art basel 2006, issue 1
Transcription
art basel 2006, issue 1
Download every day’s edition from: www.theartnewspaper.com ART BASEL DAILY EDITION TUESDAY 13 JUNE 2006 $95m Picasso sale draws out top works in Basel BASEL. The sale of Picasso’s Dora Maar au Chat for $95.2m at Sotheby’s in New York last month, the second highest price ever paid for a work of art, is drawing top works by the artist to the market, a trend very much in Art Basel director to head Beyeler Foundation See page 5 evidence at the latest edition of Art Basel which opens to the public tomorrow. Many of these have never been seen publicly. Dora Maar au Chat sold to an unknown Russian buyer. He outbid four major collectors to secure the purchase: Las Vegas casino mogul, Steve Wynn, retail tycoon Leslie Wexner, the Israeli shipping magnate Sammy Ofer, and possibly Microsoft co-founder Paul Allen. There are also rumours that the Russian buyer of Dora Maar is discussing the acquisition of several more Picasso paintings with a major European dealer. The number of major Western collectors already prepared to pay large sums for Picasso paintings combined with the sudden influx of new money from Russia is turning the artist’s works into a distinct asset class. At Art Basel, Thomas Gibson (J5) is today unveiling a large, Photo: Katherine Hardy Late paintings by the artist, which have never been shown publicly, are at the fair High rollers hit art fair The carriages await. Chauffeurs line up in anticipation for the collectors arriving for the VIP opening of the 37th edition of Art Basel tonight. This year BMW vamps up its presence by adding Rolls Royces to its Art Basel fleet to accommo- 1969 Homme à la Pipe which has never been shown publicly before; he bought it back recently from the client to whom he originally sold it. “If you are a collector in your late 70s and you see these huge prices, inevitably you are going to be tempted to sell at the moment,” says Mr Gibson. Gmurzynska (V1) is also unveiling an important late Picasso today, which has never been on the market; a reclining nude from 1971. Robert Landau (J2) has a Tête date illustrious guests who include: the French footballer Zinedine Zidane, Mick Jagger, Miuccia Prada, Zaha Hadid, Francesca von Habsburg, Eli Broad, Michael Ovitz and François Pinault. de Femme (Jacqueline), 1957, which has never been published (priced between $4m and $5m). Richard Gray (S1) has a 1965 Femme Assise at $5m which has sold at auction only once, in 1991, while Helly Nahmad (Q3) has a fine range of works including a 1922 Femme en Blanc at $25m which has never sold publicly. Jan Krugier (B4), who represents the estate of Marina Picasso, is showing seven paintings, two sculptures, and several drawings by the artist. He says: “Prices have gone crazy. I don’t understand it anymore. Because of this, there are masses [of Picassos] coming out at the moment.” “It seems there is no satisfying the appetite in today’s market for Picasso’s work,” says art dealer Nick Maclean. The interest is nothing new. Over the last nine years, more money has been spent on Picasso than on any other artist. According to Artprice.com, the total amount spent on his works at CONTINUED ON P4 Revealed: Rosenquist’s monumental tribute to human rights BASEL. Standing in front of his monumental canvas at Art Unlimited yesterday, James Rosenquist said, “It’s the first time I’ve seen it”, explaining that he painted the 40-metre work in sections and that this is the first he’s seen all the pieces come together. In 1998 the artist was asked by the French government to design a ceiling for the Palais de Chaillot, the 1937 buildings which face the Eiffel Tower across the Seine. It was to commemorate the 50th anniversary of the signing of the Declaration of Human Rights, and Rosenquist conceived a gigantic, eight-section panorama. He completed it in four months; but the restoration of the Palais de Chaillot is still unfinished and the Celebrating the Fiftieth Anniversary of the Signing of the Universal Declaration of Human Rights by Eleanor Roosevelt, 1998 painting has never been installed. It is now on display thanks to Acquavella Galleries who are offering it for $9m. The work was intended for the ceiling of the Chaillot building before the entrance to the theatre. At the time, the New York dealer Richard Feigen represented Rosenquist, and he takes up the tale: “I arranged the original commission, and I can’t tell you how many trips I made to France. Each time the minister or government had changed, there was a brief Ministry of Human Rights but then that was abolished. And the roof leaked.” Prior to all this, Rosenquist had received the decoration of Chevalier des Arts from the then Culture Minister, Jacques Lang, but the French never followed through on the deal. “Rosenquist went to considerable expense, but the French never paid for the work,” says Mr Feigen. “My whole career, most works I was commissioned to make didn’t go where they were meant to,” says Rosenquist. When asked where he would like to see his huge canvas end up, Rosenquist suggested the UN or a similar organisation. G.A. ❏ For other projects at Art Unlimited, see p8 2 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 Gossip ■ Football comes first There was a time when art was safe from football fever—but no longer. Art Basel’s organisers had so many calls from worried