What is happening at Alinari? The company's situation and what might happen to the historical archives

These days, the world of cultural heritage is in turmoil over the possible end of theAlinari’s historical archives: last May 30, SISF - Società Italiana per lo Studio della Fotografia (Italian Society for the Study of Photography ) also launched an appeal to institutions “to safeguard the future of the most important national photographic heritage also with initiatives aimed at returning it to the community as soon as possible by enhancing its value and making it usable again.” Alinari has in fact sold its headquarters in Largo Alinari in Florence, selling it to a private individual who will probably obtain apartments from it: the photographic agency (the oldest in the world still in business: it was founded in 1852 by Leopoldo, Giuseppe and Romualdo Alinari) will have to vacate the building by June 30. But how did it get to this point?

It all stems from the economic crisis in which the company has been in for quite some time: back in 2013 Alinari was in trouble, and even then appeals spread to the authorities and to the minister of cultural heritage, who was then Massimo Bray, to prevent the collections from being transferred: the appeals at the time were signed by very distinguished signatures. The company at the time had then reassured the environment, but now the crisis seems irreversible and the sale of the historic headquarters will serve to consolidate finances. Not only that: in August Alinari will also close its AIM - Alinari Image Museum in Trieste, which was less than three years old (the museum had opened in October 2016). The company laments the fact that no support has come from the City of Trieste: “the absolute impossibility of collaborating with the City in constructive terms does not allow us to continue,” Claudio De Polo, Alinari’s president since 1984, pointed out a few days ago to TG3. However, the mayor of Trieste, Roberto Dipiazza, does not want any responsibility, and said that Alinari’s is a private initiative and the entrepreneurial risk belongs to the Foundation and not to the municipality, stressing that he has helped Alinari in various ways. The exhibition on Maurizio Frullani will thus be the Alinari Image Museum’s last.

The one in Trieste in any case is but an episode on the sidelines of a broader crisis. “Alinari, like all companies working in the image licensing sector,” De Polo told The Art Newspaper, “works in a very difficult market where rights are often not recognized economically, especially in the multimedia sector.” With the sale of the venue, however, thehistorical archive, consisting of five million objects, from 19th-century daguerreotypes to digital images, from books (more than 26,000 in total) to cameras (a thousand), will also have to find a home. It is one of the most important photographic collections in the world, and is nevertheless notified by order of the Ministry of Culture.

The notification, which prevents any dispersal, does not, however, prohibit the archive from being removed from public view. For the time being, it is known that the works will be transferred to a high-tech preservation facility run by a specialized company, Art Defender. For De Polo, this is the “largest transfer of photographs in the world.” A heritage so impressive that it still rules out the possibility of it being purchased by a private individual. “The objects,” De Polo let it be known, will remain in storage “until their definitive transfer” to a public institution “where they can be seen, shown and appreciated.” The question, however, is whether there will be anyone who will buy the collection, which in 2008 was valued at 138 million euros by photographer and photography historian Italo Zannier.

And then there is the problem of employees: at the moment Alinari’s activities continue (in fact, the company will not close), but there are shadows over the fate of the 23 workers of Fratelli Alinari I.D.E.A., whose jobs, according to the unions, who have expressed their concerns, would be at risk. De Polo, however, reassures, letting it be known that Alinari will always need the expertise of the professionals working for the company, although, he let the newspaper La Nazione know, “their future is tied now to the economic plan in anticipation of the agreement.” The Region of Tuscany has in fact moved to avoid possible layoffs: on the sidelines of a table held in Florence in early June, the regional councillor for culture, Monica Barni, stressed that the institution shares the workers’ strong concerns. The region, moreover, could also be among the possible buyers of the collection: Barni also said that the region is committing itself to “continue with the necessary verifications in order to arrive as quickly as possible at the acquisition of the Alinari archival heritage. We are working on this together with the Ministry of Cultural Heritage, from which we await feedback, which should arrive soon.”

Among the buyers could also be the City of Florence: “We are, as the City of Florence, extremely concerned about the future of Alinari and one of the most important collections of photographs in the world,” let Florence Mayor Dario Nardella know. “For this reason, after consulting my offices as well, we are able to announce that we are ready to purchase the photographic collection alongside the Region of Tuscany.” Nardella then proposed to make available to the archive a property of historical and artistic value, free of charge, in the center of Florence, and also pledged to create the conditions to save all jobs. Negotiations are ongoing and more is not known at this time.

Pictured: the building housing the Alinari headquarters in Florence. Ph. Credit Francesco Bini

What is happening at Alinari? The company's situation and what might happen to the historical archives

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