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Art, Crime and Criminals: Painting Fresh Pictures of Art Theft, Fraud and Plunder

艺术、犯罪和罪犯：描绘艺术品盗窃、欺诈和掠夺的新鲜画面

基本信息

批准号：
AH/N006380/1
负责人：
Saskia Hufnagel
金额：
$ 4.62万
依托单位：
Queen Mary University of London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN006380%2F1
关键词：
Art Crime Criminals Painting Fresh

项目摘要

Until quite recently art crime has been a relatively neglected topic of scholarly and practitioner attention. Dramatic art heists, clever art forgeries and like criminal activities have been the frequent grist for works of fiction in print and on screen. However, academics and practitioners alike have remained somewhat aloof from any detailed analysis of and response to this type of criminal behaviour. In an international art market that is currently reaching record levels of pricing and unprecedented levels of speculative sales and investment the incentives for this type of crime have, however, never been higher. Some commentators even estimate that art crime represents the third most serious form of transnational crime after drug and arms trafficking. The main problem in tackling art crime is the variety of different actors involved and the significant expertise required. Buyers need to realise whether a painting is stolen or forged; auction houses have to find out whether an artifact has been looted and police and customs have to identify stolen or forged objects. To detect art crime a high level of expertise is required that is present in the art market, but not necessarily within law enforcement agencies. A substantial proportion of art crime today also involves multiple jurisdictions, however, most national police forces have little or no special resources allocated to this area and cooperation is difficult both with other jurisdictions and with the private sector.Understanding art crime involves at minimum aspects of criminology, art history, the art trade, archaeology, art law, police and security studies, anthropology, sociology, museum studies, and insurance law. This area is par excellence one of interdisciplinary perspectives. However, there is a tendency both for academics and professionals to be hesitant about stepping outside their area of specialisation making it difficult to create a complete picture of the prevalence, offenders, motives and impacts of this type of crime. Bringing the different representatives of academic disciplines and practitioners together to exchange knowledge and experience on the prevention, detection, investigation and prosecution of art crime is therefore crucial to tackle art crime successfully.The networking activity will focus on three broad and principal subject areas - art theft and vandalism, art fraud and forgery, and the plunder, looting and destruction of antiquities. It will bring together policymakers, practitioners and researcher to explore central issues, including:1. What is the prevalence of art crime? Who are the principal participants and what are the economic drivers of this activity?2. Where are the principle markets based and how are stolen, forged and looted objects placed on the market?3. Are existing security measures able to protect against art theft, forgeries and looting?4. To what extent are existing regulatory mechanisms effective and is self-regulation of the art market the way forward?5. What scientific measures can be taken to better protect the art market?6. How should identified fraudulent/stolen works of art be dealt with?7. How can the legal and financial risks in authenticating works of art be mitigated?8. How is art crime related to organised crime, money-laundering, corruption and the funding of terrorism?9. What are the principle barriers that exist to recovery and repatriation?10. What existing public education models to change attitudes might be adopted?The network will draw upon experiences from different jurisdictions, including the United States, Australasia, China, Germany and Italy. International actors (eg World Customs Organisation, Interpol, International Council of Museums) will further inform discussion. The network will engage different academic disciplines (law, archaeology, criminology, art history, art conservation sciences and psychology) and key stakeholders from policy and practice.

直到最近，艺术品犯罪一直是学术界和从业者关注的一个相对被忽视的话题。戏剧性的艺术品抢劫、巧妙的艺术品盗窃和类似的犯罪活动一直是印刷和银幕上小说作品的常见素材。然而，学术界和从业人员都对这类犯罪行为的任何详细分析和反应保持着某种程度的冷淡。国际艺术品市场目前的定价水平达到创纪录水平，投机性销售和投资达到前所未有的水平，但对这类犯罪的刺激从未如此强烈。一些评论家甚至估计，艺术品犯罪是仅次于毒品和武器贩运的第三种最严重的跨国犯罪形式。处理艺术品犯罪的主要问题是所涉及的不同行为者的多样性和所需的大量专门知识。买家需要意识到一幅画是被盗还是伪造的;拍卖行必须弄清楚一件文物是否被洗劫一空，警察和海关必须识别被盗或伪造的物品。侦查艺术品犯罪需要艺术品市场中的高水平专业知识，但不一定是执法机构内部的专业知识。今天，艺术品犯罪的很大一部分也涉及多个司法管辖区，然而，大多数国家的警察部队很少或根本没有分配给这一领域的特殊资源，与其他司法管辖区和私营部门的合作也很困难。了解艺术品犯罪至少涉及犯罪学，艺术史，艺术品贸易，考古学，艺术法，警察和安全研究，人类学，社会学，博物馆研究，和保险法。这一领域是卓越的跨学科视角之一。然而，学术界和专业人员都倾向于不愿走出自己的专业领域，因此难以全面了解这类犯罪的普遍程度、罪犯、动机和影响。因此，要成功打击艺术品罪行，必须把不同学科的代表和从业员聚集在一起，交流有关预防、侦查、调查和检控艺术品罪行的知识和经验。联网活动将集中于三个广泛和主要的主题范畴，即盗窃和破坏艺术品、艺术品欺诈和伪造，以及掠夺、抢劫和破坏古物。它将汇集政策制定者，从业人员和研究人员，探讨核心问题，包括：1。艺术品犯罪的普遍程度如何？谁是主要参与者，这一活动的经济驱动力是什么？2.主要市场在哪里，被盗、伪造和掠夺的物品如何投放市场？3.现有的安全措施是否能够防止艺术品盗窃、抢劫和抢劫？4.现有的监管机制在多大程度上是有效的，艺术品市场的自我监管是否是前进的方向？5.有哪些科学措施可以更好地保护艺术品市场？6.如何处理已查明的欺诈/被盗艺术品？7.如何降低艺术品鉴定中的法律的和金融风险？8.艺术品犯罪与有组织犯罪、洗钱、腐败和资助恐怖主义有什么关系？9.在恢复和遣返方面存在哪些主要障碍？10.可采用哪些现有的公共教育模式来改变态度？该网络将借鉴美国、澳大拉西亚、中国、德国和意大利等不同司法管辖区的经验。国际行动者（如世界海关组织、国际刑警组织、国际博物馆理事会）将进一步为讨论提供信息。该网络将吸引不同学科（法律、考古学、犯罪学、艺术史、艺术保护科学和心理学）以及政策和实践方面的主要利益攸关方参与。