CQ1Cahn’s Quarterly 2/2019English EditionEditorialA Pandora’s Box Dear readers, Doubtless over the past few months you will have been following the various press reports – some of them emotionally charged – of the planned restitution of African cultural arte-facts held by French museums. The debate was sparked by a speech made by French President Emmanuel Macron in Ouagadou-gou, capital of Burkina Faso, on 28 Novem-ber 2017. He expressed, among other things, the wish that within the next five years the preconditions necessary for the temporary or definitive restitution of African cultural ar-tefacts might be met, since Africa’s cultural heritage should not be held captive in Eu-rope's museums indefinitely. The notion of restitution is at best rooted in a deep unease over the role played by our own culture in the age of imperialism. Being born of the understandable need to make amends for past wrongs, it is certainly legitimate and a sign of civilized engagement. But we must also guard against any unilateral apportion-ment of blame and against falling victim to the superficiality of our all too hasty media. I regard Macron’s promise of restitution as a token gesture that may win him sympathy in the short term but will have problematic consequences in the long term. He has effec-tively opened a Pandora’s Box. Acting alone without first consulting the French museums or his European partners, he commissioned the French art historian Bénédicte Savoy and the Senegalese economist and essayist Fel-wine Sarr to produce a report on the situation as it is in France (restitutionreport2018.com/sarr_savoy_fr.pdf, site visited on 1.4.2019). The conclusions reached by these two experts are unrealistic. A summary published by the Süddeutsche Zeitung provides a good over-view of the main points: “To be given back immediately without any further inquiries into their provenance are all objects looted in the course of military campaigns, all objects that once belonged to servants of the French colonial administration or their family mem-bers, all objects from scientific expeditions prior to 1960 when France withdrew from Africa for good, and all objects that were lent to French museums by African museums but never given back. A second group is de-fined as objects that were added to the mu-seums’ collections after 1960 but that must have left Africa before then, which unless their lawful acquisition can be proven are likewise to be returned. The burden of proof has thus been reversed. The third group, the only one that is to remain in France, com-prises objects whose lawful acquisition is fully documented or which were gifted by African state visitors, insofar as […] the said visitors were not later convicted of embezzle-ment of public funds.” (sueddeutsche.de/kul-tur/restitution-von-raubkunst-gebt-sie-zu-rueck-1.4220674, site visited on 1.4.2019).The only positive aspect of this report is that it has sparked a discussion of the limits and the purpose of demands like these, which raise potentially explosive political expectations. I would like to point out that the objects under discussion belong to cultures whose religious roots were severely damaged as a result of Western imperialism. Their ties to these ob-jects are thus no longer rooted in religion, but often bear the stamp of new notions of state-hood and hence are being used for something new. But when ancient tribal art is reclaimed by African nation-states that came into being only in the twentieth century, there is a risk that it will be systematically used to establish a modern myth of state. This danger becomes all the more acute the greater the gulf is be-tween the culture and religion that gave rise to the objects and the current situation as it is on the ground. This kind of manipulative behaviour defined the treatment of antiquities in Italy and Ger-many during the 1930s. Similar approaches today should be nipped in the bud as a matter of principle. The treatment of ethnic and reli-gious minorities in many African states was, and in some cases still is, marred by extreme violence. African cultural artefacts must not be used to promote this. The situation is thus a very different one from that in the USA, where under the Native American Graves