Arte in movimento: la circolazione internazionale delle opere d'arte

Art, through works of all kinds, breathes as it circulates and should be free by definition, regardless of the state in which they reside. However, it is equally true that to serve as a tool of cultural elevation for citizens, art needs to be protected in the present and preserved primarily on a national level. This requires operational oversight and strict control by the national administration. This work delves into the theme of the circulation of cultural assets in an international context with the aim of providing an overview of the current regulations on the matter. Our exploration begins by defining the concepts of artworks and cultural heritage, along with analyzing the laws of various sample states, including Europe, Italy, France, Germany, the UK, Russia, Africa, the USA, India, and Australia. This narrative provides a diverse outlook on the delicate balance societies seek to strike, preserving the essence of their identity while allowing their creations to form connections that transcend borders when it comes to the exit or entry of artworks from or within national borders. Shifting perspectives, the subsequent section approaches the discipline of international circulation of art not as a transfer of rights, but as the physical and material transfer of the res beyond national territory. This is explored in depth, contingent on whether this phenomenon takes on characteristics of permanence or temporality. The discussion focuses particularly on art loans, exhibitions, and art fairs. In addition to the regulatory procedures associated with this operation, the authorization process for departure, also known as the "export license," is examined. Lastly, the final part of my work is dedicated to the empirical verification of the previously discussed content. This was carried out in collaboration with Caterina Chiefari, an Art Operations Supervisor at Regency Shipping Limited. I had closely worked with her to explore the employed methods for international artwork transportation in the context of uncertainty arising from Brexit. Also in this context, I have analyzed an interesting case history involving the shipment of some works of art from Sicily to London for an exhibition at the Saatchi Gallery. I have also contacted a significant Italian museum, Gallerie d'Italia, I sought to delve into their approach to artwork movement using an intriguing case in which they played a role: the request by the Russian Ministry of Culture for the early return of 23 works from the State Hermitage Museum in St. Petersburg. These two examples have offered a message of hope: the goodwill to share beauty and culture prevails over practical and ideological obstacles. As stated by the Director General of the State Hermitage Museum, Mikhail Piotrowsky, "Cultural bridges are blown up last." Embracing a perspective primarily humanistic and only subsequently legal in the strict sense, one can envision the gradual formation of an international, universal, and inherently human cultural identity that transcends any territorial dimension. Such an identity could genuinely foster dialogue and peace among all peoples, ideally recognizing a universal human right to culture, art, and beauty. This perspective aligns with the words of the philosopher Hans Georg Gadamer, who asserted that art and culture are indeed the only treasures of humanity which, once shared among all, do not diminish but grow and become greater.