frieze 2012, issue 3

Transcription

FR EE
FIND US AT
FRIEZE
DA I LY
Masters: stand M14
London: stand M1
TM
UMBERTO ALLEMANDI & CO. PUBLISHING
LONDON NEW YORK TURIN MOSCOW PARIS ATHENS
F R I EZE A RT FA I R THURSDAY 11 OCTOBER 2012
The past is still a foreign country
Collectors like the concept of mixing old and new, but sales at the twin fairs will be the test
OPENING REPORT
London. As contemporary art collectors,
curators and art advisers piled into the
VIP opening of Frieze London yesterday,
there was a sense of déjà vu, because
quite a few people had made their way
to the rather more stately opening of
Frieze Masters, the fair for art made
before 2000, the previous day.
The Belgian collector Mimi Dusselier
was the first to enter the contemporary
fair. She said: “I went to Frieze Masters—it was like looking at museum
pieces. It’s better for me here as I’m
looking for contemporary art. But it
was worth seeing rather than buying.”
The early signs are that the crossover
buying that organisers were hoping to
stimulate is going to be a slow burn.
The British contemporary collector
David Roberts arrived early at the VIP
openings of both fairs. “There are great
things at Frieze Masters, but I’m not so
sure the [crossover buying] concept will
work. I can see that someone who buys
contemporary art would buy a 1960
Yves Klein, but I’m not so sure they
will buy a 16th-century work,” he said.
Modern works were benefiting most
from the contemporary crossover effect,
but the two categories are already natural bedfellows as far as the market
goes. The US contemporary collector
and curator Beth Rudin DeWoody
bought two works by John McLaughlin
from Franklin Parrasch Gallery, showing
in the Spotlight section of Frieze Masters
(S5): #31 and #38, both 1958, for between
$50,000 and $80,000 each. At Cheim &
Read (FM, C9) a bronze by Louise Bourgeois, Avenza Revisited, 1968-69, sold to
a British contemporary and Modern
collector for around $1m, and Joan
Mitchell’s Untitled, 1961, went to a Swiss
collector for $1.5m. Both buyers were
new to the gallery.
Medieval sculpture, tribal art and
antiquities proved more commercially
successful than the Old Masters of the
16th to 19th centuries. “Sales take
Selling across the divide… Jean Luc-Baroni at Frieze Masters (A5) and Pilar Corrias Gallery at Frieze London (H5)
longer in Old Masters, and people coming from Frieze [London] need more
time to absorb what we do,” said Tova
Ossad of Moretti Fine Art (FM, A1),
which specialises in 13th- to 17th-century
Italian works. Nonetheless, the Old
“Can the Frieze brand
be stretched? It can be
done, but it takes time”
Master dealers were pleased with the
level of interest, and the more expert
visitors appreciated their offerings.
Chris Dercon, the director of London’s
Tate Modern, drew attention to a Jan
Lievens oil painting, A Bearded Old Man
with a Brown Cloak, around 1631, on sale
with Bernheimer and Colnaghi (FM,
E5) for €1.6m. As we went to press, the
work had not sold.
The question is whether Frieze Mas-
Warhol-Basquiat goes begging at Phillips
BARONI/CORRIAS BOOTHS: PHOTOS: DAVID OWENS
London. It was a case of unlucky lot
number 13 at Phillips de Pury’s contemporary auction last night, as Andy
Warhol and Jean-Michel Basquiat’s GE
Short Line & Reading (left, detail),
around 1984-85 (est £1.2m-£1.8m),
failed to attract any bidders and went
unsold. It was a disappointing auction in which a third of the lots went
the same way and none of those that
sold hammered for higher than its
upper estimate. “There were a few
more unsold than we expected,” said
Phillips’s chief executive, Michael
McGinnis, after the sale. He acknowledged that the amount of art for sale
during Frieze week could have been a
stumbling block. “We had potential
buyers registered but people were distracted… maybe they spent their
money elsewhere.” The sale total was
£12.2m (including commission)
against a pre-sale estimate of £15m to
£22m (excluding commission). M.G.
ters—a beautifully presented, broad
offering of niche collecting categories—
works best as a standalone fair or as a
natural extension of the contemporary
event. “The atmosphere at Frieze Masters was good, but the fair still needs
to find itself… I think it will attract
different crowds,” said the dealer David
Juda of Annely Juda Fine Art (FL, F9).
The geography of the fairs suggests
that they are more separate than the
organisers intended. Although they are
in the same park, the Frieze tents are
not particularly close (a 15-minute fast
walk, with only a few minutes saved
by getting one of the shuttle buses
that the fair organisers have laid on).
At Art Basel, where modern art reigns
supreme, there is a 30-second walk up
a flight of stairs to find the contemporary galleries. “It’s great to see old and
new art, but why can’t they combine
the two on the same site?” asked the
contemporary collector Jean Pigozzi.
He was an early buyer at Frieze London,
buying Toru Kuwakubo’s painting Burn
the Nude Women, 2012, from Tomio Koyama Gallery (FL, B1).
Dealers at both fairs were more relaxed about the distance between them.
“If people are coming from the US and
Europe to be here for Frieze London
and the auctions [Phillips de Pury,
Christie’s and Sotheby’s are holding
evening sales this week], then it makes
no sense not to get a VIP car round the
park for another fair,” said Hugh Gibson
of Thomas Gibson Fine Art (FM, C2).
Christian Mooney of Arcade Fine Arts
(FL, R2) said: “There’s nothing wrong
with a walk through the park; it gives
time to think about the works.”
The average price points at the
fairs are also different, which may be
a hurdle for some contemporary collectors. Galleries that are showing at
both fairs demonstrate the difference:
CONTINUED ON PAGE 2
African art may get deluxe treatment in London
London. Africa is increasingly seen as the continent of opportunity, and where
there is economic vigour, the West starts looking for new talent to feed the market. So African art could now be getting its own international fair, from 14 to 20
October 2013, to coincide with Frieze. Its name is 1:54, there being 54 sovereign
countries in Africa. Touria El Glaoui from Marrakech has already raised much of
the £500,000 needed to stage the fair in Somerset House, although more funds
are still needed. The fair’s artistic director will be Koyo Kouoh, recently the artistic adviser to this year’s Documenta, and the architect will be David Adjaye,
while the bespoke tailor Ozwald Boateng and the artist Hassan Hajjaj will advise
on design. Glaoui aims to have up to 25 carefully selected galleries for the first
edition, and believes the fair would promote African visual culture, give artists,
writers and curators an international platform and generate money for the longterm development of the art scenes in the various African countries. A.S.C.
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THE ART NEWSPAPER FRIEZE ART FAIR Thursday 11 October 2012
NEWS
The tenth anniversary of Frieze also marks a decade of the Outset/Frieze Art Fair
Fund, which gives curators early access to the fair to snap up works for the Tate.
With £150,000 to spend, the team selected four works, including Nicholas Hlobo’s
Balindile I, 2012 (right, detail). “All four are anchor pieces. They could work in
juxtaposition with a constellation of works in the collection,” says Chris Dercon,
the director of Tate Modern.
Stand numbers • Frieze London = FL • Frieze Masters = FM
Artprice survey reveals
the twin peaks of power
Artists from Gagosian Gallery and those from China dominate top 20 at auction
Basquiat’s Untitled (Self-portrait—The King),
1981, on offer for $3.6m at Edward Tyler Nahem
Fine Art’s stand at Frieze Masters (B7)
London. Gagosian Gallery (FL, D7; FM, C5) and
China are the two engines driving the contemporary auction market, according to a report published this week by Artprice. It lists the top 500
artists, born after 1945, based on international
auction sales. The top 20 is, coincidentally, split
between the East and the West, with half of the
artists coming from China. Gagosian has exhibited
11 of the top 20—all of the Western artists plus
Beijing-based Zeng Fanzhi, who is the second
highest ranking artist overall, with global auction
sales of €33.3m.
For the second year running, Jean-Michel
Basquiat is the undisputed leader of the pack,
with €80m in overall sales. The figures reflect
the growing demand for the artist, who died of a
drug overdose in 1988 at the age of 27. Gagosian
deals in the secondary market for Basquiat, who
is now “in a different category—super blue-chip”,
according to the New York collector Adam Lindemann, who is believed to own works by the
artist. Basquiat’s total sales have grown from
€54.7m last year, while his maximum hammer
price almost tripled, from €5.4m to €14.3m. Recent
auction highs include the record-breaking €16m
sale of Untitled, 1981, at Christie’s London on 27
June. “At fairs, the artist I receive the most
enquiries about is Basquiat,” says the New York
dealer Christophe Van de Weghe (FM, D7), who is
selling a 1985 work by the artist for $3.9m at his
stand at the Pavilion of Art and Design fair.
Although Gagosian deals in some of the world’s
most expensive artists, the gallery is better known
for signing those who already have international
recognition than it is for nurturing emerging
talent. Gagosian “snaps up artists who make really
good money”, says the art adviser Lisa Schiff,
pointing out that, in most cases, the careers of
Gagosian’s major artists were developed by other
galleries when they were younger. One example
is the US artist Christopher Wool, who jumped
into third place this year from 15th in 2011, with
his auction sales growing from €10.3m to €22.2m.
The New York gallery Luhring Augustine built a
steady career for the artist by going “out of its
way to place his work in the right collections and
organise museum shows”, Schiff says. In parallel
to his market rise, Wool has received significant
critical attention: his solo show at the Musée
d’Art Moderne in Paris earlier this year will be followed by a career survey at New York’s Guggenheim
Museum in October 2013.
More familiar names from Gagosian’s stable—
Damien Hirst, Takashi Murakami and Jeff Koons—
have prominent places in the top 20. Although
they remain market stalwarts, sales for Murakami
and Koons are down: Murakami’s by a third, from
€15.8m to €10.5m, causing him to fall from eighth
place to 13th, while Koons’s auction turnover
halved, from €30.2m to €15.2m. He moved from
fourth to ninth place, swapping positions with
Hirst, whose auction turnover grew from €14.9m
to €21.4m. This seems more to do with volume
than value: Hirst’s maximum hammer price almost
halved, from €2.2m in 2011 to €1.2m this year. Underworld, 2008, a work from “Beautiful Inside My
Head Forever”, his solo auction at Sotheby’s in
2008, is being offered at Christie’s tonight with
an estimate of £120,000 to £180,000—less than its
sale price of £241,250 four years ago.
Cindy Sherman, whose show at the Gagosian
gallery in Paris closed yesterday, is the only
woman in the top 20. She has climbed from 12th
to 11th place, with her auction turnover rising
from €11.2m to €12.3m.
Chinese artists comprise half of the top 20, reflecting the economic strength of the country,
which has overtaken the US to become the world’s
largest art market, according to a report published
in March by The European Fine Art Foundation
(Tefaf). But as the Chinese economy shows signs
of slowing down, Artprice’s figures reveal fluctuations in the contemporary market. The auction
turnover for “brand name” artists such as Zeng
Fanzhi and Zhang Xiaogang (in fifth place) has
fallen significantly: Fanzhi from €39.2m to €33.3m
and Xiaogang from €30.1m to €19.4m.
It is worth noting, however, that Artprice’s
data includes Chinese auction figures, which
can be unreliable as the numbers vary depending
on whose research you read. Artprice said that
China represented 41.4% of the fine art auction
market in 2011, while the art economist Clare
McAndrew put the figure at 30% in her report
for Tefaf.
