Topics – Visual art – supply of services or supply of goods
T-903/25 Grotta Nuova
This Opinion is not available in English
On 21 October, the General Court of the European Union (GCEU) delivered the Opinion of Advocate General Martín y Pérez de Nanclares (AG) in this Danish referral concerning the VAT treatment of ‘visual art’. The first question asks whether Articles 2(1)(a) and (c) and 371, together with Annex X, Part B, point 2, of the VAT Directive, must be interpreted as meaning that an artist’s single complex supply, such as that in the immediate proceedings, is a supply of goods within Article 14(1) or a supply of services within Article 24(1), read together with Article 371 and Annex X, Part B, point 2.
Grotta Nuova (GN) is a sole proprietorship and is registered as a ‘visual artistic creator’. It is owned by Thomas Poulsen, an artist who trained at the Royal Danish Academy of Fine Arts, School of Visual Art.
In 2014, the Higher Preparatory Secondary School, Copenhagen (The Efterslægten), sent an application to the New Carlsberg Foundation for funding for a work of art. The New Carlsberg Foundation is a private and independent art fund, with the task of promoting art in Denmark.
The Efterslægten had carried out the construction of a sports hall with open air areas, including a garden. It requested the funding from the New Carlsberg Foundation for a work of art which could link the architecture of the buildings at the Efterslægten with its teaching activities.
The funding request was agreed and GN created a ‘Sculpture and inner courtyard’, an approximately 700-square-metre installation comprising concrete and gravel areas, pavilions, sculptures (incorporating motorcycles and parts), a water feature, trees and renovation of a bay window. The work was completed and unveiled in March 2016, with Efterslægten becoming its owner while being required to preserve the artist’s artistic intentions.
A dispute arose when the Danish tax authority decided, in July 2016, that GN had supplied a VAT-exempt artistic service. As a consequence, GN was denied deduction of input VAT on the goods and services purchased to produce the work. GN appealed and during the proceedings, the Danish Academic Council gave its professional opinion that the installation should be regarded as a ‘sculpture’, specifically an example of a ’social sculpture’. Nevertheless, the Danish Tax Appeals Agency upheld the tax authority’s decision.
This case concerns two main VAT classification issues. First, whether the artwork supplied by GN should be treated as a supply of goods or a supply of services. Second, if it constitutes goods, whether it qualifies as a ‘work of art’, specifically an original sculpture, for the purposes of Articles 81, 103 and 311 and Annex IX, Part A, point 3 of the VAT Directive. The classification materially affects GN’s VAT position. If the work is both goods and a sculpture, the legislation applying to an artist’s first sale of their own artwork would permit GN to calculate output VAT on a reduced basis, producing an effective VAT rate of 5%, while retaining full entitlement to deduct related input VAT. If the work is goods but does not qualify as a sculpture, GN would still be entitled to full input VAT deduction but could not apply the reduced VAT treatment. Conversely, if the transaction constitutes a VAT-exempt supply of artistic services, GN would not be required to account for output VAT on the supply but would also be unable to deduct the input VAT incurred on costs associated with creating the work.
GN argued that its transaction should be classified as a supply of goods under Articles 2(1)(a) and 14 of the VAT Directive, rather than an exempt supply of services under Articles 2(1)(c) and 24. It contends that Denmark’s exemption for artistic services derives from the transitional derogation in Article 371 and Annex X, Part B, point 2, which must be interpreted strictly and should not extend to the supply of physical works of art. GN further submitted that the design, concept work, sketches and creation of the artwork formed a single indivisible transaction. The essential feature, viewed from the customer’s perspective, was the completed physical artwork, while the associated artistic services were merely ancillary to its production. Accordingly, the entire transaction should be treated as a supply of goods, entitling it to deduct input VAT. Finally, it argued that the artwork qualified as a ‘sculpture’ under Article 311 and Annex IX, Part A, point 3 of the VAT Directive, allowing the reduced VAT treatment provided for by Article 103(2) as applicable at the relevant time. In its view, ‘sculpture’ encompasses three-dimensional works and does not require the artwork to be movable.
The tax authority disagreed, arguing that GN made a VAT-exempt supply of artistic services, meaning it had no right to deduct related input VAT. Considering the transaction as a whole, the tax authority considered that its predominant features were the development of artistic ideas, preparation of sketches and creation of a bespoke installation specifically designed for the school, making the artistic services qualitatively more important than the physical elements supplied. Alternatively, if the transaction constitutes a supply of goods, it does not qualify as a ‘work of art’ or ‘sculpture’ under Article 311(1)(2) and Annex IX, Part A, point 3. In its view, a sculpture must be capable of being moved and imported as an object. As the installation is integral to the school and cannot be moved in its entirety, the normal VAT rules, including Article 73, rather than the reduced-rate provisions of Article 103, should apply.
The AG began by examining the referring court’s assumption that the various elements of the transaction constituted a single supply for VAT purposes. The AG recalled that under established CJEU case law, transactions that are normally distinct should nevertheless be treated as a single supply where either the elements are so closely linked that their separation would be artificial, or one element constitutes the principal supply while the others are ancillary because they are not ends in themselves for the average consumer. On the limited facts available, the AG considered the second approach more appropriate.
The AG considered that the principal supply was the completed work of art, while activities such as its design, installation and potentially the landscaping surrounding it could be ancillary. However, other elements, particularly renovation of the school’s bay window, could constitute separate supplies. Ultimately, it remained for the referring court to determine whether, and to what extent, the individual elements actually formed such a single supply.
Turning to classification, the AG concluded that the single supply should be treated as a supply of goods rather than a supply of services. From the perspective of the average consumer, the predominant feature was the acquisition of the tangible completed artwork. The artistic design and creative process did not alter that conclusion, and any genuinely ancillary supplies would follow the VAT treatment of the principal supply.
Considering whether the supply could qualify as a supply of a ‘work of art’, the AG opined that the sculptures were capable of satisfying the definition, however, the AG expressed doubt over whether concrete pavilions forming part of the works could themselves be classified as works of art rather than architectural, craft or commercial works. The AG suggested that the applicable reduced-rate provisions had to be interpreted strictly.
The AG concluded that a single supply whose principal element is the physical supply of a work of art, accompanied by one or more ancillary supplies, constitutes a supply of goods. For the transaction as a whole to constitute the supply of a ‘work of art’, all elements forming the principal supply must satisfy the relevant definition. Accordingly, if the sculptures alone constitute the principal supply and the pavilions are ancillary, the transaction may qualify as the supply of a work of art. However, if the sculptures and pavilions are inseparable elements of equivalent importance, the whole transaction can qualify only if the pavilions themselves also meet the definition. Craft and commercial works competing with comparable industrially produced goods are excluded.
Comments: Businesses commissioning or supplying bespoke artworks and installations should carefully assess what the customer is principally acquiring when determining the VAT treatment. Where the predominant element is a completed tangible artwork, associated design, creative and installation services may be ancillary, resulting in a supply of goods rather than services. Businesses should also consider whether individual elements constitute separate supplies and, where a reduced VAT rate for works of art is claimed, whether all significant elements of the principal supply satisfy the VAT Directive’s definition of a ‘work of art’. Clear contracts, pricing and documentation evidencing the nature and purpose of each element will therefore be important in supporting the VAT treatment adopted. The most tax-efficient means of contracting may depend on the ability of the recipient to recover VAT. As such, this is something to consider when determining what specific obligations will be undertaken by the artist or other supplier.