frieze 2007, issue 3

FRIEZE ART FAIR FRIDAY 12 OCTOBER 2007
Where contemporary art leads, design
follows London is catching up with Miami,
New York and Paris
Until recently a design
backwater, London emerged
this week as a Mecca for
design fans. Yesterday the
capital’s first ever specialised
fair, DesignArt London,
launched in a Hanover
Square tent. A flurry of VIP
contemporary art collectors
indulged their passion for
objects hovering between art
and function. Philippe
Ségalot, advisor to a bevy of
billionaires including Henry
Kravis and François Pinault,
immediately bagged three
1950s doughnut-shaped
chairs in black velvet by Jean
Royère from the Parisian
dealer Patrick Seguin. At
Galerie Italienne, also from
Paris, a Russian art adviser
bought a Mattia Bonetti
walnut-and-resin Drops Table,
2007, for €43,000
($60,000). Nearby at
David Gill, Bonetti’s
gleaming silvery cabinet
Strata, 2004, £60,000
($120,000) was snapped up
by a British collector.
“My feeling is that if you
like great art, you like great
design,” says New York real
estate heiress and
contemporary art collector
Design sales
Chinese collective XYZ
Design’s Rock Crystal vase,
2004 (edition of 50), sold
for £3,000 ($6,000) to a
European collector at
Contrasts Gallery at the
DesignArt London fair
Ron Arad’s Afterthought II, sold for €450,000 ($630,000) at Jablonka (D1)
Beth Rudin DeWoody who
rushed through the design
fair after a shopping spree
at Frieze.
The new wave of
contemporary art fans want
Arads to go with their Hirsts.
Many are young, in their 30s
and 40s, and don’t want their
parents’ Chippendale.
“There is very dynamic
talent at the moment in
London, with new galleries
opening and very exciting
designers,” says Alice
Rawsthorn, ex-director of the
Design Museum in London,
who yesterday hosted a panel
on the subject at Frieze.
Design can be found all
over London, even in the new
Bridge Art Fair (see p4). Last
night, design company
Established & Sons opened a
permanent space on Duke
Street in St James’s—
London’s prime art-dealing
district—after three years of
hiring spaces ad hoc. The
trendy designer Jasper
Morrison features in the
inaugural show among artists
whose signature pieces are
recreated in marble.
Next week Christie’s will
host “Double Vision”, an
auction of design and
contemporary art featuring
Marc Newson’s iconic
Lockheed Lounge LC-1
(designed in 1985), a
streamlined bullet of rivetted
aluminium, moulded into a
chaise longue. It is estimated
at £800,000-£1.2m ($1.6m$2.4m). Phillips de Pury
& Co, which ended
6
London design sales
h. ollary. b.’s Bridge It!
2007, sculptural partition,
sold to an Irish collector
for $16,225 at Love Wood
Gallery at Bridge Art Fair
Frieze stands get a makeover from artists and a fashion star
The neck of Pete Doherty’s
Gibson guitar hangs in Paris
Galerie Almine Rech’s stand
(G7), part of an installation by
Dior Homme’s former chief
designer Hedi Slimane. The
three-part piece, Rock Show
Super Star (€40,000),
anchors a sleek stand.
The gallery is among a
small clutch of dealers who
have enlivened the show with
unusual presentations either
featuring one artist or with
aspirations to make a
museum-style exhibition.
“It’s not just about sales,”
says New York dealer Tanya
Bonakdar (E8) who is
mounting new solo shows
each day of the fair. “It is
about allowing the viewer to
see what the artist is about.”
A Japanese museum bought
a sculpture by Ernesto Neto
opening day.
“We wanted to look really
good,’’ said Team Gallery’s
Jose Freire (G23) who turned
over its stand to Romanian
twins Gert and Uwe Tobias
who stocked it with media
from woodblock prints to
ceramics. They brought a
carpenter along and designed
a table and stools where Mr
Hedi Slimane and Galerie Almine Rech’s stand which he curated
Freire perched in his furry
Prada jacket. The entire
installation ($205,000), is
under consideration by
several institutions.
Artist Rob Pruitt was also
given the run of a gallery. His
Flea Market generated a
frenzy at Gavin Brown’s
Enterprise (G14). “The rest of
the fair seems practical. The
dealers brought things to pay
for the booth rental,’’ said
Pruitt. Focusing on one artist
certainly paid off for Poland’s
Foksal Gallery Foundation
(E6) which sold its stand
to Tate.
Meanwhile the Fair Gallery
(F21) asked a curator, Aurelie
Voltz, to select, install and staff
their booth. The result, Double
Fond includes some ten artists,
nearly bare walls and a houselike atmosphere. “We created a
new fair concept,” said Solène
Guillier, one of the dealers
involved. “My idea is not to get
rich but not to lose too much
money.” L.P.
Jean Royère, Ours Polaire,
1959, velvet and wood
armchairs, sold to Philippe
Ségalot by Galerie Patrick
Seguin at DesignArt London
(price undisclosed)
Claude Lalanne’s Ginko
Table, 2007, bronze, sold for
around $70,000 with Paul
Kasmin (E14) at Frieze
2
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
White Cube at
a price
co-director Matthew Slotover.
The fair chief may look
around ten years old, but Mr
Vaizey actually knew the
esteemed Slotover when he
was a mere stripling, as the
pair were at school together.
“Matthew was much the
same then as he is now, a
calm and gentle figure,” said
Mr Vaizey, whose kinship with
the fair reaches new heights
with the revelations that: 1)
he first met Frieze’s other
director, Amanda Sharp, at a
bar mitzvah when she was 13;
2) his son is one of the
infants taking part in Polish
artist Roman Ondak’s
performance piece on The
Fair Gallery Booth (F21). “He
played peek-a-boo with Tate
director Sir Nicholas Serota,”
said the proud Tory dad.
Gossip
Gavin Brown may be offering
flea market goods at his
stand (G14), but the New York
dealer is reluctant to apply
any kind of thrift shop charity
to staff members at the
opposite White Cube gallery.
Sam Taylor-Wood was taking
photographs of Frieze visitors
at Brown’s stand for a modest
£150 a pop (which swiftly
rose to £200) but Brown, in a
spirit of jest, says that these
pictures are available to
White Cube staff members at
the hefty price tag of £300.
Lady-in-waiting: Jeff Koons’
Wolfman at “Seduced…”
Dennis drops in
Hollywood hit Frieze
yesterday. First up was the
cult actor/director/
artist/collector Dennis
Hopper. Could it be that the
veteran screen idol was
nursing a hangover after the
party at Blakes Hotel on
Wednesday night to celebrate
his wife Victoria’s 40th
birthday? He told The Art
Newspaper that despite being
keen on a Peter Blake work at
the fair, “it was out of his
price range!” Hopper also
had his eye on Simon Ling’s
Shadow (2007) at
Greengrassi (D8). American
actress Mary-Kate Olsen, one
half of the pint-sized-pixie
sibling duo the Olsen twins,
also put in an appearance.
