art basel 2013, issue 2

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A RT BASEL DAILY EDITION 12 JUNE 2013
Importance
of being
abstract
Venice Biennale
could open
earlier in May
Potential 2015 clash
with Frieze New York
Abstract art dominates the fair as collectors seek less
flashy works and artists begin to update the form
TRENDS
Basel. Abstract art, the form that dominated the 20th century, once again
reigns supreme at the 44th edition of
Art Basel. As the fair opened yesterday
to the great, the rich and the famous—
including the man of the month, Massimiliano Gioni, the director of the
Venice Biennale, Russia’s power couple
Roman Abramovich and Dasha Zhukova, and the actors Leonardo DiCaprio
and Lukas Haas—visitors were confronted with a variety of nonrepresentative, non-figurative art.
Historical pieces by abstract pioneers
include kinetic sculptures by Alexander
Calder (such as Blue Flower, Red Flower,
1975, at Tina Kim/Kukje, 2.0/F6, priced
at $2.8m), Minimalist wall pieces by
Donald Judd (including Untitled (Ballantine
89-49), 1989, priced at $2.4m with David
Zwirner, 2.0/F5) and various large abstract works by Richter (a 1984 example
FAGERSKIOLD: ERMANNO RIVETTI. RICHTER: © DAVID OWENS
“Collectors want depth.
The years of the loud,
funny works are over”
is on show at Richard Gray Gallery,
2.0/E4, priced at $6.5m; a piece from
1992 is on offer with Dominique Lévy
Gallery, 2.0/F4, for “under $20m”). In
equal abundance are works by contemporary artists who have taken on
the abstract mantle, including Christopher Wool (Untitled, 2001, at Luhring
Augustine, 2.0/E13, $1.5m) and Albert
Oehlen (FM44, 2011, which sold to a
European collector for €250,000 within
hours of the fair’s opening at Galerie
Max Hetzler, 2.0/E7).
“The abstract abounds,” says Lisa
Spellman, the founder of New York’s
303 Gallery (2.1/J21). She is showing
non-figurative works priced between
$150,000 and $250,000, including two
large 2013 works by the gallery’s recently recruited artist Jacob Kassay,
which were bought together by a European private collector, and six ceramic
works by Nick Mauss, which
sold for $23,000 each. Sean
Kelly (2.1/N2) designed
his stand according
to “different ideas
of abstraction”,
centred around
Joseph Kosuth’s
Titled (Art as Idea
as Idea), 1967,
priced at €100,000.
“There’s a lot of
really good [abstract] work being
done across all media
right now—painting,
photography, conceptual—
and we wanted to reflect that,”
he says. New works on show include
Callum Innes’s Untitled, 2013, a large
oil and shellac canvas, which sold to a
private US collector for £50,000.
The artist Ad Reinhardt famously
said that his 1960s “black” abstract
works marked the end of painting, but
the abstract form “remains wide open
to fresh contributions”, says Robert
Storr, the dean of the Yale University
School of Art, who is organising a Reinhardt exhibition for David Zwirner in
New York this November. It is “one of
the great inventions of Modern art that
is barely a century old”—rather, it is
“a century young”, he says.
Can today’s artist move the onceradical form in a new, meaningful direction? “The problem is, there is a
group of lower-tier abstract painters
CONTEMPORARY ART
EVENING & DAY SALES 27 & 28 JUNE LONDON
Paul Fägerskiöld, Untitled (Yellow), 2013, at Galerie
Nordenhake (2.1/P9), and Gerhard Richter, 924-1 STRIP,
2012, at Marian Goodman Gallery (2.0/B17)
who are good and
whose work looks
beautiful, but what
they are bringing to the
table in terms of art history is
nothing new. They are not adding to
the conversation,” says the New Yorkbased art adviser Lisa Schiff.
She highlights exceptions whom
she thinks are “making enough of a
formal innovation to stand alone”. These
include the US artist Garth Weiser,
whose Sedaka, 2013, sold for $55,000 to
a private US collector within half an
hour of the fair’s opening at Casey Kaplan (2.1/N16). Massimo De Carlo (2.1/N3)
has hung three equal-sized abstract
works by different artists next to each
other, to “explore the possibilities of
abstract art”, says Flavio del Monte, the
gallery’s institutional relations manager.
“We are bombarded by images everywhere today, so it is important for
artists to take some distance,” he says.
