Adelaide DuarteResearcher, deputy director at the Institute of Art History, and assistant professor at the Department of Art History, FCSH, Universidade NOVA de Lisboa (Portugal), where she coordinates the Postgraduate Program “Art Market and Collecting”, since 2016. She holds a Master's in Museology (University of Coimbra) and a Ph.D. in Museology and Cultural Heritage from the University of Coimbra. Her main research interest covers topics such as private collecting practices, contemporary art collectors, art fairs and biennials, the primary art market, and issues around the concepts of periphery and the global south. She is a member of TIAMSA (The International Art Market Studies Association) and coordinates the subcommittee “Art Market and Collecting: Portugal, Spain, and Brazil”. |
Alice EnsabellaAssociate Professor in Contemporary Art History at the University of Grenoble and member of the Laboratoire de recherche historique Rhône-Alpes (LARHRA). She holds a Master in Contemporary Art History from the Università degli Studi di Firenze and a PhD in Contemporary Art History with a double degree from the Università di Roma 1 - La Sapienza and the Université de Grenoble. Her research focuses on the Parisian and North-American art market in the interwar years, especially on Surrealist and Metaphysical art. She published several articles and essays on this topic (see this link for the full list of publications). She co-organized the first edition of the summer school Art Markets: An Integrated Perspective in Lyon in 2019 and she is a member of The International Art Market Studies Association. As an independent curator, she recently curated the exhibitions Giorgio de Chirico, Alberto Savinio. Una mitologia moderna (Fondazione Magnani-Rocca, March/June 2019), Giorgio Morandi. La Collection Magnani-Rocca (Musée de Grenoble, April/July 2021) and Giorgio Morandi. Masterpieces from the Magnani-Rocca Foundation (Estorick Collection, London, January-May 2023). |
Alicja Jagielska-BurdukPhD, MBA, legal counsellor, UNESCO Chair on Cultural Property Law at the Faculty of Law and Administration, University of Opole. She is the co-founder and editor-in-chief of the international journal Santander Art and Culture Law Review. She specializes in cultural management, encompassing the issues of participation and access to culture and cultural heritage. In the course of her research and legal practice she has gained considerable expertise in the culture sector, including focus group analysis in relation to various stakeholders and groups of interest. In 2014, the government of Poland nominated her as a mediator at the UNESCO Intergovernmental Committee for Promoting the Return of Cultural Property to Its Countries of Origin or Its Restitution in Case of Illicit Appropriation. In 2020, she was selected as an arbitrator for the Arbitrator Pool of the first Court of Arbitration for Art (CafA) in Hague. She is involved in the TIAMSA and co-chairs TIAMSA Legal. She was a visiting scholar at the Law School, University of Technology Sydney (UTS) in Australia, and received a UNIDROIT fellowship funded by the UNIDROIT Governing Council Members. |
Anísio FrancoDeputy director at the Museu Nacional de Arte Antiga, in Lisbon. With a background in Art History, he has conducted extensive research in the art history field and has curated numerous art exhibitions both in Portugal and abroad. He has also been involved in academia, he has taught postgraduate courses at the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa, Universidade Autónoma de Lisboa, Escola Superior de Educadores Maria Ulrich, and Instituto Superior de Novas Profissões (Lusófona Polytechnic School). Anísio Franco's multifaceted career encompasses his roles as a museum professional, art historian, curator, educator, cultural guide, and author. He has also participated in television programs, films, documentaries, and series, where he contributes with his expertise on the subject. As an author, among his recent publications is Histórias de Antiguidades, a collection of chronicles that offers his unique perspective on the art world. Additionally, he published Caminhar por Lisboa na companhia de Anísio Franco and Lisboa Desconhecida e insólita, histórias que provavelmente nunca ouviu (Walking through Lisbon in the company of Anísio Franco, and Lisboa Unknown and Unusual, stories that you've probably never heard). |
