art basel 2013, issue 1

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A RT BASEL DAILY EDITION 11 JUNE 2013
Fears over
Istanbul
Biennial
Istanbul. The organisers of the Istanbul
Biennial are reconsidering plans to use
Taksim Square and Gezi Park, sites of
ongoing anti-government protests, as
venues for the 13th edition (“Mom, Am
I Barbarian?”, 14 September-10 November). “We are still considering including
[them]. However, it is too early to discuss
the details,” says Fulya Erdemci, the curator of the biennial.
The unrest was sparked last month
by a police crackdown on activists
demonstrating against the planned redevelopment of Gezi Park, which was
cited as a possible location in a statement
released by the biennial earlier this
year. The Turkish prime minister, Recep
Tayyip Erdogan, is determined to press
ahead with the controversial scheme,
which includes rebuilding an Ottomanera military barracks in the area.
The organisers stress that the biennial
will go ahead despite the dissent, which
has spread to the Turkish capital, Ankara,
and the southern city of Adana. Erdemci
In brief
Globetrotting visitors to
all the major fairs have
had a busy few months
Last stop Basel as
art marathon ends
The fair is one of the final Modern and contemporary events this summer
SUMMER SCHEDULE
ART BASEL: PHOTO: © DAVID OWENS
The artist Mehmet Güleryüz was
caught up in the Turkish protests
says the event “will take place as
planned, though we are also taking on
board what is happening [in Istanbul]”.
However, some participating artists,
who prefer to remain anonymous, fear
that the biennial could be cancelled.
The dealer Kerimcan Güleryüz, who
runs the Istanbul-based Empire Project
gallery, says: “Things should get really
interesting when the biennial starts. I
expect to see a lot of works influenced
by the uprising; police violence should
be in the forefront.” His father, the
high-profile artist Mehmet Güleryüz,
was caught up in the violence.
As with the Arab Spring, the uprising
has sparked a flood of graffiti art.
“There is a remarkable visual and linguistic outburst. No institution could
contain or harness that experience,”
says Vasif Kortun, the research director
of Istanbul’s non-profit Salt gallery.
Sandy Angus, the co-founder of a
new art fair, ArtInternational Istanbul,
which is due to launch in September,
says he is “confident the current problems will be resolved”. G.H.
Basel. Ding ding! It’s time for round
three… As Art Basel opens to VIPs
today, the jet-setting visitors and exhibitors could be excused for feeling a
little weary of art—and airports. The
fair is the third in a crammed six weeks
that have included the second edition
of Frieze New York (10-13 May) and the
first edition of Art Basel Hong Kong,
which closed just two weeks ago.
Squeezed in between was the opening
of the Venice Biennale (until 24 November) and a significant series of auctions in New York (London takes on
the saleroom mantle straight after Art
Basel). A total of 36 exhibitors had
stands in New York and Hong Kong as
well as showing in Basel this week.
Art Basel, the most established of
the global contemporary and Modern
art fairs, comes at the end of this
process. The collector Maria Baibakova,
who is the strategic director of the online saleroom Artspace, is taking in all
the major fairs. She believes that each
has a distinct purpose but ranks the
Swiss fair as “the mothership”.
Because of Art Basel’s status, there
have been comments that the Hong
Kong fair was something of a taster
for the main event, with the galleries
that had committed to both keeping
CONTEMPORARY ART
EVENING & DAY SALES 27 & 28 JUNE LONDON
back their best works. But Marc Spiegler,
the director of the Art Basel fairs, says:
“Everyone has had at least nine months
to plan and to talk to their artists, and
most [dealers] seem to have a strategic
approach rather than managing the
situation by ploughing through their
inventory.” Indeed, for the galleries attending all three fairs, some thought
goes into the different opportunities
that each presents.
This has proved easier for galleries
with a selection of museum-worthy
artists. Olivier Belot at Yvon Lambert
The pool of collectors
has not grown as fast
as the number of fairs
(2.1/N8) says that the choice of works
partly reflects institutional shows in
each region. At Art Basel, the gallery’s
selection includes work by Zilvinas
Kempinas, the subject of a solo exhibition at the Museum Tinguely (until
22 September). For Frieze New York,
works included Joan Jonas (at the Contemporary Arts Museum Houston, until
30 June) and Francesco Vezzoli (who
has shows at MoMA PS1, New York,
and the Museum of Contemporary Art,
Los Angeles, later this year). In Hong
Kong, where the museum scene is still
developing, the gallery’s stand included
artists with connections to Asia (such
as Shilpa Gupta and Koo Jeong-A). Plus,
Belot says, “we know which collectors
are coming to specific fairs, so we include what they are interested in”.
Other national tastes help to determine which works are brought (and
bought). For Hong Kong, Lisson Gallery
(2.0/B12) and Alan Cristea Gallery
(2.1/Q14) chose works of a more domestic
scale, to take into account the size of
high-rise homes in the city. Price points
also dictate: in Hong Kong, these are
much lower than in the more mature
markets of New York and Basel.
For galleries with only one space
(less of a rarity than it seems), the fairs
provide helpful “pop-up” venues around
the world, although they are a challenge
in terms of logistics and presentation.
“The bigger galleries have more options
in terms of bringing booths full of salesticket artists; we have to think longerterm,” says John Kennedy, a director at
Dublin’s Kerlin Gallery (2.1/K9), which
also showed in New York and Hong
Kong. The strategy, he says, has been to
focus on a smaller number of artists
for each fair, to meet the challenge of
maintaining quality throughout.
Others choose not to participate in
all the global market jamborees. “Art
fairs are very useful, but we try not to
CONTINUED ON PAGE 2
European museums rise
above threat of floods
As the threat of floods continues across
Europe, the Otto Dix Museum in the
German artist’s home city of Gera, on the
river Weisse Elster, is due to open again
today after a flood temporarily closed the
institution. Staff were able to protect the
works by moving them to a higher level.
The Essl Museum (owned by Karlheinz
Essl, the Austrian collector who is frequently
seen at Art Basel) in Klosterneuburg, near
Vienna, Austria, reopened to the public on
Friday after the fire brigade helped to protect the museum from the rising waters of
the Danube. However, the Staatliche
Bücher- und Kupferstichsammlung (the
state book and print collection, below) in
the 18th-century Summer Palace in the east
German town of Greiz has been closed since
1 June, also due to the flooding of the Weisse
Elster. According to a
statement from the
museum, the water
on the ground floor
was 40cm deep
and its outdoor
space, the recently
restored 19thcentury Greiz Park,
has been almost completely destroyed. The
museum’s collection was saved by early
flood warnings, which meant that staff were
able to move works to the first floor. Its
director, Eva-Maria Mariassy, hopes that the
building will reopen by the end of this week.
A week of heavy rainfall has caused
major European rivers to overflow. The
flooding, which has so far claimed 18 lives
and could cost billions of euros in damage, is
reported to be moving north, with some
parts of Saxony-Anhalt and Brandenburg
under threat. Fears in Budapest have calmed
after the Danube reached its peak yesterday
and the city’s flood defences held. J.Mi.
Blum & Poe begins hunt
for Manhattan space
The Los Angeles dealership Blum & Poe
(2.1/J18) plans to open a space in Manhattan.
The gallery will “focus on our artists who
currently do not have representation in New
York, in addition to very specific projects,
both historical and otherwise,” says Tim
Blum, the gallery’s co-founder. Several of
these artists were included in the acclaimed
Mono-Ha exhibition staged by the gallery in
Los Angeles last year. “That was the impetus
behind the New York move,” Blum says. “We
will be showing artists including Kishio
Suga, Köji Enokura and Nobuo Sekine."
Sekine’s Phase of Nothingness—Black, 197778, is on show at Unlimited with an asking
price of $425,000. The gallery has yet to
find a space in New York, but its director
Matt Bangser will move to Manhattan in
August to concentrate on the search. “We
want a townhouse with a good parlour floor
for exhibitions,” Blum says. C.B.
THE ART NEWSPAPER ART BASEL DAILY EDITION 11 June 2013
2
NEWS
Sprüth takes
on Bernd and
Hilla Becher
Elmgreen & Dragset’s public art show fills Munich
with masturbation, megaphones and the smell of pork
EXHIBITION
Munich. When Michael Jackson died, a
group of his fans in Munich erected an
impromptu shrine in front of the hotel
in which he once stayed. The photographs, mementos, candles and flowers
assembled around the base of a statue
of the 16th-century composer Orlando
di Lasso amounts to a “guerrilla monument”, says the British artist David
Shrigley. “The fans see [their shrine] as
an act of devotion; I see it as a public
work of art.” So when the Scandinavian
artists Elmgreen & Dragset asked
Shrigley to make a work for “A Space
will for his care,” says Shrigley, who
adds that he has become “increasingly
interested” in animal rights. Jackson’s
fans have not taken the implied criticism
of their idol well. “They have been vandalising my work… bits of it keep disappearing. I didn’t think they would
see [my monument] as such a threat.”
The battle over the memory of the
late singer neatly illustrates the central
themes of Elmgreen & Dragset’s exhibition, which runs until September.
“Public space belongs to everybody and
to nobody at the same time… there is a
struggle for it, especially in a democracy,”
says Ingar Dragset, pointing to a work
by the German artist Alexander Laner
“Traditionally, public sculpture has been
monuments to grumpy old men who won wars”
Called Public”, an outdoor exhibition
of public art that they were organising
in the German city, Shrigley opted to
create an “ironic response” to the Jackson
memorial. For Bubblesplatz, the artist
plastered the base of a nearby statue
with images of Bubbles, the chimpanzee
who was once favoured by the star
before being unceremoniously dumped.
Today, Bubbles lives in an animal
sanctuary in Florida, which “has to
raise $1m a year to look after him—
Jackson didn’t leave anything in his
(entitled Better Living) as a “comment on
who has the right to public space”. In
January, the artists Stephen Hall and Li
Li Ren erected a replica of London’s
Fourth Plinth, an empty pedestal in
Trafalgar Square that is used for a rotating display of contemporary art, in Munich’s Wittelsbacherplatz, home to a
grand equestrian statue of Maximilian
I, the ruler of Bavaria who presided
over the Thirty Years’ War.
Now, Laner has turned Hall and
Ren’s 4th Plinth Munich into a temporary
Last stop Basel
CONTINUED FROM PAGE 1
do too many, as they can distract from
concentrating on our artists,” says the
dealer Thomas Dane, who is showing
at Art Basel (2.1/M15) but did not participate in this season’s other fairs.
Similarly, collectors need to pick
and choose. David Roberts, a British
collector with a private foundation in
London, says: “I don’t think we would
visit every fair on the merry-go-round.
Indre [his wife] is a working artist who
has an active position at the [David
Roberts Art] Foundation and I have a
business to run in the UK and Germany.” He is in Basel this week, but
did not go to New York or Hong Kong.
He has no fear of missing out, though;
5th June – 27th July 2013
Blain|Southern
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quite the reverse. “With the number
of events, there is a danger that certain
artists’ works can be over-exposed,
and missing some of the fairs doesn’t
equate with missing new or important
pieces,” he says.
One remaining question is whether
anyone is making a profit from the extra activity the growing number of major fairs entails, once the flights and
hotels (among other costs) have been
paid for. Art fairs are presumably good
business: the global exhibitions sector
is forecast to grow by 5% a year for the
next few years, according to the specialist consultancy AMR International,
and at twice that rate in emerging
economies. But is everybody else just
A shrine erected by Michael Jackson’s
fans (above) and Shrigley’s version
dedicated to the late pop star’s chimp
home; members of the public will take
up residence in the structure for 24
hours at a time, starting from this
week. “Traditionally, public sculpture
has been monuments to grumpy old
men who won wars. We tried to do
more of a celebration of everyday life,”
Michael Elmgreen says.
Elsewhere, a commemorative plinth
in Neo-classical style recalls traditional
celebrations of heroic achievements.
But the funerary monolith, a work by
the Icelandic artist Ragnar Kjartansson,
is inscribed in German with the phrase:
“The only thing he ever wanted to do
running faster to stay still? Sales are
certainly made at each fair—some galleries say these account for more than
half of their revenue—but although it
is widening, the pool of collectors has
not grown as fast as the number of
fairs worldwide.
For now, it is all about the potential
offered by making new contacts, and
dealers remain circumspect about how
long this investment phase may last.
