art basel 2014, issue 3
Transcription
art basel 2014, issue 3
DOWNLOAD OUR FREE DAILY APP ab from the App Store and Google Play TM U. ALLEMANDI & CO. PUBLISHING LTD. TURIN LONDON NEW YORK PARIS ATHENS MOSCOW BEIJING A RT BASEL DAILY ED ITION 19 JUNE 2014 NIGERIAN ART: Galleries open around the country as interest in the market grows ANALYSIS PAGE 4 WARHOL AND BASELITZ: © DAVID OWENS. LICHTENSTEIN: PHOTO: IAN REEVES; © ESTATE OF ROY LICHTENSTEIN. AFRICA: BEN ENWONWU, PRINCES OF MALI, 1976 (DETAIL). PERFORMANCE: XAVIER LE ROY, “THE RITE OF SPRING”; PHOTO: VINCENT CAVAROC SACRE TRENDS Basel. A set of vividly coloured rollers wrapped in shiny metallic sheeting is stopping visitors in their tracks at Art Basel. The work, available with Daniel Blau (2.0/D3), seems to have come straight from the studio of Jeff Koons. But Untitled (Mylar Sculpture I-III), 196970, is actually by the Pop Art master Andy Warhol, known for his massproduced silkscreens depicting 20thcentury icons and US consumer goods. Other dealers have also brought works that reveal a different side to artists. Munich-based Galerie Thomas (2.0/F13) is showing a remarkable largescale slate-grey painting by Gerhard Richter. “When you think of Richter, colour explosions and broad strokes come to mind. This work is just about the grey [paint] and the movement of the painting itself,” says the gallery’s director Jörg Paal. Grau (Grey), 1974, priced at €2.9m, is from the artist’s familiar “Grey Paintings” series—eight of the works are on show at the Fondation Beyeler (“Gerhard Richter: Pictures/Series”, until 7 September)—but “they are rarely seen on the market”, Paal says. Although dealers tend to take easily recognisable pieces to art fairs, Art Basel, with its informed audience and strong brand, inspires galleries to show atypical works. “People coming to Art Basel expect to see pieces that challenge and surprise them. Many visitors have been coming for more than 30 years and have had plenty of exposure to Western art,” says the London-based art adviser Arianne Levene. The Norwegian dealer Eivind Furnesvik (Standard Oslo, 2.1/J5) is showing five lamp sculptures by Alex Hubbard (“Untitled” series, 2013, $24,000 each). They are the first works made in this medium by the Los Angeles-based artist, who is known for his abstract paintings and videos. Furnesvik says that “even challenging ‘shelf-warmers’—works that remain in storage for a long time—tend to sell at Art Basel”. Even so, such works may have a smaller audience, says the Londonbased collector Jason Lee. “They appeal more to institutions; collectors tend to play it safe.” Art Basel, now in its 45th edition, has always been a mecca for JUST DESSERTS: We get the art we deserve, says collector Harald Falckenberg INTERVIEW PAGE 6 CHOREOGRAPHY: Care to dance? Museums and galleries expand their repertoire FEATURE PAGES 9-10 PLUS PREVIEW SA LISTING ND S of fair exhibitio s and ns in and bey Basel ond Artists retain the element of surprise Recognisable names at the fair are not always matched by recognisable works Grand Palais to bridge the Gap It’s Warhol, but not as you know him. Left, Baselitz’s wooden sculpture, another departure from the norm private collectors as well as major public institutions. This week, representatives of the Louvre, the Tate, New York’s Whitney Museum of American Art and the Dallas Museum of Art in Texas are among at least 35 museum groups visiting the fair. “Art Basel is the only fair where directors, curators and trustees all turn up together, so they can make much quicker decisions,” says the dealer Thaddaeus Ropac (2.0/B11)—so galleries bring more ambitious works. Ropac is showing an enormous wooden sculpture by the German artist Georg Baselitz (Folk Thing Zero, 2009, €2.3m). A work of a similar scale and medium by the artist has not surfaced on the market for ten years, Ropac says. “Because they are so demanding [to produce], Baselitz has not made many wooden sculptures over his career.” Massimiliano Gioni, the associate director of New York’s New Museum, is among the key curators in attendance at the fair. He cites wallpaper made by the late US artist Elaine Sturtevant, which forms a backdrop to the stand of New York-based gallery Gavin Brown’s Enterprise (2.1/P2). Gioni says it was “unexpected” for the artist to work in this medium (the piece is not for sale). sculptures on the stand have never been exhibited before. Bringing off-beat works to Art Basel also highlights a pressing issue: the dwindling supply of sought-after works by established, and in some cases emerging, artists. “For a good dealer to get material and keep it fresh from fair to fair is a challenge,” says the New Yorkbased dealer Edward Tyler Nahem (2.0/F8). “People coming to Art Basel expect to see pieces that challenge and surprise them” Cecilia Alemani, the director of High Line Art in New York, says that she is surprised to see a series of sculptures (“Composition in Space”, 1963, €120,000 each) by the Polish artist Edward Krasinski at Foksal Gallery Foundation (2.1/H9). Krasinski is generally associated with his trademark blue Scotch-tape installations, which he began in 1968. Foksal’s Aleksandra Sciegienna says that the Most stands are filled with signature works that meet the demands of the market—and this seems to be paying off. Warhol’s Self-Portrait (Fright Wig), 1986, with Skarstedt (2.0/E14), sold for around $35m, the highest reported sale at the fair so far. The artist’s gleaming Mylar sculpture, on the other hand, is priced at $2m. Gareth Harris and Julia Michalska Paris. Major Modern and contemporary works from the collection of Donald and Doris Fisher, the founders of the Gap clothing empire, will be shown in France next year at Paris’s Grand Palais (6 April-22 June 2015). The collection will be seen outside San Francisco for the first time since it was sent on a 100-year loan to the San Francisco Museum of Modern Art in 2009. The Fishers began collecting in the 1970s and amassed more than 1,100 works by 185 artists, dating from 1928 to the present day. The couple focused on artists including Alexander Calder, Anselm Kiefer, Roy Lichtenstein, Gerhard Richter and Andy Warhol. The first major painting they acquired was Lichtenstein’s Nerts, 1978 (above, Live Ammo [“Tzing”], 1962, also in the collection). Quality and depth Donald Fisher, who died in 2009, joined the California museum’s board of trustees in 1983. He was a key contributor to the fundraising campaign for its Mario Botta-designed building, which opened in 1995. Other works from the museum’s collection will also travel to France. “The exhibition will offer a preview of the quality and depth of our collection of post-war American art,” says a spokeswoman for the US institution. The museum is currently closed for a $610m overhaul. The project includes a new 235,000 sq. ft section designed by the Norwegian architects Snøhetta, which is due to open in 2016. Threequarters of the work in the expanded galleries will be drawn from the Fisher Collection; the rest will come from the museum’s permanent collection. G.H. 2 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 NEWS Art Basel in Miami: business as usual? New art commissions are part of the renovation plan for the Miami Beach Convention Center CONSTRUCTION PROJECT Miami Beach. More than $5m is being set aside for art commissions in Miami Beach as part of the renovation of its convention centre, thanks to a city ordinance requiring that 1.5% of the construction costs, which the Miami Herald reports to be $500m, go towards the Art in Public Places (AIPP) fund. The total contribution is expected to be between $5m and $7m, with works due to be placed either throughout the renovated building or on land around the Miami Beach Convention Center. Some pieces are expected to be commissioned for a new green space next to the main building. “The remit and size, type or scale of the art is not yet determined, since the project is in the early conceptual stage. The selection process for the artists has yet to be determined by the AIPP selection committee,” says Dennis Leyva, the co-ordinator for the fund. Impact on the fair There is still some uncertainty about how Art Basel in Miami Beach will be affected by the rebuilding. The Miami Herald recently reported that Art Basel’s organisers rejected a proposal by the city to hold the fair in two halls, rather than the usual four, during the reconstruction, which is scheduled to begin in September 2015 and expected to last for around three years. But a spokeswoman for Art Basel says that it was never offered two halls. “We have a strong relationship with the City of Miami Beach and the new Designs on Design Miami The forthcoming redevelopment programme for the Miami Beach Convention Center is likely to have an impact not only on Art Basel in Miami Beach itself, but also on the fair’s closest neighbour, Design Miami, and the city’s satellite fairs. A straw poll of exhibitors at Design Miami/Basel this week suggests that they are unaware of the venue's proposed redevelopment plans, but the executive director of Design Miami, Rodman Primack, says that it will be business as usual next year. "Art Basel is the most powerful art fair in the world. It has established itself in Miami as the premier cultural event— and week—in the city because of the fair’s quality, not its size. Moreover, the long-term benefit that will be realised by an expanded convention centre is undeniable. Any temporary change in size or location will not affect Design Miami's long-term success," he says. P.Pi. Look familiar? Miami Beach abandoned plans to build a 52-acre, $1bn complex designed by OMA, Rem Koolhaas’s firm mayor, Philip Levine,” says Marc Spiegler, the director of Art Basel. “They have given us every indication that the smooth operation of the show is of paramount importance to them and we will be consulted at every stage of the process.” City to work with Art Basel “The project will be a phased process and the city will co-ordinate with Art Basel during the planning of the construction phase, which includes keeping all four halls open for its show,” says Maria Hernandez, the capital projects adviser to the city manager. Asked whether construction would be put on hold during the fair to avoid noise, Hernandez says that the city’s contractors will “take measures not to disrupt the show at any time”. The details remain unclear, but the plans, which were released online by the City last week, are finally back on track. In November, city commissioners decided to abandon the $1bn programme for a 52-acre site designed by the architecture firm OMA, which is led by Rem Koolhaas. Now, a less extensive redesign will be led by Fentress Architects, which was a runner-up in the original competition. Charlotte Burns Gated community The German artist Tobias Rehberger will unveil his second major commission in Miami Beach, which is also his second permanent public project in the US, this summer as part of the city’s Art in Public Places programme. Rehberger is constructing a set of gates (right) for the South Pointe Park Pier, with a budget of $87,000. The gates will be installed on the east side of the park, opposite Rehberger’s 55ft-tall work Obstinate Lighthouse, 2011, on the west side of the site. C.B. Empire-building When Hauser Wirth & Schimmel opens in Los Angeles in January, with the curator Paul Schimmel as a partner, the gallery will rival many museums in terms of its total global footprint. The 100,000 sq. ft space (above) is larger than the three buildings occupied by the Museum of Contemporary Art, Los Angeles (69,000 sq. ft), and is more than three times the combined size of Hauser & Wirth’s spaces in Zürich, New York, London and Somerset (31,253 sq. ft). Hauser & Wirth (2.0/C10) will soon occupy nearly as much space as Gagosian Gallery (2.0/B15). In 2012, The Art Newspaper calculated that Gagosian had sprawled to 153,047 sq. ft across eight cities; the gallery has since opened another space in New York, at 75th Street and Park Avenue, adding 1,000 sq. ft to its empire. Mega-galleries such as these now far outstrip the sizes of contemporary art institutions such as New York’s New Museum (around 15,000 sq. ft of exhibition space) and other global commercial galleries such as Galerie Perrotin (around 10,000 sq. ft in Paris, New