frieze 2006, issue 3

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M14
FRIEZE ART FAIR FRIDAY 13 OCTOBER 2006
The October Revolution Significant Russian
collectors flock to Frieze for the first time
LONDON. Russian collectors
have become a major force in
the art market of late—but
most have concentrated on
19th-century paintings,
Fabergé, and the occasional
blockbuster, of which the most
famous is the $95.2m Picasso
Dora Maar au Chat sold in
May in New York, probably to
a novice Russian buyer.
Buyers for contemporary
Russian art were
overwhelmingly non-Russian
until around five years ago.
But no longer. A new class of
collectors has appeared,
while contemporary galleries
are springing up fast in
Moscow. This year it is
believed at least 30 Russian
collectors have attended
Frieze, and oligarch Boris
Berezovsky was spotted
at the Frieze private view
on Wednesday.
A driving force behind the
new interest in contemporary
art is the Moscow-based Club
of Contemporary Collectors,
founded five years ago by
financier Mikhail Tsarev and
three friends. Today it has 46
members, including the
French-native but Moscowbased Pierre Brochet, Natalya
Ivanova (who is a partner in
the new Yakult Gallery) and
Vladimir Dobrovolsky, who has
bought at earlier Frieze fairs.
“About 20 people in the club
are really active and attend
most of the main art fairs,”
says Sergei Khripun, director of
XL (E13), the only Russian
gallery at the fair, adding that
“the number of collectors is
significantly up this year”.
Among the works he has on
show is a large “underwater”
painting (Black, 2006) by the
highly fashionable duo
Dubossarsky and Vinogradov
(sold to a Dutch museum for
€55,000, $65,000).
The club’s vice-president,
Claire Savoretti and fellow
member Dilyara
Allakhverdova, were at the fair
yesterday visiting XL. Model,
2006, by Irina Korina
(€10,000, $12,000), was
among the pieces on view on
its stand—a work that the club
bought for its foundation,
which aims to promote
If you can’t
buy it…
Pyotr Aven (pictured),
president of Moscow’s Alfa
Bank, makes his mark on
Dubossarsky and
Vinogradovs’ painting What
Motherland Starts With,
2006. Four other “oligarchs”
added to the work
Dilyara Allakhverdova and Claire
Savoretti. Right, Oleg Kulik, I Can
Not Keep Silence Anymore, 1999
Russian contemporary art
both locally and internationally
and to support the artists
through acquisitions.
Earlier this year the
foundation organised an
auction with Sotheby’s, which
raised enough money to fund
a school of contemporary art
for a year, as well as
sponsoring Russian students
to study abroad.
Moscow still lacks a
contemporary art museum
although two collectors are
opening private museums.
Plastic-window mogul Igor
Marklin will show his
collection in Tverskaya Street
in central Moscow, while a
few blocks away the
Ekaterina Foundation’s space
will show construction tycoon
Vladimir Seminikhin’s
modern and contemporary
art holdings.
Ms Savoretti collects for
herself as well as for the
foundation, but was unable to
buy anything at Frieze.
“Everything seemed to be
sold,” she said, “but it is not
too important, because
coming here means I can
discover the artists, get
information and then hopefully
buy things later,” she added.
“It took generations to
recognise the importance of
Malevich or Kandinsky—our
aim is to ensure that today’s
artists don’t have to wait so
long,” says Mr Tsarev.
Georgina Adam
German photography Where are they now?
Prices slow, but the major pieces hold their ground
Victoria Miro Everyone
back to my place
LONDON. Whatever
happened to the German
photographers? Just a few
years ago, the glossy
pictures by the so-called
Düsseldorf school
photographers, Andreas
Gursky, Thomas Struth and
Thomas Ruff, were
everywhere at international
art fairs such as Frieze. This
year there are very few
examples on display.
As the contemporary art
world’s restless, collective
gaze shifts increasingly
back to painting and
sculpture, it inevitably moves
LONDON. Visitors to Frieze
will have an unusual
opportunity today and
Saturday to see the interior of
dealer Victoria Miro’s private
gallery, which has only just
been completed. The 9,000
sq. feet of gallery space is
designed by architects
Claudio Silvestrin and
Michael Drain. Ms Miro is
displaying highlights of her
personal collection, including
Chris Ofili’s Afrodizzia,
second version and Peter
Doig’s Concrete Cabin. “After
I lost works in the Momart
fire, I didn’t want to have my
AUCTION
14
away from other previously
popular fields.
