frieze 2011, issue 2

Transcription

Download all editions:
www.theartnewspaper.
com/fairs
FREE DAILY
UMBERTO ALLEMANDI & CO. PUBLISHING
LONDON NEW YORK TURIN VENICE MILAN ROME
FRIEZE ART FAIR THURSDAY 13 OCTOBER 2011
Opening day
Looking on the bright side
Collectors find the accent on colour and art historical references as dealers seek to banish economic blues
Frieze yesterday saw the usual
queue of collectors, dealers,
advisers and auction house
specialists eager at 11am to
discover what the fair has on
offer this year. Among the first
into the tent was actor Matt
Lucas, soon followed by
restaurateur Richard Caring,
model Elle Macpherson and
film star Joseph Fiennes. From
the US were Californian
collectors Norah and Norman
Stone, and coming from nearer
home were British stalwarts
David Roberts and Anita
Zabludowicz with hubby Poju
and son Roy, as well as Evgeny
Lebedev, the Russian chairman
of the London Evening
Standard and the Independent.
Also on the list of early
visitors were collectors
Patrizia Sandretto Re
Rebaudengo, Jean Pigozzi, Uli
Sigg, the Chinese-Indonesian
Budi Tek, and Brazilians
Ricard Akagawa and Pedro
Barbosa. Dasha Zhukova
made time for the fair, but her
partner, Roman Abramovich,
had legal matters to attend to.
Art advisers have an
increasingly important role in
the market, and spotted in the
aisles were Suzanne Pagé,
who buys for Bernard Arnault
(he is opening a museum in
Paris), Patricia Marshall,
whose clients include Eugenio
López, Mexico’s leading
collector, and Miami-based
Lisa Austin. ■
The Art Newspaper team
LONDON.
Exhibitors at Frieze
were understandably nervous
as the event opened to invited
VIP guests yesterday morning.
The fair is the first major event
of the packed autumn art
market season, taking place
against a backdrop of renewed
economic turmoil.
“We’re always a little tense at
the start,” said Olivier Bélot of
Yvon Lambert (H2), although he
was encouraged by the immediate sale of three sculptures by the
US-based artist Nick van Woert
for around $35,000.
With such a diverse array of
works of art on show at the fair,
it is difficult to pick out trends,
but overall, it seems that dealers
are not taking any risks this year.
History matters
One trend is clear—a tendency
to reference art history through
appropriation or homage, or
even by displaying older works
themselves. White Cube (F11) is
making a statement with Jake
and Dinos Chapman’s The Milk
of Human Weakness II with God
Does Not Love You—O.M.F.G.,
2011, a sculpture and painting of
a ghoulish Madonna and child
combined with everyday furniture. The Chapmans’ work is far
from the only example at Frieze.
Rodeo from Istanbul (G22)
devotes most of its booth to the
past, including Two Faced Crop
Jock, 2011, two photographs
priced €2,700 by Shahryar
Nashat of objects from the
Istanbul
Archaeological
Museum. “I am interested in the
history of images and art historical references,” said director
Slow start at auctions
Phillips de Pury was the first
contemporary sale of Frieze
week, but got off to a slow start
last night. Sold 66% by lot, the
sale came in under the low
estimate, hammering at £6.96m
(est £9.9m-£14.4m)—a total of
£8.25m, with buyer’s premium.
Two paintings by George Condo
were bought in, including Cave
Painting (est £300,000£500,000), 2008 (left, detail).
Worldwide director Michael
McGinnis says: “There’s a lot of
Condo on the market.” ■ C.B.
No sex, we’re British
Photo: Ola Grochowska
Who was here
Yayoi Kusama’s Tulip with All My Love 3–1, 2011, is priced $450,000 at Victoria Miro (G5)
Sylvia Kouvali.
At Wilkinson Gallery (G3),
Mark Alexander has copied
Hieronymus
Bosch’s
The
Garden of Earthly Delights,
1490-1510, for All Watched over
by Machines of Infinite Loving
Grace, 2011. Priced £95,000, it
quickly sold to the Olbricht
Collection in Essen, Germany.
“The imagery is very contemporary,” says Anthony Wilkinson,
the gallery’s co-director.
Annely Juda’s stand (G1) is
dominated by a huge fibreglass
take on Rodin’s Monument to
Balzac, 1891, by Darren Lago,
but with the twist that the writer’s
head and feet are replaced by
those of a famous mouse. Mickey
de Balzac (grand), 2009-11, is
priced £48,000.
A carpet by Marius Engh
covers the large booth of
Standard Oslo (F26). Victory
over the Sun (€30,000), 2011, is
a re-creation of the centrepiece
of the Italian director Pasolini’s
1975 film “Salò, or the 120 Days
of Sodom”. Cabinet (D16) takes
the trend to another extreme with
Jacques Vaché’s drawing Les
Bons Rastas (€75,000), 1918,
from the collection of his friend,
the surrealist André Breton.
Meanwhile, dealers are doing
their bit to make sure the mood
inside the Frieze tent defies the
economic gloom. Many of the
works of art are more brightly
coloured this year, reinforcing the
feeling that the market exists in a
parallel universe. Could this be an
attempt to cheer up visitors?
“It has always been considered slightly taboo to use colour
in conceptual circles, because it
is so immediately pleasing,” says
Lisa Panting of Hollybush
Gardens (E21), which is showing
a pink and lemon-yellow assemblage, Andrea Büttner’s Corner
(£6,000), 2011.
Evidently, this year is more
about pleasing than challenging
the public. Paul Kasmin of Paul
Kasmin Gallery (G2), whose
booth is dominated by bright
colours, not least Will Ryman’s
pink flowers—Rose, 2011, is
priced $275,000—says: “I’ve
never been afraid of beauty.”
“
In a recession,
more challenging
work is harder to
shift
”
Victoria Miro (G5) is dominated by eye-catching multicoloured works, including
Yayoi Kusama’s huge sculpture
Tulip with All My Love 3–1
($450,000), 2011, and her Fruits
EPSOB, 2011, which sold early
on for $270,000. “[The bright
colours] appeal to all ages, from
children to 83-year-olds,” says
Glenn Scott Wright, one of the
gallery’s co-directors. Berlin’s
Giti Nourbakhsch (F25) has
three vibrant wall-mounted
sculptures by Berta Fischer
(Pikibus, priced €4,000, Slofo,
€20,000, and Rugafir, €15,000,
all 2011). “It’s not only about
beauty but the power of colour.
I want to inject [the booth] with
a little bit of punk,” says
Nourbakhsch.
In a recession, more challenging
work is harder to shift, and this
year—unlike
last
year’s
edition—sexually explicit art is a
no-no. Even where there is
nudity, it is softened. Zeno X
Gallery (C4) is showing small
collages of 1960s Japanese softporn images, which the artist
Anne-Mie van Kerckhoven has
covered up with cut-outs of
Chinese tigers (5 Tigres, €4,000
each, 2011). As for comment on
the political or economic backdrop, only a few galleries
confront the situation. Dubai’s
The Third Line (H11) has Pouran
Jinchi’s transparent cylinders
inscribed with Cyrus the Great’s
charter of human rights from the
sixth century BC. “This was the
first charter of human rights in
the world, and is also a reference
to the Arab Spring,” says Sunny
Rahbar, the gallery’s director.
Overall, the art dealers at the
fair seem to be playing safe, with
a predominance of painting—
always the easiest art to sell—
and many relatively affordable
works on paper (including
photography). And who can
blame them in such uncertain
economic times? ■
Georgina Adam, Melanie Gerlis
and Gareth Harris
Top of the Power 100
LONDON.
Ai Weiwei tops the list
of the art world’s most influential people, which is compiled
annually by Art Review and
published today in the magazine’s November issue. The
Chinese artist spent three months
in prison earlier this year and has
seen his international profile
rocket as a result.
In second place is a perennial
Art Review favourite—Hans
Ulrich Obrist, the co-director of
the Serpentine Gallery, who is
listed with his fellow co-director
Julia
Peyton-Jones.
Glenn
Lowry, the director of the
Museum of Modern Art in New
York, and art dealer Larry
Gagosian take third and fourth
place respectively.
Jay Jopling, the founder of
White Cube, is listed in 31st
place, six positions lower than
last year. Gone altogether is the
Ai Weiwei took first place
art collector Charles Saatchi, who
topped the inaugural rankings in
2002 and was 81st last year.
“One of the criteria is having
an impact in both the commercial
and
non-commercial
spheres,” says Mark Rappolt, the
editor of Art Review. Twenty-six
international jurors compiled
this year’s list. ■
Cristina Ruiz
CONTEMPORARY ART
DAY SALE
TODAY 2pm LONDON
PHILLIPS de PURY & COMPANY
HOWICK PLACE SW1P 1BB
ENQUIRIES +44 20 7318 4010
PHILLIPSDEPURY.COM
2
THE ART NEWSPAPER FRIEZE ART FAIR THURSDAY 13 OCTOBER 2011
Diary
Often at Frieze, what is outside the booths is just
as interesting as what is in them. Case in point:
the shoes of Puerto Rico-born artist Angel Otero,
embellished with gold-plated spikes. Standing at
the stand of his gallery, Lehmann Maupin (F16),
the artist told us he had simply bought an
FRIEZE ART FAIR DAILY EDITION
Editorial and production
(fair papers):
ordinary pair of black men’s dress shoes on New
York’s St Marks Street and pounded the spikes into
them just before Frieze. When we suggested he go
into fashion as a sideline, Otero laughed, and then
admitted, gesturing down the aisle, “Valentino was
right there. I was trying to see if he saw them.”
Credit munch
Boys’ toys
In two words, how would you
describe the scene around
Christian Jankowski’s luxuryyacht-as-art (P5)? We asked
around at Bortolami, the New
York gallery whose booth (F15)
is directly in front of the
project. “It’s a dude magnet,”
said gallery associate Christine
Messineo. Indeed, stand long
enough around the boat and
you’ll see clusters of men
hovering around it, as their
wives, as often as not, drift over
to Bortolami.
Artoon by Pablo Helguera
© David Owens
Michael Landy’s credit card
chomping machine on Thomas
Dane’s stand (F17) is a bold
inclusion by the fair in these
straitened times, but the spectre
of more credit crunching has not
deterred visitors from flocking
to have their plastic exchanged
for a freeform mechanical
drawing signed by the artist.
Among those succumbing to the
alchemy of art have been British
culture minister Ed Vaizey and
Tate Liverpool’s director of
exhibitions Gavin Delahunty—
thank goodness it’s still possible
to write a cheque.
Hello again, Elle
It may have been less of a crush on the opening day than in previous years but there was still celebrity stardust
to be spotted, including supermodel, lingerie entrepreneur and perennial fair attendee Elle Macpherson, who was
taking an especially keen interest in the Keith Haring door on Galerie Meyer Kainer’s stand (G10). ■
Face time
The artist Darren Bader had a
performance running all day
long yesterday at Andrew
Kreps’s booth (C6), which
featured Tim and Gaffi, two
20-somethings whom the fair
found at Bader’s behest, to sit
and talk to each other continuously throughout the day, with
only three-minute intervals of
silence. They had both covered
their Frieze staff shirts, he with a
t-shirt of indie band The Arcade
Fire, she with a black sweatshirt.
They’d never met before being
assigned to Bader’s performance; we asked them what
exactly they talked about all day
long. “When we graduated,
where we’re living,” Gaffi said.
“Also our experiences of the