Anne-Sophie RadermeckerPh.D. in Art history/Cultural Economics from the Université Libre de Bruxelles. She is a former B.A.E.F. fellow at Duke University (DALMI) and lecturer at Erasmus University Rotterdam. Since 2021, she is an assistant professor in Cultural Management at the Université libre de Bruxelles. Her main research interests are the economics of art and culture, early modern art and the market for old master paintings, the economics of antiques and indeterminate works of art, the reciprocal interactions between museums and the art market (incl. acquisition policies and deaccessioning), and quantitative methods applied to art history. She has published several cross-disciplinary papers in both journals in economics (JEBO, JCEC) and art history (IJDAH, NKJ, Marges,…) |
Christian HuemerDirector of the Belvedere Research Center in Vienna. 2008-17 he headed the Project for the Study of Collecting and Provenance at the Getty Research Institute, Los Angeles, where he has overseen international research projects, such as “London and the Emergence of a European Art Market, 1780-1820” and “The Business of Art in the ‘Third Reich’.” Huemer studied art history at the University of Vienna, the Paris Sorbonne, and the City University of New York where he submitted a dissertation on “Paris-Vienna: Modern Art Markets and the Transmission of Culture, 1873-1937.” He serves as Board Member of The International Art Market Studies Association (TIAMSA) and as Editor-in-Chief of the book series “Studies in the History of Collecting & Art Markets” (HCAM, Brill). |
Federico NurraHead of the Digital Research Service at the French National Institute of Art History (INHA, Paris). He holds a PhD in “Architecture and Planning” and worked at the French National Institute for Preventive Archaeological Research (Inrap), where he was in charge of the scientific mediation of the NEARCH project and the development of the ARIADNE project. Before, he was research fellow at the Department of Architecture, Design and Urban Planning (DADU) at the University of Sassari. His main research topics are digital development and database management applied to the protection and valorization of cultural heritage. He is author or co-author of several publications related to his research topics. |
Filip VermeylenPhD. in Columbia University (2002). Professor of Global Art Markets at the Erasmus University Rotterdam in The Netherlands. He lectures and publishes on various aspects of the economics of art and culture, and is currently the Director of Research of the Department of Arts and Culture Studies. He is especially interested in the history and functioning of art markets since the Renaissance, the notion of quality in the visual arts, the role of intermediaries as arbiters of taste and emerging art markets in the Global South. His research in India recently culminated in an edited volume entitled Creative Industries in India (Routledge, 2022). He is a board member of The International Art Market Studies Association (TIAMSA) and co-founder of the Rotterdam Arts & Sciences Lab (www.rasl.nu). For more information on Filip’s scholarly output, see www.eur.nl/en/people/filip-vermeylen |
Kim OosterlinckProfessor of Finance at the Solvay Brussels School of Economics and Management (Université libre de Bruxelles) and Research Fellow at the CEPR. He holds a Master in Management, a Master in Art History and Archaeology, and a Ph.D. in Economics and Management from the Université libre de Bruxelles (ULB). After a post-doctoral stay at Rutgers University (the State University of New Jersey), he came back at ULB as professor. His main research interests are sovereign bond valuation, financial history and art market investments. His work on arts includes, amongst others, the impact of fake discoveries on art markets, the reactions of art markets to monetary reforms, the evolution of art markets during WWII or the strategic motivations of banks to create art collections. |
Koenraad BrosensProfessor in Art History and Vice-Dean of Education at the University of Leuven (KU Leuven). He has published widely on Flemish and French tapestry and European markets for tapestry. Koen is PI of ‘Project Cornelia’ (projectcornelia.be). This is a slow digital art history project developed in close collaboration with the University’s Computer Science Department. He is also Co-PI of the Methusalem project ‘(Re-)Presentation in Image and Art’ (2022-2029). This project interfaces conceptual and theoretical frameworks and methodologies from (experimental) psychology, philosophy, art history and media studies. Koen was visiting professor at the University of Pennsylvania, the Peter Paul Rubens Chair at the University of California Berkeley, and a J. Paul Getty Museum Scholar. He tries to be a good husband and father while thoroughly enjoying scuba diving and all things Dylan. |