Loring Randolph, a director at Casey
Kaplan, says: “The abstract is always
relevant; you can have a rhetoric behind
it that can be whatever you want.” Today’s practitioners, she says, “think
about how the concept [of the abstract]
and the process can work together”.
Process is key: artists are experimenting with materials and technology
that were previously unavailable, to
update the form. Denise René’s stand
(2.0/D19) includes works by the Brussels-based artist group LAb[au]. The
pieces, such as Particle Springs, 2011,
priced at €27,000, use computer algorithms to create moving, smoke-like
patterns on monitors. Mitchell-Innes
& Nash (2.0/E6) is showing avant-garde
masters such as Franz Kline (Provincetown
II, 1959, around $10m) alongside younger
artists including Keltie Ferris (LaissezFaire, 2013, $50,000), whose work is inspired by graffiti and digitalisation.
CONTINUED ON PAGE 2
MoMA buys Kelly’s sculpture
The Museum of Modern Art (MoMA) in New York has acquired Ellsworth
Kelly’s Black Form II, 2012, from Matthew Marks Gallery (2.0/A14). The aluminium wall sculpture, which resembles a bulbous capital C and measures
seven feet by six feet, is currently on display in the New York gallery’s show
of recent work by the American artist, who celebrated his 90th birthday on 31
May. (The work also graces the cover of the latest issue of the revived art
review Cahiers d’Art.) Nine museums, including MoMA and Tate Modern in
London, are mounting special presentations this year to mark Kelly’s landmark birthday. Prices for works in Marks’s exhibition (“Ellsworth Kelly at
90”, until 29 June) start at $2m, according to a report published by
Bloomberg. A representative of MoMA confirmed the acquisition but declined
to comment further. J.H.
Venice. The Venice Biennale may move
the opening of its 2015 exhibition to
the first week of May. According to a
source in the organisers’ office, the
show’s management team is looking
into co-ordinating the private view of
the next edition with the opening of
the World Expo in Milan, which begins
on 1 May 2015.
If the change goes ahead, it would
put increased pressure on art dealers
and curators who are already struggling
to meet the demands of a jam-packed
spring calendar. The Biennale’s opening
week could potentially overlap with
Frieze New York, which takes place in
the second week of May. The move
could alienate art dealers who heavily
subsidise the production of new work
for the Venice exhibition.
A spokeswoman for Frieze says:
“We’ve not set our 2015 dates yet.” She
declined to say if the fair could consider
rescheduling its New York event.
Sooner rather than later? The Biennale
could begin in the first week of May
Previous editions of the Biennale
have opened just before Art Basel in
June. But for the past two editions,
Venice has scheduled its opening earlier;
this year, the private view closed on 31
May, ten days before the first VIP preview day of Art Basel yesterday.
“It [made] no sense to go to the
[Venice] opening and then wait a week
for Basel,” says the New York-based
collector and gallerist Adam Lindemann.
“I would have preferred [to go] to the
opening of the Biennale and then to
Basel immediately [afterwards],” agrees
Robbie Antonio, a property developer
and collector from the Philippines.
“Of course we would prefer it if the
Biennale’s opening and Art Basel were
co-ordinated, but they haven’t been for
the past couple of editions and it hasn’t
had a negative impact on us,” says Marc
Spiegler, Art Basel’s director.
A spokeswoman for the Biennale
says: “The dates of the [2015 edition]
have not yet been officially confirmed.”
Cristina Ruiz
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
2
NEWS
In brief
Put your feminist foot forward
There are plenty of pieces to be found at Art Basel by older female artists, whose work is increasingly valued
The top ten auction
prices for the
American artist
Alice Neel (190084) have been
made within the
past six years.
Elizabeth, 1983
(left), a portrait of
the artist’s granddaughter, is one
of two paintings
by Neel with David
Zwirner gallery
(2.0/F5; priced at
$600,000). A show
of her work is
currently on view
at Sweden’s Nordic
Watercolour
Museum (until
8 September)
Basel. Has the art market found its
feminine side? Women artists, particularly those of an older generation, occupy considerable space at Art Basel
this year. New York’s Alexander Gray
Associates (2.0/G4) has devoted its display
to the octogenarian painter Joan Semmel, while Cheim & Read (2.0/C14), also
of New York, sold a nine-foot-long untitled painting by Joan Mitchell, which
dates to 1956, for $6m within the first
20 minutes of the fair. At Alison Jacques
Gallery (2.1/P18), an aluminium sculpture
by the Brazilian artist Lygia Clark, Bicho
Contrário II (maquette), 1961, is on reserve
at $1.5m. Her profile, like that of many
women artists from the mid- to late
“Artists don’t have to
be young—or even
alive—to be
contemporary”
20th century, is rising quickly. A similar
work sold in 2010 for €200,000—vastly
less than today’s price.