York and Hong Kong). P.P. Business is blooming New York’s Casey Kaplan gallery (2.1/N10) is leaving Chelsea after ten years and moving to the Flower District in early 2015. The gallery has taken a ten-year lease on a 10,000 sq. ft space at West 27th Street, between Sixth and Seventh Avenues. “It’s an exciting neighbourhood that is in transition. The storefront wholesalers are moving on and new businesses are coming in,” Kaplan says. The new location is “slightly out of the centre, which is an interesting place to operate in. We [will] become a destination gallery, but not so far removed that it’s ridiculous to ask people to come to see our shows.” Kaplan (above) is keen to “explore a new area. It’s also about being part of a [changing] neighbourhood, and seeing what it’s going to become.” C.B. Young Turks hit London The leading Istanbul-based dealer Rodeo (Feature, R11) is due to open a second venue in Soho, central London, this autumn. The gallery represents the artists Ian Law, Emre Hüner, Iman Issa and two nominees for this year’s Turner Prize: Cardiff-born James Richards and the Irish artist Duncan Campbell, who presented works in the Scottish pavilion at last year’s Venice Biennale. Another Turkish dealer, Pi Artworks, opened a gallery last October in Fitzrovia, central London. G.H. Appointment in Basel Art Basel has appointed a new head of gallery relations. Daniel Lechner joins the team next month after eight years with the New York gallery Cheim & Read (2.0/C14), where he was a sales associate. He previously worked for the Scope art fair. C.B. Correction In yesterday’s article about the Victoria Miro gallery (p2), we wrote that Eric Fischl had joined its roster of artists, when, in fact, the gallery only has plans to stage a forthcoming exhibition of his work. We also stated that shows of work by the artists Secundino Hernández and Celia Paul will be staged in Victoria Miro’s Mayfair gallery; they will, in fact, take place in the Wharf Road space. ART FAIR WWW.POSITIONS.BERLIN WWW.BERLINARTWEEK.DE MIAMI BEACH: COURTESY OF OMA. HAUSER WIRTH & SCHIMMEL: COURTESY OF HAUSER & WIRTH/FREDRIK NILSEN In the trade ROBERT LONGO AT ART BASEL STAND B11 P A R I S S A L Z B U R G R O P A C . N E T 4 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 NEWS ANALYSIS Nigerian artists in the spotlight As new galleries and non-profit spaces open across the country, interest in contemporary art from Africa is growing abroad Lagos. As Nigeria surges ahead of South Africa to become the largest African economy, its newly rich are buying art. Last year the Nigerian art market grew by 21.8%, while prices have risen on average by 30% to 40% over the past five years, according to Giles Peppiatt, the director of contemporary African art at Bonhams. Perhaps the best-known artist living in Nigeria is El Anatsui, who is due to lead a discussion on curators as part of the Art Basel Salon programme. He was born in Ghana but moved in 1975, where he began to teach art at the University of Nigeria. His shimmering tapestries made from flattened bottle tops propelled him to international fame in Anatsui will be talking about curators who have influenced his career, including the founder of the Centre for Contemporary Art (CCA) in Lagos, the Nigerian Bisi Silva (he is also taking part in the session), and the American Robert Storr who worked with Anatsui when he directed the international exhibition at the 2007 Venice Biennale. “The role of the curator was traditionally very important because of the lack of a gallery system in Nigeria,” says Bomi Odufunade, who set up Dash and Rallo Art Advisory in Lagos three years ago and is also taking part in the discussion. In the past five years much has changed. Now there are around ten successful galleries and non-profit spaces in Nigeria, including Omenka, Art Twenty One, the CCA and the African Artists’ “Many more artists now live and work in Nigeria. The development of commercial galleries has not kept up with the rapid growth of the market” the early 2000s, and his work has since been collected by institutions including the British Museum in London, Centre Pompidou, Paris, and the Smithsonian Institution in Washington, DC. In April, Anatsui was elected an honorary Royal Academician. Nigerian collectors such as Prince Yemisi Shyllon and the retired stockbroker Sammy Olagbaju were early supporters of Anatsui, but today the artist says a younger group of Nigerians is “dominating the market”. Until very recently there was no commercial gallery network in Nigeria; curators rather than dealers were crucial to an artist’s development. At Art Basel, Foundation. But Odufunade says it is not enough: “There are many more artists who now live and work in the country. The development of commercial galleries has not kept up with the rapid growth of the market.” When Kavita Chellaram set up the Lagos auction house Arthouse Contemporary in 2007, artists would exhibit and sell works directly at auction. “At that time we were fulfilling the role of the gallery,” Chellaram says. “You can still buy directly from artists, but gallery representation is growing.” Chellaram is not about to relinquish her role as gallerist: she is opening a pop-up space in September with an exhibition of painterly installations by Kainebi Osahenye. A show by the octogenarian artist Yusuf Grillo will follow in December. Chellaram also plans to open a foundation in Lagos at the end of this year, where artists will be able to undertake three-month residencies. If the Nigerian art market is still emerging on a global scale, artists, curators and collectors have been part of a lively art scene since the end of the Second World War. Chellaram says that five or six Nigerian universities have good art schools, compared with just one in Uganda, and none in Kenya. Modern works have a certain cachet and those created in the post-war decades tend to attract the highest prices. At Bonhams’ “Africa Now” auction in London in May, paintings from the 1970s by Benedict Enwonwu and Yusuf Grillo achieved the top prices, going for £92,500 and £80,500 respectively. Giles Peppiatt estimates that 70% of buyers were from Africa or have connections to Africa. While Modern art is seen as a safe bet, Nigerians are shying away from The artist El Anatsui. Left, contemporary African art under the hammer at Bonhams in London the contemporary. Anatsui says collectors—even the younger generation— are still unwilling to buy sound, performance or conceptual art. “Collectors mostly buy comfortable art and do not go for controversial or out-of-the-ordinary works in terms of media, genre or content,” he says. International collectors, perhaps more attuned to the contemporary market, have been slower to invest in Nigerian art. But art fairs such as 1:54, London’s first contemporary African art fair, which launched last October, are helping to raise the profile—and prices—of artists across the continent. Institutional support has also been forthcoming in the West. In 2012 the Tate set up its African art acquisitions committee, and last July the museum held its first major exhibition of African Modernism, highlighting the work of the Sudanese artist Ibrahim el-Salahi. Nigeria still needs to develop its museum network. With little government support for the arts in Africa, Odufunade says private collectors will have to pick up the tab. “At this moment I know of people in Johannesburg, Uganda and Nigeria who are planning to build private museums,” she says. “It’s the next logical step.” Anny Shaw • “The Artist and the Curator”, Art Basel Salon, Saturday 21 June, 2pm, Hall 1 ANATSUI: © JONATHAN GREET/OCTOBER GALLERY, LONDON AFRICAN ART THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 6 INTERVIEW Feudalism returns to the art world Collector and academic Harald Falckenberg believes that elitism is back T Harald Falckenberg. Above, the interior of Sammlung Falckenberg: Deichtorhallen Hamburg he Hamburg-based businessman Harald Falckenberg turned his attention to the world of contemporary art in the 1990s. In under two decades he built one of Germany’s leading collections, focusing on works by international avant-garde artists. The 2,000 pieces in his collection are on display in a former tyre factory in Hamburg, which in 2011 became an outpost of Deichtorhallen, one of Europe’s largest centres for contemporary art and photography. For Art Basel’s first book, Year 44, Falckenberg, who teaches art theory at Hamburg’s Academy of Fine Arts, contributed the essay “Every Era Gets the Art World it Deserves”, a critical look at the “spectacle” that underpins contemporary art appreciation today. We asked Falckenberg how the avant-garde project got lost and why the art bubble won’t be bursting any time soon. years have more or less disappeared since 2008. Today’s rich collectors see highly rated art as a long-term investment and that’s still speculation in my understanding. In contrast to a few years ago, the market for medium- and low-priced works of art is stagnating or even recessive, naturally with exceptions, for instance Banksy and others. Speculation will always be a part of art collecting. Does this endanger the traditional gallery model? Traditional galleries are having a hard time. They generally don’t have enough funds and staff to present their artists internationally. Once their artists become successful, they leave and join internationally established galleries, or others, such as Jeff Koons, Damien Hirst or Olafur Eliasson, build their own companies with up to 100 or more employees as in historical times of the Renaissance art schools. Commercial galleries have not yet found a suitable solution, but more and more of them will likely commit a substantial part of their activities to the “secondary market” as art dealers. Interview by Julia Michalska The Art Newspaper: What characterises the art of our time? Harald Falckenberg: In recent years art has become ever more dominant, with large-scale public events and huge prices for important works that only a few wealthy people, leading art institutions and multi-national companies can afford. Having emerged from the 1960s avant-garde’s goal of anchoring popular and critical art beyond elitist notions, this latest development can confidently be regarded as a step back towards the re-feudalisation of art. Harald Falckenberg recommends in London, with its five million visitors, is the world leader in this respect, with New York’s Museum of Modern Art (MoMA) not far behind. And the competition continues. Tate Modern and MoMA are planning new exhibition spaces to increase the number of visitors by at least one million in the next few years. What factors have contributed to this? The major factors are the globalisation of the art market with the rise of art fairs across the globe, the integration of contemporary art in the programmes of auction houses since the 1990s, and the increase in international biennials and triennials, with nearly 100 taking place each year. The role of private museums should not be overstated, however. They are a reaction to the trend of traditional museums putting more and more emphasis on temporary exhibitions over their own collections. Nearly 80% of their visitors are attracted by the temporary exhibitions. Tate Modern, You seem to make a distinction between the art governed by the art market and that by biennials/exhibitions. Are there two art worlds? I would not say that there are different art worlds. The art world—a term coined by the American critic Arthur Danto in 1964—stands for a complex referential system of Modern and contemporary art. Biennials and triennials are created by curators and are large-scale, timebased events. Although the works in these events cannot, just by their size and dimensions, normally be traded, the biennials and triennials are substantially funded by galleries, Everywhere is Art Just look beyond the surface © UBS 2014. All rights reserved. “I’m sure that the artist is being rediscovered as a person of resistance” auction houses and even big collectors to improve the international reputation of their artists. So the art world should be understood as a network of mutual support. Why do you think that the “oftcited art bubble” won’t burst? Today’s international art world is based on success and high prices. The world’s rich put their money in recognised art as an investment. There is talk of money laundering and a general flight to material assets in times of low interest rates, but art is first and foremost a luxury accessory and a status symbol. Again and again, the media report on new record prices for art. Of similar or maybe even greater importance is the sponsorship of art by multi-national companies. 