Figures compiled by the
art data company
Artprice.com (up to
September 2006) show that
the market for some of the
leading names—Gursky, Ruff,
Struth and Höfer—has
softened. Overall prices have
risen since the 1990s, but in
the first nine months of this
year, Gursky prices dropped
by 3%; Ruff prices just
managed +1%, and Struth
prices fared a bit better at
+4%. But these
8
percentages are far
OCTOBER
2006
LONDON
Exhibition & Sale
9 Howick Place London SW1
www.phillipsdepury.com +44 20 7318 4010
Gursky’s Schipol, priced at $225,000
7 pm
Private: Doig’s Concrete Cabin
collection in an outside
store,” she told The Art
Newspaper. The gallery will
only be open occasionally, for
special projects. To visit go to
16 Wharf Rd, London N1,
between 10am and 6pm.
Martin Bailey
2
The Art Newspaper/Frieze Art Fair Daily
Friday 13 October 2006
Gossip
Showing off (but for
an excellent cause)
The pre-auction party thrown
by Sotheby’s in aid of the
Whitechapel Gallery attracted
a glamorous crowd. Many of
the artists who have given
works to the auction (to be
held tonight to raise funds for
the Whitechapel) were
present, including Grayson
Perry, Michael Craig-Martin,
Rachel Whiteread and Kiki
Smith (though sadly few
dressed up as the invitation
dictated, main picture).
Anyone with cash to spare in
a very good cause should go
to Sotheby’s Bond Street,
7pm sharp and dig deep.
Grayson Perry
Two works for the
price of...two
Very important
poachers
VIP cards were like gold dust
this year, so it might seem
inevitable that they became
ultra-tempting to the lightfingered. The Art Newspaper
hears that all the VIP cards
mysteriously vanished from
Gagosian Gallery before the
private view, and that Larry
was rumoured to be
incandescent about the loss.
We wonder whether a
secondary market sprang up
immediately for the precious
bits of cardboard?
Alternative uses for
art part I
Take some tips from the top:
Royal Academy exhibition
supremo Norman Rosenthal
was spotted on Konrad
Fischer stand (B14) inside
German superstar Gregor
Schneider’s installation High
Security and Isolation Cell,
based on Guantanamo Bay.
But instead of treating it as a
work of art, he was using it—
to make an urgent call on his
mobile phone.
of his pots to the V&A in
1984—but the gift by the
young Grayson was turned
down. He told us that he still
vividly remembers the
occasion—and that the V&A
curator had been rather
dismissive. Yesterday, all the
museum would say was that
“we would very much like to
acquire a work by Grayson
Perry and have been looking
to do so for a number of
years”. In 1984 Perry’s pots
were worth well under
£1,000—last year one sold for
£54,000.
Stephanie Seymour
Some purchases never end.
When Deutsche Bank
acquired Swiss painter Caro
Niederer’s view of her
daughter running towards the
sea, the artist offered the
corporate collection a
photograph of her painting in
its new location. The bank
duly acquired a picture of the
picture as it hangs in the
room named after the artist
in the London bank’s HQ. Is
this the end of the story or
will the photograph be the
subject of her next painting?
Oops!
Alternative uses for
art part II
Mike Nelson’s creepy red-lit
labyrinth, the Frieze project
buried within the bowels of
the fair’s tent, immediately
attracted acclaim. But its
womb-like retreat from the
art world babble has other
uses. It appears dealers
requiring discreet
conversations without the
risk of prying eyes or sharp
ears have found a handy
bolt hole.
In a piece about James
Rosenquist’s new suit
published in yesterday’s
Gossip we incorrectly
identified his gallery as
Hauser & Wirth. He is, in fact,
represented by Haunch of
Venison who are hosting an
exhibition of the artist’s work
across three venues (p6). We
apologise to both galleries
and to Mr Rosenquist.
Sitters’ report
The first day of the fair saw
Jake and Dinos Chapman
produce “15 minute
portraits”, an event they are
repeating occasionally
throughout the fair. How long
they can keep it up remains
to be seen: Jake told The Art
Newspaper after a day at the
easel: “It seemed a good idea
at the time but it doesn’t
seem such a good idea now.”
Supermodel Stephanie
Seymour (above right) said
after she had her portrait
done by Dinos Chapman that
he was very funny, and kept
saying, “Oh no, this is bad, oh
god, this is gonna be awful”.
Clearly his confidence had
improved by last night’s
Cartier award party where he
was seen with the chairman
Arnaud Bamberger,
persuading him to sit today.