Some dealers attribute the growing
interest in older women artists to recent
international biennials, which have
opted to rediscover overlooked talent
rather than forecast future stars. “Those
exhibitions have told us that it is OK
to show artists from all eras,” Jacques
says. “Artists don’t have to be young—
or even alive—to be contemporary.”
Jacques is presenting two paintings by
Dorothea Tanning ($65,000-$150,000),
who is included in Massimiliano Gioni’s
“Encyclopaedic Palace” exhibition at
the Venice Biennale. The Beirut- and
Hamburg-based Sfeir-Semler Gallery
(2.1/P13), meanwhile, is offering work
by the 88-year-old artist Etel Adnan
and the 67-year-old Cairo-born artist
Anna Boghiguian (€10,000-€20,000), both
of whom gained wide notice last year
at Documenta 13.
The growing visibility of these artists
is no coincidence. Curators who admired
their work as students are now old
enough to advocate for them. “My generation, which is coming out of the
1990s, was really interested in this
work,” says Connie Butler, recently appointed chief curator of the Hammer
Museum in Los Angeles. She organised
the first major museum show of early
feminist art, “Wack! Art and the Feminist
Revolution,” which opened at the Museum of Contemporary Art, Los Angeles,
in 2006. “It does take time for a new
generation to be in power. It’s hard to
imagine now, but ten years ago, you
couldn’t see this work anywhere.”
Despite the growing interest, many
older women artists remain less expensive than their male contemporaries.
At Galerie 1900-2000 of Paris (2.0/D6),
a small sculpture by the Fluxus artist
Importance of being abstract
CONTINUED FROM PAGE 1
For some, abstract art provides the
chance to explore art history in a new
way. At Galerie Nordenhake (2.1/P9),
the 29-year-old artist Paul Fägerskiöld
has used spray paint to create a homage
to both Jackson Pollock and the Pointillists in his monochrome Untitled (Yellow),
2013, €25,000, which sold to a private
German museum. At Sperone Westwater (2.0/E10), Emil Lukas’s thread-painting diptych panels Curtain East and Curtain West, 2013, which sold for $65,000,
are influenced by Sol LeWitt.
The trend is market-led, too. The
boom years were characterised by flashy,
self-explanatory art, but there has been
a return to more thoughtful, abstract
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forms such as those produced by artists
within the European Zero group. “We
staged an exhibition of their work in
2008, which raised consciousness for
an American audience to whom the
work seemed new. The response was
strong and has increased,” says Angela
Westwater, the co-director of Sperone
Westwater. The gallery is showing works
by artists associated with the group,
including Lucio Fontana’s Concetto
spaziale, 1958, priced at around €1m,
and Otto Piene’s 1975 oil and fire on
canvas, Red Matters, priced at €250,000.
Meanwhile, post-recession records have
been achieved at auction for works by
abstract artists, including the $43.8m
paid for Barnett Newman’s Onement VI,
1953, at Sotheby’s in New York
last month. “Collectors now
want quieter, intellectual art
with more depth. The years
of the loud, funny works are
over,” says Bob van Orsouw (2.1/P17),
who is showing works including a wall
sculpture by the Dutch conceptual artist
Ger van Elk (Los Angeles Freeway Flyer,
1973, €125,000).
The fact that much abstract art is
easy on the eye (and looks good above
the sofa) could be one of the attractions
for some of the new buyers who have
entered the market since 2008, according
to some in the trade. “It doesn’t seem
so long ago that figurative art was the
latest fashion; now it’s good-looking
Joseph Kosuth, Titled (Art as Idea as
Idea), 1967, Sean Kelly Gallery (2.1/N2)
abstract,” one London dealer says. Others
do not see the problem. “Who says that
decorative art is not also serious art?
Matisse and virtually all of Islamic tradition attest to the fact that it is or can
be,” Robert Storr says, adding: “Is Mondrian eye-candy?”
Charlotte Burns, Melanie Gerlis and
Julia Michalska
Public Art Fund director
to organise Miami show
The next curator of Art Basel Miami Beach’s
open-air sculpture exhibition, due to take
place in December, will be Nicholas Baume
(above), the director and chief curator of
the New York-based Public Art Fund.
