Behind 40 years of art theft, ‘holes’ in protection and a lot of sloppiness, an internal source speaks

The register this unknown. Thus began, on the day of the request for filing the investigation into theft of art in Rai, a conversation with those who know very well the state in which the artistic heritage of the Public Service Company has been for years and years. And the register of medieval origin begins from the register, on which everything is noted in chronological order, including pieces of art. A status marked by “zero controls, no system of scientific inventory of the works, too many cases of works without any photographic equipment, almost zero awareness of what should be considered as a work of art and what not”, explains a source to Adnkronos internal to the Company. As if to say, “is it really the case to be amazed by the multitude of undisturbed thefts for over 40 years? Can it be justified? It makes more sense to focus on the present and the future. ” But let’s go back to the register, “the deed – explains the source to Adnkronos – that any public or private company is required to make, in essence, a technical sheet with the identification elements of the works drawn up according to the criteria dictated by the Ministry of Culture to notify possession “. Apparently, Rai would have always done without the register. Or it would not have been kept updated according to the normal administrative rules. Translated:” it has never been written anywhere – the source clearly states – how many and which works of art, in the form of paintings, installations, memorable stage photos, design furniture and so on and so forth, the largest Italian cultural company had in its belly “. Reason?” controls and ignorance. Suffice it to say that no later than last year in the Rai warehouses there were three chairs by Gio Ponti, designed and made as unique pieces for Rai (one of which was even repainted), which were being thrown away because they were no longer considered useful. And to stay on the subject, it is worth dwelling on the fact that Gio Ponti’s furniture has never been cataloged and the same goes for the Turin armchairs of the architect Novello. Nor has it ever been understood where they ended up although they later reappeared in the apps with the words ‘Rai heritage’. Not only. The second floor of the Milan office was literally sacked and the same was the case with the Turin Auditorium, which was also sacked. Even the ashtrays went up for auction. “Between zero vigilance and ignorance, the source explains, almost head to head:” In Rai, in the incomplete and scarce inventory, there have also been notes of color over the years: they have been inventoried like Ming vases from Ikea vases. What a magnificent situation – reflects the source – the one in which those employees of the Company or those thieves who, apparently, on the other hand knew all about art, moved. “In short, the picture that emerges from this interview is not rosy. heritage protection seems to have been greatly underestimated by the largest Italian cultural company and the artistic deposit that today could have been is, however, wounded by many thefts and strange temporal ‘holes’. “How many Oscar-winning cinematographers has Italy had ? Lots of them. Vittorio Storaro, Carlo Di Palma, Peppino Rotunno to name a few. How many of them have worked for Rai? Lots of them. Here, where are those scene photos? Those works of art? “. (By Veronica Marino)