“I always say
to my staff,
one sale to an
institution
weighs
against 50 to
private
collectors...
an
institutional
sale is
extremely
valuable to an
artist”
Iwan Wirth, president, Hauser
& Wirth, London and Zurich
From Owning Art: The Contemporary Art
Collector's Handbook, by Louisa Buck and
Judith Greer, published by Cultureshock
Media, (£14.95). Available at Koenig
Books (B7), with a 20% discount if you
show this paper
©TIM GRIFFITHS
Don’t take your
talent-spotting tips
from the V&A
Dinos Chapman
and Cartier
chairman Arnaud
Bamberger
at last
night’s exclusive
Cartier dinner
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offered to give (yes, give) one
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The Art Newspaper
Frieze Art Fair Daily edition
Group Editorial Director:
Anna Somers Cocks
Turn away now if you’re superstitious: if not, go and see Jamie Shovlin’s Every victim and manner of death in
the Friday the 13th film series , 2006 (detail, at Haunch of Venison, F2)
Managing Director: James Knox
Editor: Jane Morris
Deputy Editor: Gareth Harris
Art Market Editor: Georgina Adam
Correspondents: Marc Spiegler, Louisa
Buck, Ossian Ward
Staff writers: Cristina Ruiz, Helen Stoilas,
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taken by the publishers, the contents of
advertisements are the responsibility of
the individual advertisers.
4
Fairs
The Art Newspaper/Frieze Art Fair Daily
Friday 13 October 2006
Stampede at the Zoo Major collectors descend on
the Frieze satellite fair
LONDON. The third annual
Zoo Fair, a satellite event
established in 2004 as a
youthful alternative to Frieze
and situated in the
idiosyncratic surroundings of
London Zoo, has become one
of the week’s most eagerly
anticipated happenings.
Innovations this year include
an enlarged marquee where
46 young galleries, up from
over 20 last year, will camp
out for the weekend (from
today until 15 October) while
Zoo has invited 14 new
exhibitors from Los Angeles,
Berlin and Mexico as part of a
collaboration with the Art
Basel satellite fair Voltashow.
Even before the fair opened,
business was brisk as a select
number of collectors and
sponsors (or “Honourary Zoo
Keepers”, as they are known)
sprinted round the stands
snapping up choice works.
One of the most voracious
new British collectors, the
shopping centre magnate
David Roberts, was one of the
first through the doors,
promptly buying two
sculptural pieces: Paul Fryer’s
The Light of the World for
$186,000 from T1+2 (A18)
and Bad Poetry: You Said You
Would Always Be There, 2006,
by John Isaacs from Museum
52 (B27) for $46,500.
Charles Saatchi was next to
Paul Fryer, Light of the World, 2006, bought by David Roberts
dart around the fair and
seemed to be on the lookout
for large paintings. He was
followed by Anita
Zabludowicz, one of the
principal backers of Zoo since
its inception, who is set to
open a public gallery in
London next June. She bought
a minimalist James Ireland
sculpture positioned by the
entrance, Standard
Description, 2006, from FA
Projects (A17) for an
undisclosed sum, as well as a
small construction by Polly
Morgan, Mind Over Matter #3,
2006, for $12,000.
Kay Hartenstein Saatchi,
another Zoo sponsor,
expressed interest in Boo
Ritson’s glistening photo
portraits, although gallery
owner David Risley (B26)
would not confirm whether
Charles’ ex-wife was indeed
the buyer of Elena (2006),
which went for $14,870.
Stuart Evans, the man behind
the contemporary art
collection at law firm
Simmons & Simmons, has
embarked on a new venture,
the Lodeveans Collection, to
which he added a handsome
painting Balloon Man, 2006,
by Portuguese artist, Bruno
Pacheco, bought from
Hollybush Gardens (C38) for
$6,300. A good price he
agreed, for “a significant early
piece by a good artist going in
the right direction”.
Alongside a smattering of
international entries from the
invited cities (Berlin and Los
Angeles) there was a strong
regional focus in addition to
the usual clutch of London
galleries. As well as Bureau
(A4) from Salford near
Manchester, cities such as
Glasgow, Edinburgh and
Birmingham were well
represented. Workplace
Gallery (A19) from Gateshead
are participating in their
second Zoo fair with an Aframe advertising board by
Beck’s Futures winner Matt
Stokes, priced at $9,000.
Booth-sharing seemed to
be de rigueur this year, with FA
Projects sharing space with
Chung King Projects (A17)
from Los Angeles. “We also
share some of the same
artists so it makes sense,”
reasoned FA’s Zoe Baker. One
of their shared talents, Guy
Allott attracted early attention
with the painting Landscape
Spaceship 15’, 2006,
something of a bargain at
$4,500.
Perhaps the most buzzing
stand of all was Store (B22),
where gentle Welsh giant
Bedwyr Williams had installed
a fairground style game, called
Buzzwire, 2006, in which
anyone dextrous enough to
pass a ringed hook around the
lettering of his first name
without setting off the
annoyingly loud klaxon would
“win” the work (otherwise
priced at $12,600). Ossian
Ward
Prizes
Perrier Jouet winner at Zoo
This year sees the
inauguration of the
Champagne Perrier Jouet
prize for Best Artist at Zoo
art fair which has been
awarded to American artist
Jason Fox (nominated by
Alexandre Pollazzon
Gallery, London) who
receives £10,000 ($18,000)
for his painting Concept for
Eternal Happiness (below).