Entitled “Public”, the third edition of the
exhibition will be co-produced with Miami
Beach’s Bass Museum of Art. The event will
be staged in the waterfront park in front of
the institution and near the city’s convention centre. Baume says: “I’m an Australian
who is an adoptive New Yorker, so palm
trees, tropical breezes and the beach are
my natural habitat.” He is looking forward to
installing ambitious new works by major
artists, possibly in dialogue with historic
works, he says. Baume has led the Public
Art Fund since September 2009. The fund’s
exhibitions have included solo projects by
Ugo Rondinone, Thomas Schütte, Monika
Sosnowska, Paola Pivi and Ryan Gander. J.P.
Head of Spanish museum
leaves after three months
Eva González-Sancho (below) has resigned
from the Museo de Arte Contemporáneo de
Castilla y León (Musac) in Spain after only
three months as director. She will be
replaced by Manuel Olveira, the former
director of the Centro Galego de Arte
Contemporáneo. Criticising the “interference” of the Fundación Siglo and the regional
ministry of culture, González-Sancho says
she left because she does not have independent control of the artistic programme
and the running of the museum. GonzálezSancho, who was the director and curator of
FRAC Bourgogne from 2003 to 2011, is the
third director to leave
the Spanish institution in four years.
The founding
director of the
eight-year-old
museum, Rafael
Doctor Roncero,
who left four years
ago, says the development is “one of the saddest [moments] in my life”. Victor del Rio,
one of three members of Musac’s advisory
committee who have left in support of
González-Sancho, says: “There is a common
denominator in the resignation of three
directors, and somebody in the board
needs to reflect on this.” Another former
director of Musac, Agustín Pérez Rubio,
who is speaking at Art Basel Conversations
tomorrow, also resigned because of political
interference. L.R.
• For more information on tomorrow’s
Art Basel Conversation, see p9
BILL VIOLA
FRUSTRATED
ACTIONS
AND FUTILE
GESTURES
NEEL: ERMANNO RIVETTI
TRENDS
Alison Knowles can be had for as little
as €500, while a work of similar scale
by Erik Dietman, Nastan 1 m Plaster runt
en miljofordarvare, 1964, is priced at
€3,000. “The truth is, [the Knowles] is
still unsold, which means it is not easy
to sell,” says Marcel Fleiss of the Parisian
gallery, adding that he has not raised
Knowles’s prices since the 1980s.
The dealer Hendrik Berinson of Galerie Berinson (2.0/C11), who is showing
drawings by the artists Unica Zürn
(€30,000-€40,000) and Meret Oppenheim
(€22,000-€32,000), distinguishes between
the market for overlooked women and
that for young, flashy, (often) male
talent. “They are parallel, but don’t
really intersect,” he says. “The audiences
are different.”
Basel’s museums still resemble something of a boys’ club when it comes to
exhibitions coinciding with the fair.
Matthew Barney showed at the
Schaulager in 2010; Steve McQueen is
on view this year. The Fondation Beyeler
has a Max Ernst, Maurizio Cattelan and
Andy Warhol treble bill. Theodora Vischer, the Beyeler’s senior curator, calls
the lack of shows of women “a shame”,
but notes that the Beyeler mounted a
Louise Bourgeois show in 2011-12.
“You still don’t see parity if you
look at private collections and museum
collections,” Butler says. But “there are
more than a handful of collectors focusing on women. People are making
the case that representing a diverse
history is more interesting. It is also
more reflective of what the history actually was.”
Julia Halperin, with additional
reporting by Javier Pes
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
4
NEWS ANALYSIS
Power of one
More galleries are bringing single-artist shows to
fairs, but is the risk paying off?
“Solo booths have grown
in popularity because
they offer respite in this
oversaturated climate”
In the main Galleries section of Art
Basel, only a handful of dealers are
bringing solo presentations this year,
including Peter Blum Gallery (2.0/A2),
showing work by Helmut Federle,
whose retrospective at the Kunstmuseum Luzern opens this autumn, Daniel
Blau (2.0/B4), who is exhibiting previously unseen drawings by Warhol, and
Galerie Löhrl (2.0/B1), which is showing
around 20 drawings and paintings by
Terry Fox, priced between €5,000 and
€35,000. Dietmar Löhrl has been bringing solo presentations to Art Basel for
the past six years. With a small booth—
around 50 sq. m—Löhrl says his strategy
is not commercially driven; he hopes
instead a museum will buy Fox’s works.
