Para
os devidos efeitos, a Autoridade de Supervisão de Seguros e Fundos de Pensões
reencaminha a seguinte informação sobre medidas restritivas impostas pela União
Europeia.
Com
os melhores cumprimentos,
Maria de Jesus Luis
Secretaria-Geral General Secretariat
Portuguese Insurance and Pension Funds Supervisory Authority
Av. da República, n.º 76 - 6.º, 1600-205 Lisboa
Junto se remete informação sobre as
publicações mais recentes do Jornal Oficial da União Europeia relativas ao
regime restritivo imposto pela União Europeia tendo em conta a situação na
Venezuela:
Através dos presentes atos jurídicos e
atendendo à deterioração contínua da situação na Venezuela, a União Europeia
vem incluir 7 pessoas na lista das pessoas singulares e coletivas,
entidades e organismos sujeitos a medidas restritivas (proibição de viajar e
congelamento de fundos e recursos económicos).
Com os nossos melhores cumprimentos e
disponibilidade,
Decisão (PESC) 2018/90 do Conselho, de 22 de janeiro de 2018, que altera a Decisão (PESC) 2017/2074 relativa a medidas restritivas tendo em conta a situação na Venezuela
In force
OJ L 16I , 22.1.2018, p. 14–16 (BG, ES, CS, DA, DE, ET, EL, EN, FR, HR, IT, LV, LT, HU, MT, NL, PL, PT, RO, SK, SL, FI, SV)
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Text
22.1.2018
PT
Jornal Oficial da União Europeia
LI 16/14
DECISÃO (PESC) 2018/90 DO CONSELHO
de 22 de janeiro de 2018
que altera a Decisão (PESC) 2017/2074 relativa a medidas restritivas tendo em conta a situação na Venezuela
O CONSELHO DA UNIÃO EUROPEIA,
Tendo em conta o Tratado da União Europeia, nomeadamente o artigo 29.o,
Tendo em conta a Decisão (PESC) 2017/2074 do Conselho, de 13 de novembro de 2017, relativa a medidas restritivas tendo em conta a situação na Venezuela (1),
Tendo em conta a proposta da Alta Representante da União para os Negócios Estrangeiros e a Política de Segurança,
Considerando o seguinte:
(1)
Em 13 de novembro de 2017, o Conselho adotou a Decisão (PESC) 2017/2074.
(2)
Em 13 de novembro de 2017, o Conselho adotou conclusões sobre a Venezuela, em que reitera que o diálogo construtivo e as negociações são a única forma sustentável de resolver a atual crise e de dar resposta às necessidades urgentes do povo da Venezuela.
(3)
Sublinhando a sua preocupação com a situação no país, o Conselho adotou medidas restritivas e assinalou que essas medidas seriam utilizadas de forma gradual e flexível e poderiam ser alargadas, visando as pessoas envolvidas no atropelo dos princípios democráticos ou do Estado de direito e na violação de direitos humanos.
(4)
Atendendo à deterioração contínua da situação na Venezuela, sete pessoas deverão ser incluídas na lista das pessoas singulares e coletivas, entidades e organismos sujeitos a medidas restritivas que consta do anexo I da Decisão (PESC) 2017/2074.
(5)
Por conseguinte, o anexo I da Decisão (PESC) 2017/2074 deverá ser alterado em conformidade,
ADOTOU A PRESENTE DECISÃO:
Artigo 1.o
O anexo I da Decisão (PESC) 2017/2074 é alterado nos termos do anexo da presente decisão.
Artigo 2.o
A presente decisão entra em vigor na data da sua publicação no Jornal Oficial da União Europeia.
São aditadas à lista de pessoas e entidades constante do anexo I da Decisão (PESC) 2017/2074 as pessoas a seguir enumeradas:
Nome
Elementos de identificação
Motivos
Data de inclusão na lista
«1.
Néstor Luis Reverol Torres
Data de nascimento: 28 de outubro de 1964
Ministro da Administração Interna, da Justiça e da Paz; antigo Comandante-Geral da Guarda Nacional Bolivariana. Responsável por graves violações dos direitos humanos e repressão da oposição democrática na Venezuela, nomeadamente a proibição e repressão de manifestações políticas.
22.1.2018
2.