The decision was reached
unanimously by a panel of
judges consisting of Royal
Academy Exhibition
Secretary Norman
Rosenthal, artist Marina
Abramovic and Art
Newspaper Correspondent
Louisa Buck who were
particularly impressed by
Fox’s “ability to make
complex accomplished
work that expressed an
ambivalent, politically
incisive and disquieting
view of America today”. The
judges also commended
the work of four other
artists at Zoo including UK
sculptor Cathy de
Monchaux and Italian artist
Nico Vascellari.
Scope London moves east Dealers welcome
the switch from a hotel to the Truman Brewery
Year_06 Is there room
for another fair?
LONDON. Scope’s decision to
move out of hotels and set up
as a booth fair has met with
almost universal approval
from the galleries and dealers
taking part. Its London edition
opened yesterday at the
Truman Brewery (until 15
October), a 25,000 sq. ft
warehouse on Brick Lane by
the East End contemporary
galleries. Nearly every
exhibitor said they preferred
the new layout.
Many comparisons were
made to the Armory Show in
New York, which started out
in the Gramercy Park Hotel.
“They were getting too big for
the hotels. I think Scope is
evolving into a major fair,”
says Cristopher Cutts, a
dealer from Toronto sharing a
LONDON. An already packed
Frieze week witnesses the birth
of yet another fair, Year_06
(Mary Ward House WC1, until
14 October), made up of 32
galleries from Europe and the
US which felt squeezed out
from the London October fairs.
The concept was born from
conversations with
international galleries at
satellite fairs in New York and
Miami. The scarcity of British
galleries “was a conscious
decision not to step on
anyone’s toes”, says organiser
Simon Pittuck, adding that they
have no intention to compete
with fairs like Zoo.
Seven site-specific
commissioned works are on
Early seller: Angel Delgado’s
handkerchief, Untitled, 2002
stand with the Madrid gallery
Begoña Malone.
At the “soft opening” on
Tuesday night, scheduled to
coincide with the launch of
the James Rosenquist
exhibition upstairs, a number
of galleries made early sales.
Nina Menocal of Mexico City
sold a handkerchief
decorated with the Cuban
flag by the Havana artist
Ángel Delgado to a Bostonbased collector for $1,632.
Delgado made the work while
he was being held as a
political prisoner.
The London gallery Charlie
Smith sold work within hours
of the fair’s opening, including
Tessa Farmer’s Spined
Skullship, a delicate, hanging
installation of tiny skeletons
and dessicated insect bodies.
The work was snapped up by a
New York collector for $7,200
but director Zavier Ellis says
he could have sold it twice.
Priska C Juschka Fine Art and
Thomas Erben of New York,
Galerie Kai Brückner of
Düsseldorf and Massimo
Carasi of Milan also sold
works.
The organisers still have
some kinks to work out
though, with a few galleries
complaining that they were not
given advance notice for the
soft opening and were in the
middle of installing their
stands when collectors started
coming around. The first day of
the fair was relatively sedate
when compared to the throngs
queuing to enter Frieze, but
there were a number of
collectors showing interest in
the work on view, mostly from
the US, and some big names
were spotted, including
Charles Saatchi and Anita
Zabludowicz. Helen Stoilas
German Expressionist Prints
29th November 2006
Please contact Alexander Hayter for further details:
[email protected]
Otto Dix,
Tod Und Auferstehung,
The complete portfolio
of 6 drypoints
£40,000-60,000
Year_06 draw: David Humphrey’s
Snowmen in Love, 2006
show, such as David
Humphrey’s Snowmen in Love,
12 inflatable snowmen engaged
in an orgiastic gravity-defying
romp. Nadim Samman
Photo by: Richard Learoyd. Courtesty Albion, London / Shiraishi Contemporary Art
Mariko Mori
9 October – 22 December 2006
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
6
Artists
The Art Newspaper/Frieze Art Fair Daily
Friday 13 October 2006
Phil Collins Grin to win
He Who Laughs Last, Laughs
Longest by young British
artist Phil Collins documents
a competition held in
Helensburg, Ohio, to find the
person who can laugh longest
for a cash prize. The six
minute piece is showing as
part of the Artists Cinema, a
Frieze Projects and LUX
collaborative series of films,
at the fair (free access). The
piece was created this
summer in response to the
80th anniversary of the
beginning of television in the
USA, and complements
Collins’ film work entered into
this year’s Turner Prize at Tate
Britain (until 14 January 2007).
