Potential Public Viewing

According to a new BBC report, Saudi Crown Prince Mohammed bin Salman may eventually showcase Salvator Mundi in a future museum in Riyadh. If he follows through, the painting could become a cultural centerpiece, similar to the Mona Lisa at the Louvre.

Details from the BBC Report

The BBC’s report, which draws from information provided by Saad al-Jabr, a senior Saudi security official with high-level Western intelligence connections, reveals that MBS’s acquisition of Salvator Mundi forms part of a larger modernization effort in Saudi Arabia. This initiative includes significant investments in art, sports, and global events.

Art and Controversy

Rumors have circulated about Salvator Mundi’s whereabouts, with some suggesting that it might be stored on MBS’s yacht. However, Bernard Haykel, a professor at Princeton University, told the BBC that the painting likely remains in Geneva.

Experts continue to debate whether Leonardo da Vinci actually painted Salvator Mundi. They question if the painting aligns with Leonardo’s known works, particularly concerning the figure’s proportions and facial features. Additionally, extensive restoration work has raised concerns about the authenticity of its underlying layers.

Modernization Efforts

MBS’s efforts to modernize Saudi Arabia extend beyond art. The crown prince has invested heavily in global sports events, including a bid to host the FIFA World Cup in 2034 and multimillion-dollar tennis and golf tournaments. These initiatives, often referred to as “sportswashing,” aim to enhance the kingdom’s international image.

As Saudi Arabia continues to evolve, Salvator Mundi’s potential public display could mark a significant cultural milestone, drawing global attention to Riyadh’s emerging art scene.

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The controversy began when a man from New South Wales took legal action against the museum after being denied entry to the “Ladies Lounge” exhibition, citing violating the state’s Anti-Discrimination Act. The exhibition, curated by Kirsha Kaechele, featured prominent artworks, including pieces purportedly by Picasso.

The curator, Kirsha Kaechele, initially gained attention for moving these supposed Picassos, which had been on display for more than three years, to a women’s restroom following the court ruling that allowed entry to all genders. However, in a surprising turn, Kaechele revealed in a recent blog post on the museum’s website that the paintings, including a copy of “Luncheon on the Grass, After Manet,” were not authentic Picasso works but were painted by herself.

In her blog post, Kaechele explained her challenges in sourcing genuine Picasso paintings for the exhibition, particularly ones that fit the monochrome theme she envisioned. “I knew of Picasso paintings I could borrow from friends, but none matched the required monochrome and were prohibitively expensive to insure,” Kaechele wrote. She confessed to creating the paintings with the help of her manicurist’s niece, skilled in pen and ink, to achieve the desired effect.

Responses to Kaechele’s revelation varied widely, with some applauding her creativity and audacity, while others criticised the deception as misleading and unprofessional. Art expert Christopher Heathcote denounced the forgery as childish and detrimental to the museum’s reputation, labelling it as attention-seeking rather than a genuine art statement.

The admission of forgery prompted a broader reevaluation of other items displayed in the Ladies’ Lounge. Kaechele disclosed that additional pieces, such as a purported “mink rug” and “precious” jewellery, were also not authentic—a rug made of low-grade polyester and jewellery crafted from plastic.

Expressing regret for the deception, Kaechele concluded her post by apologising to the Picasso Administration, acknowledging the displayed artwork’s misrepresentation.

Business Insider contacted Tasmania’s Museum of Old and New Art for comment, but responses regarding the incident have not yet been provided.

This incident adds to a series of controversies in the Australian art scene this year. Earlier reports highlighted attempts by Australia’s wealthiest woman, Gina Rinehart, to have an unflattering portrait by Indigenous artist Vincent Namatjira removed from the national gallery. This garnered global attention and sparked discussions on artistic freedom and censorship.

The revelation of fake Pablo Picasso paintings at the Australian Museum underscores ongoing debates about authenticity and transparency in the art world. It raises questions about curators’ and institutions’ responsibilities in presenting and preserving cultural heritage.

As the story unfolds, it serves as a cautionary tale about the complexities of curatorial practices, the value of authenticity in art, and the repercussions of artistic misrepresentation in public exhibitions.

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The controversy surrounding this collection stems from suspicions that many of these artworks were acquired under dubious circumstances, including looting from their Jewish owners or being sold hastily as their owners fled the Nazis.

The Kunsthaus Zurich had already faced criticism in 2021 when it unveiled a new building to house about 170 pieces from the Buhrle Collection. In an attempt to address the concerns raised, the museum launched a new exhibition titled “A future for the past — the Buhrle Collection: art, context, war, and conflict.” This show aimed to provide a broader perspective, delving into what happened to the Jewish collectors whose art was taken during the Nazi era.

However, despite these efforts, some critics argue that the museum’s approach falls short. The museum even faced cyberattacks in 2023, where unidentified hackers branded Emil Buhrle as a “Nazi sympathizer.” Before the exhibition’s opening on November 3, an advisory committee of external experts resigned in protest against the museum’s insufficient focus on the former Jewish owners.

The committee representative expressed disappointment in a statement to the Swiss daily Le Temps, saying that only a small portion of the exhibition was dedicated to the fates of the persecuted, looted, and murdered Jewish collectors. She pointed out that Emil Buhrle profited from the historical context to assemble his collection, and it was problematic that the victims of the Nazis appeared to be marginalized.

Ann Demeester, the museum’s director, acknowledged the contentious nature of the collection and emphasized the importance of providing both the historical context and ensuring that the artworks are still visible.

The Buhrle Foundation, the organization that owns the collection, admitted that 13 paintings acquired by Buhrle during the war had been looted by the Nazis from Jewish owners in France. After legal proceedings in the late 1940s, Buhrle returned all 13 artworks to their rightful owners and then repurchased nine of them.