When asked if she’d actually
purchased any work, the
petite blonde starlet
demurely replied that she
was, for the moment, just
“looking at a lot of different
art”. She was spotted,
however, eyeing up two
photographs by Roe Ethridge
(Cliff in Montauk, 2007, and
Rockaway Boardwalk,
2006) at Andrew Kreps
Gallery (C7). Also spotted
cruising the aisles were the
actor Hugh Grant and the
exiled Russian businessman
Boris Berezovsky.
Heaven’s above
Get orf my land! Dennis Hopper
disguised as a farmer at Frieze
Have you heard the one about the
royals, the pop star and the footballer?
It was quite a party… HMQ was downing a glass of bubbly with Camilla Parker Bowles while
Prince William struck up an animated conversation with an LA-tanned Victoria and David
Beckham. Meanwhile, across the room Mick, Keith and Ronnie strummed out “Brown Sugar” to
a toe-tapping Amy Winehouse while Princess Diana appeared to have returned from beyond
the grave. This hallucinogenic line-up was brought to a champagne-lubricated gathering in the
bowels of Phillips de Pury to launch doppelganger celebrity snapper Alison Jackson’s latest
book “Alison Jackson Confidential” published by Taschen. Despite all the efforts made by the
lookalikes to resemble the originals, authenticity won the day when some waspish wag was
heard to announce: “Look, over there is the real Peter York. We know it’s him because he’s
wearing more slap than Victoria Beckham.” (For a discount of £4.99, plus free p&p, on Alison
Jackson’s book during Frieze, email [email protected].)
Oh, your Majesty!
Oooh, look, it’s us… Jay and Sam
share a magic moment
The Queen is among the
more surprising lenders to
“Seduced: Art and Sex from
Antiquity to Now”, which
opens at the Barbican Art
Gallery today (until 27
January 2008). The Royal
Collection is sending three
ceramic pieces, which depict
the gods in action (including
the nearly nude figure of
Jupiter embracing Io). Also
on loan are two drawings by
Annibale Carracci of around
1600, one a slightly risqué
interpretation of Mars about
to bed Venus. However, these
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Friends in high
places
Conservative shadow
minister of culture Ed Vaizey
was spotted strolling through
the aisles—and revealed his
close connection with Frieze’s
One of the many works
involving genuine currency at
the fairs this year is Wolfgang
Weileder’s sculpture of an
elegantly minimal cashpoint
at Zoo. Set high up on the
stand of Newcastle’s
Workplace Gallery, the piece
randomly disgorges £5 notes
that float down onto the
heads of surprised visitors,
most of whom pocket them
with glee. However when one
landed on Godfrey Worsdale,
the high-minded director of
Middlesborough Institute of
Modern Art, he darted away
in panic and refused to
accept it. He was in the
process of judging the John
Jones work on paper prize
and was terrified it would be
construed as a backhander…
classical scenes seem
extremely tame compared
with more contemporary
works in the show, such as
Jeff Koons’ Wolfman, 1991.
comment. “For all that hard
graft, she deserves a Prince
painting at least,” a bystander
was heard to mutter.
A little taste of Miami came to
Shoreditch with the gathering
of the great and the good of
the art world around the
swimming pool of Shoreditch
House for the Cartier dinner.
Among the throng toasting
Cartier award winner Mario
Garcia Torres were Juergen
Teller, Katie Grand, Jarvis
Cocker, Elle Macpherson,
Tracey Emin, Dinos Chapman
and Cartier managing
director Arnaud Bamberger.
Also attracting considerable
attention was artist of the
week Richard Prince
accompanied by his very
glamorous date, the gorgeous
Karley Sciortino, who had
gamely polished and
cavorted around his Dodge
Challenger for the entire
opening day of Frieze. “She’s
the only woman for me,” a
beaming Prince was heard to
The Art Newspaper
Frieze Art Fair Daily edition
Group Editorial Director:
Anna Somers Cocks
Managing Director: James Knox
Editor: Jane Morris
Deputy Editor: Gareth Harris
Art Market Editor: Melanie Gerlis
Art Market Editor at Large: Georgina Adam
Senior Copy Editor: Iain Millar
Staff Writer: Helen Stoilas
Correspondents: Louisa Buck, Lindsay Pollock
Reporters: Evan Hughes, Nadim Samman,
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Driving Miss Crazy
Turk lands on White
Cube’s doorstep
The Art Newspaper can now
reveal that, as from dawn
today, and for as long as it is
permitted to stay—but in any
case only until sundown—
Gavin Turk’s waxwork
guardsman is being stationed
outside White Cube Gallery in
Mason’s Yard.
©2007 The Art Newspaper Ltd. All rights
reserved. No part of this newspaper may be
reproduced without written consent of
copyright proprietor. The Art Newspaper is not
responsible for statements expressed in the
signed articles and interviews. While every
care is taken by the publishers, the contents of
advertisements are the responsibility of the
individual advertisers.
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The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
4
Zoo’s move out of the zoo is
a success Fair has grown up and is
the “must see” event after Frieze
Zoo Art Fair’s move out of
Regent’s Park and into the
Royal Academy’s Burlington
Gardens space confirmed the
event’s status as the most
viable—and increasingly
international—alternative fair
to Frieze. The new venue gave
a more professional feel than
at the more raw incarnations
of prior years. “We grew up,”
said fair director Soraya
Rodriguez, adding that since
its inaugural 2004 edition,
the fair’s exhibitor numbers
had more than doubled from
24 to 51. This is also the first
year that the fair had a formal
application process and
selection committee. “It is
much better here,” said
Detmar Blow, director of Blow
de la Barra (D39), echoing
the view of all the dealers
canvassed by The Art
Newspaper.
The directors of Ibid
Projects (E59) played on the
relocation with a
performance project
Peacocks, Lions and
Hedgehogs. “We are bringing
the zoo back into Zoo,”
explained director Magnus
Edensvard: three of the
gallery’s staff (including him)
yesterday dressed up as
posing peacocks (to adorn
the opening event). They will
be decked out as courageous
lions today and “defensive
hedgehogs” for Saturday’s
fair. The costumes and stage
for their project—which was
created by gallery director
Vita Zaman—are also on sale
for £5,000 ($10,000).
Big name collectors also
seemed to react well to the
venue, perhaps hoping to find
a bargain at the more
New fair
for Hong Kong
The rush to start new art fairs
in Asia continues, with a new
one in Hong Kong slated for
next May. The launch follows
the inauguration of two new
fairs in Shanghai this year. ART
HK 08 will feature 100 dealers
in modern and contemporary
art, and is the brainchild of a
group of associates including
London’s Will Ramsay, chief
executive of Pulse, which
launched in London this week.
The new fair’s director is
Magnus Renfrew, son of the
influential archaeologist Colin
Renfrew, who previously ran
Contrasts commercial gallery in
Shanghai. ART HK 08 will be
held in the Hong Kong
Convention and Exhibition
Centre, 14 to 18 May 2008. G.A.
Graham Hudson’s installation was bought by Charles Saatchi at Zoo
youthful, alternative fair.
Charles Saatchi, Anita
Zabludowicz, David Roberts,
Amir Shariat and Lawrence
Graff were all seen buying
and viewing works. Within an
hour of the sponsor preview,
Mr Saatchi had bought a
Graham Hudson installation
that dominates Rokeby’s
stand (C24), All my Ex’s Live
in Tesco’s, 2007, which was
priced at £15,000 ($30,000).
