Booming auctions diminish supply for dealers

Download this issue
from www.theart
newspaper.com/fairs
ART BASEL DAILY EDITION TUESDAY 12 JUNE 2007
Booming auctions diminish
supply for dealers
New Art Basel
director announced
today
Galleries say it has been hard to find top modern work for Art Basel, but the fair
is still the best place to buy contemporary art
BASEL.
It has never been more difficult to find great modern works to
sell, say dealers exhibiting at the latest edition of Art Basel which opens
to the public tomorrow. When paintings by Rothko and Warhol make
over $70m at auction, as they did in
New York last month, collectors are
inevitably tempted to consign their
art for sale at Christie’s and
Sotheby’s.
“The auction houses are sweeping
up nearly everything,” says Andrew
Fabricant, director of Richard Gray
Gallery (S1). “It’s a great problem.”
A preliminary tour of the fair yesterday as dealers were setting up their
stands revealed few Rothkos or
Warhols; however Mr Fabricant says
he is “impressed all the same with
what I’ve seen here”.
His own gallery is showing Dubuffet’s L’Homme au Papillon, 1949,
from a private collection (price undisclosed) and Guston’s Inside, 1969.
Helly Nahmad (Q3) has devoted his
entire stand to late works by Picasso,
with at least 18 paintings including
the 1963 Peintre et son Modèle (price
undisclosed but certainly hefty);
Gmurzynska (V1) has a superb Giacometti Torse de Femme 1948-49
(€6m, $7.8m) and Hopkins-Custot
(H2) is exhibiting around 15 surrealist works including Magritte’s The
Natural Graces, 1948.
So how have dealers persuaded
Kandinsky’s Above and Left, 1925, is with Acquavella (R1)
Murakami to launch Basel fair next year
BASEL.
The artist and entrepreneur
Takashi Murakami is in Basel looking for a location for his Japanese art
festival, Geisai, which he intends to
launch in the Swiss city next year.
Geisai is a one-day art jamboree
which has been held in Tokyo since
2002. It attracts hordes of aspiring
artists who pay a few hundred dollars to hire a patch (booth would be
too grand a word) to show their art
in the vast Tokyo Big Site. They
hope to catch the eye of a panel of
judges who in the past have included
French collector and billionaire
owner of Christie’s François Pinault.
For Murakami, whose art production
AUCTION
company Kaikai Kiki promotes a
whole stable of artists, Geisai is a
breeding ground for fresh new talent.
“The mood at Geisai is rough-andtumble, but close to 200 new artists
have been scouted by galleries or
done work following Geisai, and we
have created the opportunity for
even more to produce and exhibit
their work,” Murakami told The Art
Newspaper.
Murakami is also launching a
scaled-down version of Geisai in
Miami Beach this December in a
3,500 sq. ft space at Pulse Miami (in
the Soho Studios in the Wynwood
District, 6-9 December). Around 30
22
JUNE
2007
LONDON
4 pm
artists will be chosen by a panel of
judges who include Tom Eccles, Director of the Center of Curatorial
Studies at Bard College.
Meanwhile the Miami- and New
York fair Pulse is inaugurating a London edition during Frieze from 11 to
14 October at 5-7 Tavistock Place.
The galleries who have already
signed up include Max Protetch
(New York) and Travesia Cuatro
(Madrid). “We already have strong
connections with London,” says fair
director Helen Allen; the founder of
Pulse is Will Ramsay, who also runs
the Affordable Art Fair in London
and AFA fair in New York. G.A.
collectors to consign? Alexander Acquavella (R1) says that fairs give potential buyers greater context for
works of art and the chance to compare quality and price. And discretion
still exists: not everything in the fair
is on display, some works are only
shown to selected clients.
Dealers’ established relationships
with their clients are also an advantage. An example hangs on the Acquavella stand. The gallery has sold
Kandinsky’s 1925 Above and Left (illustrated) for three times in the last 43
years; it has now been consigned to
the gallery once again ($6m).
Stockpiling works and revealing
them at fairs is also effective, though it
is tough in today’s market. Christophe
Van de Weghe (T5) is showing a small
red and yellow 1968 untitled Rothko
($4.85m), Basquiat’s Donut Revenge,
1982 ($3.9m) and Bacon’s Two Figures, 1961 (price undisclosed).
But with top paintings so hard to
obtain, some dealers are even introducing the guarantees which auction
houses use to secure the best works.
David Nash of Mitchell-Innes & Nash
(T4) says, “I don’t like doing it but
sometimes I have to give a guarantee
on works these days.” Bob Mnuchin
of L&M (E2) admits that he has negotiated a tiered deal with a consignor
whereby the gallery will pay $5m for
a work, then take the first 10% of any
CONTINUED ON PAGE 6
The new director of Art Basel—
to follow Sam Keller who steps
down in December following
Art Basel/Miami Beach to head
the Beyeler Foundation—will be
announced today at 10am. The
identity of Mr Keller’s successor
has been the best kept secret
since Watergate; all our attempts
for advance disclosure have
been firmlyrebuffed by the Art
Basel team. However, our own
Deep Throat suggests that Mr
Keller’s responsibilities will be
divided and that the frontrunners include Martin Schwander, currently one of the curators
of Art Unlimited, and a former
director of the Kunstmuseum
Luzern. Our very own correspondent Marc Spiegler resolutely declined to comment but
was intriguingly seen emerging
from a meeting yesterday
evening at which the new director(s) were introduced to Art
Basel staff. Meanwhile, Mr
Keller’s success in leading Art
Basel for the last seven years has
turned him into a veritable work
of art. A 2007 portrait painting
by Zheng Guogu (detail above)
is on offer for $84,000 with
Grace Li Gallery at the Volta
art fair.
Canadian pavilion at Venice Biennale
to go to Miami?
The Art Newspaper understands that Miami
collectors Don and Mera Rubell are in negotiations to purchase David Altmejd’s riotous
fairy-tale installation on show in the Canadian
pavilion at the Venice Biennale (until 21 November). The Rubells were unwilling to comment. The Index is a series of interconnected
structures of wood and steel with flocks of
stuffed birds and squirrels throughout. There
are also half-human, half-avian bodies (left)
and the figure of a giant. The entire installation is framed by mirrors which turn visitors
into part of the work. Aged 32, Altmejd, who
lives in London, is the youngest artist to represent his country at the
Venice Biennale. He is represented by Stuart Shave of Modern Art and
Andrea Rosen; the latter is showing the artist’s Wood Clock, a tree trunk
covered with moss and birds, on her stand at Art Basel (T3) G.A.
www.phillipsdepury.com +44 20 7318 4010
2
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 JUNE 2007
Gossip
Stars
descend on
Galerie Gmurzynska
When asked why the vest was quite
so large, dealer Javier Peres replied—
with a perceptible smirk—that it had
been designed to fit his clearly impressively-sized boyfriend.
Rirkrit Tiravanija, Untitled (strings attached)
One
gallerist
and his dog
For anyone who enjoys a spot of
celeb spotting at this year’s Art Basel
Vernissage, there is the assurance by
Gmurzynska gallery that Nastassja
Kinski will be gracing its stand from
5pm onwards today. Apparently Joan
Collins had also promised to come
but has been prevented by a change
in her film schedule. For the younger
visitor there is also the added bonus
that Ms Kinski will be accompanied
by her daughter, who happens to be
an Olympic swimmer. Whether the
stellar duo have been briefed on sales
techniques remains to be seen, but
their presence will certainly guarantee a busy stand.