Return of the Real/
Gercecegin Geri Donusu,
2005, looks at participants in
a Turkish reality TV show and
how they feel appearing on
television has negatively
affected their lives. Each of
the films deals with audience
participation and the media’s
use of the public—but equally
the public’s use of the media.
In He Who… the fact that
the laughter is forced, and for
money, seems to suggest that
as a society we are now
willing to sell our emotions,
something exemplified in
recent years by the obsession
with reality television. He
Who… focuses on ideas such
as the possibility of
sustaining emotion,
deception in communication
and the meaning of place
and community. These have
all been elements in Collins’
previous works, typified in
his 2004 film They Shoot
Horses Don’t They, a staged
eight-hour disco marathon
shot in Ramallah.
He Who Laughs Last,
Laughs Longest, 2006, is
available at the fair for
€22,000, through Kerlin
(E11), which also has a set of
two photographs by Collins—
Eight Hours Is Not A Day,
1998—priced at €12,000. The
Artist Commission films are
showing daily at 12.45pm and
4pm. William Oliver
Jean-Michel Basquiat
Treasures from behind
the secret door
Christoph James Rosenquist Britain embraces
the political firebrand—at last
Büchel
Down and
dirty
One of Switzerland’s leading
young artists, Christoph
Büchel has buried cars, blown
up buses and transformed
water towers into labyrinths.
His current project at Hauser
& Wirth’s Coppermill gallery,
off Brick Lane, is
unprecedented in size, filling
two huge industrial spaces
(until 18 March 2007). It
includes a claustrophobic
apartment, several shipping
containers, a dingy appliance
shop and tunnels. Surveying
his work can involve sartorial
damage, so it is advisable to
leave the stilettos at home.
The centrepiece of the show—
a gargantuan piece rising from
a block of earth—required a
hole in the floor. Büchel is
notoriously obsessive, so
seemingly random collections
of industrial, commercial and
domestic detritus are
arranged with precise
intention. In fact, Büchel
continued to rework the show
after Tuesday’s private view,
opening spaces he had
initially closed off to the public
because he was not fully
satisfied with them at the
time. Büchel is represented by
Hauser & Wirth (C6) and
Maccarone Inc (B6).
Marc Spiegler
It seems hard to believe but
leading US Pop Artist James
Rosenquist has never had a
show in a major UK museum,
and his last major
commercial show was at the
London Mayer gallery in the
1970s. Haunch of Venison is
now remedying the situation
with a vast, three-site
commercial retrospective in
London that spans the artist’s
career. Rosenquist arrived last
week to put the final touches
to the displays, which are
spread between Haunch of
Venison’s main gallery off
Bond Street, a subsidiary
space in Bruton Street and at
the Truman Brewery in Brick
Lane, East London (until 18
November). Curated by Ben
Tufnell, the 65 works range
from small, elegant collages
to abstract, colourful
panoramas more than 15
metres wide. Rosenquist’s
political engagement remains
as strong today as it was in
the 1960s, for instance Gold
Star Mother, Blue Star Father,
1961, reflects on the loss of
American lives during the
Korean war. Many of the
works are for sale (prices
range from $25,000 to about
$3m for the larger pieces).
New York’s Acquavella
Galleries has worked with
Haunch of Venison on the
show and has consigned
some of the works (below,
Xenophobic Movie Director or
Our Foreign Policy, 1988).
G.A.
Nothing in Glebe Place, a leafy
street in the heart of Chelsea,
indicates that behind the
discreet door at Studio 54 is
an art gallery. But this is
where the dealer Martin
Summers is showing ten
works by Basquiat that he and
his associate Jan Krugier have
been amassing over the last
five years. From the moment
you walk into the private
gallery, lacquered downstairs
in black, red and yellow to
complement a Rietveld chair,
you are struck by an
extraordinary 1985 Selfportrait, a two-section work
with bottlecaps and a grinning
mask; the other works are
upstairs, their bold colours
and anarchism enhanced in
the glass-roofed interior. There
is also a major “crucifixion”
work, Crisis X, 1982, with a
skull inset into a black cross.
Prices range from $850,000 to
over $3m. Peel Quickly, 1984,
sold last night for about £1m
(illustrated), while a small
portrait painted in a limited
palette of red, black and yellow
with a yellow crown hovering
above the artist’s face, Untitled,
1981, was also purchased on
the first night. By appointment
only (until 17 November).
Georgina Adam
Gavin Turk Down the toilet
Gavin Turk is showing “The
Font Project” in one of the
world’s oldest art galleries
(until 2 November). The Fine
Art Society in Bond Street
was founded in 1876 but last
year a contemporary gallery,
run by Toby Clarke, opened in
its basement.
