Droit de Réponse (Right of Reply) to Simon Hewitt's Article on Art Dependence by Jean-Charles Méthiaz

Friday, April 2, 2021
Droit de Réponse (Right of Reply) to Simon Hewitt's Article on ArtDependence by Jean-Charles Méthiaz

Artdependence has received the following communication from Mr Jean-Charles Méthiaz concerning Simon Hewitt’s article, requesting we publish it as a Droit de Réponse (‘Right of Reply’). Artdependence fully respects Freedom of Speech and we are therefore happy to publish Mr Méthiaz’s reaction in full:

Artdependence has received the following communication from Mr Jean-Charles Méthiaz concerning Simon Hewitt’s article, requesting we publish it as a Droit de Réponse (‘Right of Reply’). Artdependence fully respects Freedom of Speech and we are therefore happy to publish Mr Méthiazs reaction in full:

238 ! C’est le nombre de fois où mon nom est mentionné dans ce pesant réquisitoire fleuve ou Hewitt s’érige en procureur, en juge ,en espérant aussi être le bourreau qui châtie . C’est un véritable procès qui m’est fait sans que la voix de la défense puisse se faire entendre .Il eut été impartial  que je puisse donner mon point de vue, mais on ne ma l’a pas demandé ! Qu’il y ait un acharnement contre moi ne fait aucun doute .Tout cela est destiné à me nuire gravement pour servir à Mr Ruffini , présenté comme la victime d’un complot où participent aussi des experts renommés, un journaliste d’investigation, des policiers, un juge ,des salles des ventes réputées …Les propos tenus à mon égard et assumés par l’auteur et Ruffini, sont faux, mensongers, calomnieux, diffamatoires, avilissants et abjects . Ce ne sont que des supputations sans preuves fiables, observables,  mesurables et irréfutables pour étayer  la thèse selon laquelle je serais l’auteur de la lettre anonyme .On dit, on pense, on affirme  en s’appuyant sur des éléments réels, qu'on essaie tant bien que mal de faire coller à une prétendue « réalité" .La volonté affichée de nuire à mon honneur, à ma réputation, de me charger d’infamie et me couvrir de boue est flagrante.L’intention de Mr Ruffini, semble être une manoeuvre de diversion ,  détourner l’attention autre que sur les faits infiniment plus graves qui lui sont reprochés par la justice .En France et en Italie.Qui lui ont valu d’être sous le coup d’un mandat d’arrêt international et d’une action de la Guardia di Finanza pour fraude fiscale .Comme s’il cherchait par cette manoeuvre à atténuer sa responsabilité dans les affaires le concernant. Le litige civil qui m’oppose à Mr Ruffini est purement commercial et détaché de la partie pénale .L’amalgame entre les deux faits qui est fait ici  est assez surprenant .La « vérité » de messieurs Ruffini et Hewitt n’est pas la mienne .Et je conteste fermement et vigoureusement toutes leurs allégations et accusations portées contre moi, tant par Giuliano Ruffini que Mr Hewitt .Mes avocats et moi-même étudions l’opportunité d’une action judiciaire pour dénoncer le pur poison que véhicule cet article . Et s'il y a une victime, ce n'est sûrement pas Mr Ruffini !

 

English Translation:

My name is mentioned 238 times in this endless, burdensome indictment in which Hewitt passes himself off as prosecutor and judge, hoping also to play the executioner who punishes. I am the object of a veritable trial without the voice of the defence being able to be heard. It would have been impartial if I had been given the chance to express my point of view, but I was not asked! There is no doubt that I am the subject of relentless attack. All of which is destined to cause me grave harm and serve Mr Ruffini, presented as the victim of a conspiracy also involving renowned experts, an investigative journalist, the police, an examining magistrate, famous auction houses…The words concerning me, and assumed by the author and Ruffini, are false, untruthful, slanderous, defamatory, degrading and abject. They are mere suppositions without reliable,  observable,  measurable or irrefutable evidence to support the claim whereby I am the author of the anonymous letter. One says, one thinks, one affirms, based on real elements that one attempts to fit into a so-called ‘reality’ as much as possible. There is a flagrant desire to damage my honour and reputation, accuse me of infamy and cover me with mud. Mr Ruffini’s intention seems to be a diversionary manoeuvre,  to shift attention elsewhere rather than on the infinitely more serious facts reproached him by the justice. In France and in Italy. Which have  led to his being the subject of an international arrest warrant and action from Guardia di Finanza over tax fraud. As if he were seeking, by this manoeuvre, to diminish his responsibility in the affairs that concern him. The civil case opposing me and Mr Ruffini is purely commercial and detached from the criminal case. The amalgam between the two is pretty surprising. The ‘truth’ as stated by Messieurs Ruffini and Hewitt is not mine. And I contest firmly and vigorously all their allegations and accusations directed towards me, both by Giuliano Ruffini and Mr Hewitt. My lawyers and I are considering legal action to denounce the pure poison conveyed by this article. And if there is a victim, it is certainly not Mr Ruffini!

 

Simon Hewitt has been reporting on the art market for international publications (including Art + Auction, The Art Newspaper and Artnet News) since 1985. His article is the fruit of an eight-month investigation that included an exchange of nine e-mails with Mr Méthiaz in February 2021. Mr Méthiaz is correct to state that his name occurs 238 times in the article. The name of Giuliano Ruffini is cited 584 times.

 

Mr Méthiaz has promised to supply Artdependence with ‘reasons and proven arguments, including documents in support of his criticism of Mr Hewitt’s article. We shall naturally bring them to the attention of our readers as soon as we receive them.

 

 

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Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.

Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.

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