Protection and Repatriation Act of 1990, religiously significant objects have been returned to the descendants of a living cultural and religious community – in extreme cases for the purpose of their ritual destruction. It is crucial that we take care to differentiate between the manipulative beha- viour of authoritarian states and the legit- imate claims of democracies. The only solu-tion must therefore be a careful analysis of each individual case. In 1934, at the completion of the Via dell'Impero (now Via dei Fori Imperiali), Benito Mussolini installed five marble and bronze maps on the exterior of the Basilica of Maxentius. The first four maps depicted the historical development of the Roman Empire, whilst the fifth map presented Mussolini's vision of a new Roman Empire which extended from Corsica to Greece and from Tunisia to Somalia. Photo: NJ College for Women 1936.CQ2Cahn’s Quarterly 2/2019new mints, including those in Susa, Babylon and along the route leading back to Mace-donia. Struck in large numbers according to Attic standard weights and widely distributed, the new coins constituted a “Hellenic curren-cy” that supplanted the hitherto predominant Attic tetradrachm. According to Howgego this was “the most important aspect […] of the cir-culation of money” at the dawn of the Hellen-istic period (Howgego, pp. 59, 113). This “Hel-lenic currency” would continue to be minted and imitated all over the Hellenistic world for another 250 years. The youthful head of Hercules with a lion skin and Zeus enthroned with eagle and sceptre on the Macedonian tetradrachm at the Cahn Gal-lery (figs. 1–2) symbolize Alexander’s mythi-cal line of descent. Furthermore, Alexander’s name is inscribed on the coin: ΑΛΕΞΑΝΔΡΟΥ. Inspired by his pothos (longing), “a powerful striving for great feats, for things great and distant,” Alexander regarded the mythical hero Hercules, who tested his own limits and From Polis to Kingdom Coins – Symbols of Power or Identity? (Part 3) By Gerburg LudwigThe expansionist policies and sophisticated tactics that Philip II of Macedonia (r. 359–336 B.C.) adopted in his pursuit of hegemony over rival Greek poleis such as Athens and Thebes surpassed even those of Dionysios I of Syr-acuse (see CQ 1/2019, p. 3). His victory over the said city states at Chaeronea (338 B.C.) ultimately spelled the end of the polis as an independent institution. Coins bearing the Panhellenic gods Apollo or Zeus, the biga and Philip’s own name, ΦΙΛΙΠΠΟΥ, lent legiti- macy to his leadership of the Greeks. One ear-ly tetradrachm showing a bearded rider and Philip’s name is now interpreted as the very first representation of a ruler on a Greek coin. In Persia, golden darics and silver sigloi bear-ing images of the king of kings in warlike pose were minted from the late 6th century B.C. onwards. Those same rulers also tolerat-ed coins minted by satraps (regional gover-nors) bearing their own likenesses. After put-ting an end to the Achaemenid Empire in his Persian campaign (334–323 B.C.), Alexander advanced eastward, even crossing the Indus. Following his death (323 B.C.) and that of his heirs, the Diadochs, rival generals, families and friends of Alexander, carved up his empire between them. Their struggle for power led to various conflicts and alliances and eventually to the emergence of three economically and culturally prosperous realms: the Ptolemies in the south, the Antigonids on Greek territory and the Seleucids in Asia. Two major coin emissions financed Alexan-der’s campaign: one after his ransacking of the treasuries of the Persian king (331/330 B.C.) and the other before his dismissal of the veterans (324 B.C.). The coins were issued by Figs. 3-4: A TETRADRACHM, THRACE UNDER LYSIMACHOS (323–281 B.C.). Dm. max. 2.8 cm. Silver. Greek, Thrace, early 3rd cent. B.C. CHF 3,800 Discovered for youwent to the ends of the earth, as both guide and guardian (Huttner p. 105). The coin motifs were thus an assertion as much of a mission as of his legitimacy. Yet he dispensed with a por-trait and the royal title ΒΑΣΙΛΕΩΣ was used only there where it was already common, as in Lydia or in the Persian territories. The emissions of the Diadochs were the first to show portraits of Alexander as a source of legitimacy. Key attributes such as the diadem, Ammon’s horn and elephant scalp referenced his kingship and deification. The tetradrachm of Lysimachos, formerly a member of Alex-ander’s bodyguard, then King of Thrace, from 306/5, and Macedonia, from 285/84 B.C. (figs. 3-4), reflects his especially close relationship to Alexander, who here appears deified with diadem and Ammon’s horn symbolizing his sonship of Zeus-Ammon. But there are also individual features such as the upward-look-ing gaze, the furrowed brow and anastole (hair brushed up from the forehead). Athena with Nike holding the wreath of victory symbol-Figs. 1-2: A TETRADRACHM. Dm. max. 2.6 cm. Silver. Greek, Macedonia, last quarter 4th cent. B.C. CHF 2,600 Figs. 5-6: A TETRADRACHM OF AGATHOCLES. Dm. max. 2.5 cm. Silver. Syracuse, 310–305 B.C. CHF 10,500 CQ3Cahn’s Quarterly 2/2019ize Lysimachos’ victory over his long-stand-ing adversary, Antigonos Monophthalmos (Fourth War of the Diadochs, 301 B.C.). The inscription ΒΑΣΙΛΕΩΣ ΛΥΣΙΜΑΧΟΥ and the Macedonian star emphasize the office and the expansion of his power base. Some Diadochs, among them Ptolemy I, had their own likenesses struck on coins even dur-ing their lifetime, while the motif of the found-ers of their dynasty was added only later on. An ever greater degree of individualization re-inforced this kind of self-representation. Cer-tain elements of the Alexander portrait were retained, especially among the sculpted por-traits of the Diadochs, many of which feature the wide-open, upturned eyes and the royal diadem. The portrait of Antiochos VII Euer-getes, King of the Seleucid Empire (r. 138–129 B.C.) on a tetradrachm (see cahn.ch/works/coins), for example, is modelled in part on the facial features and hairstyle of both his father, Demetrios I and his immediate predecessor and rival heir to the throne, Diodotos Tryphon. The fleshy face, double chin and thick neck are clearly individual traits. The standing fig-ure of Athena Nikephoros bears the royal title and name ΒΑΣΙΛΕΩΣ ΑΝΤΙΟΧΟΥ as well as the epithet ΕΥΕΡΓΕΤΟΥ (benefactor). This, taken together with the portrait itself, has been inter-preted as symbolizing the end of a long-stand-ing family feud among the Seleucids. The tetradrachm (figs. 5–6) of the tyrant and later King Agathocles of Syracuse (316–289 B.C.) copies known motifs of two master die cut-ters, namely Euainetos’ Arethusa and Kimon’s quadriga with the inscription ΣΥΡΑΚΟΣΙΩ(Ν) under the baseline, whereas the triskelion (the three leg emblem of Sicily) is new. Agathocles at first had to struggle to maintain stability both on the domestic front and against the Carthaginians; hence his choice of an estab-lished iconography. The triskelion, his personal insignia, symbolized the unification of Sicily achieved under his leadership. Later, the name of the city was dropped, and, following the Hellenistic model, Agathocles’ name – later with his kingly title appended to it – was add-ed, though not his portrait. The coin emissions of Alexander the Great and the Diadochs brought about a change in the message conveyed by coin motifs and inscrip-tions. The coin’s role as a bearer of the identity of the polis was superseded by the mission and claims to legitimacy of a single ruler, which in the course of time were individualized and supplemented by self-representation in the form of a portrait. Bibliography: U. Huttner, Die politische Rolle der Heraklesgestalt im griechischen Herrschertum (Stuttgart 1997) – C. Howgego, Geld in der antiken Welt. Was Münzen über Geschichte verraten (Darmstadt 2000) – P. Thonemann, The Hellenis-tic World. Using Coins as Sources (Cambridge 2015) My choiceBy Jean-David CahnA Minoan BullRecently I noticed a small sculpture of a bull that seemed almost to burst with power. It was immediately clear to me that it could not be anything other than a masterpiece of the Late Minoan culture. Its appearance as a whole is defined by the striking contrast between the vigorously arched and distinctly constricted sections of the body. The elongated rump, the pronounced bulge at the back of the neck, the compact chest and shoulder musculature, the heavy dewlap, the enormous eyes with glow-ering gaze as well as the expression of ease and inner harmony that pervades