Proof positive that security is tighter
than ever at Art Basel this year: ID
tags are apparently now mandatory
not only for the exhibitors but also
their canine companions. This one
belongs to a pooch called Polux who
was keeping his gallery affiliation
under his collar. Now that the collector ploy to get in to the fair early
dressed as a cleaner or security guard
has been well rumbled, perhaps the
next option will be to pose as a pet.
Peres
Projects’ Lady
Daddy burns rubber
Much excitement surrounding the
launch of the second edition of Peres
Projects’ Daddy magazine which was
being handed out on their stand at
yesterday’s Liste opening. Provocatively wrapped in shredded black
latex, the publication goes under the
name of Lady Daddy and comes accompanied with a voluminous black
string vest, its back embroidered with
Lady Daddy in fluorescent pink.
Clowning
around
Art Basel is not the only circus in
town…next to the Art Basel Messeplatz is a big top with all the trimmings, from trapeze artists to
jugglers. Did a resident of this verita-
Last night, Art Basel’s latest strand, “Theater Basel”,
was launched with “an untitled concert”, a collaboration between artist Rirkrit Tiravanija and the Basel
Sinfonietta, curated by Jens Hoffmann (director of
CCA Wattis in San Francisco). The evening started
conventionally enough with Basel’s packed main
theatre listening attentively to a limpid piece for
piano and strings by Alan Hovhaness followed by a
more stridently modernist work by veteran US composer Elliott Carter. The formally-clad orchestra was
all assembled for the third item which was Rirkrit’s
“Orchestral Score for Luis Buñuel” when the conductor fell to his knees, first tying his shoelace and
ble pleasure palace decide to check
out the works on show at the fair last
weekend? UK artist Mike Nelson
told The Art Newspaper he was taken
aback when a dwarf in full clown
make-up wearing a pinstripe suit
knocked on the door of the artist’s
bus-cum-work of art parked in front
of Art Unlimited. “We just looked at
each other and he walked away,” said
Nelson of the only visitor who could
Terence
probably climb into the bus’s many
hidden cubby holes and crannies.
Holding
a mirror
up to Art Basel
Anish Kapoor’s public art project Sky
Mirror V (2004-07, below), the latest
in the UK artist’s series of big and
bold looking- glasses, has already
been bagged by a major Spanish pri-
Koh shows the Swiss how to party
New York artist and decadencemeister Terence Koh’s last Swiss
manifestation was an all-white show
at the Basel Kunsthalle—with powder, chocolate and other less salubrious substances providing an
environment of blinding brightness.
But for “God”, his current exhibition at De Pury & Luxembourg’s
Zurich Gallery (left, My Path to
Heaven. Are You Blind Bastard
God) he has gone to the opposite
extreme, lining the gallery with
black plastic and illuminating it
only by strobe lights, with a fog of
incense and lashings of Hermès perfume adding to the heady atmos-
ART BASEL 2007 DAILY EDITION
then polishing his shoes with an immaculate white
handkerchief. Events then began to unravel further
with janitors wheeling in an industrial-sized fan,
members of the string section wandering off-stage
still playing and the piano being wheeled off with
the pianist lying on top. Then waiters brought in and
laid a full size dining table, serving food and drink to
the string section first, and then the entire orchestra,
as the event became one big party on stage. The few
notes played spelt out Bruce Nauman’s piece Violin
Tuned D.E.A.D. and no doubt Luis Buñuel would
have appreciated being the conceptional underpinning of such a playfully subversive piece.
Published by:
Umberto Allemandi & Co. Publishing Ltd
ISSN 0960-6556
In the UK: 70 South Lambeth Road,
London SW8 1RL
Tel: +44 (0)20 7735 3331
Fax: +44 (0)20 7735 3332
Fax: +44 (0) 1795 414 555
Email: [email protected]
Subscriptions:
In the UK: The Art Newspaper, PO Box 326
Sittingbourne, Kent ME9 8FA
Tel: +44 (0)1795 414 863
The Art Newspaper Art Basel Daily edition
Group Editorial Director: Anna Somers Cocks
Managing Director: James Knox
Editor: Cristina Ruiz
In the US: Subscription Department, Fulco,
PO 3000, Denville, NJ 07834 9776
Tel: 1 800 783 4903 Fax: 1 973 627 5872
Email: [email protected]
L]LU ^OLU you’re sleeping
you’re supporting [OL HY[Z
-PUK V\[ TVYL HIV\[ [OL 4PSSLUUP\T VU =PL^ =PZ\HS (Y[Z 7YVNYHT H[ millenniumhotels.com/onview
phere. At the opening on Saturday
night, those en route from Venice to
Basel—including the Royal Academy’s Norman Rosenthal, who is
writing Koh’s catalogue essay, art
consultant Sandy Heller and gallerist Mary Boone—were treated to
a full-on sensory assault with perfume filling the air, a drum and bass
band and performance by Koh himself, in a transparent PVC suit (most
of which he shed) and high-heeled
boots. Koh writhed and cavorted
with his art works, licked the floor
and worked himself into a trancelike state. And who says no one lets
their hair down in Switzerland?
Assistant Editor: Gareth Harris
Managing Editor: Jane Morris
Art Market Editor at Large: Georgina Adam
Art Market Editor: Melanie Gerlis
Correspondents: Louisa Buck, Brook Mason,
Alexandra Peers
Editorial Coordinator: Helen Stoilas
Picture editor: William Oliver
Photographer: Sam Green
Staff Reporter: Mark Clintberg
Production Manager: Eyal Lavi
Sales: Louise Hamlin, Caitlin Miller, Ben Tom-
vate collector through Lisson Gallery
which is selling the work for “upwards of £1m”. Kapoor told The Art
Newspaper: “I am interested by objects that are not as they first appear
to be. The highly reflective stainless
steel changes according to the light,
and can camouflage itself, becoming
a virtual ‘non-object’.” Another 35foot piece from the “Sky Mirror” series bowled over New Yorkers last
year when it was shown at the Fifth
Avenue entrance to the Channel Gardens at Rockefeller Center. “A limited number of other small mirror
works are in major private collections,” said a spokesman for Lisson
Gallery. Has art world vanity reached
new heights we wonder?
linson, Sara Bissen, Julia Michalska
Project Manager: Patrick Kelly
Printed by Bazdruckzentrum
©2007 The Art Newspaper Ltd. All rights reserved. No
part of this newspaper may be reproduced without written consent of copyright proprietor.
The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While the
publishers take every care, the contents of advertisements are the responsibility of the individual advertisers.
10.06–24.11.07
Chiesa di San Gallo
Campo San Gallo
San Marco 1103
Venezia
SPONSORING INSTITUTION
Peggy Guggenheim Collection
(The Solomon R Guggenheim Foundation)
SUPPORTED BY
Haunch of Venison / London
James Cohan Gallery / New York
Kukje Gallery / Seoul
IMAGE
Bill Viola, Ocean Without A Shore, 2007
Production still. Photo: Kira Perov
Performer: Blake Viola
WWW.OCEANWITHOUTASHORE.COM
Bill
Viola
/
Ocean
Without
A
Shore
/
4
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 JUNE 2007
News from Dallas, Venice, Athens, New York and London
$200m collection of British
contemporary art for Texas
Dealer Kenny Goss, who visits Art Basel today, and his partner,
singer George Michael, will put their art on display in Dallas next month
BASEL.
The art dealer Kenny Goss
and his partner, singer George
Michael, have revealed details of
their art collection, which they estimate to be worth $200m.
The couple have been buying art
for the last 11 years and now own
work by over 30 British artists. They
include Chris Ofili, Grayson Perry,
Jake and Dinos Chapman, Gavin
Turk, Sarah Lucas, Gilbert & George,
Bridget Riley, Gary Hume, and
Banksy, among others.