Kerlin’s John Kennedy says that as long
as the gallery is covering its costs and
investing in the future of its artists,
“anything on top is the cream”. Lisa
Schiff, a New York-based art adviser,
perhaps sums up the situation. “We’re
keeping up with the fairs, auctions
and private sales opportunities, but
we’re not necessarily making more
money,” she says.
Melanie Gerlis
was masturbate and eat truffles.” The
sculpture may be offensive to some,
but Hans-Georg Küppers, the director
of Munich’s department of arts and
culture, believes that the freedom to
cause offence is important. “There has
been no kind of censorship of the work
here… people might not like some of
[it],” he says, adding that the city has
spent around €1.2m on the exhibition.
Pieces such as a daily performance
by Elmgreen & Dragset have the power
to “raise important questions about
us”, Küppers says. An elderly man picks
up a megaphone every day in the Odeonsplatz, a space traditionally used for
parades and public events, and shouts:
“It’s never too late to say sorry”, a declaration which is particularly resonant
in Germany, the artists say. Also in the
city are works by Ruscha, Kippenberger
and the Norwegian “smell artist” Sissel
Tolaas, who has installed hidden devices
that pump out the “distinctive Munich
smells” of pork, beer and perfume in a
passageway in the city.
Cristina Ruiz
Sprüth Magers (2.0/B19) now
represents the Düsseldorf School
photographers Bernd and Hilla
Becher, and the gallery is selling its
first work by the couple at this year’s
Art Basel (Cooling Towers, 2013, a
group of nine black-and-white
photographs, priced at €90,000).
Bernd Becher, who died in 2007, was
a professor of photography at
Düsseldorf’s Kunstakademie for 20
years, teaching—among others—
Andreas Gursky, Candida Höfer,
Thomas Ruff and Thomas Struth.
Since his death, his widow has
continued to reassemble their works,
mostly using existing photographs
(as in Cooling Towers), although still
“shooting a new subject once in a
while”, says Monika Sprüth, the
gallery’s co-founder. The Bechers are
also represented by Konrad Fischer
from Germany (2.0/B6) and New
York’s Sonnabend Gallery. M.G.
In brief
Veteran London dealer to receive award
Leslie Waddington, the chairman of London’s Waddington Custot
Galleries (2.0/F11), is to receive a lifetime achievement award from
the Federation of European Art Galleries Association tomorrow in
Art Basel’s VIP Lounge. “I’m touched,” Waddington says. He began
working with his father, the Irish art specialist Victor Waddington, in
1958, before opening his own gallery in 1966. “He’s consistently
been a great dealer,” says the association’s board member David Juda
(2.0/B16), whose mother, Annely, won the same award in 2007. J.H.
Five artists win Abraaj Group Art Prize
The winners of the 2014 Abraaj Group Art Prize—a high-profile award focusing on the Middle
East, North Africa and South Asia region—are Abbas Akhavan (Iran), Anup Mathew Thomas
(India), Basim Magdy (Egypt), Bouchra Khalili (Morocco) and Kamrooz Aram (Iran). The winners were selected by a panel of judges including Glenn Lowry, the director of New York’s
Museum of Modern Art. The artists’ new works will be unveiled at the next Art Dubai fair (19-22
March 2014). The Abraaj Group, a private equity fund, launched the prize in 2008. G.H.
BILL VIOLA
FRUSTRATED
ACTIONS
AND FUTILE
GESTURES
BECHER: © BERND AND HILLA BECHER; COURTESY OF SPRÜTH MAGERS, BERLIN, LONDON; PHOTO: TIMO OHLER. WADDINGTON: COURTESY OF WADDINGTON CUSTOT GALLERIES, LONDON
Shrigley enshrines
Bubbles the chimp
4
NEWS ANALYSIS
New brand in town as
Basel hits Hong Kong
Slowly but surely, the fair’s newest edition is beginning to make strides
Hong Kong. Art Basel made its presence
felt at its first official outing in Hong
Kong (23-26 May). Gigantic two-tone
posters, some translated into Chinese,
flanked the route from the airport to
the Convention and Exhibition Centre,
and the branding even extended to
three of the city’s trams, colour-blocked
in the fair’s bright shades.
Inside the halls, the Art Basel effect
was also in evidence, albeit more subtly.
“The fair is better oiled as an event
compared with its previous incarnation,” said Andrew Jensen, the founder
of Jensen Gallery in New Zealand and
Australia. Visiting, but not exhibiting
at the fair this year, Daniel Lechner, a
sales associate at Cheim & Read gallery
(2.0/C14 at Art Basel), said: “It was a
smart move by Art Basel to add this
fair to the fold, and a gift to the galleries
that it is setting a gold standard here.”
That this standard has yet to be
met is not surprising: adopting an existing fair (the event was ArtHK from
2008 until 2012) is a new challenge
for the Art Basel franchise, which
launched its Basel and Miami editions
from scratch. In addition, the fair’s
timing, so close to that of the venerable
Art Basel, meant that some exhibitors
were saving the best for the Swiss
fair. And by committing to showing a
greater number of galleries from Asia
than at other international fairs, the
event is dependent for quality on relative newcomers to the contemporary
art scene. “Differentiating between
‘high’ and ‘low’ art is less relevant in
the East than in the West,” says Lars
Nittve, the executive director of M+.
“They [Art Basel] want to make the
fair more Asian, but there’s an argument that this should be more gradual,” said Saskia Joosse, the managing
director of Singapore’s Pop and Contemporary Fine Art gallery, who was
visiting the fair.
“Differentiating
between ‘high’
and ‘low’ art is less
relevant in the East”
Art Basel is not, of course, entirely
new to Hong Kong, having announced
its majority acquisition of the fair in
2011 and having been a background
influence since then. Similarly, many
of the exhibitors have been building
their recognition factor in the city for
at least a few years, with many of the
big international names—including
Gagosian Gallery (2.0/B15), White Cube
(2.0/C18) and Galerie Perrotin (2.1/L1)—
having opened their own spaces in
the city since
ArtHK launched
in 2008. “There
is a lot of conversation about
the fair as if it is
the engine of the
market here, which
it’s not,” said Graham
Steele, White Cube’s director in Hong Kong. “[The
fair, since its inception] has
done a lot, but now we’re thinking
longer-term.”
For most of the other overseas exhibitors, however, the fair (and its trusted brand) is the most efficient way to
nudge into Hong Kong, a gateway to
Asia and, importantly, Australia—an
understandable strategy in this age of
Western austerity. “To ignore this part
of the world would be foolhardy,” said
Michael Lieberman of Harris Lieberman
gallery, showing for the second year
running. “We did enough business last
year to make it worthwhile,” he added.
Others felt
the same: their
repeated attendance in Hong
Kong was beginning, slowly, to
pay off, although
sales in general
were patchy. “It’s
never been a fair where
people go crazy, but it gets
better every year,” said Olivier
Belot of the Paris gallery Yvon Lambert
(2.1/N8), which also exhibited at the
fair in 2008, 2011 and 2012. “This year,
you feel the effect of [Art] Basel—there
are more European collectors,” he said.
His sales included Mario Testino’s photograph of Kate Moss, In bed with Kate,
London, 2006, which went for $6,000
to an Australian buyer. “Miami is a
stampede, but here, buyers like to sit
back and wait,” said Lisa Carlson, the
director of Lombard Freid, which was
exhibiting at the fair for the third year
running. Her sales included Honey Bee
Organic, 2013, by Lee Kit, Hong Kong’s
representative at the Venice Biennale,
for €16,000.
Higher-level sales were also made,
particularly by galleries already known
in the region, peaking at $2m for Yayoi
Kusama’s Flame of Life—Dedicated to TuFu (Du-Fu), 1998, which featured on a
popular solo-artist stand shared by London’s Victoria Miro (2.1/N7) and Tokyo’s
Ota Fine Arts. However, the majority
of sales made at the fair were in the
tens of thousands, or below.
Buyers from Malaysia and Taiwan,
as well as the international citizens of
Hong Kong, accounted for most of the
sales to Asia; there were also a number
of Australian collectors. All the same,
Westerners accounted for much of the
buying, while mainland Chinese collectors—less conspicuous in the market
than many had hoped—remain elusive.
The spending mood was dampened
by news of weakening manufacturing
activity in China on the day after the
fair opened, which hit the stock markets
in Japan (down 7.3%), Hong Kong (down
2.5%), Australia (down 2%), Taiwan (down
2%) and China (down 1.3%). “We find
that [Chinese collectors] are not buying
so much these days,” said Hsiao Fuyuan, the chairman of Soka Art. “We
have three spaces, two in Taiwan and
one in Beijing, and Beijing is performing
the worst.” Nonetheless, Hauser &
Wirth (2.0/C10) said that it had sold
Sterling Ruby’s SP234, 2013, to a foundation in China for $250,000.
Melanie Gerlis and Katie Hunt
MAX ERNST
26. 5. – 8. 9. 2013
MAURIZIO CATTELAN
8. 6. – 6. 10. 2013
ALEXANDER CALDER
8. 6. 2013 – 2014
L’ange du foyer (Le triomphe du surréalisme), 1937, Privatsammlung, © 2013, ProLitteris, Zürich
FONDATION BEYELER
Foto: Mark Niedermann
THOMAS SCHÜTTE
6. 10. 2013 – 2. 2. 2014
PHOTOS: NORM YIP PHOTOGRAPHY
Around the fair (clockwise from
above): the stands of Dominique Lévy,
Victoria Miro and Murray White Room—
and a branded Hong Kong tram
FAIR REPORT
NEWS ANALYSIS
Gio Ponti’s folding
armchair, manufactured
by Fratelli Reguitti in
1954, on Nilufar’s
booth (G12)
Rethinking past
design masters
Historic and contemporary pieces side-by-side at Design Miami Basel
DESIGN FAIR
Basel. Collectors may have been surprised to find historic and contemporary design pieces presented together
during yesterday’s preview of Design
Miami Basel (until 16 June). Designs
from significantly different periods intermingle at Galerie Kreo (G21), Nilufar
(G12) and Galleria O (G23) while the
contemporary Carpenters Workshop
Gallery has a combined booth with
Steinitz (G17), the Paris gallery known
for historical rarities.
This dialogue between old and new
takes its cue from museum exhibitions.
The Victoria and Albert Museum in
London enlivened its historic collections
during the London Design Festival with
high-tech, 3D-printed objects in 2011
and Nendo’s contemporary chairs in
2012. The British designer Jasper Morrison inserted his work among 18thcentury antiques in a show at the Musée
Bernard I van Risenburgh’s Allegorical
Cabinet of Cardinal Virtues, around
1700 (left), and Studio Job’s Chartres,
2011, on display at a booth shared by
Carpenters Workshop Gallery and
Steinitz (G17)
are bought less as icons than for their
original purpose as chairs or lamps.”
This view is shared by Didier Krzentowski, the co-director of Galerie Kreo.
“Eighty per cent of our clients want
designs they can use in their homes,”
he says. “They like to mix pieces from
different periods so it’s important to
reflect this on our booth. A lot of innovation in lighting took place between
1950 and 1970. Comparing these pieces
with contemporary designs puts this
into perspective.”
Kreo’s presentation unites historic
lamps by Gino Sarfatti, Pierre Paulin
and Roger Tallon with new tables by
Hella Jongerius and Pierre Charpin, as
well as recent tables by François Bauchet,
Konstantin Grcic (Jetdog, 2011, €75,000),
Studio Wieki Somers (Frozen Square Hogweed, 2010, €15,000) and Marc Newson’s
Chop Top table, 1988.
Rare lights are also presented by
Galleria O, where 1950s Fontana Arte
and Gino Sarfatti lamps, including Sar-
alongside collections in the Louvre, New
York’s Metropolitan Museum of Art and
the J. Paul Getty Museum in Los Angeles.
Still, as Benjamin Steinitz, the gallery’s
director, observes: “You can’t just create
a museum at home. Things have to be
used.” So his joint booth with Carpenters
Workshop Gallery (CWG) emulates a
domestic setting. “The scenography
recreates the [fictional] apartment of a
gentleman collector because clients
want to use and enjoy their works of
art rather than just display them,” says
Loic Le Gaillard, the co-director of CWG.