He also admired a much
discussed large sphere of
“motored” liquid by Petroc
Sesti, A World Apart, 2007,
which was on view at T1+2
(C37) for £32,000 ($64,000).
Ms Zabludowicz, who was
also presenting work from her
new space 176 at the
mezzanine level of the
building, was delighted to
discover a new artist, Jack
Strange, at the fair. She
bought all three of his works
that were on view at gallery
Moot (C28), showing at the
fair for the first time,
including Mars, 2007, a TV
monitor with a chocolate bar
on its upward-facing screen,
for £900 ($1,800).
There was much
excitement surrounding the
booth of Los Angeles Gallery
Cherry and Martin (D44)
where Mr Shariat bought the
first bronze sculpture (as yet
unnamed) by the fashionable
emerging artist Nathan
Maybury (also collected by
the Rubells in Miami). The
price was undisclosed but is
around the $50,000 mark.
Lesser-known collectors
were also filling their baskets.
By 2pm, city banker Mervyn
Metcalf had bought an
untitled Martina Sauter film
still, 2005, for £700 ($1,400)
from Swiss gallery Annex14
(C23); a unique silkscreen by
Israeli artist Elad Lassry, In
Close-up, the Many Moods
and Meanings in a Woman’s
Face, 2007, from Cherry and
Martin for $1,200; and a small
stuffed animal by Polly
Morgan (whose first solo show
is currently at Holy Trinity
Church, Marylebone), La
Petite, 2007, from T1+2 for
£1,900 ($3,800). He also has
a £10,500 ($21,000)
photograph by Darren
Almond on reserve at White
Cube (F13) in Frieze. “I was
much more impressed by the
work on offer at Zoo than at
Frieze, there is more youth,
passion and excitement here,”
he says, adding “and the
dealers are more friendly.”
Melanie Gerlis
and Louisa Buck
Bridge: Chicago fair launches first London edition
Spread across five floors of the
Trafalgar Hotel in the shadow
of Nelson’s Column, the Bridge
Art Fair is offering a range of
contemporary work from
paintings to video. First
launched in Chicago, mainly
with local dealers, the fair has
expanded with editions in
Miami and New York; this year
it comes to London for the first
time with over 70 dealers, as
well as rooms devoted to
individual artists’ displays.
Determined to make an
impact, the fair has not shied
away from promoting
controversial works. Anna
Maltz’s family portraits of
parents and children dressed in
nude knitted bodysuits, which
leave nothing to the
imagination, have been used for
the event’s advertising. When
questioned about the choice to
show a young girl touching her
father’s penis, the gallery said:
“Children are curious.” The
work, in an edition of five, is on
offer for $3,000 with Little Tree
Gallery (212) from San
Francisco; one has already sold.
In one of the artist’s project
rooms, Clinton Fein (517) has
re-enacted the photographs of
US soldiers abusing prisoners
in Abu Ghraib in his own high
resolution, wall-sized prints.
The editions of ten are priced
at £2,000 each.
Helen Stoilas and James Knox
Artist Clinton Fein’s Trophy, 2007 (detail)
even when you’re sleeping
you’re supporting the arts
Find out more about the Millennium on View Visual Arts Program at millenniumhotels.com/onview
And the champagne goes to…
The Perrier Jouet award for
Best Artist at Zoo, running for
its second year, went to the
Glasgow-based artist Karla
Black, who receives a
£10,000 ($20,000) prize. Her
work, including Stay Matte,
2007, priced at £3,000
($6,000), is on view at Mary
Mary (B19) and her first
London solo show is currently
being held at the Vyner Street
space of Ibid Projects (E59).
The panel of judges—
Gregor Muir, director of
Hauser & Wirth (Frieze, C6);
Sir Norman Rosenthal, Royal
Academy Exhibition
Secretary; and the artist
Rebecca Warren (showing at
Maureen Paley in Frieze,
D5)—have spent the past
several months researching
Zoo’s artists.
“It’s so difficult to choose
just one artist, I wish we were
awarding ten prizes of £1,000
rather than one of £10,000,”
said Ms Warren, prior to the
final decision being
Sir Norman Rosenthal toasts
Karla Black’s win
announced yesterday. The
judges particularly praised
the “site-specific and
installational nature of
[Black’s] work”.
Also at Zoo, the John
Jones Art on Paper award
went to Israeli artist Elad
Lassry, represented at the fair
by Cherry and Martin (D44).
His work Eggx52, 2007
(priced at $1,000) was
acquired for John Jones’
north London contemporary
collection and the artist was
awarded an additional £1,000
($2,000) to support his
future output.
Melanie Gerlis
New magazine launched at Zoo
Bi-monthly publication, Art
World, launched its first
edition at Zoo yesterday (M3).
The magazine was founded by
Stephen Bush, a veteran
consumer magazine publisher,
and his business partner Vici
MacDonald. Mr Bush, whose
previous roles include art
director at Face magazine,
says that the new publication
is targeted at “people who are
enthusiastic about art, but not
necessarily in the art trade”,
which he believes corresponds
to visitors of the satellite fair.
The first edition includes an
interview with Tacita Dean—
who currently has a show at
RIBA, courtesy of the Frith
Street gallery (Frieze, C1); a
commentary on the Baselitz
exhibition now at London’s
Royal Academy (see p10); and
a feature on Louise Bourgeois,
written by feminist
commentator and academic
Germaine Greer. M.G.
Year_07: second edition moves
to County Hall
Across the Thames in the
shadow of Big Ben, Year_07
returns for a second year in a
new venue—County Hall.
Bewildered visitors must
navigate the winding
corridors of the former
municipal building to find the
warren of galleries showing
emerging artists. (Hint: go
past the Star Wars
exhibition.) Last year, the fair
got off to a good start in Mary
Ward House where Pulse is
now showing. It remains to be
seen if the event’s new
touristy location will appeal
to collectors.
One of the strongest trends
is highly skilled drawing,
including Danica Phelps at
Munich gallery Dina4 Projekte,
Joan Linder at New Yorkbased Mixed Greens gallery,
and Uta Siebert at Berlin’s Art
Repco, all on offer for £3,000
or under. Solid painterly
technique can also be seen at
Galerie Emmanuel Post, which
is showing young Leipzig
artists, including Sebastian
Gögel (€1,000 for a small
painting) and Juliana Ortiz
(€8,500 for larger work). Eyecatching sculptures are on
view at Galerie Martina
Detterer, which has delicate
crushed beer cans in
porcelain decorated with blue
Ming designs for £850 each,
as well as at the Seattle-based
Platform Gallery, showing
Scott Fife’s striking cardboard
heads. New York dealer
Schroeder Romero has a
group of mechanised toy birds
by Japanese Misako Inaoka;
priced at £1,000, these chirpy
sculptures are “cheap”.
H.S. and J.K.
Misako Inaoka’s mechanical
birds with Schroeder Romero
Zhan Wang
10 October – 21 December 2007
T +44 (0)20 7801 2480
F +44 (0)20 7801 2488
E [email protected]
W www.albion-gallery.com
ALBION
Michael Hue-Williams Fine Art Limited
8 Hester Road
London SW11 4AX
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
6
Let’s talk tax Rules give US galleries
an advantage at Frieze
Many of the works bought at
Frieze this week will touch
British soil only briefly on
their way from the US to the
Swiss freeports. The reason
is tax, never mentioned in the
PR blurb but as influential a
current in the art world as the
Gulf Stream on our climate.
