В фильме "Rocknrolla" Гая Ричи (2008) важной частью сюжета служит неизвестная картина, принадлежащая олигарху Юрию Омовичу.
Ныне про использовании живописи для отмывания денег стало известно немного больше - этим пользовались братья Ротенберги чтобы обходить американские санкции.
Powerful Russian oligarchs have allegedly discovered a surprising new tool to evade sanctions: the secretive and largely unregulated U.S. art industry. The revelation is laid out in a new bipartisan congressional report that was released on Wednesday following a two-year investigation. The 150-page report, spearheaded by Sens. Rob Portman (R-Ohio) and Tom Carper (D-Del.) in their capacity as chair and vice chair of the Permanent Subcommittee on Investigations, details how the committee’s staff says it traced over $18 million in high value art purchases from U.S. auction houses and private sellers back to three shell companies linked to the Russian construction and energy tycoons Arkady and Boris Rotenberg. The Rotenbergs, who made a fortune through contracts related to the Sochi Olympics, were sanctioned and had their U.S. assets frozen in March 2014 as part of the Obama administration’s decision to punish Russian President Vladimir Putin and his close associates over Russia’s annexation of Crimea. Arkady Rotenberg was later chosen by Putin to direct the construction of a bridge connecting Russia with mainland Crimea. The pair has found a way to bypass the sanctions, the subcommittee claims, by moving money through shell companies and investing it in high-value artwork. The report cites more than one million documents reviewed, interviews with nearly two dozen individuals, and information requests from the country’s four biggest auction houses. And while the Rotenbergs are the only sanctioned individuals the panel says it could confidently determine were benefiting from lax laws governing the U.S. art industry, they are likely “only the tip of the iceberg,” a subcommittee staffer said in a call with reporters on Tuesday. The art market writ large has been described by experts as “an ideal playing ground for money laundering” given its opaque culture - buyers and sellers often insist on anonymity - and art’s consistently soaring value. https://www.politico.com/news/2020/07/29/probe-russian-oligarchs-evade-art-sanctions-386154
История с куплей и продажей картины Леонардо да Винчи, самой дорогой в мире, олигархом Дмитрием Рыболовлевым, остается загадочной.
The messy battle began several years ago when Mr. Bouvier helped Mr. Rybolovlev buy 38 pieces of world-class art for $2 billion over a period of about 12 years, including works such as “Salvator Mundi,” a depiction of Christ attributed to Leonardo da Vinci. Mr. Rybolovlev has said in court papers that he believed Mr. Bouvier was acting as his agent and adviser on the transactions, and he paid Mr. Bouvier a fee for his services. But he later discovered, he said, that Mr. Bouvier had bought many of the items in advance, then flipped them to him at a markup of $1 billion. Monaco’s Court of Revision upheld the lower court’s decision to toss out the charges of fraud and money laundering, concluding in its ruling Wednesday that “the investigations had been conducted in a biased and unfair manner under conditions which seriously and lastingly compromised the balance between the parties.” A separate investigation into corruption charges made by Mr. Bouvier against Mr. Rybolovlev is continuing. That investigation hinges on questions about whether Mr. Rybolovlev used lavish perks to enlist Monaco law enforcement officials as allies in his bitter feud with Mr. Bouvier. https://www.nytimes.com/2020/07/08/arts/design/yves-bouvier-art-fraud-monaco.html
Хорошая статья про Трампа, изобразительное искусство и Зураба Церетели:
His first media spectacle, in 1980, focused on the then-33-year-old developer destroying a pair of Art Deco reliefs that were part of the facade of the Bonwit Teller Building in midtown Manhattan, which Trump tore down to build his Trump Tower. The Metropolitan Museum of Art wanted the reliefs for its collection, as the Washington Post recalled in a bit of retrospective reporting recently, and Trump agreed to donate them, if the cost of their removal wasn’t prohibitive. It wasn’t, but Trump’s construction crew destroyed the works anyway. <...