The collaboration originated at last
September’s Biennale des Antiquaires
in Paris. Steinitz’s exceptional pieces
include antique boiserie panelling
dating from 1730 to 1763, a carved oak,
marble-topped Hercules table, made in
Paris in around 1770 (probably for
Henri-Philippe, Marquis de Ségur) and
the Allegorical Cabinet of Cardinal Virtues,
made by Bernard I van Risenburgh in
around 1700. Interspersed among
these historic pieces are CWG’s
contemporary designs: Studio Job’s
Chartres, 2011, an upside-down, 1.8metre replica of a cathedral in bronze
and gold leaf (priced at €240,000) and
Frederik Molenschot’s bronze wallsconces Citylight CL-2, 2012 (€37,000).
Could massive differences in asking
prices between old and new work create
issues? “It’s not a problem showing a
million euro piece alongside a thousand
euro piece,” Le Gaillard says. “What’s
important is the quality of work and
the back-story to each piece.” The next
few days will tell if he’s right.
Nicole Swengley
This dialogue between old and new takes its cue
from museum exhibitions
des Arts Décoratifs, Bordeaux, in 200910. “I was interested in the shift of atmosphere that might result from combining new and old,” Morrison says.
Fresh perspectives are undoubtedly
forged by this approach. “It prompts
you to think differently about each
aesthetic,” says Simon Andrews, a senior
specialist in 20th-century decorative
art and design at Christie’s, London.
“Mixing objects together expresses confidence. People realise the designs are
saying something complementary but
expressed in different ways.”
It also reflects an increasing desire
to use (rather than look at) purchases.
“People want to live with the designs
they buy,” Andrews says. “In the past,
collectors took a more curatorial, academic approach but now the appreciation of objects has widened. Designs
My
Basel
Top
The UK painter Dexter
Dalwood was nominated for the Turner
Prize in 2010. Works
created by Dalwood
within the past 15 years, on
view at the Kunsthaus CentrePasquArt in
Biel until 16 June, includes key pieces such as
Nixon's Departure and Hendrix's Last
Basement, both 2001, and more recent
paintings such as Robert Walser, 2012. G.H.
fatti’s already sold floor lamp (mod.
1050 from 1951), are shown alongside
the Campana brothers’ new Trono armchair (€38,000) made with Kidassia Tibetan goat fur, as well as three of Luisa
Zanibelli’s new gilded copper coffee tables (€7,500 each). At Nilufar, contemporary linear lights from Michael Anastassiades’s “Lit Lines” collection (pendant
lamps, €15,000 each; wall lamps, €7,000
each) contrast with colourful 1960s
Venini bubble lamps (a set of five),
while contemporary laminate marquetry
furniture by Bethan Laura Wood rubs
shoulders with Gio Ponti’s 1950s classics.
Steinitz is known for its theatrical
mise-en-scenes. In the past,
the gallery
has
displayed
its objects
1
MUSEUM:
Go and see “The
Picassos Are Here!”
(until 21 July), an
unmissable show at
the Kunstmuseum
Basel. Also visit the
Schaulager, just to
see how a contemporary art museum
should be. 2
THE COCKTAIL:
The bar in which to
hang out and listen to
live acts is the Agora
bar. Some of the best
cocktails in town are
served here, and the
bar is open until the
early hours. Just be
aware: it’s marked by a
tiny shop window and
is also a fumoir (so
smoking is allowed).
3
THE FOOD:
Visit Eoipso. It’s
housed in an old
electrical turbine hall
(Dornacherstrasse 192).
4
PRET A DINER:
A pop-up restaurant that will only be in
Basel this year (until 16
Download
all our Art
Basel daily
editions in
app format
• A sales report on Design Miami Basel will
appear in issue three of The Art Newspaper's
daily editions (Thursday 13 June)
The
Museum für
Gegenwartskunst
June, at the
Elisabethen Kirche).
5
THE WALK:
For a nice run or
leisurely walk, find
your way down from
the Kunstmuseum
Basel to the river
Rhine and walk
upstream alongside
the old parts of town:
the contemporary art
museum (Museum für
Gegenwartskunst); the
riverside café,
Veronica, located on a
large metal pier; and a
wonderful sequence
of trees leading to
Birsköpfli, a local
bathing spot. Keep
going and you’ll come
to the Birsfelden dam,
a 1950s cultural heritage site. Erected by
Hans Hoffmann, the
dam is a James Bond-
like setting of structural grandeur, with
light-flooded machine
rooms bridged by a
green peninsula.
[From] there you can
turn around and head
back to town—an
eight-kilometre walk
or run.
Download now
for iPad, iPhone
and Android
www.berlinartweek.de
CHARTRES: © ROBERT KOT
6
Design M iami
m / Basel 2013
The Global For um for Design
11–16 June 2013
New Locat ion / Hall 1 Süd
T ME SEE L
ET
ME
W
O
SH
E
S
H
O
ME
H
Design Galleries
Antonella Villanova
Villanov / Caroline Van Hoek / Carpenters
Workshop Gallery/
Gallery / Cristina Grajales Ga
Gallery/
y / Dansk
Gallery / Demisch Danant / Didier Ltd /
Møbelkunst Gallery
Apartment-Gallery/
Erastudio Apartment-Galler
y / Franck Laigneau
Laignea / Gabrielle
Ammann // Galler
Gallery/
Duval / Galerie
y / Galerie Anne-Sophie Duva
BSL – Béatrice Saint-Lauren
Saint-Laurent / Galerie Chastel-Maréchal
Chastel-Marécha /
Galerie Downtown – François Laffanour / Galerie Eric
Philippe / Galerie Jacques Lacoste / Galerie kreo / Galerie
Maria Wettergren / Galerie Pascal Cuisinier / Galerie
Patrick Seguin / Galerie Ulrich Fiedler / Galleria O. / Gallery
Libby Sellers / Gallery SEOMI / Heritage Gallery/
Gallery / Hostler
Burrows / Jacksons / Jousse Entreprise / Nilufar Gallery
y/
Ornamentu / Pierre Marie Giraud / Priveekollektie
Ornamentum
Contemporary Art|Desig
Art|Design / R 20th Century/
Century / Salon 94 /
Sebastian + Barquet / Southern Guild / Steinitz / Thomas
Fritsch – ARTRIU
ARTRIUM / Victor Hunt Designart Dealer /
YMER&MALT
YMER&MALTA /
Design O
On / Site Galleries
Armel Soyer presenting Mathias Kiss / Carwan Gallery
presenting India Mahdavi / Elisabetta Cipriani presenting
Enrico Castellani / Galerie VIVID presenting Richard
Woods & Sebastian Wrong / Granville Gallery presenting
Elizabeth Garouste / Louisa Guinness Gallery presenting
Anish Kapoor / NextLevel Galerie presenting Bina Baitel /
ProjectB presenting Philippe Malouin
Maloui /
O
W
Ellysée
y Chairr,, 1972
1
Pierre Paulin, courtesy of Jousse Entreprise
Design Talks
Tuesday 11 June / 5.30pm
Designing t he Fut ure —
2013 W Hotels Designers
of t he Fut ure Award Winners
Seung-Yong Song
Jon Stam
Bethan Laura Wood
Moderated byy /
Felix Burrichter
Editor-in-Chief, PIN-UP
FEATURE
9
Pawel Althamer,
Venetians, 2013
(right), and Roberto
Cuoghi, Belinda,
2013, at the Venice
Biennale
Reading the
great Venetian
encyclopaedia
The verdict on Massimiliano Gioni’s biennale
M
assimiliano Gioni’s exhibition for the Venice Biennale, “The Encyclopaedic
Palace”, takes its title from the self-taught American artist Marino Auriti’s unrealised plan to construct a giant museum to house all of mankind’s great discoveries and inventions—and a model of this towering 136-storey structure ushers in
the Arsenale section of the show. Gioni’s vision echoes this omnivorous ambition
by bringing together more than 150 artists from 37 countries and spanning from
the 19th century to the present day, including a large number of untrained, so-called “Outsider”
artists and an array of historical artefacts, found objects and even a collection of mineral specimens,
in order, as he puts it, “to explore the quest for an absolute knowledge that eventually becomes a
kind of delirium of the imagination”. The Art Newspaper asked leading art-world figures for their
response to the exhibition in the Giardini and the Arsenale (until 24 November).
ALTHAMER AND CUOGHI: ERMANNO RIVETTI
In their own words
Chris Dercon, director,
Tate Modern, London
Beatrix Ruf, director,
Kunsthalle Zürich
I was astonished and fascinated by the belief
that the crisis of art as commodity can be saved
by looking back to Art Brut and that Art Brut is
going to save us all. But what we saw was very
much an Art Brut of the past, and I would really
have liked to have seen the Art Brut of today, as
I know that there are many contemporary
examples. My problem is not so much with the
archive and the encyclopaedia, but with the way
in which, because of all these new machines
that are searching and archiving for us, we live
constantly in the present. So I would like to have a tool to learn how to forget, because only when we are able to forget can we start to remember and
order again. That said, I was happy to see a lot of art by strong women,
especially Carol Rama and the Chinese wonder woman Guo Fengyi in combination with Maria Lassnig, Lynette Yiadom-Boakye and the fantastic
Marisa Merz. I was also pleased by the Angola Pavilion, which I think rightly
won [the Golden Lion for best pavilion]; but for me, the best pavilion was
Carlo Scarpa’s renovated Negozio Olivetti, curated by Armin Linke in Piazza
San Marco.
In general, it was an impressive and coherent
show, with so much work you could spend encyclopaedic amounts of time in there. I think that,
at a time when the generation of now is indulging
in deep knowledge through the internet, the idea
of the encyclopaedic ties in to the reality we are
living in and then takes a totally different
approach by looking at the marginal, the
untaught and the so-called “Outsider”. It also
brings up the question of whether the encyclopaedic is really an idea of the wunderkammer
or whether it is more tied to Modernism and Enlightenment ideas and a scientific approach, but I would have liked a moving away from the series and an
archival listing and more of a statement about why choices were made. I think
it feels like a continuation and extension of Massimilano’s Gwangju biennale,
albeit with a different focus, and that’s a positive. I also thought the “When
Attitudes Become Form” remake at the Prada Foundation was really incredible to see: this show is such a myth, and it ties into the desire of younger generations of artists to really know in depth about the historical background and
to have a totally different view back into the canon.
Okwui Enwezor, director,
Haus der Kunst, Munich
Kasper König, independent
curator
Isaac Julien, artist and
film-maker
I was excited about the premise of this show, but in
many ways, the outcome did not fully realise the
initial promise. Walking through, I constantly asked
myself, “what if we replaced the term ‘art’ with
‘invention’?” Because the entire history of human
existence has been about invention, regardless of
which part of the world you go to, my instinct tells
me that we would have a different kind of show,
with more contributors spread across the world.
This is what would have been appealing about
“The Encyclopaedic Palace”. But instead, the exhibition retreated back into a
historical past situated squarely in the West, with an absence of the rest of the
world in the bulk of the works presented. For me, the Arsenale was the most
successful part, with younger artists grappling with different notions of the time
[and] arcane scientific and vernacular knowledge, with creation myths jostling
with the inventions and chaos of artists’ daydreams. There were some very
beautiful moments with Camille Henrot, Neil Beloufa’s film in Mali and Steve
McQueen’s film about the Nasa time capsule. To appreciate what the imagination is able to create, you have to have an intelligent realisation of the present.
The problem I have is a tendency of big exhibitions of the past 20 years or so: it is too inflationary and too large. It is a third too big and can be
everything to everybody and not antagonise
anyone. The encyclopaedia idea is a good change
for the Venice Biennale, but it could have been
more careful, and I felt that the selection was
done in rather a two-dimensional way—it was
more like a scrapbook. It was shot from the hip,
happy-go-lucky and in some cases just hip—but
that I enjoyed. Sometimes there was good work and there were very good
artists, but the contextualisation was often absent. I enjoyed the films made
on mobile phones by college kids in America; from a sociological point of
view, they were fantastic, but as art, really not so interesting. And even
though Tino Sehgal is an interesting artist, his performance with the Rudolf
Steiner drawings was too hysterical for my taste. However, I loved the
Romanian pavilion, liked the British—which was populist in a good sense—
and was surprised by the Greek: I spent more than an hour there and I didn’t
expect to do that.