Among the dealers doing solo shows is Peter Blum, whose stand is dedicated to the artist Helmut Federle
Marc Spiegler, the director of Art
Basel, says that while solo shows are
still rare in the Galleries section, “we
are seeing an increase in presentations
that display one or two artists in more
depth. A good example is Hauser &
Wirth’s [2.0/C10 at Art Basel] stand at
Miami Beach last year, where they exhibited work by Roni Horn and Guillermo Kuitca. We also increasingly see
booths that show multiple artists, but
where the focus of the stand really is
on one artist.”
Beyond Basel
Solo booths and focused stands are on
the rise at other fairs too. Katerina
Gregos, the artistic director of Art
Brussels, encourages galleries to “consider their booths curatorially” and is
MAX ERNST
26. 5. – 8. 9. 2013
MAURIZIO CATTELAN
8. 6. – 6. 10. 2013
ALEXANDER CALDER
8. 6. 2013 – 2014
FONDATION BEYELER
Foto: Mark Niedermann
THOMAS SCHÜTTE
6. 10. 2013 – 2. 2. 2014
expanding the solo show section of
the fair next year. Amanda Coulson,
who co-founded Volta Basel in 2005,
and in 2008 came up with the solo
show idea for Volta New York, says attitudes have changed in the past few
years. “Before, galleries felt they would
have a better chance of appealing to
curators with a broad portfolio. Solo
booths have grown in popularity because they offer some respite in this
oversaturated climate.” Volta Basel now
only takes proposals for solo or twoperson shows.
Stephanie Dieckvoss, the director
of the London fair Art14, meanwhile,
does not stipulate that galleries bring
solo booths, but encourages them if
galleries propose them. “It can be a
high-risk strategy, which is why I am
cautious about being prescriptive about
it,” she says.
The challenge for galleries today,
says Dina Ibrahim, the gallery manager
at the Dubai gallery The Third Line,
which is exhibiting works by Laleh
Khorramian in the Statements section
(1/S6), is to present a “conceptually tight
booth”, while maintaining maximum
commercial appeal. Art Basel, it seems,
is still very much a marketplace. As
Julia Joern of David Zwirner (who despite
having done solo shows at Frieze New
York, the Armory Show, the Art Dealers
Association of America’s Art Show and
Fiac has never done a solo booth at the
Swiss fair) says: “Art Basel is the one
time of year when we show the best of
our overall programme.”
Anny Shaw
PHOTO: DAVID OWENS
Basel. The number of galleries bringing
solo shows to Art Basel—and other art
fairs—is on the rise. Of the 304 dealers
exhibiting here this year more than
40 are presenting works by a single
artist, with 24 galleries taking part in
the Statements section, which is dedicated to solo projects by young and
emerging practitioners. This is up 41%
from a decade ago, when 17 galleries
took part in Statements. The Feature
section, which was introduced in 2010
to show “precise curatorial projects”,
also includes 24 galleries (the highest
number yet)—16 of which will present
work by a single artist. A further 79
solo projects are on display in the
largest Unlimited section to date.
While the younger galleries participating in Statements and Feature
have brought the majority of solo
booths to Art Basel in recent years,
last month Frieze New York saw single
artist presentations from big-name
galleries such as Marian Goodman
(2.0/B17 at Art Basel), which presented
a performance by Tino Sehgal, and
David Zwirner (2.0/F5 at Art Basel),
which brought photographs by Thomas
Ruff. At Art Basel Hong Kong established galleries also plumped for solo
shows: Victoria Miro (2.1/N7 at Art
Basel), together with the Tokyo gallery
Ota Fine Arts, brought works by Yayoi
Kusama (the choice paid off; 40 works
sold in total, for up to $2m each),
while Galerie Gmurzynska (2.0/D14 at
Art Basel) exhibited paintings and
sculptures by Fernando Botero.
Joost Bosland, a director at the South
African gallery Stevenson, which at
Art Basel is presenting drawings (priced
at around €2,000 each), a mural and
performance piece by Kemang Wa
Lehulere in the Statements section
(1/S8), as well as a large-scale sculpture
by Meschac Gaba at Unlimited (1/U74),
says single-artist booths can increase a
younger gallery’s chances of being accepted by the more competitive fairs
such as Art Basel. Once inside, a solo
presentation can also help get you noticed by collectors. “They tend to stop
people in their tracks,” Bosland says.