> He has been flirting with a presidential run since the late ’80s; as early as 1999, he made a public call for censorship and claimed that his hypothetical presidency would cut federal funding for the arts. That was the year that Mayor Rudolph Giuliani embarked on a crusade against the Brooklyn Museum for its exhibition of Chris Ofili’s The Holy Mary Virgin (1996), which depicts the Madonna in materials including oil paint, glitter, and elephant dung. Giuliani told the Times the work wasn’t art because he could make it himself. He went so far as to try to cancel the institution’s lease with the city, evicting it from its home of more than 100 years. Outside of religious groups, Giuliani had few allies in this fight in New York, besides Trump, who released a statement to the Daily News-in reference to what the paper referred to only as “the Brooklyn Museum’s elephant-dung Madonna”-saying, “As president, I would ensure that the National Endowment of the Arts stops funding of this sort.” (The Daily News pointed out that the organization’s correct title is “National Endowment for the Arts,” and that the NEA did not give any funding to the Brooklyn Museum’s show that featured Ofili.) Regarding the Ofili, Trump continued: “It’s not art. It’s absolutely gross, degenerate stuff.” Note the word “degenerate.” There was, of course, another politician who used that adjective to describe works of art that offended him. <...> But, oddly enough, Trump did have a brief moment as a public-art advocate. He was a major supporter in the late-90s of a planned installation along the Hudson River of a statue of Christopher Columbus by Russian artist Zurab Tsereteli. New York eventually rejected the sculpture, as did a variety of other American cities that Teserteli attempted to donate his work to, including Baltimore; Fort Lauderdale, Florida; Miami; and-of all places-Columbus, Ohio. Looking back on it now, Trump’s pride in the sculpture seems just about right. The work is not so dissimilar from one of his hotels. Standing nearly 350 feet tall and weighing in at about 600 tons, the work-as Trump explained in a New Yorker profile from 1997-has “forty million dollars’ worth of bronze in it.” http://www.artnews.com/2016/04/04/absolutely-gross-degenerate-stuff-trump-and-the-arts/
В фильме "Rocknrolla" Гая Ричи (2008) важной частью сюжета служит неизвестная картина, принадлежащая олигарху Юрию Омовичу.
Ныне про использовании живописи для отмывания денег стало известно немного больше - этим пользовались братья Ротенберги чтобы обходить американские санкции.
Powerful Russian oligarchs have allegedly discovered a surprising new tool to evade sanctions: the secretive and largely unregulated U.S. art industry.
The revelation is laid out in a new bipartisan congressional report that was released on Wednesday following a two-year investigation.
The 150-page report, spearheaded by Sens. Rob Portman (R-Ohio) and Tom Carper (D-Del.) in their capacity as chair and vice chair of the Permanent Subcommittee on Investigations, details how the committee’s staff says it traced over $18 million in high value art purchases from U.S. auction houses and private sellers back to three shell companies linked to the Russian construction and energy tycoons Arkady and Boris Rotenberg.
The Rotenbergs, who made a fortune through contracts related to the Sochi Olympics, were sanctioned and had their U.S. assets frozen in March 2014 as part of the Obama administration’s decision to punish Russian President Vladimir Putin and his close associates over Russia’s annexation of Crimea. Arkady Rotenberg was later chosen by Putin to direct the construction of a bridge connecting Russia with mainland Crimea.
The pair has found a way to bypass the sanctions, the subcommittee claims, by moving money through shell companies and investing it in high-value artwork. The report cites more than one million documents reviewed, interviews with nearly two dozen individuals, and information requests from the country’s four biggest auction houses.
And while the Rotenbergs are the only sanctioned individuals the panel says it could confidently determine were benefiting from lax laws governing the U.S. art industry, they are likely “only the tip of the iceberg,” a subcommittee staffer said in a call with reporters on Tuesday.
The art market writ large has been described by experts as “an ideal playing ground for money laundering” given its opaque culture - buyers and sellers often insist on anonymity - and art’s consistently soaring value.
https://www.politico.com/news/2020/07/29/probe-russian-oligarchs-evade-art-sanctions-386154
История с куплей и продажей картины Леонардо да Винчи, самой дорогой в мире, олигархом Дмитрием Рыболовлевым, остается загадочной.
