![\"Screen](\"https:\/\/www.idaia.com.au\/en\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-2.35.10-PM.png\")
<\/a><\/center> <\/p>\nInterview of Solenne Ducos-Lamotte<\/strong> Transcript:<\/p>\n “You recently joined the Board of elected Directors of the Indigenous Art Code, what does it mean for IDAIA and for you? The Indigenous Art Code\u00a0is the official international code of conduct set up to ensure the fair and ethical trade in works of art by\u00a0Australian Indigenous artists. It aims at protecting the artists from unethical treatment and exploitation, and the buyers from unfair misleading and fraudulent practices.<\/p>\n IDAIA\u00a0contributed to draft the\u00a0Indigenous Art Code in 2010\u00a0and is a registered member of the Code since 2011. Promoting and providing access to the ethical and curatorial sector is part of our very mission, and working alongside the existing like-minded stakeholders and organisations is our approach. So being involved in the\u00a0Code\u2019s governance and regulation structure\u00a0only makes sense. It puts IDAIA in a better position to raise even more awareness about the Code and ethical practices, and be more effective in our promotional and educational actions thanks to a better understanding of the problems and opportunities for the sector.<\/p>\n (…)<\/p>\n According to you, what are the future stakes of the Australian Indigenous Art in the Australian and international markets? In spite of the global economic downturn and the fact that the Australian Indigenous art (AIA) market in Australia has been declining in recent years (the auctions result is probably back to the level achieved in 2002), it remains highly positive as the international market for AIA is still booming, ever growing in Europe, and opening in Asia notably in China, with collectors diversifying and starting to buy Aboriginal art. Just this year a Chinese collector bought an entire exhibition of over 40 works! Besides in Australia the downturn is counterbalanced by the recrudescence of top quality exhibitions, prizes and festivals dedicated to Indigenous art and culture, raising the bar in terms of quality and contributing to validating and solidifying the ethical sector.<\/p>\n The keys for the long-term viability of the AIA market are on one side the quality and the integrity of the art works, and on the other side access to information on the importance of the provenance of the art works.<\/p>\n (…)<\/p>\n Can you describe your personal background and your role within IDAIA? I was previously Head of the\u00a0Aboriginal art department at Michael Reid \u2013 Caruana & Reid Fine Art\u00a0in Sydney (2004-2008), working in close collaboration with Australian art market analyst and 3-gallery owner\u00a0Michael Reid, and world-renown scholar\u00a0Wally Caruana, who was the first senior curator of\u00a0Australian Indigenous Art at the National Gallery of Australia\u00a0in Canberra for over twenty years.<\/p>\n (…)”<\/p>\n [Click\u00a0here<\/a>\u00a0to read the full interview (PDF Verion<\/a>)]\u00a0<\/i><\/b><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" “You recently joined the Board of elected Directors of the Indigenous Art Code, what does it mean for IDAIA and for you?<\/p>\n It is all about passion, commitment and strategy.<\/p>\n The Indigenous Art Code is the official international code of conduct set up to ensure the fair and ethical trade in works of art by Australian Indigenous artists. It aims at protecting the artists from unethical treatment and exploitation, and the buyers from unfair misleading and fraudulent practices.<\/p>\n IDAIA contributed to draft the Indigenous Art Code in 2010 and is a registered member of the Code since 2011. Promoting and providing access to the ethical and curatorial sector is part of our very mission, and working alongside the existing like-minded stakeholders and organisations is our approach. So being involved in the Code\u2019s governance and regulation structure only makes sense. It puts IDAIA in a better position to raise even more awareness about the Code and ethical practices, and be more effective in our promotional and educational actions thanks to a better understanding of the problems and opportunities for the sector. (…)<\/p>\n","protected":false},"author":1,"featured_media":5097,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[74],"tags":[832,449,789,841,729,289],"class_list":["post-5106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-latest-releases","tag-aboriginal-art","tag-contemporary-art","tag-facci","tag-idaia","tag-indigenous-art-code","tag-solenne-ducos-lamotte"],"_links":{"self":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/5106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/comments?post=5106"}],"version-history":[{"count":6,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/5106\/revisions"}],"predecessor-version":[{"id":5129,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/5106\/revisions\/5129"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/media\/5097"}],"wp:attachment":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/media?parent=5106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/categories?post=5106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/tags?post=5106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThursday 7 November 2013
\nFACCI Newsletter and website<\/p>\n
\n<\/strong>
\nIt is all about\u00a0passion,\u00a0commitment\u00a0and\u00a0strategy.<\/p>\n
\n<\/strong><\/p>\n
\n<\/strong>
\nI am the\u00a0Founder and Director of IDAIA\u00a0\u2013 International Development for Australian Indigenous Art \u2013 based in Sydney. After my initial\u00a0Business School degree\u00a0(1999) and a 4-year experience in management consulting in Europe, I completed my education at the prestigious Parisian art schoolsEcole Nationale Sup\u00e9rieure des Beaux-Arts\u00a0and\u00a0GRETA des Arts-Appliqu\u00e9s\u00a0(2003), and I gained a\u00a0Master of Art Administration\u00a0from Sydney\u2019s UNSW College of Fine Arts (2005).<\/p>\n