For the younger galleries, they are
about long-term marketing. For example, they can be a good way to introduce
collectors to a young artist’s oeuvre; a
few works hung together provide a
sense of context. A solo project can
also advertise an extended exhibition
outside of the fair, or the other artists
in a gallery’s stable. At this year’s
Frieze New York Stevenson gallery sold
paintings by Zander Blom (priced between $5,000 and $10,000 each) from
its solo booth.
Alexander Calder, The Hairpins, 1939, Sheet metal, wire, and paint, 231 × 270 × 73.7 cm, Gori collection, Fattoria di Celle, Santomato, Pistoia. Photo by Roberto Quagli © 2013 Calder Foundation, New York / ProLitteris, Zurich
SOLO BOOTHS
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
6
NEWS ANALYSIS
Young curators
focus on private
collections
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Fellowship programme encourages shows featuring
works that have “disappeared from our eyes”
Zurich. A new fellowship programme
for emerging curators involving Switzerland’s most high-profile private collectors has just launched in Zurich. The
new “Pool” initiative allows young curators to organise shows at Luma Westbau in the Löwenbräu Art Complex,
drawing pieces from the collections of
international patrons. The first exhibition in the series (“Some a Little Sooner,
Some a Little Later”, until 18 August)
includes works from the holdings of
the Swiss pharmaceutical heiress Maja
Hoffmann and the Zurich-based media
magnate Michael Ringier.
The project was devised by Beatrix
Ruf, the director of the Kunsthalle
Zurich. “Giving curators the opportunity
to position private collecting within
the context of contemporary exhibition
practice, ‘Pool’ does not interpret private
collections as merely the representation
of individual preferences, but rather
as a contemporary document,” Ruf
says. “We hope to encourage dialogue…
concerning themes of collecting, the
private and public [sectors] and the
role of the curator.”
The first curatorial fellow of “Pool”
is Gabi Ngcobo, an independent curator
based in Johannesburg. In 2010, she
co-founded the Center for Historical
Re-enactments, a Johannesburg-based
collaborative art platform for research
and discussion. She explains why the
“Pool” project is significant, emphasising that her “practice has thus
gained a layer in that I have been in
close contact with perhaps two of the
most formidable collections of art primarily from the West”.
She says that the show will allow
My
Basel
Top
Hoor al-Qasimi has overseen the Sharjah Biennial
since 2003. The daughter
of the Emir of Sharjah, she
received her fine arts degree
from the Slade School of Fine Art, London,
and a masters degree in Curating
Contemporary Art from the Royal College of
Art, London. She was on the curatorial selection committee for the 2012 Berlin Biennial
and is a visiting lecturer at the Slade. G.H.
visitors to see works in private
collections that have “disappeared
from our eyes—from the horizon [of]
history”, adding that “the works are
given a platform to resurface and are
brought back to public [view], and are
therefore [exposed] to more current,
political, historical, existential and
social exigencies and questions.
“[The project team] continued to
support me in various ways… without
making me feel my ideas needed to be
tamed or controlled in any way.” She
adds: “I was pleasantly surprised by
the dedication both collectors had and
continue to have in investing in artistic
aptitude beyond monetary value.” Indeed, whenever private collectors exhibit their works, they almost always
face the charge that showcasing their
“‘Pool’ is based on
sharing costs and
collaboration”
works in a formal gallery setting may
raise the value of their stock in both a
critical and commercial sense.
The show provides an intriguing
insight into the buying habits of both
collectors. Ringier is keen on the work
of both Rodney Graham and Wolfgang
Tillmans with at least two pieces by
each artist on display: Graham’s 1995
silkscreen Parsifal Studies is included
along with Tillmans’s Gold (c), a 2002 cprint. Other artists represented in Ringier’s collection include Fiona Banner,
Rosemarie Trockel, Mike Kelley and
Sean Landers.
A striking installation from Hoffmann’s collection, Carsten Höller’s Giant
Triple Mushroom, 2009, is an exhibition
1
MUSEUM:
Museum der
Kulturen at the
Münsterplatz in Basel.
The striking courtyard
annex at this ethnographic museum, one
of the most important
in Europe, has been
designed by Herzog &
de Meuron. The
museum’s 300,000strong collection, initially founded by a
range of private collectors, is impressive
with significant
objects on show from
The Luma Foundation’s core group: (back row, from left) Philippe Parreno, Hans
Ulrich Obrist, (front row) Beatrix Ruf, Tom Eccles, Maja Hoffmann, Liam Gillick
centrepiece. Urs Ficher’s abC, 2007, another key work, shows a fragile bird
suspended on a rock, its head placed
in a chain as if awaiting execution in a
hangman’s noose. Other works in Hoffmann’s collection include the sculptural
installation Camgun (Guns number 08 and
40), 2005-06, by Francis Alÿs in collaboration with Angel Toxqui, and the video
War and Peace, 2002, by Keren Cytter.