this rep-resentation of a potentially dangerous beast are all features highly characteristic of Cre-tan art from around 1500 B.C. Close parallels can be found in the glyptic arts as well as in goldsmithing. Two examples to point to are the Minoan intaglios that were discovered re-cently in a warrior’s tomb near Pylos and the STATUETTE OF A BULL. L. 10.5 cm. Steatite. Late Minoan (LM I), ca. 1600-1450 B.C. Price on request famous cup from the tholos tomb of Vapheio in Laconia (figs. 1-2). It is an exceptional stroke of good luck to en-counter such an object, all the more so as it has an illustrious provenance. The bull belonged to the important collector couple Charles Gillet (1879-1972) and Marion Schuster (1902-1984) and was listed as no. 131 in their art inven- tory. Gillet was a major player in the chemical industry in France and was also endowed with great artistic insight. His coin collection was one of the most outstanding in the world, and my father, Herbert A. Cahn, had the honour of auctioning a part of it in 1974. It is no coinci- dence that Gillet was attracted to this bull, for in the fineness and precision of its design it is absolutely in tune with the aesthetics of a nu-mismatist. Furthermore, as a sculpture in the round it is monumental from all sides.Fig. 1: Minoan seal stone from the warrior's tomb near Py-los, ca. 1500 B.C. Photo: magazine.uc.edu/editors_picks/recent_features/warrior_tomb. Site visited on 15.4.2019.Fig. 2: Minoan gold cup I from Vapheio, ca. 1500 B.C. Photo: S. Marinatos, Kreta, Thera und das mykenische Hellas, 2nd ed., Munich 1973, fig. 200. CQ4Cahn’s Quarterly 2/2019Fake News and the Antiquities TradeThis article will look at how these false figures have come to blight the market over the years as a result of what the wider world now rec-ognizes as the phenomenon of fake news. This became the subject of much debate from the beginning of the Trump administration, but it was a phenomenon in the art market some time before that. In 2013, for example, head-lines appeared across the media that 40 per cent of antiques on the UK market were fakes.4 The source was given as The UK Fakes and Forgeries Report. However, it transpired that journalists had only seen a press release, and this merely stated that 43 per cent of people who buy antiques do not get them authenti-cated, while 68 per cent of people who buy an-tiques were ‘worried’ that they might be fake. The true purpose of the release and report, though, was to promote a new television se-By Ivan MacquistenThe DebateThe newly minted European Union import licensing regulations,1 prompted by the de-sire to prevent trafficked items that could have funded terrorism from entering the EU, used commonly quoted false figures to justify the proposals, as the Impact Assess-ment (IA)2 and Fact Sheet3 published by the European Commission to explain their pur-pose demonstrate. This matters because, as IADAA (International Association of Dealers in Ancient Art) and others have argued in their submissions to the EU, Article 4 and other aspects of the proposals are likely to have a severely restrictive and unreasonable impact on the antiquities trade. The levels of proof required to qualify for an import licence, as set out in the draft proposal, are simply not available in the case of most rele- vant objects.Fig. 2: The Work of Art Crime home page on the Interpol website, where it makes a clear claim about the black market in works of art. Screenshot taken on February 11, 2019. The statement was removed in March 2019. The World Customs Organisation’s Illicit Trade Report 2017 (see fn. 8) demonstrates clearly that this claim is wrong (cf. fn. 8).ries, Treasure Detectives. On being pressed for a copy of the original survey, a spokesman for the television company replied: “I’m afraid we don’t release the survey data,” before going on to disclose that the survey had been completed by 2000 adults, using a reputable survey com-pany (never named), and adding, “The rest of the report was comment and expertise of Cur-tis Dowling,” the programme’s presenter, who gained substantial publicity from the story.It is now commonplace for the media to quote misinformation from such ‘surveys’ or ‘re-ports’ whose real objective is to