fair.” Anything else? Gazing out
into the aisles, where the VIP
crowds were meandering by, he
said: “Plastic surgery.”
Make it old
Speaking of surgical youthseeking, the vernissage was a
tartly ironic setting for artist
Laura Lima, who is busy
making people look old. At the
booth of Rio de Janeiro gallery
A Gentil Carioca (E14), Lima’s
work, aptly titled To Age,
consists of a professional makeup artist using special techniques to give people crow’s
feet and frown lines. The effect
is eerily convincing, as demonstrated on a young woman, one
of whose eyes gave the
impression that she was in her
60s with, ahem, no work done.
The piece costs $40,000, but for
£50 you can have it done to
yourself. (The artist will be on
the stand all day on Thursday.)
It’s unclear who would opt to
look older, but gallery director
Marcio Botner quickly pointed
out: “You can negotiate!”
Party poll
Amid the inevitable plethora of
parties that ushered in Frieze
week, The Art Newspaper has
selected the highlights. Biggest,
brightest and most popular was
White Cube’s bash to unveil its
new Bermondsey emporium,
where an increasingly agitated,
several hundred-strong throng
of thwarted invitees clamoured
at the gates while a fortunate
further few hundred disported
themselves within the blazingly
lit, concrete-floored 1.7-acre
site. WC also gets honourable
mention for the most touching
family moment, when Jopling
and former wife Sam Taylor
Wood joined forces to applaud
as their teenage daughter
Angelica cut a hastily improvised ribbon to declare the joint
officially open. Most noisy
shindig was undoubtedly the
Museum of Everything’s kneesup in the gutted shell of the
Selfridges Hotel, which
resonated to the deafening
sound of the Enfield Brass
Band. And the care in the
artistic community award must
go to Lisson, which occupied a
former church on North Audley
Street and treated its party
guests to a gratefully received
cornucopia of sushi, stew and
sandwiches—as well as
lashings of alcohol.
Bum wrap
An unpopular addition to the
Frieze furniture has been the
chairs at Gail’s Café, which,
being made of untreated wood,
have left dusty, unshiftable
marks on the matt-black
ranks of the art world, with
brushings-down reaching a
crescendo around mealtimes
when gallerists take the weight
off their feet. Let’s hope that
they don’t all bill Frieze for
their dry cleaning.
Move over Madoff
“
What’s so
original about being
unique? Why can’t
you be a nonconformist like
everyone else?
”
Wannabe artist
cockroaches Pablo and
Rochelle from Jake and Dinos
Chapman’s film The Organ
Grinder’s Monkey, showing at
White Cube Bermondsey
Every year, dealer Steve
Lazarides fills the murky
network of tunnels beneath
Waterloo station with a series
of spectacular works of art: last
year the topic was Dante’s
Inferno and this year he has
taken a more bullish Minotaur
theme. In each instance, he has
commissioned Portugueseborn, London-based street artist
Vhils to carve a topical
personification of our hellish
and monstrous times into the
tunnel walls—in 2010 it was
Bernie Madoff and now it is
Rupert Murdoch who is etched
into the wall of shame. ■
Editors: Jane Morris,
Javier Pes
Deputy editor:
Helen Stoilas
Production editor:
Ria Hopkinson
Copy editors:
James Hobbs, Emily Sharpe
Designer:
Emma Goodman
Editorial researcher/picture
editor: Julia Michalska
Contributors: Georgina Adam,
Louisa Buck, Charlotte Burns,
Melanie Gerlis, Gareth Harris,
Cristina Ruiz, Emily Sharpe,
Anny Shaw, Sarah Douglas
Photographers:
David Owens, Ola Grochowska
Exhibitions:
Riah Pryor, Belinda Seppings
Executive director:
Anna Somers Cocks
Managing director:
James Knox
Associate publisher:
Patrick Kelly
Business development:
Stephanie Ollivier
Advertising sales UK:
Ben Tomlinson
Advertising sales US:
Caitlin Miller
Advertising executive:
Cecelia Stucker
Published by Umberto Allemandi
& Co. Publishing Ltd
UK office:
70 South Lambeth Road,
London SW8 1RL
Tel: +44 (0)20 7735 3331
Fax: +44 (0)20 7735 3332
Email:
[email protected]
US office:
594 Broadway, Suite 406,
New York, NY 10012
Tel: +1 212 343 0727
Fax: +1 212 965 5367
Email: [email protected]
American continent
subscription enquiries:
Tel: +1 888 475 5993
Rest of the world subscription
enquiries:
Tel: +44 (0)1795 414 863
www.theartnewspaper.com
Twitter: @TheArtNewspaper
Printed by The Colourhouse
Tel: +44 (0)20 8305 8305
© 2011 The Art Newspaper Ltd
All rights reserved. No part of this
newspaper may be reproduced without
written consent of the copyright
proprietor. The Art Newspaper is not
responsible for statements expressed in
the signed articles and interviews.
While every care is taken by the
publishers, the contents of
advertisements are the responsibility of
the individual advertisers
)"6/$)0'7&/*40/
/&8:03,
8FTUTU4USFFU
/FX:PSL/:
5
'
OFXZPSL!IBVODIPGWFOJTPODPN
XXXIBVODIPGWFOJTPODPN
´$BTUFMMBOJF$BTUFMMBOJµGFBUVSFTOFXQBJOUJOHT
CZ&OSJDP$BTUFMMBOJUIBUDPOUJOVFUIFEJBMPHVF
TFUGPSUIJOIJTGPSNBUJWF4QB[JP"OHPMBSFTFSJFT
QSFTFOUFEBMPOHTJEFIJTDSJUJDBMMZBDDMBJNFE
TQBUJBMFOWJSPONFOU4QB[JP"NCJFOUF
1IPUP6HP.VMBT
"MMSJHIUTSFTFSWFE
/PWFNCFS°+BOVBSZ
4
International
How small galleries can make a hit on the global stage
Young art dealers reveal their strategies for big art fairs
© David Owens
W
e live in a world of
increasing globalisation, and the art market
is no exception. Once, the market
was centred on the US and
Europe: now it extends to Asia,
the Middle East and South
America. Galleries have to
respond: they are expected to
have a presence far from home,
make contact with far-flung
collectors, have a roster of international names and promote their
homegrown artists on the global
stage.
But for smaller galleries, such
as those exhibiting this year in
Frieze’s Frame section, which
features solo projects, internationalisation is not so easy. It
makes huge demands on their
time and resources, even if ultimately the rewards are great.
“Existing on an international
level is almost a prerequisite for
a young gallery now, which is
an unusual requirement for a
business with such a small
structure,” says Paola Weiss of
Bischoff/Weiss (R25), who jokes
that her small, London-based
gallery consists of “five people in
a shoe box”, including her partner, Raphaëlle Bischoff.
This has not stopped the
gallery exhibiting in Paris, Hong
Kong, Dubai and Miami Beach.
Weiss, who is featuring the
French photographer Raphaël
Zarka in Frame, says: “The
competition for small galleries to
get accepted by large art fairs is
fierce. Getting into Art Basel
Miami Beach [Art Positions] was
a huge step for us and was one of
our first major art fairs. We made
a real statement, installing a
large-scale sculpture by the
British artist Nathaniel Rackowe.
It was a big risk financially, but
in a difficult market not many
Lima to London: Renzo Gianella of Revolver Galeria (R20)
galleries had proposed such an
ambitious project. Not only did
we achieve a lot of visibility for
the gallery and the artist, we also
sold the work to one of the major
local collections.”
Obviously, finding new clients
is crucial for galleries. Victor
Gisler of the leading Zürich space
Mai 36 Galerie (D10) is clear:
“You have to go to fairs, as clients
don’t live around the block any
more—they’re global.”
Foreign exchange
Fairs also enable galleries to
discover new artists. “Our artists
want an international presence,
and here at Frieze we hope to
arrange exchanges with other
galleries and broaden our scope
beyond the fair,” says Netta
Eshel of Tel Aviv’s Inga Gallery
of Contemporary Art (R9). A
newcomer at Frieze Frame, the
gallery is also making its debut
at an international fair.
Another
newcomer
is
Revolver Galeria (R20), from
Lima, Peru, showing a project by
Ximena Garrido-Lecca. Renzo
Gianella of the gallery says:
“Frieze makes it possible for us
to show our artists abroad and
to bring international artists
to Peru.”
An appearance in Frame can
lead to a presence in the main fair,
as in the case of Project 88 (F19)
from Mumbai, which started in
Frame in 2009. Sree Goswami,
the gallery’s director, says: “For
a handful of galleries like mine in
India, internationalisation has
become crucial: a large chunk of
the domestic market does not buy
the kind of contemporary art we
are showing. India today still
lacks museums and non-profit
spaces, except for a handful of
private foundations. To create a
value that goes beyond the
marketplace, museums and
public collections become very
important, and galleries like ours
are placing works in institutions
abroad and are constantly in
touch with curators of major biennales and museums.” She is
bringing four artists to this year’s
fair: Raqs Media Collective,
Sandeep Mukherjee, Tejal Shah
and Rohini Devasher. “All of
these artists have been in very
good international shows,”
Outset/Frieze Art Fair Fund
LONDON.
Every year the Tate
receives a welcome addition to its
collection courtesy of the
Outset/Frieze Art Fair fund,
which gives two international
Selected works
■ Helena Almeida
(Drawing with Pigment),1995-99
Thirty-eight parts
Galeria Helga de Alvear (A7)
■ Melanie Smith
Xilitla, 2010
Single-channel video
Peter Kilchmann (E4)
■ Alina Szapocznikow
Tumour, 1969
Photographs and polyester resin
Broadway 1602 (E16)
curators early access to the fair to
work alongside Tate curators to
select works for the museum’s
collection. With a budget of
£150,000—the biggest in the
fund’s nine-year history—José
Roca, the artistic director of
Philagrafika 2010 and curator of
the 2011 Mercosul Biennial, and
the director of the Kunsthalle
Basel, Adam Szymczyk, assisted
the Tate in acquiring three new
works—all by women.
Two of the artists, the
Portuguese Helena Almeida and
Polish Alina Szapocznikow, are
new to the collection, while the
Tate already owns work by the
British-born,
Mexican-based
Melanie Smith, who is representing Mexico at the current
Venice Biennale.
© Ola Grochowska
Three of the best for Tate
Smith’s Xilitla, 2010
“We had the freedom to look
for things that we felt were
important, and then we examined our choices in relation to the
Tate’s collection, whether the
museum owned any of the
artist’s works, and whether they
would complement pieces that
were already there,” says Roca.
“We are really pleased,” says
Frances Morris, the Tate’s head
of international art collections.
“The choice of these three artists
fits perfectly into our ongoing
strategy to readjust the collection
to include artists that might have
been overlooked or neglected,
especially in relation to South
America, Eastern Europe and
women practitioners.”
Morris also points out that the
Outset/Frieze fund’s practice of
bringing in external curators to
augment Tate’s pool of knowledge chimes with general gallery
policy, especially in the sphere
of new acquisitions. “Our acquisitions committees often use
adjunct curators, but having the
two curators here at Frieze is
great—it’s a bit like phone a
friend—but they are here.” ■
Louisa Buck
she says.
Getting into international
fairs is a tough call for many
smaller galleries, however:
some are disappointed, others
don’t even try. “When art fairs