I think “The Encyclopaedic Palace” has some
parts that are really attractive: I enjoyed seeing
the Fischli and Weiss and the way it was counterposed with the painting of Dorothea Tanning, and
I also thought that the Danh Vo room was fantastically done. I loved the Cindy Sherman curated
section: it is a little bit like a cabinet of curiosities
and also very revealing as a premise for the
artist—but maybe I am biased because I am an
artist myself. In some ways, the whole exhibition
is like the kind of show that you might see in a museum, and if you saw it in a
museum, you might not feel all that excited. What I look for when I go to the
Venice Biennale is a sense of discovery, a certain kind of frisson where the
themes have a certain intricacy, but I didn’t really feel that here—it all felt a
little bit underwhelming. I found much more inspiration in the pavilions:
Richard Mosse’s work in the Irish Pavilion was extraordinary in terms of how it
made you feel, and Russia was the pavilion I enjoyed the most. It felt very
witty, ironic and of the now.
Interviews by Louisa Buck
Donna De Salvo, chief curator,
Whitney Museum of American
Art, New York
For me, “The Encyclopaedic Palace” was about
both the impossibility of telling any complete story
of where we are now and the possibilities to be discovered. The Giardini was a meditation, while the
Arsenale teased out contradictions. There’s always
a desire to luxuriate in those magical works that
take us somewhere else—a kind of mental sabbatical—but I also looked for those moments that
brought us back to now, however complex, confusing and disturbing. One piece that summed up
so much was “Suddenly this Overview”, a series of 180 clay sculptures by Fischli
and Weiss. It spoke to the nature of human subjectivity and the particular time
in which we live, from a post-coital Mr and Mrs Einstein shortly after conceiving
their genius son Albert to the history of the potato’s arrival in Europe. This work
became my compass through the different aspects of the exhibition. I was very
taken with Cindy Sherman’s installation and absolutely mesmerised by Sharon
Hayes’s video of students whose opinions on feminism she canvassed.
Massimiliano’s installation was sensitive and gave each work its due—it should
be seamless and invisible, and it was, but as a curator, it didn’t escape my eye.
10
IN PICTURES
Art Basel’s
new hall
The co-founder of Herzog & de Meuron
architects on remodelling Messe Basel
and the fading of Modernism
H
erzog & de Meuron’s architectural reputation
was made with London’s Tate Modern. Numerous
art museums and one Olympic stadium later, the
Swiss practice has completed its latest project in
its native Basel: the new Hall 1 and a tower for
Messe Basel, the home of Art Basel. Here, the
firm’s founding partner Jacques Herzog elaborates.
The Art Newspaper: The new hall has a façade of twisted aluminium. Worked and woven metals have long been a
notable presence in your work, from the copper wrapping
of the Central Signal Box in Basel to the Beijing stadium
with Ai Weiwei and the De Young Museum in San Francisco.
What is the appeal of the material?
Jacques Herzog: We are not particularly obsessed with one particular kind of material or one particular method for using it, but
yes, we insist on the materiality of architecture… its physical presence in all its dimensions… its perceptive qualities—surface—its
energetic and its tactile qualities… its smell, and so on.
Are woven forms also about making the substantial insubstantial? The Elbphilharmonie project [a concert hall under
construction in Hamburg] seems like a Manga crystal castle.
The weaving is more a kind of an all-over strategy, to make an
object look more abstract, without a clear relation to scale…
another aspect is the liveliness of woven aluminium bands.
More prosaically, how do you
weave a monolithic building
type, such as an exhibition hall, into a city to
allow vitality and
porosity and to
break down its
scale? Is this what
you call “urban
acupuncture”?
Urban acupuncture is
related [to] its programming and its spatial qualities… in this
respect, the new Messe
Hall is the starting point
of an urban transformation
process around the Messeplatz:
other large-scale projects with apartments, offices [and a] hotel with public functions are on their
way, to create a urban place with an unusual density and intensity by Swiss standards.
Were there any particular or extra requirements for this
exhibition hall, given its use for the arts?
The new halls are not made to accommodate art… their main purpose is to allow for any kind of stands, installations for large-scale
booths or whatsoever… think of the gigantic, super-luxurious
buildings that are temporarily installed there during Baselworld
[the watch and jewellery fair]… of course—given that flexibility
and [those] vast dimensions—the new halls could easily host art
shows or even an art museum.
You have been quoted in the UK press as suggesting that
there is too much gallery space in the world and that some
institutions might eventually close…
We never said anything like that. How could we as architects determine which museums have a right to exist? What we criticised in
the past was the fashion trend for private museums as a consequence of the exploding art market.
You previously said that “we are at the end of Modernity and
at the beginning of something new”. What is that “new”?
Who knows? Modernity has lost its ideological persuasiveness,
which inspired so many of its early representatives in the field of
architecture. Modernity in architecture has become one instrumentarium and one vocabularium next to others… it is true that
it has failed and often disappointed all of us, but nevertheless, it
continues to be a valuable and indispensable quarry for all our
efforts. Perhaps the situation today in architecture and urbanism
can best be compared with biomedical research, where various
medicaments and therapies applied simultaneously are providing
best results.
Interview by Robert Bevan
11
5
“The new Messe Hall
is the starting point
of an urban
transformation
process around the
Messeplatz”
JACQUES HERZOG
ALL PHOTOS: © DAVID OWENS, EXCEPT HERZOG: © MARCO GROB, 2011
The new face of Messe
Basel: the huge circular
skylight is a highlight of the
Herzog & de Meurondesigned exhibition centre
MODERN.
CONTEMPORARY.
ABU DHABI ART.
20 - 23 November 2013
UAE Pavilion and Manarat Al Saadiyat
Saadiyat Cultural District
Abu Dhabi, UAE
abudhabiartfair.ae
Organised
Organised b
by:
y:
PARTICIPATING GALLERIES
THE
INTERNATIONAL
EXPOSITION OF
CONTEMPORARY
& MODERN ART
NAVY PIER
19–22
SEPTEMBER
2013
Mylar Cone (detail),
Studio Gang Architects
Galeria Álvaro Alcázar Madrid
Ameringer | McEnery | Yohe New York
Gallery Paule Anglim San Francisco
BASE GALLERY Tokyo
John Berggruen Gallery San Francisco
Galleri Bo Bjerggaard Copenhagen
Marianne Boesky Gallery New York
Isabella Bortolozzi Galerie Berlin
Russell Bowman Art Advisory Chicago
Rena Bransten Gallery San Francisco
THE BREEDER Athens | Monaco
CABINET London
David Castillo Gallery Miami
Cernuda Arte Coral Gables
Chambers Fine Art New York | Beijing
James Cohan Gallery New York | Shanghai
Corbett vs. Dempsey Chicago
CRG Gallery New York
Stephen Daiter Gallery Chicago
Maxwell Davidson Gallery New York
Douglas Dawson Gallery Chicago
MASSIMO DE CARLO Milan | London
DIE GALERIE Frankfurt
Catherine Edelman Gallery Chicago
Max Estrella Madrid
Henrique Faria Fine Art New York
Peter Fetterman Gallery Santa Monica
Fleisher/Ollman Philadelphia
Galerie Forsblom Helsinki
Forum Gallery New York
Honor Fraser Los Angeles
Fredericks & Freiser New York
Galerie Terminus Munich
Galeria Hilario Galguera Mexico City | Berlin
Richard Gray Gallery Chicago | New York
Kavi Gupta Chicago | Berlin
Chicago | Berlin
Hackett | Mill San Francisco
Haines Gallery San Francisco
Carl Hammer Gallery Chicago
Harris Lieberman New York
Galerie Ernst Hilger Vienna
Hill Gallery Birmingham, MI
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
Vivian Horan Fine Art New York
Edwynn Houk Gallery New York | Zurich
Il Ponte Contemporanea Rome
Taka Ishii Gallery Tokyo
Bernard Jacobson Gallery
London | New York
R.S. Johnson Fine Art Chicago
Annely Juda Fine Art London
Robert Koch Gallery San Francisco
Koenig & Clinton New York
Michael Kohn Gallery Los Angeles
Alan Koppel Gallery Chicago
LABOR Mexico City
Galerie Lelong New York | Paris | Zurich
Locks Gallery Philadelphia
Lombard Freid Gallery New York
Diana Lowenstein Gallery Miami
Luhring Augustine New York
Robert Mann Gallery New York
Magnan Metz Gallery New York
Matthew Marks Gallery New York | Los Angeles
Barbara Mathes Gallery New York
Galerie Hans Mayer Düsseldorf
The Mayor Gallery London
McCormick Gallery Chicago
Anthony Meier Fine Arts San Francisco
Andrea Meislin Gallery New York
Jerald Melberg Gallery Charlotte
Laurence Miller Gallery New York
moniquemeloche Chicago
Carolina Nitsch New York
David Nolan Gallery New York | Berlin
Richard Norton Gallery, LLC Chicago
Nusser & Baumgart Munich
P.P.O.W. New York
Pace Prints New York
Franklin Parrasch Gallery New York
Galeria Moisés Pérez de Albéniz Madrid
Ricco/Maresca Gallery New York
Michael Rosenfeld Gallery New York
Rosenthal Fine Art Chicago
Galerie Thomas Schulte Berlin
Carrie Secrist Gallery Chicago
Marc Selwyn Fine Art Los Angeles
Sicardi Gallery Houston
Manny Silverman Gallery Los Angeles
Skarstedt Gallery New York | London
Gary Snyder Gallery New York
Carl Solway Gallery Cincinnati
MARC STRAUS New York
Hollis Taggart Galleries New York
Tandem Press Madison
Paul Thiebaud Gallery San Francisco
Tierney Gardarin Gallery New York
Leslie Tonkonow Artworks + Projects New York
Vincent Vallarino Fine Art New York
Tim Van Laere Gallery Antwerp
Susanne Vielmetter Los Angeles Projects
Los Angeles
Weinstein Gallery Minneapolis
Max Wigram Gallery London
Zolla/Lieberman Gallery Chicago
David Zwirner New York | London
EXPOSURE
Benrimon Contemporary New York
Blackston New York
Bourouina Gallery Berlin
Callicoon Fine Arts New York
Galerie Donald Browne Montréal
Luis De Jesus Los Angeles Los Angeles
Diaz Contemporary Toronto
DODGEgallery New York
Hansel and Gretel Picture Garden New York
Charlie James Gallery Los Angeles
JTT New York
MARSO Mexico City
Galerie Max Mayer Düsseldorf
THE MISSION Chicago
On Stellar Rays New York
ANDREW RAFACZ Chicago
Jessica Silverman Gallery San Francisco
SPINELLO PROJECTS Miami
VAN HORN Düsseldorf
Workplace Gallery Gateshead, UK
expochicago.com
Presenting Sponsor
ARTISTS
Three artists’ works in Venice and Basel
Matt Mullican
All aboard: from
Biennale to Basel
How artists feel about exhibiting at both events in quick succession. By Ben Luke
W
ith Art Basel
following the
Venice Biennale
so swiftly, galleries at the fair
inevitably focus
on artists who feature in Venice. But
as Matt Mullican, who is showing
huge pieces at both events, says of art
fairs: “It was much more casual 20 or
30 years ago.” And while Basel and
other fairs will never rival Venice for
prestige on an artist’s CV, artists’
involvement with fairs has grown
deeper and richer in recent years. So
what is it like for artists to show at
both events in quick succession?
The national pavilions remain the
Biennale’s most loaded spaces. Akram
Zaatari, showing in the Lebanese
pavilion at the Arsenale, suggests that
“every artist has a conflicting relationship with the country that he
comes from”, but that “artists are not
football players, they don’t compete,
representing their countries”. His 35minute video (see box, above right) is
“conceived as the voice of a country
at war” and is based on an open letter
he wrote to an Israeli pilot who
refused to bomb a school run by
A dealer’s view
Martine d’Anglejan-Chatillon, Thomas Dane Gallery (2.0/M15)
Akram Zaatari’s work for Thomas Dane’s booth in Basel is “a counterpoise to Venice”, says
D’Anglejan-Chatillon, a partner at the gallery. She adds that “to have him on the back of
Venice and not include him in the booth would have been an own goal”. An artist showing in
Venice is “always a positive thing”, she says, even if the gallery needs to raise production
funds, as often happens, though not in Zaatari’s case. “That’s part of what we feel is our job
and our responsibility to the artists,” she explains. “It would be disingenuous to say that we
don’t harness the energy of Venice afterwards—it happens that Basel is a week afterwards,
but we’re also harnessing the power of his Museum of Modern Art show, which opened [on
May 11]… all of these things are part of an arc of achievements that feed into one another.”
Zaatari’s father during the 1982 Israeli
invasion of southern Lebanon. “It’s so
important to be in such a prestigious
event, particularly with such a personal story, but as much as the work
is extremely personal, it’s universal
and it’s relevant today,” he says. But
he is conscious of the added exposure
Venice brings: “Frankly, it seems
almost like getting naked.”
