The Memories of Objects | Hermione Allsopp

Art Crime Exposes Cultural Power | Noah Charney

Art crime is usually sold to the public as a scene: a broken case, a night guard, a motorbike, a painting gone from a wall. Noah Charney's account of the field is less cinematic and more unsettling. The crime is not always the removal. Often it is the prior condition that made removal possible: weak records, diffused authority, untested expertise, a discreet market, and an institution that trusts an alarm before it trains the person who must answer it. In this conversation with Tamzin Lovell, Charney treats art crime as a way of reading cultural power. The useful question is not simply who stole the object. It is who could move it, sell it, ignore it, insure it, authenticate it, or fail to notice its absence.

The Work Between Doors | Jamie Turner

In fine art transport, the work is often judged by how little it disturbs the room. A crate arrives. A painting is unpacked. A sculpture is placed. The client sees calm, not the route planning, condition checks, customs details, insurance sensitivities, or the compressed decisions made on site. Jamie Turner's point is that this calm is not a mood. It is a product. As Managing Director of Castrum Global and founder of Lucett®, he works in the part of the art world where trust must survive physical contact: packing, loading, storage, movement, delivery, installation, and handover. In his conversation with Tamzin Lovell for Taller Together, he is not sentimental about that trust. He treats it as something built through behaviour, restraint, records, and the ability to say no. As he puts it, "They were buying the trust."

The Memories of Objects | Hermione Allsopp

Hermione Allsopp’s sculpture begins where ownership thins out. Charity shops, discarded furniture, worn household fittings: these are the materials she returns to, not because they are quaint or sentimental but because they have already absorbed use. They have been sat on, polished, stored, moved, neglected, kept for too long, and then given away. In conversation with Tamzin Lovell, Allsopp describes them as a “vessel of someone else’s memory”. That phrase is useful, but only up to a point. Her work is not about preserving intact stories. It is about what happens when memory becomes unstable in material form.

Beyond the Monument Museum | Gilbert Balinda

In conversation with Tamzin Lovell for Armature Magazine's Taller Together, Gilbert Balinda treats architecture as a public language of trust. Balinda, whose practice describes him as a Rwandan-Belgian architect and the founder and lead architect of Gilbert Balinda Architects, is less interested in spectacle than in what a building asks of its visitors: awe, caution, belonging, and distance. The conversation sits neatly beside the 2022 ICOM museum definition, which places accessibility, inclusion, ethics and community participation at the centre of museum work.

When Vendors Vanish, Collections Still Move | Anthony Watson & Guy Krige

Museums already know how to protect objects. They monitor light, temperature & movement and keep insurance and valuations current. But the day-to-day record of what an artwork is, where it is, what can be done to it, and who can touch it increasingly lives inside software the institution does not own and cannot fully inspect. In a Taller Together conversation hosted by Tamzin Lovell, EscrowSure’s Anthony Watson and Guy Krige treat that as a governance problem, not an IT footnote. The point lands because it is boring in the right way. The risk is ordinary. Vendors fail. Contracts end. Priorities shift. People disappear. A collection still has to move.