exhibitors afraid of missing crucial World Cup matches that screens have been installed throughout the fair including in the VIP lounge and on the second floor of Art Unlimited. In 2008 Art Basel goes a step further: the fair dates have been moved forward to avoid a clash with the European Championships. Still, one London dealer, apparently oblivious to the current festivities surrounding the beautiful game, marvelled at the airport queues: “What on earth is going on in Germany?” ■ Smart dealers caught in shorts Should any Manhattan or London scenesters seem sartorially challenged at the Art Basel vernissage tonight, blame BA. For the crucial Sunday morning Heathrow-Basel flight was packed with fair regulars, including Marian Goodman (oddly not in first class), Maurice Tuchman, Clarissa Dalrymple, Andrew Ong and David Juda. So there were gasps of horror when the pilot announced: “On a seri- ous note we seem to be having some trouble with the luggage...” The whole contingent was stranded in their travelling clothes: the cases were still missing on Monday evening. Charles Govett of Paragon Press was stuck in his black shorts and vest and Goodman’s trademark Miyake was starting to look rumpled. Kadee Robbins bemoaned her “horrible plane outfit” while her fellow Michael Werner worker Gordon VeneKlasen admitted: “I’ve had to start bulk buying underwear. I’m supporting Hanro as they’re the family of Peter Handschin, one of our collectors and a sponsor of Liste.” Britto does Beyeler Who is collector Ernst Beyeler’s favourite living artist? Apparently it is the Brazilian Romero Britto. The unlikely pair are teaming up this week to publicise a portrait by Britto of the legendary Basel collector, signed by both parties. The work is on silent auction until 13 October, with bidding currently standing at $40,000. The final bid and the proceeds from a set of limited edition prints will go to Fondation Beyeler—although strangely the prints were removed from display at the foundation last week. Beyeler, at 82, is twice the age of Britto but the bond is strong, according to the artist. “Mr Beyeler is a god of modern art,” he says. Beyeler, the fabled founder of Art Basel, seems equally enamoured: “It was fascinating to work with Britto, who has a style of his own.” The fundraising drive has been organised by Britto’s Basel dealer, Rita Ficher Rohr, who says these days all art foundations, including the Beyeler, need to find cash. ■ Selling before a slide Glamour in Basel is as dependent on where you flew from as what form of jet you took. New York dealer-collector Tim Nye set the bar high by flying directly to the fair from—Disneyworld. “I was in Disneyworld which was really great. I must be the only person to sell a Robert Irwin sculpture from the top of the ‘Waterslide’ at Disney,” he says. The subtle, minimal and un-Disneylike Irwin disc from 1966 sold to a West Coast American collector at around the recent Christie’s auction price of $440,000. “I did the deal and then flew straight to Zurich. I suppose I should add that I was there with my five-year-old daughter,” says Mr Nye. ■ The princess and the pillowcase By contrast Chicago collector (and Museum of Contemporary Art Chicago Trustee) Sara Albrecht travels in style as befits the owner of that city’s fashion emporium Ultimo. “I always bring my own bed linen with me to Basel, several sheets and a pair of pillowcases, from Frette of course. Otherwise it’s just impossible to sleep.” ■ Homage to Sam Keller ■ Dealers under starters’ The debonair director of Art Basel is known to inspire admiration and envy throughout the art world. So it is no surprise that one of his devotees, a major European art adviser, has been seen hanging around Art Basel sporting a flesh-coloured skull cap to achieve the smooth pate of his hero, along with heavy make up and thick glasses. The result? The adviser in question is being hailed as the capo di tutti i capi by all those whose path he crosses. As they say, imitation is the sincerest form of flattery. Some dealers are hot off the blocks at Art Basel: on Monday morning at 10am, dealer Sean Kelly had already started collecting, snapping up works by Marcel Duchamp, Man Ray and Richard Long. When it was pointed out the fair does not officially open until Wednesday, Kelly quipped; “The fair opens when I start buying! Mind you, I hope we have a good fair, otherwise my wife will kill me.” orders from day one ■ Drowning by numbers Finally, spare a thought for Art Basel PR supremo Peter Vetsch, famous for his skills handling the press. In his quest to be available to all journalists at all times, at last year’s fair Mr Vetsch had all his calls forwarded to his mobile phone when he was out of the office. But unfortunately for all concerned, he gave out the wrong number. And so it was that an unsuspecting banker in the Swiss Alps received dozens of phone calls from increasingly disgruntled hacks in search of Mr Vetsch. A hasty, all-expenses-paid, VIP trip to Art Basel was arranged but the banker politely declined and took himself off on a hasty holiday abroad. ■ Dispatches from the Danube Thanks to Francesca von Habsburg’s Thyssen Bornemisza Art Contemporary Foundation (TBA-21), Turkish artist Kutlug Ataman’s 40-screen installation Küba is currently floating up the Danube on a customised ship. This ambitious “biennale on a barge” is visiting