promote a commercial or political interest. In July 2015, a Google search of the word ‘Survey’ at An-tiques Trade Gazette yielded 79.9 million re-sults; in June 2017 that figure had risen to 515 million; today it is 1.84 billion. As 24-hour rolling reporting, combined with declin-ing resources within the media, robs journal-ists of the opportunity to investigate in any depth or check facts, they become increasing-ly vulnerable to unscrupulous interests that want to present propaganda or marketing as news. According to Robert McChesney and John Nichols in their book The Death and Life of American Journalism, by 2010 there were five PR specialists for every journalist, compared to 1:3 in 2004. By September 2018, industry source Muck Rack put it at 6:1.5 The pressure on journalists can also lead to simple errors, while the internet has made us all pub-lishers, but not with the accompanying rigour required for proper fact checking, so that even accurate media reports end up being misquot-ed. Fake news is endemic where campaign-ers pursue policy change in highly sensitive areas. The antiquities trade is a natural target, and much evidence exists of how potentially damaging new laws emerge as a result.0510152025CorruptionOrganisedcrimeMoneylaunderingFinancingterroristactivitiesDestruction ofculturalheritage /goodsLoss ofculturalidentityYesNoN/AFig. 1: The Deloitte report for the European Commission (see fn. 6) includes this table on page 120, showing no evi-dence of the financing of terrorist activities from cultural property trafficking within the EU.CQ5Cahn’s Quarterly 2/2019As part of the research process in drawing up its import licensing proposals, the European Commission ordered a study from Deloitte to investigate, amongst other things, how an-tiquities trafficking within the EU might be financing terrorism. On page 120, the report concluded that hard evidence for the existence of various criminal effects that “are believed to occur as the result of trafficking in cul-tural goods” was “currently often lacking.”6 The table on the same page shows that, to a limited extent, evidence linking the traffick-ing of cultural goods to corruption, organised crime, money laundering and the destruction of cultural goods was available. However, the section titled Financing Terrorist Activities registered zero on the scale (fig. 1).Nonetheless, the European Commission ig-nored this and pressed ahead with its im-port licensing proposals anyway, providing the Impact Assessment2 (IA) and Fact Sheet3 quoting sources to illustrate the problem. As noted above, though, when checked, these sources proved inaccurate or untraceable – and decades old. For example, on page 12, the IA states: “According to studies, the to-tal financial value of the illegal antiquities and art trade is larger than any other area of international crime except arms trafficking and narcotics and has been estimated at $3 to $6 billion yearly.” The same page directly quotes Interpol thus: “according to Interpol, the black market in works of art is becoming as lucrative as those for drugs, weapons and counterfeit goods”.Interpol updated its website in early March 2019, but for years before that carried mis-leading information that directly informed such policies as the EU import licensing pro-posals. The Interpol statement quoted on page 12 of the IA, above, appeared on the Works of Art Crime home page under Crime Areas on the Interpol website (fig. 2). However, on the same page, the Frequently Asked Ques-tions link led to the following (fig. 3): “Is it true that trafficking in cultural property is the third most common form of trafficking, after drug trafficking and arms trafficking?” The answer: “We do not possess any figures which would enable us to claim that trafficking in cultural property is the third or fourth most common form of trafficking, although this is frequently mentioned at international confer-ences and in the media.” These two entirely conflicting responses sourced from the same page have now thankfully been removed.In making the claim that the illicit art and antiquities trade is third only to arms and narcotics trafficking, the IA gives as its source a 1995 article by Lisa J. Borodkin in the Columbia Law Review. That