The couple also own one of the
largest collections of work by
Damien Hirst and recently purchased
the artist’s Saint Sebastian, Exquisite
Pain, a vitrine of a sheep pierced with
arrows and preserved in formaldehyde, from White Cube in London.
Speaking to The Art Newspaper yesterday from his hotel in Zurich, Mr
Goss said: “Art is about our experi-
I New
Too expensive: Hirst’s $100m
diamond-encrusted skull
ences in life. Everything we buy has a
personal resonance. St Sebastian was a
gay martyr. This work is almost auto-
commissions
Francesco Vezzoli for Guggenheim
Following his hit video Caligula at the last Venice Biennale and his fictional TV ads (starring Sharon Stone and Bernard-Henri Lévy) for a
mock US Presidential campaign which are on display in the Italian
pavilion at the current Venice Biennale (until 21 November), artist
Francesco Vezzoli is to transform the rotunda of the Guggenheim Museum in New York in November. Vezzoli is restaging Luigi Pirandello’s
1917 play Cosi’ è (se vi pare) [There You Are If You Think You Are] as
part of Performa07, the biennial of new art performances which runs
from 1 to 20 November across 20 venues in New York. According to a
spokesman, Vezzoli will work with both known and unknown actors in
a production which “will implicate the audience in a dramatic examination of celebrity, the relativity of truth, the necessity of illusion, and
the instability of the human personality”. The performance will be coproduced by the Gagosian Gallery. The other artists commissioned by
Performa07 are Carlos Amorales, Sanford Biggers, Nathalie Djurberg,
Japanther, Isaac Julien, Daria Martin, Kelly Nipper, Adam Pendleton,
and Yvonne Rainer. C.R.
J For information: www.performa-arts.org
Bill Viola for St Paul’s Cathedral
US video artist Bill Viola has been commissioned by St Paul’s Cathedral in London to create a permanent installation for the church. A
spokesman for St Paul’s says that the artist is
“working through the concept…the piece should
be ready by October 2008 or in the next couple of
years at the latest”. The work will be located “by
the end of the side aisles on either side of the
high altar”. An exhibition of contemporary images of Christ at St Paul’s in 2004 included
Viola’s video The Messenger. Meanwhile, the
artist’s three-screen video Ocean Without a Shore
is on display at the San Gallo church in Venice as
part of the Biennale (detail, right). At Art Basel,
Viola’s Isolde’s Ascension (The Shape of Light in
the Space After Death), 2005, is with the Cohan
gallery (W7). G.H.
biographical for George.” The couple
also bought a dove suspended in
formaldehyde, The Incomplete Truth,
2006, from the same show.
They say they also “considered” the
purchase of Hirst’s $100m For the Love
of God, a platinum skull encrusted with
8,601 diamonds but that it is “out of our
price range”. They also own 25 works
by Tracey Emin. “I love everything she
does,” says Mr Goss.
Mr Goss will visit Art Basel today
with the collection’s curator, Filippo
Tattoni-Marcozzi. He says he intends to
buy a painting of cheerleaders by Gary
Hume from White Cube (E5).
Mr Tattoni-Marcozzi says the
amount the couple spend on art every
year “fluctuates” according to the time
they have to visit exhibitions. According to Mr Goss: “Everything George
makes from his current tour will be
spent on art.”
The Goss-Michael collection opens
to the public in Dallas in a 6,000square-foot building in early July with
“A Tribute to Tracey Emin”—a display
of the couple’s entire holdings of work
by Emin. It will be followed at the end
of September by a show of new work
by James White and then by an exhibition of four major works by Damien
Hirst, including Saint Sebastian.
The couple hope to build a new,
larger space for the collection and foundation in the next five years.
“Dallas is a very conservative community,” says Mr Goss. “There are no
works by Hirst or many of the other
artists in our collection on display. We
want to educate the community and inspire young artists.” The foundation will
include space in a separate building for a
British artist to live and work; it will also
host lectures and seminars. “A place like
this is desperately needed in Dallas,”
Kenny Goss and George Michael
have bought Damien Hirst’s Saint
Sebastian, Exquisite Pain (detail
above) from White Cube in London
where it is on display until 7 July
said Mr Goss.
When asked how he thought Dallas
would react to the collection, Mr Goss
said: “They’re going to love it.” C.R.
Pinault signs deal for second
Venice museum but loses director
VENICE.
On 8 June, the French collector and billionaire owner of
Christie’s, François Pinault, signed an
agreement with the Venetian authorities to turn the city’s disused customs
warehouse, Punta della Dogana, into
a new museum for his collection of
modern and contemporary art.
The previous day, reports in the
French press revealed that former
French culture minister, Jean-Jacques
Aillagon, who has served as the director of Pinault’s other Venetian museum, the Palazzo Grassi, since 2005
has accepted the post of president of
the Versailles museum. He replaces
Christine Albanel who has been appointed Culture Minister for the
newly-elected French president,
Nicolas Sarkozy.
The new director of Palazzo Grassi
Fair director arrested
ATHENS.
Greek police arrested
Michalis Argyrou, the new general director of Athens’ contemporary art
fair, Art Athina, last weekend because
a film by Eva Stefani which shows
scenes from pornography films set to
the Greek national anthem was
deemed offensive. Mr Argyrou and
Miss Stefani have been charged with
offending public morals. If convicted
they could face a maximum sentence
of ten months in jail. M.G.
and Punta della Dogana, who is expected to be announced shortly, will
have a daunting task. Mr Pinault is to
spend up to $110m to convert the dilapidated Customs House in Venice
in time for the next Venice Biennale
in 2009. Japanese architect Tadao
Ando is to design the new museum.