seven countries in seven weeks on its 2,000km journey from the Black Sea to the Black Forest: arriving a fortnight ago in Budapest, and this week in Bratislava. But because of its per- ART BASEL 2006 EDITION sonal material Ataman has vowed never to show his revealing mass portrait of the inhabitants of this Istanbul ghetto in his native country, where he has previously courted controversy with his gay feature films. Specially commissioned exhibitions have been left in the cities it has passed through (far right, Agár—the Hungarian Greyhound Project in Budapest). Fairgoers can get a flavour of the Bulgarian leg of the journey at Nedko Solakov’s A BG Bar, a 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 Subscriptions: In the UK: The Art Newspaper, PO Box 326 Sittingbourne, Kent ME9 8FA Tel: +44 (0)1795 414 863 fully functioning bar serving local tipples at the TBA-21 stand in Art Unlimited. More information on Küba at www.tba21.org, www.kuba.org.uk. Ossian Ward Fax: +44 (0) 1795 414 555 Email: [email protected] 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] The Art Newspaper ArtBasel Fair Daily edition Group Editorial Director: Anna Somers Cocks Managing Director: James Knox Editor: Cristina Ruiz Managing Editor: Jane Morris Assistant Editor: Gareth Harris Art Market Editor: Georgina Adam Correspondents: Marc Spiegler, Adrian Dannatt, Ossian Ward, Helen Stoilas Picture editor: William Oliver Production Manager: Eyal Lavi Photographer: Katherine Hardy Researcher: Elizabeth Williams Project Manager: Patrick Kelly Printed by Bazdruckzentrum ©2006 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 intreviews. While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers. 4 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 $95m Picasso sale draws out top works in Basel “Prices have gone crazy” CONTINUED FROM PAGE 1 auction last year was $148m. “Picasso is a dream,” says Helly Nahmad whose family company has been assiduously stockpiling works by the artist for decades. “He painted with incredible diversity, he was hugely prolific, every turn he took created new waves in art history. And there is great liquidity in his work.” Indeed, every year over 1,500 Picassos change hands at auction, and an unknown number through dealers. As well as the major paintings priced in the tens of millions, there is a rich offering of Picassos at many price levels this year at Art Basel, such as prints in the thousands of dollars with Cristea (L5). “It is interesting how the focus of collecting has shifted,” says Matthias Rastofer of Gmurzynska. “Twenty years ago, cubist works were the most desirable. Then it was a Marie-Thérèse or nothing else. Today either Blue period or late works are heavily sought after,” he says. As well as being the ultimate luxury brand, Picasso has also proved to be a good investment: according to Artprice.com, €100 invested in one of his works in 1997 had an average value of €165 in April this year. Georgina Adam The $95.2m Picasso (left) and the 1969 Homme à la Pipe, which is with Thomas Gibson (J5) Baltic investigated over Chris Burden bridge The Baltic Arts Centre in Gateshead, North East England, has faced an official enquiry over a commission by Chris Burden, the American artist whose cement installation, Beehive Bunker, is currently on display in the Messeplatz in Basel as part of the art fair. We can reveal that the investigation was undertaken by the National Audit Office, which scrutinises public spending on behalf of Parliament. It did not publish its findings but these were summarised in a letter last month to Liberal Democrat MP Alan Beith. For the opening of Baltic in July 2002, Burden made Tyne Bridge, a 30-foot replica of the The bridge of contention, and Burden’s Beehive Bunker, 2006, at the Messeplatz outside Art Basel Gateshead-Newcastle bridge, at a cost of £100,000. It is established practice that when UK public galleries commission works of art, the gallery initially pays pro- duction costs, and if the artist then sells a work, the expenses will be reimbursed. In early 2004, Tyne Bridge was bought for the Parisian headquar- ters of Louis Vuitton, whose chairman is the collector Bernard Arnault, for a figure believed to be £400,000. Serious efforts to recover the £100,000 costs paid by Baltic were not made until recently, when letters were sent to the artist and his gallery, Gagosian. These included threats of legal proceedings. Last week a Baltic spokesperson said that “all matters between Chris Burden and Baltic [were] settled”, in April. The gallery was unwilling to say whether a payment has been received and if it covers the full £100,000. The National Audit Office also raised questions about a £175,000 commission by former Turner Prize winner Antony Gormley, who now serves as a Baltic trustee. Martin Bailey ❏ For full story see: www.theartnewspaper.com 5 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 Exclusive interview with Art Basel director Sam Keller A “Art Basel is the world’s most important fair... and it will continue to be after I’ve left” rt Basel director Samuel Keller recently announced that he will become head of the Beyeler Foundation in 2008. His departure from Art Basel, which he has directed since 2000, has became a widely discussed topic in the art world. In an exclusive interview with The Art Newspaper, Keller discusses his decision, the transition and Art Basel’s future. TAN: Why are you leaving? SK: There are opportunities in life to which you can’t say no. Also, I care deeply about Art Basel and realised this would be the best possible way to leave my job—I am staying in the same city, and have almost two years to find a successor and properly introduce him or her to the art world. In terms of my successor, the first step is not to look at the person, but rather to look at the longterm structure. Then we’ll look internationally; this position is too important to limit the search to Swiss passport holders only. TAN: Would you consider having two directors, one for Art Basel and one for Art Basel/Miami Beach? SK: I don’t want to speculate, but different models are possible. Obviously, it doesn’t have to be the same person, but that’s something to discuss with the fair organisers. TAN: For years you’ve been an icon of the art world’s internationalisation. Why stay in Basel? SK: It’s a great place for art, and being here allows me to be a hometown person while working internationally—look at the example of architects Herzog & de Meuron. Also, I’m from the Riehen area, where the Beyeler Fondation is located. As a child I used to run around in the park that surrounds that museum. So it’s an emotional thing, too. But the main reason for the decision was Beyeler, because the Beyelers are among those most responsible for Basel being an art city, which inspired people like me, with no family art background. Beyeler founded the fair and he recommended me as the director. I wouldn’t be where I am without him, nor would the fair. TAN: Was directing a museum always an ambition for you? SK: I never had a career plan, I only knew that I wanted a role that brought me closer to art. One of the few problems with my current job is that the art is only in our halls twice a year. So I envy gallerists their day-to-day relationship with art and admired the way someone like Beyeler takes a painting in his hands and holds it in his lap like a child and praises it. TAN: Two years is a long time to be on the way out. SK: I wanted to leave Art Basel in the right way, which means realising all the ideas in the pipeline. In America it’s normal for people to announce their departure and leave immediately. In Switzerland we think long- term. Also, art fairs work in yearlong cycles. Continuity is very important and this time frame makes it possible. TAN: There’s a real fear in the art world that the fair will suffer once you’re gone. SK: Art Basel is built upon a wide organisation. It was the world’s most important fair before I came, it is now, and it will continue to be after I’ve left. I’m totally confident that the services and organisational skills that make Basel outstanding are in good hands. And I’m not disappearing, since I will stay involved in a consulting role as chairman of Art Basel, putting my experience and network to work for the fair, just as Beyeler has. TAN: People don’t associate the Beyeler Foundation with the type of contemporary work that became more prominent during your directorship of the fair. SK: I’ll only discuss the future of the Beyeler Foundation once I’m there, but Ernst Beyeler asked me to take care of his foundation, not to flip it upside down and change everything. Also, my interest in art has always been very broad, not limited by dates. For me, modern and contemporary are parts of the same body; the two belong together. That’s been my approach personally and with Art Basel—and I don’t see why that would change. Marc Spiegler 6 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 Opening reviews Collectors attracted to a bit of rough Despite the scruffiness, top collectors descend on Liste BASEL. Despite its designation as the “Young Art Fair”, Liste 06, in its 11th year, is the oldest alternative event around. To keep the fair fresh, the 59 exhibitors (a third here for the first time) are only allowed to attend for three or four years, and only show artists aged under 40. Liste has been a seedbed for upcoming galleries, and a third of past Liste exhibitors are now ensconced in Art Basel, including London’s trendy Herald Street Gallery and Hotel. Darren Flook of Hotel, who is showing in Art Statements, says he will miss the informal, fun atmosphere of Liste: “When we were accepted for Art Basel I though “oh, that’s wrecked everything, now I have to sit in the conference centre instead of having beer in the sun at Liste!” Others find the deliberate scruffiness of the fair off-putting, but it is thought to be the place to discover emerging names–as long as you don’t mind tripping over some of the art or sifting through a great deal of dross. Nonetheless, a posse of major collectors including Donald and Mira Rubell, Sue and Michael Hort, Michel Ringier, Miuccia Prada and Ethan Westfrank had clattered up the staircases and segued around the labyrinthine corridors yesterday, and business was reported to be brisk. This year Liste has built a tentannex to accommodate ten new exhibitors, and add space for the constantly increasing visitor numbers. Unfortunately the pillars supporting the black tent were distracting and the extra area is awkward, with no chance to stand back from most of the works of art. Among the newcomers to the fair in this section is the Parisian gallery Cosmic, showing work by a young British artist, James