article, in turn, gives as its source the June 13, 1992 (page 13) Guardian article The Greed That Is Tearing History Out By Its Roots: The Illicit International Traffic in Antiquities Rivals the Drugs and Arms Trades in the Catalogue of World Crime by Deborah Pugh et al.7 How-ever, Pugh’s article simply quotes it as the ‘belief’ of Patrick Boylan, then Professor of Creative Practice and Enterprise at City Uni-versity in London. It provides no hard evi-dence for the claim, and that article is now 27 years old.What we do know now, thanks to the World Customs Organisation’s latest illicit trade report,8 is that cultural heritage traffick-ing – including ALL art and antiques from around the world, not just antiquities – is so tiny compared with drugs, weapons, environ-mental products, medical products, counter-feit goods, alcohol and tobacco, that it barely registers in the figures. The summary of sta-tistics and pie charts provided by IADAA, which can be checked against the original report, gives a clear view of this (fig 4).9 The IA gives as its source for the second, “$3 to $6 billion yearly” claim the same page of the Columbia Law Review article by Lisa J. Borodkin. As Borodkin’s footnote 5 indicates, her source for this figure was an August 19-20, 1993 article by Lachlan Carmichael and Mohamed El-Dakhakhny of Agence France Presse entitled Thieves Plunder Egypt’s Tombs, Dealers Sell Treasures Worldwide, which quotes the figure as the opinion of Caroline Wakeford, then operations manager for the Art Loss Register, who appears to be quoting another unnamed source.10 So this is another unattributed primary source from another media article that is now more than 25 years old.Also cited in the same set of footnotes in the IA is Neil Brodie, Jenny Doole and Peter Wat-son’s 2000 report, Stealing History: The Illi-cit Trade in Cultural Material,11 which does quote a similar figure. On page 23, it states: “Geraldine Norman has estimated that the illicit trade in antiquities, world-wide, may be as much as $2 billion a year.” On page 60, under the relevant footnote, it gives the source as follows: Norman G., Great Sale of the Century. Independent, November 24, 1990. However, the Norman article mentions no figure whatsoever. UNESCO quotes the Brodie, Doole and Watson report in its 2011 report, The fight against the illicit trafficking of cultural objects, which in turn is quoted by the European Commission Fact Sheet in its attempt to justify the proposals. But UN-ESCO makes exactly the same mistake as Brodie, Doole and Watson did in quoting the Norman article, referring to it as Great Sale of the Century rather than Great Sale of the Centuries,12 indicating that it lifted the source without checking it.13 Had it done so, as ex-plained above, it would have found that the article quoted no figure at all. These are just some of the figures commonly referred to in the media that contribute to the fake news phenomenon relating to the antiquities mar-ket that influence policymakers in the EU, the UK and the US. On February 20, 2019, the BBC World Ser-vice Business Daily radio programme Zom-bie Statistics14 challenged UNESCO over the inaccuracy of its data. Far from defending UNESCO’s figures, Lazare Eloundu Assomo, Director of Culture In Emergencies, argued that they do not matter as they are out of date (although they were never accurate and UNESCO continues to publish them). Dr Tim Harford, presenter of the Radio Four statistics and fake news programme More or Less, was Fig. 3: The conflicting claim under the Frequently Asked Questions on the same page of the Interpol website. Screenshot taken on February 11, 2019. The statement was removed in March 2019.CQ6Cahn’s Quarterly 2/2019Ivan Macquisten is a journalist and art market analyst. As Editor of Antiques Trade Gazette for 15 years, he oversaw the entire news and features operation. He is a leading commentator and opin-ion former on the international art mar-ket and has niche specialist interests in art market business operations, risk and statistical analysis. He is the researcher, policy and media adviser to a number of trade associations including IADAA.also interviewed by Business Daily and does not agree with Assomo. He explained that policy-based evidence, where a body decides what it wants to do and then looks for the ev-idence to back it up without necessarily test-ing its robustness, is commonplace. “If you think right is on your side, then you’re not going to be too careful in scrutinising claims that fit in with your preconceptions,” he says. “This is confirmation bias.” Harford’s conclu-sion: “If people start treating them [statistics] in a very cavalier way, that spoils it for ev-erybody, because then people start not trust-ing statistics.” Tackling this issue is a little like attacking the hydra; you cut off one head and two more grow in its place. There may be a long way to go, but as the BBC programme shows, attention is at last being turned to this phenomenon and how it can unfairly afflict the international art market.Further risk category comparisons Number of cases Total: 84,255 Drugs: 40,236 (47.7%) Counterfeit goods: 20,058 (23.8%) Alcohol & Tobacco: 12,228 (14.5%) Medical products: 6,051 (7.2%) Weapons & Ammunition: 3,232 (3.8%) Environmental products: 2,310 (2.7%) Cultural Heritage: 140 (0.2%) Number of seizures Total: 101,024 Drugs: 43,144 (42.7%) Counterfeit goods: 27,267 (27.0%) Alcohol & Tobacco: 14,786 (14.6%) Medical products: 7,629 (7.5%) Weapons & Ammunition: 5,612 (5.5%) Environmental products: 2,419 (2.4%) Cultural Heritage: 167 (0.2%) Fig. 4: IADAA’s summary analysis (see fn. 9) of the World Customs Organisation’s Illicit Trade Report 2017 includes this pie chart, which illustrates the true relative importance of the various crime sectors being investigated.As this article goes to press, it has emerged that some of the same false claims that in-formed the European Commission over the import licensing regulations have now been used to justify new proposals for an EU-wide harmonisation of restitution regulations for looted art.15 Whether or not there is a need for new laws, these proposals should not be based on falsehoods.1 Proposal for a Regulation of the European Parliament and of the Council on the introduction and the import of cultural goods (December 16, 2018): https://bit.ly/2G-NfXaD2 European Commission Impact Assessment accompany- ing the document Proposal for a Regulation of the Eu-ropean Parliament and of the Council on the Import of Cultural Goods: see page 12, 3.1.4 The magnitude of the illicit market and trafficking: https://bit.ly/2tAleJX3 European Commission – Fact Sheet: Questions and An-swers on the illegal import of cultural goods used to fi-nance terrorism. See: What is the value of the cultural goods that are imported illegally to the EU? https://bit.ly/2thNoH44 Curtis Dowling: About 40 per cent of art on the market are fakes. In: Metro, August 28, 2013 https://bit.ly/2U-Wlw9G5 Mike Schneider: There are now more than 6 PR pros for every journalist. In: Muck Rack blog, September 6, 2018: https://bit.ly/2O7aNGm6 Fighting illicit trafficking in cultural goods: analysis of customs issues in the EU, see Figure 30 on page 120: https://bit.ly/2GHrQiU7 Lisa J. Borodkin, The Economics of Antiquities looting and a Proposed Legal Alternative. In: Columbia Law Re-view, no. 2, 1995, p. 377-418 (esp. p. 377) https://bit.ly/2IvWKvY. Footnote 3 credits Deborah Pugh et al, The Greed That Is Tearing History Out By Its Roots: Illicit International Traffic in Antiquities, The Guardian, June 13, 1992, at 13: https://bit.ly/2IWT5HG8 World Customs Organisation, Illicit Trade Report 2017 (published November 2018): https://bit.ly/2QqaIC09 WCO Illicit Trade Report 2017, IADAA Summary Compa-rison: https://bit.ly/2sFKwGaSources for the data shown can be found on the following pages of the WCO Illicit Trade Report 2017 as follows: Cultural Heritage: 7, 9, 16; Drugs: 33, 34, 36, 88, 89; Environmental Products: 92, 93; Counterfeit Goods: 117; Medical Products: 117; Alcohol and Tobacco: 147; We-apons and Ammunition: 181.10 “‘The worldwide market for all stolen art is estimated at $3 billion annually and growing – which is second only to drug trafficking – and Egyptian antiquities are a steady part of it,’ Ms Wakeford said." Thieves Plunder Egypt’s Tombs, Dealers Sell Treasures Worldwide, Jordan Times, August 19-20, 1993, page 2: https://bit.ly/2U1KZhT11 Neil Brodie, Jenny Doole and Peter Watson, Stealing