Charlotte Burns and Julia Michalska
Top 10 contemporary artists at auction
Rank
2012
Rank
2011
Artist
Auction
turnover
2011/12
Maximum
hammer price
2011/12
Auction
turnover
2010/11
Maximum
hammer price
2010/11
1
2
3
4
5
6
7
8
9
10
1
2
15
9
5
10
6
3
4
34
Jean-Michel Basquiat
Zeng Fanzhi
Christopher Wool
Damien Hirst
Zhang Xiaogang
Zhou Chunya
Richard Prince
Chen Yifei
Jeff Koons
He Jiaying
€79,938,836
€33,296,116
€22,186,487
€21,370,107
€19,379,919
€16,035,305
€16,000,452
€15,480,396
€15,238,565
€12,914,638
€14,312,900
€3,594,500
€5,189,550
€1,182,370
€5,576,700
€3,074,000
€4,353,600
€1,428,000
€3,996,300
€1,044,680
€54,709,532
€39,246,785
€10,284,215
€14,871,080
€30,074,213
€14,723,744
€18,324,243
€30,269,872
€30,198,846
€6,224,991
€5,359,680
€3,762,500
€2,281,280
€2,158,210
€6,337,800
€913,750
€2,926,560
€7,781,600
€10,804,500
€524,640
Information compiled by Artprice. For the full top 500, see www.artprice.com
The past is still a foreign country
CONTINUED FROM PAGE 1
Hauser & Wirth (FL, C8; FM, B5) is selling ten wall
reliefs (editions of six) by Hans Josephsohn, late
1960s-late 1990s, for £10,000 ($16,000) each at
Frieze London, but at Frieze Masters, works on
paper by Eva Hesse, 1962-69, are priced from
$320,000 to $2m. It is difficult to generalise, however, about Frieze Masters, with prices ranging
from £700 for a Neolithic stone tool at Ben
Janssens (FM, C3) to $20m for Miro’s The Sorrowful
March Guided by the Flamboyant Bird of the Desert,
1968, at Helly Nahmad Gallery (FM, F7).
There did not seem to be a reverse flow of
traffic (collectors of older art branching out into
contemporary art) at Frieze London’s opening
yesterday, although less marketing was needed to
pull in the crowds at the more established fair. Either way, Frieze Masters encouraged contemporary
dealers across the park, who said the new fair
will inject fresh energy into the ten-year-old event.
“It might create a stronger identity for Frieze
London, which has always been about showing
works by artists creating work right now, but has
increasingly been creeping into the secondary
market,” said David Juda. The thoughts of Kate
MacGarry (FL, E11) turned the opposite way. “Frieze
Masters has made me think about exploring opportunities with works made pre-2000,” she said.
The new fair, with its huge range of works, together with the launch of Frieze New York in
May, has led some to wonder about what the
brand now represents. Is it trying to compete
with Art Basel and/or Tefaf Maastricht, or ensure
its own development and survival in an increasingly
competitive market? The Swiss collector Uli Sigg
said: “Can the Frieze brand be stretched? It can
be done, but it takes time. It’s all a little thin at
the moment, beyond the contemporary [fair]. I
fully support the Frieze team’s plans, nonetheless.”
The London-based banker and collector Mervyn
Metcalf said: “Having been to Frieze in New York,
I was a bit disappointed. There’s still a great selection of galleries and art, but it doesn’t have the
same buzz.” This did not stop him buying Marc
Hundley’s The World Represented Is... (for Christian),
2012, for $3,500 from Team Gallery (FL, E15).
Others felt that the New York fair had boosted
the London edition. “There are more people from
New York at the fair this year,” said Nadia Gerazouni
of Athens’s Breeder gallery (FL, F14). David Maupin
of Lehmann Maupin (FL, F12) said: “I think the impact of Frieze Masters will be good. It’s a way for
the brand to expand and to create new collectors
within the markets. Amanda [Sharp] and Matthew
[Slotover, the organisers of Frieze] are intelligent
about customer service.” Maupin sold five editions
of Teresita Fernández’s Golden (30 Dissolves), 2012,
for $75,000 each, and Tracey Emin’s Legs moving,
2012, for £120,000 to a German collector.
Melanie Gerlis with Gareth Harris and Riah Pryor
ARTPRICE: PHOTO: DAVID OWENS. OUTSET: TATE PHOTOGRAPHY. COURTESY OF STEVENSON, CAPE TOWN AND JOHANNESBURG
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4
NEWS ANALYSIS
Carlos/Ishikawa (R7,
right) shows works by
Ed Fornieles in Frame,
while Naples’s Fonti
gallery (S6) has a display
of Daniel Knorr in Focus
North-south divide: why
art fairs come in sections
FAIR LAYOUT
London. Not only is there an extra fair
to add to the traipsing list at Frieze
this year, visitors also have some extra
subsections to get their heads (and
feet) around. Joining the 21 galleries in
Frame (the section launched by Frieze
in 2009 for solo-artist projects at galleries under six years old) are the 20
booths that form Focus (for galleries
that have been around since 2001 to
spaces available [at Frieze] became limited after only our first year,” says
Amanda Sharp, Frieze’s co-director.
“The sections—hopefully—keep vitality
and energy in the fair.”
But do collectors distinguish between
them, or do their eyes glaze over when
they see another single-word section
on the fair map? “If I ran an art fair, I
would want to encourage buyers at all
entry points, and [the subsections] give
younger galleries a great opportunity.
The problem is that there is a greater
“[The subsections] give younger galleries a great
opportunity. The problem is that there is a greater
risk that the quality won’t be fantastic”
show up to three of their artists). Focus
is an export from Frieze New York’s
first edition in May. Meanwhile, over
in the Frieze Masters tent, there is
Spotlight, a section for 22 galleries to
stage solo presentations of lesser-known
20th-century artists.
It’s a familiar phenomenon on the
fairs circuit, intended to add an extra
something (generally for a cheaper
price) to the regular art and dealers
who show each year. “The number of
risk with emerging art that the quality
won’t be fantastic,” says the British
contemporary art collector David
Roberts, who recently opened a new
space to show works from his collection
in London’s Camden Town. “Also, visitors
tend to fly through art fairs, so sometimes you go past the smaller booths
thinking ‘no, no, no, yes, no’, rather
than spending the time that is necessary.
It’s easier at Art Unlimited [part of Art
Basel], where the emphasis is on larger
works that have immediate impact.
Having said that, sometimes you can
discover real gems,” he adds.
Making the subsections distinct,
while part of the glorious whole, is
something that Frieze’s organisers are
very conscious of. This year, for the
first time, the subsections have their
own director (Jo Stella Sawicka is organising Focus and Frame separately to
Amanda Sharp and Matthew Slotover’s
co-directing of the main fair) and are at
extreme ends of the tent (Focus is in
the south, Frame up north). But, Stella
Sawicka says, the subsections “architecturally follow the same language as
the main section”, which may help to
prevent them being sidelined.
The exhibiting dealers have little
doubt about the potential benefits of
being in a major art fair, regardless of
sales. “A solo presentation booth doesn’t
always make commercial sense, but so
many people go to Frieze, it could give
us that stamp of approval,” says Christian Mooney, who runs London’s Arcade
and is showing in Frame for the first
time (R2, works by Anna Barham, ranging from £3,750 to £9,000). “You get
people such as Outset [the charity that
provides £150,000 to buy emerging art
for the Tate’s collection],” he says.
Focus, which makes
room for “middle-aged”
galleries and allows them
back in subsequent years,
has been strongly welcomed to the London edition
of Frieze this year. “Focus works
because it supports the galleries as
well as the project,” says Rebecca May
Marston, the director of Limoncello,
who showed in this section in New
York. As one of the three founders of
the Frieze satellite fair Sunday (11-14 October), May Marston’s enthusiasm is
particularly striking. Subsections have
been known to squeeze out clustering
satellites by encroaching on their usually
cheaper and more emerging material
(not least in London, where the arrival
of Frame in 2009 contributed to the demise of the Zoo art fair).
Some exhibitors chose to apply to
Focus rather than the main fair this
year. “For a gallery like ours, neither
emerging nor established, our artists
are better supported with a focused
display,” says Lukasz Gorczyca, who coruns Warsaw’s Raster Gallery (S19). His
booth has works by Michal Budny
(priced between
€6,000
and
€20,000). “During art fairs,
people are rushing from one
booth to another,
so it makes more of
a statement to show
one artist,” he says. Also,
he adds, “Focus is a bit cheaper”.
Several Focus galleries mention the
price difference. This year, in the main
fair, the average booth size has grown
from 35 sq. m to around 44 sq. m,
with galleries paying £352 per sq. m.
At Focus, the stands are all 30 sq. m at
£267 per sq. m, and at Frame, they are
25 sq. m at £235 each. Lisa Panting,
who co-runs London’s Hollybush Gardens gallery (S15) and showed in the
main fair last year, says: “We wanted a
smaller booth. We wanted to present
only a couple of artists, so, as the cost
had [effectively] gone up for the main
fair, it made sense to apply to Focus
instead.” Panting is showing artists including Karl Holmqvist (works priced
between £3,000 and £5,500).
Melanie Gerlis
• For more on Spotlight, see p8
PHOTOS: ERMANNO RIVETTI
Every big fair has its subsections, squeezing out rival satellites. Smaller galleries
get a foot inside the door, but what’s the attraction for collectors?
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7
INTERVIEW
London attracts Russians,
Chinese, Arabs and other
Europeans
Michael Werner
Founder, Michael Werner Gallery
Capital gains
The German dealer is the latest to open a new space in London. By Cristina Ruiz
opened a space in London?
Gordon VeneKlasen: We’ve had an
office here for years, and from 2007
to 2010, we rented a Robert Adam
house on Mansfield Street. Then, in
2010, we rented a space in Hoxton
Square and did a pop-up show of
work by [the American artist] Aaron
Curry. We found we were doing a lot
of work here, and Kadee Robbins
[now director of the London gallery]
was interested in having a regular
space open to the public, so we
started to look for a building.
New York is still a vibrant capital
of the art market, but London has a
different international axis: the
Russians, the Arabs and all the
Europeans who are fleeing their tax
systems are here, and that makes
quite a critical audience. Then you
have all the Latin Americans who
Peter Doig’s Painting for Wall Painters
(Prosperity P.o.S.), 2010-12, is flying
the flag for Werner’s London space
come—there is a large group of
Brazilians here—so London is an
international shopping city.
There is also an audience that will
be very excited about what we do that
is different from everybody else. The
artists we show—such as Immendorff
and [A.R.] Penck, who languished in
the 1990s in the moment of antipainting—are very, very exciting to a
“We intend to build up
an alternative history
of Modern art”
younger generation now. Peter Doig is
a huge admirer of Lüpertz, Penck and
Per Kirkeby [the Danish artist has
strong ties to Germany]. We intend to
do here what we did in New York,
which is to build up an alternative history of Modern art. There, we did it at
a time when there was a real antipathy to what we were doing; now, I
think there’s a receptive audience.
Michael Werner: When Gordon started
to work with younger artists, such as
Aaron Curry and Thomas Houseago
[in 2007], it was interesting to me that
these artists were both students of art
history. They were both friends of
Markus Lüpertz—who basically
nobody likes because he is impossible—and they had collected all his
catalogues. This dialogue [between
© SOTHEBY’S, INC. 2012 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #9588677; © 2012 GLENN BROWN
WERNER: PHOTO: GALERIE MICHAEL WERNER. DOIG: © RICHARD IVEY. COURTESY OF MICHAEL WERNER GALLERY, NEW YORK AND LONDON
T
he veteran German
dealer Michael Werner
has inaugurated a
gallery in an elegant
Georgian townhouse in
Mayfair, London, with a
show of 11 paintings by Peter Doig—
the artist’s first display of new work
since his mid-career retrospective at
Tate Britain in 2008.