Hopkins. The gallery had pre-sold James Hopkins, Decadence and Demise, 2006, with Cosmic Gallery his original work, Decadence and Demise, 2006, (€20,000), a mixed media piece showing a skull with a globe and disco ball for the eyes, a line of beer bottles for teeth and a pair of champagne bottles for the nose. Also treating the theme of death was Sinner and Winner (2006, €8,500) a pearl necklace in the shape of a skull on top of a Bible. Liste certainly offers an internationally diverse range of galleries: another first-timer is Guangzhou’s Vitamin Creative Space showing Zheng Guogu’s Garden Project, (2004-06) with plastic flowering trees surrounding a large plinth covered in melted wax ($20,000). From Sweden, Natalia Goldin is showing very pretty detailed paint- ings on plexiglass by Anna Camner. Three out of four were sold before the fair. Poland’s Raster Gallery sold Zbigniew Rogalski’s Self Portrait, 2005, at the opening of the fair for €21,500, but the gallery had other Rogalski works available, as well as paintings by the equally fashionable Polish artist Rafal Bujnowski. Director Lukasz Gorczyca was fielding a constant flow of collectors as the fair opened. At the opening, the Oslo gallery Standard sold two of the three-edition The Coffeetableisation of Everything, 2006, a slab of a book enshrined in a perspex box but bare of any other ornament. Georgina Adam and Elizabeth Williams Design Miami/Basel kicks off in style BASEL. The first edition of Design Miami/Basel, which opened yesterday, has achieved a double coup: it is showing some of the best design pieces to be seen on the market in the last three months and has united 17 of the most high-profile dealers in the auspicious setting of the neo-Gothic Elisabethen Church, erected between 1857 and 1865, located behind the Kunsthalle. The French art fair FIAC was the first to combine design works and contemporary art in 2004. Then, Design 05 held last December during Art Basel Miami Beach was a huge hit. Now, the Swiss event is hoping to emulate the success of its Miami counterpart by bringing together the right buyers, the best works and the most striking venue. The new fair is certainly timely: Lounge Chair (1998) by the Australian designer Marc Newson recently sold at auction at Phillips de Pury in New York for a stunning $520,000. Jostling for attention at the Basel event are some of Paris’s top dealers, including Patrick Seguin (T3) who hopes to sell Serge Mouille’s 1956 Saturne Ceiling Lamp for around €400,000. Manhattan gallery Antik (C6) has a 1933 Aktaeon mask by Axel Salto at $85,000 while the Shanghai gallery Contrasts (C4) is exhibiting giant celadon skittles by Peter Ting (the gallery refused to disclose the price). Gabrielle Ammann gallery from Cologne (C2) has installed a lacquered bench (Iceberg, 2003) by the UK-based star architect Zaha Hadid, one of an edition of nine, on sale for around €40,000. Modernist works look more at home in the concrete foyer theatre underneath the church. The Vitra museum, Weil am Rhein, is displaying Prouvé tables on the staircase leading down to the theatre. The museum plans to hold a show of works by the French designer next year. A Scala light fitting by Poul Henningsen made for a cinema in Aarhus in 1955 is on sale for €38,000 at Dansk Moebelkunst gallery (T2). The R20th-century gallery from New York (C8) is showing bespoke furniture by the Brazilian Joaquim Tenreiro while Vittorio Introini’s Judd-like aluminium bookcase on sale at Philippe Denys’s stand (C7) contrasts with Galerie Downtown’s (C5) Nuage coloured bookcase by Charlotte Perriand (around €150,000). Look out for other star objects such as a Martin Szekely table at Kreo gallery (T7), on offer for €38,000, or a 1968 ornament representing a drop of rain by Gino Marotta on sale for €18,000 at La Galerie Italienne (T9). The fair continues until Friday at 2pm. Valerie Duponchelle Sought after: a desk version of Saturne Ceiling Lamp by Mouille Meanwhile in Zurich... ZURICH. Art lovers travelling to Switzerland from abroad to visit Art Basel teemed around Zurich’s active scene all of last weekend as a warm up for the main event, starting with the Friday launch of Grieder Contemporary, the new space opened by Damien Grieder, which is housed inside his newly renovated post-war modernist house in Kusnacht, along the city’s “Gold Coast”. Reflecting Grieder’s days as co-founder of Berlin’s now-closed Galerie Grieder von Puttkamer, his guests included the German capital’s dealers Thilo Wermke and Matthias Arndt and major collector Stephan Landwehr, alongside London collector Charles Asprey and dealer Henry Alsop. The stun- ning view of Lake Zurich and a long-awaited warm evening clearly invigorated his guests. “I thought I threw the last ones out at 4.30 in the morning,” Grieder says. “But in the morning I discovered more of them in the house.” The next night, the Zurich Kunsthalle and de Pury Luxembourg gallery threw adjoining openings followed by competing parties. The dinner in the Zurich Kunsthalle was framed by a major retrospective of Los Angeles painter Laura Owens, and animated by artist Annelise Coste’s DJing, while next door newly appointed Baltic programme director Jérôme Sans did double duty: he had co-curated the show, which Koons, Warhol, and Hirst—as seen by Pat York included bad-boy artists such as Kendell Geers and Kader Attia (see p8), alongside a live tattooing booth featuring designs from Wim Delvoye; after dinner, his band Liquid Architecture enter- tained the guests. Sunday was more civil. A packed brunch at Galerie Gmurzynska featured work by Greek artists alongside photographs of famous artists such as Jeff Koons, David Hockney and John Baldessari snapped by Pat York (wife of actor/collector Michael York). “We’re going to be doing a major book of the photos,” says the gallery’s Matthias Rastorfer. Meanwhile, the Kunsthalle-organised Contemporary Art Day Zurich took American collectors such as David Teiger and the Rubells around Zurich’s best corporate and private collections before escorting them to the Limattstrasse 270 complex of galleries and museums, finally depositing them at the home of powerhouse local collector Maja Hoffman for a dinner described by one attendee as “mind-blowingly stylish.” Marc Spiegler 8 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 Art Unlimited David Claerbout’s violent assault on the eyes Photo: Katherine Hardy ■ The Belgian artist David Claerbout is best known for his photolightboxes of Venice installed in blacked-out galleries, which slowly reveal themselves to be eerie, glowing landscapes once the viewer’s eyes adjust to the darkness. His latest video projection, White House at Galerie Micheline Szwajcer (D4) seems, on first viewing, to be a ten-minute Francophone Shakespearean gangster flick, with the two protagonists embroiled in a bitter duel to the death. A series of violent assaults—a shooting, a beating and a brutal head-crushing scene—are played out theatrically in front of a gleaming white neo-classical façade. His strange tale might even be mistaken for a political comment on African immigration. But it becomes apparent on repeat viewings that the piece is a meditation on changing light phenomena at different times of the day. Seventy near-identical takes of the same surreal scene were shot over 24 hours as the intensity of light changes gradually from sunrise to sunset. Ossian Ward ■ Spectacle is everything in the hangar-like hall of Art Unlimited where artists are given carte blanche to show head-spinning outsize, single works. This seventh edition consists of 74 “extravagant, ambitious or special projects” says the curator Simon Lamunière. The bigger, the better for German artist Carsten Höller who likes making works for colossal spaces. His Mirror Carousel, a full-size working fairground ride is on sale for $400,000 with Gagosian (F10). Höller goes out of his way to disorient viewers with his “confusion machines”. The chairs of the silently rotating ride, a mass of mirrors and lightbulbs, move in the opposite direction to the central column. Höller told The Art Newspaper that visitors to the fair should “not really” ride on the attraction, “for safety reasons, but it is constructed to do so”. This ruling did not however stop viewers from taking a spin on the metallic merry-goround at the opening. A second “outdoor version” of the carousel (Carousel Mirror, 2006) goes on show next month at Sudeley Castle in central England in a group exhibition organised by Gagosian director Mollie Dent-Brocklehurst (1 July-31 October). Höller is also taking up the challenge of filling another gargantuan arena, the Turbine Hall of London’s Tate Modern, in October. Gareth Harris That sinking feeling: Attia closes in on visitors narrow mirrored room with giant drills burrowing down from ceiling to floor. The drills’ slow rotation and the mirrors’ repeating images create a feeling of both free-falling through space and Photo: Katherine Hardy ■ Paris-based artist Kader Attia loves to unsettle his audience. His new installation at Art Unlimited this year, Infinities (F4), has a sign outside warning visitors to enter at their own risk. Inside is a being squeezed by the walls. Attia suggests that it would be interesting to have a claustrophobic person enter the room and address their fears. By using art as a psychoanalytic tool, Attia says: “I believe I am following the tradition of art therapy of the 1970s with this work”. He adds that if this installation were to be shown in a museum, visitors should enter alone so that they have no other point of reference. Priced at €160,000, the work has already excited the interest of, among others, a Swiss and a US collector. This new piece is less political than Attia’s previous installations, which include last year’s Loop, a large tent at Art Unlimited which contained a whirling dervish and spinning breakdancers, and referred to the clash between traditional Islamic culture and the interests of contemporary Islamic youth. It was bought by Simon de Pury for around €80,000. The artist is also showing a series of drawings examining Jewish and Islamic lifestyles in Paris with his Swedish gallery AndréhnSchiptjenko in the main fair (K3). His work is also part of a group exhibition at the gallery Caratsch de Pury & Luxembourg in Zurich until 29 July (see p6). Helen Stoilas Julius Popp: making a splash ■ Visitors to Art Unlimited walk straight into a mesmerising piece at the entrance: a waterfall by the German artist Julius Popp that spells out words and figures (C10). This 2006 work, entitled Bit.fall, consists of 360 nozzles which project a “curtain” of watery text across eight metres made up of current buzzwords selected from internet news websites. The