Gustavo Enrique González López
Data de nascimento: 2 de novembro de 1960
Chefe do Serviço Nacional de Informações Bolivariano (SEBIN). Responsável por graves violações dos direitos humanos (incluindo detenções arbitrárias, tratamentos desumanos e degradantes e tortura) e pela repressão da sociedade civil e da oposição democrática na Venezuela.
22.1.2018
3.
Tibisay Lucena Ramírez
Data de nascimento: 26 de abril de 1959
Presidente do Conselho Nacional Eleitoral (Consejo Nacional Eleitoral – CNE). As suas ações e políticas comprometeram a democracia e o Estado de direito na Venezuela, nomeadamente facilitando a criação de uma Assembleia Constituinte ao não garantir que o CNE continuasse a ser uma instituição imparcial e independente, em conformidade com a Constituição venezuelana.
22.1.2018
4.
Antonio José Benavides Torres
Data de nascimento: 13 de junho de 1961
Chefe do governo do Distrito Capital (Distrito Capital); Comandante-Geral da Guarda Nacional Bolivariana até 21 de junho de 2017. Implicado na repressão da sociedade civil e da oposição democrática na Venezuela e responsável por graves violações dos direitos humanos cometidas pela Guarda Nacional Bolivariana sob o seu comando. As suas ações e políticas enquanto Comandante-Geral da Guarda Nacional Bolivariana – nomeadamente, o facto de a Guarda Nacional Bolivariana ter liderado o policiamento das manifestações civis e ter defendido publicamente que os tribunais militares devem ser competentes para julgar civis – puseram em causa o Estado de direito na Venezuela.
22.1.2018
5.
Maikel José Moreno Pérez
Data de nascimento: 12 de dezembro de 1965
Presidente e antigo Vice-Presidente do Supremo Tribunal de Justiça da Venezuela (Tribunal Supremo de Justicia). No âmbito destas suas funções, apoiou e facilitou as ações e as políticas do governo que comprometeram a democracia e o Estado de direito na Venezuela e é responsável por ações e declarações que usurparam a autoridade da Assembleia Nacional.
22.1.2018
6.
Tarek William Saab Halabi
Data de nascimento: 10 de setembro de 1963
Procurador-Geral venezuelano, nomeado pela Assembleia Constituinte. Nesta e em anteriores e funções enquanto Provedor de Justiça e Presidente do Conselho Moral Republicano comprometeu a democracia e o Estado de direito na Venezuela, apoiando publicamente ações contra os opositores do governo e a retirada de competências à Assembleia Nacional.
22.1.2018
7.
Diosdado Cabello Rondón
Data de nascimento: 15 de abril de 1963
Membro da Assembleia Constituinte e Primeiro Vice-Presidente do Partido Socialista Unido da Venezuela (PSUV). Envolvido em ações que atentam contra a democracia e o Estado de direito na Venezuela, nomeadamente mediante a utilização de meios de comunicação social para atacar e ameaçar publicamente a oposição política, outros meios de comunicação social e a sociedade civil.
LAUSANNE.- The exhibition presents a selection of masterpieces from the history of photography, part of the collection of Sondra Gilman and Celso Gonzalez-Falla. Based in New York, it includes over 1500 original prints by some of the greatest photographers of the 20th and 21st centuries. Through visual confrontations, the visitor is invited to experience the power of the photographic line through these sublime works. The photographs by Berenice Abbott, Robert Adams, Walker Evans, Rineke Dijkstra, Man Ray and Lee Friedlander, among others, thus resonate, beyond their historical temporality and geographic considerations, by their formal correspondences.
Throughout history, photographers have always oscillated between two extremes: the mimetic illusion of reality and the enhancement of the esthetic qualities of the image. Whether it be “instantaneous lines”, according to the expression of Henri Cartier-Bresson, rational lines inspired from New Topographics, or the diversity of the curved lines of the human body, the line structures and sometimes reinvents the real – to the point of abstraction.
In the case of photography, spectators, even the most discriminating, often first observe the world that they are presented with. They scrutinize the face or the landscape, they marvel at the details, the fashionable clothes, the expressions on the children’s faces. In other words, they can forget that they are actually looking at a piece of paper, as flat as a page in a book or a drawing. Fascinated by the mimetic illusion, they might not even see the lines – straight, curved, oblique – that actually form the basis of the photographic composition.