In Basel, with Thomas Dane
Gallery (2.0/M15), Zaatari is showing
“Bodybuilders”, 2011, a series of found
photographs, and some erotic drawings. “I’ve never shown my drawings
on the market,” he says. “Sometimes
you like to test things, so you use a
forum like this one and it helps you
make a judgement.” Is he comfortable showing his art at fairs? “Artists
can’t live without the market, so we’d
better address it up front and work
with it,” he says.
Exposure and responsibility
Another socially and politicallyminded artist, the Chilean artist
Alfredo Jaar, agrees, saying that fairs
“reveal everything we need to know
about the art world… If you have any
illusions when you’re in a museum or
gallery that it isn’t part of the larger
capitalist system or the larger market
system, then all these illusions are
Venice: Learning From
That Person’s Work,
2005
Basel: Two Into One
Becomes Three, 2011
Matt Mullican describes
his current Venice
Biennale installation as “a
crazy body of work”. It
was partly informed by
his experiments with
hypnosis and performance. Massimiliano Gioni
has described it as a
labyrinth, which Mullican
suggests relates to the
sheer abundance of
imagery and material:
one part of the installation has 42 bed sheets
hanging from wires, with
each sheet containing
nine separate drawings.
“It really becomes
labyrinthine, because of
the amount of stuff in
there,” Mullican says. “But you’re not going to get lost.” His
dense Basel work uses a technique similar to brass rubbing to render images from Denis Diderot’s Encyclopédie
alongside Mullican’s personal pictograms: symbols for the
elements, life and death, heaven and hell, among much else.
shattered with the fair.” Jaar believes
that he can bring attention to major
issues from within this system, “by
creating a structure that will isolate
my audience for a few minutes and
tell them a different story from that
being told outside my space”. That
structure features in the Unlimited
section: Sound of Silence, 2006, ([1/U42],
see box, above right) is a 300 cubic
metre “theatre built for a single
image”, focusing on a photograph by
the late photojournalist Kevin Carter.
Jaar says he is happy to “have the
exposure and responsibility” of showing in the pavilion, nearly three
decades on from being the first Latin
American artist to show in Venice in
1986. But while Venice today is a
meeting point for global artists and
art professionals, this international
community “is not reflected in the
architecture of the place”, he says. He
explores this dissonance in the pavilion, creating “a poetic invitation to
rethink the national pavilion model”.
In contrast to the pavilion artists,
most in the international exhibition
show existing works chosen with the
exhibition’s curator, Massimiliano
Gioni, rather than creating new
pieces. The artist Jessica Jackson
Hutchins says she has known Gioni
for a long time, “so it was fun to talk
MULLICAN: © CENTRIK ISLER; PHOTO BY FRANCESCO GALLICOURTESY BY LA BIENNALE DI VENEZIA
14
Akram Zaatari
LETTER TO A REFUSING PILOT: MARCO MILAN; COURTESY OF THE ARTIST; JAAR: JORGE BRANTMAYER, 2010
Venice: Letter to a Refusing Pilot, 2013
Basel: “Bodybuilders” series, 2011
Based on an open letter he wrote, Zaatari’s video in the
Biennale tells the story of an Israeli pilot, Hagai Tamir, who, during the 1982 Israeli invasion of southern Lebanon, refused to
bomb a school in Saida, which Zaatari’s father had founded. “The
video is constructed as a letter addressed to him, as a mythical figure,
but also it’s indirectly addressed to any individual in the military who has
the courage to refuse an order,” Zaatari says. “It’s about deferring to humanist or moral values against the idea of obeying a military institution.” In Basel, alongside erotic drawings,
Zaatari shows the “Bodybuilders” series; found archival images that are damaged, their
fragility at odds with the poses of their protagonists.
to him about the exhibition and
choose the work together.” She
explains that she feels her works
should “stand up to the pressure” of
being in different contexts in group
shows. Her combinations of found
household objects with homespun
ceramics and plaster sculptures are
paired in Venice with work by
Eugene Von Bruenchenhein, one of
several outsider artists who feature
in Gioni’s show, prompting a sustained connection. “Even without
looking at [Von Bruenchenhein’s]
work a lot now, I am in my
studio and this guy has been on
my mind,” she says. “I now have a
little dialogue with this American
outsider artist.”
Hybrid space
Matt Mullican’s work—often paintings
with dense imagery and symbols
focusing on knowledge and drawing
on hypnotic delirium—makes him the
perfect figure for Gioni’s show. “My
work does fit into the general theme
of the show, certainly,” he says. “When
I represent encyclopaedic elements,
it’s not perfect because it is based on
fulfilling some kind of subjective
need.” He admits he was “excited” at
the prospect of exhibiting in Venice.
“I’ve never been invited to this show,”
Alfredo Jaar
Venice: Venezia, Venezia, 2013
Basel: Sound of Silence, 2006
In Venice, Alfredo Jaar shows a huge model of the Giardini that
emerges every three minutes from a pool of water before disappearing again. “The Biennale, with its obsolete structure of national
pavilions, reflects an era of the past,” he says. In the Unlimited section at Art Basel, he
shows a poignant eight-minute film, focusing on Kevin Carter’s devastating photograph
of an African child gripped by famine under the sinister glare of a vulture. “That image is
quite extraordinary. It is, for me, perhaps the most extraordinary image ever taken from
reality,” Jaar says. “[It] reflects in the most perfect way the issue of hunger in the world
and the issue of the relationship of the so-called developed world to hunger.”
he says, “so I’m happy to be invited in
my 60s to come and be a part of it.”
Though Gioni initially had a particular
work in mind to pair with another
outsider, Hilma af Klint, he and
Mullican eventually chose Learning
From That Person’s Work, 2005, which is
shown in the Arsenale (see box, above
left), without Af Klint in close quarters.
“It was a give and take between us,”
Mullican says. Meanwhile, his work in
Basel could easily have featured in
Venice—it was one of the works that
triggered Gioni’s invitation. Two Into
One Becomes Three, 2011, is the largest
painting ever shown in Unlimited,
measuring 22 x 7 metres (1/U16).
pacegallery.com
Tim Hawkinson, Fu Dog, 2013, eggshell and cyanacrolyte, 13 x 5 x 9” (33 x 12.7 x 22.9 cm)
Booth B20 Hall 2.0
June 13–16, 2013
Mullican was “very happy” that his
galleries, Klosterfelde (2.0/J10) and Mai
36 (2.0/M12), wanted to show the work.
“The nice thing about Unlimited is
that your work stands alone,” he says.
“You don’t have a lot of artists in the
booth with you… It’s a hybrid space,
which you have more and more of in
the art world—it’s not really a gallery
show or a museum show or an art fair,
it’s in between.”
Meanwhile, Jessica Jackson
Hutchins, who shows with Timothy
Taylor Gallery (2.0/A11), also has a solo
booth with Laurel Gitlen in Basel’s
Statements section (S19). She is showing three large sculptures. “I’m trying
15
with very few pieces to do all those
things that you do in a gallery, but
that means that it has got to be very
tight,” she says. “I see a gravity to
what I do and an ethical stance to
how I make the work, but there’s also
got to be a sense of humour and lightness. To do all that within the context
of the art booth, maybe that’s harder.”
Hayley Tompkins’s presence in
Basel is much smaller, with three intimate acrylic paintings on the Modern
Institute’s stand (2.0/N15) that are
“like an extension” of her work at the
Scottish pavilion in Venice, placed on
the wall as opposed to the floor as
they are in Venice. Tompkins saw
preparing for the show as “like making work for another solo exhibition”,
but she admits that “somewhere, it
has filtered into my mind that I will
probably only do this once… The critical feeling of it is more heightened
than anything I’ve done before.” But
the experience, not least the budget,
has allowed her “to be ambitious
about the work”, she says, expanding
her use of photography, for instance.
A regular contributor to the
Modern Institute’s booths, Tompkins
describes her view of art fairs as “a
perverse relationship. It’s one of
need, but I actually enjoy doing work
for them. I’m not too stressed out by
the pressure. I find I can take risks…
The art fair really helps me trial
things and get things out and seen.”
Tompkins’s paintings in Basel are
an intimate counterpoint to the more
shrill works at the fair. “I want them
to feel lively and life-enhancing
rather than the opposite,” she says. “I
wonder if people [at art fairs] see
that—there’s a pleasure in it.”
16
BOOKS
He knows
what he likes
Neo Rauch, Das
Kreisen, 2011.
The German
artist is included
in Michael
Wilson’s book
CRITICISM
I
t is testament to the strength
of the contemporary art business that a survey of 175 “midcareer” artists should be considered, as the publisher’s
blurb on the back cover of
How to Read Contemporary Art suggests, “a vibrant and accessible companion for art lovers everywhere”. The
author, the art critic Michael Wilson,
can even afford the luxury of excluding many of the names most familiar
to a lay audience—Jeff Koons, Cindy
Sherman, Paul McCarthy—and many
others who are approaching the final
chapters of their careers or whose
influence is perceived to have waned.
The focus is on artists who have
achieved “a level of international
recognition”, which loose criterion
allows for the inclusion of household
names—Marina Abramovic, Vito
Acconci, Larry Clark, Damien Hirst—
alongside a new generation of artists
whose practice is specific to the early
21st century (such as Paul Chan, Tino
Sehgal, Cory Arcangel, Ryan Trecartin
and the Bruce High Quality
Foundation). The artists are the subject of a concise text outlining his,
her or their practice, with particular
reference to a handful of reproductions on the facing page.
The book’s strength is the precision and clarity of Wilson’s writing
and his evaluation of a bewildering
range of media, styles and subject matter according to the same, simple
measures outlined in his introduction:
“Does the work of art pose and
prompt interesting questions? Do its
material, formal and conceptual elements work effectively with each
other? Does it interact productively
with its context? Does it achieve what
it set out to achieve?” His prose is mercifully free of jargon and characterised
by a tidy, clipped style that connects
artists’ work to that of their peers and
predecessors without labouring the
links. His illuminating identification
of Mike Nelson’s practice with the
novelists Ray Bradbury and H.P.
Lovecraft, for instance, exemplifies
Wilson’s ease with a wide range of references. The reader is thus introduced
to the artist’s work by a combination
of its cultural context and the description and analysis of key works.
Studiously neutral in tone,
Wilson’s writing does not betray personal preferences for one artist over
another, except on those occasions of
damnation by faint praise. Damien
Hirst, for example, is included for the
persistence of his “unique influence”
on the way artists market themselves
His prose is jargonfree and characterised
by a tidy, clipped style
rather than for his work, despite being
“routinely lambasted as a mere
publicity-seeker and his work attacked
for its perceived lack of subtlety”. The
criticism is attributed to unnamed critics, rather than framed as an expression of the author’s own opinion.
Wilson’s tone might be neutral,
but his selective approach to established artists is not. His choice of some
over others serves to build a story
about the art of today by juxtaposing
the latest practice with, for instance,
Robert Motherwell
Elegy to the Spanish Republic No. 130
1974-75
Oil and acrylic on canvas
243.8 x 304.8 cms (96 x 120 ins)
BERNARD JACOBSON GALLERY
Hall 2.0 Booth C3
www.jacobsongallery.com
John Latham (1921-2006), rather than
this artist of whom I knew little but
the younger, better known and still
who has clearly influenced (or at least
prolific Tracey Emin. The implication
anticipated) the more recent work of
is that, in defiance of market value
artists such as Helen Marten and
and popular visibility, the former’s
Samara Scott.
work is more attuned to the prevailing
This is, ultimately, less an objective
culture of our time than the latter’s.
survey of art being created and seen
Whether or not readers agree with
now than a diagnostic separation of
that tacit judgement is less important
the still-relevant from the passé. How
than that they recognise it is being
to Read Contemporary Art will be
made. Wilson himself acknowledges
enjoyed by casual art lovers as a handy
his role as adjudicator in his introducBaedeker to an increasingly internation by posing the question, as a reductionalised and over-populated art
tio ad absurdum, of why Thomas
world, while insiders will quibble over
Kinkade, the very successful purveyor
the exclusion from this anthology of
of kitsch, should not qualify for an
their personal favourites. The most
entry here.
interesting discussion occasioned by
The book is most successful when
the book is, however, what this carereaders alight upon an artist with
fully curated selection tells us about
whom they have only a passing familthe state of art now, apparently devoid
iarity. Wilson’s astute summation of
of the stylistic groupings, ideological
the work of Jessica Stockholder,
affiliations or “movements” that
whose “grandest installaart history has applied retrotions cascade through intespectively to previous eras.
