Writing Team

A code of conduct for collectors would only make sense if it came from collectors themselves, in an act of self-regulation and as a gesture of accountability. Accordingly, the Code has been discussed and drafted, for over a year, as a thought-provoking, consensus-based, creative endeavor by a collective of collectors active both at local and international levels. We circulated the Code as a draft for consultation to several professionals, including other collectors, artists, media professionals, curators, and dealers, this time with a broader geographical scope and a more diverse expertise; their comments and suggestions have been discussed and integrated into the Code, to reflect collective and multiple views on these matters.

The Code was drafted using the language of professional ethics – what is generally referred to as deontology – a discipline well established in public interest sectors (e.g., health, transport, energy) but to an extent underutilized in the artworld. Deontology relates to the behavior of professionals and the power relations that can trigger conflicts of interest, lack of transparency and integrity, corruption, abuse of dominance, undue influence, etc.

Pedro Barbosa (he/him) is a trained engineer and retired bond trader who, in the last two decades, has established himself and the Moraes-Barbosa Collection (CMB) as one of the most significant names in conceptual and contemporary art collections in South America. Alongside his wife Patricia Moraes (she/her), former head of JP Morgan in Brazil, who maintains her career in venture capital, Mr. Barbosa made his first purchase in 1999: a piece by Venezuelan kinetic and Op artist Jesús Rafael Soto. Since then, the interests have evolved and the collection grew larger. Today, the ensemble of works that also comprise the archive sector of CMB, consisting of avant-garde magazines, invitation flyers, posters, and records, together with video and audio, is a source for many projects supported and sponsored by CMB, having in mind an impact in the local art circuit and a backing of overlooked materials and artists.


Haro Cumbusyan (he/him) is a social entrepreneur and collector of media art. He is the Founding Director of EK BİÇ YE İÇ, a social venture based in Istanbul that focuses on the design, technology, and politics of sustainable food production and consumption in big cities. Prior to this venture, Cumbusyan founded collectorspace, a nonprofit art initiative that aimed to open up private art collections to public view and to critical review. Haro is currently a member of the Board of Directors of SAHA (Istanbul) and Centre d’Art Contemporain (Geneva), the Board of Advisors of Protocinema (Istanbul/New York), the Selection Committee of LOOP Moving Image Fair (Barcelona), and the Acquisition Committee of Media and Performance at MoMA (New York).

Iordanis Kerenidis (he/him) is a Paris- and Αthens-based quantum computer scientist and contemporary art collector. He received his PhD from the Computer Science Department at the University of California, Berkeley in 2004, and after a two-year postdoctoral position at the Massachusetts Institute of Technology, he joined the Centre National de Recherche Scientifique CNRS in Paris as a Research Director. He has been the coordinator of a number of EU-funded projects including an ERC Grant, and he is the founder and director of the Paris Centre for Quantum Computing. He is currently working as the Head of Algorithms Int. at QC Ware Corp. Iordanis has been collecting art with his partner Piergiorgio Pepe since 2006. The Kerenidis Pepe Collection has organized Phenomenon since 2015, a biennial program for contemporary art on the island of Anafi, Greece, for which they received in 2018 the Montblanc de la Culture Arts Patronage Award. Kerenidis was a member of the acquisition committee of the Centre National des Arts Plastiques (2012-2015).

Jessica and Evrim Oralkan (she/her and he/him) are art collectors and founders of Collecteurs, a Public Benefit Corporation that gives the public access to the world’s private art collections. Established in 2014, Collecteurs has become the largest community of art collectors online. In 2021, they founded Collecteurs Academy, a unique educational initiative that features courses taught by some of the greatest minds in the art world. The integration of the Academy into the Collecteurs ecosystem cemented the platform as The Museum of Private Collections, the world’s first collective digital museum. The couple lives in New York with their two sons.

Piergiorgio Pepe (he/him) is a Paris- and Αthens-based ethics practitioner and contemporary art collector. Through his advisory firm Quantum Ethics, he has advised organizations on ethics and compliance programs since 2018. From 2005 to 2018, he worked as an ethics officer in the pharmaceutical industry. Before then, he worked for 10 years as a senior EU lawyer for an international city law firm in London. He’s also active in academia (Sciences Po, INSEAD, and Seton Hall), where he regularly teaches courses on business ethics and ethics in the art sector. Piergiorgio has been collecting art with his partner Iordanis Kerenidis since 2006. The Kerenidis Pepe Collection has organized Phenomenon since 2015, a biennial program for contemporary art on the island of Anafi, Greece, for which they received in 2018 the Montblanc de la Culture Arts Patronage Award. Piergiorgio is a member of the board of the curatorial office Council.

Sandra Terdjman (she/her) supports the role of the arts and culture in society through different organizations that she successively co-founded, KADIST, an artistic program based on an international collection, Council that favor multidisciplinary projects, at the crossroads between arts, sciences, and civil society and a latest endeavor, AFIELD, which is developed as a fellowship and an international network of cultural change-makers. She also advises different philanthropic organizations and was awarded in 2019, the Montblanc de la Culture Arts Patronage Award.

Andre Zivanari (she/her) is Founder and Director of the non-profit cultural foundation Point Centre for Contemporary Art in Nicosia, Cyprus. The organization is involved in the creative support and promotion of various fields of contemporary cultural production. It works towards fostering a multi-disciplinary engagement with new tendencies in all aspects of the arts while encouraging critical dialogue. Its international commissions focus on works that involve a relation to Point’s Eastern Mediterranean context which bring forth meaningful interactions with this locale. In 2021, Point inaugurated Rosa Barba’s two-part project: a long-term open-air cinema installation within the 180-kilometer UN-controlled “Green Line Buffer Zone” and a film called Inside the Outset: Evoking a Spoking of Passage. In 2019, Point co-organized with the Ministry of Education and Culture, the Cyprus Pavilion at the 58th International Art Exhibition La Biennale di Venezia: Christoforos Savva, Untimely Again.

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