Here are some scenarios. If
a US dealer brings a work to
Frieze on a temporary import
licence (valid for two years in
the UK) and sells it to a EU
resident, the buyer has to pay
the import VAT of the country
to which he takes the work:
5%, if it is the UK, for
example; 10% if it is Italy.
He does not, however, have
to pay VAT on the purchase
(17.5% in the UK, 20% in
Italy), nor does the US dealer
have to charge the State sales
tax (8.38% in New York). This
gives the 38 US dealers
present at this fair a nice
headstart, even without the
weakness of the dollar, which
in theory should bring prices
down for EU buyers.
Of course, if you don’t want
to pay any tax at all on that
purchase, you ship it straight
away to one of the freeports
in Switzerland—13% of the
famous Geneva freeport is
full of art—where you can
keep it as long as you like.
This is why so many big
collectors are described as
keeping their art in
Switzerland; no tax, but not
very agreeable viewing
conditions, of course, unless
they choose to lend to
museums or exhibitions, as in
the case of the French
collector, François Pinault,
who will be rotating works
from his holdings for display
in the Palazzo Grassi and now
also the Punta della Dogana
in Venice for years to come—
always on temporary import
licences, of course.
A US resident buying from
a US dealer does not pay any
tax at the point of sale, but if
he reimports the work back
into the US, his shipping
agent is obliged to charge
him a User Fee of 0.21% of
the declared value to a
maximum of $450. The buyer
should then record the
imported work on his tax
return and he will be charged
the relevant state tax on the
purchase. The tax authorities
have only three years in
which to claim the tax, so not
surprisingly, some buyers
wait until the last minute to
Art fund buys Bernard Frize?
The London-based Fine Art
Fund, which runs three art
investment funds, has always
been tight-lipped about its
Frize’s Suite à Onze No.15, 2007
purchases, but a corner of the
veil was lifted this week. At
the Simon Lee gallery the
show of works by the French
painter of interlocking,
pastel-coloured curves,
Bernard Frize, was sold out
on the first night, mainly
before the opening, at prices
from €45,000-€70,000.
Ostensibly admiring the
works was Philip Hoffman,
chief executive of the
fund…could this be because
he had just invested in a
substantial number of them?
see whether it will be claimed
or whether they will get away
without paying it. Needless to
say, this is illegal.
What if a buyer of any
nationality buys a work from
an EU gallery? The rule is that
if he is a private buyer and
therefore not VAT-registered,
the VAT on the sale is at the
rate charged in the country of
origin of the gallery.
The 28 German galleries
present in the Frieze tent
have the advantage here,
with a rate of 7%, against,
the UK galleries with their
17.5%, the Italians with 20%,
the Spanish with 16% and so
on. But watch out. An odd
German anachronism
applies: the reduced rate of
7% applies only if the work is
“original”—a painting,
sculpture, drawing or print—
but not if it is a photograph
or video. Thus, a German
gallery selling a Gursky is
obliged to charge the full rate
of VAT, 19%.
If the person buying from a
EU gallery is VAT-registered,
then he pays VAT at the rate
of the country where he is
registered.
This is not to suggest that
many buyers would be so sad
as to be governed primarily in
their choice of art by where
they could get the best tax
deal, but if an artist is
represented by galleries from
more than one country, in the
case of similar works, it
might just swing the deal one
way or another.
Some galleries quote
prices with the tax included,
others add it on afterwards
for the reasons just given. If
you are uncertain what the
fiscal implications of a
purchase are, consult a
shipping agent used to fairs,
such as Martinspeed
in London.
Anna Somers Cocks
Pia Getty Helping the rich
give to the arts
Culture House, a new
initiative by socialite,
Serpentine Gallery board
member and arts patron Pia
Getty, was launched
yesterday in her minimalist
London home. Ms Getty,
daughter of the billionaire
Robert Miller, was divorced
from the oil heir Christopher
Getty in 2005.
Culture House is an
exclusive, invitation only club
which aims to help people
donate money to the arts. It
may sound strange, says
organiser Sigrid Wilkinson,
but many wealthy individuals
would like to help the arts,
they just don’t know how.
Culture House will help them
decide what to support, and
how to support it, through
events and advice. The club is
limited to 100 members, who
will be recruited through a
network of like-minded
individuals.
At the opening yesterday,
Lord Aldington, chair of
Deutsche Bank UK,
welcomed the Culture House
project which he hoped
“would create a powerful
Pia Getty
network of arts
philanthropists in the City”.
Installed in Ms Getty’s home
is “Die Green Live Pretty”,
a show which includes a
number of emerging artists
responding to concerns about
the environment; among
them is an underwater “lost
city” built by Gayle Chong
Kwan carved from discarded
plastic food containers. G.A.
Lisson Gallery to expand 40 and not out
The Lisson Gallery, which has
two spaces in Bell Street
(nos. 29 and 52-54) just
north of Oxford Street, has
purchased a 1,000 sq. ft plot
of land next to one of its
galleries which is being used
as a temporary outdoor
sculpture space for the
duration of Frieze. The
gallery’s founder and director,
Nicholas Logsdail, told The
Art Newspaper: “The land
belonged to Westminster
Council and we’ve been
negotiating on it for five
years, which is surely a
testament to our tenacity.”
The council, apparently, was
unwilling to do a deal for a
cultural venue. “All it wanted
was to secure the highest
price,” he says. With the
recently purchased corner
plot, the gallery now has the
option to expand
substantially, although Mr
Logsdail—who is having a
house built on an adjoining
plot—says he is not yet sure if
he will keep it as an open
sculpture space or redevelop
it. The gallery is celebrating
its 40th anniversary with two
major exhibitions to coincide
with Frieze: the Puerto Ricobased team Jennifer Allora
and Guillermo Calzadilla is
showing recent commissions
at no 29, while new works by
Rodney Graham is at Lisson
the Vancouver-based artist
Rodney Graham are on
display at no. 52-54 (both
until 17 November). J.M.
Where contemporary art leads, design
follows London is catching up with Miami,
New York and Paris
eight years ago, is restarting them next
spring. “London has
huge potential,” said Marc
Benda, of New York’s
Friedman Benda gallery,
which represents Ron Arad
among others.
Ron Arad is a pivotal figure
whose work straddles both art
and design. His work can be
seen in two tents this week—
at Frieze and in the new fair.
At Frieze, Rafael Jablonka
(D1) flicked a duster over Ron
Arad’s 2007 abstract metal
Afterthought II, which had
sold for €450,000
($630,000) and reflects the
artist’s move towards
sculpture. Jablonka compares
Arad to Calder, Kapoor, Cragg
and other sculptors.