Mr Pinault’s decision to move his
collection to Venice and his willingness to spend millions restoring
buildings in the city has been greeted
with enthusiasm by municipal authorities. According to Mr Pinault,
the day he signed the agreement to
buy an 80% stake in the Palazzo
Grassi, the mayor of Venice, Massimo Cacciari, took him by the arm
and said: “Now lets talk about the
Dogana.” “I took him to the place and
it was love at first sight’” said Mr
Cacciari. Georgina Adam
MARTIN IAN DAWSON TRACEY EMIN CERITH WYN EVANSANGUSFAIRHURST ADAM FUSSGILBERT& GEORGEANTONY GORMLEY
MARCUS HARVEY DAMIEN HIRST JAMES HOPKINSGARY HUMEJOHN ISAACS JIM LAMBIE MICHAEL LANDYSARAH LUCAS MARY
MCCARTNEYGARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUEWEBSTERCHRISOFILIRICHARDPATTERSONSIMONPATTERSON
GRAYSONPERRY MARCQUINN BRIDGETRILEYBOBANDROBERTASMITHSAMTAYLOR-WOOD WOLFGANGTILLMANSGAVINTURK
JAMESWHITERACHELWHITEREADADAMBALLBANKSYDONBROWNGLENNBROWNRICHARDCALDICOTTJAKE&DINOSCHAPMAN
MATCOLLISHAWMICHAELCRAI
G-MARTI
NIANDAWSONTRACEYEMINCERITHWYNEVANSANGUSFAIRHURSTADAMFUSSGILBERT&
THE
GOSS-MICHÆL
GEORGEANTONYGORMLEYMARCUS
HARVEYDAMIENHIRSTJAMESHOPKINCOLLECTION
SGARYHUMEJOHNISAACSJIMLAMBIEMICHAELLANDY
SARAHLUCASMARYMCCARTNEYGARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUE WEBSTERCHRISOFILIRICHARDPATT H EPERRYN
E W
F RI
OLEYBOB
U NANDDROBERTA
A TSMIITHSAMTAYLOR-WOOD
O N
TERSONSIMONPATTERSONGRAYSON
MARCQUI
NNBRIDGET
WOLFGANG
TILLMANSGAVINTURKJAMESWHITERACHELWHITEREADADAMBALLBANKSYDONBROWNGLENNBROWNRICHARDCALDICOTT
JAKE&DINOSCHAPMANMATCOLLISHAWMICHAELCRAIG-MARTINIANDAWSONTRACEYEMINCERITHWYNEVANSANGUSFAIRHURST
ADAMFUSSGILBERT&GEORGEANTONYGORMLEYMARCUSHARVEYDAMIENHIRSTJAMESHOPKINSGARYHUMEJOHNISAACSJIM
LAMBIEMICHAELLANDYSARAHLUCASMARYMCCARTNEYGARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUE WEBSTER
CHRISOFILIRICHARDPATTERSONSIMONPATTERSONGRAYSONPERRYMARCQUINNBRIDGETRILEYBOBANDROBERTASMITHSAM
TAYLOR-WOOD WOLFGANGTILLMANSGAVINTURKJAMESWHITERACHELWHITEREAD ADAMBALLBANKSYDONBROWNGLENN
BROWNRICHARDCALDICOTTJAKE&DINOSCHAPMANMATCOLLISHAWMICHAELCRAIG-MARTINIANDAWSONTRACEYEMINCERITH
WYNEVANSANGUSFAIRHURSTADAMFUSSGILBERT&GEORGEANTONYGORMLEYMARCUSHARVEYDAMIENHIRSTJAMESHOPKINS
GARYHUMEJOHNISAACSJIMLAMBIEMICHAELLANDYSARAHLUCASMARYMCCARTNEYGARRYFABIANMILLERJAMESNARESTIM
NOBLEANDSUE WEBSTERCHRISOFILIRICHARDPATTERSONSIMONPATTERSONGRAYSONPERRYMARCQUINNBRIDGETRILEYBOB
ANDROBERTASMITHSAMTAYLOR-WOODWOLFGANGTILLMANSGAVINTURKJAMESWHITERACHELWHITEREADADAMBALLBANKSY
DONBROWNGLENNBROWNRICHARDCALDICOTTJAKE&DINOSCHAPMANMATCOLLISHAWMICHAELCRAIG-MARTINIANDAWSON
TRACEYEMINCERITHWYNEVANSANGUSFAIRHURSTADAMFUSSGILBERT&GEORGEANTONYGORMLEYMARCUSHARVEYDAMIEN
HIRSTJAMESHOPKINSGARYHUMEJOHNISAACS JIM LAMBIE MICHAELLANDYSARAHLUCAS MARYMCCARTNEY GARRYFABIAN
MILLERJAMESNARESTIMNOBLEANDSUE WEBSTERCHRISOFILIRICHARDPATTERSONSIMONPATTERSONGRAYSONPERRYMARC
QUINNBRIDGETRILEYBOB AND ROBERTA SMITHSAMTAYLOR-WOOD WOLFGANG TILLMANSGAVIN TURKJAMES WHITERACHEL
WHITEREAD ADAM BALLBANKSYDON BROWNGLENN BROWNRICHARD CALDICOTTJAKE&DINOS CHAPMAN MAT COLLISHAW
MICHAELCRAIG-MARTINIANDAWSONTRACEYEMINCERITHWYNEVANSANGUSFAIRHURSTADAMFUSSGILBERT&GEORGEANTONY
GORMLEYMARCUSHARVEYDAMIENHIRSTJAMESHOPKINSGARYHUMEJOHNISAACSJIMLAMBIEMICHAELLANDYSARAHLUCAS
MARYMCCARTNEYGARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUE WEBSTERCHRISOFILIRICHARDPATTERSONSIMON
PATTERSONGRAYSONPERRYMARCQUINNBRIDGETRILEYBOBANDROBERTASMITHSAMTAYLOR-WOODWOLFGANGTILLMANSGAVIN
TURKJAMES WHITERACHEL WHITEREAD ADAM BALLBANKSYDON BROWNGLENN BROWNRICHARD CALDICOTTJAKE & DINOS
CHAPMANMATCOLLISHAWMICHAEL
CRAIG-MARTINIANDAWSONTRACEYEMINCERITHWYNEVANSANGUSFAIRHURSTADAMFUSS
2500 CEDAR SPRINGS ROAD, DALLAS, TEXAS. 75201 +1 214 696 0555
GILBERT& GEORGEANTONY GORMLEYMARCUSHARVEY
DAMIEN HIRST JAMESHOPKINSGARY HUMEJOHN ISAACS JIM LAMBIE
www.gossmichaelcollection.org
MICHAELLANDYSARAHLUCASMARYMCCARTNEY
GARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUE WEBSTERCHRISOFILI
RICHARDPATTERSONSIMONPATTERSONGRAYSONPERRYMARCQUINNBRIDGETRILEYBOBANDROBERTASMITHSAMTAYLOR-WOOD
WOLFGANGTILLMANSGAVINTURKJAMESWHITERACHELWHITEREADADAMBALLBANKSYDONBROWNGLENNBROWNRICHARD
CALDICOTTJAKE&DINOSCHAPMANMATCOLLISHAWMICHAELCRAIG-MARTINIANDAWSONTRACEYEMINCERITHWYNEVANSANGUS
FAIRHURSTADAMFUSSGILBERT&GEORGEANTONYGORMLEYMARCUSHARVEYDAMIENHIRSTJAMESHOPKINSGARYHUMEJOHN
ISAACSJIMLAMBIEMICHAELLANDYSARAHLUCASMARYMCCARTNEYGARRYFABIANMILLERJAMESNARESTIMNOBLEANDSUE
The Warhol Sale
20th June 2007
Please contact Angus Maguire for further details:
[email protected]
Key Service (negative),
polymer paint on canvas, 1985.
Est. £50,000-70,000
Key Service (positive),
polymer paint on canvas, 1985.
Est. £50,000-70,000
Th e H o r i z o n Ti m e p i e c e b y M a rc N e w s o n , s i g n e d a n d n u m b e re d e d i t i o n , i n re d g o l d w i t h red gold dial. Phone: + 1 3 05 572 920 1 www. i k e p o d . c o m
Contemporary Art
AUCTIONS
LONDON, NEW BOND STREET
21 & 22 June 2007
34-35 New Bond Street
London W1A 2AA
EXHIBITION OPENS
15 June 2007
ENQUIRIES
Cheyenne Westphal
Oliver Barker
Francis Outred
+44 (0)20 7293 5400
[email protected]
www.sothebys.com
Damien Hirst (b.1965)
Lullaby Spring (detail)
stainless steel and glass cabinet
with painted cast pills
182.9 by 274.3 by 10.2cm.;
72 by 108 by 4in.
Estimate: £3,000,000 - 4,000,000
$6,000,000 - 8,000,000
€4,400,000 - 5,860,000
PABLO PICASSO SMALL FIGURE. PARIS, 1907 (CAST IN 1964)
MUSEO PICASSO MÁLAGA. © VEGAP, 2007
SUCCESSION PICASSO, PARIS. LUIS ASÍN © MUSEO PICASSO MÁLAGA
4 June -16 September 2007
Palacio de Buenavista
C/ San Agustin, 8
29015 Malaga, Spain
www.museopicassomalaga.org
picasso
small figure
the collection in context
CATALOGUES & SUBSCRIPTIONS
UK +44 (0)20 7293 6444
WORLDWIDE +1 541 322 4151
6
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 JUNE 2007
Other fairs in Basel
Liste goes up market
Design Miami/Basel
dealers double as patrons
■ Liste 07, marketed as the “young
■ The second edition of Design
Miami/Basel, sponsored by HSBC
Private Bank, opened last night with
strong sales and considerable international interest. The fair also announced that Swedish design group,
FRONT, had won its Designer of the
Future Award.