How to Read
riors like lava flows” and
Wilson, as elsewhere, leaves
Contemporary
Ar
t
“embody the continued
it to the reader to decide.
Michael Wils
on
value of pleasure in a
Benjamin Eastham
physical and psychological
environment”, encouraged
me to seek out more about
Thames & Huds
on,
396pp, £24.95
(hb)
The writer is the co-founder and
editor of the White Review and a
freelance writer on the arts
8TH EDITION:
7-10 NOVEMBER
IN PARALLEL WITH:
13th Istanbul Biennial
Art Istanbul ‘‘A Week of Art’’ - 4-10 November 2013
(Art Fair And Galleries, Museums, Institutions, Initiatives,
Special Projects, Cultural Centers)
Main Sponsor
contemporaryistanbul.com
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Associate Sponsors
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COURTESY OF DAVID ZWIRNER, NEW YORK, AND GALERIE EIGEN + ART, BERLIN/LEIPZIG
A “neutral” guide to contemporary art reveals the
author’s preferences through the artists he selects
INTERNACIONAL ART FAIR
OF RIO DE JANEIRO
09 | 05 - 08 | 2013
PIER MAUÁ
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PREVIEW AD INVITI
giovedi 23 gennaio dalle 12 alle 21
ORARI
da venerdi 24 a domenica 26 dalle 11 alle 19
lunedi 27 gennaio dalle 11 alle 17
PREVIEW BY INVITATION ONLY
Thursday January 23 from 12 AM to 9 PM
OPENING TIMES
Friday January 24 to Sunday January 26 from 11 AM to 7 PM
Monday January 27 from 11 AM to 5 PM
19
CALENDAR
Art Basel week, 11-16 June
Listings are arranged
alphabetically by category
FAIRS
Art Basel
13-16 JUNE
Messeplatz 10
www.artbasel.com
KEY
Listings are arranged
alphabetically by area
쏍 Commercial gallery
Steve McQueen gets in your
face at the Schaulager
The transformed space hosts a major mid-career survey before the release of his next film
Kunstforum Baloise
Aeschengraben 21
Franz Erhard Walther
12 JUNE-1 NOVEMBER
www.baloise.com
Kunsthalle Basel
Steinenberg 7
Michel Auder: Stories, Myths,
Ironies and Other Songs
UNTIL 25 AUGUST
Design Miami Basel
Paulina Olowska: Pavilionesque
11-16 JUNE
13 JUNE-1 SEPTEMBER
Hall 1 Süd, Messeplatz
www.designmiami.com
Tercerunquinto: Graffiti
UNTIL 30 APRIL 2014
www.kunsthallebasel.ch
I Never Read, Art Book
Fair Basel
Kunsthaus Baselland
14-16 JUNE
St Jakob-Strasse 170
Volkshaus Basel, Utengasse 9
www.ineverread.com
Christopher Orr
UNTIL 30 JUNE
Laurent Grasso: Disasters and
Miracles, 1356-1917 (see p21)
Liste
11-16 JUNE
UNTIL 30 JUNE
Burgweg 15
www.liste.ch
Manuel Graf: Commercials,
Mosques and Ceramics
Scope
www.kunsthausbaselland.ch
UNTIL 30 JUNE
UNTIL 16 JUNE
Kunstmuseum Basel
Uferstrasse 40
www.scope-art.com
St Alban-Graben 16
Otto Meyer-Amden
The Solo Project Art Fair
UNTIL 7 JULY
12-16 JUNE
The Picassos Are Here!
St Jakobshalle,
Bruglingerstrasse 19-21
www.the-solo-project.com
Ed Ruscha: Los Angeles
Apartments
Volta 9
UNTIL 15 JUNE
Dreispitzhalle, Gate 13,
Helsinki-Strasse 5
www.voltashow.com
EXHIBITIONS
MCQUEEN: COURTESY THE ARTIST, MARIAN GOODMAN GALLERY, NEW YORK /PARIS AND THOMAS DANE GALLERY, LONDON, © THIERRY BAL; INSTALLATION: COURTESY THE ARTIST © STEVE MCQUEEN, PHOTO © TOM BISIG, BASEL
IN THE CITY
BASEL, SWITZERLAND
Ausstellungsraum
Klingental
Kasernenstrasse 23
Within the Horizon of the Object
UNTIL 30 JUNE
www.ausstellungsraum.ch
Cartoonmuseum Basel
St Alban-Vorstadt 28
Proto Anime Cut: Visions of the
Future in Japanese Animated Films
UNTIL 13 OCTOBER
www.cartoonmuseum.ch
Fondation Beyeler
Baselstrasse 101
Max Ernst
UNTIL 8 SEPTEMBER
Andy Warhol from the Bruno
Bischofberger, Daros and Beyeler
Collections
UNTIL 22 SEPTEMBER
Maurizio Cattelan: Kaputt (see p20)
UNTIL 6 OCTOBER
Alexander Calder: Trees/Naming
Abstraction
UNTIL 31 JANUARY 2014
www.fondationbeyeler.ch
Haus für Elektronische
Künste Basel (House of
Electronic Arts)
Oslostrasse 10
Semiconductor: Let There Be Light
(see p20)
UNTIL 30 JUNE
www.haus-ek.org
UNTIL 21 JULY
A
fter a two-year break from
exhibitions, the newly
revamped Schaulager in
Basel reopened to the public in March with “Steve
McQueen” (until 1
September), a show of more than 20 film
installations as well as photographic stills
and other works. The organisers describe
the mid-career exhibition, which expands
on a show that opened in Chicago last
autumn and fills two floors of the Herzog
& de Meuron-designed building, as a “city
of cinemas”, where films are installed
cheek by jowl rather than in separate
rooms. “It’s like you never really come out
of the darkness,” says Heidi Naef, the senior curator at the Schaulager. “You don’t
lose the connections between the works.”
McQueen himself looms large in several of the films on show. In one, Deadpan,
1997, he stares straight ahead while a
house falls down around him (the film
helped win him the Turner Prize in 1999);
in another, Five Easy Pieces, 1995, he urinates on the camera lens. In Charlotte,
2004, he prods and probes the eye of the
actress Charlotte Rampling. McQueen’s
first appearance in his own work came in
1993 with Bear, his first major video.
Featuring two naked men wrestling, it
veers between homoeroticism and violence and is also on show at the
Schaulager. But, it turns out, McQueen’s
acting career began accidentally. “I wasn’t
meant to be in Bear; the other guy didn’t
turn up,” he explains. “I thought: ‘Oh fuck,
let’s get my kit off and let’s go.’ So I ended
up behind and in front of the camera.”
McQueen no longer features in his
videos (he hasn’t appeared in his own
work since the late 1990s, with the exception of a solitary finger in Charlotte), preferring instead to direct others. In 2008,
he moved into feature-length films with
Hunger, an award-winning movie about
the slow death of the IRA hunger striker
Bobby Sands.
UNTIL 29 SEPTEMBER
The actor
Michael Fassbender
pushed himself to
the physical limit in
his portrayal of
Sands (the actor lost
16kg for the role).
Fassbender played a sex
addict, Brandon, in
McQueen’s second feature
film, Shame, 2011. Unlike Sands,
however, who was incarcerated in the
Maze prison near Belfast in Northern
Ireland, Brandon’s prison of neuroses is of
his own making. Both films are being
screened in the Schaulager’s auditorium
during the exhibition’s run.
Fassbender also stars in McQueen’s
third movie, Twelve Years a Slave, which is
due to be released in December and has
already been tipped as a potential Oscarwinner. It is based on the memoirs of
Solomon Northup, an African-American
from New York who was kidnapped in
Slavery, police brutality
or sexuality: McQueen is
not afraid to have those
conversations
1841 and enslaved on a cotton plantation
in Louisiana; McQueen simply says it was
“time to make a film about slavery”.
When he conceived the project,
Quentin Tarantino’s Django Unchained,
2012, had not been announced. “The
funny thing was, I bumped into Quentin
when I was filming in New Orleans,”
McQueen says. “He said to me: ‘I hope
it’s OK to have two films about slavery.’
And I said: ‘Yes, of course. We have more
than one Western, or film of any other
genre, don’t we?’ Sometimes these
things are just in the air. Like with
Hunger—it was the first time that the
British establishment accepted that atroc-
Steve McQueen
and his video
installation Static,
2009, in situ at the
Schaulager in Basel
ities happened at the
Maze. Slavery is one of
those things that has to be
investigated.”
Lynching Tree, 2013, is a photographic still that McQueen made specifically for the Schaulager exhibition. Shot
while he was filming in New Orleans, it
shows a tree that was used as a gallows
for slaves; the lynched victims are buried
in graves beneath the tree. Exhibited on a
light box, the saturated green of the
leaves and grass leap out at the viewer;
the violence of the site’s history is belied
by the tranqulity of the woodland today.
Whether it’s about slavery, police
brutality or sexuality, McQueen is not
afraid to have those conversations (he says
he “makes fear his friend” and that he
often “dares himself” to do things). It’s
just a shame that there are no plans yet to
bring the exhibition to the artist’s native
Britain. It seems that few institutions have
the budget and time to install such a large
show of time-based works. “Steve had very
precise specifications, and as we don’t
have one show following the next, we had
time to sit down and work it out,” Heidi
Naef says, adding that the Schaulager’s
foundation owns ten videos by McQueen
and has been following his career for several years. “For this exhibition to work, it
had to be done in a certain way,”
McQueen says. “But I hope in the future
that it will be able to travel to London,
because it’s important to me to show the
work in my hometown.”
Anny Shaw
• Film screenings: Hunger, 29 August and 1
September; Shame, 4 and 7 July, 15 and 18 August.
For more details, see www.schaulager.org
www.kunstmuseumbasel.ch
Kunst Raum Riehen
Berowergut, Baselstrasse 71
Annette Amberg, Asier
Mendizabal and Yelena Popova:
Futures of the Past
UNTIL 23 JUNE
www.kunstraumriehen.ch
Museum der Kulturen Basel
Münsterplatz 20
POPCAP ‘13
UNTIL 23 JUNE
www.mkb.ch
Museum für
Gegenwartskunst
St Alban-Rheinweg 60
Some End of Things
UNTIL 15 SEPTEMBER
www.mgkbasel.ch
Museum Tinguely
Paul Sacher-Anlage 2
Tinguely@Tinguely: a New Look
at Jean Tinguely’s Work
UNTIL 30 SEPTEMBER
Zilvinas Kempinas:
Slow Motion
UNTIL 22 SEPTEMBER
www.tinguely.ch
Schaulager
Münchenstein,
Ruchfeldstrasse 19
Steve McQueen (see left)
UNTIL 1 SEPTEMBER
www.schaulager.org
Schweizerisches
Architekturmuseum
Steinenberg 7
Spatial Positions #2: in the Grip
of Art
UNTIL 7 JULY
www.sam-basel.org
CONTINUED ON PAGE 20
20
CALENDAR
Cattelan emerges
from ‘retirement’
Art Basel week, 11-16 June
쏍 Daniel Blaise Thorens
Aeschenvorstadt 15
Christian Peltenburg-Brechneff
and Walter Ropélé
Basel
Vitra Design Museum
Werkhofstrasse 30
The Double Image: Aspects of
Contemporary Painting
UNTIL 11 AUGUST
Robert Müller
UNTIL 22 JUNE
www.thorens-gallery.com
쏍 Depot Basel
SOLOTHURN, SWITZERLAND
Kunstmuseum Solothurn
Fondation Beyeler
UNTIL 20 OCTOBER
www.kunstmuseum-so.ch
A35
ST GALLEN, SWITZERLAND
Kunsthalle St Gallen
Uferstrasse 90
Craft and Drawing
5
UNTIL 29 JUNE
Davidstrasse 40
www.depotbasel.ch
Flex-Sil Reloaded: Homage
to Roman Signer
3
쏍 Galerie Carzaniga
Gemsberg 8
Christopher Lehmpfuhl, Christian
Lichtenberg, Paolo Bellini
Parcours, Klingental
neighbourhood
UNTIL 15 JUNE
Art Basel, Messeplatz
Museum Tinguely
Marktplatz
Museum der Kulturen
Kunsthalle Basel
쏍 Galerie Gisèle Linder
Elisabethenstrasse 54
Roger Ackling
UNTIL 4 AUGUST
Maurizio Cattelan: Kaputt
www.k9000.ch
Fondation Beyeler, Basel
Kunstmuseum St Gallen
Despite announcing his retirement last year, the prankster
artist Maurizio Cattelan is
putting on a show at the
Fondation Beyeler. The installation comprises five stuffed
horses with their heads stuck in
the wall, as if the entire herd had
been startled and attempted to
escape. The show takes its title
from a 1944 account of the
Second World War by the Italian
writer Curzio Malaparte. V.S.B.