look at accepting galleries from
the ‘periphery’,” says Jelena
Zekic of Art Gallery Lada in
Belgrade, “they also want us to
bring in new collectors for their
VIP programmes, but we don’t
have those rich collectors, so that
makes it even more difficult.”
Matthew Slotover, the co-director of Frieze, partly agrees: “Of
course, we want new collectors.”
But, he adds, “that is not the
reason we would not accept a
gallery; it’s the quality of the art
that counts.” He does admit,
though, that the fact that the
larger galleries bring in major
collectors “is certainly a plus
for them”.
One gallery that works
hard at internationalising is
Stevenson in South Africa. The
gallery represents the highly
sought-after artist Nicholas
Hlobo, and is this year exhibiting at Arco (Madrid), the
Armory Show, Art Brussels, Art
Basel, ABC (Berlin), Paris
Photo and Art Basel Miami
Beach. “It would be dishonest to
pretend that we do not want to
exhibit at Frieze as well,” says
Joost Bosland, a partner at the
gallery.
For him, the physical
distance of South Africa is a
hurdle, and to encourage international exchange, the gallery
invites established artists as part
of a series dubbed “Forex”
(“foreign exchange”). “We have
been privileged to work with
people such as Glenn Ligon and
Thomas Hirschhorn, among
others,” Bosland says. The
gallery also uses catalogues to
extend its reach: “They have
been particularly important in
giving our artists and exhibitions
a
life
beyond
Johannesburg and Cape Town,”
“
Getting into fairs
is tough: some are
disappointed, others
don’t even try
”
he says. “Most of our supporters do not get to see the majority of our shows in person. We
put out little publications with
many of our shows, and send
them into the world. That we
help to fill a gap in the landscape
of art publishing in South Africa
is a nice bonus.”
Weiss says that for a smaller
gallery, working with financial
constraints can have its benefits.
She sent Nathaniel Rackowe to
the US, where materials were
cheaper, to build his sculpture,
so avoiding shipping costs. And,
she says, fairs have enabled her
to create “a fantastic network
among UK and international
galleries to exchange knowledge on shipping, contracts,
logistics and client problems,
which saves time as well as the
professional fees that a gallery
like ours cannot afford”. ■
Georgina Adam
A Pipilotti goes missing in Japanese toilet
KANAZAWA. A video work by the Swiss artist Pipilotti Rist has been
stolen from the 21st Century Museum of Contemporary Art in
Kanazawa, Japan. The 2004 piece, entitled You Renew You, was
permanently installed in the men’s toilets and consisted of an altar
with crystals and an acrylic board, and a video about human consumption and bodily functions. A curator noticed that some of the objects
were missing and notified police last weekend. The work, reportedly
worth around £130,000, was paired with another version in the
women’s bathroom. A spokesman for the museum declined to
comment. ■ C.R.
Lynda Benglis double bill for London
LONDON. American artist Lynda Benglis is to receive her first major
UK survey at London’s Thomas Dane Gallery next year. The gallery,
which opened a new space on Duke Street this week, plans to mount
the retrospective in both of its venues in February. “Her importance
as an artist for the past 40 years cannot be overestimated,” says
Martine d’Anglejan-Chatillon, the gallery’s director. Much like its
retrospective of British minimalist Bob Law in 2010, the gallery
hopes to bring attention to an artist it feels has been relatively underrepresented. Benglis is best known for her latex sculptures and wax
paintings as well as her racy advertisement in Artforum in 1974, in
which the artist posed naked with a dildo. ■ R.Pr.
Correction
❑ In the What’s On section of our October issue (p102) we incorrectly stated that Rome’s Galleria Lorcan O’Neill would not be at
Frieze. The gallery is, in fact, at the fair on stand G18 and showing
works by Rachel Whiteread, Richard Long, Luigi Ontani and the Arte
Povera artist Emilio Prini, among others. ■
DA N G E RO US L I A IS O N S
OCTOBER 28 — DECEMBER 1
9 8 1 M AD I S O N AV EN U E, N EW YO R K , N Y 1 0075
+ 1 ( 2 12 ) 2 5 9 - 04 4 4
W W W. B L AI N D I D O N NA .C OM
René Magritte. Les Liaisons Dangereuses (detail), 1935. Oil on canvas. 73 by 54 cm (28 ¾ by 21 ¼ in.) © Charly Herscovici – ADAGP, 2011
ALEXKATZ
AT FRIEZE
VISIT US ON BOOTH F8
ALEX KATZ DANCER 3 (DETAIL), 2010
OIL ON LINEN, 213.4 x 152.4 CM
PA R I S F R A N C E 7 R U E D E B E L L E Y M E T 3 3 1 4 2 7 2 9 9 0 0 F 3 3 1 4 2 7 2 6 1 6 6 R O PA C . N E T
S A L Z B U R G A U S T R I A M I R A B E L L P L AT Z 2 T 4 3 6 6 2 8 8 1 3 9 3 F 4 3 6 6 2 8 8 1 3 9 3 9
7
Interview: Frieze architects
Seeing the wood despite the trees
Timber pavilions and parkland cafés are part of Carmody Groarke’s plan to increase the fair’s space
N
Expansive ideas
Fortress Frieze
The architects of the new Frieze pavilion, Anna Nilsson and Kevin Carmody
aspects of the fair, which if successful will be repeated until
2013. (The Frieze architectural
commission is for three years.)
Another of its key aspects is to
accommodate the Frieze artists’
commissions. The architects are
familiar with this mix of aesthetic and practical challenges. They
helped to realise Carsten Höller’s
Double Club, his West-meetsCongo-in-London pop-up bar, in
2008, and Antony Gormley’s fogfilled pavilion, Blind Light, 2007,
in London’s Hayward Gallery. At
Frieze this year, the artists’ projects range from creating a media
centre for the London-based collective LuckyPDF to an interactive cricket-style score board for
the Dutch duo Bik Van der Pol.
The architects know how to
work to tight deadlines. For
Frieze, Nilsson explains, they
had just ten days on site to build
the five pavilions. Carmody
Groarke’s temporary restaurant,
which overlooked the Olympic
Stadium site this summer (it was
built on the roof of the Westfield
Stratford City shopping centre
when it was still a building site),
went from winning the commission to opening in just ten weeks.
In a temporary structure, “we
realised that the bigger idea is
read, rather than the finesse,”
Carmody says. That said, the architects have gone to great lengths
to make sure that everything has
come together on site in Regent’s
Park with the minimum of lastminute surprises. They created a
full-scale mock-up of one of the
sections of the pavilions in the
workshop of the contractors,
MDM, who also build the gallery
booths inside the main tents.
For the pavilions, the architects chose lightweight, low-cost
materials. The timber frames are
made of reconstituted wood,
which is as green and sustainable
as can be. The textured and clear
polycarbonate sheeting forming
the walls and roofs is perhaps less
so. Everything had to be designed so that it could be put up
and taken down quickly. The
pavilions are also designed to be
reused for the next two fairs.
Their semi-transparent walls and
roofs mean that the pavilions appear “crystalline” during the day,
and then, after dusk, they
“switch” into glowing spaces, illuminated from within.
Getting the pavilions ready in
time depended on a close working relationship with the technicians at MDM, who prefabricated sections in their Brixton work-
Groarke compares the art fair in
a park to a fortified city built on
a grid. The meeting points are its
squares and the aisles its “boulevards”. By adding linear pavilions, the architects aim to take
those avenues “and extend them
into a walk in the park”. The
promenade “then got wrapped
around themselves and the
trees”, Groarke says.
Were they tempted to change
other aspects of the fair’s layout?
“Some things work really well
and there’s no reason to change
them for the sake of change,”
Carmody says. Besides, moving
something like the main entrance
corridor, which deposits visitors
in the centre of the fair, would dramatically “reshuffle the pack” of
galleries, potentially upsetting the
delicate geopolitics of the event.
The entrances to the café pavilions are roughly where refreshment points were in previous
years, a navigational help to regular Frieze visitors. Circulation
during the fair is always
challenging, admits Groarke.
“It’s such a big space and your
orientation is really based on simple graphic measures, remembering where galleries were or the
colour of avenues within the grid.
We are trying to highlight particular points in the fair and to reconnect with the fact that you’re
in Regent’s Park. You have a moment where you focus on a tree in
a courtyard. That’s a very different experience to viewing art.”
The fair’s previous architects,
David Adjaye, Jamie Fobert and
Caruso St John, tweaked the
event’s now fairly set formula.
Carmody Groarke rejects the idea
that, confronted by the behemoths
of the tents, the choice is to either
disguise or embrace their utilitarian design. “I don’t think that’s the
interest in this opportunity,” says
Groarke. “It’s about looking at
moments in an epic event and
finding a way to enhance them.
People react very simply to buildings, and at Frieze, they remember the art, not the tents.” ■
Javier Pes
Major projects
Founded in 2006, Carmody
Groarke’s projects include:
■ “Postmodernism: Style
& Subversion 1970-90”,
exhibition design, Victoria &
Albert Museum (until 15
January 2012)
■ 2004 Indian Ocean Tsunami
Memorial, Natural History
Museum, London, 2011
■ Regent’s Place Pavilion,
London, 2009
■ 7 July Memorial, Hyde
Park, London, 2009
Roy Lichtenstein The Living Room 1990-96 Mixed media collage on board © Estate of Roy Lichtenstein
The idea for these additions
emerged, say the architects, from
conversations with the fair’s codirectors, Amanda Sharp and
Matthew Slotover, to make “the
café spaces a little less problematic with the adjacencies of the
galleries”, Groarke says. “The
galleries can remain contemplative and the cafés can be vibrant,
buzzy social spaces.” This year
is an experiment, he says, a
“slight decoupling” of these two
shop. The architects also teamed
up with Scan Lab, which, early
in the project, created a three-dimensional colour model of the
site where the pavilions would
go. “[The model] samples the
surfaces of the major branches
and leaves with millions of dots.
Trees move a little bit with wind
but it allowed us to set out with
a fair degree of accuracy the
structures around the trees,”
Carmody says. Hence the architects’ confidence that every tree,
and its full autumnal glory,
would be unaffected by their
week at Frieze.
© Ola Grochowska
o trees,” declares Andy
Groarke, “were hurt in the
making of this fair”—
even though more of Regent’s
Park has been embraced by
Frieze in this, its ninth year, than
ever before. To do so safely, the
architects of this year’s edition,
Carmody Groarke Architects,
measured every one of the affected trees, down to individual
branches and “even leaves”, before they finalised the addition of
800 sq. m of space to the front of
the art fair’s main tents. Before
we get to the practical challenges—no mean feat in a Royal
Park—Groarke, along with colleagues Kevin Carmody and