“If you need something to
sit on to read the paper,” he
said gesturing at the shallow
David Shrigley Untitled, 2007. Courtesy of the artist, Stephen Friedman Gallery (London), Yvon Lambert
(Paris), Galleri Nicolai Wallner (Copenhagen) and BQ (Cologne). A film by David Shrigley, commissioned
by Frieze, is showing daily in the Frieze auditorium at 2pm, 2:30pm, and 6pm alongside films by Oliver
Payne & Nick Relph, Wilhelm Sasnal and Kara Walker
1
Bonetti’s Strata, 2004
dip in the metal, “you might
not buy this.” The only person
who dared sit on the piece at
the fair was Arad himself.
Design is scarce at Frieze
but a few dealers have paired
their art with artists’
furniture. Paul Kasmin and
his staff (E14) are
comfortable on their 1993
Claude Lalanne chairs,
Chaises de Carlo, which they
have paired with a Lalanne
Ginko Table, 2007, on their
stand (two sold at around
$70,000, edition of 8). Over
at Gagosian’s (D7) stand, a
cluster of assistants sit in
style around a 2006 grey
marble Marc Newson Lathe
Table, priced at $130,000.
The London resurgence is
no accident. Design has
followed the contemporary art
boom. Art dealer Kenny
Schachter, showing work in a
gallery space in Covent
Garden, has sold seven
prototypes of a boomerang
shaped-desk/table/chair by
architect Zaha Hadid for
€110,000 ($154,000) each.
“Contemporary art has ignited
this field, but it has taken
on a life of its own,” he said.
Lindsay Pollock
and Georgina Adam
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
8
Auto repros
All this art is driving me crazy Artists hit
the road with a slew of conceptual cars
Disposal (1998), a
photograph by Brazilian
artist Rubens Mano, on show
at Casa Triângulo (F23),
depicts the slow salvage
of two abandoned vans
Bombed limos also feature
in Beate Gütschow’s
photomontages with
Produzentengalerie (H8)
Joana Hadjithomas & Khalil
Joreige’s photographic War
Trophy series (2007) at CRG
Gallery (H5) shows destroyed
military vehicles from the
recent conflict in Lebanon
Fischli & Weiss’s Untitled
(1998) with Matthew Marks
(C5); Hans-Peter Feldmann’s
Applecar (above) with Galerie
Micheline Szwajcer (D9)
Painting:
Jeremy Dickinson’s Double
Transporter Auto Stack
(2007, detail above) at Tomio
Koyama Gallery (A3); Robert
Rauschenberg’s Roundabout
(Scenarios) (2005) with
Waddington Galleries (F15)
PHOTOGRAPH BY CHARLIE GRAY
Other sculptures:
Clockwise from top left: Richard Prince’s untitled muscle car, commissioned for Frieze Projects; Damien Hirst’s Untitled (Spot Mini), 2000, goes on sale tomorrow in Phillips de
Pury’s contemporary art auction; Tracey Emin’s customised Fiat 500 will also be auctioned by Phillips to benefit a charity of the artist’s choice; John Chamberlain’s Silky Wilkie
(1994) at Waddington Galleries (F15); Michael S. Riedel’s new Saab 9-3 (2007) at David Zwirner (C8)
Is this an art fair or an autoshow? With Richard Prince’s
untitled Frieze Project, a
gleaming Dodge—the ultimate
American muscle-car—replete
with busty showgirl rotating
slowly in the middle of the
tent, the answer is not so clear.
But he is only one of the artists
who have turned to vehicles for
their artistic expression.
At David Zwirner (C8),
Michael S. Riedel is showing a
new Saab 9-3 (2007). Like
Prince’s project, this piece—
already sold for £30,000—is
intended as an ironic comment
on the roaring mercantilism
and conspicuous consumption
of the contemporary art circuit.
Taking a more aesthetic
and eco-aware route, John
Chamberlain’s sculptures
made from the scrapped
metal of car bodies, Silky
Wilkie (1994) and Thigh of
Content (2006), “draw out
beauty from wreckage”,
according to staff at
Waddington Galleries (F15).
At Broadway 1602 (G18),
Mexican artist Martin Soto
Climent’s untitled sculptures
made from inner-tubes (2007)
offer a sensual and surrealistinspired take on this theme.
But do the super-rich buy
second-hand cars? Tomorrow
at Phillips de Pury, a certain
Untitled (Spot Mini) (2000),
by Damien Hirst, last seen
driving down the stairs of
Charles Saatchi’s County Hall
gallery, goes under the
hammer. It is estimated at
£400,000-£600,000, but will
it recycle? No doubt collectors
will have a moment to ponder
this while making use of
Frieze’s complimentary fleet
of BMWs. Also up for bid at
Phillips is a Fiat 500 that has
been customised by Tracey
Emin (£40,000-£60,000), one
of four unveiled by the artist
last week at the Royal
Academy’s Contemporary
Patrons Group Dinner with
part of the proceeds going to a
charity of Emin’s choice.
Elsewhere, the Hayward
Gallery’s director Ralph
Rugoff is helping Tom
Packenham, nephew of
historian Antonia Fraser and
founder of Green Tomato
Cars, to commission
contemporary artists to turn
some of their eco-friendly
taxis into moving works.
So many questions. As
usual they boil down to this:
contemporary art is on the
move, but where is it going?
Nadim Samman
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19 – 22 March 2008
Madinat Jumeirah
Dubai
www.artdubai.ae
Pascale Marthine Tayou, Colonie de Foulards, 2004
Iron, head scarves, flags 1,70 x 11 x 5,50 m
View of the solo show at Galleria Continua, San Gimignano, 2007
Courtesy Galleria Continua, San Gimignano-Beijing
Ph. Ela Bialkowska
10
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
Ashley Bickerton:
traffic-stopping hues
Anthony Goicolea: otherworldly landscapes
Artists
In his drawings on mylar
(a translucent plastic) and
his large black and white
photographs, Brooklyn-based
artist Anthony Goicolea
creates worlds that are not
what they seem. In
Deconstruction (2007, right),
the artist’s large black and
white c-print at Aurel
Scheibler (G17), dark clouds
hang low over the gaping
ruins of a building.
Throughout the building,
grey-haired men and women
lounge in hammocks,
apparently oblivious to the
wreckage that surrounds
them. You might guess that
the figures in this dream-like
scene have been added
through the tricks of digital
photography. What you might
not know is that the building
itself is in fact a construction
of the artist’s, composed
from photographs of two
buildings in Miami, and
woven together by the artist
using Photoshop.
Goicolea, who is CubanAmerican, views his
photographic work as a
“mechanised way of painting”,
in that the scenes he presents
are his own creations, built
from an often unsettling fusion
of reality and fantasy. “The
image seems cohesive, but at
the same time there’s
something weird, something
that makes you almost
queasy, and so you start to
look more closely,” the artist
explains. Influenced in part by
black and white photography,
romantic landscape painting,
and film noir, he strives to
create “otherworldly places”
and “images that unfold
over time”.
Berlin gallery Aurel
Scheibler has dedicated the
majority of its space at Frieze
this year to Goicolea’s works.
Yesterday, the gallery had
three drawings on mylar,
three large photographs from
his recent “Almost Safe”
series, and a short video,
on its stand. By the evening,
four drawings had sold—two
for $24,000 and two for
$10,000—and one c-print
had sold for $18,000. Ten
Against Midnight (2007), a
wall-sized drawing in acrylic
and graphite of boys leaning
on bicycles in front of a dark
forest, has a list price of
$90,000 and has been
reserved by a museum.