For the project, Turk asked
203 of the world’s leading
museums to buy a ceramic
bowl designed by him and
priced at £12,000 each,
which will be produced by a
toilet manufacturer in the
North of England. The names
of the invited institutions,
perspective
including the Tate and the
National Gallery of Art in
Washington, DC, are printed
on plaques affixed to the font
plinths. Collectors will be
able to buy the works but the
Fine Art Society will be
offering them to the named
institutions first. Mr Clarke
said: “Several works have
been sold to private
collectors.” Gavin Turk is
represented by White Cube
(F15). Other work by Turk on
show at Frieze includes the
tiny bronze work Apple
(2006), at the Krinzinger
Gallery (D16) for €7,100. G.A.
London
New York
Geneva
Milan
contact: Pierre Valentin
Leading legal advisors to the international art community
t +44 (0) 20 7597 6285
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MARTIN SUMMERS FINE ART Ltd
IN ASSOCIATION WITH GALERIE JAN KRUGIER, DITESHEIM & CIE, GENEVE
AN EXHIBITION OF PAINTINGS BY
JEAN-MICHEL BASQUIAT
(1960-1988)
12th October - 17th November 2006
Monday - Friday 9.30 a.m - 5.30 p.m
Studio 54, Glebe Place, London, SW3 5JB
Telephone: +44 (0)20 7351 7778 Fax: +44 (0)20 7351 1471
Email : info@ms-fineart.com Website: www.ms-fineart.com
Peel Quickly - 1984, 193cm x 132cm (76in x 52in)
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8
The Art Newspaper/Frieze Art Fair Daily
Friday 13 October 2006
Louise MacBain All lit up in W11
LONDON. Louise MacBain
held a grand opening party
last night (Thursday) for her
new public art gallery in west
London. The Montreal-born
philanthropist has put £21m
into the building, the Louis
T Blouin Institute, which is
being inaugurated with a
series of James Turrell light
installations.
The new gallery, at 3 Olaf
Street, W11, in north
Kensington, is a converted
1920s coachbuilder’s
workshop. The inaugural
exhibition, “A Life in Light”,
features seven on-loan works
by Turrell. Ms MacBain has
also commissioned the artist
to make 78 site-specific light
installations, in each of the
exterior windows, as a
permanent display.
Running costs for the new
gallery are expected to be
around £4m a year, which
will be funded by Ms
MacBain. She is also an art
publisher, and her LTB Group
owns Art + Auction and
Modern Painters.
The Louise T Blouin
Foundation, which runs the
Turrell’s Argus White, 1967
west London gallery (with
Jeremy Newton as director),
has a star-packed
International Advisory
Council. Members include
Antony Gormley, Bianca
Jagger, Jeff Koons, Thomas
Krens, Prince Jean de
Luxembourg and Charles
Saumarez Smith.
Ms MacBain has an
almost evangelical approach
to the visual arts, with a
special interest in how the
brain perceives colour. In
her introduction to the
Turrell catalogue, she writes:
“The question of real
consequence is: how can we
let light educate us?” She
goes on to suggest that light
“should suggest to us
metaphors that might lead
our troubled world to new
conclusions, to paradigms
that finally illuminate a
way to move forward, to
save ourselves.”
Illuminated by a barrage of
flashbulbs, and upstaging
even the mighty lady herself,
was the arrival of Grace Jones
on the arm of Mario Testino.
Also paying their dues were
museum directors Nicholas
Serota and Charles Saumarez
Smith, and major London
collectors the Malekis. Artists
included Marc Quinn, and
Antony Gormley and his wife
Vicken Parsons.
The residents of Olaf
Street, however, did not
appear to be on the guest
list. One irate neighbour,
attempting to park
his green Fiat Punto,
found himself
blocked by
Range Rovers
and lines of
dark sedans.
Martin Bailey
Additional
reporting by
Louisa Buck
“The
question
is: ‘How
can we
let light
educate
us?’”
Louise
MacBain.
Right, her
new gallery
German photography Whatever happened to Gursky and co?
1
from the growths of over
100% seen in the 1999/2000
sale seasons.
Recent auctions in New
York saw mixed results for
Struth as well as other
photographers hot in the
1990s such as Esser and
Morimura, with pieces bought
in for all three.
But to say that prices have
collapsed for these
photographers is not quite
the full story. A Gursky print,
99 Cent, 1999, (six in an
edition of six), sold at
Sotheby’s New York in May
for a stunning $2.25m,
Thomas Ruff: jpeg kj01, 2004
PICASSO
setting a new world record.
So what is happening?
