interview with m. restellini

Nº 6 BEIS Magazine


Recently I discovered that one my most loyal followers is Marc Restellini, so in order to thank him for all the hours he dedicates to follow my pages (full of bad English and mistakes) I want to make him a little "homage".

Here is an extract from an interview that went totally unnoticed to me but Mr. Pepi, a loyal admirer and collaborator of Restellini had the kindness to put on line and in Spanish, really a charming detail from his side.
This interview was made in the Oct/Nov 2016 and published in Jan/Feb 2017 and is really interesting in many aspects, it's full of coincidences, denials and surprises.

Here is a brief list of 3 coincidental moments & 3 surprises:

1.- The magazine called BEIS is located in Madrid like me. FIRST COINCIDENCE

2.- The office of the magazine is located in Pinar St. nº 15, 3rd floor, office A.
In the last days of Dec. 2016 I was contacted by a law firm (Irias lawyers) in Madrid that were looking for Modigliani works, that law firm office is located exactly in Pinar St. nº 15, 3rd floor, office A.
What a delightful coincidence the same exact address. SECOND COINCIDENCE

3.- The editorial staff of the magazine BEIS is formed by 2 members, 1 the lady who did the interview (Jade del Arco) and Juan Antonio Molina.
Exactly the same person who presented to me as a lawyer looking for information to buy a Modigliani and got me in the middle of one of the most weird & stressing situations I have been in my whole life.
More than 6000 million people and I am contacted exactly by him. THIRD COINCIDENCE

It's amazing we were so close to meet each other live , just for a week or a month...

Irias law firm does no mention in his web page to the magazine, they share the same office space and they don't even mention each other. SURPRISE ONE

The first time I meet Juan Antonio Molina (the purported lawyer) we had a long conversation about Modigliani market situation and of course we talked about Restellini, Parisot, etc.
Molina told me he had no idea about that situation and that he didn't knew none of them and of course not Restellini. But the reality was that he had already had an interview with him (I discovered it much later...) SURPRISE TWO

3.- The surprise number three is still processing ...

The interview:

So let's go with my little homage of the interview and all the denials, assertions and contradictions all over it, if you want to read the full article here is a link to the Pepi Page
Magazine cover, back and editorial staff:

cover and back cover of BEIS magazine and editorial staff incluiding Juan Antonio Molina as chief editor
The main title: MARC RESTELLINI "Modigliani catalogue raisonne is finished" next to a huge photo of Marc buttoning his coat.
This are extracts from the general text translated:

- He is doing what will be the only catalogue raisonne of the artist

- Marc Restellini is a "character" who is always involved in controversy: threats, pressures ... Just a simple search on Google to realize that the press says all or nothing about his person, and that is why the best way to put a little light on everything that surrounds him is to speak directly with him. Some subjects, such as counterfeits or threats, touch them on a tangent; in others, such as Modigliani's reasoned catalog, which he has been preparing for 20 years, or what the press says about him, he jumps in ...

- This is how I started working in Paris school and created the first computerized catalogue raisonne of my grandfather's work, which at the time was a revolution. From there arose the possibility of making my first exhibition to open a museum in Japan, and was so successful that I became, we can say, "Monsieur Modigliani".

- The catalog is finished, we will move on to edit it shortly. You have to understand that it is a huge job. I hear everyone saying:"He has been promising for many years", but that is a lie. There have been many announcements and information that we were going to publish it, when I was working on it with Daniel Wildenstein, but we have always denied it. WHAT IS MISSING WITH MODIGLIANI IS, ABOVE ALL, STOP SAYING ANYTHING Wildenstein told me when I started in 1997 that such a job could last 20 years, 20 years ago now, and the catalog is finished, Daniel Wildenstein is dead, and he was right. It is a catalog that will have 20,000 pages, 4 or 5 volumes. You have to know that it is not a pocket book, it can not be published in a year, it is impossible.

- Actually There is no Modigliani catalog. There is a book that is made by a man called Ceroni, but it is not a catalogue raisonne, it is a repertoire. The problem is that today people do not know what a catalogue raisonne is.

- You have to know what it is: each line is a verification, it's a huge job. The catalog that we are making of Modigliani is a true catalogue raisonné. It means that for each painting there is the integrity of the publications, articles, sources, as well as the integrity of scientific analysis that we have done for each work. The dating that is up to now is, we can say, crazy, absurd, it is not classified. What is needed with Modigliani is, above all, to stop saying anything. They say things that are absolute nonsense, It's alarming. I'm going to publish the catalog every day for 20 years, and it's not true. I have never promised that catalog every year. Never. Find a single official communication from me that says the catalog is coming out next year. Now it is finished, we are in the editing phase: it has to be shaped and it is a gigantic job. Also, when it is published it has to be perfect, because if there is something missing ... (Laughter).

- Why is there so much disaster around Modigliani? Because there is no moral. The only expert today is me, the rest that makes catalogs disappears when there is controversy in an exhibition and it is necessary to say if a painting is false or not. The only one who has the right to say it is me, because I have a judicial decision that authorizes me to do so. The others are afraid: a curator from Tate Gallery once told me: "In this exhibition there are false paintings", I said: "Why you did not say it?". There was no answer. I am the only one who says it. It's me who has sent people to prison, who has closed exhibitions ... no one else. Where are all those geniuses? We do not see them.

The Wildenstein Institute was increasingly in the logic of a committee, and I am against the committees. A painting is true or false, but a committee can not decide it, it is the painting who gives the answer. I say if a picture is true or false because it responds to a series of criteria. - What are these criteria? They are a subjective one, which is the eye, but which is essential; and two objective criteria, which are the documentation and the scientific analysis. The documentation means that the painting must be referenced, and the scientific aspect means that it must meet certain criteria within a comparative scientific protocol that I have done on Modigliani. It is a methodology that today even counterfeiters know and use, who have understood that we must have a scientific side. Yes, there are scientific counterfeiters. I make a statistical protocol, from a real work parameters are established to compare the rest. I have 400 scientific dossiers, the largest database of numerical, analytical and scientific images that allow me to know weekly how the artist worked. We also provide services to private clients, not only we analyze Modigliani. We are a little unique in what we do. However, when a false picture arrives, I know it is false. I have the instinct.

As closing: And for many projects, polemics and lies that have accompanied him in his life, there is a figure that has always walked hand in hand: Modigliani. A love that was forged over time, of those that last forever, of those that did not emerge with a crush and that, despite the problems, lasted. A love that we all desperately seek, a true love.
I could spend hours writing about all the above and the coincidences & surprises but by the moment I will wait...

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