Demeester stressed that the artworks themselves are not guilty but serve as historical witnesses to the horrors of that era. The museum’s aim with the new exhibition is to address the historical issues surrounding the collection while ensuring that the artworks remain on display for the public to see.

The Buhrle Collection was previously housed in a private museum on the outskirts of Zurich until four masterpieces were stolen in a significant art heist in 2008. Although two of the stolen works were eventually recovered, a Cezanne painting and a Degas masterpiece, valued at approximately $110 million, are still missing.

The Kunsthaus Zurich worked with experts to trace the provenance of some of the artworks in the new exhibition. Explanatory texts accompany works known to have been looted, and videos featuring experts and historians debating the provenance have been included, encouraging visitors to share their opinions.

Demeester emphasized that the museum values discussions and views the institution as a platform for dialogue. While acknowledging the disagreement with experts over the exhibition’s presentation, the Kunsthaus expressed its regret and urged the continuation of this vital and interesting debate. The controversy surrounding the Buhrle Collection underscores the ongoing challenges of addressing the provenance of artworks acquired during a dark period in history.

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Elizabeth Barker, the executive director of the Frick Pittsburgh, acknowledged that concerns arose after the Israel-Gaza war began, leading the museum staff to reconsider the exhibition’s timing. She stated that they realized the exhibition might be seen as “insensitive” by some, and for many in their community, it could be considered “traumatic.”

However, the decision to postpone the exhibition has garnered swift criticism from both Muslim and Jewish groups, sparking a broader conversation about the implications of such a delay. The Pittsburgh chapter of the Council on American-Islamic Relations (CAIR) expressed concern that the postponement perpetuated the harmful stereotype that Islamic art and Muslims are somehow linked to terrorism or antisemitism.

The Jewish Federation of Greater Pittsburgh also weighed in on the matter, emphasizing that neither American Jews nor American Muslims should be held responsible as a religious group for the actions of individuals or foreign governments.

This controversy highlights the broader tensions and rise in threats against Jewish, Muslim, and Arab communities across the United States since the Israel-Gaza conflict erupted. Federal officials have noted increasing concerns about the safety and well-being of these communities.

In response to the backlash, Elizabeth Barker released a statement, revealing that the “Treasured Ornament” exhibition would be rescheduled for August 2024. Barker expressed deep regret over the museum’s poor communication regarding the postponement and pledged to work on repairing relationships with the Muslim community.

Barker further explained that the decision to postpone “Treasured Ornament” was made on October 16, a little over a week after the Israel-Gaza conflict began. The museum’s staff expressed concerns about the historical context and the western lens through which the exhibition had been curated. In preparation for the revised opening date, the museum plans to involve the local Muslim community to ensure the exhibition is more inclusive and culturally sensitive.

While some Muslim civil rights groups have called for the museum to reconsider the delay, Christine Mohamed, the Executive Director of CAIR-Pittsburgh, found the decision disturbing, emphasizing that it disregards the vast and diverse Islamic world and the essence of cultural diversity that art represents.

Adam Hertzman of the Jewish Federation of Greater Pittsburgh expressed a welcoming attitude toward the exhibition, emphasizing the importance of celebrating the cultural diversity of religious groups. Hertzman added that it is vital not to connect the exhibition remotely to the ongoing Middle East conflict.

While “Treasured Ornament” remains postponed, the Frick Pittsburgh has introduced a new exhibition, “The Red Dress,” which opened on October 7. This exhibition features embroidery work from over 380 contributors, including Ukrainian and Palestinian refugees, offering a message of unity across cultures and serving as a source of hope, solace, and understanding during these trying times.

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Haaning’s provocative move has ignited a debate about the boundaries of art, its value, and the responsibilities of artists to their patrons. In 2021, the artist was contracted by the Kunsten Museum to recreate two of his renowned works, “An Average Danish Annual Income” and “An Average Austrian Annual Income.” These works typically featured banknotes affixed to a canvas to symbolize the average annual income of individuals in Denmark and Austria.

However, instead of fulfilling the commission as expected, Haaning handed in two completely empty frames. When the museum requested a refund, Haaning refused, prompting the institution to take legal action against him.

“I am shocked, but at the same time, it is exactly what I have imagined,” Haaning expressed in an interview with Danish broadcaster DR. He also admitted that he lacks the financial means to repay the museum, further complicating the situation.

The director of the Kunsten Museum, Lasse Andersson, who had previously faced criticism for commissioning Haaning’s work, voiced his frustration over the situation. “There have been a lot of people saying that I’m a naive director and it’s a misuse of public and private money,” Andersson stated. He emphasized that the museum is not financially affluent and that Haaning’s actions deeply upset the curators.

Haaning justified his controversial work as a commentary on the inadequate compensation that artists often receive. He claimed that recreating the pieces as initially intended would have required him to spend approximately 3,300 euros from his own pocket. “I encourage other people who have working conditions as miserable as mine to do the same. If they’re sitting in some shitty job and not getting paid, and are actually being asked to pay money to go to work, then grab what you can and beat it,” Haaning asserted.

The art world has a history of controversial high-concept pieces that critique the role of money. Banksy, the English artist, famously shredded one of his own paintings after it was sold at auction for $1.4 million in 2018, only for the work to be resold for $25 million in 2021. Italian artist Maurizio Cattelan garnered attention for selling a piece featuring bananas taped to a wall for $120,000, with a student later peeling and eating it, suggesting that this act could be considered art itself.

As the legal battle between Haaning and the Kunsten Museum unfolds, the art world continues to grapple with the fine line between artistic expression, provocation, and the responsibilities that artists bear toward their patrons. Haaning and the museum have not yet provided comments on the recent court order, leaving the art community eagerly awaiting further developments in this contentious case.

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