Anna Nilsson, the project architect, explains the benefits of, and
thinking behind, increasing the
fair’s footprint.
“We wanted to make the
spaces for showing art more generous,” Carmody says. Because
the main tents, all 21,000 sq. m
of them, cannot get any bigger
(they are limited by the trees in
the park), Carmody Groarke has
moved two of the cafés into new
structures at the front, looping
around the trees. This year, therefore, visitors find that the fair has
sprouted branches.
ROY LICHTENSTEIN / INTERIOR COLLAGES
PAVILION OF ART & DESIGN LONDON BERKELEY SQUARE
12-16 OCTOBER WWW.PADLONDON.NET
MITCHELL-INNES & NASH
1018 MADISON AVENUE NEW YORK
WWW.MIANDN.COM
8
Photography
For the record
Fictional images on the frontline between photojournalism and contemporary art
© Clare Strand
Courtesy of the artist
Courtesy of the artist and KOW Berlin
S
teady, take aim, fire! Hold,
point, shoot! In her 2003
treatise on the camera’s role
in reporting the horrors of human
conflict, “Regarding the Pain of
Others”, the late Susan Sontag
wrote: “War-making and picturetaking are congruent activities.”
Images were complicit in feeding
our appetites for, and eventually
inuring us to, the suffering they
depict: “Shock can become familiar. Shock can wear off.”
This tense relationship will be
explored today at the Frieze Art
Fair talk “Shooting Gallery: the
Problems
of
Photographic
Representation”. It was inspired
by a 2010 article of the same title, written for Frieze magazine
by its associate editor, Christy
Lange, who is chairing the panel.
The passing of over a century
of mechanical reproduction of images has meant we no longer have
to witness an event first-hand in
order to gain some insight or perceived truth of it for ourselves.
“Wars are now also living-room
sights and sounds,” notes Sontag.
She claims that “there have been
so few staged war photographs
since the Vietnam war [because]
photographers are being held to a
higher standard of journalistic
probity”, but perhaps more pertinent is the notion that bona fide
war reportage might now be considered acceptable as art. Many
eyebrows were raised, for example, when French photojournalist
Luc Delahaye quit Magnum in
2004 to become an artist (although the two positions are still
by no means mutually exclusive,
as many Magnum members
would attest).
Delahaye’s most famous image, Taliban from his 2001
“History” series, depicts a dead
fighter in a ditch, staring up from
his makeshift shallow grave, having had his shoes, his wallet and
seemingly his soul removed. The
work stirred controversy not only because of its blunt frontality,
but also because of its outsized
format and high-definition detail.
It also invited comparison with
other monumentally scaled and
staged art photographs by
Andreas Gursky and Jeff Wall,
raising the issue of whether a documentarian could simultaneously
be considered an artist—and,
equally controversially to some,
whether he could therefore
charge contemporary art prices.
In the Danish Pavilion’s controversial group show “Speech
Matters”, curated by Katerina
Gregos for the Venice Biennale
(until 27 November), a similarly
tortured figure, printed panoramically and hung on its own wall,
reverses and further complicates
Delahaye’s perceived transgression of photographic verisimilitude. The gruesome image,
Zahra/Farah, 2007, depicts the
aftermath of the brutal gang rape,
partial incineration and murder of
a 14-year-old Iraqi girl, perpetrated by US soldiers—except the
photograph is actually of an actress and was created by
American artist Taryn Simon as
the final freeze-frame of Brian De
Palma’s dramatised film of the
event, “Redacted”.
Simon is one of the artists taking part in today’s talk. Also on the
panel are Adam Broomberg and
Oliver Chanarin, the London-
Clockwise from top: Tobias Zielony’s Selkirk-2, 2009-11, is at KOW Berlin (R1); an image from Taryn Simon’s “A Living Man Declared
Dead and Other Chapters”; Alfredo Jaar’s From TIME to TIME, 2006; Clare Strand’s Signs of a Struggle, 2003
based South Africans whose photographic exploits in Afghanistan
as embedded war artists (they created an abstract print in Helmand
Province by exposing a giant roll
of photographic paper) are outlined in Lange’s article.
The real debate, however, is
not about the artist’s role in the
journalistic investigation into the
bloodlines of 18 different families
in Kenya, India, Brazil and elsewhere. The presentation of her
findings—unremarkable
portraits of all the surviving relatives,
with explanatory text panels—
could be that of a genealogist or
professional archivist. That is, of
“
There is an increasingly thin line between
photojournalism and the documentary ‘look’
prevalent in current contemporary art
truthful depiction of wars;
rather, it concerns the notion that
there is an increasingly thin line
between photojournalism and
the documentary “look” prevalent in current strategies of contemporary art.
For example, Taryn Simon’s
major display at Tate Modern (until 2 January 2012), “A Living
Man Declared Dead and Other
Chapters”, involved four years of
APPLICATIONS AND IN FORMATION ONLINE AT
DEADLIN E 1 4 NO VEM BE R 201 1
”
course, until you come across the
incongruous pictures of an extended family of more than 100
European rabbits, an invasive
species bred in Australia for the
scientific purpose of its own extinction—to prevent any future
bloodlines, in other words.
Simon’s harrowing found image
of an albino child, killed in
Tanzania for one of its supposedly “magical”, healing limbs, also
EXPOSITIONCHICAGO.COM
registers a jarring rupture in her
exhaustive presentational rigour
and classification, as do the skeletal remains of one Bosnian man’s
descendants—documented and
recovered from mass graves in
Srebrenica after DNA testing.
In a different way, Broomberg
and Chanarin’s recent London
show, “People in Trouble
Laughing Pushed to the Ground”,
also mined the seam between art
and artefact—or conjecture and
reality, if you prefer. Following a
residency at Belfast Exposed, a
photo archive dedicated to local
depictions of the Troubles in
Northern Ireland, they selected
the circular portions of images
that had been blotted out by the
archivists’ stickers—either accidentally or on purpose, it’s unclear
which—and revealed what had
been
hidden
underneath.
Essentially presenting an alternative, uncensored version of the
archive, Broomberg and Chanarin
provide full disclosure, albeit
without telling the whole story.
“How to Inform Without
Informing” is the subtitle of a
new book, Aesthetic Journalism,
by Alfredo Cramerotti, co-curator of the Manifesta 8 contemporary art biennial. He outlines a
thesis positing the recent “journalistic turn in contemporary art”
as a reassessment of “traditional
information formats, allowing
imagination and open-endedness”. “While journalism reports
and fiction reveals,” he says,
“aesthetic journalism does both.”
His examples range from the
photojournalistic investigations
of Sophie Calle to the researchheavy interviewing techniques
employed by Walid Raad for the
Atlas Group’s semi-fictional
video piece Hostage: the Bachar
Tapes, 1999-2001. Cramerotti argues that, while Raad invents a
narrative and creates a character
based on the very real experiences of a Lebanese man detained
alongside five American men in a
cell in Beirut, “what is important
is not a detailed account of facts,
exposition
THE INTERNATIONAL EXPOSITION OF CONTEMPORAR Y MODERN ART • DESIG N • CULTURE
FOR FURTHER INFORMATION CONTACT [email protected] 312.428.3094
CHICAGO
but how these are portrayed and
why others are omitted”. This
withholding of evidence, he adds,
“is seen as a lack of professionalism in journalistic circles; however, what is deficiency in one
field can be wealth in another”.
So, despite artists’ increasing
use of archival formats and documentary style, they still encounter
the same old problems with reliability. What, then, is the purpose
of such “aesthetic journalism”?
Undoubtedly there is merit in the
extensive field research embarked upon by Alfredo Jaar for
The Rwanda Project 1994-2000,
to use another of Cramerotti’s examples. Yet by the artist’s own admission, his attempt to reignite a
forgotten news story about the
genocide was riddled with the
same contradictions of touristic,
exploitative representation that he
was railing against. “I did 21
pieces in those six years,” recalled
Jaar in 2007, “and how can I say
this? They all failed.”
Photojournalists, reporters,
picture agencies and artists are all
guilty in various ways of redacting, cropping or misinterpreting
information. Many more artists
could be labelled “aesthetic journalists”—why not other pillagers
of a newsy aesthetic such as
Gerhard
Richter,
Marlene
Dumas or Wilhelm Sasnal, to
name three painters currently
showing in London? Arguably,
any artist somehow involved in
the depiction of modern life
could be said to wear this hat, so
for that reason, the term seems
too nebulous to be useful.
In an essay on Taryn Simon’s
“A Living Man Declared
Dead…”, Homi Bhabha offers a
possible way out: “The resonance
of her work does not fade into the
virtuous visibility of aesthetic realism”, because, he suggests,
“Simon mobilises the viewer’s attention by displacing it, even disorienting it”. In other words, it’s
the removal of the familiar safeguards in our relationship with the
media that enables us to become
more aware of its flaws and faultlines, and so best to question what
is being presented or told to us.
Perhaps it’s useful to return to
the peculiar pull or “punctum” of
the photograph; not necessarily to
those that depict war itself, but to
those that question the medium’s
truthfulness and therefore our grip
on reality. Take Clare Strand’s series of crime re-enactments,
“Signs of a Struggle”, 2002-03,
currently on show as part of the
V&A’s display of “Photography
in the Wake of Postmodernism”
(until 27 November). Her images
appear to be archived police shots
of fingerprint-ridden murder
scenes but are actually carefully
falsified, as though Strand was investigating the very limits of photography’s usefulness as empirical evidence. Perhaps we should
call this phenomenon “photo-criticality” or “critico-photography”,
rather than “aesthetic journalism”. Because if artists are looking for truth in places where others might not think to look, or
where they know it can’t be found,
then the photograph is just such
a place. ■
Ossian Ward
❏ “Shooting Gallery: the Problems of
Photographic Representation” takes place
on Thursday 13 October at 1.30pm
20-23
SEPT
2012
NAVYPIER
© DACS 2011.
20TH CENTURY ITALIAN ART
INCLUDING ITALIAN IDENTITY AN IMPORTANT PRIVATE COLLECTION
ALIGHIERO BOETTI MAPPA, 1983. ESTIMATE £700,000–1,000,000
AUCTION IN LONDON 13 OCTOBER 2011 5:30PM
I
ENQUIRIES +44 (0)20 7293 5315
I
SOTHEBYS.COM
The Great Room
7 Howick Place
London SW1P 1BB
6th - 19th October 2011
ACQUAINTANCE
An Art Exhibition
by FARKHAD KHALILOV
Sponsored by
J O NATHAN WATE R I DG E M IT TE LLAN D
12 October – 12 November 2011 10–6 pm
Jonathan Wateridge, Swimming Hole, 2011, (detail), oil on linen, 282 ⫻ 400 cm
ALL VI S UAL ARTS GALLE RY