The answer is in the image,
say dealers at Frieze. There is
a polarisation in the market,
with the most desirable
images, which are also the
most rare, remaining
extremely strong, while others
are much less valuable. For
Gursky, the Rhine,
Montparnasse, 99 Cent and
Chicago Board of Trade works
are the blue-chips: others can
be worth a tenth of their price.
“All Gursky’s stock exchange
pieces go for top prices,
particularly those with a lot of
muses and models
2 october 2006 - 28 february 2007
activity, whereas the abstract
images, and those tending
towards minimalism, are
much cheaper,” says Matthew
Marks (C5), who represents
Gursky. He is showing a 1994
Gursky, Schipol, priced at
$225,000.
“The market is split,”
admits Rüdiger Schöttle
of Johnen+Schöttle (D9),
which represents Struth,
Ruff, Höfer and Gursky.
“As with all photography,
the most spectacular images
are the most desirable.” The
problem is two-fold; the top
images are now off the
A graphic picture: how the photographers’ works have fared over time
market, and the available
images are less sought
after, which the dealers
say explains why the market
has peaked.
Georgina Adam
O CTO B E R 9 – N OV E M B E R 1 8 , 2 0 0 6
Douglas Gordon
S EL F P O RT RA I TS O F YO U + M E ( B O N D G I R L S )
Palacio de Buenavista
C/ San Agustin, 8
29015 Malaga, Spain
www.museopicassomalaga.org
Coproduced with the
Sociedad Estatal de
Conmemoraciones Culturales.
Ministerio de Cultura
GAG OS I A N GA LLE RY
6 – 2 4 B R I TA N N I A S T R E E T
Picasso and Jacqueline in his studio
looking at Portrait of Jacqueline
on a Rocking-Chair with a Black Scarf.
Photo: Edward Quinn.
© edwardquinn.com
T. 0 2 0 . 7 8 4 1 . 9 9 6 0
LO N D O N
WC1X 9JD
W W W. GAG OS I A N . C O M
International Contemporary Art
08 March 07: charity reception
09/10 March 07: public days
Jumeirah Beach Dubai
www.gulfartfair.com
1301PE Los Angeles
Aidan Gallery Moscow
Albion London
Ben Brown Fine Arts London
Bodhi Singapore
Continua San Gimignano and Beijing
Crane Kalman Gallery London
Flowers East London
Galerie Baudoin Lebon Paris
Galerie El Marsa Tunisia
Galerie Espace New Delhi
Galerie Forsblom Helsinki
Galerie Tanit Munich
Galerie Thomas Munich
Galleria Tega Milan
Gallery Chemould Mumbai
Gallery HYUNDAI Seoul
Gana Art Gallery Seoul and Paris
Giorgio Persano Turin
Grosvenor Vadehra London
Kashya Hildebrand New York and Zurich
Lisson London
MAM Mario Mauroner Vienna
Max Lang New York
Mizuma Tokyo
Nature Morte/
Bose Pacia New Delhi and New York
PaceWildenstein New York
Pekin Fine Arts Beijing
SCAI Tokyo
Sfeir-Semler Hamburg and Beirut
Sundaram Tagore New York
Third Line Gallery Dubai
Vonderbank Artgalleries Berlin
Mona Hatoum
Hot Spot II, 2006
Stainless steel and neon tube
h 234 cm x w 217 cm
Ph. Ela Bialkowska
Courtesy of Galleria Continua,
San Gimignano – Beijing
The Art Newspaper/Frieze Art Fair Daily
Friday 13 October 2006
10
Listings
Mariko Mori’s Beginning of the End, Piccadilly Circus, London, 1997 (detail) is part of her solo show at the Albion Gallery (until 22 December)
North
Non-commercial
Camden Arts Centre
Arkwright Road NW3
Tel: 020 7472 5500
Laura Owens
Until 26 November
Laura Owens’ work is
influenced by oriental
landscape painting, Hindu
reliefs and tapestry, as well as
American folk art. Her
mythical landscapes are
populated by incongruous
groups of creatures and plants.
Commercial
Lisson Gallery
29 Bell Street NW1 5DA
Tel: 020 7724 2739
Anish Kapoor
Today
Rem Koolhaas and
Hans Ulrich Obrist
interview Jeff Koons
At the Serpentine Gallery
Pavilion, Kensington
Gardens, W2 3XA,
6.30-7.30pm. Tickets £5
(£3 concessions), at the
gallery or online at
www.ticketweb.co.uk
From today until
18 November
Works on show include
a mirrored arc and a
collaborative sculpture
with Salman Rushdie, the
culmination of a 20-year
dialogue, plus maquettes
of the artist’s large-scale
public commissions.