3501 colored pencils Volkswagen and BMW, just two examples, have long-term contracts with MoMA and Tate Modern to increase the value of their products. Along with showbiz celebrities and star athletes, art has become a third avenue for their promotional activities. It’s a logical choice, because images can be understood everywhere and represent desires, longings and individuality, independent of language. So today’s art is consolidated in the international world of business, glamour, events and supported by the print and online media. The set-up is perfect and would not work without stars and top prices. That’s why the oft-cited art bubble won’t burst, provided, naturally, that the whole system will not collapse. Christian Marclay’s new installation Unlimited, Basel JUNE 19-22 • At this year’s Art Basel I’ll certainly visit the new installation [by] Christian Marclay at Unlimited. Marclay is one of my favourite artists. His video films are never alike and always open new perspectives. Alibis: Sigmar Polke 1963-2010 MoMA, New York UNTIL AUGUST 3 • In July I will visit New York—it will be a must to see the retrospective of Sigmar Polke at MoMA. For me Polke is the most important post-war German artist. His work is variable, full of surprise and always accompanied by a touch of humour. Bill Viola’s Martyrs St Paul’s Cathedral, London ONGOING Why do you say that the speculators have disappeared? Sky-high contemporary auction prices seem to indicate the opposite. That was a misunderstanding. I only wanted to say that the speculators who drove the market in the past ten • On my way back to Europe, I will have a stop-over in London. Bill Viola is not my cup of tea because of the theatricality of his work. But he’s a great artist and I look forward to seeing how he manages to get along with St Paul’s Cathedral. SAMMLUNG: HENNING ROGGE/DEICHTORHALLEN Is this a pessimistic view? It’s a realistic view. Art is a mirror of society. Marcel Duchamp once said that good art always comes from the underground. This is still valid. Today’s economic and political systems are fragile and call for counterculture interventions. I’m sure that the artist is being rediscovered as a person of resistance. IMAGE L AMP 1 18 8 B BY Y J O S D E V R IIE ENDT T,, 2 2013/ 0 13 / C O U R T E S SY Y O F P IIE E R R E M A R IE I E G IR I R AU AUD JJUNE NE E 7 – 22 22 17 2 2014 20 4 DESIGN D E S I G N MIAMI/ M I AM I / BASEL BASEL , T THE HE G GLOBAL L O B AL F FORUM ORUM F FOR OR D DESIGN ESIGN D DAT AT E S JJUNE UNE 1 17–22 2014 7– 2 2 / 2 0 14 L O C AT AT I O N ESS E B HALL HAL L 1 SÜD, S ÜD, M MES SE BASEL BASEL SWIT ZERL AND ASEL , B ASEL , S WIT Z E R L AN D D E S I G N MI A MI . C OM DESIGNMIAMI.C OM G GALLERIES ALLERIES / O ON/SITE N / S I T E / COMMISSION C O M M I S S I O N / COLL C O L L ABOR A B O R ATIONS AT I O N S / DESIGN D E S I G N AT AT L ARGE A R G E / TALKS TA L K S / AWARDS AWA R D S / SATELLITES S AT E LLIT ES / D DESIGN ES I G N L LOG OG DESIGN GALLERIES A MM M M A NN N N //G // G A L L E RY/ R Y/ A N T O N NE E L L A V IIL LL ANO OVA V A //A ARM ME EL SO OY Y E R / C A R O L INE I N E VA VA N H O E K / C A R P E N T E R S W O R K S H O P G A L L E R Y/ Y / C R I S T IN I N A G R A JA J A L E S G A L L E R Y/ Y / DA D A N S K M Ø B E L K U N S T G A L L E R Y/ Y / DAV D A V ID I D G IL ILL / D E M I S C H DANANT/ D A N A N T / ER DEMISCH E R AS A S T UDIO U D I O & APAR A P A R TMENTT M E N T- G ALLERY/ A L L E RY/ FR F R ANCK A N C K L AIGNE A I G N E AU/ A U / G ALERIE A L E R I E B SL S L – BÉ B É ATRICE A T R I C E SAINT-L S A I N T- L AURENT/ A U R E N T/ G A L E R I E C H A S T E LL - M A R É C H A L / G A L E R I E E R I C P H I L I P P E / G A L E R I E J A C Q U E S L A C O S T E / G A L E R I E K R E O/ O/ I E M A R I A W E T T E R G R E N / G A L E R IE G A L E R IE I E M AT A T T H IE I E U R I C H A R D/ D / G A L E R IE I E PA P A S C A L C U I S INIE I N I E R / G A L E R IE I E PAT P AT R I C K S E G U IIN N / G A L E R IIE E U L R I C H F IE I E D L E R / G A L E R IE I E V I V ID/ I D / G A L L E R I A O. O./ G ALLERIA R O S SELL A C OLOMBARI/ G ALLERY F UMI/ I N C . / J O H N S O N T R A D IN RY I B BY GALLER Y L IB B Y S E L L E R S / G A L L E R Y S E O M I / H O S T L E R B U R R O W S / J A S O N J A C Q U E S IN I N G G A L L E R Y/ Y/ I E D OW O W N T OW O W N / L O U I S A G U INN I N N E S S G A L L E R Y/ Y / M AG A G E N H G A L L E R Y/ J O U S S E E N T R E P R I S E / L A F FA F A N O U R – G A L E R IE Y/ E S / P IIE E R R E M A R IIE E G IR I R AU A U D/ D / P R I V E E KO K O L L E K T IE I E C O N T E M P O R A R Y A R T |D N IIL L U FA FA R G A L L ERY Y// P E A R L L A M G A L L E R IIE |DESIGN/ ANY T / S O U T H E R N G U IL I L D/ D / S T E IN INIT Z / THOMAS FRITSCH – AR TRIUM/ R & COMP PA Y// S A L O N 9 4 / S E B A S T I A N + B A R Q U E T/ M E R&M R & M A LTA L T A / Y V E S M AC A C AU AU X / V I C T O R H U N T D E S I G N A R T D E A L E R / Y ME DESIGN ON/SITE GALLERIES E L I S A B E T TA T A C IP I P R I A N I / P R E S E N T IN I N G R E B E C C A H O R N , G A L E R IE I E M IN I N IM I M A S T E R P IE IECE / P R E S E N T IN I N G PA P A B L O R E IIN NOSO O,, G O S S E R E Z / P R E S E N T IN VA ME ER / ING V A L E N T IIN N L O E L L M A NN N N , MI M I T T E R R A ND ND+CR AM P R E S E N T IN ING S TUDIO JOB G E T S O C I A L A ND N D F O L L O W U S T HR H R O U G H O U T T HE H E FA F A IR IR WEEK @D @ D E S I G NMI N M I A MI M I / #D # D E S I G NMI N M I A MIB MIBASEL THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 9 FEATURE Making waves: choreography moves into the museum Museums and galleries are increasingly playing host to artist choreographers, who are performing site-specific integral works Xavier Le Roy performing a work based on Stravinsky’s “The Rite of Spring” VINCENT CAVAROC SACRE A rt and dance have had a close relationship, from the Modernist flowerings of the Ballet Russes to the downtown scene in 1970s New York. They have remained largely distinct disciplines until recently, but choreographers’ work is increasingly being incorporated into museum and gallery programmes, and as integral works rather than interruptions from a distinct artform. Art Basel brings some of the leading figures in dance together for “The Artist as Choreographer”, Friday’s Conversation, chaired by Hans Ulrich Obrist and featuring the choreographic artists Alexandra Bachzetsis, Xavier Le Roy and Isabel Lewis. The background to this phenomenon is the two disciplines’ mutual interest in expanding definitions of what art and dance might be, and in bringing art and everyday life into a closer relationship. Bachzetsis’s work is emblematic of this shift. She has recently devised works for Documenta 13 and the Stedelijk Museum, Amsterdam, and will appear in the BMW Tate Live event at Tate Modern, London, in October. She is interested in how different spaces—the theatre, the museum, the gallery, online space—“condition both the human body and the contemporary status of performance practice”, she says. The museum version of Bachzetsis’s work is “more shared than consumed” In The Stages of Staging, which she first performed last year at the Stedelijk, she says she changes the “timing and dramaturgy of the performance according to the specific conditions of the museum, with regard to its opening hours, versus the conventional opening night of the theatre”. In the work, ten performers appear in a gym-like space which is also a film set, leading to a work that is “part live performance, part intervention and part restaging of live-recorded video images”. Their movements draw upon references ranging from a film by Rainer Werner Fassbinder, “Warnung vor einer Heiligen Nutte” (Beware of a Holy Whore), and British Northern Soul dancing to “the seemingly endless (re)appropriation of pop songs and their cover versions”, she says, ultimately leading to an exploration of “self-staging and self-design”. The theatre version is included within the museum performance, before being deconstructed in a twoand-a-half-hour “interlude” in which “you see where the references come from and you look more behind the scenes”. The theatre version is then repeated, “but it’s a lot more threedimensional, turned around, twisted, made more intense”. However, in From A to B via C, which Bachzetsis is currently developing and will perform at the Tate Modern, the choreography’s length will remain equal in both theatre and museum versions—only the spatial conditions will change. “In From A to B via C, the relationship between performer, space and the public inhabiting it is very important,” she says. “In the theatre version, we perform the piece for an audience watching us, whereas in the museum we stage it among people watching both themselves and us.” The CONTINUED ON PAGE 10 10 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 FEATURE CONTINUED FROM PAGE 9 museum version is therefore “more shared than consumed”. Dance and non-dance Alexandra Bachzetsis’s The Stages of Staging. Right, Isabel Lewis, who uses bodies—human, plant and objects—in her work from there, and did something from that position that anybody can do, somehow,” he says. A collage of movement Lewis, who has performed at the Serpentine Galleries in London and the New Museum in New York, also taps into everyday movement. She is interested in “looking for dance as it’s embedded in life”, she says, using the club in which she DJs in her current home, Berlin, as “a place of research”, for instance. Both Lewis and Bachzetsis speak about their work almost as a collage of movement. “Choreography is bringing things into relation in time,” Lewis says, “and that can be human bodies, plant bodies, object bodies, all different kinds of bodies. Of course, a painting does that, a sculpture can do that, an installation can do that, but there’s that additional element of time and duration—composing within something that’s contingent and mutable and shiftable. That, for me, is key to what’s interesting about dance and choreography.” She argues that dance should not be separated from other cultural forms. “I find the division of the senses problematic and I’m much more interested in bringing them together. I feel that we are in a cultural moment where we are less able to believe in stable notions and fixed truths, and we need to find ways to Fraenkel Gallery MEL BOCHNER, Color Crumple, 1967/2011 think and build thoughts upon contingencies and partial connections. “Choreography can give us ways to access strategies of reading and composing situations in all of their multiform and ever changing complexity. And I think that’s maybe why choreography can be so prevalent in culture, and in galleries and museums all over the place.” Ben Luke • “The Artist as Choreographer”, Art Basel Conversation, Friday 20 June, 10am, Hall 1 fraenkelgallery.com Hall 2.0 Stand A15 ART BASEL BACHZETSIS: © MELANIE HOFMANN. LEWIS: ISABEL LEWIS/JOANNA SEITZ Le Roy, who has recently made work for the Fundació Antoni Tàpies in Barcelona and the Hayward Gallery in London, was part of a radical group of French choreographers who drew other disciplines into dance in the 1990s, and is suspicious of attempts to pigeonhole his work. “When I started to do choreography, I was put in the category of ‘non-dance’,” he says. “But now that I do work in exhibition spaces, people say: ‘You want to bring dance into the museum’. And I say, ‘No, I don’t want to bring dance into the museum, I can do work for an exhibition space, but how can I bring dance into the museum when I’ve been categorised as a non-dance person?’ This shows the limit of this apparatus that looks at the discipline in a very narrow way.” Le Roy says he likes “to work from the position of being ignorant in something”, following the idea of Jacques Rancière, the French philosopher, “that everybody has the ability to learn from the point of not knowing, and that’s where we should somehow try to meet and work in order to produce something”. He cites his performance based on Stravinksy’s “The Rite of Spring”. “I used gestures of the movement of a conductor, conducting an orchestra, and I started from the position that I’ve had no education in music, I don’t know how to read music. So I started FONDATION BEYELER 18. 