It is a strong gambit in a city that
is also home to new branches of New
York’s David Zwirner and Pace galleries, and where competition to
secure new work by the top artists is
fierce (Doig’s most recent solo show
at his London gallery, Victoria Miro,
was in 2002).
A dealer for nearly five decades
with galleries in Cologne, Berlin and
New York, Werner has spent his
career championing post-war German
painting and says his mission has
been to secure a place in history for
artists such as Jörg Immendorff,
Sigmar Polke, Georg Baselitz and
Markus Lüpertz, whom he says were
marginalised for decades because
they were German and because they
were painters at a time when the
medium was deeply unfashionable.
We spoke to Werner and Gordon
VeneKlasen, his business partner for
more than 20 years, on the day the
new London gallery opened.
The Art Newspaper: Why have you
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generations of artists] is
interesting and it is something
we will continue to do here.
What did you want to achieve as
an art dealer?
MW: It was a double goal. First, my
artists were considered reactionary
because they painted, and second,
they were isolated because they came
from Germany. After the Second
World War, artists in Germany were
incredibly isolated. They had nothing
to do with the centres of the art world.
Many German-speaking artists tried to
connect with Paris but they were not
let in because of the war. The first one
who really worked his way out of this
isolation was Joseph Beuys, and, of
course, the generation I worked with. I
was an intermediary.
Work by your artists is now found
in major museums around the
world. Is your work done?
MW: No, because there is another
cliché if you’re an artist in Germany
or Italy, Spain or France, which is that
you have to have an exhibition in a
big museum in America. After that,
your reputation is secure in your own
country. I have some artists who have
achieved that: Baselitz, Anselm
Kiefer—he’s not my artist any more,
but I did his first gallery show—and
Kirkeby, who has a show at the
Phillips Collection in Washington,
DC, right now [“Per Kirkeby:
Paintings and
Sculpture”, until 6
January 2013]. But I still have
three left: Immendorff, Penck and
Lüpertz. Then my work will be done.
• “Peter Doig: New Paintings” is at Michael
Werner Gallery, 22 Upper Brook Street (until
22 December)
• “The Michael Werner Collection”, a show of
works donated by Werner to the Musée d’Art
Moderne de la Ville de Paris, is on display at
the museum (until 3 March 2013)
London calling
• David Zwirner has opened a 10,000
sq. ft gallery in a Georgian townhouse in
Grafton Street. The opening show, “Allo!”
(until November 17), is of paintings by
Luc Tuymans.
• Pace Gallery has inaugurated its new
London space, in the former Museum of
Mankind building at 6 Burlington
Gardens, with a show juxtaposing works
by Mark Rothko and Hiroshi Sugimoto
(“Dark Paintings and Seascapes”, until
November 17).
• Per Skarstedt opened a 2,500 sq. ft
first-floor space at 23 Old Bond Street
yesterday with “The American Indian
Paintings and Drawings”, a show of works
by Warhol (until November 17).
8
FEATURE
Adriano Pedrosa
(top), Iwona
Blazwick and
Philip Tinari all
question
assumptions
about what
makes a “master”
Where has all
the Bacon gone?
Spotlight: an alternative canon of 20th-century art or savvy sales strategy? By Ben Luke
certain discrepancies or a certain disequilibrium that exists between institutional recognition and the market.
And perhaps the generation or the
movement in which there is a [big]
discrepancy is precisely the conceptualists of the 1960s and 1970s.”
The result is a provocative alternative canon of conceptualist and feminist artists. Some booths feature
major established figures, like Bruce
Nauman at Sperone Westwater (S9),
as well as other, more cultish figures
who have made significant waves in
museum circles, like Sanja Ivekovic at
Espaivisor, Valencia (S17), who had a
show at the Museum of Modern Art
(MoMA) in New York in 2011, and
artists like the Filipino Roberto
Chabet, showing with Osage Gallery,
Hong Kong (S16), whose work has not
been seen in the UK. In showing these
artists as masters he wants to “try to
send a message and to change the
perception of things” by laying down
the gauntlet to a market which is
“usually looking at painting made by
male, European artists”, he says.
Museums and public institutions
have long challenged the Euro-US
dominated canon which was perhaps
most clearly articulated by Alfred
Barr, the founding director of MoMA.
In the UK, Iwona Blazwick has been
central to that process in her roles at
the ICA, Phaidon, Tate Modern and
now the Whitechapel Gallery, where
she is the director. Less well known,
but key in her curatorial outlook, was
a project on the curating course at
the Royal College of Art in London, in
which she asked students to research
non-Western avant gardes. “They
came up with the most incredible
material from very unlikely places,”
she says, “from Jamaica and Prague,
from Mexico City, from Japan, Africa
and India, so it was a real revelation.
It was the first time that we saw an
alternative to what has always been
claimed as a Western inheritance.”
The hallmarks of Blazwick’s
Whitechapel programme have been a
notable abundance of shows of
women artists, from Nan Goldin to
Alice Neel and a plethora of nonWestern art, including, recently, an
exhibition dedicated to Walid Raad
and the ongoing programme “Artists
Film International”, a collaboration
with 12 organisations across the world.
Along with the Tate’s current head
of collections for international art,
Frances Morris, Blazwick was behind
Tate Modern’s controversial thematic
opening displays, which comprehensively broke with the Barr model,
allowing a greater emphasis on contemporary art and a significant presence of artists from outside Europe
and the US. The Tate Collection’s continuing expansion into Latin America,
Asia and now Africa has reinforced
Pedrosa’s conviction that Frieze and
London provide the right platform for
his conceptualist revisionism. “London
Three in the Spotlight
From Croatia (once part of Yugoslavia), Argentina and the Philippines, the work of
Sanja Ivekovic, Osvaldo Romberg and Roberto Chabet typifies the art highlighted
by Adriano Pedrosa as running counter to the conventional Western canon
Sanja Ivekovic, Espaivisor,
Valencia (S17)
The subject of a recent retrospective at the
Museum of Modern Art, New York, the
Croatian artist is emerging as one of the
key feminist voices from eastern Europe,
where she pioneered video and photobased art. In the video Personal Cuts, 1982
(above), shown on television in Yugoslavia,
images of Ivekovic cutting holes in a stocking-like mask over her head, were
interspersed with images of Yugoslav
propaganda following Tito’s death.
Osvaldo Romberg, Henrique Faria
Gallery, New York (S8)
The Argentinian artist’s work attracted some
attention in the 1970s, when, according to
his present dealer Henrique Faria, “the
pieces were shown in Basel and would sell
within ten minutes of the fair opening”. Faria
shows works from Romberg’s “History of
Art” series (above, Allegoria della Fede,
Vermeer, 1976), where he deconstructs masterpieces by Velázquez, Constable and
Caravaggio among others, analysing their
chromatic structures.
Roberto Chabet, Osage Gallery,
Hong Kong (S16)
Filipino artist Chabet is “a fundamental figure and a teacher of so many artists,”
Adriano Pedrosa says. Map and Rooms,
1985, is one of 300 works which comprise
Chabet’s “China Collage” series, so named
because maps of China, Mongolia and
Korea were the basis of the first works in
the series. Chabet shredded images from
books, magazines, newspapers and maps
leading to an image he described as a “picture morgue”. B.L.
is a particularly interesting place to do
it, and perhaps
the most receptive
place for something like this to happen,” he says. “You don’t see that type
of openness either from an art fair or
from institutions elsewhere.”
So will the market respond?
Henrique Faria (S8), who is showing
the Argentinian conceptualist Osvaldo
Romberg in Spotlight, feels optimistic
that private collectors will begin to follow institutions’ lead in exploring this
global conceptualist tradition in
greater depth. “In the conceptual
niche of Latin American art, there are
some very interesting artists whose
works have not got the recognition
they deserve,” he says. In his experience, many private collections’
approach to this material “is very conservative”. His biggest clients are
museums, but “academia and cultural
institutions spur the interest of the
rest of the collectors base,” he says. So,
drive similar solutions.”
Conceptualism has been
central to recent Chinese art,
too, but Philip Tinari, the director
of the Ullens Center in Beijing, says
that the “hiatus from reality” that
denied any aspects of Modernism
from entering Chinese culture in the
communist period before the
“Reform and Opening Up” policies of
1979, meant that there was no legacy
for artists to respond to. “If there is a
canon of Chinese art,” Tinari says, “it
is represented in things like the
Ullens collection or the Uli Sigg collection that was just given to M+ [in
Hong Kong] and this is a narrative
that traces the period from 1979 to
the present.”
Rather than being based on a
steady growth of Modernism, says
Tinari, “the Chinese embrace of conceptualism has always been mediated
and tempered by very specific
encounters”, such as a mid-1980s
Robert Rauschenberg show, and the
visit of Gilbert and George in 1993,
The most tightly focused section of the fair,
Spotlight captures a two-decade burst of activity
amid thousands of years of art
too, do pioneer collectors. “As with
Latin American Geometric Abstract,
Concrete, Neo-concrete art—15 or 16
years ago, nobody was really collecting
that. But Patty Cisneros and Adolpho
Leirner put together amazing collections…and those collections started
the general interest in the work.”
Key to the establishment of the
truly global avant garde that Pedrosa
proposes is the fact that conceptualism and its various manifestations in
video, Performance and text art are
almost a lingua franca, despite being
arrived at in varying conditions.
Blazwick cites a particularly significant moment in the late 1960s and
early 1970s. “In England, Belgrade,
Vienna, Tokyo, Los Angeles, New York
and Rome, seven artists [including
Marina Abramovic and Chris Burden]
without any knowledge of one
another went into the public arena
and asked the public to harm them,”
she says. “It is uncanny that in each
location there was an individual who
had that impulse. What happened at
that moment, in that weird zeitgeist?
And [similar situations] come up time
and again. But then you realise that
very different local conditions
applied: the conceptual art in Chile
was made in response to Pinochet and
censorship, it was a matter of life and
death; conceptual art in America was
made in response to capitalism. You
see the different conditions which
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
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leading to a piecemeal construction
of the history of Modernism. The
Chinese contemporary art scene has
only ever existed in a period in which
conceptualism has been pre-eminent
in the avant garde. “That is what the
[Chinese] artists gravitated towards,
because artists everywhere tended to
gravitate towards it,” Tinari says.
Internationally, he believes, “there
is still very much a canon in play. You
only have to see the exhibitions at
the top five international museums
each year—last year was the year of
Richter, and right now we are in this
LV [Louis Vuitton]-mediated Yayoi
Kusama moment.
It is also possible to argue, however, that art history is now dictated
not by a canon but by a network. As
Tinari says, Chinese artists are now
experiencing global art events in
“real time” online, and this develops
an increasingly diverse view of artists
in the present and recent past.
Blazwick concurs: “It is an exciting
moment when there are a lot of revisionist views of art history, led, I must
say, by artists.” Those artists are setting about “finding lost histories, the
lacunae. It has also been characterised by this turn towards the
archive as something really exciting,
not as something dull and boring and
basement, but something full of
unexplored treasures.” Pedrosa will
hope that Spotlight will be just that.
NAVY PIER
19—22
SEPTEMBER
2013
PEDROSA: DESIGNOPHY; BLAZWICK: ED MILES PHOTOGRAPHY; IVEKOVIC: COURTESY OF EXPAIVISOR, VALENCIA; ROMBERG: COURTESY OF THE ARTIST AND HENRIQUE FARIA FINE ART, NEW YORK; CHABET: COURTESY OF OSAGE GALLERY, HONG KONG
M
atthew Slotover
and Amanda
Sharp will have
known when naming Frieze Masters
that for many in
art history world, the idea of the “master” is outmoded. And it is from a critical viewpoint that Adriano Pedrosa
has put together the most tightly
focused section of the fair, Spotlight,
capturing a two-decade burst of activity amid thousands of years of art.