Maria João Vilhena de CarvalhoShe is the Sculpture Collection Curator at the Museu Nacional de Arte Antiga, in Lisbon, since 2000, curating several exhibitions with published catalogues. She holds a PhD. in Art History - Museology and Cultural Heritage from Universidade NOVA de Lisboa - School of Social Sciences and Humanities. Having specialized in the art collections of the navy commander Ernesto de Vilhena (1876-1969) and their roots in the construction of the identity of the Portuguese national museum’s collections of sculpture, continues research and publishing focusing on the History of Sculpture in Portugal, sculpture collections, cultural biography of artistic objects, history of art museums, art markets, provenance, heritage inventories, and sculpted image materiality. At the Art History Institute of NOVA FCSH she’s currently affiliated with the Museum Studies and Pre-Modern Visual and Material Cultures research groups. |
Nathalie MoureauProfessor of Cultural Economics at the University of Paul Valery Montpellier, France. She is also treasurer of the Contemporary Art Regional Fund (FRAC) of Occitania. She has published different books and various papers on the contemporary art market. She has also conducted several researches for the French Ministry of Culture and Communication and works regularly woth the French Committee of Art Galleries Among her pblications Le marché de l’art contemporain (2016) with D. Sagot-Duvauroux) and Contemporary Art Collectors: The Unsung Influences on the Art Scenes [CE-2015-1] DEPS (in collaboration with D. Sagot-Duvauroux and M.Vidal). |
Sandra van GinhovenOversees the development of the Getty Provenance Index (GPI) and related research projects at the Getty Research Institute in Los Angeles. Currently being transformed into Linked Open Data, the GPI contains over 2.3 million records extracted from primary source material covering roughly the late 16th to the mid 20th centuries, such as archival inventories, auction catalogs, and dealer stock books. She has a background in Economics, and a PhD in Art History. Her research on the art trade between the Southern Netherlands and Spanish America during the seventeenth century was published in 2016. In addition to the remodel of the GPI, her current work focuses on applying data analysis and visualization techniques to study art provenance, collecting histories and the art markets. |
Sara de Sousa e AndradeModern and Contemporary Art Director at Palácio do Correio Velho, Lisbon, Portugal (www.pcv.pt) and invited guest Professor at the post-graduation course at NOVA FCSH “Art Market and Collecting”, responsible for the Art Expertise and Appraisal curricular unit, since 2016. After studying at Fundação Ricardo Espírito Santo Silva Superior School of Decorative Arts in Lisbon and at Sotheby’s Institute 17th and 18th century Decorative Arts, in London, she has been working professionally in the art market for more than 20 years, gaining experience working in several departments at the auction house, developing her main field as a modern and contemporary expert and responsible for evaluating the art collections of some of the major private Portuguese collectors and institutions, such as the Portuguese State, Government, Banks, Foundations, Ambassies. She is also responsible for the company’s fundraising special projects. |
Sebastião Pinto RibeiroChief Financial Officer (CFO) at Palácio do Correio Velho - Auctions and Antiques, S.A. and President of the Portuguese Association of Art Auctioneers (APLARTE). He lived in London and New York between 1999 and 2010, where he completed a Bachelor of Arts (B.A.) in Fine and Decorative Arts at Sotheby's Institute of Art London, Graduated by University of Manchester and obtained a Masters in Business Administration (MBA) in International Business, at European Business School (EBS), London and Pace University New York City. He worked as an Equity Sales Broker in the City of London at Pali International. He returned to Portugal in 2010, occupying the position of director of the Palácio do Correio Velho auction house and, in 2013, he was appointed as its Administrator. |
Sophie RauxProfessor of history of early modern art the University Lumière Lyon 2. She heads the Laboratoire de Recherche Historique Rhône-Alpes. Her research focuses mainly on the art and visual culture of the former Low Countries and France. She headed the project Art Markets in Europe; Emergence, Developments, Networks (2008-12) supported by the Agence Nationale de la Recherche. Her books include Moving Pictures. Intra European Trade in Images 16th-18th c., co-edited with N. De Marchi (2014), A perte de vue, les nouveaux paradigmes du visuel, co-edited with D. Dubuisson (2015), Lotteries, Art Markets, and Visual Culture in the Low Countries, 15th-17th c. (2018), Watteau, Gersaint et le Pont Notre-Dame, les enjeux d’une restitution numérique (2021). She is one of the organizer to the 36th congress of the CIHA, which will be held in Lyon on 2024, on the theme Matter/Materiality. |