5. – 7. 9. 2014 RIEHEN / BASEL www.fondationbeyeler.ch THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART 18–21 SEPTEMBER 2014 NAVY PIER PARTICIPATING GALLERIES Studio: Laura Letinsky / #8 Galería Álvaro Alcázar Madrid Ameringer | McEnery | Yohe New York BASE GALLERY Tokyo Galerie de Bellefeuille Montreal John Berggruen Gallery San Francisco Blain | Southern London | Berlin Marianne Boesky Gallery New York Jonathan Boos, LLC New York Bortolami New York Galerie Isabella Bortolozzi Berlin | London BORZO modern and contemporary art Amsterdam Russell Bowman Art Advisory Chicago Rena Bransten Projects San Francisco CABINET London Valerie Carberry Gallery Chicago David Castillo Gallery Miami Cernuda Arte Coral Gables Chambers Fine Art New York | Beijing James Cohan Gallery New York | Shanghai Corbett vs. Dempsey Chicago CRG Gallery New York Stephen Daiter Gallery Chicago Maxwell Davidson Gallery New York Douglas Dawson Chicago DC Moore Gallery New York MASSIMO DE CARLO Milan | London Elizabeth Dee New York DIE GALERIE Frankfurt Catherine Edelman Gallery Chicago Debra Force Fine Art, Inc. New York Galerie Forsblom Helsinki Forum Gallery New York Marc Foxx Los Angeles Honor Fraser Los Angeles Fredericks + Freiser New York Friedman Benda New York Galeria Hilario Galguera Mexico City | Berlin James Goodman Gallery New York Goya Contemporary Baltimore Richard Gray Gallery Chicago | New York Garth Greenan Gallery New York Galerie Karsten Greve Paris | St. Moritz | Cologne Kavi Gupta Chicago | Berlin Hackett | Mill San Francisco Haines Gallery San Francisco Hales Gallery London Carl Hammer Gallery Chicago Richard Heller Gallery Santa Monica Galerie Ernst Hilger/Hilger NEXT Vienna Hill Gallery Birmingham | Detroit Nancy Hoffman Gallery New York Rhona Hoffman Gallery Chicago Vivian Horan Fine Art New York Edwynn Houk Gallery New York | Zurich Susan Inglett Gallery New York Galerie Michael Janssen Berlin | Singapore Jenkins Johnson Gallery San Francisco Robert Koch Gallery San Francisco Alan Koppel Gallery Chicago Lisson Gallery London | Milan | New York Diana Lowenstein Gallery Miami Lawrence Markey San Antonio Matthew Marks Gallery New York | Los Angeles Marlborough Gallery New York | London | Madrid | Monaco | Barcelona Barbara Mathes Gallery New York The Mayor Gallery London McCormick Gallery Chicago Meessen De Clercq Brussels Anthony Meier Fine Arts San Francisco Jerald Melberg Gallery Charlotte moniquemeloche Chicago Nicholas Metivier Gallery Toronto Laurence Miller Gallery New York Robert Miller Gallery New York THE MISSION Chicago | Houston Anne Mosseri-Marlio Galerie Basel Carolina Nitsch New York David Nolan Gallery New York Gallery Wendi Norris San Francisco Richard Norton Gallery Chicago One And J. Gallery Seoul P.P.O.W New York Gerald Peters New York | Santa Fe Andrew Rafacz Chicago Michael Rosenfeld Gallery New York Salon 94 New York Julie Saul Gallery New York Galerie Thomas Schulte Berlin Carrie Secrist Gallery Chicago Marc Selwyn Fine Art Beverly Hills William Shearburn Gallery St. Louis Shoichiro/Galerie Sho Contemporary Art Tokyo Sicardi Gallery Houston Jessica Silverman Gallery San Francisco Manny Silverman Gallery Los Angeles André Simoens Gallery Knokke-Zoute Fredric Snitzer Gallery Miami Thomas Solomon Gallery Los Angeles MARC STRAUS New York Hollis Taggart Galleries New York Tandem Press Madison Paul Thiebaud Gallery San Francisco Tierney Gardarin New York Leslie Tonkonow Artworks + Projects New York Vincent Vallarino New York Van Doren Waxter New York Susanne Vielmetter Los Angeles Projects Los Angeles Linda Warren Projects Chicago Weinstein Gallery Minneapolis Whitestone Gallery Tokyo Max Wigram Gallery London Zolla/Lieberman Gallery Chicago Pavel Zoubok Gallery New York David Zwirner Gallery New York | London EXPOSURE Blackston New York Bourouina Berlin Brand New Gallery Milan Callicoon Fine Arts New York Carroll/Fletcher London Ana Cristea Gallery New York Lisa Cooley New York Eleven Rivington New York James Fuentes New York Greene Exhibitions Los Angeles Hannah Hoffman Gallery Los Angeles Horton Gallery New York Charlie James Gallery Los Angeles Luis De Jesus Los Angeles Los Angeles Tristian Koenig Melbourne Josh Lilley London Longhouse Projects New York Luce Gallery Torino Marlborough Chelsea New York Mihai Nicodim Gallery Los Angeles | Bucharest On Stellar Rays New York Romer Young Gallery San Francisco TIF SIGFRIDS Los Angeles VAN HORN Düsseldorf Y Gallery New York expochicago.com Presenting Sponsor 14 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 IN PICTURES Living it large 1 Design Miami/Basel creates a space for oversized works that add a new dimension to the fair D esign Miami/Basel’s inaugural Design At Large programme includes a presentation of six large-scale pieces. These works take centre stage, embracing the internal oculus of Hall 1 Süd, the building on the Messeplatz designed by the Swiss architects Herzog & de Meuron. “Having a big, dramatic space was a real impetus, because it enables us to show something unexpected,” says Rodman Primack, the new executive director of Design Miami/Basel. “These days, many people get their art experience at a fair, rather than in a gallery or museum, and they will never have seen installations by some of these designers. This work brings energy and excitement to the fair and encourages a broader conversation about design.” Design at Large “adds a new dimension by extending the fair’s parameters and opening the door to site-specific pieces”, says the programme’s curator, Dennis Freedman, who is the creative director of the department store Barneys in New York. “It’s very important to show work outside the traditional boundaries of a gallery’s booth, because it enables designers to explore conceptual ideas without the limitations of commercial concerns or scale. They can express what’s really going on in their heads. And it enables collectors to understand what’s at the core of their thinking.” “I wanted someone with a creative eye to organise the initial programme,” Primack says. “Dennis is such an important figure in the US publishing, art, design and fashion worlds. As an incredible collector, he is very well versed in the language of collectible design. Other curators will bring different perspectives to future editions.” Submissions from Design Miami/Basel’s exhibiting galleries generated more than 20 proposals, from which Freedman selected six designs. “The criterion was very simple—it’s about poetry,” he says. “For something to be truly worth collecting, it needs to go beyond the cerebral. Designs must be conceptually rich, with meaning and content on many levels. Much of the work I chose is about mutation, change, fluctuation and interaction. It’s concerned with how we live. This common thread wasn’t a conscious one, but it emerged as I responded to the pieces.” The twin-pendulum Drawing Machine, 2011, by Eske Rex, presented by Galerie Maria Wettergren, is set in motion by hand. Made from wood, steel, concrete, paper and a ballpoint pen, it explores the relationship between time and movement. Dominic Harris’s Ice Angel, 2012, presented by Priveekollektie, is similarly kinetic. His imaginative digital design encourages visitors to become performers-cum-portrait subjects, with wing shapes unfurling from their shoulders as their arms move. Visitors are also invited to participate in an installation by the US artist Sheila Hicks. Séance, 2014, presented by Demisch Danant, is an interactive colour “lab” that gives an insight into a fundamental aspect of Hicks’s design process through colour experimentation. Meanwhile, Chris Kabel’s organic Wood Ring bench, 2010, presented by Galerie Kreo, encourages people to engage with its circular form. Anton Alvarez’s Thread Wrapping Architecture 290414, 2014, presented by Gallery Libby Sellers, highlights the designer’s working processes. The 3m-high arches and columns were created using Alvarez’s innovative thread-wrapping machine, which he uses to bind furniture components without screws or nails. The only historical piece is Maison Bulle Six Coques, 1965, which was originally shown at the Salon des Arts Ménagers in France in 1956 by the urban architect and theorist Jean Benjamin Maneval. The work is presented here by Jousse Entreprise. Made entirely of reinforced polyester, Maneval’s “bubble house” remained a prototype until it was produced by Batiplastique for an “experimental” resort in the Pyrenées; around 30 were made. Jousse Entreprise bought 18 of the works and has restored some of them (the example on show here did not require restoration), and has around ten available for sale. Will these large-scale designs sell? “My assumption is that there will be collectors interested in buying,” Freedman says. “There are pieces here I’d be interested in collecting. They have the potential to enlighten and change perceptions by showing things in a new way.” Nicole Swengley • Design at Large, Hall 1 Süd, until 22 June (11am-7pm) 2 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 15 3 4 5 1 Jean Benjamin Maneval, Maison Bulle Six Coques, 1965, Jousse Entreprise (1.1 Süd/G09), around €250,000 2 Sheila Hicks, Séance, 2014, Demisch Danant (1.1 Süd/G23), around $1m 3 Anton Alvarez, Thread Wrapping Architecture 290414, 2014, Gallery Libby Sellers (1.1 Süd/ G22), around £40,000 4 Chris Kabel, Wood Ring, 2010, Galerie Kreo (1.1 Süd/G14), €45,000 (edition of eight) 5 Dominic Harris, Ice Angel, 2012, Priveekollektie (1.1 Süd/G16), €145,000 (edition of eight) 6 Eske Rex, Drawing Machine, 2011, Galerie Maria Wettergren (1.1 Süd/G48), €70,000 (edition of three) 7 Jamie Zigelbaum, Triangular Series, 2014, design commission (1.0 Süd), price undisclosed 7 PHOTOS: © DAVID OWENS 6 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 16 INTERVIEW Konstantin Grcic Designer Serious concepts, playful designs Humour, technological innovation and an exploration of public and private space all feature in Konstantin Grcic’s biggest show to date acclaimed pieces include the geometric “Chair One”, 2004, which is made by the furniture company Magis and combines strength with super-lightweight materials, and the versatile “Mayday” lamp, 1999, made by Flos, with its integral suspension hook and cable-wind. He has also created objects for Authentics, Krups, Muji and Vitra. In his current show, Grcic tackles much bigger concepts, illustrated by large-scale installations images in the exhibition: these are not solutions to be copied, they are statements that I make to trigger debate. I want people to reflect on certain ideas or concepts,” he says. The exploration of what constitutes private and public space is best encapsulated in the juxtaposition of two kinds of environments: installations representing the home and the work studio, and a third that illustrates a fictional urban landscape. “Everyday life and the ordinary are what we work with. My mission is to reinterpret the ordinary” that present his vision of future environments and their relationship with design. “‘Vision’ is a big word,” Grcic says, “and I have difficulty with the word. My idea for the exhibition is more about asking questions and making people aware of preconceived ideas about life and about the future.” He hopes that the show is open-ended, encouraging interpretation and provoking discussion. “I am creating “Is private space my home? Is it where I sleep, cook or watch television? I want people to understand that private space can be free of those preconceptions,” Grcic says. In contrast, the urban environment, the 30m-long “panorama” of the show’s title, questions our definition of public space. “I wanted to create a sensation of being in another space, another world, of not being enclosed, but on a viewing platform, looking out onto a Clockwise from top left: Grcic’s “Tom Tom & Tam Tam” tables, 1991; “Chair One”, 2004; the designer’s “Tip” waste bin, 2003; and his “Mayday” lamp, 1999 landscape,” the designer says. “The idea is that a public space is not a space that is controlled by