Straight lines From the controlled to the spontaneous line
By confronting works by artists such as Stéphane Couturier, Hiroshi Sugimoto, Lewis Baltz and Robert Adams, this section emphasizes the importance of the lines of force of the image and of the feelings that emerge when they are strictly parallel or, instead, at least in appearance, more spontaneous.
Curved lines The essence of bodies and of the line
With works by Edward Weston, Bill Brandt, André Kertész, Robert Mapplethorpe, Léon Levinstein and Berenice Abbott, among others, this section shows that the curve defines all male and female bodies, photographed as a whole or in detail.
Abstractions The line in its purest form
This section encompasses the photographs of Aaron Siskind, Minor White, Ray K. Metzker and Harry Callahan, whose reference to the real world disappears, initially revealing the lines of abstraction of the image.
The Sondra Gilman and Celso Gonzalez-Falla collection first reveals the pleasure of the collectors who buy, above all, by personal preference and who maintain an everyday and private relationship with the images in their collection. In the same way, the exhibition invites the visitor to take an esthetic journey: formal confrontations are freed from their cultural and historic context to allow the visitor to experience his or her own personal and sensitive relationship to the photographic image.
What’s the Global Art Market Really Worth? Depends Who You Ask.
Photo
Art Basel in Hong Kong last year.CreditLam Yik Fei/Getty Images
LONDON — How big is the art market? Is it getting bigger or smaller? This is the time of year the art world’s number-crunchers release reports that try to answer these tricky questions, and a whole lot more.
According to the latest Tefaf art market report released by the European Fine Art Foundation in the Netherlands, the world’s auction and private sales in 2016 raised more than $45 billion, up 1.7 percent from the previous year. A new report commissioned by Art Basel and UBS estimated these same sales at $56.6 billion, down 11 percent from 2015.
Calculating worldwide fine art auction sales alone, the French website Artprice, working with the Chinese state-owned database Art Market Monitor of Artron, arrived at a figure of $12.45 billion for fine art auction sales alone in 2016, down 23 percent from the previous year. The Tefaf report estimated auction sales of art and antiques at $16.9 billion, while Art Basel and UBS released a figure of $22.1 billion.
Why are there such wide discrepancies in these reports, all of which aim to be regarded as industry standards?
The devil is, of course, in the data. The three reports used different sources for the auction results, and Art Basel and Tefaf, which released their figures this month to coincide with their fairs in Hong Kong and in Maastricht, the Netherlands, faced the challenge of trying to estimate the art and antique trade’s private sales. This shadowy realm is thought to represent more than half of the total value of the art market.
“These reports are useful to read, but the data is very incomplete,” said Hugo Nathan, a partner at Beaumont Nathan, an art advisory company based in London, who was in Hong Kong this week for the Art Baselfair. “They only see half the market. They collate the public auctions very well, but rely on self-reports from dealers, which are notoriously inaccurate.”
Rachel Pownall, an art economist at Maastricht University who prepared the revamped Tefaf report and whose new methodology reduced by almost a third its estimate of global art market sales, agreed that “the size of the dealer market is a contentious issue.”
“We are never going to get a perfect number for how big it is,” she added.
The Tefaf report, drawing on national statistics, company databases and dealer responses, estimated that there were at least $28 billion in private sales of art and antiques in 2016, overshadowing auction sales, estimated by Artnet to total $16.9 billion.
The Art Basel-UBS report, giving greater emphasis to contemporary art, said that there was an increase of 3 percent in dealer sales in 2016, for an estimated $32.5 billion. It said auction sales had fallen 26 percent from the previous year, reflecting the much-reported contraction of supply of Western artworks valued at more than $10 million.
Photo
Clare McAndrew, founder of the Dublin-based research and consultancy firm Arts Economics.CreditCourtesty Paul Mc Carthy
“The market at the high end is dictated by the perceptions of a narrow band of players,” said Clare McAndrew, founder of the Dublin-based research and consultancy firm Arts Economics and author of the Art Basel-UBS report. “Sometimes they think that it’s a risky time to sell.”
She added, “The behavior of a small group can affect the aggregate figures a lot.”