Hoffmann’s non-profit cultural organisation, the Luma Foundation, is
driving the “Pool” project which she
enthusiastically describes as a “winwin” initiative. “For the collector, it allows a discourse that does not place selfcelebration in the middle but adds a
potential dialogue…with an audience,”
she says. Young curators benefit from
a network of mentors, gaining “real
access into the life of a collection.
‘Pool’ is based on the sharing of costs,
and emphasises collaboration which
is at the heart of Luma’s mission.” She
adds that Luma aims to create a school
for postgraduate artists in Arles, southern France, with the core group of the
foundation acting as mentors (its members are Tom Eccles, the director of
the Center for Curatorial Studies, Bard
College in Annandale-on-Hudson, New
Oceania, Indonesia,
South, Central and
East Asia. But I’m also
drawn to its collection
of 50,000 historic
photographs.
2
EXHIBITION:
Fondation Beyeler.
This gallery is, in my
opinion, one of the best
design projects by the
Italian architect Renzo
Piano. With a large collection of important
works of art and interesting exhibitions, I
would recommend
putting aside a morning
to visit. A retrospective
of Max Ernst's work is
on view at the moment
(until 8 September)
and Maurizio
Cattelan's exhibition
has just opened (until
6 October). After seeing the Ernst show at
the Albertina in
Vienna, I would say
you shouldn't miss seeing it at the Fondation
Beyeler.
3
AWAY DAY:
If you have a day
York, Beatrix Ruf, the curator Hans Ulrich Obrist and the artists Philippe Parreno and Liam Gillick).
Eccles proposed Ngcobo for the
project (she is a graduate of Bard’s
centre). “I like the sense of narrative
that [she] brought to curating the exhibition. There’s a profound poetry to
her approach…a really nice balance
between works from both Hoffmann’s
collection and that of Ringier,” he says.
Private patrons are increasingly setting
the agenda in the curatorial field. The
Turin-based collector Patrizia Sandretto
Re Rebaudengo has founded her own
Young Curators’ Residency Programme.
The Demergon Curatorial Exchange and
Award, inviting fledgling curators to
draw from the collection of the Greek
collector Dimitris Daskalopoulos, was
co-founded last year by the Whitechapel
Gallery in London.
“It is quite a thrill to see that Gabi
found pieces from both collections fitting her purpose and ideas. It actually
made me see my collection differently,”
Hoffmann says. And what advice would
Ngcobo give to the next participant?
“The possibilities are endless. Be open
and bring your own set of keys.”
Gareth Harris
free and want to get
away from the crowds
at Art Basel, I would
suggest taking a train
to Zurich’s Löwenbräu
Art Complex, where
you can visit many art
spaces including the
Kunsthalle Zurich
and Parkett's Space.
4
MOVIE:
Catch a film at the
Filmpalast, an independent 28-seat
cinema on
Binningerstrasse in
central Basel.
5
PUBLIC ART:
Tinguely-Brunnen
at the Theaterplatz,
located near the
Kunsthalle Basel: this
assortment of moving
sculptures by Tinguely
are powered by water.
Also the Jean Tinguely
Museum, housed in a
building designed by
Mario Botta, situated
directly on the Rhine
(Paul Sacher-Anlage 2)
has an interesting
selection of works,
photographs and
documents.
Download now
for iPad, iPhone
and Android
www.berlinartweek.de
LUMA FOUNDATION: LIONEL ROUX. HOOR AL-QASIMI: COURTESY OF SHARJAH ART FOUNDATION
EXHIBITION ORGANISING
CHEIM
& READ
Art Basel 2013
Hall 2.0/C14
June 13 - 16
Jenny Holzer 6 Top Secret 2012 oil on linen 58 x 44 x 1 1/2 in 147.3 x 111.8 x 3.8 cm
THE ART NEWSPAPER DAILIES
Live reporting from the fair by the same editorial team who
create our monthly edition. This year, we are at:
ART BASEL
FRIEZE LONDON
FRIEZE MASTERS
ART BASEL MIAMI BEACH
FRIEZE NEW YORK
ART BASEL HONG KONG
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
FEATURE
Comment
Charity begins abroad—
or does it?