Last year, the fledgling fair was
staged in a deconsecrated church, but
has now relocated to the Markthalle,
a vast domed structure dating from
the 1920s. Twenty-two galleries are
taking part, five up from last year.
“Given the space available, I have
encouraged the dealers to curate their
shows with a definite point of view,
as opposed to just displaying merchandise,” says Ambra Meddah,
show founder and director. “I looked
at what every other design fair was
doing and decided to do the opposite.”
A clear trend is the emergence of
the dealer patron, commissioning cutting-edge design. “I don’t buy
and sell vintage furnishings,”
says Clémence Krzentowski of Galerie
Kreo, Paris. “I
prefer to work closely with designers
in producing things that amaze collectors and are of this time.” His limited editions include a Wieki Somers
tea pot in the shape of a rat’s skull
with its own fur tea cosy, priced at
€1,000.
Zaha Hadid is the most prominent
contemporary designer represented
with three dealers featuring her work.
The Kenny Schachter Rove Gallery
sold Hadid’s multifunctional “sculpture”, titled Belu, edition of 12, for
€75,000 within minutes of the fair
opening.
Jean Prouvé, considered the father
of prefabs, is the most visible period
designer at the fair. Four dealers,
Jousse, Patrick Sequin and
Galerie Downtown,
all from Paris,
and Magen H. Gallery from Chicago,
feature the late modernist designer’s
furniture. Galerie Patrick Sequin had
a 1950 desk for €200,000 reserved
within the first half hour. One of
Prouvé’s prefab houses, constructed
in 1944 specifically for war-torn Alsace-Lorraine, is also on sale for
€280,000 with the same dealer. This
seems a modest price compared with
the $4.9m paid for Prouvé’s immaculately restored Maison Tropicale, one
of three prototypes, at Christie’s last
week. Brook S. Mason
Zaha Hadid’s Belu
sold for €75,000
through the Kenny
Schachter Rove Gallery
Dan Colen’s To Be Titled, 2007,
(detail) at Peres Projects sold for
$100,000
scale, Peres Projects had already sold
a nine part work by 28-year-old US
artist Dan Colen for $100,000 within
an hour of the preview opening. Collectors seen weaving their way
through the stands included Anita
Zabludowicz, Denis and Debra
Scholl, Paris restaurateur Robert Vifian and Miami collector Rosa de la
Cruz. Jane Morris and Eyal Lavi
Volta artists reclaim materials
■ Collectors crowded yesterday’s
opening of the third edition of the
Volta show, among them Susan
and Michael Hort, who
rushed in half an hour before the fair officially
opened to VIPs. Others included Anita Zabludowicz,
Hugo and Clara Brown, and Fatima Maleki. Though it is one of
the smaller, satellite events, this
year’s fair was described by visitors and exhibiting dealers alike
as very professional with a high
quality of art on offer. Many of
the artists whose work is on display have pieces in international
private and public collections, including Neil Hamon and Elaine
Tedesco who are also currently on
Booming auctions diminish supply for dealers
CONTINUED FROM PAGE 1
additional sum above that, with the remainder split between the gallery and
the vendor. At Art Basel he is showing
a 1984 Basquiat for $5m and works by
Murakami and Warhol, among others.
While the top modern works are
increasingly hard to find there is
however plenty of fresh contemporary work on the primary market
available at Art Basel though many of
these have been reserved in advance
of the fair’s official opening.
SCAI (W6) has reserved Tatsuo
Miyajima’s balloon-like digital dis-
art fair in Basel”, opened yesterday
with 61 galleries, four times the number who took part 11 years ago in
1996 when the fair launched. It traditionally focuses on dealers of less
than five years standing, with artists
under 40 years old
But this 12th edition had an unprecedented number of relatively established galleries which exhibited in
the Art Statements section of Art
Basel last year: including German
gallery Frehrking Wiesehöfer, Art
Concept from Paris, Doggerfisher
from Edinburgh, Hotel from London,
and three US galleries—Kordansky,
Connelly and Peres Projects.
There are 12 US galleries, which
the organisers say “shows that Liste is
now taken seriously”. But dealers
suggested that the change was a result
of the secret jury removing an unofficial quota on the number of exhibitors
allowed from a single country.
Prices also vary widely: many of
the 17 new galleries still offer work
for low prices, including Japanese
gallery Yamamoto Gendai with
works by Ukama Naohiro at €1,500
($2,000). At the other end of the
play CF Plateaux No 3, 2007 (price
undisclosed), while Carroll Dunham’s Blue Cloud, 2007, priced at
$120,000 is on reserve at c/o-Gerhardsen (P1).
Other contemporary works are still
available at Art Basel and many stands
will be renewed on a daily basis.
Tomio Koyama (K3) is showing different emerging artists every day at
prices from $3,800; Benjamin Butler’s
Untitled (Leafless Trees), 2007, is on
offer for $14,000. Despite much being
reserved on its stand, Eigen+Art (Q3)
still has drawings by New Leipzig
School artists Martin Eder and
Matthias Weischer (€1,800, $2,350).
Meanwhile at Art Statements
which opened to VIP visitors yesterday there are a few remaining photographic
works
by
Aneta
Grzeszykowska, (Film Stills, 2006,
€2,800 to €30,000, $3,600-$39,000
at new exhibitor Raster (A1). And an
owl and matching skeleton, Proposal
Number Seven, Pair of Owls by Peter
Liversidge are on offer at the Ingleby
Gallery (A24) for €9,000 ($11,700).
Georgina Adam
and Melanie Gerlis
show at the Arsenale section of the
Venice Biennale and have similar
works on view with Galeria Leme
from São Paulo (G25).
Much of the work on view uses reclaimed materials, such as archival
documents, prints and newspapers.
Zheng Guogu’s paintings at Grace Li
Gallery from Zurich (G23), priced
from $84,000 to $104,000, are based
on press photos from the Art Basel
website, including a portrait of outgoing director Sam Keller, overlaid
with text from the fair’s press releases (see p1). At Los Angeles
gallery Cherry and Martin (G10),
Nathan Mabry’s totemic figures sit
on minimalist furniture by Donald
Judd and Sol LeWitt. And Meredyth
Sparks with Galerie Frank Elbaz
from Paris (F28) decorates portraits
of rock stars like Patti Smith and
Billy Idol with strips of aluminium
foil and glitter.
Sculpture and installation also
dominate the fair, with a number of
works scattered outside the main hall
as part of a sponsored sculpture programme, including a wooden hut by
Ragnar Kjartansson occupied by a
man wearing white briefs unremittingly strumming a single chord. At
Galica Arte Contemporanea (G3) Arcangelo Sassolino’s untitled hydraulic piston, triggered by a motion
sensor, gradually splits blocks of
hardwood as visitors walk by the
work.
Helen Stoilas
and Louisa Buck
Cartier steps in to replace Bulgari as Art Basel sponsor
BASEL. The Italian jewellers Bulgari, which has sponsored Art Basel’s series of
talks—Conversations—for the past three years, has not renewed its support
following the end of its contract in December 2006. Bulgari was unwilling to
comment although its withdrawal is believed to be due to a change of guard in
its communications department. The decision was good news for French jewellers Cartier, says Art Basel director Sam Keller, as they have been keen to
support the fair but have been prevented from doing so by an exclusivity clause
in the Bulgari contract. Cartier have committed themselves to a three-year participation in Art Basel and Art Basel/Miami Beach through their Fondation
Cartier museum, a jewel in Paris’s contemporary art scene. Their booth at this
year’s Art Basel, at the entrance of Hall 2, is displaying the work of the French
installation artist Pierrick Sorrin. The British branch of Cartier already sponsors an art award at Frieze in London every October which will continue as before. From this year Cartier will also sponsor Frieze projects, a series of artist
commissions. M.G.
Principal Sponsor
Design Miami/ Basel
12/13/14/15/16 June 2007
Basel/ Switzerland
The new forum for collecting,
exhibiting, discussing
and creating design
For more information
Call +1 305 572 0866
Email [email protected]
www.designmiami.com
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 JUNE 2007
8
Public art
Mike Nelson: on the road with wax pumpkins and an opium den
I Canny collectors should seize the
chance to buy UK artist Mike
Nelson’s The Pumpkin Palace tourist
bus parked outside Art Unlimited
(Galleria Franco Noero) because his
work is rarely available for sale.
Nelson’s stock has risen sharply
lately; his Mirror Infill special project at Frieze last year, a hidden redlit rabbit’s hole built between the fair
stands, has bagged him another
Turner Prize nomination this year (he
was previously nominated in 2001).
“I’ve converted a Red Crescent
mobile hospital inside the bus into a
war veterans’ opium den,” said Nelson. Disoriented visitors wind their
way around a warren of heated cubby
holes until they reach a carpeted den
perched on top of the bus housing
Paul McCarthy:
Santa meets sex
in small towns,” he added, explaining
the impetus behind the travelling bus
which acts as a magnet for “the underclass” in society. The work was
commissioned for a show celebrating
the 20th anniversary of the Capp
Street Project artist-in-residence programme at the CCA Wattis Institute
in San Francisco in 2003.
Gareth Harris
Wim Delvoye: majestic heavy machinery
I Paul McCarthy’s status as taboobusting master of the monumental is
confirmed by his gigantic Santa
with Butt Plug (Hauser & Wirth),
installed in front of Art Unlimited.
This nine-tonne, six-metre high
colossus brandishing an oversized
dildo and a bell is one of an edition
of three (plus an artist’s proof), with
an earlier version already in the collection of Rotterdam’s Boijmans Van
Beuningen Museum.
More scatalogically spectacular
provocation from the 62-year-old US
enfant terrible can also be found at the
Middleheim Sculpture Museum in
Antwerp (until 28 October) where an
exhibition devoted exclusively to his
wax pumpkins. A book on witchcraft
and a yellowing newspaper report on
the first Gulf War add to the confusion. “I like the sense of getting to the
point where you forget you’re looking at art,” said Nelson.
The bombing of Afghanistan by
allied forces in 2001 is the starting
point for the piece, says Nelson.
“World events can affect individuals
outdoor inflatable sculptures includes
a giant pile of excrement.
Louisa Buck
I Belgian artist Wim Delvoye likes
lorries; his 1999 cement truck, hand
carved from teak, caused a stir at the
1999 Venice Biennale while Dump
Truck, shown at Sudeley Castle in the
UK last year, is another gothic-esque
rendition of heavy machinery. His latest nod to industrial transportation in
the Messeplatz, Flatbed Trailer, 2007
(Galerie Emmanuel Perrotin), is the
largest work Delvoye has ever created, made out of almost ten tonnes of
steel and measuring 23 metres across.
The piece, on sale for €1m, took
two years to put together. According
to Delvoye, “it’s rare to see a contemporary work now that has taken
longer than a week to assemble”. But
this long production period has paid
off because the value of the metal has
Art Dealers Association of America
increased over two years, says
Delvoye, adding that “it’s good to
park your money in steel”.
He stresses that whoever buys the
work “must have a plan for storing
the piece as it’ll be costly to move”
and hopes that a US collector purchases it. “My art attracts all kinds of
bizarre, maniac people,” he says.
G.H.
ADAA, 575 Madison Avenue, New York, NY 10022
John Berggruen Gallery
Cheim & Read
James Cohan Gallery
Paula Cooper Gallery
Marian Goodman Gallery
www.berggruen.com
www.cheimread.com
www.jamescohan.com
www.paulacoopergallery.com
www.mariangoodman.com
Hall 2.0 Booth J3
Hall 2.0 Booth B1
Hall 2.1 Booth W7
Hall 2 Booth Q4
Hall 2.0 Booth E4
Pierre Huyghe
Specializing in American and European
paintings, drawings and sculpture. Works
by Donald Baechler, Willem de Kooning,
Mark di Suvero, Richard Diebenkorn,
Anish Kapoor, Pablo Picasso, Ed Ruscha,
Kiki Smith, Frank Stella, and Wayne Thiebaud
Donald Baechler, Lynda Benglis, Louise
Bourgeois, William Eggleston, Louise
Fishman, Adam Fuss, Jenny Holzer, Jannis
Kounellis, Jonathan Lasker, McDermott &
McGough, Joan Mitchell, Jack Pierson,
Pat Steir and Juan Usle
Richard Gray Gallery
Leonard Hutton Galleries
L&M Arts
www.richardgraygallery.com
www.leonardhuttongalleries.com
www.lmgallery.com
Hall 2.0 Booth S1
Recently Acquired Masterworks
& New Contemporary Works
Including: Abakanowicz, Calder, Dine,
Dubuffet, Hockney, Katz, Klamen,
Lichtenstein, Matisse, Miro, Picasso,
Plensa, Warhol
Hall 2.0 Booth K2
Russian Avant-Garde
Post War American
European Modernism
Hall 2.0 Booth E2
Lehmann Maupin Gallery
Luhring Augustine
Matthew Marks Gallery
Barbara Mathes Gallery
Anthony Meier Fine Arts
www.lehmannmaupin.com
www.luhringaugustine.com
www.matthewmarks.com
www.bmathesgallery.com
www.anthonymeierfinearts.com
Hall 2.1 Booth H3
Kutlug Ataman
Art Unlimited Booth J-5
Hall 2.0 Booth P4
Hall 2.0 Booth C3
Hall 2.0 Booth P3
Hall 2.0 Booth P1
Robert Miller Gallery
Moeller Fine Art
David Nolan Gallery
www.robertmillergallery.com
www.moellerart.com
www.davidnolangallery.com
Hall 2.0 Booth W8
Hall 2.0 Booth R3
Modern and
Contemporary Art
Skarstedt Gallery
Sperone Westwater
Zwirner & Wirth
www.skarstedt.com
www.speronewestwater.com
www.zwirnerandwirth.com
Hall 2.0 Booth C2
Condo, Kippenberger,
Oehlen, Prince,
Sherman, Trockel
Hall 2.0 Booth T3
Hall 2.2 Booth T1
Antoni, Condo, Crewdson, Lambri,
Morimura, Mucha, Oehlen, Sternfeld,
Smith,Tunga, Wolfe, Wool
b] PS\S¿b
63<@G AB@33B A3BB:3;3<B
]`UO\WhSR Pg
Acconci, Beninati, Calame, TD Hancock,
Y-F Ji, de Jong, Mueck, NJ Paik, Paine,
Sawa, Smithson, Shonibare MBE, AE Taylor,
Tomaselli, Wenders and Viola
Basquiat, Cornell, Dubuffet,
Giacometti, Hammons, Haring,
Kelly, Klein, Murakami, Oldenburg,
Picasso, Richter, Warhol
Darren Almond, Vija Celmins,
Peter Fischli/David Weiss, Katharina Fritsch,
Robert Gober, Nan Goldin, Jasper Johns,
Ellsworth Kelly, Brice Marden, Charles Ray,
Tony Smith, Cy Twombly, Terry Winters
Yayoi Kusama
/@B 23/:3@A /AA=17/B7=< =4 /;3@71/
A/D3 B63 2/B3A
430@C/@G ³ # &
<Se G]`Y 1Wbg
Carl Andre, Jennifer Bartlett, Sophie Calle,
Mark di Suvero, Sam Durant, Wayne Gonzales,
Sherrie Levine, Julian Lethbridge, Christian
Marclay, Claes Oldenburg & Coosje van
Bruggen, Walid Raad, Andres Serrano, Rudolf
Stingel, John Tremblay, Dan Walsh
Art Unlimited
at Art Basel
Ackermann, Artschwager, Bontecou,
Bourgeois, Calder, Chamberlain, Katz,
Koons, Kusama, LeWitt, Long, Melotti,
Nevelson, Rauschenberg, Reinhardt,
Richter, Sandback, Serra, Smith, Stella,
Whiteread and others
Kim Dingle, Lucio Fontana, Guillermo
Kuitca, Mario Merz, Malcolm Morley,
Bruce Nauman, Evan Penny,
Susan Rothenberg, Tom Sachs,
Laurie Simmons, Richard Tuttle, Not Vital,
William Wegman, Jan Worst
Exhibiting works by Andre, Beck, Cain,
Castrillo Diaz, Chamberlain, Dickinson,
Feher, Furnas, Judd, Kusama, Martin,
Moffett, Moran, Polke, Richter, Shepherd,
Simmons and Tran
Hall 2.0 Booth K5
Featuring Steve DiBenedetto,
Carroll Dunham, and Peter Saul.