The messy battle began several years ago when Mr. Bouvier helped Mr. Rybolovlev buy 38 pieces of world-class art for $2 billion over a period of about 12 years, including works such as “Salvator Mundi,” a depiction of Christ attributed to Leonardo da Vinci. Mr. Rybolovlev has said in court papers that he believed Mr. Bouvier was acting as his agent and adviser on the transactions, and he paid Mr. Bouvier a fee for his services. But he later discovered, he said, that Mr. Bouvier had bought many of the items in advance, then flipped them to him at a markup of $1 billion.
Monaco’s Court of Revision upheld the lower court’s decision to toss out the charges of fraud and money laundering, concluding in its ruling Wednesday that “the investigations had been conducted in a biased and unfair manner under conditions which seriously and lastingly compromised the balance between the parties.”
A separate investigation into corruption charges made by Mr. Bouvier against Mr. Rybolovlev is continuing. That investigation hinges on questions about whether Mr. Rybolovlev used lavish perks to enlist Monaco law enforcement officials as allies in his bitter feud with Mr. Bouvier.
https://www.nytimes.com/2020/07/08/arts/design/yves-bouvier-art-fraud-monaco.html
См. смелые фантазии Юрия Фельштинского http://gordonua.com/publications/doprosit-leonadro-da-vinchi-donald-tramp-i-dmitriy-rybolovlev-istoriya-odnogo-platezha-felshtinskiy-253704.html
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His first media spectacle, in 1980, focused on the then-33-year-old developer destroying a pair of Art Deco reliefs that were part of the facade of the Bonwit Teller Building in midtown Manhattan, which Trump tore down to build his Trump Tower. The Metropolitan Museum of Art wanted the reliefs for its collection, as the Washington Post recalled in a bit of retrospective reporting recently, and Trump agreed to donate them, if the cost of their removal wasn’t prohibitive. It wasn’t, but Trump’s construction crew destroyed the works anyway. <...>
He has been flirting with a presidential run since the late ’80s; as early as 1999, he made a public call for censorship and claimed that his hypothetical presidency would cut federal funding for the arts. That was the year that Mayor Rudolph Giuliani embarked on a crusade against the Brooklyn Museum for its exhibition of Chris Ofili’s The Holy Mary Virgin (1996), which depicts the Madonna in materials including oil paint, glitter, and elephant dung. Giuliani told the Times the work wasn’t art because he could make it himself. He went so far as to try to cancel the institution’s lease with the city, evicting it from its home of more than 100 years. Outside of religious groups, Giuliani had few allies in this fight in New York, besides Trump, who released a statement to the Daily News-in reference to what the paper referred to only as “the Brooklyn Museum’s elephant-dung Madonna”-saying, “As president, I would ensure that the National Endowment of the Arts stops funding of this sort.” (The Daily News pointed out that the organization’s correct title is “National Endowment for the Arts,” and that the NEA did not give any funding to the Brooklyn Museum’s show that featured Ofili.) Regarding the Ofili, Trump continued: “It’s not art. It’s absolutely gross, degenerate stuff.” Note the word “degenerate.” There was, of course, another politician who used that adjective to describe works of art that offended him. <...>
But, oddly enough, Trump did have a brief moment as a public-art advocate. He was a major supporter in the late-90s of a planned installation along the Hudson River of a statue of Christopher Columbus by Russian artist Zurab Tsereteli. New York eventually rejected the sculpture, as did a variety of other American cities that Teserteli attempted to donate his work to, including Baltimore; Fort Lauderdale, Florida; Miami; and-of all places-Columbus, Ohio. Looking back on it now, Trump’s pride in the sculpture seems just about right. The work is not so dissimilar from one of his hotels. Standing nearly 350 feet tall and weighing in at about 600 tons, the work-as Trump explained in a New Yorker profile from 1997-has “forty million dollars’ worth of bronze in it.”
http://www.artnews.com/2016/04/04/absolutely-gross-degenerate-stuff-trump-and-the-arts/
Кое-каким искусством он украсил Белый дом.
Annnnd here's how the print got to the White House. Darrell Issa! https://t.co/VwbkfirNNu
- Josh Billinson (@jbillinson) October 15, 2018
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