Pedrosa describes Spotlight as “a
section of solo shows of artists from
the 20th century”. It would be impossible to focus on earlier periods—
there is insufficient material available
for solo shows of earlier artists—but
Pedrosa has not simply cherry-picked
significant 20th-century artists. “The
idea of ‘masters’, for me, already
raises some issues in terms of how the
idea of the master can be challenged,
not only in terms of the art historical
canon, but also, quite frankly, in
terms of the market itself,” he says,
“because we are dealing with an art
fair—it is not the selection of oneperson presentations in an institution.
“In England perhaps, in terms of a
mid-20th-century master, you would
think of someone like Francis Bacon.
So, of course, he is an artist that is
very much established both institutionally as well as in the market
itself. I wanted to challenge that in
Spotlight, particularly looking at
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12
IN PICTURES
If you go down to the par
Sculpture embellishes the English Garden, including works by Yayoi Kusama, Alan Kane and Simon Periton, Anri Sala and W
1
1
Yayoi Kusama, Flowers That Bloom
Tomorrow, 2011, Victoria Miro
2
Anri Sala, Clocked Perspective, 2012,
Hauser & Wirth
3 and 4
Alan Kane and Simon Periton, eight
fculptures (details), 2012, Ancient &
Modern, Sadie Coles HQ
5
William Turnbull, Horse, 1999,
Waddington Custot Galleries
PHOTOS: DAVID OWENS
2
k today…
3
5
4
13
14
INTERVIEW
United enemies (right)
and Memorial for unknown
artist, both 2011, are on
show at the Serpentine
Thomas Schütte
Artist
Schütte finds his
happy medium
T
homas Schütte studied
with Gerhard Richter at
the Kunstakademie
Dusseldorf in the 1970s
and is now regarded
almost as highly as his
former teacher. The work of this prolific, inventive and influential but
famously retiring figure is perplexingly variable, ranging from giant
bulbous aluminium “Grosse Geister”
figures to delicate watercolours of
flowers, from architectural models to
glass and ceramic heads, or vast
reclining women in bronze and steel.
But throughout his various media
and modes, Schütte has shown an
abiding preoccupation with the
human form, producing numerous
series of figures and portrait studies
of subjects both real and imaginary
in a characteristically broad range of
media over a period of more than
three decades. Now, for the first
time, two London exhibitions—at the
Serpentine Gallery and the Frith
Street Gallery—are devoted almost
entirely to Schütte’s often emotionally charged explorations of the figurative tradition, which provide new
insights into his working methods as
well as his sometimes volatile relationship with the art of both the past
and the present.
The Art Newspaper: Alongside your
archetypal sculptural heads and
figures, your two London shows
are devoted to directly observed
watercolours, prints and drawings
of acquaintances and
friends, which you have
been making since the
early 1990s, plus your
numerous selfportraits. Why is it so
important to keep
working from life?
Thomas Schütte: For me,
making eccentric figures
is just fun: it is very, very
easy. It just happens.
But to catch life on a
piece of paper, without electronic tools,
has a hands-on
quality that is
really important.
I am looking for
some kind of
realism. I mostly
do seven or
eight drawings in a row, in a onehour session, [working] very, very
fast—about five minutes each. Then,
a day later, I rework a little bit, but I
can only use one or two from this; it’s
all a matter of luck. I don’t think I
have got it yet. Maybe I have to work
for another ten years.
Are any of your sculptures
based on directly
observed faces?
No. I might have
met some of the
people, but you
can’t recognise
them. They are
based on a situation. I’ve never
tried to make a
portrait sculpture. You
need a lot
of craft for
it, which I
don’t have.
They need to
be all selfmade; some
of the portraits went
pretty nicely,
some not so well, so I didn’t put
those ones out.
How would you define “going
nicely”?
When they look like the sitter and
the line are OK and the mood is OK.
But I don’t have the problem of the
normal portraitist with a client: I
would never do the portrait of somebody I don’t know.
What makes you return to observe
the same person again and again?
Is it to examine them more closely
or is it also a form of self-examination? Or maybe a bit of both?
It is much more simple than that: I do
it for fun and because nobody else is
doing it, except for two or three people, so it’s a free house. Hockney
[does portraiture] a bit; from him I
got the camera lucida, the little mirror
device that helps with drawing. I’ve
been to the National Portrait Gallery
and to the BP Portrait Award, and it’s
pretty amazing—you see all these
mistakes! It’s all about mistakes; it’s a
very risky thing. If you fail with reality, it is very hard—then there is
nothing to talk about. It is just the art
that you find in hotels.
What is the relationship between
the portraits and your sculptural
heads and figures?
I have to balance the big things with
the small things. It’s always quite
good to balance the eccentric stuff.
Sometimes I am a bit sick of these
monsters, but now I work with computers, so the rough dummy is cut by
a machine after the three-dimensional
scans have been made. The warriors
[Krieger, 2012, at Frith Street Gallery]
and United Enemies [2011, at the
Serpentine Gallery] are 80% cut by
computers and I only do the details.
The sculptures at both the
Serpentine and Frith Street send
out very disquieting mixed messages that play with notions of
monumentality and scale. They
can seem imposing, comical,
threatening and vulnerable—
often all at the same time.
They have to, because I don’t do traffic signs. Many artists do traffic signs;
[they are] always saying the same
thing. “I’m here! Buy me! Or sell me!”
But [the sculptures] have to be like a
living person with knobbly mixed
feelings: the bad side, the good side,
the chocolate side. I don’t like shouting instructions. I am not in product
Come and visit us at
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BOTH PHOTOS THIS PAGE: © GAUTIER DEBLONDE, 2012
Two London shows demonstrate the artist’s joy in sculpture. By Louisa Buck
15
Career highlights
• An 8ft-tall cast aluminium sculpture by Schütte, Grosse Geist No
16, 2000, formerly owned by the Israeli collector Jose Mugrabi,
was bought by an unidentified buyer for $4.1m at Phillips de
Pury in 2010, setting an auction record for the artist.
LUISE: PHOTO: WILFRIED PETZI. © DACS 2012. SCHÜTTE (TOP): DAVID ERTL, 2010. © BUNDESKUNSTHALLE, BONN. SCHÜTTE (BIOGRAPHY BOX): DAVID WIMSETT/UPPA/PHOTOSHOT
• In 2005, Schütte was awarded the Golden Lion for
placement—that’s not my job.
Your sculptures effectively use the
scale and language of monumental sculpture while also seeming
to critique it. At the Serpentine,
the two sculptures of United
Enemies and the single steel figure
of Vater Staat (Father State), 2010,
have tremendous scale and presence but are also ridiculous armless figures, puppets propped up
by their garments.
Vater Staat has no back, either. He’s
just held up by his coat. Just remember this past year of falling dictators
who are kissing all the time, and not
even apologising when things go completely wrong. Dictators are very useful if they are on the same side [as
you], but if they are on the other side,
they are just like Hollywood monsters.
Luise, 1996, is among the many
portraits the German artist has made
It is very silly to give power a face;
power is about networks and the people behind the face. Real power is an
antenna, a little device that cannot be
represented by a face—nobody knows
who it is. The more readings a piece
has, the better it is. I don’t like just
one message.
The bronze Memorial for unknown
artist, 2011, which stands at the
entrance to the Serpentine show,
is another tragi-comic figure,
almost a caricature of an artist
with his luxuriant hair and beard,
seeming to raise his hands in
exasperation.
He was a little matchbox-sized wax
figure that I found: the head and
shoulders were in one piece with this
silly hair and the arms were separate.
I glued them together and put them
on a plinth, and when I was searching
for a title, I checked Google and there
was literally no image for the
unknown artist. Tons of images for
the unknown soldier, or the
unknown gay, or the unknown
widow, but for the unknown artist
there was no monument. So because
he looked so much like a comic Da
Vinci, I gave him the name. I only corrected the eyes and the nose a little
bit; otherwise, he is as I found him.
Are you planning more portrait
series at the moment?
Yesterday I went to the Da Vinci show
[“Leonardo da Vinci: Anatomist” at the
Queen’s Gallery, Buckingham Palace]
and it was really fascinating: he made
12 drawings on one sheet of paper no
bigger than a hand. Just a handful of
lines and they were more precise than
a photo! The work of one week just
on one sheet of paper, and he got
everything right hundreds
of years before everyone
else. The mercilessness of
just a few lines: to see
them for real, to be so precise with just one little pencil and one little ink drop,
that’s really shocking. You step
out from there as an artist and
you really want to give it up, or get
drunk or something. That’s why I
don’t want to talk any more; I have to
go home and get it digested.
• “Thomas Schütte: Faces and Figures” is at
the Serpentine Gallery (until 18 November)
• “Thomas Schütte: New Works” is at Frith
Street Gallery (until 15 November)
Biography
Thomas Schütte
best artist at the 51st Venice Biennale for his cast steel
and bronze sculptures of giant distorted reclining
women, which were exhibited in “The Experience of
Art”, organised by the biennial’s co-curator Maria de
Corral in the Italia pavilion. The curators described the
works as “the bodies and torsos of towering, imposing
women, convulsively twisted around themselves, broken,
curved, flattened or dripping from all sides”, declaring that
“a persistent sense of irritation is given off by these figures”.
• Schütte was the first non-British artist to occupy the Fourth
Plinth in Trafalgar Square, London. Model for a Hotel, 2007, an architectural
model of a 21-storey building, was made from horizontal panes of yellow, blue and red
glass, and weighed more than eight tonnes. At the time, the artist described the work as
“something big but light, colourful but not offensive… very discreet, not traffic-stopping”.
• The exhibition “Houses”, a survey of Schütte’s architectural models and projects, which
has been co-organised with the Castello di Rivoli in Turin, is on show at the Nouveau
Musée National de Monaco until 11 November. “Thomas Schütte: Faces and Figures” will
tour from London’s Serpentine Gallery to the Fondation Beyeler in Basel, Switzerland, in
October 2013. L.B.
Born: Oldenburg, Germany,
1954
Education: Kunstakademie
Dusseldorf, 1973-81
Lives in: Dusseldorf
Future shows: 2013
“Thomas Schütte: Faces and
Figures”, Fondation Beyeler, Basel, Switzerland
Selected solo shows: 2012 “Thomas Schütte:
Faces and Figures”, Serpentine Gallery, London;
“Thomas Schütte: New Works”, Frith Street
Gallery, London; “Houses”, Nouveau Musée
National de Monaco; “Frauen”, Castello di Rivoli,
Turin 2010 “Thomas Schütte”, the Art and
Exhibition Hall of the Federal Republic of
Germany, Bonn; “Thomas Schütte: Hindsight”,
Museo Nacional Centro de Arte Reina Sofia,
Madrid; Dusseldorf Prize 2009 “Thomas
Schütte”, Haus der Kunst, Munich 2007-09
Fourth Plinth commission, National Gallery,
London 2005 Golden Lion award, 51st Venice
Biennale; “Political Works”, Museu de Arte
Contemporanea, Museu Serralves, Porto 2000
“Kabinet Overholland”, Stedelijk Museum,
Amsterdam 1999 “Gloria in Memoria”, Dia
Center for the Arts II, New York; “In Media Res”,
DIA Center for the Arts III, New York
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MEL RAMOS (B. 1935)
Mixed Nuts:The Lost Painting of 1965
oil on canvas
48 x 36 inches (121.9 x 91.4 cm.)