2 Omega Place
London N1 9D R
Tel +44 (0)20 78 43 0 410
www.allvisualarts.org
[email protected]
C HAR LE S MAT TO N
12 October – 16 October 2011 11– 6 pm or by appointment
Charles Matton, Library Homage to Proust III, 1984, (detail), painted marble, 51⫻ 49⫻ 68 cm
ALL VI S UAL ARTS AN N E X
22 Warren Street
London W1T 5LU
Tel +44 (0)20 78 43 0 410
[email protected]
12
Frieze opens its doors
All images © David Owens
Invited guests filled the tent yesterday for the preview
13
14
Projects
By Anny Shaw and Riah Pryor
Who needs a
sat nav?
Your 60 minutes
starts now
Laure Prouvost, Ideally, 2011
Visitors to Frieze might find this
year’s project by Laure
Prouvost, Ideally, 2011, in
various places around the fair,
strangely familiar. “I’m not
worried about whether people
know the work is by me,” says
the artist, who has created 25
signs and posted them on walls.
“This sign has seen you
coming,” says one of the whiteon-black notices. “You are going
in the wrong direction,” says
another. Prouvost, who was born
in France and lives in London, is
pleased by the idea that the
humorous quips may bring some
light relief to visitors who are
bombarded by conventional
information as they navigate
their way around the fair.
Inspired by her own experiences of last year’s Frieze,
when MOT International
All images © Ola Grochowska
LuckyPDF, Live from Frieze Art
Fair, This is LuckyPDF TV, 2011
exhibited her work, Prouvost
aims to provoke the viewer’s
imagination, which is one of
her ongoing themes. “As an
artist, you are not able to keep
control of works once they’re in
the audience’s head. I like that,”
she says.
Prouvost believes that
signs—such as one that reads
“ideally the entrance would be
here”—influence the viewer’s
thought processes. This is the
first time she has devoted an
entire project to text. ■ R.Pr.
That sinking feeling
Christian Jankowski, Christian, 2011
Art collectors with a penchant for sailing can indulge both passions if they buy a luxury yacht by German artist Christian Jankowski, one
of which is on show at Frieze (P5). The 10m-long Aquariva Cento can be purchased for €500,000 as a boat, but for €125,000 extra it
can be owned as a work of art—Christian (edition of five), 2011, complete with a certificate and a promotional video, The Finest Art of
Water, 2011. And if the Aquariva isn’t grand enough to whet an alpha collector’s appetite, then a 68m-long mega-yacht, which will be
made to order by Italian boat manufacturing company CRN, is available at €65m as a boat and €75m as a work of art, this time named
Jankowski, 2011. At Frieze, visitors can watch Luca Boldrini, the brand manager at CRN, deliver his sales pitch (unique selling point:
George Clooney owns one of only ten editions of the boat, which were released in 2006 and sold out in two days). The work is underpinned by the idea of art as a commodity and the seemingly arbitrary monetary value placed on works of art. “The collector is the
biggest performer,” says Jankowski. “The whole of the art fair is about the exchange of money. The work is saying this, but it’s also
celebrating it.” The artist is also interested in the way that the value of a mega-yacht might sink. “No one wants to buy a second-hand
Roman Abramovich yacht,” he says, but the value of a work of art usually “increases as it develops a history”. ■ A.S.
Huyghe makes a sideways move
A slow-scoring match
Pierre Huyghe, Recollection,
2011
Bik Van der Pol, Accumulate,
Collect, Show, 2011
French artist Pierre Huyghe
flies in the face of the old adage
about never working with
animals with his work for
Frieze Projects, Recollection,
2011 (P6)—an aquarium
containing a giant hermit crab
and several spindly arrow
crabs. After the original hermit
crab was stopped by US
customs because it was thought
to be inhabiting the shell of an
endangered species, Huyghe
had the tricky job of coaxing a
replacement crustacean into a
replica of Brancusi’s Sleeping
Muse, 1909-10. “Brancusi is a
well-known symbol of culture
and modernity,” says Huyghe.
“[The reference] is also about
reactivating the head or a
particular psychological state.”
Fish tanks are a recurring
theme in the artist’s work. He
says: “They are about constructing situations; they
become an equilibrium of a
situation that we find ourselves
Dutch artists Bik Van der Pol
have constructed a giant
scoreboard for their project
(P1), which is laboriously
animated by assistants. Instead
of numbers, the scorecards bear
letters, which are swapped
around to spell out various artrelated quotes and anecdotes,
such as “art is either plagiarism
or revolution” (Paul Gauguin)
and “I have enough money to
last me the rest of my life,
unless I buy something” (Jackie
Mason). “The slogans will be
changed continuously and
slowly, not in a panicked way
like the stock markets or the art
fair itself,” says Liesbeth Bik.
The pair came across a
photograph of an old-fashioned
cricket scoreboard, which
inspired the work, and Jos van
der Pol says the slow pace of
the performance relates to the
idea of analogue technology,
“which is in contrast with the
digital time we live in”.
in.” For Recollection, Huyghe
has created a fictional narrative
for the crabs to enact, although
“the animals have their natural
behaviour; they do not play”.
Ultimately, though, it is the
viewer who brings meaning to
the work. “I would never say
[it] is about that emotion or that
situation,” he says, “because
then I would lock it.” ■ A.S.
The temporary aspect of the
work takes its cue from the
oeuvre of architect Cedric
Price, whose aviary can be
found in nearby London Zoo.
“We were thinking about
Price’s architecture and how it
was never meant for permanent
use; there was always an
emphasis on temporary
structures,” says Van der Pol.
Scorecards that do not bear
letters are painted in primary
colours. “We were looking at
Mondrian’s Victory Boogie
Woogie [1942-44],” says Van
der Pol. “It’s an unfinished
painting in the Gemeentemuseum in The Hague.” Bik
says that Accumulate, Collect,
Show, 2011, which the artists
say they will exchange for a
second-hand Ferrari as long as
the engine is in good working
order, is a comment on painting.
“It’s very much a collage,” she
says, “but it’s also about
painting as a live thing.” ■ A.S.
With more than 50 artists to
work with and four live shows
to produce for a television
broadcast at Frieze, artist
collective LuckyPDF, based in
Peckham, south London, aims
to create an “exciting lifestyle”
experience. James Early, John
Hill, Ollie Hogan and Yuri
Pattison have commissioned
works by other artists for the
fair, including performances,
videos and talks, which feature
in their programme, Live from
Frieze Art Fair, This is
LuckyPDF TV, 2011 (P2).
Performances will happen
live at the fair, and will be
broadcast in the temporary
space and transmitted online.
“The art almost has two
audiences; those at the fair and
[those watching via] the
camera,” Early says. The aim is
for participating artists to retain
their autonomy. “We are not
producers or curators,” he says.
“We are collaborators with
other artists and so can be more
critical of their ideas.”
Patterson describes the
audience as a “prop” in the
creation of the work, and
LuckyPDF welcome the element
of chance introduced by the fact
that it takes place live. They say
this also prevents artists from
becoming “precious”.
The collective’s faith in
chance, however, falters a little
when discussing the work of
participating artist Paul Simon
Richards—a live performance
due to take place today of two
wrestlers quietly discussing
their differences. “We hope they
can work it out without getting
physical,” they joke.
Other artists involved include
Jimmy Merris, Cory Arcangel
and Tobias Madison. The live
broadcasts take place from 4pm
to 5pm daily, and the artist Ben
Vickers will create a record of
the project, available on a
limited edition of 100 USB
devices (£250 each). ■ R.Pr.
LO N D O N
© SOTHEBY’S, INC. 2011 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #9588677
d’angiò comunicazione &
© CLYFFORD STILL ESTATE
54, Maddox Street - Mayfair
CONTEMPORARY ART EVENING AUCTION
S O L D B Y T H E C I T Y O F D E N V E R , T O B E N E F I T T H E C LY F F O R D S T I L L M U S E U M
C LY F F O R D S T I L L 1 9 4 9 - A - N O . 1 , 1 9 4 9. E S T I M AT E $ 2 5 , 0 0 0 , 0 0 0 – 3 5 , 0 0 0 , 0 0 0
A U C T I O N I N N E W YO R K 9 N O V E M B E R 2 0 1 1
N O W T H R O U G H 1 8 O C TO B E R 2 01 1
I
I
Since 1914, the taste of elegance.
H I G H L I G H T S I N LO N D O N
ENQUIRIES +1 212 606 7254
S O T H E B Y S .C O M
NAPLES
MILAN
TO KYO
LUGANO
LONDON
Anri Sala exhibition supported by
Anri Sala
Until 20 November
and
Pavilion 2011
Designed by
Peter Zumthor
Until 16 October
Garden
Marathon
15 –16 October
Pavilion sponsored by
Advisors
Platinum sponsor
Garden Marathon supported by
Admission free
Open daily 10am–6pm
Serpentine Gallery
Kensington Gardens
London W2 3XA
T +44 (0)20 7402 6075
F +44 (0)20 7402 4103
[email protected]
www.serpentinegallery.org
With assistance from
16
Artist interview
Sonic sparring and sound Clashes
Inspired by punk, Anri Sala’s video art stages a musical battle with time
By Ben Luke
The Art Newspaper: It must be
a challenge for Andre Vida to
© Sylvain Deleu, 2011
A
nri Sala is both a filmmaker and an exhibitionmaker. The Albanianborn, Berlin-based artist’s
Serpentine Gallery show (“Anri
Sala”, until 20 November)
reflects the power of his
individual films and his gift for
choreographing groups of works
into immersive, resonant
installations. In the work 3-2-1,
2011, a live saxophonist, Andre
Vida, riffs on Sala’s 2005 film
“Long Sorrow”, improvising a
response to Jemeel Moondoc,
who in the original film sits on
top of a tall building in a
modernist Berlin housing estate,
sparring sonically with the
surrounding buildings. Two
recent films use renditions of
The Clash’s “Should I Stay or
Should I Go” on music box and
barrel organ to explore specific
places—one a disused concert
venue in Bordeaux, which
echoes the two instruments’
melancholy sounds, and the
other a square in Mexico City,
the site of Aztec ruins, a colonial
church, and Mario Pani’s
modernist architecture, which
witnessed a massacre in 1968.
Sala’s chief concern is
to explore “syntax” in terms
of language, sound and space.
A journey through his enigmatic
installations is often disrupted or
skewed as his films echo
through the space, conversing
with each other and with the
architecture itself. As Sala says:
“To me, it is very important that
while you perceive what is given
to you in the films, you continue
to perceive your surroundings.”
Saxophonist Andre Vida plays live at the Serpentine Gallery in 3-2-1, 2011, by Anri Sala, below
keep playing to the same
structure every day.
Anri Sala: The idea is, at what
point is the invitation an
inspiration and at what point
does it become some kind of
musical prison? I find this
interesting because when I did
the film with Jemeel Moondoc,
he was in a different kind of
prison—it was like a space
prison—so he was suspended in
the void, whereas Andre is
suspended in time. For so many
weeks he will be suspended
there, and he has to fight this
void of time; constantly he has
to find new ideas, to not fall
into something mechanical.
And for this, sometimes you get
the inspiration from the
elements in the film, but the
moment the film and the music
are the same, then you have to
take it elsewhere. And you will
see that the exhibition has lots
of openings, like the barrelorgan score that is engraved
on the walls and the windows.
A lot of sounds will come from
the show to the outside but also
from outside into the show, so
that is another possibility for
Andre to fish for details.
The show is carefully
choreographed. To what extent
can the audience make their
own journey?
Given that the space opens both
ways, I am not forcing them to
go one way or the other, and the
other question is that they could
arrive at any moment, and that
is what I like about doing
shows: the audience play a part
in how they take in the
exhibition, or the proposal.
That is why I like doing films,
but I am not interested in the
theatre as a display. Here, they
could arrive in the middle of a
film, at the beginning of the
first cycle, at the end of a cycle.
To me, it is important not to
make a cacophony, and people
can go through things from the
beginning to the end, but most
of the time they have a second
choice. You provoke a choreography of the people and their
movement through time, but it
is not mono; it is a stereo
proposal. And yet I think it is
very important not to play on
this gratuitous idea of the
loop—that is not how you
play with hunger and appetite.
I know that I might lose some
people by doing the exhibition
like this, but with the ones I
don’t lose, it is a more generous
offer than putting everything in
its own box. It is like when you
show people a place that is dear
to you. You say: “Let me take
you around.” And the exhibition does take them around. It’s
not like, “here, go and see it,
and I’ll wait outside”.
Why did you use a song by
The Clash as a basis for
“Le Clash”, 2010, and
“Tlatelolco Clash”, 2011?
The place in Bordeaux where
I shot the first film was a very
famous venue for punk and
rock music in France, and it
was not even in the centre of
Bordeaux; it was in a
troubled neighbourhood.
I liked the building a lot
when I discovered it, and it
was the building that gave
me the idea. It was
abandoned because
it was the first
building that was
officially closed after they
found out about the effects of
asbestos. I had this idea to
reoccupy it with the sound of
music, but not by being inside
with the music, because it is an
abandoned place and you are
not supposed to be there. I
thought I would like it to be
playing a punk song, but that it
should be played on barrel
organ and music box, which are
two instruments of different
syntaxes, because each of them
has different skills. And
because they are different,
suddenly it makes you think of
two people playing the
instruments; it is like their
memory of the song is different
at the same time.
Why “Should I Stay or Should
I Go” particularly?
It was important to have
continuity, but there are not
many punk songs that have a
continuous melody, because
they have speed, they have
shouting, they have energy,
they have presence. I couldn’t
find a better song that you
recognise throughout thanks to
the melody, not other gestures.
It was very important that the
building played back simultaneously the little musical gestures
of the two people going around
the building, so you
have the music
box playing the
building and
the building
playing the
music box at the
same time. ■
❏ “Anri Sala”,
Serpentine
Gallery, until
20 November
19
What’s On
FRIEZE WEEK 12-16 OCTOBER 2011
▲ Commercial gallery
Fairs
1 Frieze Art Fair
13-15 October, 12pm-7pm
16 October, 12pm-6pm
Regent’s Park, NW1
www.friezeartfair.com
2 Moniker
13 October, 7pm-9pm
14-16 October, 11am-7pm
54 Holywell Lane, Shoreditch,
EC2A 3PQ
www.monikerartfair.com
3 Moving Image
16 October, 6pm-8pm
Oxo Tower Wharf, Bargehouse
Street, South Bank, SE1 9PH
www.moving-image.info
4 Multiplied
14 and 17 October, 9am-5pm
15 and 16 October, 11am-6pm
85 Old Brompton Road, SW7 3LD
www.multipliedartfair.com
5 Guildhall Art Gallery
Atkinson Grimshaw: Painter
of Moonlight
until 15/01/12
Liza Dracup: Chasing the
Gloaming
until 15/01/12
Guildhall Yard, EC2V 5AE
www.guildhall-art-gallery.org.uk
6 Institute of International
Visual Arts
Entanglement: the Ambivalence
of Identity
until 19/11/11
Rivington Place, EC2 3BA
www.iniva.org
6 Sluice
26 Molton Lane, Mayfair,
W1K 5AB
www.sluiceartfair.com
8 Peer
John Smith: Unusual Red
Cardigan
until 26/11/11
99 Hoxton Street, N1 6QL
www.peeruk.org
7 Sunday
35 Marylebone Road, NW1 5LS
www.sunday-fair.com
9 Raven Row
Mathias Poledna, Florian
Pumhösl
until 20/11/11
56-58 Artillery Lane, E1 7LS
www.ravenrow.org
2 Bloomberg Space
Stuart Croft: Comma 39
until 05/11/11
50 Finsbury Square, EC2A 1HD
www.bloombergspace.com
20 ▲ Flowers East
Nicola Hicks: Aesop’s Fables
until 19/11/11
Simon Roberts: We English
until 19/11/11
82 Kingsland Road, E2 8DP
www.flowerseast.com
4 Chisenhale Gallery
James Richards
until 20/11/11
64 Chisenhale Road, E3 5QZ
www.chisenhale.org.uk
5 Pavilion of Art & Design
London
Berkeley Square, W1
www.padlondon.net
EAST
1 Barbican Art Gallery
OMA/Progress
until 19/02/12
Level 3, Silk Street, Barbican
Centre, EC2Y 8DS
www.barbican.org.uk/artgallery
19 ▲ EB & Flow
Neil Ayling: Flection
until 05/11/11
77 Leonard Street, EC2A 4QS
www.ebandflowgallery.com
3 Calvert 22
Between Heaven and Earth:
Contemporary Art from the
Centre of Asia
until 13/11/11
22 Calvert Avenue, E2 7JP
www.calvert22.org
7 Museum of London
The Dispossessed
until 20/11/11
Freedom from: Modern Slavery
in the Capital
until 20/11/11
150 London Wall, EC2Y 5HN
www.museumoflondon.org.uk
Exhibitions
www.theartnewspaper.com/whatson
www.theartnewspaper.com/what-
10 Rivington Place
Entanglement: the Ambivalence
of Identity
until 19/11/11
1 Rivington Place, EC2A 3BA
www.rivingtonplace.org
21 ▲ Fred London Ltd
Vaudeville
until 20/11/11
45 Vyner Street, E2 9DQ
www.fred-london.com
© David Levenson for Canvas, 2011
Exhibition listings are
arranged alphabetically
by area
THE ART NEWSPAPER
Reza Aramesh
Mottahedan Projects
until 16 October
Iranian-born British artist Reza Aramesh has chosen the former
Holy Trinity Church in Marylebone for “Them Who Dwell on the
Earth”, his first solo UK exhibition and the first show from
Mottahedan Projects, a venture led by the collector Mohammad
Mottahedan with the aim of creating a platform for emerging
artists. Seven Catholic-style sculptures depict men, clad in
contemporary clothing and designed using images from the
media, often of Muslim captives. London’s National Gallery’s show
“The Sacred Made Real”, which ran from 2009 to 2010, influenced the artist’s solid limewood figures, which were made in an
Italian workshop specialising in religious statuary. Photographs
exploring themes of conflict will also be on display in the former
church, which is now a commercial events space and was chosen
partly owing to its proximity to Frieze. ■ R.Pr.
until 04/12/11
The Street: Reclaim the Mural
until 04/12/11
Wilhelm Sasnal
until 01/01/12
Cristobel Leon, Niles Atallah and
Joaquin Cocina, Marthe
Thorshaug, Rachael Rakena,
Kelly Nipper
until 15/01/12
Rothko in Britain
until 26/02/12
The Bloomberg Commission:
Josiah McElheny
until 20/07/12
77-82 Whitechapel High Street,
E1 7QX
www.whitechapel.org
11 Wapping Project
Bridget Baker
until 21/01/12
Wapping Hydraulic Power
Station, E1W 3ST
www.thewappingproject.com
13 ▲ Anthony Wilkinson
Joan Jonas: Volcano Saga
until 20/11/11
Joan Jonas: Drawing Languages
until 15/01/12
50-58 Vyner Street, E2 9DQ
www.wilkinsongallery.com
12 Whitechapel Art Gallery
Government Art Collection:
Selected by Cornelia Parker
14 ▲ Aubin Gallery
Yasam Sasmazer: Illuminated
Darkness
until 04/11/11
64-66 Redchurch Street, E2 7DP
www.aubingallery.com
15 ▲ Between Bridges
Marte Esknaes
until 30/10/11
223 Cambridge Heath Road,
E2 0EL
www.betweenbridges.net
16 ▲ B & N Gallery
New Space
until 27/10/11
16 Hewett Street, EC2A 3NN
www.bn-gallery.com
17 ▲ Campoli Presti, 223
Cambridge Heath Road
Scott Lyall
until 17/12/11
77a Greenfield Road, E1 1EJ
www.campolipresti.com
18 ▲ Daniel Blau
Gerhard Richter: Benjamin Katz,
Atlas Exchanged
until 12/11/11
51 Hoxton Square, N1 6PB
www.danielblau.com
22 ▲ Hales Gallery
Richard Galpin: Let Us Build Us
a City and a Tower
until 19/11/11
Tea Building, 7 Bethnal Green
Road, E1 6LA
www.halesgallery.com
23 ▲ Herald St
Djordje Ozbolt
until 06/11/11
2 Herald Street, E2 6JT
www.heraldst.com
24 ▲ Hotel
Duncan Campbell
until 20/11/11
77A Greenfield Road, E1 1EJ
www.generalhotel.org
25 ▲ Kenny Schachter ROVE
Bill Wyman: Second Nature
until 30/11/11
33-34 Hoxton Square, N1 6NN
www.rovetv.net
26 ▲ Limoncello
Sean Edwards: Putting Right
until 12/11/11
15a Cremer Street, E2 8HD
www.limoncellogallery.co.uk
27 ▲ Madder 139
Four in Play
until 05/11/11
137-139 Whitecross Street,
EC1Y 8JL
www.madder139.com
28 ▲ Marsden Woo Gallery
Caroline and Maisie Broadhead:
Taking the Chair
until 29/10/11
Renato Bezerra de Mello: the
Crumbs of Childhood
until 29/10/11
17-18 Great Sutton Street,
EC1V 0DN
www.bmgallery.co.uk
29 ▲ Matt’s Gallery
Emma Hart: to Do
until 20/11/11
42-44 Copperfield Road, E3 4RR
www.mattsgallery.org
30 ▲ Maureen Paley
Rebecca Warren
until 20/11/11
21 Herald Street, E2 6JT
www.maureenpaley.com
31 ▲ MOT
Clune Reid
until 19/11/11
Unit 54, Regents Studios,
8 Andrews Road, E8 4QN
www.motinternational.org
32 ▲ Nettie Horn Gallery
Bettina Samson
until 20/11/11
25b Vyner Street, E2 9DG
www.nettiehorn.com
33 ▲ Payne Shurvell
Lucy Wood: Distant Neighbours
until 22/10/11
16 Hewett Street, EC2A 3NN
www.payneshurvell.com
34 ▲ Rocket Gallery
Revolt, Reform, Result
until 27/11/11
Tea Building, 56 Shoreditch High
Street, E1 6JJ
www.rocketgallery.com
35 ▲ Rod Barton
Michiel Ceulers
until 29/10/11
1 Paget Street, EC1V 7PA
www.rodbarton.com
Today’s highlights
13/10/11
Frieze Talks
1.30pm A discussion of the
relationship between
photojournalism and art
photography, chaired by
Christy Lange, the associate
editor of Frieze magazine,
with artists Adam Broomberg,
Oliver Chanarin and Taryn
Simon (see page 8)
4.30pm Katy Siegel, the
editor-in-chief of Art Journal,
on the enduring power of
painting, the medium that
refuses to die
Frieze Film Programme
4pm Live filming of
LuckyPDF, a group of four
artists based in Peckham
Frieze Performance
3pm Live performance by
artist Cara Tolmie, who works
with video, sound and text
2
d
one Roa
Maryleb
T
▼
▲
33
reet
or St
n
e
v
Gros
44
49
77
83
72
57 86
6
17
t
ee
Str
9 Standpoint
Jemima Brown
until 22/10/11
45 Coronet Street, N1 6HD
www.standpointlondon.co.uk
10 The Showroom
Petra Bauer: Sisters
until 19/11/11
63 Penfold Street, NW8 8PQ
www.theshowroom.org
11 Wellcome Trust
Miracles and Charms
until 26/02/12
183 Euston Road, NW1 2BE
www.wellcome.ac.uk
12 Zabludowicz Collection
Laurel Nakadate
until 11/12/11
176 Prince of Wales Road,
NW5 3PT
www.zabludowiczcollection.com/
london
13 ▲ All Visual Arts
Jonathan Wateridge: Mittelland
until 12/11/11
2 Omega Place, N1 9DR