Though Ms. McAndrew, who had compiled the Tefaf report from 2008 to 2016, acknowledged the approximate nature of estimates for private sales, she said she was encouraged by a response rate of 17 percent for the anonymous online survey of 6,500 dealers worldwide that she conducted for the new report. The equivalent survey of 7,000 dealers conducted by Tefaf drew a response rate of 5 percent.
But others remain skeptical that these reports accurately reflect the top end of the dealer market, particularly for powerhouse contemporary galleries such as Gagosian, Pace, David Zwirner and Hauser & Wirth, whose international sales figures remain undisclosed. The so-called Big Four are among the 242 exhibitors at Art Basel Hong Kong, which opened to the public on Thursday. Gagosian is offering a 2010 John Currin nude, “The Collaborator,” at $4.5 million, and Pace has a 1986 Robert Rauschenberg metal sculpture, “Carnival (Glut),” at $2 million.
“There’s still a huge research gap,” said Magnus Resch, the New York-based author of the “Global Art Gallery Report,” a survey of 8,000 galleries in the United States, Britain and Germany, that was published this month. “What is difficult is that the market is dominated by a handful of players and we don’t know what they’re making.”
Photo
Magnus Resch, who surveyed galleries, said that “What is difficult is that the market is dominated by a handful of players and we don’t know what they’re making.”CreditMagnus Resch
Using findings from an anonymous online survey of 8,000 galleries, 16 percent of which responded, Mr. Resch’s report estimates that there are about 19,000 galleries worldwide. Of those that responded, 16 percent registered more than $1 million of annual sales, but 30 percent said they did not make a profit. A remarkable 49 percent of the galleries were founded since 2000, according to the report, which — tellingly — does not estimate total sales in the sector.
“If people knew the real numbers, then maybe they wouldn’t start a gallery,” Mr. Resch said.
Certain findings from the reports stand out. Detailed research by Ms. McAndrew for the Art Basel-UBS report estimated that about 33,000 high-net-worth Americans spent more than $1 million on art and antiques in the last two years. This explains, in part, why the United States remains the biggest regional market, generating 40 percent of all global sales, according to the Art Basel report. Tefaf said that an estimated 1.2 million artworks are being held in the “offshore” storage of Geneva Free Ports — billions of dollars in art hidden from tax inspectors and market surveys. In addition, auction sales of Andy Warhol in 2016 fell 68 percent.
There is general agreement that China was the biggest-grossing region for auction sales in 2016, though the reliability of the figures, which differ in the three reports, remains open to question. Data on auctions in Asia continues to be undermined by problems of nonpayment. The February overview from Artprice and Art Market Monitor of Artron ranked the Chinese artist Zhang Daqian (1899-1983) as the world’s biggest-seller at auction in 2016, with sales totaling $354.8 million.
“The wealth dynamics will play out,” said Ms. McAndrew, whose report noted that the most rapid growth in wealth was in Asia, where a billionaire is created every three days, according to UBS. “I think the market will become more dominated by Asian taste.”
Photo
The 13th-century scroll painting “Six Dragons,” by Chen Rong, raised $49 million in auction this month.CreditChristie's Images Ltd. 2017
Last year, five of the 10 most expensive auction lots sold at Sotheby’s were bought by Asian clients. This month, again at Christie’s in New York, we were reminded of the exceptional prices Asian buyers were prepared to pay — or at least to bid — for top-quality historic Chinese artifacts: The 13th-century scroll painting “Six Dragons,” by Chen Rong, raised $49 million, an auction high for a Chinese painting sold outside Asia. Consigned for sale by the Fujita Museum in Japan, it had been expected to sell for $1.2 million to $1.8 million.
The Art Basel art market report noted that the Chinese government had halved the import tax on artworks to 3 percent, effective Jan. 1 this year, to encourage the repatriation of Chinese artworks and to stimulate cross-border trade. In 2012, the tax was levied at 12 percent.
Despite the reports’ shortcomings, we at least have a general sense of what the global art market was worth in 2016. Splitting the difference between the Tefaf’s more conservative estimate of $45 billion and Art Basel’s more comprehensive $56.6 billion (which includes more data on auction sales of Chinese ceramics and works of art), we might say that last year about $50 billion of art was sold worldwide.
As for the details of what dealers contributed to this total, that remains any statistician’s guess.
