Cataloging: everyone talks about it but nobody does it
In the two-year period 2020-2021, the words technology and digitalization has been on the agenda, in all fields. And the sudden rush resulted in the art sector almost like a bolt from the blue, more or less well received by its players.
The problem that immediately manifested itself, however, was the evident absence of a base ready to welcome and support this propulsive thrust, both in terms of means and unfortunately sometimes also of mentality, not very open to abandoning the analog.
It is in fact necessary to introduce a change in the way in which digital media are seen and can be used: they are not unbearable enemies, but we must open up to the possibility of considering them as something useful, which leads to a generalized improvement.
In this context, the most transversal problem for the various actors in the art world concerns what today should be considered more than anything else a commodity, i.e. the cataloging of works part of a collection in the broadest sense of the term, for example museum. or institutional, a gallery or a collector.
How can we bring together all these collections of works, whether public or private? Because they are subject to the same problems, and at the same they could derive the same benefits if subject to a new type of management.
The greatest risk that works run if subject to a cataloging that is limited to paper or that does not make the most of the potential of digital, is a loss of information which is directly associated with a decrease in the value of the works themselves.
The documentation relating to a work, which includes its certifications, bibliography and publications, references to exhibitions and exhibitions, and in general all information concerning it are in fact an integral part of its history and life. If organized in a precise and timely manner over time, they are able to ensure optimal all-round management.
Relying on software like SpeakART, which allows you to have a cataloging tool capable of reducing waste of time and costs, translates into gains in terms of efficiency for both institutions and collectors.
If it is undeniable how much the benefits of this choice outweigh the burdens, the only difficulty to be faced is therefore a resistance to change which, once overcome, will result in a generalized improvement within the art system.