The Amelia Conference:
ARCA’s Annual Interdisciplinary Art Crime Conference
Call For Presenters
Conference Dates – June 19-21, 2020
Location – Collegio Boccarini Conference Hall, adjacent to the Museo Civico Archeologico e Pinacoteca Edilberto Rosa, Amelia, Italy
Abstract Submission Period – January 01, 2020 through March 30, 2020
Held in the beautiful town of Amelia, Italy, the seat of ARCA’s summer-long Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection, the Association’s annual conference begins on Friday, June 19, 2020 with a networking cocktail open to all Amelia Conference attendees and speakers. At the heart of the conference are two days devoted to presentations selected through this Call to be held in the Collegio Boccarini Conference Hall, Saturday and Sunday, June 20-21, 2020.
ARCA’s annual Amelia Conference serves as an arena for intellectual and professional exchange and highlights the nonprofit’s mission to facilitate a critical appraisal of the need for protection of art and heritage worldwide. Over the course of one weekend each summer, this art crime-focused event serves as a forum to explore the indispensable role of detection, crime prevention, and scholarly and criminal justice responses, at both the international and domestic level, in combatting all forms of crime related to art and the illicit trafficking of cultural property.
Geared towards international organizations, national enforcement agencies, academics, cultural institutions, and private sector professionals in the art and antiquities fields, the Amelia Conference follows a long-established commitment by the Association to examine contemporary issues of common concern in an open, non-combative, multi-disciplinary format in order to promote greater awareness and understanding of the need for better protection of the world’s cultural patrimony.
2020 Call for Presenters: Session Formats and Topics
Given the success of the Amelia Conference over the past decade, it is important to recognise the growing interdisciplinary and international nature of this emerging field, the growing complexity of art and heritage crime, and the disciplines and subject matter experts who follow along and contribute within their areas of speciality. With that in mind, this year’s conference will build upon topic-specific sessions designed to stimulate discussion and share learning on a series of topics of common concern. Some conference panels may feature more active panel debate about a session topic, or present various and/or contrasting perspectives about a topic. Each panel session will last approximately 75 or 90 minutes and will include a number of oral presentations with some time dedicated for interactive discussion.
Abstracts for 2020 are invited under the following session-specific themes designed to build capacity, consider best practices and common problems, and sharing knowledge to strengthen cooperation:*
Papyri, Provenance, and the Ethics and Economics of Aquisitions
– Discussion of the retrieval, distribution, and sale of papyrus fragments,
– The debate surrounding papyri and current academic standards and ideologies underpinning acquisition,
Policing the Art Market – Recent Successes and Recurring Obstacles to Prosecution
-Use of deterrents: practice vs. theoretical including forfeiture, financial punishments (heavy fines) and criminal charges (imprisonment).
-Critical assessment of current legislation and security resolutions. What lessons can be learned?
Bits, Bytes and the Digital Scene of the Crime
Blockchain proponents believe that the technology will revolutionize the art market as it functions without a central authority. Yet the technology which stores data in a tamper-proof way, an additional advantage of the technology, is not as tamperproof as it might seem.
-Digital techniques for identifying and profiling criminals and preventing art crime.
-Extracting and interpreting crucial data useful in identifying art crimes.
-Using digital forensic tools for mapping criminal groups and deterring art related offences.
The Un-fine Art of Forgery
Faking, Forging, Counterfeiting Fakes, forgeries and counterfeits are omnipresent as works of art, this panel will be an interdisciplinary dialogue on the potential impacts of falsification.
– Faking as a process
– Fakes in intercultural contexts
– Forgery and related phenomena
Transparency and due diligence in the art market: dreams vs. reality. Does the art market learn from its mistakes? Can the market truly behave ethically?
One panelist representing museums
One panelist representing auction houses and or galleries
One panelist representing a provenance researcher
One panelist representing a collector or heir
Featuring representative panelists on topics not outlined above
Each selected presenter will represent a coherent and clearly focused presentation of 15 to 20 minutes maximum on one of the topic areas outlined above, that combined with presentations given by co-panelists, are designed to provide significant insights into the topic or theme and to stimulate thoughtful, not combative or antagonistic, discourse.
We very much look forward to receiving presentation proposals on the aforementioned topics, noting that topics may change or be altered based on speaker availability.
Abstract and CV Submission Deadline
March 30, 2020
Abstract Word Limit
400 words, excluding abstract title, presenter/co-presenter names and affiliations
Abstract Selection Process
Each submitted abstract must be accompanied by a CV. The abstract review process will be conducted blind, i.e. all author names will be removed before the abstract before being sent out for peer review. The abstract itself will be reviewed and scored by independent reviewers who have expertise in the specific session’s identified subject area.
Peer Reviewers apply the following criteria to judge abstract submissions
I. Quality and Originality (1 to 5)
Abstracts containing significant new findings or presenting concretized information or new approaches will be given higher scores than those that merely serve as a chronology of, or modifications to, older findings or routine topics of dischord.
II. Importance (1 to 5 pts)
This criterion addresses the importance of the presentation or research in terms of covering new ground and in advancing knowledge in the art crime and cultural heritage protection field.
III. Presentation (1 to 5 pts) This criterion addresses how well the specific research question(s) and objectives, methods used, primary results, facts ascertained, etc., are explained, rather than simply titling the topical subject itself. A clearly written abstract follows a logical order (e.g. aims, methods, outcome of investigation or analysis).
All accepted participants are responsible for their own travel and accommodation expenses, however, accepted conference presenters will have their attendance fee waived and will be invited to be ARCA’s guest for the Amelia Conference icebreaker cocktail on 19 June 2020.
Antiquities seized in 2018 by New York authorities linked to archives of antiquities dealers connected to illicit trafficking offenses.
“The Poet Max Herrmann-Neisse,” a painting by George Grosz, one of several paintings the Museum of Modern Art acquired which has a questionable Holocaust-era past.
The lower half of stele of Adad-nerari III of Assyria looted from Tell Sheikh Hamad in Syria. Seized by UK Law Enforcement in 2014 but has not been returned to Syria. Why?
Art crimes committed in symmetrical and assymetrical conflicts are an ever-expanding phenomenon that is increasingly difficult to prevent and to ultimately prosecute.
For further information about the 2020 Amelia Conference or to submit an abstract, please write to us at: