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A new documentary on Salvator Mundi alleges political discord over the world s most expensive artwork

A new documentary on Salvator Mundi alleges political discord over the world s most expensive artwork
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Elvira Dyangani Ose appointed Director of MACBA

Elvira Dyangani Ose appointed Director of MACBA Elvira Dyangani Ose is currently Director and Chief Curator of The Showroom in London. Photo: Josep Lago. BARCELONA .- Elvira Dyangani Ose (Córdoba, 1974) will be the first woman to hold the position of Director of the Museu d’Art Contemporani de Barcelona. She is currently Director and Chief Curator of The Showroom in London, as well as Lecturer in Visual Cultures at Goldsmiths, University of London, and a member of the Thought Council, Fondazione Prada. She has previously been Curator of the Göteborg International Biennial of Contemporary Art; Curator of International Art at Tate Modern, London; Artistic Director of Rencontres Picha - Lubumbashi Biennial, Democratic Republic of the Congo; Curator of Contemporary Art at the Centro Andaluz de Arte Contemporáneo (CAAC), Seville; Senior Curator at Creative Time in New York; and Curator of Contemporary Art at the Centro Atlántico de Arte Moderno (CAAM) in Las Palmas, Gran Canaria.

The real reason why the Salvator Mundi didn t make it into the Louvre s Leonardo show

Saudi crown prince Mohammed bin Salman and French president Emmanuel Macron ©  Zadig productions/FTV A new French feature-length documentary on the Salvator Mundi seems to have solved one of the key mysteries surrounding the enigmatic and controversial painting: why it never appeared in the Musée du Louvre’s blockbuster Leonardo da Vinci show. Antoine Vitkine’s film, which The Art Newspaper has gained exclusive access to, is entitled The Savior for Sale and is released on 13 April. In the film, an anonymous senior official in French President Emmanuel Macron’s government, codenamed “Jacques”, tells Vitkine that the Louvre’s extensive scientific examination of the painting, conducted in secret, concluded that Leonardo da Vinci himself “only contributed” to the picture, and that its “authenticity” could not be confirmed.

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