Deconstruction (2007) is
selling for $20,000, and had
not been bought by yesterday
afternoon, although there had
been interest in the work.
Frances Jacobus-Parker
Georg Baselitz: an upside-down view
of existence
he astutely and humorously
addressed art’s commodity
status, his style is now
described as “tropical
surrealism”. This in-your-face
“end-of-the-line” art, as one
critic called it, features found
objects, embroidery, motherof-pearl inlay and ornately
carved wooden frames.
Despite a palette bold enough
to induce a nervous twitch,
one of the works on sale at
Frieze has already been
snapped up by a European
foundation. Both pieces are
priced between $150,000 and
$250,000.
Rebecca Rose
The largest retrospective of
work to date by Georg Baselitz
at London’s Royal Academy
(until 9 December) has drawn
out key works by the
influential German artist at
Frieze, with two dealers selling
pieces by the artist who has,
quite literally, turned art on its
head with his celebrated
upside-down paintings.
Galerie Thaddaeus Ropac
(B12) has the painting Die
Hand (Remix), 2007, priced at
€340,000 (now sold to a
private collector), Pace Piece,
2003-04, a bronze and oil
sculpture for €320,000, a
large oil painting Jugendilche
der Kolchose hören Radio
(Antonow), 1999, for
€340,000, and four Untitled,
variations, 2006, India ink and
watercolour on paper at
€27,000 each. Gagosian
Gallery (D7) has Der Baum
(Remix), 2005 (right), for sale,
priced at €375,000.
The Royal Academy show
includes work spanning 40
years, assembled from over 30
public and private collections.
Baselitz told The Art
Newspaper that: “All the deep
meanings we attribute to art
are irrelevant. The only
important thing is whether you
have fun doing it.” R.R.
© GEORG BASELITZ. COURTESY GAGOSIAN MUSEUM
Barbados-born artist Ashley
Bickerton once said: “I must
strip myself of vanity, lizard
and cow. And lay myself naked
to reveal the hairless, smelly,
horny primate that I am.” This
stark, uncompromising view of
humanity is reflected in the
artist’s lurid digital prints on
canvas (Hula Girl: One Eye,
2007, above, and The
Preparation with Green Sky,
2007), on sale at Lehmann
Maupin (F16), which are
stopping people in their tracks
at Frieze. Previously
associated with the 1980s
Neo-geo geometric
abstraction movement, when
Johannes Kahrs: when photographs replace models as muses
Following his first London solo
show at Parasol Unit last year,
German painter Johannes
Kahrs’ career is going from
strength to strength. The
artist, who is part of the group
show “The Painting of Modern
Life” (until 30 December) at
London’s Hayward Gallery,
also has a presence at Frieze.
His painting Mo’s Hand (2006,
right) at Zeno X gallery (B3)
was on hold for a US museum
as we went to press.
Meanwhile, his 1994-96
painting O.T. (Schmerz) will be
on offer in the Contemporary
Art Evening Sale at Phillips de
Pury in London tomorrow (est
£150,000-£200,000).
Kahrs says: “I don’t have
models in my studio, I tried it
a couple of times but it didn't
work—I found their presence
unsettling.” Instead, the found
photographic and film images
on which he bases his oil
paintings are “like models”. As
to why he doesn’t usually take
the photographs himself, the
artist confides that he would
feel embarrassed asking a
woman: “Can I photograph a
part of your body?”
But Kahrs is ambivalent
about whether the viewer
need know the context of his
source material in order to
understand his paintings,
asserting: “It’s interesting, but
I don’t think that it helps the
works. If you don’t know the
source then the image will be
more direct—you’ll have to
Bethan Huws:
getting to the
heart of the
matter
look at it.” Indeed, the artist
concentrates on disguising his
hand so that the image itself is
the main focus: “With
expressionistic painting the
artist comes into play too
much and it disturbs the
image. If I painted more
expressively, so that one could
see all of my brushstrokes,
and removed the glass from
the frame, the work would
become an object. What I
really want is for the image
to be present.”
Nadim Samman
“What’s the Point of Creating
More Artworks When You
Don’t Understand the Ones
You’ve Got?” asks Welsh artist
Bethan Huws (Yvon Lambert,
G5) in clip-on letters on an
office message board (below).
This concise question—
striking in the context of a
frenzied fair—is typical of
Huws, whose minimalist,
lyrical works alter our
perception of everyday
situations and objects. Two
editions of this piece have
been sold, one to a Russian
foundation and another to a
London-based private
collector. A similar work (What
Did You Do This Afternoon?,
2006) is on sale in two
editions with the same gallery
for €14,000 each. G.H.
Contemporary Art
Today - 3.00pm
Andy Warhol (1928-1987)
Heart with Bow, 1983.synthetic polymer paint and silkscreen ink on canvas.14 x 11in., 35.5 x 28 cm
Est.£45,000-55,000
Please contact Angus Maguire: [email protected]
Bloomsbury House | 24 Maddox Street | London | W1S 1PP | T +44 (0) 20 7495 9494
F +44 (0) 20 7495 9499 | [email protected] | www.bloomsburyauctions.com
©
Important 19th and 20th Century Russian Art Auction,
29 November 2007
Post War and Contemporary Russian Art Auction,
30 November 2007
L. Purygin, Crucifiction, Est. € 90,000–120,000
MacDougall Arts Ltd.
30A Charles II St, London SW1Y 4AE, England
Tel. +44-20-7389-8160,
Fax +44-20-7389-8170
[email protected]
Moscow Tel. +7-495-799-46-83
Kiev Tel. +38-044-466-2006
Paris Tel. +33-1-5345-5418
www.macdougallauction.com
Russian Art Auction
London
GABRIEL
KLASMER
WWW.ALEXIAGOETHEGALLERY.COM
[email protected]
TEL. 00 44 0 20 7629 0090
FAX. 00 44 0 20 7629 3229
Julien Berthier
Love Love and other attempts
03 OCTOBER –
08 NOVEMBER
2007
13th October - 17th November
Opening: Friday 12th October, 6-9pm
MONDAY TO FRIDAY 10AM–6PM
SATURDAY 11AM–4PM
Allsopp Contemporary
8 Conlan Street
London W10 5AR
t: +44 (0)20 8960 5355
www.allsoppcontemporary.com
ALLSOPPCONTEMPORARY
(Regents Park
Via Portland Place)
E
AV
Leicester
Square
ST
CHAR
NT
GE
RE
Frieze Art Fair
SH
AF
TS
BU
RY
7 DOVER STREET
LONDON W1S 4LD
SS
AD
LANE
CA
RO
ST MA
RTINS
RO
ING C
PIC
LLY
DI
K
AR
Z
Piccadilly
Circus
ir
ET
NT
GE
RE
D
N
RA
ST
AR
FALG
TRA
ST
The Trafalgar Hotel
2 Spring Gardens
Trafalgar Square
oo
Ar
a
tF
YM
HA
11-14 October
Charing
Cross
Trafalgar Square
bridgeartfair.com
COCKSP
UR
ST
SPRING
HA
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at The Trafalgar
ITE
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Exhibitors:
Galerie 13 Sévigné, Paris France
Galeria Jorge Alcolea, Madrid Spain
Allegoric, Chicago, IL, USA
Art Vitam, Miami Beach, FL, USA
Belloc Lowndes Fine Art, Chicago, IL, USA
Boreas, Pittsfield, MA, USA
Galerie Hitomi Bushi d'Eau', Paris, France
Capla Kesting Fine Art, Brooklyn, NY, USA
Ch’i Contemporary Fine Arts, Brooklyn, NY, USA
Cynthia Corbett Gallery, London, UK
DFN Gallery, NY, NY, USA
Galerie Burkhard Eikelmann, Düsseldorf, Germany
Electric Works, San Francisco, CA, USA
Enviedart, London, UK
Mimi Ferzt Gallery, NY, NY, USA
Foley Gallery, NY, NY, USA
Four Four, London, UK
GARDENfresh, Chicago, IL, USA
Gillock Gallery, Evanston, IL, USA
Go Go Gallery, Miami, FL, USA
Bert Green Fine Art, Los Angeles, CA, USA
Greene Contemporary, Sarasota, FL, USA
GV Art, London, UK
Nohra Haime Gallery, NY, NY, USA
Hardcore Art Contemporary, Miami, FL, USA
Eleanor Harwood, San Francisco, CA, USA
Galerie Huebner, Franfurt, Germany
I-MYU projects, London, UK
Galerie Jürgen Kalthoff, Essen, Germany
Kidder Smith Gallery, Boston, MA, USA
little tree gallery, San Francisco, CA, USA
Image: Anna Maltz, Natasha, Peter, Zack & Imogen,
London, 2001, 20” x 13 1/2”, chromogenic print.
