right? Steve Schindler:  Right. Katie Wilson-Milne:  And then it’s dealing with this potential third party who also has an interest in the outcome of the sale and it’s not the seller. Steve Schindler:  Right.  And I think the other really important fiduciary obligation that the auction house has to the consigner of works is this question of auctionability, of looking at a work and deciding — Katie Wilson-Milne:  Yeah. Steve Schindler:  is this something that should really be in an auction or in an auction this May or November or is it something that really should be sold privately, because if you put something up for auction that isn’t right, then the consequences to the seller are pretty severe.  It’s a sort of public shaming of the work and that is you know very difficult for an entity who lives — Katie Wilson-Milne:  Makes all it’s money — Steve Schindler:  On selling people’s works at auction.  So, it’s a really important fiduciary duty.  It’s one that I think that the auction houses try to live up to, but it does create a natural tension. Katie Wilson-Milne:  Yeah.  And I think we would call these things potential conflicts of interests, the guarantee, the fact that auction houses want things to go to auction even while they’re fiduciaries of the seller and it may not make sense for something to go to auction at a certain time.  And then there is the buyer’s premium, where the auction house is getting paid by the buyer and is incentivized to sell work at a certain price or a certain time so that they can get the buyer’s commission.  And then what about art loans does that — how does — how do art loans fit into the fiduciary obligations of the house?  How do art loans work in the auction? Steve Schindler:  So, art loans now are fairly common.  They can either be made by the auction houses themselves.  For example Sotheby’s has a significant loan and finance department, and what it typically does is offer advances to consigners who were selling works at an auction.  So if I put my work up for auction in May, but it’s January and I’d like to have some cash in advance, typically they will loan you 50% of the low estimate. What’s problematic here is that if the work doesn’t sell at auction then you still have to pay back the loan.  And — so I would say that the interfacing of the auction house and their making of the loan, that that’s not a fiduciary relationship that that is an arms length relationship no different than if you went out to a bank or to a special purpose financing company and sought a similar kind of loan. Katie Wilson-Milne:  The buyer is paying interest to the auction house too, so it’s a profitable enterprise — Steve Schindler:  Yeah and — Katie Wilson-Milne:  theoretically. Steve Schindler:  And it started out really as an accommodation business.  I think it’s grown a little bit past that, but the idea would be if you were Sotheby’s or Christie’s and you are competing for prized consignments, one of the incentives that you would offer your consigners would be an advance. Katie Wilson-Milne:  And now they can make a loan, that’s in a more traditional lending format and gets some interest in the process. Steve Schindler:  Right. Katie Wilson-Milne:  It sounds like  we should do a whole episode on art lending and — Steve Schindler:  Maybe we should — Katie Wilson-Milne:  art finance. Steve Schindler:  I think we will. Katie Wilson-Milne:  So another way or a way that the auction houses and the auction system gets around this potential conflict between fiduciary obligations to the seller and rules of disclosure to the buyer is in their contracts.  And as is always true, having a contract that lays out the terms of a relationship is a great idea and it prevents other legal claims such as breach of fiduciary duty.  So it’s pretty clear in the law that you can modify fiduciary obligations by contract.  And that is just what the auction houses do, so they have consigner agreements with the seller and they have terms of sale.  And both of those are contractual obligations, either between the seller and the auction house, in the case of the consignment agreement and in terms of sale between all three parties the auction house, the seller, and the buyer. So what are the main contract terms that are laid out in a consignment agreement in terms of sale?  One is the commissions to make clear who is benefitting from what that the seller knows there may be a buyer’s commission, if they have a share in that or not.  That’s all laid out.  So any potential conflict of interest is disclosed and accepted by both parties.  The seller, the consigner makes representations and warranties with respect to clear title, the ability to sell the work or authority to sell the work if it’s an entity selling, authenticity of the work etc., and the contract will lay out the consequences to the seller if those warrantees and reps are not true. And that’s because as we’ve just said the auction house has a duty to the buyer which is both governed by the UCC and under the auction house’s contractual obligation to take work back within five years, if there is an issue with authenticity.  The contract with the seller means they can go back to the seller and sue them if need to be to recover the value they lost from accommodating the buyer. Steve Schindler:  And what happens now if the buyer doesn’t pay? There have been a couple of lawsuits that have been in the headlines lately about buyers who have made bids and then just decided not to pay. Katie Wilson-Milne:  It’s kind of incredible to me that that happens that you could be a high profile enough bidder to be at a big night auction at Sotheby’s or Christie’s, that they would vet you financially ,which we know they do, and they have to.  That’s smart.  And it would still happen that the buyer’s like, “no actually I changed my mind, I’m not going to pay.”  So — Steve Schindler:  So then what happens if you are a seller? Katie Wilson-Milne:  So if you’re a seller, the contract says that the auction house is under no real obligation to go and collect money for the sale. Steve Schindler:  Right. Katie Wilson-Milne:  Like they’re going to do their best to sell it.  It’s clear you know what reps and warrantees are being made, but if the auction house doesn’t get the money, they can’t give it to you.  