anyone. It is not created by an architect or an urban planner; we can contribute to that space. It is made for the public, whatever their needs or desires.” The fourth installation is a long vitrine containing a sequence of objects—some found, some he has designed, some that have influenced the designer—all selected by Grcic. “One object leads to the next and creates a storyline. I am using this to talk about certain projects and things I like that are meaningful to my work. It’s not chronological. We can take the same objects and put them in a different order and create a different narrative,” he says. Among the items are prototypes that demonstrate Grcic’s working practices. “For example, there’s a very rough wooden mock-up we made for a product that later came on the market. It’s the ‘360 Stool’ [2009], made by Magis, and the mock-up is the key. We knocked it up using rough planks, SAVE THE DATE 19-21 SEPTEMBER, 2014 CENTRAL EXHIBITION HALL MANÈGE, MANÈGE SQUARE 1, MOSCOW THE ONLY INTERNATIONAL CONTEMPORARY ART FAIR IN RUSSIA “CHAIR ONE” AND “MAYDAY”: COLLECTION VITRA DESIGN MUSEUM; PHOTO: FLORIAN BÖHM; © KGID. “TIP”: © KGID T he growing use of social media to share information about ourselves inevitably results in the erosion of our concept of privacy. Do we now expect all information to be in the public domain? Or are some aspects of our lives meant to remain unmonitored, unshared, private? Last month’s ruling by the European Union’s Court of Justice to allow internet users to erase information about themselves from search engines, such as Google, may signal the beginnings of a backlash, but doesn’t this case further complicate the blurring of the boundaries between private and public space? This is one of the key concepts in “Panorama”, the largest exhibition to date of the work of the industrial designer Konstantin Grcic, at the Vitra Design Museum in Weil am Rhein. Grcic is perhaps best known for domestic-scale creations that combine the functional with the experimental, the serious with the quirky. Technology plays a vital part in the process and the outcome. His most THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 17 EXHIBITION: © KGID. GRCIC: PHOTO: MARKUS JANS Something old, something new: the Vitra show includes objects Grcic found as well as those he has designed nails and screws, and when you see it next to the stool, there is very little connection. It shows the journey between the idea and the finished item. It carries the spirit and the essence of the original, although the final product is a very refined, massproduced product.” Grcic’s designs have always incorporated new technologies; another key theme of the show is an analysis of current technological shifts and how these contribute to innovation in contemporary design. “Digital technology changes the tools that we have for creating and producing work. It changes from the empirical process, which involves personal choice, to a digital one involving algorithms. It questions even the authorship of the creative process… authorship could be replaced by an algorithm. The origin of production is questioned by new forms of producing: you download a file and you go to the copy shop and get it printed.” Technological change is led by new processes or new materials, and in his latest project, Grcic combines the two. “We are currently working on using a combination of a hi-tech composite material—carbon fibre—and the most traditional material for furniture, wood,” he says. “We are trying to combine the two technologies, making it into one technology. But you are not always looking for the most innovative. Sometimes you go back to a classic material. It is what is most appropriate or valid or sustainable. We don’t use technology for technology’s sake. It has to be relevant.” If this all sounds very serious, it is, but that doesn’t necessarily preclude an injection of playfulness. Grcic’s designs have tended to include a sly element of humour. How does this play with the manufacturers? “I think they are relieved that it’s not just another piece of serious design. I am serious about the work I do and the companies I work with, but at the same time, I am enjoying the projects and want to express that. My clients have no problem with that: it’s part of a shared passion for the work. We make things that are not just functional and rational, but add joy and beauty.” Certainly there are many objects that make serious design look like fun. And that is perhaps Grcic’s greatest talent: to take the everyday and make it extraordinary. “Everyday life and the ordinary are what we work with. My mission is to reinterpret the ordinary,” he says. The everyday objects he has transformed into objects of beauty include the “2 Hands” laundry basket, 1996, designed for Authentics, the “Miura” bar stool, 2005, for Plank, the “Karbon” chaise longue, 2008, for Galerie Kreo, the “Pipe” desk, 2009, for Muji-Thonet, and the “Blow” side table, 2010, for Established & Sons. Of all his designs, which one does Grcic believe states his mission best? “The items I am most proud of are the ones that don’t need the exhibition because they’re out there in the market—they have their own life.” Pas Paschali • “Panorama”, Vitra Design Museum, until 14 September. For more details, visit www.design-museum.de Biography Konstantin Grcic 1965 Born in Munich 1985-87 Trains as a cabinet-maker at the John Makepeace School in Dorset, England 1988-90 Gains a Master of Arts in design at the Royal College of Art, London 1990-91 Works for Jasper Morrison in London 1991 Sets up Konstantin Grcic Industrial Design in Munich 1995 First major show (“Konstantin Grcic Twinset”) at Binnen Gallery, Amsterdam 1997 Named young designer of the year by German magazine “Architektur & Wohnen” 2001 Awarded the Compasso d’Oro prize for his “Mayday” lamp (made by Flos) 2009 Organises “Design Real” exhibition at the Serpentine Gallery, London 2010 Wins designer of the year award at Design Miami 2011 Awarded the Compasso d’Oro for his “Myto” chair (made by Plank) 2012 Exhibition design for the German Pavilion, 13th Venice Architecture Biennale 2014 Wins the German Design Council’s gold German Design Award for his “Pro” chair (made by Flötotto) pacegallery.com Joan Miró, Femme dans la nuit, 1945 (detail) and Eduardo Chillida, Consejo al Espacio IX, 2000 (detail) at Ordovas © Zabalaga-Leku, DACS, London, 2014 / © Successió Miró / ADAGP, Paris and DACS London 2014 5 June — 26 July 2014 Claes Oldenburg and Coosje van Bruggen Typewriter Eraser (detail), 1977, acrylic on aluminum, stainless steel and ferrocement 35 x 35 x 28" (88.9 x 88.9 x 71.1 cm) Booth B20 Hall 2.0 June 19– 22, 2014 25 SAVILE ROW, LONDON W1 +44 (0)20 7287 5013 WWW.ORDOVASART.COM 18 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 BOOKS When art hits close to home The Korean artist Do Ho Suh’s Fallen Star, 2012, installed at the Stuart Collection in San Diego CULTURAL THEORY T hat the home is an extension of the self is a truism familiar to a generation whose student years coincided with a boom in daytime television programmes on the subject of interior decoration. Those series shared the schedules with dulcettoned pop psychiatrists who took great care to remind their viewers that the human self was a divided one, that we do not know ourselves. A logical conclusion based on these founding principles of our individualistic, consumerist age is that the idea of “home” is a conflicted one: part sanctuary, part storehouse for our darkest instincts, fears and traumas. Sigmund Freud described the German word heimlich (“homely”) as denoting “on the one hand… what is familiar and agreeable, and on the other, what is concealed and kept out of sight”. When the latter displaces the former, the comfortable notion of home is subverted and disrupted. The word “domestic” is equally familiar as a prefix to bliss and abuse. Playing at Home: The House in Contemporary Art presents the incorporation of the physical architectures of the house into recent art practice as symptomatic of this ambiguity. The house or home has become a familiar trope of installation art, from the London-born Michael Landy’s fullscale reconstruction of his childhood home, Semi-detached, 2004, in Tate Britain, to the Korean artist Do Ho Suh’s crashed houses. Artists, like all of us, vacillate between a yearning for the safety of home—a sanctuary, we feel its loss more deeply in a globalised society— and the urge to expose its terrors, to liberate the madwoman from the attic and the skeletons from the closet. Playing at Home surveys the myriad roles that the idea of home have served when incorporated into art made since the 1960s. Gill Perry’s particular angle on the theme is the centrality of “play” to the production and criticism of contemporary art. “Playing” here is posited as “essential to creativity and the search for the self in both child and adult”, an open-ended exercise that can include humour, subversion and paradox. By playing with preconceived ideas of home—by splitting a house in two, in the case of Gordon Matta-Clark in Splitting, 1974; by exploding a shed, as Cornelia Parker did with Cold Dark Matter: An Exploded View, 1991; or, like Simon Starling, by turning a shed into a boat and back again in Shedboatshed, 2005—the artist is able to make us think again about the physical edifices that we live in as restaging of family relationships and conflicts”. This strikes me as a rather neat formulation for the practice of art itself. By rearranging the world, artists such as Louise Bourgeois alert us to what is hidden in plain view. A practical example of the means by which creative practice can ask us to reconsider the idea of house and home is provided by Detroit’s Heidelberg Project. It began in 1986 as a means of drawing attention to the neglected streets in the city’s The idea of “home” is a conflicted one: part sanctuary, part storehouse for our darkest fears “the spaces through which modern social, gendered and familial cultures are expressed”, and through which, therefore, they can be challenged. This aspect of Perry’s investigation finds its strongest expression in a chapter devoted to miniaturisation. Speaking of the doll’s house, she says that “its function as a ‘toy’ enables the child to play-act, to pursue transgressive desires in, for example, the unconventional rearrangement of rooms, displacement of furniture, or crumbling suburbia by decorating abandoned houses in lurid colours and affixing reclaimed junk to the facades. Perry claims that these houses, which have been transformed into colourful, irreverent symbols of collective creativity, “position art practice as both playful and serious”. As Freud said, “the opposite of play is not what is serious, but what is real”. “Playing” here makes us aware of the way that the world of “real” action, of political will and At locations across the city 13th – 16th November 2014 contemporaryistanbul.com social organisation, is failing to address our concerns over the notion of home (and homeland). For his work Seizure, 2008/2013, the artist Roger Hiorns transformed a condemned south London flat into a sparkling crystalline grotto, which served a similar purpose. The home in these cases extends beyond the personal to become an “ongoing focus of social and political struggle”. All of which might sound like rather heavy-going. In fact, despite a slightly plodding introduction and the occasional tendency to use preexisting theories as a safety net rather than a searchlight, Perry has written a scholarly, readable and timely survey of an important theme. This book reminds us of the capacity of art to deepen our understanding of a contested, contentious concept whose centrality to the way we live today will not have escaped anyone living in Europe during the recent elections. Benjamin Eastham Playing at Home: the House in Contemporary Art Gill Perry Reaktion Books, 264pp, £17.95 (pb) DO HO SUH: PHOTO: PHILIPP SCHOLZ RITTERMANN An exploration of the house in contemporary practice “La Montagne”, 1955-1956. Bronze, patina with gold finish. 