Painted in 2004.
© Mel Ramos 2004
16
BOOKS
Dropping the bomb on
Nagasaki in 1945
Look or look away?
PHOTOGRAPHY
A
Julie Heffernan, Self Portrait as a Gorgeous Tumour II, 2004, oil on canvas, 172.7 × 127cm
s a dumb device, the
camera is the nonjudgemental witnessing eye of events. Its
testimony is unquestionable, providing us
with clear evidence on which to act. It
is this uncomplicated understanding
of photographic reportage that is challenged in the essays in Picturing
Atrocity: Photography in Crisis. The
authors examine the acts of witnessing, picturing and viewing inflicted
human suffering, from the Battle of
Wounded Knee, fought in 1890 on a
Native American reservation in South
Dakota, to the present day.
The result of several years of academic research, this volume of 24
essays is organised into seven sections. The first considers how we
respond to photographs of atrocity.
Posing questions about response
leads forward and backward to
responsibility. It is the responsibility
of the photographer and the reader
of the photograph on which the
authors focus their attention. In the
following three sections, the authors
consider how making these images
has an impact on the photographer as
well as how such images have an
impact on our cultural memory,
becoming icons of atrocity as a whole
rather than documents of specific
atrocity. The latter essays, to a large
extent, move away from the centre of
the drama to its periphery. For
instance, on the edge of what constitutes atrocity photographs lie snapshots that give evidence that is decipherable yet oblique. The book closes
with two artists whose work responds
to published and circulated images.
In the introduction, Jay Prosser
answers his own opening question as
As viewers of mass
media, we have no
choice but to look at
images of atrocity
to why we look at images of atrocity:
we, as viewers of mass media, have
no choice. Prosser then states that a
central concern of this book is that
photography itself is currently in crisis. Digital technologies have affected
the making of images as well as their
circulation. Acknowledging this, the
contemporary witness has to determine how to look at and how to
respond to the picturing of atrocity.
Perhaps three essays best address
this crisis in that they concentrate on
the depiction of a current unfolding
narrative. Tom Junod’s “The Falling
Man” takes as its subject a widely published photograph by Richard Drew of
one of the many people who jumped
out of the World Trade Center on 11
September 2001. Drew is identified by
Junod as a “paid witness”: a photographer working for the Associated Press
fulfilling a professional obligation. In
the US, the response to the photographs of people jumping from the
Twin Towers was one of self-censorship. These images were deemed to
infringe upon the dignity of the victims as they plummeted so publicly to
their deaths. The images of “the
jumpers” became taboo, too troubling
to witness. Americans gave themselves the right to avert their eyes.
The ensuing war in Afghanistan
provides us with the subject of Mark
Durden’s essay. In discussing Luc
Delahaye’s 2001 photograph of a dead
Taliban soldier, Durden refers to a
comment made by the late American
writer and activist Susan Sontag that
in war, the faces of our dead opponents are shown more than those of
our own dead. We do not avert our
eyes from troubling images of the
“other”. Delahaye’s Taliban is a largescale, high quality print (eight feet by
four feet) that is rich in detail, carefully considered and made to be scrutinised in galleries and museums.
Durden argues that this aesthetic
approach and the context of the
METAMORPHOSIS
the transformation of being
gallery wall gives dignity to the
subject and a space for empathy for
the viewer.
In the last of these three
examples, Peggy Phelan uses
photographs taken in Iraq at the Abu
Ghraib prison to show the problem of
reading the photograph as evidence.
She identifies key questions that
cannot be answered by the viewer
when looking at these photographs:
who took them, why were they taken
and whom and what do they show.
Hooded, the prisoners are deprived of
both their sight and their identity.
Correspondingly, the viewer’s vision
is also limited. It is this limitation to
the act of seeing that Phelan
highlights, and as a result the viewer
is unsure how to respond.
According to Junod, Durden and
Phelan, the camera bore witness, but
its testimony was questionable and
the responses provoked were not uniform. Perhaps the question asked by
the readers of the book will be what
is our obligation? Maybe the answer
is that all we can do is bear witness to
our own complicit responsibility.
Stephen Clarke
The author is an artist, writer and lecturer
based in the north-west of England
Picturing Atrocity:
Photography in Crisis
Geoffrey Batchen, Mick Gidley,
Nancy Miller and Jay Prosser, eds
Reaktion Books, 320pp, £20 (pb)
ambrosine allen bertozzi & casoni g. l. brierle y
jason brooks jonas burgert jake & dinos c hapman
george c ondo johan creten wim delvoye
albrec ht dürer gregor gaida tom gallant
marianna gartner stefan guggisberg paul hazelton
julie heffernan alexander hoda john isaacs
reece jones joanna kirk dirk lange
vera lehndorff & holger trülzsc h wolfe von lenkie wicz
thomas lerooy alastair mackie haruko maeda
c harles matton paul mc carthy kate mc c gwire
robert mcnally jonathan meese polly morgan
tim noble & sue webster francis picabia léopold rabus
anton rädersc heidt dennis sc holl cindy s herman
carolein smit rebec ca stevenson john stezaker
mircea suciu dolly thompsett whitne y m c veigh
jonathan wateridge hugo wilson
—
regent s park
e
m a ry l
AL L VI S UAL ARTS
the crypt one marylebone london nw1 4qa
AL L VI S UAL ARTS
W W W.AL LVI S UAL ARTS.O R G
e
oa d
bone r
osnaburgh street
9 ‒ 12 october 2012 10am ‒ 8pm
cl
r cir
albany street
outer circle
oute
MELIA
WHITE
HOUS E
one
mar ylebon e
cryp t
eust on roa d
REGENTS
PARK
GREAT
PORTLAND
STREET
the entrance to the crypt of one marylebone
is lo cated opposite the meliá white house hotel
T. +44 (0)20 78 43 0 410
I N F O@AL LVI S UAL ARTS.O R G
IMAGE COURTESY OF THE LIBRARY OF CONGRESS
Photographs of atrocities pose problems for photographers, viewers and publishers
19
CALENDAR
Frieze week 9-14 October 2012
KEY
Listings are arranged
alphabetically by area
쏍 Commercial gallery
Galleries showing at London’s fairs this week
1
2
3
1 “Matt Stokes”, Whitechapel Art Gallery, Give to Me the Life I Love (production still), 2012 2 “Bharti Kher” (installation view), Parasol Unit 3 “Bjarne Melgaard: a House to Die In” (installation view), Institute of
Contemporary Arts
Exhibitions
STOKES: PHOTO: DANIEL WEILL. KHER: PHOTO: STEPHEN WHITE. COURTESY OF THE ARTIST AND PARASOL UNIT FOUNDATION FOR CONTEMPORARY ART, LONDON. MELGAARD: PHOTO: STEVEN WHITE. COURTESY OF STEVEN WHITE/ICA
CENTRAL
쏍Ben Brown Fine Arts
쏍Carpenters Workshop
Gallery
쏍Derek Johns
쏍Gagosian Gallery
21 Cork Street, W1S 3LZ
12 Duke Street, SW1Y 6BN
• From De Chirico to Cattelan
3 Albemarle Street, W1S 4HE
UNTIL 30/11/12
• Atelier Van Lieshout: Blastfurnace
• Viceregal Colonial Paintings
in the New World
6-24 Britannia Street,
WC1X 9JD
www.benbrownfinearts.com
• Franz West: Man with a Ball
12 Carlton House Terrace,
The Mall, SW1Y 5AH
• Bjarne Melgaard
UNTIL 21/12/12
9/10/12-12/10/12
09/10/12-10/11/12
www.cwgdesign.com
www.derekjohns.co.uk
17-19 Davies Street, W1K 3DE
UNTIL 18/11/12
쏍Carroll/Fletcher Gallery
쏍Elisabetta Cipriani
• Giuseppe Penone: Intersecting
Gaze
• Hannah Sawtell: Osculator
56-57 Eastcastle Street, W1W 8EQ
23 Heddon Street, W1B 4BQ
09/10/12-24/11/12
• Trojan: Works on Paper
www.gagosian.com
Austrian Cultural Forum
쏍Ben Janssens Oriental Art
28 Rutland Gate, SW7 1PQ
91c Jermyn Street, SW1Y 6JB
• Hugo “Puck” Dachinger
UNTIL 11/1/13
• Damian Taylor and Japanese
20th-century Bronze Design
• John Akomfrah: Hauntologies
• Cynthia Marcelle
www.acflondon.org
09/10/12-26/10/12
UNTIL 08/11/12
11/10/12-17/11/12
www.benjanssens.com
www.carrollfletcher.com
www.elisabettacipriani.com
쏍Bernard Jacobson Gallery
Embankment Galleries,
Somerset House
• John Bartlett: London Sublime
6 Cork Street, W1S 3NX
쏍Cass Sculpture
Foundation
UNTIL 10/11/12
• Bruce McLean: Shapes of Sculpture
Exhibition Road, SW7
Strand, WC2R 1LA
www.guildhall-art-gallery.org.uk
www.alancristea.com
10/10/12-03/11/12
• Tony Cragg at Exhibition Road
UNTIL 25/11/12
• Images 36: Best of British
Illustration
쏍Hamiltons
www.sculpture.org.uk
쏍Blain Southern
UNTIL 28/10/12
13 Carlos Place, W1Y 2EU
Courtauld Gallery
4 Hanover Square, W1
Somerset House, Strand,
• Night Paintings by Paul
Benney
• Jedd Novatt: Chaos, Defining
the Invisible
쏍Alan Cristea Gallery
31 and 34 Cork Street, W1S 3NU
• Edmund de Waal
www.jacobsongallery.com
쏍Alison Jacques Gallery
16-18 Berners Street, W1T 3LN
• Ian Kiaer
12/10/12-10/11/12
• Tim Noble and Sue Webster
www.alisonjacquesgallery.com
10/10/12-24/11/12
www.blainsouthern.com
쏍Annely Juda Fine Art
23 Dering Street, W1S 1AW
British Library
• Sigrid Holmwood
96 Euston Road, NW1 2DB
09/10/12-21/12/12
• On the Road: Jack Kerouac
www.annelyjudafineart.co.uk
UNTIL 27/12/12
FURTHER
LISTINGS
www.theartnewspaper.
