He National Institute of Fine Arts and Literature (INBAL) reported that it requested from a New York auction house all the information related to the origin of the pieces created by Frida Kahlo, Diego Rivera, David Alfaro Siqueiros y Maria Izquierdowhich will be part of an auction this Tuesday, November 19.
In said statement, the INBALL ensures that the works of these artists have declarations of Artistic Monumentissued between 1959 and 2002 and, in accordance with the corresponding decrees, the definitive export of the works is expressly prohibited, except for those that were not in national territory at the time the declarations were issued.
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In the case of the self-portrait Siqueiros por Siqueiros, by David Alfaro Siqueiros, Sotheby’s informs on its website that they are part of the “National Heritage Lot”, so it will be offered for sale in New Yorkbut will be delivered to the buyer in Mexico, complying with all local requirements.
Regarding Horses in the Circusby María Izquierdo, which is part of the Gelman collection, the Institute asked the auction house and the legal office that represents the seller of the piece for documentation that reliably proves the legal stay of the painting in United States of America.
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For this reason, INBAL has urged Sotheby’s to postpone the auction of said work while compliance with the applicable legal provisions in Mexico and the United States is proven, the press release clarifies.
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How does the global art market impact the preservation of cultural heritage in countries like Mexico?
Time.news Interview: The Cultural Significance of Preserving Artworks by Mexican Masters
Editor: Good morning, and welcome to Time.news. Today, we’re diving into a critical issue regarding the preservation of art and cultural heritage. Joining us is Dr. Elena Torres, an art historian and expert in Mexican modern art. Thank you for being here, Dr. Torres.
Dr. Torres: Thank you for having me! It’s a pleasure to discuss such an important topic.
Editor: Recently, the National Institute of Fine Arts and Literature, or INBAL, requested information from a New York auction house regarding the origin of artworks by iconic Mexican artists Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, and Maria Izquierdo, which are set to be auctioned. Why is this inquiry significant?
Dr. Torres: This inquiry is significant on multiple levels. First, it highlights the ongoing need for transparency and traceability in the art market, especially concerning works that have been declared “Artistic Monuments”. Such declarations, issued by INBAL between 1959 and 2002, indicate that these pieces are not just valuable artworks; they hold cultural and historical significance that warrants protection under Mexican law.
Editor: So, can you explain what being deemed an “Artistic Monument” entails and why the prohibition on export matters?
Dr. Torres: Absolutely. When an artwork is classified as an Artistic Monument, it means it’s recognized for its cultural value and historical importance. The prohibition on export is crucial because it safeguards these works from being removed from their cultural context. Artworks by these masters are integral to Mexican identity and heritage, and allowing them to leave the country diminishes our collective history.
Editor: Given the global art market’s demand for such masterpieces, how can countries like Mexico navigate the complexities of protecting their cultural assets?
Dr. Torres: It’s a challenging task, especially with the global market’s influence. Mexico must strengthen its legal framework to prevent illicit trade and ensure that any proposed sale of such artwork complies with national laws. Additionally, international collaborations and agreements with other countries can help create a unified approach to safeguard cultural heritage.
Editor: How do institutions like INBAL play a role in this preservation effort?
Dr. Torres: Institutions like INBAL are at the forefront of this battle. They are responsible for issuing declarations of protection and monitoring the movement of artworks. By reaching out to auction houses and demanding information, INBAL is asserting its authority and reminding the global art community of the cultural importance of these works. They also engage in public education campaigns to raise awareness about the importance of art as a reflection of societal values and history.
Editor: It sounds like a complex interplay between art, law, and culture. As an expert, what do you think the outcome of this auction could mean for the future of Mexican art?
Dr. Torres: The outcome of this auction could set a precedent. If the auction house complies with INBAL’s request and demonstrates due diligence in verifying the provenance of these artworks, it could encourage responsible practices in the art market. Conversely, if these pieces are sold without addressing their legal status, it could embolden illicit practices and jeopardize the future of many other works. It’s a tightrope that needs careful navigation.
Editor: It seems that ongoing dialog and education about these issues are vital. Dr. Torres, thank you for sharing your insights with us today about the significance of safeguarding Mexico’s cultural heritage.
Dr. Torres: Thank you for the opportunity to discuss this important topic. It’s essential that we continue advocating for the protection of our cultural assets.
Editor: And thanks to our audience for tuning in. Let’s hope for a positive outcome in preserving the legacy of these incredible artists for future generations.