The process of asset allocation, in the management of portfolios, since some years, is considering , with particular interest the art market and its performance indicators. The emergence and the strengthening of a financial interest toward investment in art must take into account and be confronted with variables not interchangeable and/or not standardizable not only with respect to the traditional asset class but also in consideration of the so-called unicum that identifies and distinguishes every single work of art. The instrument of homogenization and conjunction of these markets apparently at the antipodes, seems to be offered by the potential development of investment funds in art whose quotas are representative of the management of an artistic wealth. The analysis of the strengths and of the critical elements of the realities currently present at international level and of the recent measures at the legislative level in the Luxembourg market allow to highlight how the investment fund in art can 2 actually respond to the need to grasp the positive stress of the art market and at the same time represent the financial asset class which reflects and highlights these investment opportunities.
Fandella, P., Lo sviluppo dei fondi in arte come opportunità di diversificazione del portafoglio di investimento, <<RIVISTA BANCARIA. MINERVA BANCARIA>>, N/A; 2018 (2/3): N/A-N/A [http://hdl.handle.net/10807/116166]
Lo sviluppo dei fondi in arte come opportunità di diversificazione del portafoglio di investimento
Fandella, Paola
2018
Abstract
The process of asset allocation, in the management of portfolios, since some years, is considering , with particular interest the art market and its performance indicators. The emergence and the strengthening of a financial interest toward investment in art must take into account and be confronted with variables not interchangeable and/or not standardizable not only with respect to the traditional asset class but also in consideration of the so-called unicum that identifies and distinguishes every single work of art. The instrument of homogenization and conjunction of these markets apparently at the antipodes, seems to be offered by the potential development of investment funds in art whose quotas are representative of the management of an artistic wealth. The analysis of the strengths and of the critical elements of the realities currently present at international level and of the recent measures at the legislative level in the Luxembourg market allow to highlight how the investment fund in art can 2 actually respond to the need to grasp the positive stress of the art market and at the same time represent the financial asset class which reflects and highlights these investment opportunities.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.