So the seller really does bare the risk of that.  Now, both the seller and the auction house may have civil causes of action where they can go after the so-called buyer who didn’t pay for breach of contract, and that is in fact what happens.  If it’s enough money that it’s worth it, the auction house will sue. Steve Schindler:  Right.  And even they don’t have a legal obligation to do it, they probably in order to just to preserve the integrity of their auction and to entice other people to sell with them, they need to sometimes enforce the promises of buyers. Katie Wilson-Milne:  They could also have a 20% interest in — Steve Schindler:  That’s right too. Katie Wilson-Milne:  The sale price, so it might be — it might be financially worth it for the auction house, too. Steve Schindler:  Right.  And what about do auction houses now concern themselves with money laundering and source of funds? Katie Wilson-Milne:  They do greatly.  And we deal with this a lot.  There is increasing oversight I think from banks with large amounts of money moving in and out of accounts.  So there’s some financial regulation, which is not regulation of the art world though, which overlaps with the art world, just because it’s about movement of funds.  There is also, we know, for Chinese buyers pretty strict regulations in China with respect to how much money can leave China every year, and it’s a really low number.  So there are reasons that the auction house is going to want to check into the type of client they’re dealing or the type of potential buyer to make sure that they’re not going to get caught up in some kind of regulatory investigation or lawsuit or third party subpoena where they’re going to have to turn over their records and be scrutinized. Steve Schindler:  So I think it’s fair to say, and it’s not obvious, that you can’t just stroll into a high-profile auction in the evening for major pieces of Contemporary Art and pick up a paddle and then just sort of raise it away. Katie Wilson-Milne:  Indeed no. Steve Schindler:  That there is a lot of due diligence both on the seller’s side and the buyer’s side that the auction house is performing.  That’s one of the things that — Katie Wilson-Milne:  Before you get the paddle. Steve Schindler:  Exactly. Katie Wilson-Milne:  Yeah.  And that’s probably something that’s changed dramatically and increasingly as the art market has taken off and become you know a $60 billion  industry, that it becomes harder and harder to take part in one of these auctions because there is too much at stake if you don’t pay, or it’s going to get the auction house in trouble.  So the contracts that the auction houses has with the seller also protects the auction house by providing a broad indemnification from the seller.  So just like we were talking about a minute ago, if something goes wrong with the sale, there is a title issue despite the fact that the seller warranted there wasn’t or there is an authenticity issue, the seller says, “I am going to cover those costs for you, the auction house, including your legal fees. I’ll refund you the work.”  Now, enforcing it is a different matter, but the seller does indemnify the auction house.  It doesn’t directly protect the buyer.  The buyer will still go to the auction house and the auction house will protect the buyer, but they can then turn around and go to the seller.  It also provides that the seller is going to pay certain expenses, that there’ll be reserve prices, what happens if the reserve isn’t met, that it will be bought in, that it will be announced publicly. And then, too, I think the most significant contractual modifications of the fiduciary relationships, which are that the auction house maintains until the date of sale the right to rescind in its sole judgment if it thinks there is any liability possible.  So it doesn’t even have to explain to the seller.  It might want to, because they want to maintain that client relationship, but the auction house has the right until right before auction to pull a sale for any reason if it feels that there is some liability involved.  And they do.  They do do that. Steve Schindler:  Right.  And sometimes it doesn’t seem entirely fair.  There was a case a couple of years ago involving a consignment of a work of Katie Nolan to Sotheby’s — Katie Wilson-Milne:  Right. Steve Schindler:  And Katie Nolan had prior to the sale disclaimed authorship of the work because it had been in her view improperly conserved — Katie Wilson-Milne:  Was she the consigner or she — Steve Schindler:  No, she was not the consigner, but she was — she was — Katie Wilson-Milne:  She was the author of the work. Steve Schindler:  The author of the work and we know under the Visual Artists Rights Act that the author— Katie Wilson-Milne:  If you listened to our last episode. Steve Schindler:  Yes.  That the author of a work has the right to disclaim authorship of the work if she believes that it has been damaged in a way it would reflect poorly on her honor and integrity.  And in this case, Katie Nolan had viewed the work, observed that it had been improperly conserved, in her view, and publicly disclaimed authorship of the work, at which point Sotheby’s felt compelled to pull the work from the auction because it no longer could in its view give a warranty of authenticit

When the French President Emmanuel Macron opened a new Louvre museum in Abu Dhabi this month, he said it would show how beauty was more powerful than hate. The museum wants to promote cultural exchange between West and East – as Amanda Morrow found out, when she was one of the very first visitors to the new Louvre Abu Dhabi.

Zaterdag opent in het golfstaatje Abu Dhabi een dependance van het Louvre met kunstwerken uit dat Parijse museum en andere Franse musea. Het spectaculaire gebouw is ontworpen door ster-architect Jean Nouvel. En misschien volgens er meer schapen over de dam want er is ook een Guggenheim Abu Dhabi gepland. Mooi , zou je denken, zo'n Golfstaatje dat onze kunst inzet als soft power in de regio. Te gast Nat Muller, curator en als zodanig al 12 jaar werkzaam in het Midden oosten.

With all eyes on Abu Dhabi this week, we speak to the architect Jean Nouvel on designing the Arab world's first universal museum. Plus: a preview of Abu Dhabi Art fair. See acast.com/privacy for privacy and opt-out information.