words and numbers depicted appear randomly before falling into a tank where the water is then recycled. An earlier version of this work from 2005 is in the Saatchi collection. Bit.fall is priced at just under €100,000 but it is already reserved by a “major European collector”, possibly French billionaire François Pinault, although the Parisian gallery Jocelyn Wolff would not reveal the buyer’s identity. Wolff also has a stand in Statements (A22), with work on show by Leipzig artist Clemens von Wedemeyer. Georgina Adam Photo: Katherine Hardy Carsten Höller’s fair (ground) attraction THIS PAGE IS BROUGHT TO YOU BY UBS The UBS Art Collection Art is a reflection of who we are, as individuals and as a corporation. It reminds us of our common past and points to the future. This is also true for UBS. The UBS Art Collection reflects the ground that UBS has covered in becoming one of the largest financial institutions in the world. It contains the most important works from our previous collections in the US and Europe while simultaneously making reference to the business areas that have been integrated into the company. Each of the companies that have become part of the UBS Group in the last few decades has a long history. Union Bank of Switzerland and Swiss Bank Corporation, the two forerunners of UBS, and PaineWebber were founded in the 19th century, while SG Warburg was established at the beginning of the 20th century. And all of these companies shared the same conviction: creative thinking and prudent risk tolerance lead to allaround success. The main part of the collection stems from the merger of UBS and PaineWebber in 2000. Donald B. Marron, who is himself a first-rate collector and former CEO of PaineWebber, built one of the most important collections of contemporary art in the US over the course of thirty years. His first acquisitions were prints, followed later by drawings and paintings. They included works by Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Frank Stella and Ed Ruscha, who at the time were still in the early stages of their careers. Although the collection includes a variety of styles, it never claimed to offer a comprehensive overview of contemporary art. Quality is a much more important consideration when selecting works of art. Indeed, although the collection includes the works of internationally established artists such as Chuck Close, Lucian Freud, Jasper Johns, Anselm Kiefer, Roy Lichtenstein, Elizabeth Murray, Susan Rothenberg and Frank Stella, special attention was also paid to younger artists such as Carroll Dunham, Günther Förg and Kiki Smith. The UBS Art Collection brings together the works of PaineWebber with those of the two forerunners of UBS, Union Bank of Switzerland (UBS) and Swiss Bank Corporation (SBC), each of which followed different approaches in acquiring their col- lections. SBC specialized in Swiss artists, while UBS focused on young international artists and made the promotion of young talent one of the most important objectives of the collection. The present-day UBS, which was created from the merger of the two banks in 1998, decided to combine both of these emphases. With the introduction of a unified brand in 2003, the question for UBS was whether the works of art, which were held all over the world, should be consolidated or even sold. UBS decided to keep them and assemble an art collection which is now highly regarded around the world. In 2004, independent experts reviewed the entire collection worldwide and selected those works that are museum-quality. The result of this review is The UBS Art Collection, which was officially presented to the public in December 2004. The UBS website (www.ubs.com/artcollection) also offers an online museum that allows visitors from around the world to see the collection as part of a virtual exhibition. With more than 900 paintings, photographs, drawings and sculptures created over the last half century by some of the world’s most important artists, The UBS Art Collection is considered to be one of the most significant corporate collections of contemporary art in the world today. Most of the artwork in the collection is used to decorate offices and other spaces in UBS branches around the world. As a result, the size of the collection, and to a certain degree the size of the works of art, is limited. In some respects, however, the collection veers away from traditional ideas. Corporate collections are often characterized by a certain neutrality and an emphasis on “harmless” genre paintings – preferably landscapes and still lifes. These criteria do not apply to The UBS Art Collection, which is consequently not restricted to particular schools or styles. Another unique feature of The UBS Art Collection that distinguishes it from most other corporate collections is its vitality and quality. To maintain this high standard, the pieces in the collection are regularly reappraised and revalued. Furthermore, in conjunction with independent experts (curators and members of the advisory board), UBS assesses whether top-quality pieces should be purchased for the collection. It © Chuck Close, courtesy of PaceWildenstein, New York Reflection of a company, reflection of our time Close, Chuck, Self-Portrait, 1991, part of The UBS Art Collection makes no difference whether the works are by an established artist or an up-and-coming