Also works by Artschwager, Baselitz,
Bellmer, Bishop, Dumas, Ghenie, Gitman,
Grosz, Kippenberger, Le Va, Nutt, Ross,
Roth, Savu, Siena, Trockel, and Warhol
Contemporary Painting
David Hammons
Art Unlimited Hall 1.0 Booth H7
Conceptual Photography
May 9–June 23 at Zwirner & Wirth, NY
THIS PAGE IS BROUGHT TO YOU BY UBS
UBS Art Banking – Banking on art
When it comes to offering expert
advice on investing across the
spectrum of art – from paintings and
sculptures to drawings, installations,
photography and more – UBS has
responded to the fact that many of
its Wealth Management clients are
very interested in art, have a valuable
collection of their own or are looking
to build one, and is one of the few
financial service providers in the
world to offer its private clients an
exclusive range of services in this area.
Launched in Basel in 1998, the
bank’s Art Banking and Gold &
Numismatics service was created
to provide independent, objective,
professional advice concerning the
art market and related issues. In
addition, Art Banking offers a wealth
of experience in associated areas
such as succession planning,
structured solutions and curatorship
in the world of art. In each case,
these services are meticulously
tailored to the needs and wishes of
the individual client.
The Art Banking & Numismatics
department is headed by Dr. Karl
Schweizer, a lawyer by profession,
who has a long and distinguished
track record in wealth management
combined with a genuine love of
art. This dedicated international
team comprises 14 consummate
professionals – art historians with a
background in banking and finance,
as well as banking specialists with a
sound knowledge of art.
The team is supported by a network
of internationally renowned external
experts, including curators, art
dealers, museums, gallery owners,
conservators, insurers, auction
houses, specialist art transporters and
the like. With their know-how, each
one has a role to play in meeting the
wishes of our discerning clients and
fulfilling their instructions to the
letter. This extensive network of
partners helps to ensure that
each and every case is handled
with absolute objectivity and
professionalism and the utmost care.
The art of investing
There are all sorts of reasons for
investing in art, but only in the rarest
of cases should the prospect of
making exorbitant short-term profits
be the motivating factor. In fact, art is
not really suited to speculation as it is
quite difficult to quantify or predict
trends on the art market. For this
reason, investments made in
conjunction with Art Banking are
significantly different from traditional
forms of investment. Art collectors
often very aptly describe such
investments in terms of their
emotional – as opposed to financial
– return, emphasizing the personal
value they attach to the works that
they purchase. Studies clearly show
that those who invest in art are taking
on a greater risk than those who
invest in traditional financial
instruments such as shares. As a
result, art is not so readily tradable,
particularly as the underlying market
logic is by no means easy to discern.
This is particularly true of
contemporary art, where – in many
cases – the financial value of a given
piece can be extremely difficult to
judge. Against this backdrop, such
purchases will often only be an
option for the most adventurous art
lovers – the value of a work of art
cannot be measured purely in
monetary terms. When deciding
which pieces to collect, therefore,
emotional considerations should play
an important role. As well as
assessing the historical significance
and relevance of a particular piece,
UBS Art Banking would ask
prospective purchasers, “Do you
really like it? “ and, “Do you think
you will still like it in 20 years’ time?“
Simply put, our service is for clients
who care about art as much as we do.
To sum up, UBS Art Banking owes
its reputation for excellence to the
diversity of experience and knowhow at its disposal and the active
involvement of eminent external
experts, curators and restorers.
Working with only the very best
people in the business and always
maintaining strict neutrality in every
situation means our clients are
assured the very best support in all
aspects of their art-related affairs.
The exceptional, consistently high
standard of expert service provided
by the team across the board has led
the financial magazine Euromoney to
vote UBS Art Banking “Best Art
Banking in the World” also in 2007.
UBS Art Banking is also present at
the world’s leading art fairs,
exhibitions and related events, to
assist clients with their expert
knowledge. UBS is also the main
sponsor of Art Basel and Art Basel
Miami Beach, the world’s premier
The Art Banking department is
broken down into Art Client
Services, Art Key Client Products
and Art Market Intermediaries,
each offering a variety of relevant
services:
Art Client Services concentrates
exclusively on advisory services for
private clients, taking care of all
their art-related affairs.The experts
in this team are able to arrange
valuations, provenance checks and
authentication, offer advice on
transport, storage and insurance
matters, and, in particular, assist
with negotiations for the
acquisition or sale of works of art
on the international market. In
addition, the team’s art historians
– with the benefit of many years’
experience of banking and the art
market behind them – can help
with building up a collection and
represent clients at auction. They
are also on hand to offer advice
and assistance at major fairs in the
art calendar. Another issue that
arises time and again is how to go
about researching a specific work
of art. With an extensive library of
catalogues at its disposal – plus a
network of renowned art experts,
covering every conceivable genre –
the UBS Art Banking team
is ideally placed to carry out the
necessary due diligence checks that
mirror UBS’s supreme banking
Art Banking: appreciating the value of art.
modern and contemporary art fairs.
If you would like to know more
about UBS Art Banking and the
services on offer, please visit our
website for details: www.ubs.com/
artbanking
Dr. Karl Schweizer, Head UBS
Art Banking. “Collecting
typically has its roots in some
sentiment or other. For this
reason, feelings should be
placed front and center in the
decision-making process.”
standards on behalf of clients.
Recognizing that clients in
this category are extremely
knowledgeable and well informed,
UBS also publishes a dedicated
newsletter, Art Banking News, six
times a year, copies of which are
available on request.