History: The Illicit Trade in Cultural Material, 2000: htt-ps://bit.ly/2twwYNE12 Geraldine Norman, Great Sale of the Centuries. In: The Independent, November 24, 1990: https://bit.ly/2Xihsmk13 UNESCO report: The fight against the illicit trafficking of cultural objects. The 1970 Convention: Past and Fu-ture, March 15-16, 2011: http://goo.gl/YZnJKX14 Zombie Statistics, Business Daily, BBC World Service, February 20, 2019: https://bbc.in/2Tx943g15 Motion for a European Parliament Resolution on cross-border restitution claims of works of art and cultu-ral goods looted in armed conflicts and wars. See paragra-phs A and B: https://bit.ly/2VI5ilaImprint PublisherJean-David Cahn Malzgasse 23 CH-4052 Basel +41 61 271 67 55 mail@cahn.ch www.cahn.chISSN 2624-6376EditorsJean-David Cahn Yvonne YiuAuthorsJean-David CahnMartin FlasharUlrike HaaseGerburg LudwigIvan Macquisten Joceyln Wolff Yvonne YiuTranslationsYvonne YiuBronwen SaundersPhotos Robert BayerNiklaus BürginUlrike HaaseDesign and LayoutMichael JoosPrinterDruckerei Deiner www.druckerei-deiner.deTOTE BEWEGENFrancisco Tropa invited to the Cahn Gallery during Art Basel 2019A joint project by Jocelyn Wolff and Jean-David CahnOpening: Tuesday, June 11, 6–10 p.m.Exhibition: Wednesday–Sunday, June 12–16, 10 a.m.–8 p.m.Cahn Gallery · Malzgasse 23 · BaselJocelyn Wolff on the projectWhen Jean-David Cahn asked me to add an-other chapter to our series of collaborative exhibitions, it appeared to be natural to invite Francisco Tropa. In his latest show at Foun-dation Gulbenkian, The Pyrgus from Chaves, Francisco Tropa used a recently discovered Roman dice box as the starting point for his artistic reflections. His work is in a constant dialogue with archaeology, literature and the history of art. For the exhibition at the Cahn Gallery, a selection of allegorical works by Francisco Tropa will be displayed alongside archaeological objects selected by both the artist and Jean-David Cahn, to establish new connections between the old and the new, objects from daily life and works of art. Our aim is to offer the viewer a dynamic reading of archaeological objects, thanks to the subtle and sensitive analysis of a major contempo-rary sculptor.Jean-David Cahn on the projectThe German title of this project defies trans-lation as it plays on the double meaning of the words “Tote bewegen”: physically mov-ing the dead and being emotionally moved by them. The archaeologist who excavates a site containing human remains carefully moves the dead – according to the modern rites of science and scholarship – to their new resting place in the excavation depot or a museum. The dead themselves have the power to move those they have left behind. With ritual objects and actions humans attempt to overcome the enormity and incomprehensibility of death. In his artistic oeuvre, Francisco Tropa thematises this profound human need. His investigation into the finite nature of human existence is characterised by the interaction with objects, thus introducing the dimension of temporal-ity. Tropa’s artistic work will be juxtaposed with funerary objects from Antiquity.About Francisco TropaSculpture has been a constant interest in the artistic practice of Francisco Tropa (b. 1968 in Lisbon). He has attracted considerable atten-tion on the part of institutions and art critics since he first presented his works in the 1990s and in 2011 he represented Portugal at the Venice Biennale. Tropa uses different media – sculpture itself, drawing, performance, pho-tography and film – to convene a series of re-flections introduced by the different traditions of sculpture. Subjects such as the body, death, nature, landscape, memory, origin or time are always present in his works with their end-less process of projection of references from the history of art, from other art works, from previous works of the artist, and from specific authors. Notions of device and spectator are also fundamental to Tropa's artistic practice, which defies all the traditional categories of art, its representation and perception.Jean-David Cahn AG · Malzgasse 23 · CH-4052 Basel · +41 61 271 67 55 · mail@cahn.ch · cahn.ch Galerie Jocelyn Wolff · 78, rue Julien-Lacroix · F-75020 Paris · +33 1 42 03 05 65 · galeriewolff.comNext >