185 x 330 x 130 cm / 72 13/16 x 129 15/16 x 51 3/16 inches. ©Archives Françoise Guiter. GERMAINE RICHIER Booth #K24 / Halle 2.1 20 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 MEDIA Taking literary theories onto the cinema screen: a still from RobbeGrillet’s 1970 film “Eden and After” When cinema lost the plot Gonzalez-Foerster and others”. Colard regards Robbe-Grillet’s films as “the continuation of his narrative, experimental and non-realistic literature, but with a deep [understanding] of the specificity of the medium”. Among those who paid tribute in London were Olafur Eliasson, Dan Graham, Carsten Höller, Runa Islam and Cerith Wyn Evans. Also present were the French-born, New Yorkbased video artist Michel Auder and the French architect Philippe Rahm, both of whom regard Robbe-Grillet’s written work as superior to his films. Auder says: “His novels are ‘pure cinema’… [but] his film works are extremely conventional, even [if] the subject matter is not.” Rahm collaborated with RobbeGrillet on a show at the Canadian Centre for Architecture in 2006, and his interest in the writer’s theories stems from the idea that “architecture has nothing to do with narrative storytelling [or] interpretation… it [is] more to create [an] objective space”. For Rahm, it is Robbe-Grillet’s writing that is his key contribution, but his films form a significant part of a hugely respected body of work. Despite being elected, in 2004, to the prestigious, 40-strong Académie Française, RobbeGrillet was never formally inducted because he refused to have his speech approved in advance and declined to wear the robes of office. As ever, compromise wasn’t an option. Iain Millar The late French theorist Alain Robbe-Grillet rejected conventional style in his soon-to-be-released films NEW DVD T he influential French novelist, literary theorist and film-maker Alain Robbe-Grillet once said that “nowhere in all the world has anywhere been less interested in my work than in Britain”. Robbe-Grillet died in 2008, so it’s not possible to know whether he would have been comforted by the British Film Institute’s imminent release of a collection of six of his films, along with accompanying essays and interviews, plus introductions to his work by his wife and collaborator, Catherine. Robbe-Grillet was a pioneer of the so-called nouveau roman literary style, which sought to promote literature that dispensed with the conventions of narrative and closure, plot and structure. His critical writings on the subject were collected in Pour un Nouveau Roman in 1963. He published four experimental novels between 1953 and 1961, when he worked on what is perhaps his best known project: the script for Alain Resnais’s film “Last Year at Marienbad”, which won the top prize at the Venice Film Festival in 1961 and was nominated for the Academy Award for best original screenplay in 1963. The films he would go on to make took his literary theories onto the cinema screen, although not everyone agrees on how successful this transition was. They are tough, often visually striking films with fragmented timelines and narratives, and they increasingly (and often shockingly) His films increasingly involve his interest in sado-masochism involve his own interest in sadomasochism, a feature of his life with Catherine. They can leave contemporary viewers—those used to a more enlightened sexual politics, at least— feeling distinctly uncomfortable. The forthcoming release is not the first time that a UK institution has highlighted Robbe-Grillet’s contribution to the arts. In September 2007, he made one of his last public appearances at a weekend of presentations and screenings organised by the Serpentine Gallery in London. The event was organised by Hans Ulrich Obrist, the gallery’s co-director, and the French curator and critic JeanMax Colard, who drew the audience’s attention to Robbe-Grillet’s cinematic references to Yves Klein and Mondrian, as well as reminding them of his short fiction works, which include appearances by his sometime collaborator Robert Rauschenberg and Jasper Johns. Colard told The Art Newspaper that this was the first time that RobbeGrillet had been brought together with the contemporary visual artists he had influenced. However, the curator “always had the feeling that there has been, since the 1970s, a ‘perfume of nouveau roman’ in the art scene—in David Lamelas’s videos, in John Baldessari’s photo-paintings and, later, in the work of Dominique • To buy “Alain Robbe-Grillet: Six Films” (released later this summer), visit www.bfi.org.uk/shop. Thanks to the Serpentine Galleries, London, for providing archive materials %RH];EVLSP%VX[SVO8LI%RH];EVLSP*SYRHEXMSRJSVXLI:MWYEP%VXW-RG%VXMWXW6MKLXW7SGMIX]%672I[=SVOGEVH(ERMIP&PEY WARHOL Sculptures, Collages and Drawings %VX`&EWIP &SSXL(KVSYRH¾SSV 1RGLIR 3HISRWTPEX^ 1RGLIR (IYXWGLPERH GSRXEGX$HERMIPFPEYGSQ 8IP DANIEL BLAU [[[HERMIPFPEYGSQ 0SRHSR ,S\XSR7UYEVI 0SRHSR24& 9RMXIH/MRKHSQ QEMP$HERMIPFPEYGSQ 8IP %RH];EVLSP RX8LI2EXMSR³W2MKLXQEVIGGSPPEKIMROERHKVETLMXISRTETIV\GQ PREVIEW AD INVITI GIOVEDI 22 GENNAIO DALLE 12 ALLE 21 ORARI DA VENERDI 23 A DOMENICA 25 DALLE 11 ALLE 19 LUNEDI 26 GENNAIO DALLE 11 ALLE 17 PREVIEW BY INVITATION ONLY THURSDAY JANUARY 22 FROM 12 AM TO 9 PM OPENING TIMES FRIDAY 23 TO SUNDAY JANUARY 25 FROM 11 AM TO 7 PM MONDAY JANUARY 26 FROM 11 AM TO 5 PM THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 CALENDAR Art Basel week, 17-22 June Listings are arranged alphabetically by category FAIRS Art Basel 19-22 JUNE Messeplatz 10 www.artbasel.com KEY Listings are arranged alphabetically by area 쏍 Commercial gallery Classical allusions given a contemporary twist Deuxpiece A survey of Charles Ray’s work illustrates the gradual shift back to figurative sculpture • Artists’ Window, Space Tag— Alltag: Matthias Aeberli, Sabine Hertig and Madeleine Jaccard C www.dock-basel.ch Design Miami/Basel UNTIL 22 JUNE UNTIL 22 JUNE ontemporary art suffered a major blow when Charles Ray’s sculpture Boy With Frog, 2009, was removed from Punta della Dogana in Venice. When the city council failed to renew the permit for the sitespecific sculpture, which was commissioned by François Pinault, major art-world figures including the curator Francesco Bonami and the critic Jerry Saltz were outraged—but to no avail. The tip of the island, where the Grand Canal meets the Giudecca, is now adorned by a 19th-century lamp-post. Ironically, Ray’s 8ft-tall, starkwhite, naturalistic sculpture could have been misconstrued as one of the Classical works that the city council prefers. Making its first museum appearance, Boy With Frog is one of 15 works featured in “Charles Ray: Sculpture 1997-2014”, a two-venue exhibition organised by the Kunstmuseum Basel and the Museum für Gegenwartskunst. Most of the works in the show are large-scale and will be shown in their own rooms, says Bernhard Mendes Bürgi, the director of the Kunstmuseum Basel. He has co-organised the exhibition with James Rondeau from the Art Institute of Chicago, where the show will travel next year. Uferstrasse 40 www.scope-art.com Leading sculptor Hall 1 Süd Messeplatz www.designmiami.com I Never Read, Art Book Fair Basel UNTIL 21 JUNE Volkshaus Basel, Utengasse 9 www.ineverread.com Liste UNTIL 22 JUNE Burgweg 15 www.liste.ch Selection Artfair UNTIL 22 JUNE Riehentorstrasse 33 www.selection-art.com The Solo Project UNTIL 22 JUNE Brüglingerstrasse 19-21 www.the-solo-project.com Volta 10 SLEEPING WOMAN: AP, GLENSTONE; PHOTO: JOSHUA WHITE; COURTESY OF MATTHEW MARKS GALLERY. UNPAINTED SCULPTURE: PHOTO: JOSHUA WHITE; COURTESY OF MATTHEW MARKS GALLERY. BOY WITH FROG: PHOTO: CHARLES RAY; COURTESY OF MATTHEW MARKS GALLERY UNTIL 21 JUNE Markthalle, Viaduktstrasse 10 www.voltashow.com Scope EXHIBITIONS IN THE CITY BASEL, SWITZERLAND Antikenmuseum St Alban-Graben 5 • Roma Eterna: 2,000 Years of Sculpture from the Collections of Santarelli and Zeri UNTIL 16 NOVEMBER www.antikenmuseumbasel.ch Artachment Hochbergerstrasse 160 • We're All Nomads: Daniela Brugger UNTIL 29 JUNE www.artachment.com Ausstellungsraum Klingental Kasernenstrasse 23 • #38 Kill All Monsters UNTIL 29 JUNE www.ausstellungsraum.ch Cartoonmuseum Basel St Alban, Vorstadt 28 • The World According to Plonk and Replonk: Views of Basel UNTIL 22 JUNE www.cartoonmuseum.ch Depot Basel Voltastrasse 43 • Craft and Bling Bling UNTIL 6 JULY www.depotbasel.ch 23 Ray, who was born in Chicago and is now based in Los Angeles, is regarded by some as one of the leading sculptors of the past 20 years. His work comes out of a rich background of high-Modernist sculpture— he cites Anthony Caro and David Smith as his early influences. But in the past few decades, he has emerged as one of a handful of artists, along with Jeff Koons and Katharina Fritsch, whose work marks a shift back to figurative sculpture after decades of abstraction. “Charles Ray is working on a new three-dimensional figuration,” Bürgi says, “and the show is about the recent developments in his art.” The first piece, Unpainted Sculpture, 1997, which is on loan from the Walker Art Center in Minneapolis, exemplifies this change. For this work, the artist bought a wrecked Pontiac Grand Am (around 1991), dismantled it and cast it piece by piece in fibreglass. He then reassembled the car in a painstaking process that took him around two years to complete. Even though there is no human figure present, it evokes the aftermath of a lethal car accident. The result is a “Classical memento mori”, Bürgi says. “You have the allusion to Death and Disaster by Andy Warhol, but it is not so much a story about death as it is about sculptural St Clara, Lindenberg 8, Wintergarten, 2 Floor/Stock • Klara Hobza UNTIL 22 JUNE www.deuxpiece.com Dock Klybeckstrasse 29 UNTIL 2 JULY Fondation Beyeler Baselstrasse 101 • Gerhard Richter: Pictures/Series UNTIL 7 SEPTEMBER www.fondationbeyeler.ch Haus für Elektronische Künste Basel Oslostrasse 10, Basel-Münchenstein • Perspectives on Imaginary Futures UNTIL 22 JUNE Klybeckstrasse 1b • Sophie Jung: HeK@Keck Kiosk UNTIL 20 JULY www.haus-ek.org Kunstforum Baloise Aeschengraben 21 • Karsten Födinger UNTIL END OF JULY www.baloise.com Kunsthalle Basel Steinenberg 7 • Naeem Mohaiemen UNTIL 24 AUGUST • Julia Rometti and Victor Costales 19 JUNE-24 AUGUST www.kunsthallebasel.ch Kunsthaus Baselland St Jakob-Strasse 170 • Ariel Schlesinger UNTIL 6 JULY Go figure: Sleeping Woman, 2012 (above), Unpainted Sculpture, 1997 (right), and Boy With Frog, 2009 • Sarah Oppenheimer (see p24) UNTIL 7 SEPTEMBER • Bianca Pedrina: Cloud Atlas questions at a formal level, about materials and weight.” Aluminum Girl, 2003, is Ray’s first strictly figurative sculpture. The standing nude makes reference to Classical sculpture, much like Boy With Frog, but in this case, the work is lifesize and modelled from life (it is based on the artist Jennifer Pastor). The work appears to be a marble sculpture made using traditional techniques, but closer Sleeping Woman, 2012, and Mime, 2014, are shown side by side. The former shows a bulky, homeless woman lying on a bench, dressed in trainers, sweatpants and a jacket. Art-historical references to sleeping Venuses spring to mind, but for Ray, the inspiration came from the shape of a woman’s body that he encountered on a walk in Santa Monica. “Instantly I saw a sculpture, machined from solid metal,” Ray said. Despite the seemingly uncomfortable pose—the woman’s jacket exposes her lower back and reveals her lace under- UNTIL 30 DECEMBER www.kunsthausbaselland.ch Kunstmuseum Basel St Alban-Graben 16 • Kazimir Malevich UNTIL 22 JUNE • Imitation and Interpretation: Creative Illusions in Drawing and Printmaking UNTIL 3 AUGUST • Charles Ray: Sculpture 1997-2014 (see preview) UNTIL 28 SEPTEMBER Ray’s work is “a seamless blend of mechanical reproduction and refined artistic intervention” www.kunstmuseumbasel.ch Museum der Kulturen Basel Münsterplatz 20 inspection reveals an accuracy only made possible by cuttingedge technology. The interplay between naturalism and idealism, detail and abstraction, tradition and innovation—key elements of Ray’s work—becomes apparent. The art critic and art historian Michael Fried says in the catalogue: “The sculpture as a whole is a seamless blend of mechanical reproduction and the most considered and refined sort of artistic intervention.” Two more recent sculptures, wear—she is in deep sleep. For Ray, “her sleep had weight”. Mime, on the other hand, depicts a lighter, more delicate kind of sleep. The shiny aluminium sculpture shows a man lying on a camp bed, presumably miming sleep. Of Ray’s recent works, Bürgi says: “You can see that he is thinking about the very long tradition of figurative sculpture, and somehow, he brings a new approach and a new experience of the world today.” Laurie Rojas • “Charles Ray: Sculpture 1997-2014”, Kunstmuseum Basel and Museum für Gegenwartskunst, until 28 September • The Parrot’s Chest: Folk Art from Latin America UNTIL 18 JANUARY 2015 www.mkb.ch Museum für Gegenwartskunst St Alban, Rheinweg 60 • Le Corbeau et le Renard: Revolt of Language with Marcel Broodthaers (see p24) UNTIL 17 AUGUST • Charles Ray: Sculpture 1997-2014 UNTIL 28 SEPTEMBER www.mgkbasel.ch CONTINUED ON PAGE 24 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 24 CALENDAR Art Basel week, 17-22 June Museum Tinguely between Von Bartha, Stampa and Idea Fixa galleries) Paul Sacher-Anlage 2 • Kristof Kintera: I Am Not You UNTIL 28 SEPTEMBER www.tinguely.ch SOLOTHURN Kunstmuseum Solothurn Kunsthaus Zürich UNTIL 22 JUNE Werkhofstrasse 30 • Antoine Bourdelle: Sappho www.3-6-1.ch • Silvie Defraoui UNTIL 6 JULY UNTIL 3 AUGUST www.kunstmuseum-so.ch • Cindy Sherman: Untitled Horrors (see box) • The Torches of Prometheus: Henry Fuseli and Javier Téllez From the threatening to the grotesque 쏍Hebel_121 UNTIL 14 SEPTEMBER Hebelstrasse 121 Salts Heimplatz 1 • David Tremlett Hauptstrasse 12, Birsfelden UNTIL 2 AUGUST ST GALLEN Kunsthalle Sankt Gallen • Picture This: Group Show by Salts and Kunst Halle Sankt Gallen with Emanuel Röhss, Fredrik Vaerslev, Amanda Ross-Ho and Navid Nuur www.hebel121.org Davidstrasse 40 20 JUNE-12 OCTOBER • Carter Mull, Tobias Kaspar www.kunsthaus.ch 19 JUNE-17 JULY • Trace: Rut Himmelsbach 쏍John Schmid Galerie UNTIL 13 JULY St Alban Anlage 67 • Katja Novitskova UNTIL 16 AUGUST 19 JUNE-17 JULY www.johnschmidgalerie.ch • In the Printed Room: Read the Room/You've Got To 쏍Laleh June Galerie 19 JUNE-17 JULY www.salts.ch Ruchfeldstrasse 19 • Mark Rembold • Augustin Rebetez www.lalehjune.com www.schaulager.org • Alexander Zschokke UNTIL 31 JULY www.puechredon.com • Ramon Feller, Jan Hostettler, Matthias Liechti: Gap 쏍Nicolas Krupp Contemporary Art UNTIL 21 JUNE Rosentalstrasse 28 www.schwarzwaldallee.ch • Heimo Zobernig • Fritz Haller UNTIL 17 AUGUST Museum für Gestaltung Cindy Sherman: Untitled Horrors Kunsthaus Zürich • U5: Parasite Ausstellungsstrasse 60 UNTIL 14 SEPTEMBER UNTIL 17 AUGUST • Weingart Typography The Kunsthaus Zürich is holding the city’s first major solo exhibition of the US artist Cindy Sherman. More than 100 photographs from various stages of Sherman’s career are on show, dealing with issues of identity and gender. As the title suggests, the exhibition surveys threatening and grotesque imagery alongside “Untitled” photographs, ranging from her earlier series of “Untitled Film Stills”, 1977-80, through to later work such as “Clowns”, 2003-04 (above, Untitled #420, 2004). F.P. www.kunstmuseumthun.ch • Sofia Hultén www.nicolaskrupp.com UNTIL 27 JULY UNTIL 20 JULY UNTIL 26 OCTOBER www.raebervonstenglin.com www.aargauerkunsthaus.ch www.ville-ge.ch www.kmw.ch LAUSANNE Musée Cantonal des Beaux-Arts Kunsthalle Winterthur Schweizerisches Landesmuseum Marktgasse 25 Museumstrasse 2 • Konrad Smolenski • Swiss Press Photo 14 Palais de Rumine, Place de la Riponne 6 UNTIL 27 JULY UNTIL 6 JULY www.kunsthallewinterthur.ch www.kunsthalle-bern.ch • Magical Russian Landscapes: Masterpieces from the State Tretyakov Gallery • From 1900 to 1914: Expedition to Happiness ZURICH Haus Konstruktiv UNTIL 5 OCTOBER Selnaustrasse 25 • 100 Years of William S. Burroughs Kunstmuseum Bern www.beaux-arts.vd.ch • Delphine Chapuis-Schmitz 21 JUNE-21 DECEMBER UNTIL 19 JULY Hodlerstrasse 12 UNTIL 7 SEPTEMBER www.musee-suisse.ch www.vonbartha.com • Bill Viola: Passions 쏍Stampa • Projects 5: Drawing 1970-2013 • Vern Blosum Zip UNTIL 30 AUGUST UNTIL 3 AUGUST Wettsteinallee 71 www.stampa-galerie.ch • Revelry Spalenberg 2 UNTIL 22 JUNE 쏍Von Bartha Garage www.ausstellungsraum-zip. blogspot.ch Kannenfeldplatz 6 EXHIBITIONS • Mark Tobey, Julius Bissier, Yves Dana UNTIL 22 JUNE UNTIL 3 AUGUST UNTIL 26 JULY UNTIL 13 JULY • Archaeology: Treasures from the Swiss National Museum LIESTAL Kunsthalle Palazzo www.hauskonstruktiv.ch UNTIL 20 JULY www.kunstmuseumbern.ch Poststrasse 2 Kunsthalle Zürich Rote Fabrik, Seestrasse 395 • From the Palazzo… • Drawing Protest: from Museum Walls to Facebook Walls and Back Shedhalle Zentrum Paul Klee UNTIL 22 JUNE Löwenbräukunst, Limmatstrasse 270 SWITZERLAND Monument im Fruchtland 3 www.palazzo.ch • Slavs and Tatars (see box) UNTIL 7 SEPTEMBER UNTIL 17 AUGUST • Haim Steinbach AARAU Aargauer Kunsthaus UNTIL 22 JUNE LUCERNE Kunstmuseum Luzern • How We Want to Live: Collective Battles for Care Work UNTIL 17 AUGUST UNTIL 7 SEPTEMBER www.zpk.org Europaplatz 1 www.kunsthallezurich.ch www.shedhalle.ch GENEVA Cabinet d’Arts Graphiques • Into the Open: Landscape Painting of Robert Zund and Ferdinand Hodler to Mox von Moos FURTHER AFIELD 쏍Galerie Carzaniga Gemsberg 8 Pfingstweidstrasse 23, Welti-Furrer Areal • Return to Life: Portrait Busts from the Collections Helvetiaplatz 1 www.annemoma.com 쏍RaebervonStenglin • Humanising War? The ICRC: 150 Years of Humanitarian Action UNTIL 30 AUGUST UNTIL 19 JULY UNTIL 27 JULY UNTIL 10 AUGUST www.museum-gestaltung.ch Everything: Robert Walser and the Visual Arts • Jonas Burkhalter: Perennial • Michelle Grabner • Gerhard Richter UNTIL 28 SEPTEMBER • Melchior Imboden: Designer Portraits UNTIL 28 JUNE UNTIL 24 AUGUST Malzgasse 20 Museumstrasse 52 UNTIL 27 JULY www.sam-basel.org 쏍 Anne Mosseri-Marlio Galerie WINTERTHUR Kunstmuseum Winterthur • Fred Sandback: Drawings BERN Kunsthalle Bern • Burst Sculpture • Teresa Margolles: Search UNTIL 17 AUGUST St Johanns-Vorstadt 78 Steinenberg 7 Thunerhof, Hofstettenstrasse 14 www.migrosmuseum.ch UNTIL 19 OCTOBER Schweizerisches Architekturmuseum Löwenbräukunst, Limmatstrasse 270 UNTIL 17 AUGUST 쏍Marc de Puechredon Voltastrasse 41 THUN Kunstmuseum Thun Picassoplatz 4 • Paul Chan: Selected Works Schwarzwaldallee Migros Museum für Gegenwartskunst • Marcel Dzama: Hollow Laughter 19 JUNE-31 JULY Schaulager www.k9000.ch • The Journey to Tunisia: Klee, Macke, Moilliet Aargauplatz • Paying No Attention, I Notice www.carzaniga.ch Poetry in motion LUMA Westbau/Pool Musée d’Art et d’Histoire, 5 Promenade du Pin UNTIL 23 NOVEMBER Löwenbräukunst, Limmatstrasse 270 www.kunstmuseumluzern.ch • In the Crack of the Dawn • Satires: 18th-Century Caricatures from Geneva and England 쏍Galerie Urs Meile www.poolproject.net UNTIL 12 JULY UNTIL 31 AUGUST Rosenberghöhe 4 www.galerielinder.ch www.ville-ge.ch/mah • Shao Fan: Face to Face 쏍Barbarian Art Gallery UNTIL 5 JULY Promenadengasse 19 www.galerie-meile.ch • Antagonisms: Rearte and Tishin St Alban-Vorstadt 52 Centre d’Art Contemporain Geneve • Scottie Wilson: Outsider Art 10, Rue des Vieux-Grenadiers www.barbarian-art.com UNTIL 28 JUNE • Joachim Koester MARTIGNY Fondation Pierre Gianadda 쏍Galerie Gisèle Linder Elisabethenstrasse 54 Dealing with distance • Peter Wüthrich 쏍Galerie Hilt www.galeriehilt.ch UNTIL 21 JUNE UNTIL 17 AUGUST Rue du Forum 59 • Andrea Bruno: Cinema Zenit • Renoir UNTIL 17 AUGUST 20 JUNE-30 NOVEMBER www.centre.ch www.gianadda.ch UNTIL 28 JUNE Martin Bodmer Foundation www.idea-fixa.com 19-21 Route du Guignard NEUCHATEL Musée d’Art et d’Histoire • Alexandria the Divine Esplanade Léopold Robert 1 UNTIL 31 AUGUST • China Shop www.fondationbodmer.ch UNTIL 24 AUGUST 쏍Galerie Idea Fixa Feldbergstrasse 38 • Veraath: Oliver Rath 쏍Galerie Karin Sutter Oppenheimer’s 33-D, 2014 Rebgasse 2 • I Love Art from Berlin Sarah Oppenheimer UNTIL SEPTEMBER Kunsthaus Baselland Musée Ariana UNTIL 7 SEPTEMBER Musée d’Art et d’Histoire, Avenue de la Paix 10 RIEHEN Kunst Raum Riehen • Ceramics of Islam: the Ariana Selects from its Storerooms II Berowergut Baselstrasse 71 www.galeriekarinsutter.ch 쏍Galerie Mäder Claragraben 45 • Heike Müller: Scottish Orange UNTIL 28 JUNE www.galeriemaeder.ch 쏍Galerie von Bartha Schertlingasse 16 • Bernar Venet UNTIL 19 JULY www.vonbartha.com 쏍Güterhalle St Johann Vogesenplatz 1 • 3+6=1 (a collaboration Sarah Oppenheimer gets her first institutional show in Europe during Art Basel, and she has created a major new work, 33-D, for the Kunsthaus Baselland. Through a combination of architecture and sculpture, the New York-based artist transforms the gallery’s exhibition space. In one large room measuring 40m long and around 4.5m high, Oppenheimer plays with actual and perceived distances using aluminium, glass, light and the existing architecture. F.P. www.mahn.ch UNTIL 31 AUGUST www.ville-ge.ch/ariana • Analog, Dialog: Anita Neugebauer’s Photography Collection UNTIL 6 JULY Musée d’Art et d’Histoire www.kunstraumriehen.ch Rue Charles-Galland 2 • Rodin: the Accident and the Random RIGGISBERG Abegg-Stiftung 20 JUNE-28 SEPTEMBER Werner Abegg Strasse 67 www.ville-ge.ch/mah • Veil and Adornment: Medieval Textiles and the Cult of Relics Musée Rath Musée d’Art et d’Histoire, Place Neuve 1 UNTIL 14 SEPTEMBER UNTIL 9 NOVEMBER www.abegg-stiftung.ch 쏍Galerie Andrea Caratsch Broodthaers’s Un jardin d’hiver (ABC), 1974 Le Corbeau et Le Renard: Revolt of Language Museum für Gegenwartskunst UNTIL 17 AUGUST Marcel Broodthaers (1924-76) was a poet before he turned to fine art in his 40s. His references to other poet-artists such as Stéphane Mallarmé, Charles Baudelaire and René Magritte indicate that the Belgian artist never lost his interest in poetry and language. At the Museum für Gegenwartskunst, seven films from the collection of the Emanuel Hoffmann Foundation explore the relationship between visual art and poetry in his work. The show’s curator, Søren Grammel, has included works by Hans Arp, Robert Barry, Alighiero Boetti, László Moholy-Nagy and Dieter Roth to provide a context for Broodthaers's work. L.R. Waldmannstrasse 8 • Warhol, Lichtenstein, Wesselmann UNTIL 25 JULY www.galeriecaratsch.com 쏍Galerie Eva Presenhuber Limmatstrasse 270 • Valentin Carron: Ciao Muddy Plain UNTIL 19 JULY • Carol Dunham UNTIL 19 JULY • Michael Williams: New Paintings UNTIL 19 JULY www.presenhuber.com 쏍Galerie Francesca Pia Löwenbräukunst, Limmatstrasse 268 • Thomas Bayrle: Vespini UNTIL 12 JULY www.francescapia.com 쏍Galerie Gmurzynska Paradeplatz 2 • The Haas Brothers: Feinstein UNTIL JULY www.gmurzynska.com SHERMAN: © CINDY SHERMAN; COURTESY OF THE ARTIST AND METRO PICTURES, NEW YORK. OPPENHEIMER: INSTALLATION VIEW, KUNSTHAUS BASELLAND, 2014; PHOTO: SERGE HASENBÖHLER. BROODTHAERS: KUNSTMUSEUM BASEL CONTINUED FROM PAGE 23 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 Not lost in translation ART BASEL EVENTS THURSDAY 19 JUNE Performance Hall 3, Messe Basel 14 Rooms The power of language is explored in Slavs and Tartars’ show Slavs and Tartars: Lektor Kunsthalle Zurich UNTIL 17 AUGUST The art collective Slavs and Tatars, who devote their work to “the area east of the former Berlin Wall and west of the Great Wall of China”, have created the audio work Lecturer, along with a series of events. Lecturer comprises a voice reading extracts from a Medieval poem with a voiceover in German, which illustrates the dependence language has on translation. Another work exploring the power of speech and language is Mother Tongues & Father Throats, 2012 (above), a carpet depicting a diagram of Arabic letters with corresponding illustrations of a mouth pronouncing them. F.P. 10AM-7PM Co-organised by Hans Ulrich Obrist and Klaus Biesenbach. Parcours Meeting point: Hall 1 entrance, guided tours reception 10AM-10PM. GERMAN TOURS: 2PM & 4PM; ENGLISH TOURS: 2PM & 5.30PM Site-specific works, organised by Florence Derieux, the director of FRAC Champagne-Ardenne. Conversations Hall 1 auditorium, Messe Basel 쏍Galerie Haas AG Musée des Beaux-Arts Talstrasse 62a • Dimitris Tzamouranis: Tarot Villa Steinbach, Place Guillaume Tell 4 UNTIL 25 JULY • Plural Identities www.galeriehaasag.ch UNTIL 24 AUGUST www.kunsthallemulhouse.fr Salon UNTIL 31 AUGUST 쏍Galerie Mark Müller Hafnerstrasse 44 La Kunsthalle • Katherina Grosse: the Ball Rue de la Fonderie 16 UNTIL 26 JULY • Transpositions 쏍Galerie Nicola von Senger AG Löwenbräukunst, Limmatstrasse 275 • Mario Sala: Cells UNTIL 21 JUNE www.nicolavonsenger.com Hall 1 auditorium, Messe Basel STRASBOURG Musée Alsacien 1PM–2PM • Reminiscences: Design, Alsace, Tradition Josh Baer, the publisher of Baer Faxt, in conversation with the collector David Mugrabi. 