Courtesy Little Tree Gallery.
Mumford Fine Art, London, UK
NavtaShulz Gallery, Chicago, IL, USA
Newzones, Calgary, Canada
The Nick Rhodes Project, Chicago, IL USA
Novembro Arte Contemporãnea,
Rio de Janeiro, Brazil
Michael Petronko Gallery, NY, NY, USA
Procuniar Workshop, NY, NY, USA
Red Truck Gallery, New Orleans, LA, USA
Randall Scott Gallery, Washington, DC, USA
Röntgenwerke AG, Tokyo, Japan
Michael Rosenthal Contemporary Art,
Redwood City, CA, USA
Sesame, London, UK
Shine Art Space, Shanghai, China
Billy Shire Fine Arts, Culver City, CA, USA
SPUR Projects, Portola Valley, CA, USA
StART SPACE, London, UK
Studio HD, Coral Gables, FL, USA
Strychnin Gallery, Berlin, London, NYC
Galerie T40, Dusseldorf, Germany
Th!nk Art, Chicago, IL, USA
Toomey Tourell Gallery, San Francisco, CA, USA
Vertigo Gallery, London, UK
Galerie Vivendi, Paris, France
Volakis Gallery, Yountville, CA, USA
Wada Fine Arts, Tokyo, Japan
Walsh Gallery, Chicago, IL, USA
Galerie Olivier Waltman, Paris, France
Witzenhausen Gallery, Amsterdam, Netherlands
Wendt Modern, Laguna Beach, CA, USA
Zebra Projects, London, UK
Artists’ Project Rooms:
Michael Ajerman
The London Group
Repetition and Sequence
Jackson Webb
Clinton Fein
Public Projects:
Upper Rockwell
Claire Burbridge
Eric Butcher
Robert Currie
Michael Davidson
Brian Dettmer
Andrew Fisher
Londongroup
Chris Nathrop
Mark Paron
Matthew Picton
Jurgen Shaderberg
Silia Ka Tung
Lower Rockwell
Curated by
The Cynthia Corbett Gallery
14
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
Listings
Non-commercial
Alma Enterprises
1 Vyner Street E2 9DG
Tel: 07769 686826
One Must Be So Careful
These Days
Until 28 October
This group show includes film
and video works, as well as
new performances by Brian
Catling, Kim Noble and
Thomas Altheimer. There are
two performances today:
Catling’ AWOL at 2pm and
Altheimer’s Europe 08: Rally
in East London at 6pm, in
which he canvasses for a
Euro-friendly candidate to be
US president. Tomorrow and
Saturday, Noble will present
a multi-media work from
noon to 6pm.
Chisenhale Gallery
64 Chisenhale Road E3 5QZ
Tel: 020 8981 4518
Hiraki Sawa
Until 14 October
For his first solo exhibition
in a public gallery in London,
Hiraki Sawa is showing a
newly commissioned
multi-screen video with a
soundtrack produced by the
Japanese guitarist Takeshi
Nishimoto and edited by
British musician Dale
Berning. Hako comprises six
videos with subtle digital
animation of transforming
landscapes, a nuclear power
station, a Shinto monastery
and model interiors of rooms
and corridors.
E:vent
96 Teesdale Street E2 6PU
Tel: 020 7613 0300
Tha Click
Until 4 November
A group exhibition of work by
the American art crew Paper
Rad (Jessica Ciocci, Jacob
Ciocci, Ben Jones) along
with new media artist group
Beige Programming (Paul
B. Davis, Cory Arcangel
and Joe Beuckman).
FormContent
347 Beck Road E8 4RE
Tel: 07824 771125
Robin Kirsten
Until 11 November
A group of amorphic
sculptures by the London
artist are installed under a
brick arch, evoking the scene
of a secret meeting of strange
humanoid creatures.
Commercial
The Approach
47 Approach Road E2 9LY
Tel: 020 8983 3878
Stuart Cumberland
Until 14 October
A collection of figurative and
abstract paintings focusing
on the trappings of success.
Between Bridges
223 Cambridge Heath Road
E2 0EL
[email protected]
The Garden of Disorder
Until 25 November
Works of art and publications
by the American writer
Charles Henri Ford, who
edited the New York
surrealist magazine View
in the 1940s, are on display.
Cell Project Space
258 Cambridge Heath Road
E2 9DA
Tel: 020 7241 3600
Iota
Until 14 October
A group show examining
the minuscule and intricate in
Melanie Stidolph’s photographs, taken during her travels around the countryside, are on display at Keith Talent
sculpture, photography,
printmaking and animation.
Japanese-born, Londonbased artist.
David Risley Gallery
45 Vyner Street E2 9DQ
Tel: 020 8980 2202
Masakatsu Kondo
14 October-18 November
A series of vividly coloured
paintings of bridges by the
Fortescue Avenue/
Jonathan Viner
32 Fortescue Avenue E8 3QB
Tel: 020 8986 9203
Josh Smith
Until 18 November
Smith is best known for
paintings in which he uses
the letters of his own name
in various configurations.
Fred
45 Vyner Street E2 9DQ
Tel: 020 8981 2987
Zak Smith
Until 11 November
The first UK exhibition
by US artist Smith includes
new portraits and abstract
works from an
autobiographical series.
Herald Street
2 Herald Street E2 6JT
Tel: 020 7168 2566
Christina Mackie
Until 11 November
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East London
Hackney
The Art Newspaper/Frieze Art Fair Daily
Friday 12 October 2007
Following her recent
commission for Tate Britain’s
sculpture garden, Mackie
returns to the gallery to show
three new works: a life-size
baby hippo, a human figure
and an abstract shape.