com/whatson
WC2R 0RN
09/10/12-18/11/12
09/10/12-18/11/12
www.ica.org.uk
Guildhall Art Gallery
Guildhall Yard, EC2V 5AE
12/10/12-20/01/13
쏍James Hyman Fine Art
16 Savile Row, W1S 3PL
• Baldus and the Modern Landscape
15/10/12-09/11/12
www.jameshymangallery.com
UNTIL 09/12/12
UNTIL 03/11/12
www.somersethouse.org.uk
www.hamiltonsgallery.com
쏍Jean-Luc Baroni
7-8 Mason’s Yard, Duke Street,
St James’s, SW1Y 6BU
• Matteo Baroni
UNTIL 19/10/12
www.jlbaroni.com
쏍Etro
쏍Haunch of Venison
43 Old Bond Street, W1S 4QT
103 New Bond Street, W1S 1ST
• Massimo Listri: Prospettive
• Joana Vasconcelos
12/10/12-12/11/12
10/10/12-17/11/12
5-8 Lower John Street,
Golden Square, W1F 9DR
www.etro.com
51 Eastcastle Street, W1W 8EB
• Mel Bochner
www.bl.uk
쏍Anthony Reynolds Gallery
Institute of Contemporary
Arts
쏍Faggionato Fine Arts
쏍Karsten Schubert
• Justin Mortimer
UNTIL 2/11/12
12/10/12-24/11/12
www.karstenschubert.com
60 Great Marlborough Street,
W1F 7BG
British Museum
• Lucian Freud: Etchings
Great Russell Street, WC1B 3DG
UNTIL 13/01/13
• Serge Spitzer
• Peter Gallo
• Shakespeare: Staging the World
• Peter Lely: a Lyrical Vision
UNTIL 23/11/12
쏍Hauser & Wirth
쏍Katrin Bellinger at
Colnaghi
www.faggionato.com
196a Piccadilly, W1J 9DY
15 Old Bond Street, W1S 4AX
쏍Francesca Galloway
• Rita Ackermann:
Fire by Days
• Érik Desmazières: Cabinet
of Rarities
UNTIL 27/10/12
UNTIL 25/11/12
11/10/12-13/01/13
www.anthonyreynolds.com
• Renaissance to Goya
www.courtauld.ac.uk
UNTIL 06/01/13
Barbican Art Gallery
Level 3, Silk Street, Barbican
Centre, EC2Y 8DS
• Everything Was Moving:
Photography from the 60s
and 70s
www.britishmuseum.org
쏍Cabinet Gallery
쏍David Gill Galleries
2-4 King Street, SW1Y 6QP
49 Albemarle Street, W1S 4JR
31 Dover Street, W1S 4ND
UNTIL 03/11/12
UNTIL 26/10/12
• Red Stone
23 Savile Row, W1S 2ET
www.bellinger-art.com
• Thomas Houseago
• Gaetano Pesce: Six Tables on Water
UNTIL 09/11/12
20a Northburgh St, EC1V 0EA
UNTIL 22/12/12
www.francescagalloway.com
• John Knight: Quiet Quality, 1974
www.davidgillgalleries.com
10/10/12-17/11/12
UNTIL 13/01/13
Apt 6, 49-59 Old Street, EC1V 9HX
• Random International:
Rain Room
• On the Correct Handling of
Contradictions Among the People
쏍David Zwirner
www.haunchofvenison.com
쏍Frith Street Gallery
UNTIL 27/10/12
쏍Laura Bartlett Gallery
www.hauserwirth.com
10 Northington Street,
WC1N 2JG
17-18 Golden Square,
W1F 9JJ
쏍Helly Nahmad Gallery
24 Grafton Street, W1S 4EZ
2 Cork Street, W1S 3LB
13/10/12-17/11/12
• Luc Tuymans: Allo
• Thomas Schütte: New Works
• Modern Masters
www.laurabartlettgallery.com
UNTIL 03/03/13
10/10/12-14/10/12
UNTIL 17/11/12
UNTIL 15/11/12
UNTIL 02/11/12
www.barbican.org.uk/artgallery
www.cabinet.uk.com
www.davidzwirner.com
www.frithstreetgallery.com
www.hellynahmad.com
• Lydia Gifford: the Neighbour
CONTINUED ON PAGE 20
Transparencies
Richard Serra Recent Drawings
October 26 – December 15
Catalogue available
C RAIG F. S TARR GALLERY
5 East 73rd Street New York 212.570.1739 Mon-Sat 11-5:30 www.starr-art.com
20
CALENDAR
KEY
Frieze week 9-14 October 2012
1
2
3
1 “RA Now”, Royal Academy of Art, Tony Bevan, Self Portrait, 2012 2 “Thomas Houseago: Special Brew” (installation view), Hauser & Wirth 3 “William Klein and Daido Moriyama”, Tate Modern, William Klein, Candy
Store, New York, 1955
쏍Lisson Gallery
Museum of London
쏍Regina Gallery
쏍Sam Fogg
Tate Britain
150 London Wall, EC2Y 5HN
22 Eastcastle Street, W1W 8DE
15D Clifford Street, W1S 4SZ
Millbank, SW1P 4RG
• At Home with the Queen
• Deep into Russia
• Red Stone: Indian Stone
Carving from Sultanate and
Mughal India
• Art Now: Jess Flood-Paddock
UNTIL 06/01/13
Phillips de Pury
• Howard Hodgkin
Howick Place, SW1P 1BB
UNTIL 09/11/12
UNTIL 02/12/12
• Contemporary art day auction
www.samfogg.com
• Pre-Raphaelites: Victorian
Avant-garde
www.phillipsdepury.com
52-54 Bell Street, NW1 5DA
UNTIL 28/10/12
9/10/12-17/11/12
• Anish Kapoor
www.museumoflondon.org.uk
www.reginagallery.com
10/10/12-10/11/12
www.lissongallery.com
쏍Louisa Guinness Gallery
National Gallery
쏍Richard Nagy
Trafalgar Square, WC2 5DN
22 Old Bond Street, W1S 4PY
Auctions
THURSDAY 11 OCTOBER, 2PM
• A Masterpiece for the Nation
• The Benedict Silverman Collection
쏍Selma Feriani Gallery
35 Onslow Gardens, SW7 3PY
UNTIL 11/11/12
UNTIL 24/11/12
23 Maddox Street, W1S 2QN
• Turner Prize 2012
Christie’s (King Street)
• Sophia Vari
www.richardnagy.com
• Maha Malluh: Just Des(s)erts
UNTIL 06/01/13
8 King Street, SW1Y 6QT
UNTIL 04/11/12
• Richard Hamilton: the
Late Works
UNTIL 11/11/12
www.tate.org.uk/britain
www.louisaguinnessgallery.com
10/10/12-13/01/13
• Post-war and contemporary
art…
• followed by: the Italian Sale
www.nationalgallery.org.uk
쏍Luxembourg and Dayan
FURTHER
LISTINGS
UNTIL 13/01/13
www.selmaferiani.com
쏍Thomas Dane
Serpentine Gallery
11 Duke Street, SW1Y 6BN
Kensington Gardens, W2 3XA
• Lari Pittman: Thought-Forms
www.theartnewspaper.
com/whatson
• Thomas Schütte: Faces and
Figures
• Post-war and contemporary
day auction
www.thomasdane.com
• The Queen: Art and Image
쏍Robilant + Voena
쏍Timothy Taylor Gallery
UNTIL 21/10/12
38 Dover Street, W1S 4NL
• Serpentine Gallery Pavilion:
Herzog and de Meuron and
Ai Weiwei
6 Albemarle Street, W1S 4BY
• Thomas Struth
• Angela Ferreira: Stone Free
UNTIL 20/1/13
• White: Marbles and Paintings
from Antiquity to Now
12/10/12-17/11/12
www.npg.org.uk
UNTIL 14/12/12
2 Savile Row, London W1S 3PA
National Portrait Gallery
• Rob Pruitt’s Autograph
Collection
St Martin’s Place, WC2H 0HE
11/10/12-15/12/12
www.luxembourgdayan.com
쏍Marlborough Contemporary
• Marilyn Monroe: a British
Love Affair
UNTIL 24/03/13
www.marlboroughcontemporary.com
www.robilantvoena.com
쏍Olyvia Fine Art
UNTIL 18/11/12
09/10/12-17/11/12
FRIDAY 12 OCTOBER, 12PM
www.christies.com
15 Carlos Place, W1K 2EX
Bonhams
• Kiki Smith: Behold
101 New Bond Street,W1S 1SR
UNTIL 14/10/12
11/10/12-17/11/12
• Contemporary art and design
www.serpentinegallery.org
www.timothytaylorgallery.com
www.bonhams.com
쏍Simon Lee Gallery
Victoria and Albert Museum
12 Berkeley Street, W1 8DT
Royal Academy of Arts
• Heimo Zobernig
Cromwell Road, South
Kensington, SW7 2RL
Sotheby’s
17 Ryder Street, SW1Y 6PY
6 Albemarle Street, W1S 4BY
• The Clot Collection
Burlington House, W1J 0BD
09/10/12-24/11/12
• Arthur Bispo do Rosário
• 20th-century Italian art
• Frank Auerbach: Next Door
UNTIL 26/10/12
• Bronze
UNTIL 28/10/12
12/10/12-10/11/12
www.olyviafineart.com
UNTIL 09/12/12
Q-Park, 3-9 Old Burlington
Street, W1S 3AF
• RA Now
• Toby Ziegler: the Cripples
• Ballgowns: British Glamour
Since 1950
• Contemporary art evening
auction
쏍Marlborough Fine Art
www.marlboroughfineart.com
쏍Max Wigram Gallery
쏍Osborne Samuel
23A Bruton Street, W1J 6QG
34-35 Bond Street, W1A 2AA
11/10/12-11/11/12
10/10/12-20/10/12
UNTIL 06/01/13
www.royalacademy.org.uk
www.simonleegallery.com
www.vam.ac.uk
• Contemporary art day auction
쏍Waddington Custot
Galleries
www.sothebys.com
106 New Bond Street, W1S 1DN
• Mark Humphrey
• FOS: Watchmaker
10/10/12-27/10/12
Saatchi Gallery
쏍Sprüth Magers
10/10/12-15/12/12
www.osbornesamuel.com
Duke of York’s HQ, King’s Road,
SW3 4RY
7A Grafton Street, W1S 4EJ
SATURDAY 13 OCTOBER, 11AM & 2PM
EAST
• Peter Fischli/David Weiss: Walls,
Corners, Tubes
11 Cork Street, W1S 3LT
• Out of Focus: Photography
6 Burlington Gardens, W1S 3ET
UNTIL 05/11/12
10/10/12-10/11/12
UNTIL 10/11/12
www.saatchi-gallery.co.uk
Victoria House, Bloomsbury
Square, WC1B 4DA
www.spruethmagers.com
www.waddingtoncustot.com
UNTIL 24/10/12
• Mark Rothko and Hiroshi
Sugimoto: Dark Paintings
and Seascapes
Wallace Collection
• Brian Chalkley: Female Trouble
www.mayorgallery.com
UNTIL 17/11/12
• New Sensations and the Future
Can Wait
쏍Stair Sainty Gallery
38 Dover Street, W1S 4NL
Hertford House, Manchester
Square, W1M 6BN
www.ancientandmodern.org
• Making the Renaissance
Sword
쏍Arcade
UNTIL 16/11/12
UNTIL 31/03/13
87 Lever Street, EC1V 3RA
www.europeanpaintings.com
www.wallacecollection.org
• Can Altay: Distributed
쏍Stephen Friedman Gallery
Wellcome Collection
www.arcadefinearts.com
25-28 Old Burlington Street,
W1S 3AN
183 Euston Road,
NW1 2BE
Bloomberg Space
www.maxwigram.com
쏍Mayor Gallery
22a Cork Street, W1S 3NA
• Turi Simeti: Pianissimo
쏍Michael Hoppen Gallery
쏍Pace London
6-10 Lexington Street, W1F 0LB
• Adam Pendleton: I’ll Be Your
09/10/12-14/10/12
3 Jubilee Place, SW3 3TD
UNTIL 27/10/12
www.thefuturecanwait.com
• Daido Moriyama: Tights and Lips
www.pacegallerylondon.com
쏍Sadie Coles
UNTIL 20/10/12
www.michaelhoppengallery.com
Photographers’ Gallery
4 New Burlington Place, W1S 2HS
16-18 Ramillies Street, WC2 7HY
• Federico Beltràn-Masses:
Blue Nights and Libertine
Legends
• Robert Indiana Sculptures
쏍Ancient & Modern
201 Whitecross Street, EC1Y 8QP
13/10/12-10/11/12
UNTIL 03/11/12
• Shoot! Existential Photography
• Laura Owens: Pavement
Karaoke/Alphabet
22 Upper Brook Street, W1K 7PZ
12/10/12-06/01/13
09/10/12-17/11/12
• Peter Doig: New Paintings
• Tom Wood: Men and Women
• Tom Friedman
• Superhuman
50 Finsbury Square, EC2A 1HD
UNTIL 22/12/12