14 Rooms: Living Sculptures UNTIL 20 OCTOBER 쏍Galerie Peter Kilchmann 2PM-3PM • Erika Verzutti: Painted Ladies Musée Archéologique de Strasbourg UNTIL 19 JULY Palais Rohan, Place du Château 2 www.peterkilchmann.com • East of New 쏍Hauser & Wirth Zürich www.musees-strasbourg.org Löwenbräukunst, Limmatstrasse 270 UNTIL 31 DECEMBER The author Bernard Comment in conversation with Hans Ulrich Obrist, the co-director of the Serpentine Galleries, London. Art History: 100 Years of the Readymade 3PM-4PM • Mark Bradford Musée d’Art Moderne et Contemporain UNTIL 26 JULY Place Hans Arp 1 • Louise Bourgeois • Clement Cogitore: Fictions With Anne-Marie Bonnet, professor of art history at the University of Bonn, Thomas Girst, BMW Group’s head of cultural engagement, and the artist Mathieu Mercier. Unlimited: Turning Space Into Place UNTIL 26 JULY UNTIL 29 SEPTEMBER www.hauserwirth.com www.musees.strasbourg.eu 쏍Mai 36 Galerie Musée des Beaux-Arts 4PM-5PM Rämistrasse 37 Palais Rohan, Place du Château 2 With the artists Sam Falls, Gavin Kenyon, Nick Mauss and Alex Prager. Moderated by Gianni Jetzer, the curator of Art Basel’s Unlimited sector. Read the Room: a Poetry Reading • Thomas Ruff: New Work www.mai36.com • Civic Guard of Saint Adrian de Cornelis Engelsz 쏍Scheublein Fine Art www.musee-strasbourg.org Castle Sihlberg, Sihlberg 10 GERMANY UNTIL 2 AUGUST • Edward Burtynsky: Water UNTIL 2 NOVEMBER UNTIL 25 JULY www.scheubleinfineart.com 쏍Thomas Ammann Fine Art BADEN-BADEN Museum Frieder Burda Lichtentaler Allee 8b 5PM-6PM With the poets and writers Harry Burke, Andrew Durbin, Paul Kneale, Quinn Latimer, Megan Rooney and Martina-Sofie Wildberger. Artist Talk: Berlin Biennale Restelbergstrasse 97 • JR 6PM-7PM • Enoc Perez: New Paintings and Sculpture UNTIL 29 JUNE www.ammannfineart.com Staatliche Kunsthalle With Juan Gaitan, the curator of the eighth Berlin Biennale for Contemporary Art, and the artist Beatriz Gonzalez. FRANCE Lichtentaler Allee 8a Film • Room Service Stadtkino Basel, Klostergasse 5 UNTIL 22 JUNE Short film programme: Spatial Explorations www.museum-frieder-burda.de UNTIL 26 SEPTEMBER COLMAR Espace d’Art Contemporain André Malraux SLAVS AND TARTARS: PHOTO: BERNARD KAHRMANN; COURTESY OF THE ARTISTS AND KRAUPA-TUSKANY ZEIDLER, BERLIN Art Market: Investment? Collecting? Speculations? Quai Saint-Nicolas 23 www.musees.strasbourg.eu Zahnradstrasse 21 10AM-11.30AM With RoseLee Goldberg, the founding director and curator of Performa in New York, the artist Otobong Nkanga and Catherine Wood, the curator of contemporary art and performance at Tate Modern, London. Moderated by the New York-based author and cultural consultant András Szántó. www.musees-mulhouse.fr www.markmueller.ch Public/Private: Institutions for Time-Based Art Rue Rapp 4 • Secret Gardens, with Mitsuo Shirishi www.kunsthalle-baden-baden.de 8PM-9PM FREIBURG Morat-Institut Lörracher Strasse 31 • 30 Years of the Morat-Institut UNTIL 26 JUNE UNTIL 31 DECEMBER www.colmar.fr/culture www.morat-institut.de Musée d’Unterlinden Museum für Neue Kunst Rue d’Unterlinden 1 Marienstrasse 10a • Recent Archaeological Excavations from the Sainte-Croix-en-Plaine Necropolis • Heike Beyer UNTIL 23 JUNE WEIL AM RHEIN Vitra Design Museum “At the House of Mr X”, Elizabeth Price, 2007; “The Republic”, David Hartt, 2014; and “Stray Light”, David Hartt, 2011. Short Film programme: Relating To 10PM-11PM www.musee-unterlinden.com UNTIL 22 JUNE www.freiburg.de/museen Charles-Eames-Strasse 1 MULHOUSE La Filature • Alvaro Siza: the Alhambra Project Allée Nathan Katz 20 UNTIL 31 AUGUST • Bal People • Konstantin Grcic: Panorama UNTIL 29 JUNE UNTIL 14 SEPTEMBER www.lafilature.org www.design-museum.de “Samuel in Space”, Rashid Johnson, 2013; “Silver and Gold”, Sue de Beer, 2011; “Room 309”, Sue de Beer, 2011; “The Chief Architect of Gangsta Rap”, Ilja Karilampi, 2009; “Dad's Stick”, John Smith, 2012; “Washing Brain and Corn”, Sung Hwan Kim, 2010; “Before Falling Asleep Part 2: Two Pigeons”, Cheng Ran, 2013; and “Dihedral”, Sterling Ruby, 2006. Followed by a Q&A with Ilja Karilampi, John Smith and Marc Glöde. 25 THE ART NEWSPAPER ART BASEL DAILY EDITION 19 June 2014 26 DIARY Perhaps it was the raunchy works on show that prompted two guests at the breakfast viewing for the Schaulager’s Paul Chan exhibition to reveal that, according to their experience, it is the seemingly staid Art Basel, rather than its party-centric Miami Beach sister, that triggers the most outrageously libidinous behaviour. “You’re on the stand looking out; it’s such a good-looking crowd and people get completely over-excited,” declares the dashing Rome-based dealer and Michael Fassbender lookalike Lorcan O’Neill. “You can almost smell the pheromones in the Kunsthalle bar after midnight.” Chris Kneale, the director of Martinspeed art handlers, agrees. “Yes, everyone scores in Basel. When my guys get back home, there’s a definite surge in penicillin shares,” he says. Glow-in-the-dark art All was going splendidly at Tina Brown’s exclusive, Credit Suissesponsored conversation with Matthew Barney (above) at the Kunstmuseum, until the effusive media doyenne asked the famously idiosyncratic artist—whose epic work “River of Fundament” makes its Swiss debut at Theater Basel this week—whether there was any artistic material that he was “particularly dying to work with”. As the silence that greeted this seemingly innocuous question stretched from seconds into excruciating minutes, there was a palpable frisson of unease among the elite audience, which included Eli Broad, Dasha Zhukova, Klaus Biesenbach and Jacques Herzog. Even the normally unfazeable Ms Brown looked a bit rattled. The general disquiet was not greatly alleviated when Barney brought his heavily pregnant pause to an end with a single word: “Radiation.” Will Geiger counters now become the next must-have art accessory? Plein-air poll As is evinced by his daily survey on these very pages, the artist who goes by the name of Bob and Roberta Smith has been eliciting some impressive responses from the great and the good for his Art Party Questionnaire. However, Bob & Rob’s dedication to the cause of art education is not restricted to the upper echelons. His residency in Basel has sent him down to the edge of the Rhine to ask local swimmers (such as Franz and Kurt, shown below with the artist) if they were taught art at school and if they think studying art is valuable. The response from all the waterborne Basellanders canvassed so far has been a resounding “yes”. Artoon by Pablo Helguera ART BASEL DAILY EDITION No one’s idea of a picnic While strolling through the public art installations in Parcours this week, spare a thought for Johannes Ernst, an artist’s assistant who certainly drew the short straw when he was put in charge of Darren Bader’s piece The Gardeners in Paradise, in the Bürgerliches Waisenhaus orphanage and youth centre. Along with a leaf blower that puffs out air from an open window and a lawn mower that stirs the contents of a giant teacup, Bader’s piece also involves a grass trimmer that noxiously and messily chops up a car boot loaded with increasingly rancid spaghetti alla bottarga. For the less gastronomically aware, the main ingredient of this pasta dish is salted fish roe, which was chosen by the artist to match the vehicle’s leather upholstery, but with little consideration for the consequences of three days of exposure to the Swiss sunshine. ART PARTY QUESTIONNAIRE NICHOLAS SEROTA What first inspired you to get involved in art? I remember the first exhibition my father took me to at Tate when I was 14: Picasso. My father often visited museums, and occasionally galleries, but couldn’t understand why anyone would study art. I had a very inspiring art teacher at school, who had complete conviction about the importance of art in education. While studying economics at university, I decided to use the flexibility of the course to get into art history—and I knew this move would stay with me for the rest of my life. EDITORIAL AND PRODUCTION Editor (The Art Newspaper): Jane Morris Editors (fair papers): Javier Pes, Pas Paschali Deputy editor: Helen Stoilas Production editor: Ria Hopkinson Copy editors: James Hobbs, Andrew McIlwraith, Iain Millar, Emily Sharpe, Simon Stephens Designer: Craig Gaymer Picture researchers: Katherine Hardy, Laurie Rojas Editorial assistants: Pac Pobric, Laurie Rojas Editorial researcher: Victoria Stapley-Brown Contributors: Georgina Adam, Martin Bailey, Louisa Buck, Charlotte Burns, Benjamin Eastham, Melanie Gerlis, Julia Halperin, Gareth Harris, Julia Michalska, Iain Millar, Pas Paschali, Javier Pes, Pac Pobric, Francesca Price, Ermanno Rivetti, Laurie Rojas, Cristina Ruiz, Anny Shaw, Toby Skeggs, Helen Stoilas, Nicole Swengley Photographer: David Owens DIRECTORS AND PUBLISHING Publisher: Umberto Allemandi Chief executive: Anna Somers Cocks Managing director: James Knox Finance director: Alessandro Iobbi Finance and HR manager: Melissa Wood Finance assistant (US): Camila Pawlowski Marketing and subscriptions manager: Stephanie Ollivier Head of sales (UK): Louise Hamlin Commercial director (US): Caitlin Miller Advertising executives (UK): Kath Boon, Henrietta Bentall Advertising executive (US): Adriana Boccard Office administrator: Francesca Price Ad production: Daniela Hathaway PUBLISHED BY U. ALLEMANDI & CO. PUBLISHING LTD Why do you think art is important? Art has the power to change lives, and not just alter how you see the world, but how you see yourself within it. UK OFFICE: 70 South Lambeth Road, London SW8 1RL Tel: +44 (0)20 3416 9000 Fax: +44 (0)20 7735 3322 Email: [email protected] How should art be taught? The future depends on having creative, innovative people. We need this creativity and innovation to respond to change. Everyone needs to understand the visual. Schools should give a greater space and regard to creativity as an essential part of education. US OFFICE: 594 Broadway, Suite 406, New York, NY 10012 Tel: +1 212 343 0727 Fax: +1 212 965 5367 Email: [email protected] How should we support new artists? Emerging artists need opportunities to show their work in both smaller commercial and publicly funded spaces, and opportunities to undertake residencies, to teach in schools, to travel abroad and to broaden their experience, as with any other profession. We expect them to emerge fully formed and with their vocabulary from art school, but it can take a few critical years to establish a voice. We need studio spaces in the centre of cities, where life and art meet and artists can debate and learn from each other. Working in isolation, sometimes in a remote location, comes later. ALL AMERICAS SUBSCRIPTION ENQUIRIES: Tel: +1 855 827 8639 (US), +44 (0)1604 251495 (from outside the US) REST OF THE WORLD SUBSCRIPTION ENQUIRIES: Tel: +44 (0)844 322 1752 (UK), +44 (0)1604 251495 (from outside the UK) www.theartnewspaper.com Twitter: @TheArtNewspaper Hall 2.0 Stand D8 EDVHO#PDUOERURXJK¿QHDUWFRP +41 61 699 50 35 Curated by Alexander Platon Joan Miró, PeintureVLJQHGRLORQFDQYDV[FP BOB AND ROBERTA SMITHS ART PARTY IS A FORUM FOR ADVOCATING THE ARTS TO GOVERNMENTS W O R L D W I D E . ART PARTY BASEL IS IN RESIDENCE AT VOLKSHAUS, REBGASSE 12-14 16TO22 JUNE MIDDAYTOMIDNIGHT Printed by Druckzentrum Bern, Switzerland © U. Allemandi & Co. Publishing Ltd, 2014 All rights reserved. No part of this newspaper may be reproduced without written consent of the copyright proprietor. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers SUBSCRIBE ONLINE AT www.theartnewspaper.com /subscribe SPAGHETTI: © DAVID OWENS. BARNEY: DAVID BIEDERT/DAVIDBIEDERT.COM It’s always the quiet ones 25 varieties of powder paint Everywhere is Art Try taking a second look That is what artists do. They look beyond the expected, often finding inspiration in surprising places. At UBS, we apply a similar kind of attitude to everything we do. It is through this search for deeper meaning that we are able to discover new and interesting perspectives. These, in turn, allow us to uncover new investment opportunities for our clients. It is in this spirit that we support Art Basel in Basel, Miami Beach and Hong Kong – the premier art shows for modern and contemporary works. It is just another way of showing that everywhere is, in fact, art. UBS is the global Lead Partner of Art Basel. ubs.com/art © UBS 2014. All rights reserved.