talent. Nor are the works to be kept solely in the Bank’s offices. They will in future be shown in numerous museums around the world as a separate collection. One of the first exhibitions of The UBS Art Collection took place in spring 2005 in prestigious surroundings: the great museum for contemporary art, the Museum of Modern Art in New York, which opened the exhibition Contemporary Voices: Works from The UBS Art Collection, comprising seventy works in a variety of artistic forms, including painting, sculpture and photography, by European and American artists active over the past fifty years. Most of the works were shown at the Museum of Modern Art for the first time. In the following winter of 2005/2006, some exhibits from The UBS Art Collection were presented to a European audience for the first time at the Fondation Beyeler in Basel. The UBS Art Collection’s journey continues. Since the end of May this year, over 50 photographs from The UBS Art Collection have been on display in London to mark the complete re-hang of Tate Modern’s permanent Collection (http://www.tate.org.uk/), which is supported by UBS. The UBS Art Collection thus remains true to its dynamic vision. UBS Openings: Tate Modern Collection 2006 is at Tate 10 THE ART NEWSPAPER ART BASEL DAILY EDITION 13 JUNE 2006 Exhibitions in Basel ■ Matisse: Figure, Colour, Space With 160 paintings, 25 sculptures, 80 drawings and prints by Matisse, this large-scale survey, organised in collaboration with K20 Kunstsammlung NordrheinWestfalen in Düsseldorf, covers the artist’s entire career. Fondation Beyeler, Baselstrasse, 101, ☎ 061 645 97 00, Thu-Tue: 10am-6pm, Wed: 10am-8pm. Over 100 drawings and 40 paintings are on view, some from the Kunstmuseum’s permanent collection and others on loan from the private collection of the Prince of Lichtenstein. The show traces Holbein’s career from a painter of religious subjects to a court artist of international fame. Kunstmuseum Basel, St AlbanGraben 16, ☎ 061 206 62 62, TueSun: 10am-5pm, Wed 10am-8pm, closed Mon. and Francis Alÿs Strasse 170, ☎ 061 312 83 88, ThuTue: 11am-5pm; Wed: 2pm-8pm. English artist Tacita Dean and Belgian artist Francis Alÿs both refer to walking, travelling and ephemeral objects or events in their work. On view are 17 film installations, drawings and photographs by Tacita Dean and the Sign Painting Project, a single, extensive work by Francis Alÿs. Schaulager, Ruchfeldstrasse 19, ☎ 061 335 32 32, Tue, Wed, Fri: noon-6pm, Thu: noon-7pm, SatSun: 10am-5pm. ■ Joe Colombo Furniture designs and sketches, photography, films, plans and architectural models by the classic 60s designer, who created the Elda armchair, the Universale chair and the Alogena lamp. Vitra Design Museum, CharlesEames-Strasse, Weil-am-Rhein, ☎ +49 7621 702 32 00, Tue-Sun: 11am-6pm. From the Badischer Bahnhof, take bus number 55. ■ Tacita Dean ■ ■ Lee Lozano This first extensive solo show of American artist Lee Lozano in Europe includes figurative paintings and sketches from the 60s, conceptual art and drawings. His “Wave” series is included. Kunsthalle Basel, Steinenberg 7, ☎ 061 206 99 00, Tue, Wed, Fri: 11am-6pm, Thu: 11am-8.30pm, Sat-Sun: 11am-5pm. Starting out as a mainly abstract painter, the German artist Daniel Richter has shifted towards figuration in recent years, and this show present a selection of his paintings from the last five years. Also on view is a selection of works by national and international artists collected by the Emanuel Hoffmann-Stiftung, including paintings, video installations and photography. Museum für Gegenwartskunst, St Alban-Rheinweg 60, ☎ 061 206 62 62, Tue-Sun: 10am-5pm, closed Mon. ■ Edgar Varese Jointly organised by the Paul Sacher Foundation and the Museum Tinguely, this show is dedicated to the great 20th-century composer who influenced modern and contemporary artists such as Calder, Duchamp, Miró, Le Corbusier, and Man Ray. On view are scripts, photographs and objects from Varese’s life, as well as sound installations of his music. Museum Jean Tinguely, Paul Sacher-Anlage 1, ☎ 061 681 93 20, Tue-Sun: 11am-7pm, closed Mon. ■ Hans Holbein the Younger: the Basel Years, 1515-32 Daniel Richter and Emanuel Hoffmann-Stiftung ■ Jan Christensen, Martin Walde, and Andreas Hagenbach Jan Christensen has created the large-scale outdoor installation Exit Basel specifically for the Kunsthaus Baselland, which is also showing an exhibition of his prints and paintings. Also on view is the first solo show in Switzerland of the Australian installation artist Martin Walde, and a new series of photographs by Andreas Hagenbach. Kunsthaus Baselland, St Jakob- ■ Today’s events Breakfast Art Film 8.30am-11am, the Belle Epoque room, Hotel Les Trois Rois (Drie Könige), Blumenrain 2 With Benedikt and Lauren Taschen. 10pm-midnight, Stadtikino Basel, Steinenberg 7 A programme of films by artists, curated by Benjamin Weil of SFMOMA.Tonight’s offerings include Yasumasa Morimura’s “Me Holding a Gun: for Andy Warhol” (1998) and Kendell Geers and S-338’s, “The Story of the Eye” (2002). Design Miami/Basel 9am-2pm, Elisabethenkirche and Foyer Theatre, Elisabethenstrasse 10 and 16 The first Basel edition of this fair presents modern and contemporary design and decorative arts from 17 international design galleries (see p6). Art Club 11pm-3am, Campari Bar, Kunsthalle Basel, Steinenberg 7 With DJ Iñaki and Blami.