South
Non-commercial
Tate Modern
Bankside Power Station
25 Sumner Street, SE1
Tel: 020 7887 8000
The Unilever Series:
Carsten Höller
until 9 April 2007
Belgian-born artist Höller’s
ambitious project for the
Turbine Hall, Test Site,
comprises five giant slides
which spiral from different
levels of the gallery into the
hall below.
Fischli & Weiss: Flowers &
Questions, a Retrospective
until 14 January 2007
Swiss duo Fischli & Weiss get
their first UK retrospective
which includes handmodelled clay figures and the
celebrated film, The Way
Things Go (1987), plus
another video, The Right Way
(1983), in which the artists
scale the Alps dressed as a
rat and a bear.
Serpentine at Battersea
Power Station
Battersea Park Road
SW8 5BP
Tel: 020 7402 6075
China Power Station: Part I
Until 5 November
The Serpentine Gallery takes
up residence in Battersea
Power Station with a show of
works by a vibrant new
generation of Chinese artists
and architects.
South London Gallery
65 Peckham Road SE5 8UH
Tel: 020 7703 6120
Chris Burden
Until 5 November
Fourteen 1920s, cast-iron
lamp posts, painted
battleship-grey, are on
show. They were originally
installed in the streets of
Los Angeles and were
removed in the 1960s.
Hayward Gallery
Southbank Centre Belvedere
Road SE1 8XZ
Tel: 020 7921 0887
How to Improve the World:
60 Years of British Art
Until 19 November
British art from the Arts
Council Collection, amassed
over the last six decades is
on view, including painting,
sculpture, video, sound,
photography and digital
media. Works range from
Francis Bacon’s first
screaming Pope to works by
Sarah Lucas and Chris Ofili.
Design Museum
28 Shad Thames SE1 2YD
Tel: 0870 833 9955
Formula One: the Great
Design Race
Until 29 October
An insight into the secretive
Formula One motor racing
industry which invests
hundreds of millions of
pounds every year in design
and technology. Iconic cars
and the history of Formula
One design are examined.
Design Mart
Until 7 January 2007
An annual survey of new
designers in the UK. The
seven product and furniture
designers have graduated
within the last five years.
Commercial
Albion Gallery
8 Hester Road SW11 4AX
Tel: 020 7801 2480
Mariko Mori
Until 22 December
A giant, 18-foot glass pod by
the Japanese artist is on
show, programmed to change
colour in accordance with the
movement of the celestial
bodies overhead. Video works
and large photomontages are
also included.
Martin Summers Fine Art Ltd
Studio 54 Glebe Place
SW3 5JB
Tel: 020 7351 7778
Jean-Michel Basquiat
until 17 November
Vintage Basquiat: ten
paintings, made with acrylics
and crayons, plus collages
dating from 1983-85.
Café Gallery Projects
The Gallery Centre of
Southwark Park SE16 2UA
Tel: 020 7237 1230
Brian Griffin:
the Water People
Until 29 October
Griffin presents his aerial
expedition over Iceland’s epic
landscape through surreal
large-scale photographs.
Michael Cross
Dilston Grove Church,
Southwark Park
Until 29 October
The interior of a former
church is submerged in water.
A series of steps rises out of
the artificial lake as visitors
walk across.
Danielle Arnaud Gallery
123 Kennington Road SE11 6SF
Tel: 020 7735 8292
Sarah Woodfine
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Until 29 October
Woodfine’s stark, black
and white drawings depict
fairy-tale castles, gypsy
caravans, desert islands
and children’s dolls.
FA Projects
1-2 Bear Gardens SE1 9ED
Tel: 020 7928 3228
Maria Marshall
Until 28 October
This film and series of
photographic portraits of
Marshall’s son cast him as a
figure in a cowboy film,
Lollipop (In 200 Days I Will
Be 11). The cinematic scale,
soundtrack and the lollipop in
his mouth bring to mind Clint
Eastwood in The Good, The
Bad and The Ugly.
Gasworks Gallery
155 Vauxhall Street The Oval
SE11 5RH
Tel: 020 7582 6848
Katherine Araniello
and Aaron Williamson
Until 22 October
Artists Araniello and
Williamson, the so-called
“disabled avant-garde today”,
pay homage to Leigh Bowery,
Jake & Dinos Chapman, Tom
& Jerry and Martin
Kippenberger, through
humorous, low-tech paintings
and videos.
Listings by Melissa Larner
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KENNETH L. FREED COLLECTION
OF CONTEMPORARY ART
RAGO ARTS AND AUCTION CENTER
November 18 11:00 am
…I feel such an overload
in my head that scarcely
I like to
lift it up !
the Artist, Tehran.
M EHRANEH ATASHI
NOSTALGIA SERIES
LIMITED EDITION
DIGITAL PRINTS
PRIVATE VIEWING
14TH October
14.00 – 19.00 pm
ART BORDER LINE
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