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Authors = Syra Kalbermatten

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15 pages, 277 KiB  
Article
The ‘Assetization’ of Art on an Institutional Level—Fractional Ownership Implemented in the Royal Museum of Fine Arts Antwerp
by Syra Kalbermatten
Arts 2024, 13(1), 16; https://doi.org/10.3390/arts13010016 - 11 Jan 2024
Cited by 5 | Viewed by 3791
Abstract
This article explores the innovative collaboration between the Rubey platform and the Royal Museum of Fine Arts, Antwerp. Through the tokenization of the artwork Carnaval de Binche by James Ensor, this platform made it possible for interested investors to purchase blockchain-registered Art Security [...] Read more.
This article explores the innovative collaboration between the Rubey platform and the Royal Museum of Fine Arts, Antwerp. Through the tokenization of the artwork Carnaval de Binche by James Ensor, this platform made it possible for interested investors to purchase blockchain-registered Art Security Tokens within this artwork and become co-owners of it—at least from an economic perspective. Although fractional ownership platforms for art have been established before, this is the first time an art investment opportunity like this has materialized itself in an explicit partnership with a museum. The tokenized artwork will be held on public display within the Royal Museum of Fine Arts Antwerp, for a period of ten years—a significant departure from the usual practice of storing such pieces in a storage vault—before it will be sold again. This article contextualizes this practice within both the ‘assetization’ of art that has increased in recent decades and the financial challenges facing Belgian—more broadly speaking, European—public museums. Based on a limited number of interviews with the stakeholders and desk research, this article subsequently explores the more practical benefits and concerns of a collaboration like this and presents an analysis of this practice drawing upon publications within the field of economic sociology. Since we find ourselves only at the beginning of this partnership, some questions will be raised for further research. Full article
12 pages, 230 KiB  
Article
Bidding Better Online in Belgium: The Value of Auction House Expertise during the COVID-19 Pandemic
by Syra Kalbermatten and Christoph Rausch
Arts 2021, 10(4), 75; https://doi.org/10.3390/arts10040075 - 5 Nov 2021
Cited by 4 | Viewed by 4636
Abstract
In this article, we present our analysis of how one of Belgium’s largest auction houses has creatively dealt with the forced transition to online auctions during the COVID-19 pandemic. Based on in-depth qualitative interviews and participant observation conducted at Bernaerts Auctioneers in Antwerp [...] Read more.
In this article, we present our analysis of how one of Belgium’s largest auction houses has creatively dealt with the forced transition to online auctions during the COVID-19 pandemic. Based on in-depth qualitative interviews and participant observation conducted at Bernaerts Auctioneers in Antwerp over a period of three months between February and April 2021, we show how the auction house has succeeded at maintaining relations with its clients and the public while exclusively moving its sales online. Our specific focus was on the mediation of expertise. Drawing on recent publications from the fields of economic sociology and anthropology, we analyzed how expert narratives of origin, authenticity, and uniqueness are communicated online to affect an object’s auction value. Based on our empirical research, which also includes narrative analyses of Bernaerts Auctioneers’ internet publication Prelude, as well as content shared online via social media, we argue that expert knowledge and practices of expertise are resilient and—contrary to what neoclassical economic theory might suggest—that they continue to be central to negotiations of value, as well as in online auctions. Full article
(This article belongs to the Special Issue Global Art Market in the Aftermath of COVID-19)
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