12/10/12-06/01/13
• Sarah Lucas and Rohan
Wealleans: White Hole
09/10/12-10/11/12
UNTIL 16/10/12
• Hannah Sawtell: Vendor
www.michaelwerner.com
www.thephotographersgallery.org.uk
UNTIL 02/13
www.stephenfriedman.com
www.wellcome.ac.uk
쏍Michael Werner Gallery
69 South Audley Street, W1K 2QZ
UNTIL 12/01/13
www.bloombergspace.com
쏍MOT International
쏍Pilar Corrias
• Raymond Pettibon
쏍Stuart Shave/Modern Art
쏍White Cube, Mason’s Yard
First Floor, 72 New Bond Street,
W1S 1RR
54 Eastcastle Street, W1W 8EF
UNTIL 17/11/12
25-26 Mason’s Yard, SW1Y 6BU
9 Balfour Mews, W1K 2BG
• Laure Prouvost
• Koo Jeong: a Navigation
Without Numbers
23/25 Eastcastle Street,
W1W 8DF
• Darren Bader
• David Noonan
• Magnus Plessen: Riding
the Image
10/10/12-10/11/12
10/10/12-10/11/12
UNTIL 20/10/12
10/10/12-10/11/12
UNTIL 10/11/12
13/10/12-16/12/12
www.motinternational.org
www.pilarcorrias.com
www.sadiecoles.com
www.modernart.net
www.whitecube.com
www.campolipresti.com
쏍Campoli Presti
223 Cambridge Heath Road, E2 0EL
• Blake Rayne: Wild Country
TATE MODERN: © WILLIAM KLEIN. HOUSEAGO: © THOMAS HOUSEAGO. COURTESY THE ARTIST AND HAUSER & WIRTH. PHOTO: ALEX DELFANNE
CONTINUED FROM PAGE 19
21
KEY
Estorick Collection
39a Canonbury Square, N1 2AN•
Fairs
Bruno Munari: My Futurist Past
UNTIL 23/12/12
Frieze Art Fair
www.estorickcollection.com
Regent’s Park, NW1
Freud Museum
11-13 OCTOBER, 12PM-7PM
14 OCTOBER, 12PM-6PM
20 Maresfield Gardens, NW3 5SX
www.friezeartfair.com
• Saying It
UNTIL 18/11/12
Frieze Masters
www.freud.org.uk
Regent’s Park, NW1
Jewish Museum
Raymond Burton House,
129-131 Albert Street, NW1 7NB
www.friezemasters.com
• Adi Nes: the Village
Moniker
11/10/12-03/02/13
54 Holywell Lane,
Shoreditch, EC2A 3PQ
www.jewishmuseum.org.uk
WHITE CUBE: © THEASTER GATES, PHOTO: BEN WESTOBY, COURTESY WHITE CUBE. VICTORIA MIRO: COURTESY OF THE ARTISTS AND VICTORIA MIRO GALLERY LONDON. @ ELMGREEN & DRAGSET. MACGARRY: COURTESY OF THE ARTIST AND KATE MACGARRY LONDON. KAPOOR: © ANISH KAPOOR
“Theaster Gates”, White Cube Bermondsey, My Labor Is My Protest, 2012
Zabludowicz Collection
11 OCTOBER, 7PM-9PM
12-13 OCTOBER, 11AM-7PM
14 OCTOBER, 11AM-5PM
176 Prince of Wales Road,
NW5 3PT
www.monikerartfair.com
Moving Image
쏍Carlos/Ishikawa
쏍Maureen Paley
쏍White Cube
•Zabludowicz Collection Invites:
Richard Sides
Unit 4, 88 Mile End Road, E1 4UN
21 Herald Street, E2 6JT
48 Hoxton Square, N1 6PB
UNTIL 21/10/12
• Net Narrative
• Liam Gillick: Margin Time
• Runa Islam
• Matthew Darbyshire: T Rooms
UNTIL 20/10/12
UNTIL 18/11/12
UNTIL 03/11/12
UNTIL 02/12/12
www.carlosishikawa.com
www.maureenpaley.com
www.whitecube.com
www.zabludowiczcollection.com
쏍Carl Freedman Gallery
Parasol Unit
Whitechapel Gallery
14 Wharf Road, N1 7RW
• David Brian Smith
• Bharti Kher
77-82 Whitechapel High Street,
E1 7QX
SOUTH
www.moving-image.info
29 Charlotte Road, EC2A 3PB
UNTIL 03/11/12
UNTIL 11/11/12
www.carlfreedman.com
www.parasol-unit.org
Oxo Tower Wharf,
Bargehouse Street,
South Bank, SE1 9PH
Alma Enterprises Gallery
UNTIL 02/12/12
• Neil Hedger: Scary Monsters
38-40 Glasshill Street, SE1 0QR
Christie’s, 85 Old
Brompton Road, SW7 3LD
12 OCTOBER, 9AM-7.30PM
13 OCTOBER, 11AM-7.30PM
15 OCTOBER, 9AM-5PM
Chisenhale Gallery
쏍Seventeen
• Matt Stokes
UNTIL 04/11/12
64 Chisenhale Road, E3 5QZ
17 Kingsland Road, E2 8AA
UNTIL 2/12/2012
www.almaenterprises.com
• Ed Atkins: Us Dead Talk Love
• Susan Collis: That Way and This
• Mel Bochner
UNTIL 11/11/12
UNTIL 10/11/12
UNTIL 20/12/12
Dulwich Picture Gallery
www.chisenhale.org.uk
• Sound Spill
• The Bloomberg Commission:
Giuseppe Penone
Gallery Road, SE21 7AD
UNTIL 10/11/12
www.seventeengallery.com
UNTIL 01/09/2013
10/10/12-13/01/13
Pavilion of Art & Design
London
www.whitechapel.org
www.dulwichpicturegallery.org.uk
Berkeley Square, W1
쏍Wilkinson Gallery
쏍Corvi-Mora
www.pad-fairs.com
쏍Galerie Daniel Blau
51 Hoxton Square, N1 6PB
• David Bailey: Papua Polaroids
쏍The Approach
UNTIL 03/11/12
47 Approach Road, E2 9LY
www.danielblau.com
• Evan Holloway
쏍Herald Street
2 Herald Street, E2 6JT
1a Kempsford Road, SE11 4NU
• Mark Alexander
• Pierpaolo Campanini
Sunday
www.theapproach.co.uk
12/10/12-11/11/12
UNTIL 20/10/12
• Sung Hwan Kim
www.corvi-mora.com
35 Marylebone Road,
NW1 5LS
쏍Greengrassi
1a Kempsford Road, SE11 4NU
www.sunday-fair.com
쏍Victoria Miro Gallery
16 Wharf Road, N1 7RW
www.heraldst.com
• Elmgreen & Dragset: Harvest
• Falke Pisano
UNTIL 21/10/12
www.hollybushgardens.co.uk
50-58 Vyner Street, E2 9DQ
UNTIL 04/11/12
Unit 2, BJ House, 10-14 Hollybush
Gardens, E2 9QP
www.multipliedartfair.com
UNTIL 11/11/12
• Klaus Weber
쏍Hollybush Gardens
• Cotman in Normandy
UNTIL 10/11/12
www.victoria-miro.com
12/10/12-11/11/12
www.wilkinsongallery.com
NORTH
Tate Modern
Bankside Power Station,
25 Sumner Street,
SE1 9TG
6 Minerva Street, E2 9EH
2 Omega Place, N1 9DR
Hayward Gallery
• Karthik Pandian
• Bertozzi and Casoni: Regeneration
Southbank Centre, Belvedere
Road, SE1 8XX
13/10/12-10/11/12
The Crypt, 1 Marylebone, NW1 4AQ
• Edvard Munch:
the Modern Eye
Institute of International
Visual Arts
• Metamorphosis
• Art of Change: New Directions
from China
09/10/12-14/10/12
UNTIL 09/12/12
Rivington Place, EC2A 3BA
www.allvisualarts.org
• Someday All the Adults Will Die
UNTIL 04/11/12
UNTIL 14/10/12
Ben Uri Gallery: The London
Jewish Museum of Art
www.hayward.org.uk
• The Unilever Series:
Tino Sehgal
108a Boundary Road, NW8 0RH
Imperial War Museum
UNTIL 28/10/12
Lambeth Road, SE1 6HZ
27 Old Nichol Street, E2 7HR
• Chaim Soutine and His
Contemporaries
• William Klein and Daido
Moriyama
• Goshka Macuga
UNTIL 28/10/12
UNTIL 01/01/13
10/10/12-20/01/13
UNTIL 27/10/12
www.benuri.org.uk
쏍Jerwood Space
Artist Rooms: Joseph Beuys
and Bruce Nauman
Camden Arts Centre
171 Union Street, SE1 OLN
UNTIL 01/04/13
Arkwright Road, NW3 6DG
• Jerwood Drawing Price 2012
www.tate.org.uk/modern
• Eric Bainbridge: Steel Sculptures
UNTIL 28/10/12
• Kimathi Donkor
UNTIL 24/11/12
www.iniva.org
쏍Kate MacGarry
www.katemacgarry.com
쏍Limoncello
15a Cremer Street, E2 8HD
• Jesse Wine
UNTIL 17/11/12
“David Brian Smith: Goodwill
and the Unknown Man”, Carl
Freedman Gallery
www.limoncellogallery.co.uk
쏍Matt’s Gallery
Wapping Project
• Cecil Beaton: Theatre of War
UNTIL 14/10/12
• Aldo Tambellini: Retracing
Black at The Tanks
UNTIL 02/12/12
• Johann Arens
• Simon Martin: UR Feeling
쏍White Cube
UNTIL 15/12/12
UNTIL 02/12/12
www.jerwoodspace.co.uk
144-152 Bermondsey Street,
SE1 3TQ
South London Gallery
• Theaster Gates: My Labour
Is My Protest
www.camdenartscentre.org
42-44 Copperfield Road, E3 4RR
Wapping Hydraulic Power
Station, Wapping Wall, E1W 3ST
• Revolver Part II
• Mitra Tabrizian: Another Country
David Roberts Art
Foundation
Steve
McQueen
(right) gets a
catalogue raisonné
Museums
Two huge state-run museums
open in Shanghai, the Michael
Heizer effect on Los Angeles
Exhibitions
Photography gets institutional
stamp of approval as an art form,
Vermeer’s renaissance
Conservation
Klimt’s studio opens its doors,
De Sade’s gambling den restored
Comment & Analysis
Why Berlin’s Old Masters should
move to the Museum Island
Features
Documentary photographers
and artists celebrate the drama
of the race to the White House
How Hitler destroyed Berlin’s
art world, preview of the
London Film Festival
The Art Newspaper 2
Special focus
When ancient meets modern:
the rise of crossover collecting
Art Market
LA gallery Blum & Poe expands in
Japan, Christie’s looks for buyers
in Baku, why LA is tricky for commercial galleries, the apparent
boom in using art to raise a loan
UNTIL 20/10/12
www.greengrassi.com
쏍All Visual Arts
UNTIL 27/10/12
News
• David Musgrave
쏍Vilma Gold
www.vilmagold.com
Our current edition has 120
pages packed with the latest art
world news, events and business reporting, plus high-profile
interviews (and a
smattering of
gossip)
Books & Media
Multiplied
• Collection Sandretto Re
Rebaudengo: Maurizio Cattelan
In October’s
main paper
65 Peckham Road, SE5 8UH
UNTIL 11/11/12
• Rashid Johnson: Shelter
www.whitecube.com
UNTIL 21/10/12
UNTIL 02/11/12
Symes Mews, NW1 7JE
UNTIL 25/11/12
• Roy Voss: Cast
• Kris Ruhns: Landing on Earth
• A House of Leaves
• Drip, Drape, Draft
• Listings edited by Belinda Seppings
12/10/12-14/10/12
UNTIL 14/11/12
UNTIL 10/11/12
UNTIL 25/11/12
www.mattsgallery.org
www.thewappingproject.com
www.davidrobertsartfoundation.com
www.southlondongallery.org
with additional research by
Ermanno Rivetti
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(Frieze) and M14
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Coming in November
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DIARY
Yes, we have fresh
papayas
Eagle-eyed fair-goers will notice that
the papaya flavour at the stand of La
Grotta Ices, back by Gail’s cafe, is not
just called papaya. It’s called Doig
Papaya, and, yes, those papayas come
from Peter Doig. The fiancé of the proprietor of La Grotta Ices, Kitty Travers,
happens to be a film-maker. One of his
films was screened recently at the cinema club Doig runs in Trinidad.