UNTIL 6 OCTOBER
Museumstrasse 32
www.carzaniga.ch
Filipa César: Single Shot Films
UNTIL 23 JUNE
Museum für Gegenwartskunst
Kunstmuseum Basel
Dan Flavin: Lights (see below)
UNTIL 18 AUGUST
www.kunstmuseumsg.ch
UNTIL 20 JULY
www.galerielinder.ch
Lokremise
Grünbergstrasse 7
쏍 Galerie Mäder
Kunsthaus Baselland
Claragraben 45
Anthony McCall: Two
Double Works
Annette Barcelo
UNTIL 21 JULY
UNTIL 29 JUNE
www.lokremise.ch
Haus für Elektronische Kunste
www.galeriemaeder.ch
쏍 Galerie Hilt
Schaulager
Freiestrasse 88
Passion Kunst
18
11-29 JUNE
www.galeriehilt.ch
쏍 Marc de Puechredon
UNTIL 31 DECEMBER
15 JUNE-15 SEPTEMBER
www.musee-unterlinden.com
www.freiburg.de/museen
St Johanns-Vorstadt 78
LIESTAL, SWITZERLAND
Kunsthalle Palazzo
THUN, SWITZERLAND
Kunstmuseum Thun
Kunsthalle Winterthur
Thunerhof, Hofstettenstrasse 14
Patricia Esquivias
“It Is Almost Too Beautiful Here”…
on Lake Thun: August Macke and
Switzerland
www.kunsthallewinterthur.ch
UNTIL 1 SEPTEMBER
Kunstmuseum Winterthur
www.kunstmuseumthun.ch
Museumstrasse 52
Museum für Neue Kunst
14 JUNE-31 AUGUST
Ewerdt Hilgemann: Implosion
20 allée Nathan Katz
Julius Bissier
UNTIL 23 JUNE
WINTERTHUR,
SWITZERLAND
Fotomuseum Winterthur
6PM, 13 JUNE
Cyril Hatt, Nicolas Lelièvre and
Jacques Perconte: Blow Up
UNTIL 1 SEPTEMBER
www.palazzo.ch
Grüzenstrasse 44 and 45
www.puechredon.com
UNTIL 7 JULY
Make Active Choices: Art and
Ecology—How?
www.lafilature.org
UNTIL 8 SEPTEMBER
LUCERNE, SWITZERLAND
Kunstmuseum Luzern
Europaplatz 1
Rosentalstrasse 28
Lewis Hine: Photography
for a Change
UNTIL 11 AUGUST
www.kmw.ch
ZURICH, SWITZERLAND
Fondation Beyeler
UNTIL 25 AUGUST
Vorderer Utoquai/Bellevue,
Zurich TBC
This Infinite World: Set Ten from
the Collection
Thomas Schütte: Vier Grosse
Geister (Four Great Spirits)
Naturmuseum
UNTIL 16 JUNE
UNTIL 9 FEBRUARY 2014
UNTIL 2 JULY
16 rue de la Fonderie
Gerberau 32
Franz Karl Basler-Kopp
www.fotomuseum.ch
www.fondationbeyeler.ch
Daniel Gustav Cramer: Ten Works
UNTIL 25 AUGUST
From Butterflies to
Thunder Dragons
www.kunstmuseumluzern.ch
Fotostiftung Schweiz
Haus Konstruktiv
www.kunsthallemulhouse.fr
UNTIL 16 FEBRUARY 2014
Grüzenstrasse 45
Selnaustrasse 25
Adieu la Suisse!
Hot Spot Istanbul (see above right)
Augustinerplatz
쏍 Nicolas Krupp
Contemporary Art
UNTIL 23 JUNE
La Kunsthalle, Centre d’art
contemporain
FREIBURG, GERMANY
Augustiner Museum
Lewis Hine photographs on show at
Fotomuseum Winterthur
Marienstrasse 10a
Nature? Swiss Photography from
1870 until Today
Waaghaus, Marktgasse 25
Giuseppe Penone
Poststrasse 2
MULHOUSE, FRANCE
La Filature
New Home
One of Maurizio Cattelan’s
stuffed horses, Untitled,
2007
With Pen and Quill: Drawings from
Classicism to Art Nouveau
Jorge Macchi: Container
UNTIL 28 JULY
WEIL AM RHEIN, GERMANY
Vitra Design Museum
Charles-Eames-Strasse 1
UNTIL 25 AUGUST
UNTIL 22 SEPTEMBER
www.fotostiftung.ch
www.hauskonstruktiv.ch
Flavin retrospective arrives in St Gallen
Louis Kahn
UNTIL 11 AUGUST
When art and
science meet
Archizines
UNTIL 6 OCTOBER
Zaha Hadid: Prima
12 JUNE-11 AUGUST
www.design-museum.de
Walter Swennen
UNTIL 29 JUNE
www.nicolaskrupp.com
AARAU, SWITZERLAND
Aargauer Kunsthaus
쏍 Stampa
Aargauplatz
Rhythm in It
Spalenberg 2
Mika Rottenberg in “Make Active
Choices” at the Museum für Neue
Kunst, Freiburg
Zilla Leutenegger
UNTIL 11 AUGUST
UNTIL 24 AUGUST
Cut! Video Art from the Collection
쏍 Galerie Urs Meile
Erik Steinbrecher
UNTIL 11 AUGUST
Rosenberghöhe 4
UNTIL 24 AUGUST
Caravan 2/2013: Karin Lehman
www.stampa-galerie.ch
UNTIL 18 AUGUST
Xie Nanxing: the Second Whip
with a Brush
쏍 Tony Wuethrich Galerie
Semiconductor, 20Hz (film
still), 2011,
Vogesenstrasse 29
www.aargauerkunsthaus.ch
UNTIL 6 JULY
www.galerieursmeile.com
BERN, SWITZERLAND
Kunsthalle Bern
20 Years of the Tony
Wuethrich Galerie
Semiconductor: Let There
Be Light
UNTIL 29 JUNE
Haus für Elektronische Künste
(House of Electronic Arts) Basel
Ericka Beckman
NEUCHATEL, SWITZERLAND
Musée d’art et d’histoire
Neuchâtel
UNTIL 4 AUGUST
Esplanade Léopold Robert 1
UNTIL 30 JUNE
www.kunsthalle-bern.ch
Jules Jacot Guillarmod: Wildlife
and Landscape Painter
Kunstmuseum Bern
UNTIL 18 AUGUST
Hodlerstrasse 8-12
Hannes Schmid: Real Stories
His Majesty in Switzerland:
Neuchâtel and its Prussian Princes
UNTIL 21 JULY
UNTIL 6 OCTOBER
UNTIL 18 AUGUST
Symbolism and Swiss Artists
www.mahn.ch
“Dan Flavin: Lights” is a comprehensive look at the work of the late
American pioneer of light art. Organised with the Museum Moderner
Kunst in Vienna, from which it has travelled, the exhibition features
around 30 works, beginning with Flavin’s earliest forays into using fluorescent bulbs. These include the single vertical tube pink out of a corner (to
Jasper Johns), 1963, and “monument” 1 for V. Tatlin, 1964, a nod to the
Russian constructivist. Among the later large-scale works is untitled (to
Jan and Ron Greenberg), 1972-73, which saturates the surrounding space
with yellow and green light. V.S.B.
www.tony-wuethrich.com
쏍 Von Bartha Garage
Kannenfeldplatz 6
Daniel Robert Hunziker
UNTIL 20 JULY
www.vonbartha.com
EXHIBITIONS
FURTHER AFIELD
COLMAR, FRANCE
Musée d’Unterlinden
1, rue d’Unterlinden
Robert Cahen: Painting
in Movement
Art and science merge in the
work of Semiconductor, AKA
Ruth Jarman and Joe Gerhardt,
who are having their first solo
show in Switzerland. Working
closely with scientists, the British
artists create videos and installations that examine the forces and
processes of nature. For their
work Worlds in the Making, 2011,
for example, the pair followed a
team of researchers to the
Galapagos Islands, where they
studied active volcanoes. H.S.
Helvetiaplatz 1
UNTIL 18 AUGUST
www.kunstmuseumbern.ch
Zentrum Paul Klee
SCHAFFHAUSEN,
SWITZERLAND
Hallen für Neue Kunst
Monument im Fruchtland 3
Baumgartenstrasse 23
Satire, Irony, Grotesque: Daumier,
Ensor, Feininger, Klee, Kubin
The Raussmüller Collection
UNTIL 6 OCTOBER
13-16 JUNE, SPECIAL OPENING HOURS
DURING ART BASEL, 11AM TO 5PM
www.zpk.org
www.modern-art.ch
Flavin’s untitled (to Donald Judd, Colorist) 7, 8, 9 and 10, 1987
Dan Flavin: Lights
Kunstmuseum St Gallen
HINE: © GEORGE EASTMAN HOUSE COLLECTION, ROCHESTER. SEMICONDUCTOR: © SEMICONDUCTOR. ROTTENBERG: COURTESY NICOLE KLAGSBRUN GALLERY, AND ANDREA ROSEN GALLERY, NEW YORK. CATTELAN: PHOTO: ZENO ZOTTI, COURTESY, MAURIZIO CATTELAN'S ARCHIVE. FLAVIN: PHOTO: STEFAN ROHNER, ST.GALLEN COURTESY OF DAVID ZWIRNER, NEW YORK, © 2012 STEPHEN FLAVIN / PRO LITTERIS, ZÜRICH. MAP: KATHERINE HARDY
CONTINUED FROM PAGE 19
Turkish art: five exhibitions in one
쏍 Galerie Gmurzynska
Paradeplatz 2
Robert Indiana
UNTIL 30 JULY
www.gmurzynska.com
쏍 Galerie Haas AG
Talstrasse 62a
Jean Fautrier
UNTIL 28 JUNE
Ekrem Yalçındag, Untitled, 2012
www.galeriehaasag.ch
Hot Spot Istanbul
쏍 Galerie Mark Müller
Haus Konstruktiv, Zurich
Hafnerstrasse 44
UNTIL 22 SEPTEMBER
Joseph Marioni: Painting at 70
As Istanbul’s growing art scene gains momentum, visitors to Zurich can
sample art from the Bosphorus in this survey, which traces the development of Turkish art—from abstract, to figurative, to conceptual. The show
opens with a walk-through installation by the artist and designer Can
Altay, and is then divided into five sections, each an exhibition in itself: a
historical overview of art since the 1940s; two solo shows of abstract
paintings by Ebru Uygun and Ekrem Yalçındag; a look at conceptual art;
and finally, a focus on four pivotal figures in post-war Turkish art, Nejad
Melih Devrim, Mübin Orhon, Ömer Uluç and Fahrelnissa Zeid. V.S.B.