15 ▲ Ibid Projects
Marianne Vitale: Too Much
Satan for One Hand
until 12/11/11
35 Hoxton Square, N1 6NN
www.ibidprojects.com
16 ▲ Kings Place Gallery
Borchard Self-portrait
Competition and Exhibition
until 24/11/11
90 York Way, N1 9AG
www.kingsplace.co.uk
17 ▲ One Marylebone
Reza Aramesh: Them Who Dwell
on the Earth
until 16/10/11
1 Marylebone Road, NW1 4AQ
www.onemarylebone.com
18 ▲ Pangolin London
Two and a Half Dimensions
until 29/10/11
90 York Way, N1 9AG
www.pangolinlondon.com
19 ▲ Victoria Miro Gallery
Tal R: Science Fiction
until 12/11/11
Maria Nepomuceno: the Force
until 12/11/11
Doug Aitken
until 12/11/11
16 Wharf Road, N1 7RW
www.victoria-miro.com
39
12
43
4
V
d
oa
’s R
g
Kin
illy
cad
Pic
50
14 ▲ Gagosian Gallery,
Britannia Street
Mike Kelley: Exploded
Fortress of Solitude
until 22/10/11
6-24 Britannia Street,
WC1X 9JD
www.freud.org.uk
21
S
88
es’s
am
56 St J
82 87
are
qu
37
25
73
40
14
47
s
es’
Jam
St
8 Parasol Unit
Yang Fudong: One Half
of August
until 06/11/11
14 Wharf Road, N1 7RW
www.parasol-unit.org
2
8
▲
t
71
76
63
53
55
74 60 24
69 St
65 80
48 on
t
54
32 85
84 Bru
23
34
42
5
79
66
51
52
11
35
41
75
Entertaining the Nation: Stars of
Music, Stage and Screen
until 08/01/12
Raymond Burton House,
129-131 Albert Street, NW1 7NB
www.jewishmuseum.org.uk
16
58
S
dox
Mad
eet
Str
ent
Reg
45
en
Reg
6
et
k Stre
Broo
St
nd
Bo
St
rk Old
Co
7 Jewish Museum
Serpentine
Gallery
28
MAYFAIR
78 64
Pl
nd
Portla
36
27
tS
ne
La
rk
Pa
HYDE PARK
t
ee
Str
nd
Bo
6 Freud Museum
Barbara Loftus: Sigismund’s
Watch, a Tiny Catastrophe
until 13/11/11
20 Maresfield Gardens, NW3 5SX
www.freud.org.uk
d
oa
eR
ar
gw
Ed
70
Sq
5 Estorick Collection
Edward McKnight Kauffer: the
Poster King
until 18/12/11
39a Canonbury Square, N1 2AN
www.estorickcollection.com
Street
Oxford
St
astle
Eastc
ley
rke
Be
4 Camden Arts Centre
Nathalie Djurberg with Music by
Hans Berg: a World of Glass
until 08/01/12
Haroon Mirza: I Saw a Square
Triangle Sine
until 08/01/12
Arkwright Road, NW3 6DG
www.camdenartscentre.org
St
man
New
26
treet
Oxford S
17
n Ro
Eusto
61 62
et
tre
rS
e
rtim
Mo
treet
ore S
Wigm
15
REGENT’S PARK
T
5
81 29
ne
La
rk
Pa
3 British Library
Michael Katakis: Photographs
until 20/11/11
Arthur Conan Doyle: the
Unknown Novel
until 05/01/12
Queen Mary of Scots
until 15/01/12
96 Euston Road, NW1 2DB
www.bl.uk
St
field
Titch
t
Place
67
NORTH
1 Artangel
Ryan Gander: Locked Room
Scenario
until 23/10/11
1-3 Wenlock Rd, N1 7SL
www.artangel.org.uk
2 Ben Uri Gallery, The London
Jewish Museum of Art
Josef Herman: Warsaw, Brussels,
Glasgow, London 1938-44
until 15/01/12
108a Boundary Road, NW8 0RH
www.benuri.org.uk
12
1
22
42 ▲ Vilma Gold
Sophie von Hellermann: Crying
for the Sunset
until 06/11/11
6 Minerva Street, E2 9EH
www.vilmagold.com
43 ▲ White Cube, Hoxton Square
Elad Lassry
until 12/11/11
48 Hoxton Square, N1 6PB
www.whitecube.com
7
Rd
Ct
nd
Portla
46
w
Ne
41 ▲ Vegas Gallery
3: Harmonie 2
until 20/10/11
45 Vyner Street, E2 9DQ
www.vegasgallery.co.uk
6
10
eet
Thayer Str
40 ▲ Transition
Face to Face: Artists from Galerie
d’YS, Brussels
until 30/10/11
110A Lauriston Road, E8 4QN
www.transitiongallery.co.uk
31
uare
an Sq
Portm
39 ▲ The Nunnery
David Rickard: Testing the Limits
until 06/11/11
181-183 Bow Road, E3 2SJ
www.bowarts.com
13
ld S
chfireeet
nTitd St
Portla
Great
7
37 ▲ Seventeen
Oliver Laric: Diamond Grill
until 12/11/11
17 Kingsland Road, E2 8AA
www.seventeengallery.com
38 ▲ The Approach
Sam Windett
until 06/11/11
47 Approach Road, E2 9LY
www.theapproach.co.uk
4
MARYLEBONE/FITZROVIA
m
ha
ten
Tot
36 ▲ Rokeby
Matthew Sawyer: White Donkey
for Sale
until 22/10/11
5-9 Hatton Wall, EC1N 8HX
www.rokebygallery.com
▼ ▼
▼
What’s On
▼ ▼
20
all
lM
Pal
SOUTH
1 Alma Enterprises Gallery
Richard Grayson: the Objectivist
Studio
until 06/11/11
38-40 Glasshill Street, SE1 0QR
www.almaenterprises.com
2 Design Museum
Kenneth Grange: Making
Britain Modern
until 30/10/11
28 Shad Thames, SE1 2YD
www.designmuseum.org
3 Drawing Room
The Peripatetic School: Itinerant
Drawing from Latin America
until 12/11/11
12 Rich Estate, Crimscott Street,
SE1 5TE
www.drawingroom.org.uk
4 Dulwich Picture Gallery
Masterpiece a Month:
Presiding Genius
until 31/12/11
Sir Peter Lely: Portrait
until 31/12/11
Nicolas Poussin’s First Series
of the Seven Sacraments
until 26/02/12
Gallery Road, SE21 7AD
www.dulwichpicturegallery.org.uk
5 Flat Time House
John Latham and Austin Osman
Spare: Murmur Become
Ceaseless and Myriad
until 30/10/11
210 Bellenden Road, SE15 4BW
www.flattimeho.org.uk
6 Gasworks
All I Can See is the Management
until 11/12/11
155 Vauxhall Street, SE11 5RH
www.gasworks.org.uk
7 Hayward Gallery
Pipilotti Rist
until 08/01/12
Southbank Centre, SE1 8XX
www.hayward.org.uk
8 Horniman Museum and
Gardens
Bali Dancing for the Gods
until 08/01/12
100 London Road, SE23 3PQ
www.horniman.ac.uk
9 Imperial War Museum
Women War Artists
until 27/11/11
Francesc Torres: Memory
Remains
until 26/02/12
Shaped by War
until 15/04/12
Lambeth Road, SE1 6HZ
www.iwm.org.uk
10 Jerwood Space
The Jerwood Drawing Prize
until 30/10/11
171 Union Street, SE1 OLN
www.jerwoodspace.co.uk
11 National Maritime Museum
High Arctic: Future Visions
of a Residing World
until 13/01/12
Astronomy Photographer
of the Year
until 12/02/12
Park Row, Greenwich, SE10 9NF
www.nmm.ac.uk
12 South London Gallery
Gabriel Kuri: before Contingency
after the Fact
until 27/11/11
Independent Curators
International Presents Fax and
Project 35
until 27/11/11
65 Peckham Road, SE5 8UH
www.southlondongallery.org
13 Tate Modern
Taryn Simon
until 02/01/12
Gerhard Richter: Panorama
until 08/01/12
The Unilever Series: Tacita Dean
until 11/03/12
Artist Rooms: Diane Arbus
until 31/03/12
Photography: New Documentary
Forms
until 31/03/12
Bankside Power Station,
25 Sumner Street, SE1 9TG
www.tate.org.uk/modern
14 ▲ White Cube, Bermondsey
Structure and Absence
until 26/11/11
144-152 Bermondsey Street,
SE1 3TQ
www.whitecube.com
15 ▲ Beaconsfield
Nooshin Farhid
until 30/10/11
22 Newport Street, SE11 6AY
www.beaconsfield.ltd.uk
16 ▲ Cafe Gallery Projects
All Is Not Lost
until 23/10/11
Centre of Southwark Park,
SE16 2UA
www.cafegalleryprojects.org
What’s On
▼
▼
13
19
3
treet
Old S
11
28
Rd
Ct
3
3
Co
m 2 34 14
19 m
er
c
16 ial
St
r
7
36
1
42
26
t
ee
am
nh
tte
To
d
Roa
ld’s
ba
o
e
Th
68
37
8
15 25 18
9
6 10
27
59
1
43
35
ad
reen Ro
hnal G
Bet
22
Brick Lane
oad
1
8
14
20
2
9
Whitechapel
Gallery
21 Victoria and Albert Museum
Signs of a Struggle:
Photography in the Wake
of Postmodernism
until 27/11/11
Postmodernism: Style and
Subversion 1970-90
until 15/01/12
The House of Annie Lennox
until 26/02/12
Ai Weiwei: Dropping the Urn
(Ceramic Works, 5000BC2010AD)
until 18/03/12
Cromwell Road, SW7 2RL
www.vam.ac.uk
32 41
e
Bishop’s Gat
33
e Heath Rd
bridg
Cam
18
31
Mare St
40
Kingsland Rd
5
16
21
4
13
38
39
15
23
30
29
17
12
e
dg
Bri
3
7
13
22
Tate Modern
7
21
10
Westminster Bridge
11
2
1
23 ▲ Agnew’s, Grafton Street
Zebedee Jones
until 04/11/11
8 Grafton Street, W1S 4EL
www.agnewsgallery.com
Ro
the
rhithe Tunnel
10
Tow
er B
ridge
4 18
loo
ter
Wa
St
Blackfriars Bridge
9
22 Wallace Collection
Display: Dazzling Arms and
Armour from the East
until 26/03/12
Hertford House, Manchester
Square, W1M 6BN
www.wallacecollection.org
24
5
24 ▲ Aicon Gallery
Adeela Suleman
until 19/10/11
8 Heddon Street, W1B 4BU
www.aicongallery.com
14
Houses of
Parliament
9
30
20
Va 38
16
3
18
15
25 ▲ Albemarle Gallery
Kim Yeon
until 29/10/11
49 Albemarle Street, W1S 4JR
www.albemarlegallery.com
17
19
19
ux
ha
ll B
rid
ge
Rd
26 ▲ Alison Jacques Gallery
Paul Morrison
until 12/11/11
16-18 Berners Street, W1T 3LN
www.alisonjacquesgallery.com
24
20
11
Ro
ad
South London Gallery
▲
▲
17 ▲ Corvi-Mora
Anne Collier
until 29/10/11
1a Kempsford Road, SE11 4NU
www.corvi-mora.com
18 ▲ Danielle Arnaud Gallery
Marius Pfannenstiel
until 31/10/11
123 Kennington Road, SE11 6SF
www.daniellearnaud.com
19 ▲ Greengrassi
Moyra Davey
until 29/10/11
1a Kempsford Road, SE11 4NU
www.greengrassi.com
20 ▲ Man and Eve
Alex Virji
until 23/12/11
131 Kennington Park Road,
SE11 4JJ
www.manandeve.co.uk
21 ▲ Poppy Sebire
James Aldridge: Bloodlines
until 12/11/11
All Hallows Hall, 6 Copperfield
Street, SE1 0EP
www.poppysebire.com
22 ▲ Purdy Hicks
Bettina von Zwehl: Made Up
Love Song and other Works
until 07/11/11
65 Hopton Street, SE1 9GZ
www.purdyhicks.com
23 ▲ Studio Voltaire
Alexandra Bircken
until 03/12/11
Doreen McPherson
until 03/12/11
1a Nelson’s Row, SW4 7JR
12
Peckham Road 5
www.studiovoltaire.org
24 ▲ The Agency
Sadie Murdoch: Dream of
the Dreamers
until 22/10/11
66 Evelyn Street, SE8 5DD
www.theagencygallery.co.uk
WEST
1 Architectural Association
Double or Nothing
until 26/10/11
School of Architecture, 34-36
Bedford Square, WC1B 3ES
www.aaschool.ac.uk
2 Austrian Cultural Forum
Thomas Feichtner: Hands-on
Design
until 25/10/11
28 Rutland Gate, SW7 1PQ
www.austria.org.uk/culture
3 British Museum
Grayson Perry: the Tomb of the
Unknown Craftsman
until 19/02/12
German Romantic Prints and
Drawings: Landscape Heroes
and Folktales
until 01/04/12
Great Russell Street, WC1B 3DG
www.britishmuseum.org
4 Courtauld Gallery
The Spanish Line: Drawings
from Ribera to Picasso
until 15/01/12
Somerset House, Strand,
WC2R 0RN
www.courtauld.ac.uk
5 David Roberts Art Foundation
Miriam Cahn
▲
4
23
Listings compiled by Belinda
Seppings and Riah Pryor
Map designed by Katherine Pentney
8
until 17/12/11
111 Great Titchfield Street,
W1W 6RY
www.davidrobertsartfoundation.com
6 Fleming Collection
John Burningham: an
Illustrated Journey
until 22/12/11
13 Berkeley Street, W1J 8DU
www.flemingcollection.co.uk
7 Institute of Contemporary Arts
Frances Stark: My Best Thing
until 23/10/11
Jacob Kassay
until 13/11/11
Ad Reinhardt: a Retrospective
of Comics
until 13/11/11
Franz West: Room in London
until 29/01/12
12 Carlton House Terrace, The
Mall, SW1Y 5AH
www.ica.org.uk
8 Mosaic Rooms
Fadi Yazigi: Che, Angel, It’s
Me, Donkey
until 28/10/11
226 Cromwell Road, SW5 0SW
www.mosaicrooms.org
9 National Gallery
Art for the Nation: Sir Charles
Eastlake at the National Gallery
until 30/10/11
Trafalgar Square, WC2 5DN
www.nationalgallery.org.uk
10 National Portrait Gallery
Glamour of the Gods:
Hollywood Portraits
until 23/10/11
Tony Bevan Self-portraits
October 20/23 2011 — Paris — www.showoffparis.fr
▲
Ca
mb
erw
ell
Ne
w
▲
6
21
until 11/12/11
St Martin’s Place, WC2H 0HE
www.npg.org.uk
11 Royal Academy of Arts
Journeyings: Recent Works on
Paper by Frank Bowling RA
until 23/10/11
Artists’ Laboratory 03: Nigel
Hall RA
until 23/10/11
Maurice Cockrill RA: Works on
Paper from Five Decades
until 30/11/11
Degas and the Ballet:
Picturing Movement
until 11/12/11
Burlington House, Piccadilly,
W1J 0BD
www.royalacademy.org.uk
12 Royal British Society of
Sculptors
From Public Space to
Private Realm
until 28/10/11
108 Old Brompton Road,
SW7 3RA
www.rbs.org.uk
13 Royal Institute of British
Architects
Palladio and His Legacy: a
Transatlantic Journey
until 31/12/11
66 Portland Place, W1B 1AD
www.architecture.com
14 Science Museum
Conrad Shawcross: Protomodel
until 13/11/11
Exhibition Road, SW7 2DD
www.nmsi.ac.uk
15 Selfridges & Co
Museum of Everything:
Exhibition #4
until 25/10/11
400 Oxford Street, W1U 1AT
www.selfridges.com
27 ▲ Annely Juda Fine Art
Christo and Jeanne-Claude:
40 Years, 12 Exhibitions
until 22/10/11
23 Dering Street, W1S 1AW
www.annelyjudafineart.co.uk
28 ▲ Anthony Reynolds Gallery
David Austen: Papillon
until 22/10/11
60 Great Marlborough Street,
W1F 7BG
www.anthonyreynolds.com
16 Serpentine Gallery
Anri Sala
until 20/11/11
Kensington Gardens, W2 3XA
www.serpentinegallery.org
29 ▲ Art First
Kevin Laycock: Collision
until 12/11/11
Liane Lang and Rasha Cahil
until 12/11/11
21 Eastcastle Street, W1W 8DD
www.artfirst.co.uk
17 Sladmore Gallery, Jermyn
Street
Impressionist Sculpture
until 28/10/11
57 Jermyn Street, St James's,
SW1Y 6LX
www.sladmore.com
30 ▲ Art Sensus
Andrei Molodkin
until 17/12/11
7 Howick Place, SW1P 1BB
www.artsensus.com
18 Somerset House
Real Venice
until 11/12/11
Strand, WC2R 1LA
www.realvenice.org
19 Tate Britain
Barry Flanagan: Early Works
1965-82
until 02/01/12
John Martin: Apocalypse
until 15/01/12
Art Now: Ed Atkins
until 22/01/12
Romantics
until 03/06/12
Millbank, SW1P 4RG
www.tate.org.uk/britain
20 The Great Room, 7 Howick
Place
Farkhad Khalilov
until 19/10/11
7 Howick Place, SW1P 1BB
www.farhadkhalilov.com
31 ▲ Atlas Gallery
Ernst Haas: Colour Correction
until 22/10/11
49 Dorset Street, W1U 7NF
www.atlasgallery.com
32 ▲ Beaux Arts
Elisabeth Frink
until 05/11/11
22 Cork Street, W1S 3NA
www.beauxartslondon.co.uk
33 ▲ Ben Brown Fine Arts
Nabil Nahas
until 03/12/11
12 Brook’s Mews, W1K 4DG
www.benbrownfinearts.com
34 ▲ Bernard Jacobson Gallery
Robert Motherwell: Works
on Paper
until 26/11/11
6 Cork Street, W1S 3NX
www.jacobsongallery.com
35 ▲ Bischoff/Weiss
“The eessential
ssential ccontemporary
ontemporary
artt fair
ar
fair
a in the
the he
heart
art ooff P
Paris
aris
ar
tweek.”
artweek.”
What’s On
Raphaël Zarka: Gibellina Vecchia
until 19/11/11
14a Hay Hill, W1J 8NZ
www.bischoffweiss.com
36 ▲ Blain Southern
Rachel Howard
until 22/12/11
21 Dering Street, W1S 1AL
www.blainsouthern.com
37 ▲ Brancolini Grimaldi
Roy Arden: the Homosexual Who
Wrecked an Empire
until 12/11/11
43-44 Albemarle Street, W1S 4JJ
www.brancolinigrimaldi.com
38 ▲ Edel Assanti Project Space
(In)Visible
until 13/11/11
276 Vauxhall Bridge Road,
SW1V 1BB
www.edelassanti.com
39 ▲ Eleven
Ben Turnbull: Supermen, an
Exhibition of Heroes
until 22/10/11
11 Eccleston Street, SW1W 9LX
www.elevenfineart.com
40 ▲ Faggionato Fine Arts
Enoc Perez: Nudes
until 18/11/11
49 Albemarle Street, W1S 4JR
www.faggionato.com
41 ▲ Fine Art Society
The Strawberry Thief
until 28/10/11
148 New Bond Street, W1S 2JT
www.faslondon.com
42 ▲ Flowers Central
Mona Kuhn: Bordeaux Series
until 29/10/11
21 Cork Street, W1S 3LZ
www.flowersgalleries.com
43 ▲ Frith Street Gallery
Marlene Dumas: Forsaken
until 26/11/11
17-18 Golden Square, W1F 9JJ
www.frithstreetgallery.com
44 ▲ Gagosian Gallery, Davies
Street
Andy Warhol: Bardot
until 12/11/11
17-19 Davies Street, W1K 3DE
www.gagosian.com
45 ▲ Gimpel Fils
Niki de Saint Phalle, Andrew
Gilbert and Lucy Stein: the Lost
Art of Convalescence
until 19/11/11
30 Davies Street, W1K 4NB
www.gimpelfils.com
46 ▲ GV Art
Ken and Julia Yonetani: Sense
of Taste
until 22/11/11
49 Chiltern Street, W1U 6LY
www.gvart.co.uk
49 ▲ Hamiltons
Tomio Seike
until 29/10/11
13 Carlos Place, W1Y 2EU
www.hamiltonsgallery.com
63 ▲ Luxembourg and Dayan
Grisaille
until 23/12/11
2 Savile Row, W1S 3PA
www.luxembourgdayan.com
50 ▲ Harris Lindsay
Now and Then
until 28/10/11
67 Jermyn Street, SW1Y 6NY
www.harrislindsay.com
64 ▲ Max Wigram Gallery
Athanasios Argianas: Laid Long,
Spun Thin
until 12/11/11
106 New Bond Street, W1S 1DN
www.maxwigram.com
51 ▲ Haunch of Venison
Frank Stella: Connections
until 19/11/11
Edward Barber and Jay
Osgersby: Ascent
until 19/11/11
Ahmed Alsoudani
until 26/11/11
6 Burlington Gardens, W1S 3ET
www.haunchofvenison.com
52 ▲ Hauser & Wirth, Piccadilly
Phyllida Barlow: Rig
until 22/10/11
196a Piccadilly, W1J 9DY
53 ▲ Hauser & Wirth, Savile Row
Roni Horn: Recent Work
until 22/10/11
23 Savile Row, W1S 2ET
www.hauserwirth.com
54 ▲ Helly Nahmad Gallery
Highlights from the Collection
until 21/10/11
2 Cork Street, W1S 3LB
www.hellynahmad.com
55 ▲ Imago Art Gallery
Marino Marini Contemporary:
Alessandro Algardi
until 31/01/12
4 Clifford Street, W1S 2LF
www.imago-artgallery.com
56 ▲ Jack Bell Gallery
Les Fantomes
until 29/10/11
13 Mason’s Yard, SW1Y 6BU
www.jackbellgallery.com
57 ▲ James Hyman
Photography
Eugène Atget
until 12/11/11
5 Savile Row, W1S 3PD
www.jameshymangallery.com
58 ▲ Karsten Schubert
Bridget Riley: Paintings and
Studies 1979-81
until 18/11/11
5-8 Lower John Street, W1F 9DR
www.karstenschubert.com
59 ▲ Laura Bartlett Gallery
Ian Law
until 18/11/11
10 Northington Street, WC1N 2JG
www.laurabartlettgallery.com
60 ▲ Laurent Delaye Gallery
Michael Stubbs
until 17/12/11
11 Savile Row, W1S 3PG
www.laurentdelaye.com
47 ▲ Hackelbury Fine Art
Garry Fabian Miller: That
I Might See
until 17/12/11
4 Launceston Place, W8 5RL
www.hackelbury.co.uk
61 ▲ Lisson Gallery
Cory Arcangel: Speakers
Going Hammer
until 12/11/11
52-54 Bell Street, NW1 5DA
48 ▲ Halcyon Gallery
Pedro Paricio: Spain Now
until 21/10/11
24 Bruton Street, W1J 6QQ
www.halcyongallery.com
62 ▲ Lisson New Space
Shirazeh Houshiary
until 12/11/11
29 Bell Street, NW1 5DA
www.lissongallery.com
65 ▲ Mayor Gallery
Do Not Remove: Conner, Herms
and Mallary
until 26/10/11
22a Cork Street, W1S 3NA
www.mayorgallery.com
66 ▲ Messum’s Fine Art Ltd
James Dodds
until 22/10/11
Lionel Bulmer and Margaret Green
until 22/10/11
8 Cork Street, W1S 3LJ
www.messums.com
67 ▲ Mummery and Schnelle
Luigi Ghirri: Project Prints
until 29/10/11
83 Great Titchfield Street,
W1W 6RH
www.mummeryschnelle.com
68 ▲ October Gallery
Owusu-Ankomah: Secret Signs,
Hidden Meanings
until 29/10/11
24 Old Gloucester Street,
WC1N 3AL
www.theoctobergallery.com
69 ▲ Osborne Samuel
Steinunn Thorarinsdottir:
Situations
until 11/11/11
23a Bruton Street, W1J 6QG
www.osbornesamuel.com
until 29/10/11
69 South Audley Street,
W1K 2QZ
76 ▲ Sadie Coles, Burlington
Place
Georg Herold
until 29/10/11
4 New Burlington Place, W1S 2HS
www.sadiecoles.com
In the October main edition
77 ▲ Shizaru Gallery
Kelly McCallum: Plumage
and Paradise
until 31/10/11
112 Mount Street, W1K 2TU
www.shizaru.com
Our current edition contains
104 pages packed with the
latest art world news, events
and business reporting, plus
high-profile interviews (and
a smattering of gossip)
78 ▲ Simon Lee Gallery
Michelangelo Pistoletto: Laviro
until 29/10/11
12 Berkeley Street, W1 8DT
www.simonleegallery.com
LA special The story behind
Pacific Standard Time and the
Los Angeles art scene
79 ▲ Sprüth Magers London
George Condo: Drawings
until 12/11/11
7A Grafton Street, W1S 4EJ
www.spruethmagers.com
80 ▲ Stephen Friedman
Mark Garry and Isabel Nolan
until 19/10/11
25-28 Old Burlington Street,
W1S 3AN
www.stephenfriedman.com
81 ▲ Stuart Shave/Modern Art
Richard Tuttle
until 19/11/11
23/25 Eastcastle Street, W1W 8DF
www.modernart.net
82 ▲ Thomas Dane
Albert Oehlen
until 26/11/11
Chicago Imagists: 1966-73
until 26/11/11
11 Duke Street, SW1Y 6BN
www.thomasdane.com
70 ▲ Pilar Corrias Ltd
Charles Avery: Place de
la Révolution
until 16/12/11
54 Eastcastle Street, W1W 8EF
www.pilarcorrias.com
83 ▲ Timothy Taylor Gallery
Josephine Meckseper
until 12/11/11
15 Carlos Place, W1K 2EX
www.timothytaylorgallery.com
71 ▲ Pilar Ordovas
Irrational Marks: Bacon
and Rembrandt
until 16/12/11
25 Savile Row, W1S 2ER
www.ordovasart.com
84 ▲ Trinity Contemporary
Frances Richardson: Ideas in the
Making: Drawing Structure
until 28/10/11
29 Bruton Street, W1J 6QP
www.trinitycontemporary.com
72 ▲ Riflemaker
Artists Anonymous: the
Happy Show
until 05/11/11
79 Beak Street, W1F 9SU
www.riflemaker.org
85 ▲ Waddington Galleries
Ian Davenport
until 29/10/11
11 Cork Street, W1S 3LT
www.waddington-galleries.com
73 ▲ Robilant and Voena
Morandi: Still-life
until 29/11/11
Wim Delvoye
until 16/12/11
38 Dover Street, W1S 4NL
www.robilantvoena.com
74 ▲ Rossi & Rossi Ltd
Faiza Butt and Naiza Kahn:
Shifting Ground
until 29/10/11
Heri Dono: Madman Butterfly
until 24/11/11
16 Clifford Street, W1S 3RG
www.rossirossi.com
75 ▲ Sadie Coles HQ
Andreas Slominski: Europ
86 ▲ Waterhouse & Dodd,
Cork Street
Emil Robinson: Someone and
Some Other
until 21/10/11
26 Cork Street, W1S 3MQ
www.waterhousedodd.com
87 ▲ White Cube, Mason’s
Yard
Raqib Shaw: Paradise Lost
until 12/11/11
25-26 Mason’s Yard, SW1Y 6BU
www.whitecube.com
88 ▲ Whitford Fine Art
Albert Louden: Imaginings
until 21/10/11
6 Duke Street, SW1Y 6BN
www.whitfordfineart.com
News Who owns the damaged
Henry Moore masterpiece
outside Parliament?
Museums The Faurschous, the
Danish dealers, to open
museums in Copenhagen
and Beijing
Art Market China’s booming
art exchange market
Features Victor Pinchuk, right
with Jeff Koons, reveals plans
for a new museum in Kiev
Artist interview Paul McCarthy
on why he will never leave
Los Angeles
Books Photography and death:
coming to terms with grief
Get your free copy
from Stand M5
On our website
Get all the stories delivered to
your desktop with daily
news, business reports,
politics and events. Our
online content includes
a mix of breaking
stories, interviews,
worldwide exhibition
listings, market analysis
and opinion from leading
art-world figures. Subscribers
can also access our complete
online archives, containing
20 years of reporting by The
Art Newspaper team, while
our daily fair reports are
available to everyone.
The Art Newspaper TV
has interviews with
artists, collectors
and museum
professionals, including
some live from this fair.
www.theartnewspaper.com
On Twitter
The Art Newspaper team will
be tweeting from the fair.
Sign up and follow us
@TheArtNewspaper
Coming up in November
Art Market Jonathan and
Matthew Green discuss the
new Richard Green Gallery
opening in New Bond Street
Museums Clyfford Still’s
Denver museum opens
What’s On Performa, right,
New York’s visual art
performance biennial
Artist interview Maurizio
Cattelan: genius or joker?
Books Holy bones: a round-up
of books on medieval relics
Ragnar Kjartansson, still from “God”, 2007. Courtesy of the artist, Luhring Augustine and I8 Gallery
22
Bu Visi
y y t the
ou Friez
r c e boo
op ksh
y n op
ow
T HE WORL
ORLD’S GRE
REAT
ATEST
T ART COL
OLLECTION
ON
A complete overvie
erview of world
xplained with visual clarity
clarit
ar t explained
A resource unparall
alleled
in any media
30,000
0 BC
B to the 21st Century
y
www.phaidon.
.phaidon.com
MODERN.
CONTEMPORARY.
ABU DHABI ART.
16 - 19 November 2011
Saadiyat Cultural District
Abu Dhabi, UAE
abudhabiartfair.ae
Organised
Organised b
by:
y:
Pr
Principal
incipal sponsor
sponsor::
Associate
Associate sponsor:
sponsor:

frieze 2011, issue 2

Transcription

Similar documents

Los Angeles Adds to Growing Art Scene

May for Email.pub - South Bay Watercolor Society

the press release here.

Kulturzentrum "Treffpunkt Stadtmitte" Wendlingen

Press Release - Flowers Gallery

Catalogue

invitation - American Scandinavian Society

Interview for Kilter Magazine out now

File - Orange County Fine Arts

Art Gallery Brings Hope and Motivation to Local Artisans