A mixed-media exhibition
including photography
installations and some earlier
works on canvas.
T1+2 Artspace
St Matthew’s Hall,
13 Hereford Street E2 6ET
Tel: 07903 876 522/
07813 532 012
Still-life, Still:
Contemporary Variations
Until 11 November
A group show of
contemporary still-lifes,
including painting,
photography, sculpture and
printmaking. On view are
works by Tony Carter and Boo
Ritson, among others.
Kate MacGarry
7a Vyner Street E2 9DG
Tel: 020 8981 9100
Peter McDonald
Until 14 October
A series of new paintings by
McDonald presents a parallel
universe, where aspects of
mundane life are transformed
into outlandish caricatures.
Keith Talent
2-4 Tudor Road E9 7SN
Tel: 020 8986 2181
Melanie Stidolph
Until 10 November
Stidolph’s spontaneous
photographs are the product
of her travels. They offer brief
glimpses of nature, such as
rabbits basking in the sun.
Lounge
28 Shacklewell Lane
E8 2EZ
Tel: 020 7249 7606
D.J. Roberts
Until 21 October
Solo show of new paintings
and works on paper that
explores ordinary locations
with an air of strangeness or
mystery.
Matt’s Gallery
42-44 Copperfield Road
E3 4RR
Vilma Gold
6 Minerva Street E2 9EH
020 8981 3344
Mark Titchner
Until 18 November
Titchner, who was nominated
for the Turner Prize last year,
is showing two installations
at the gallery: a sculptural
piece, The White Lite, and a
video-based work, The Eye
Don’t See Itself.
Michael Curran’s Production Still—Band is on view at Matt’s Gallery
Tel: 020 8983 1771
Michael Curran
Until 18 November
For his first solo show in
London, the artist filmed and
recorded performances of
three songs in the gallery
over three days. He presents
the edited and manipulated
films and soundtracks in a
site-specific installation.
Maureen Paley
21 Herald Street E2 6JT
Tel: 020 7729 4112
Saskia Olde Wolbers
Until 11 November
Saskia Olde Wolbers is
showing her new video,
Deadline, in which a narrator
recalls stories and legends
from a small fishing
community in the Gambia.
Christina Mackie’s This That &
the Other Sketch, 2007, is on
view at Herald Street, London
15
Max Wigram Gallery
Temporary Exhibition Space
51-63 Ridley Road E8 2NP
Tel: 020 7495 4960
Cory Arcangel
Until 22 December
New media artist Arcangel is
showing new video and
computer-based works,
including Permanent
Vacation, a large-scale
installation of two projected
computer screens running an
unending loop of “out of
office” emails.
MOT
Unit 54/5th floor, Regents
Studios, 8 Andrews Road
E8 4QN
Tel: 020 7923 9561
Eva Weinmayr
Until 10 November
German artist Weinmayr is
showing text-based works,
including a road sign, a
painted bill poster and
a new installation.
Nettie Horn
25b Vyner Street E2 9DG
Tel: 020 8980 1568
The Islanders
Until 11 November
This group show brings
together ten artists living and
working in Britain who
explore themes of
Britishness. Artists on view
include Ruth Claxton, Nick
Goss, Mike Newton and
Abigail Reynolds.
The inaugural ART HK 08 is the first truly
international art fair to be staged in Hong Kong in
over a decade. With over 100 top galleries from
across the globe, ART HK 08 is the only fair in Asia
to present the very best of both Modern and
Contemporary Art. It will introduce Asian collectors
to blue-chip and emerging artists from the West, as
well as showcasing new art from Asia and around the
world to a global audience.
Hong Kong has long been recognised as the gateway to
Asia and the West and provides the ideal location for a
major international art fair. It is the leading financial
hub in Asia, with its wealthy Chinese and expat
communities, and provides a solid base of collectors
and art enthusiasts.
Hong Kong is now the third largest art market in the
world by auction sales after New York and London. It
is one of the most advantageous destinations in Asia to
buy and sell art as there is no tax on the import and
export of art. This gives Hong Kong a huge advantage
over mainland China, which has a punitive import tax of
34% that hits any mainland purchase of imported art.
For further information, please visit our website
www.hongkongartfair.com or contact
[email protected] or
+852 2918 8793
One in the Other
45 Vyner Street E2 9DQ
Tel: 020 8983 6240
Justin Craun
Until 18 November
Craun’s first UK solo show
consists of paintings and
drawings of seemingly
familiar subjects depicted
in optically dense
arrangements.
Paradise Row
17 Hereford Street
E2 6EX
Tel: 020 7613 3311
Diann Bauer
Until 18 November
Diann Bauer’s perspex and
paper installation, entitled
Necrotroph-optopolis,
presents dreamlike scenarios
where characters and
animals from Old Master
paintings are interwoven with
abstract elements.
Stuart Shave/Modern Art Inc
10 Vyner Street
E2 9DG
Tel: 020 8980 7742
Steven Shearer
Until 11 November
Wilkinson
50-58 Vyner Street E2 9DQ
Tel: 020 8980 2662
David Batchelor
Until 18 November
First shown at the Talbot Rice
Gallery as part of the
Edinburgh Arts Festival
earlier this year, Unplugged
(Remix) continues the artist’s
research into the uses of
colour in the city, and the
social and cultural spaces
where that colour is located.
Also on view is a new group
of sculptures, collectively
titled Parapillars.
Shimabuku
Meanwhile, in the Project
Room, the Berlin-based artist
shows Fish & Chips, a film
of fish swimming around
potatoes dropped into water.
The work was originally
shown at Tate Liverpool as
part of the city’s biennial
last year.
Listings by Katherine Hardy
and Ben Tomlinson
Tomorrow: East London—
Shoreditch
Events today
Frieze talks
12pm, Custodians
of Culture—the Museum:
Institutions of Market
or Measure?
A discussion chaired by
Massimiliano Gioni, artistic
director of Nicola Trussardi
Foundation, Milan, and
curator of special exhibitions
at the New Museum, New
York, examining the
changing relationship
between museums, artists,
their sponsors and patrons.
Panelists include Lisa
Dennison, executive vice
president of Sotheby’s North
America and former director
of the Guggenheim Museum,
New York, and Julia PeytonJones, director of the
Serpentine Gallery, London.
4pm, Custodians of Culture—
Schoolyard Art: Playing Fair
without the Referee
Dave Hickey, cultural critic,
presents a keynote lecture
on the subject of selling
without selling out, focusing
on how commercial sites
have evolved from the white
cube to the art fair.
Frieze film
Short films by Oliver Payne
& Nick Relph, Wilhelm
Sasnal, David Shrigley
and Kara Walker
Screenings daily at 2pm,
2.30pm and 6pm; Sunday,
2pm and 2.30pm
Frieze Music
9pm, Glenn Branca
The Roundhouse, Chalk Farm
Road NW1, doors open 7.30pm,
tickets £25 plus booking fee:
www.livenation.co.uk,
www.seetickets.com,
www.roundhouse.org.uk
The avant-garde composer
directs his epic Symphony
No. 13: Hallucination City
for 100 electric guitars.
P L E A S E E N J O Y O U R C H A M PA G N E R E S P O N S I B LY
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