UNTIL 20 JULY
John Nixon: EPW
UNTIL 20 JULY
www.markmueller.ch
쏍 Galerie Nicola von
Senger AG
Limmatstrasse 275
Thomas Feuerstein
UNTIL 13 JULY
www.nicolavonsenger.com
Kunsthalle Zurich
from Antiquity to the Modern Age
Limmatstrasse 270
UNTIL 14 JULY
Cameron Jamie
www.musee-suisse.ch
Kunsthaus Zürich
Shedhalle
UNTIL 27 JULY
Rote Fabrik, Seestrasse 395
www.peterkilchmann.com
Switzerland Is Not an Island #2
Heimplatz 1
UNTIL 30 DECEMBER
Kelly Nipper
www.shedhalle.ch
UNTIL 16 JUNE
Zahnradstrasse 21
Los Carpinteros: Bola de Pelo
UNTIL 18 AUGUST
www.kunsthallezurich.ch
쏍 Galerie Peter Kilchmann
Valkyries over Zurich
쏍 Annemarie Verna Galerie
UNTIL 18 AUGUST
Neptunstrasse 42
The Hubert Looser Collection
Celebrating 20 Years
UNTIL 8 SEPTEMBER
UNTIL 6 JULY
www.kunsthaus.ch
www.annemarie-verna.ch
쏍 Galerie Römerapotheke
Rämistrasse 18
Alexandre Joly
UNTIL 13 JULY
www.roemerapotheke.ch
쏍 Hauser & Wirth Zurich
Limmatstrasse 270
Lee Bontecou: Works on Paper
Migros Museum
UNTIL 27 JULY
Limmatstrasse 270
Wilhelm Sasnal
Geoffrey Farmer
UNTIL 27 JULY
UNTIL 18 AUGUST
www.hauserwirth.com
Collection on Display: John
Armleder, Stefan Burger, Valentin
Carron, Edward Krasiński,
Manfred Pernice
쏍 Häusler Contemporary
Stampfenbachstrasse 59
David Reed: Recent Paintings
UNTIL 18 AUGUST
UNTIL 17 AUGUST
www.migrosmuseum.ch
www.haeusler-contemporary.com
Museum für Gestaltung
Ausstellungsstrasse 60
René Burri: a Double Life
UNTIL 13 OCTOBER
www.museum-gestaltung.ch
Dillon Marsh’s Invasive Species 6,
2009, in “POPCAP ’13” at Museum
der Kulturen, Basel
쏍 Barbarian Art Gallery
Limmatstrasse 275
Aida Mahmudova: Inner Peace
Schweizerisches
Landesmuseum
Museumstrasse 2
Animals and Mythical Creatures
UNTIL 13 JULY
www.barbarian-art.com
쏍 Galerie Andrea Caratsch
Waldmannstrasse 8
Grasso’s disasters
and miracles
John Armleder: Overload
UNTIL 27 SEPTEMBER
www.galeriecaratsch.com
쏍 Galerie Bob van Orsouw
Limmatstrasse 270
Shirana Shahbazi
쏍 Mai 36 Galerie
Rämistrasse 37
John Baldessari
UNTIL 27 JULY
www.mai36.com
쏍 RaebervonStenglin
Pfingstweidstrasse 23
Ivan Seal
UNTIL 27 JULY
www.raebervonstenglin.com
쏍 Scheublein Fine Art Ltd.
Schloss Sihlberg, Sihlberg 10
Monuments
UNTIL 17 JULY
www.scheubleinfineart.com
UNTIL 27 JULY
쏍 Thomas Ammann Fine Art
Albrecht Schnider
Restelbergstrasse 97
UNTIL 27 JULY
Francesco Clemente
www.bobvanorsouw.ch
UNTIL 27 SEPTEMBER
www.ammannfineart.com
쏍 Galerie Eva Presenhuber,
Löwenbräu-Areal
Limmatstrasse 270
Grasso’s painting Studies
into the Past
GRASSO: COURTESY OF THE ARTIST.© LAURENT GRASSO, ADAGP 2013
Laurent Grasso: Disasters and
Miracles, 1356-1917
ART BASEL EVENTS
Jay DeFeo: Chiaroscuro
UNTIL 20 JULY
TUESDAY 11 JUNE
www.presenhuber.com
Film
Stadtkino Basel, Klostergasse 5
Kunsthaus Baselland, Basel
쏍 Galerie Eva Presenhuber,
Maag Areal
UNTIL 30 JUNE
Zahnradstrasse 21
8.30PM
New and existing works by the
French artist Laurent Grasso on
the theme of “disasters and miracles” have been brought
together for this solo show.
Known for his works exploring
time and history, Grasso uses traditional techniques (such as oil
on board) and contemporary
media (neon signs and projectors) to create wry depictions of
historic natural disasters, such as
the 1356 earthquake that devastated Basel. V.S.B.
Ugo Rondinone: Soul
Die Kleine Bushaltestelle
(Gerüstbau): Isa Genzken
UNTIL 20 JULY
Short film programme:
Humorous Criticality
Trisha Donnelly: April
10PM
UNTIL 20 JULY
Design Talks
Eva Rothschild
Designing the Future:
2013 W Hotels Designers of the
Future Award Winners
UNTIL 20 JULY
Mark Handforth: Blackbird UNTIL 7 SEPTEMBER
www.presenhuber.com
쏍 Galerie Francesca Pia
Limmatstrasse 268
Elad Lassry
UNTIL 20 JULY
www.francescapia.com
Design Miami Basel Studio,
Hall 1, Süd, Messe Basel
5:30PM-6:30PM
This year’s winners, Seung-Yong
Song, Jon Stam and Bethan Laura
Wood, talk with Felix Burrichter,
the editor-in-chief of PIN UP.
21
22
DIARY
His own biggest fan
The ex-factor
The Manila-based property magnate
Robbie Antonio is not
shy, having sat to
have his portrait
done by 30
artists so far,
including
Damien Hirst
and Takashi
Murakami
(Robbie à la
Murakami,
right), who
have all risen to
the challenge of
portraying Antonio’s
fine features on canvas
(the series has the subtle moniker of
“Obsession”). A recent piece in the
US edition of Vanity Fair points out
that “one thing that has helped the
artists to participate—beyond the
$50,000 to $100,000 that Antonio is
paying for each piece—is that he has
done his homework”. Robbie is now
planning to showcase, well, Robbie,
by showing the self-portrait series in
his own residence-cum-museum in
Manila, designed by the starchitect
Rem Koolhaas. The performance
artist Marina Abramovic has
installed a basement room in
“Stealth”, Antonio’s rather selfreferential new pad, where he will
be forced to contemplate life, the
universe and, of course, himself—on
a bed surrounded by crystals.
Abramovic gave Antonio, who is due
to attend Art Basel, the option of
sitting in silence for set periods of
60 minutes. “Can I do 30?” asked
the energetic collector, who
candidly admits that he “needs
to calm down”.
In moments of quiet contemplation,
have you ever wondered how many
women the US comedian Jerry
Seinfeld dated in his popular
TV series, which ran from
1989 to 1998? Fifty-seven,
according to the artist
Richard Prince, who has
merged each of these
fictional girlfriends into
a composite image available at Two Palms Press
(2.1/Q6; the work is available in 57 editions at
$15,000 each). Prince cheekily
tweeted the work after a US
court ruled in his favour in a copyright appeal case against the photographer Patrick Cariou in late April.
“Richard came to see the finished
result the day the verdict was
School daze (circa 1990)
The colour scheme for Art Basel’s
VIP programme appears to have got
the US art adviser Todd Levin in a
lather. On his Facebook page, Levin
has posted a picture of an Art Basel
VIP card, declaring: “Let the games
begin! But I just don’t know about
these colours. Does raspberry and
silver say ‘First Choice VIP’ to you?
Because to me, it says Springfield
High School official prom colours
of 1997.”
announced, and he was in the best
mood,” says David Lasry, the founder
of Two Palms.
Slumming it in style
Chuck out the cashmere, don that
sackcloth and reach for those ashes!
Anyone with a finger near the artworld pulse knows that current trends
ART BASEL DAILY EDITION
Better to give than to receive
Jonathan Horowitz’s Free Store, 2009-13, outside Unlimited implores Art Baselers
to “bring in stuff that you can’t use, take stuff away that you can”. With promising early donations, such as the very first snowboards owned by Art Basel’s
director, Marc Spiegler, and his wife Erica, a pair of genuine aeroplane seats
from Eva Presenhuber, a clutch of doggy bags bearing the image of Gavin
Brown’s pooch Dotti, a very chic jug donated by a light-fingered guest at the previous night’s Maja Hoffmann dinner and a pair of keyrings paying homage to
the Turkish situation emblazoned with the image of Atatürk, business has been
brisk, to say the least. But will the notoriously acquisitive art crowd continue to
give as much as it seems determined to receive, and thus achieve the artist’s
aim to “generate an alternative economy in parallel to that of the art fair”?
find comfort to be distinctly déclassé:
from Ai Weiwei’s prison cell in Venice
to Huang Yong Ping’s terracotta
remake of Osama Bin Laden’s compound, and Jonah Freeman and Justin
Lowe’s pungent deserted countercultural enclave Artichoke Underground,
2012/13, in Unlimited, confinement
and subjugation are all the rage. The
theme continues in the new
Messeplatz, where the sleekness of
Herzog and de Meuron’s design is mitigated by Tadashi Kawamata’s Favela
Café, 2013. But, much to the relief of
well-heeled fairgoers, the theme does
not extend as far as the menu, with
even the faintly street-ish kofte and
falafel at reassuringly exclusive prices.
Domino effect
If Oscar Murillo’s mega-installation in
Unlimited is a tad too pricey, bargain
Confessions of an art dealer
Mehdi Chouakri
Mehdi Chouakri gallery,
Berlin (2.1/K16)
My biggest mistake…
was to cancel my participation
in Art Basel in 2004, really.
My secret passion…
has to remain a secret.
The museum I’d like to lead…
Nissim de Camondo in Paris,
for instance.
The artist I should have
signed…
was signed by a colleague.
Bad luck.
Things that keep me awake
at 3am…
Jetlag.
I should have been…
Michael Jackson’s ape, perhaps.
I enjoy the company of…
intelligent, big-pocketed
collectors.
Dealers are misunderstood
because…
they can be pretty “multidimensional” at times.
Fairs are important…
but galleries are even more.
Small talk is…
hard work.
A recurring nightmare
involves…
Frieze in the rain, if you know
what I mean.
I was happiest when…
swimming naked.
My greatest achievement is…
always our latest show,
naturally.
The most underrated art
movement is…
possibly the next big thing.
The next big thing…
is possibly the most underrated
art movement.
I wish I had met…
Louis de Funès.
Travel broadens…
my Star Alliance miles
account.
Life’s too short to…
be poorly dressed.
15 March – 17 November 2013
Bernisches Historisches Museum
The « 8th Wonder of
the World » – now in Bern
Qin – The eternal emperor
and his terracotta warriors
www.qin.ch
deals can be found on the stand of
Carlos/Ishikawa gallery at the Liste
satellite fair. Not only are they showing the artist’s Bingo Boutique installation, they’re also staging thrice-daily
domino games, with winners each taking away one of the artist’s customised
counterfeit Comme des Garçons
t-shirts. Visitors may even get the
added bonus of clicking the counters
with the charismatic artist himself.
My favourite person in the
art world is…
my friend.
My Art Basel
dream is to…
have no return
shipping costs.
Gareth Harris
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editors: Jane Morris, Javier Pes
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: James Hobbs, Iain Millar, Emily
Sharpe, Anny Shaw
Designer: Craig Gaymer
Picture researchers: Katherine Hardy,
Ermanno Rivetti
Editorial assistants: Pac Pobric, Laurie Rojas
Editorial researcher: Victoria Stapley-Brown
Contributors: Alexander Adams, Martin Bailey,
Robert Bevan, Louisa Buck, Charlotte Burns, Paul
Carey-Kent, Benjamin Eastham, Eddy Frankel,
Melanie Gerlis, James Hall, Julia Halperin, Gareth
Harris, Ben Luke, Julia Michalska, Javier Pes, Pac
Pobric, Laurie Rojas, Cristina Ruiz, Anny Shaw,
Helen Stoilas, Nicole Swengley
Photographer: David Owens
DIRECTORS AND PUBLISHING
Chief executive: Anna Somers Cocks
Managing director: James Knox
Associate publisher: Ben Tomlinson
Finance director: Alessandro Iobbi
Finance and HR manager: Melissa Wood
Marketing and subscriptions manager:
Stephanie Ollivier
Head of sales (UK): Louise Hamlin
Commercial director (US): Caitlin Miller
Advertising executives (UK): Kath Boon,
Henrietta Bentall
Advertising executive (US): Adriana Boccard
Advertising executive (South and Central
America): Elsa Ravazzolo
Ad production: Daniela Hathaway
Office administrator: Francesca Price
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kri
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CHEIM
& READ
Art Basel 2013
Hall 2.0/C14
June 13 - 16
Joan Mitchell Untitled 1965 oil on canvas 57 1/2 x 44 3/4 in 146.1 x 113.7 cm
© Estate of Joan Mitchell, courtesy Joan Mitchell Foundation
THE ART NEWSPAPER DAILIES
Live reporting from the fair by the same editorial team who
create our monthly edition. This year, we are at:
ART BASEL
FRIEZE LONDON
FRIEZE MASTERS
ART BASEL MIAMI BEACH
FRIEZE NEW YORK
ART BASEL HONG KONG
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art basel 2013, issue 1

Transcription

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