Business culture on display
A book illustrating how to exploit and make business art collections available to the community
“Visible” business culture. Objects, locations, works. The idea of production becoming culture has elements of both physicality ‒ factories for instance ‒ and immateriality, which stems from functioning as a part of the production organisation. Collections that could remain locked inside offices (or in rooms used by businesspeople and managers), could perhaps be put on display for the community as a genuine continuation of the spirit which led to their collection. The question of how to face the difficulties that might arise is answered in the recently published book Musei privati. La passione per l’arte contemporanea nelle collezioni di famiglia e d’impresa (Private Museums. The Passion for Contemporary Art in Family and Business Collections) written by various authors and curated by Alessia Zorloni.
The book starts by considering the fact that only a small proportion of the most important collections owned by public museums goes on display. This is an issue that is quite important for collectors who can take one of two options: decide to donate their pieces only on the condition that they are permanently exhibited, or open their own museums to enable their collections to be enjoyed by art enthusiasts. This same situation applies to many companies that come to the following conclusion: making their collections available (including objects which form an important part of their production history) is one of the aspects constituting a business’ social responsibility, which many now be considered the lifeblood of production operations.
The book gives the protagonists a voice and illustrates their creations, analysing the financial, tax and legal issues that families and businesses have to face in trying to manage and showcase their collections. The objective is to integrate the financial perspective with the legal and tax aspects so as to give each collector and the professionals at their side the right tools, methods and skills to develop and implement an integrated asset management strategy.
The three hundred pages of the book start with an overview of the subject together with an assessment of the situation, which is followed by a detailed look at the possible approaches for managing and showcasing collections. Then there is an analysis of the art in businesses and finally there is a focus not only on exhibition techniques, but also on the more operational aspects from a legal and fiscal standpoint. The book concludes with a series of accounts (from Italy and abroad).
The book, curated by Alessia Zorloni, tackles a business culture subject that is often overlooked or ignored but that develops on several fronts. This is a must read.
Musei privati. La passione per l’arte contemporanea nelle collezioni di famiglia e d’impresa
Alessia Zorloni (curator)
Egea, 2019
A book illustrating how to exploit and make business art collections available to the community
“Visible” business culture. Objects, locations, works. The idea of production becoming culture has elements of both physicality ‒ factories for instance ‒ and immateriality, which stems from functioning as a part of the production organisation. Collections that could remain locked inside offices (or in rooms used by businesspeople and managers), could perhaps be put on display for the community as a genuine continuation of the spirit which led to their collection. The question of how to face the difficulties that might arise is answered in the recently published book Musei privati. La passione per l’arte contemporanea nelle collezioni di famiglia e d’impresa (Private Museums. The Passion for Contemporary Art in Family and Business Collections) written by various authors and curated by Alessia Zorloni.
The book starts by considering the fact that only a small proportion of the most important collections owned by public museums goes on display. This is an issue that is quite important for collectors who can take one of two options: decide to donate their pieces only on the condition that they are permanently exhibited, or open their own museums to enable their collections to be enjoyed by art enthusiasts. This same situation applies to many companies that come to the following conclusion: making their collections available (including objects which form an important part of their production history) is one of the aspects constituting a business’ social responsibility, which many now be considered the lifeblood of production operations.
The book gives the protagonists a voice and illustrates their creations, analysing the financial, tax and legal issues that families and businesses have to face in trying to manage and showcase their collections. The objective is to integrate the financial perspective with the legal and tax aspects so as to give each collector and the professionals at their side the right tools, methods and skills to develop and implement an integrated asset management strategy.
The three hundred pages of the book start with an overview of the subject together with an assessment of the situation, which is followed by a detailed look at the possible approaches for managing and showcasing collections. Then there is an analysis of the art in businesses and finally there is a focus not only on exhibition techniques, but also on the more operational aspects from a legal and fiscal standpoint. The book concludes with a series of accounts (from Italy and abroad).
The book, curated by Alessia Zorloni, tackles a business culture subject that is often overlooked or ignored but that develops on several fronts. This is a must read.
Musei privati. La passione per l’arte contemporanea nelle collezioni di famiglia e d’impresa
Alessia Zorloni (curator)
Egea, 2019