According to Travers, her fiancé
“brought back the biggest papayas I’ve
ever seen”. Apparently, the fruit grows
abundantly on Doig’s property. So, for
a taste of Doig—if you can’t afford the
millions of pounds it would set you
back for a painting—spend just a few
on a delicious frozen treat.
Scrapheap challenge
Not only is Alan Kane very happy to
be exhibiting in this year’s Frieze
sculpture park, it is a particular point
of pride that his playfully subversive
eight fcultpures, 2012 (S11), made in
Collector: “That looks
just like a John Currin.”
Dealer: “It’s a work by
Lucas Cranach.”
OVERHEARD AT FRIEZE MASTERS
collaboration with Simon Periton,
bring to these illustrious surroundings what he reveals to be “a secondhand garden sculpture bought in the
Essex Road” and “pieces of scrap
metal stolen from a scrapyard, but I’m
not telling you which one, or I’d go to
prison”. Kane, however, is adamant
that there are also higher motives to
his light-fingered activities. “We’re
reversing the tide of sculptures going
to scrap merchants; we’re doing the
opposite and rehabilitating them.”
The feeding of the 900
There was mayhem at Lisson
Gallery’s party at 50 St James in
Mayfair, with huge queues for its
much-vaunted 20-minute dinners.
The complicated seating system
involved the issuing of playing cards
to reserve a spot. Those whose numbers were eventually called could
join the likes of Anish Kapoor,
Bianca Jagger, Haroon Mirza,
Shirazeh Houshiary and Christian
Jankowski for a sit-down menu of
24-hour slow-cooked (but swiftly consumed) belly of pork, risotto and
fisherman’s pie. However, many
would-be diners were not so successful. As she waited in vain for her
number to come up, one disgruntled
collector was heard muttering: “I
think I got the Joker in the pack.” To
be fair to the gallery, it was a noble
attempt at inclusiveness, with 621
dinners served to 900 attendees.
Meanwhile, at the similarly full-tocapacity Blain Southern party around
Artoon by Pablo Helguera
FRIEZE ART FAIR DAILY EDITION
Desperately seeking Searle
Romance is brewing under the Frieze tent. In the booth of Carlos/Ishikawa, in
the fair’s Frame section (FL, R7), the artist Ed Fornieles has set up a faux-dating
service called “Character Date”. The concept behind the project is complex,
and is based around two real-life people, one of them the young LA-based art
adviser Alexys Schwartz. But the gist of it is that anyone can come to the booth
and be interviewed by assistants wearing matching powder-pink t-shirts.
During the interview, the subject—again, any fairgoer who would like to go out
on a date—is coached through taking on an alter ego, and is then matched up
with someone working with the artist, who has also been equipped with constructed personalities. For the duration of Frieze, these dates will take place in
locations around London, but on Wednesday, the fair’s VIP preview day, they
were all done in the tent. One of the first to volunteer was the Guardian’s art
critic Adrian Searle (above). “He really threw himself into it,” Fornieles
says.“He was this complete German playboy character.”
DIRECTORS AND PUBLISHING
Chief executive: Anna Somers Cocks
Managing director: James Knox
Associate publisher: Ben Tomlinson
Finance director: Alessandro Iobbi
Finance assistant: Melissa Wood
Business development: Stephanie Ollivier
Office administrator: Belinda Seppings
Head of sales (UK): Louise Hamlin
Commercial director (US): Caitlin Miller
Advertising sales (UK): Kath Boon,
Elsa Ravazzolo
Advertising sales (US): Adriana Boccard
Ad production: Daniela Hathaway
the corner at Tramp, Harry Blain
stood outside, ushering in guests,
including Lisa Dennison of
Sotheby’s, ahead of him. “Must be a
good party,” a man called out.
“Well,” the dealer mused by way of
reply, “I can’t get in myself, so…”
Lessons from Trotsky
Jean-Luc Baroni (FM, A5) has brought
to Frieze Masters, which opened to
VIPs on Tuesday, two figurative
paintings from 1913 by Otto
Friedrich, but he knows they come
from a cycle of five thanks to an
unlikely source—Leon Trotsky
(below). Trotsky mentions the
“Rhythms” cycle in an article he
wrote in 1913, after visiting the
Secession exhibition in Vienna. (The
whereabouts of the other three
paintings are unknown, Baroni says.)
The Russian Marxist revolutionary
was taken with Friedrich’s work, and
commented on its “language of
clear and pure harmony”.
He also described his
visit to the Secession
that day in a way we
might recognise
from today’s art
fairs. “[A] Polish
gentleman, ladies
and their children… were very
noisy, all ate sweets
and in general
behaved as if they
were in the Gerngross
department store.” Friedrich
is not as well known as his
Secession co-founders, Gustav Klimt
and Josef Hoffman, but that may soon
change: Baroni says he’s heard that a
Secession show may be in the works
at London’s National Gallery.
Reading the riot act
A performance in an art gallery while
a party is going on—especially during
an art fair, when attendees are in fullon socialising mode—can be tricky.
So, this week, Theaster Gates and his
musical ensemble, the Black Monks
of Mississippi, had their work cut out
for them at White Cube, where they
performed to a packed house. Before
the performance began, a White
Cube rep took to the microphone and
politely asked everyone to be quiet,
adding: “It’s a big space.” (Around
65,000 sq. ft at that.) “There
are places to talk.” But
Gates wasn’t taking
any chances. He
wrote in tall letters
on a sheet of paper,
“Art is Happening”,
and held it up to
admonish his audience. Alas, the
chatter continued,
so, halfway into his
performance, Gates
began chanting: “They’re
not here for us.” When he’d
accomplished something resembling silence, he launched into a song
about skin colour and race. He prefaced the band’s final number by
thanking everyone for “coming to
Black Cube”.
Friday 12 October
Tarek Atoui performs La Suite with Uriel Barthélémi,
John Butcher, Mira Calix, Susie Ibarra, Hassan Khan, KK Null
(Kazuyuki Kishino), Lukas Ligeti, Robert Lowe, Ikue Mori,
Sara Parkins, Zeena Parkins, Ghassan Sahhab, Sam Shalabi
Memory Marathon
12, 13, 14 October
‘At culture’s bleeding
edge…non-stop marathon
of art, talks, music and
performance…’
The Guardian
Tickets
£25/£20 (two day), £15/£10 (one day)
Ticketweb 08444 711 000
www.ticketweb.co.uk
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editor: Jane Morris
Deputy editor: Javier Pes
Production editor: Ria Hopkinson
Copy editors: James Hobbs, Iain Millar,
Emily Sharpe
Redesign art director: Vici MacDonald
Designer: Emma Goodman
Editorial researcher/picture editor:
Ermanno Rivetti
Picture research: Katherine Hardy
Contributors: Georgina Adam, Louisa Buck,
Charlotte Burns, Sarah Douglas, Melanie Gerlis,
Gareth Harris, Ria Hopkinson, Ben Luke, Julia
Michalska, Javier Pes, Charmaine Picard, Riah
Pryor, Ermanno Rivetti, Cristina Ruiz, Christian
Viveros-Fauné
Photographer: David Owens
Additional editorial research: Belinda Seppings
Saturday 13 – Sunday 14 October
Etel Adnan, Ida Applebroog, Siah Armajani, Ed Atkins, Tarek Atoui,
Lutz Bacher, John Berger, Dara Birnbaum, Tim Bliss, Geta Bratescu,
Gavin Bryars, Daniel Buren, Evan Calder Williams, Olivier Castel,
Mariana Castillo Deball, Ed Cooke, Dennis Cooper, Winnie Cott,
Douglas Coupland, Michael Craig-Martin, Alison Crawshaw, Adam
Curtis, Pierre de Meuron, Brian Dillon, Marcus du Sautoy, Brian Eno,
Joshua Foer, Alberto Garutti, Gilbert & George, Liam Gillick, John
Giorno, Amos Gitai, David Goldblatt, Dominique Gonzalez-Foerster,
Douglas Gordon, Alice Herz-Sommer filmed by Ron Arad,
Jacques Herzog, Richard Hollis, John Hull, Ragnar Kjartansson,
Isabel Lewis, David Lynch, Fumihiko Maki, Viktor Mayer-Schönberger,
China Miéville, Jeremy Millar, Adrian Piper, Alice Rawsthorn,
James Richards, Israel Rosenfield, Jacques Roubaud, Dimitar
Sasselov, Donald Sassoon, Ella Shohat, Cally Spooner, Luc Steels,
Michael Stipe, Jan Szymczuk, Jean-Yves Tadié, Timothy Taylor,
Sissel Tolaas, Gisèle Vienne, Marina Warner, Ai Weiwei, Eyal
Weizman, Richard Wentworth, Jay Winter and Lynette Yiadom-Boakye
PUBLISHED BY UMBERTO ALLEMANDI
& CO. PUBLISHING LTD
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All rights reserved. No part of this newspaper may be reproduced
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SUBSCRIBE ONLINE AT
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Memory Marathon supported by
The Annenberg Foundation
With the generous support of the
Memory Circle: Richard and Susan Hayden
With kind assistance from DLD and The Kensington Hotel
Funded by The Space
Media Partners: The Independent, AnOther
Tarek Atoui La Suite commissioned by
Sharjah Art Foundation
With the generous support of Badr Jafar
Also showing at the Serpentine Gallery
Thomas Schutte: Faces & Figures
Serpentine Gallery Pavilion 2012
by Herzog & de Meuron and Ai Weiwei
Serpentine Gallery
Kensington Gardens
London W2 3XA
T +44 (0)20 7402 6075
[email protected]
PHOTOS: DAVID OWENS
22
Award ceremony:
STOCKHOLM, SEPTEMBER 2013
—
Two categories:
ART WORK & ART WRITING
—
Cash prize for winning artists and art writers: €20,000
Funding toward the realization of a new dream project:
up to €100,000 (art work) and €35,000 (art writing)
Hybrid two-step selection process: five-member jury
evaluating nominations by fifteen international experts
2013 Jury President: Carolyn Christov-Bakargiev
Artistic Director, dOCUMENTA(13)
—
www.absolutartbureau.com/absolut-art-award
Absolut Art Bureau is a unit of The Absolut Company AB
The Absolut Art Bureau is pleased
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frieze 2012, issue 3

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