The Art Key Client Products team is
dedicated to developing tailor-made
solutions for special market needs
and specific client circumstances. If,
for example, a client is planning on
building up an art collection but
knows that it will be of no interest
to his or her heirs when the time
comes, one possible solution is to
ensure that the collection is
financially self-sufficient and open
it up to the public. Well versed in
the intricacies of trusts and
foundations – one of their core
competencies – our specialists can
do the groundwork for this process,
provide the necessary support and
tie things up.
The Art Market Intermediaries
team is in constant contact with
institutional market players such as
galleries, museums, auction houses
and art foundations. Based on the
ongoing dialogue that takes place,
UBS Art Banking has at its disposal
a far-reaching, tightly knit network
into which it can tap at any time for
the benefit of its clients
UBS has been voted “Best Art Banking
in the World” in 2007 by Euromoney.
10
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 JUNE 2007
Exhibitions in Basel
I Jasper Johns: an Allegory
of Painting 1955-65
Kunstmuseum Basel
St Alban-Graben 16, Basel,
Tue-Sun: 10am-5pm, closed Mon
061 206 62 62
The US National Gallery of Art’s
survey of work produced from 1955
to 1965 by Jasper Johns has moved
to Basel. It includes several of the
artist’s seminal flag works and
charts his influence on the development of pop, minimalist, conceptual
and performance art in the US
and Europe.
I The Furniture
of Charles and Ray
Eames
Vitra Fire Station,
Charles-EamesStrasse 1, D79576 Weil
am Rhein,
Tue-Sun:
10am-5pm
+49 7621 702 3200
Furniture designs and sketches,
prototypes and trial products by the
US husband-and-wife design team
who created the classic plywood
and leather Lounge Chair
(1956) are on show.
Also on view is
the information
kiosk made for the IBM pavilion
at the New York world exhibition
in 1964-65.
I Robert Gober: Work 1976-2007
Schaulager, Ruchfeldstrasse 19,
daily: 10am-6pm, Wed: noon-6pm
061 335 32 32
Over 40 sculptures, several works
on paper and five large-scale installations by Gober (b.1954), some on
display for the first time, focus on
the themes of childhood, sexuality
and discrimination.
I Jean-Frédéric Schnyder
Museum für Gegenwartskunst,
St Alban-Rheinweg 60, Tue-Sun:
11am-5pm, closed Mon
061 206 62 62
Curator Philipp Kaiser of the host
museum charts the career of
leading Swiss artist Schnyder,
from his late 1960s fantastical
objects made of wire, lego
and bamboo to his Wanderung paintings series of
autobahn views, first
shown at the 1993 Venice
Biennale. Left, White
Mouse (detail), 1978.
I Poor Thing
Kunsthalle Basel,
Steinenberg 7, Tue-Fri:
11am-6pm, Thu: 11am8.30pm, Sat-Sun:
11am-5pm
061 206 99 00
Eight international artists
inspired by 1960s conceptual art show objects and
closed Mon 061 681 93 20
This eight-section survey marks the
50th anniversary of the French
movement which is seen as the precursor to Arte Povera. Over 400
works are on show including comic
strip collages and political flyers
from the May 1968 student riots in
the French capital.
and public collections. The Sick
Child (1880-82), Puberty (1895)
and Vampire (1895) are among the
pieces on view.
I The International Situationist:
1957-72
Museum Tinguely, Paul Sacher
Anlage 1, Tue-Sun: 11am-7pm,
I
Robert Gober, Untitled, 1991
site-specific sculptures made of materials such as cellophane and polystyrene. Basel artist Martin Heldstab
draws inspiration from everyday objects such as light bulbs or wooden
pallets, giving them unusual twists
of presentation.
I Edvard Munch: Signs
of Modern Art
Fondation Beyeler, Baselstrasse 101,
daily: 10am-6pm, Wed: 10am-8pm
061 645 97 00
How modernist are Munch’s
paintings? The Fondation Beyeler
focuses on the Norwegian artist’s
contribution to modern art through
80 works on paper and 130 paintings on loan from over 100 private
Today’s events
Landscape for Fire and Tell Me
by Guy de Cointet.
Art Basel Conversations
9.30-11.30am, Hall 1, Second
Floor, Auditorium, Messe Basel
Nicholas Serota (Tate), Beatrix
Ruf (Kunsthalle Zurich) and
Alfred Pacquement (Pompidou
Centre) are among the speakers
discussing challenges facing
institutions today. The talk is
hosted by Hans Ulrich Obrist.
I Other Fairs
DesignMiami/Basel
10am-6pm, Markthalle Basel
Viadukstrasse 10, see p6
Liste 07
1pm-9pm, Burweg 15, see p6
Art Club
11pm-3am, Restaurant
Kunsthalle, Steinenberg 7
Clothing label Carhartt presents
DJ Blami and Dj Inaki.
Volta 03
12pm-9pm, Ultra Brag
Sudoquaistrasse 55
see p6
Art Film
10pm-12am, Stadtkino Basel,
Klostergasse 5
Screenings this evening include
Martin Creed’s Theatre Trailer
for a New Film, Allan Kaprow’s
Warm-Ups, Anthony McCall’s
Scope Basel
10am-8pm, E-Halle,
Erlenstrasse 15
Print Basel
11am-8pm, Messe fur Zeitgenossiche Druckgrafik, Rebgasse 12
3fVWPWb]`a O\R A^SQWOZ >`]U`O[a
=^S\ 2OWZg O[&^[
A^SQWOZ >`]U`O[a
1W\S[O BVS C< ^`]XSQb TSObc`W\U S[S`UW\U
Q]\bS[^]`O`g TWZ[[OYS`a T`][ <]`bV 9]`SO
1VW\O BOWeO\ 6]\U 9]\U AW\UO^]`S ;OZOgaWO
>VWZW^^W\Sa ;gO\[O` O\R 7\R]\SaWO
1c`ObSR Pg 2OdWR 4`OhWS`
1c`Ob]`WOZ BVW`bSS\ 3[S`UW\U 1]\bS[^]`O`g
AeWaa /`bWaba 1c`ObSR Pg @Sb] BVc`W\U
7\abOZZObW]\ /`bWaba /\]\g[]ca) >7F<7B)
5`OQ]) Gc[[g 7\Rcab`WSa) 7\dWaWPZS 6S`]Sa)
5O[OZWSZ @]R`WUcSh/gOZO 8ORS 4`O\YZW\)
;]\WYO 0`Od]
>S`T]`[O\QS BVS :]dS 1O\\]\) H]S EOZYS` <SWZ 0`][eWQV) /ZSf ;WZ\S
/RR`Saa 36OZZS 3`ZS\ab`OaaS #
0OaSZ AeWbhS`ZO\R 16"#&
A1=>3
3`ZS\ab`
;OcZPSS`ab`
/`b!&0OaSZ
@O[ORO
;ObbS\ab`
aQ]^S³O`bQ][
@WSVS\`W\U
A1=>30OaSZ8c\S %%
7\bS`\ObW]\OZ1]\bS[^]`O`g/`b 4OW`
6O[^b]\a% $ ':]\R]\ "
;WO[W #' <SeG]`Y ! $!
AQV]\Ocab`
;SaaS>ZObh
@]aS\bOZab`
A1=>3 Wa O TWdS [W\cbS eOZY
T`][ /`b 0OaSZ 1][^ZW[S\bO`g
AVcbbZS 0ca >SRWQOPa
Art awakens new ways of seeing the world. At UBS, we are proud to have been the
main sponsor for the last 14 years of Art Basel, the world’s leading art show. Just as art
is a means of sharing insight with people, we share fresh financial perspectives with
our clients in creating tailored investment solutions.
© UBS 2007. All rights reserved.