In the midst of austerity, Europe’s museums look to new sources of philanthropy
The Tate Americas fundraising dinner in
New York in May (left) and the opening
of Kunsthalle Athena in Athens, where
the first exhibition was “The Bar”
TATE AMERICAS: © CASEY FATCHETT PHOTOGRAPHY, 2013; WWW.FATCHETT.COM. KUNSTHALLE ATHENA: PHOTO: ROBERT PETTENA
W
hen the Tate
stepped up its
fundraising in
the US in 2007,
some noses
were put out of
joint in New York. Among the “unfair”
incentives, the Tate offered invitations
to meet the then British prime minister Tony Blair at 10 Downing Street (a
group photo by Annie Leibovitz was
another inducement). Since then,
despite the recession, the Gulf Stream
of Transatlantic fundraising has continued to flow. In May, during Frieze
New York, the Tate held its latest
fundraising party in Manhattan’s historic James A. Farley Post Office building, attended by art-friendly celebrities
such as Sarah Jessica Parker. The
event’s five co-chairs are power donors
to the arts, ranging from New Yorkbased Estrellita Brodsky to Christen
Wilson from Dallas. The British institution raised more than $2m for contemporary art acquisitions from the
Americas that night—without inducements such as face-time with the
Camerons (S.J.P. volunteered
instead)—and no one raised a
Botoxed eyebrow.
Meanwhile, the Tate’s director,
Nicholas Serota, and the head of Tate
Modern, Chris Dercon, who are both
in Basel this week, have £43m to raise
to complete the £215m Herzog & de
Meuron-designed wing of Tate Modern
by 2016, against a backdrop of diminished government funding. In 2010/11,
the Tate’s total grant-in-aid was £56m,
but with the coalition government’s
austerity drive, it dropped to around
£45m by 2011/12—a 19% cut.
The Tate’s predicament is shared
by many institutions across Europe.
9
While billions have been spent on, or
are in the pipeline for, building projects, public money to run institutions
is being reduced.
Shrinking welfare state
András Szántó, a consultant and contributor to The Art Newspaper, will
chair “Museums and Austerity”, an
Art Basel Conversation, tomorrow.
Due to speak is Agustín Pérez Rubio,
now a New York-based independent
curator and formerly the director
of Musac (Museo de Arte
Contemporáneo de Castilla y León),
who resigned partly in protest at the
draconian cuts imposed on the young
Spanish institution. Melbourne-born
Suzanne Cotter will talk about her
experience leading Serralves, the
museum of contemporary art in
Porto, Portugal. Marina Fokidis, the
founding director of the Kunsthalle
Athena, which opened in
2010, will speak about
coping with the
chronic situation
in Greece.
“The protracted global
economic crisis and resulting austerity
measures [are]
threatening the
traditional system
of generous welfare
state support of cultural
institutions,” Szántó says. “What will
happen to Europe’s museums in the
wake of the great recession? How can
museums articulate a case for continued public and private funding?” are
two of the questions he will be asking. “It takes a director with a strong
will to come to terms with a world in
which there is no financial safety
net,” he says.
The example of the Tate, Centre
Pompidou, State Hermitage Museum
and others that are successfully tapping into “Big Philanthropy” in the
US is understandably tempting for
smaller institutions to follow. “When
all else fails and people have run out
of ideas,” Szántó says, “everyone says,
‘Let’s set up an American friends
organisation.’” But is this really an
option for a municipal museum lacking brand appeal or a rich diaspora
community?
Max Hollein, the director of
Frankfurt’s Städel Museum and Schirn
Kunsthalle, has applied lessons
learned in the US to fundraising in
Germany. But he thinks that winning
friends and influencing rich
Americans is a short-sighted strategy
at best. “Just because US institutions
are based on private support doesn’t
mean a museum elsewhere will
trigger anything,” he says.
institutions like the Guggenheim
Bilbao in Spain. “It’s a different decision with exhibitions in Asia. Then it
is more about building long-term
relationships.”
Serralves shares exhibition costs
with the likes of the Whitney
Museum of American Art, among others. Suzanne Cotter, its director, says
that one of the challenges for directors and curators is that a new set of
cultural/political skills is needed to
work in a expanding “transnational”
framework. “None of us was trained
in the UN,” she says.
The Centre Pompidou is actively
seeking partners abroad—not just in
the Gulf and Asia, but increasingly in
South America, too. Alain Seban, the
Paris institution’s chief executive and
director, is confident that the
Pompidou “can take better advantage
of assets such as our brand, our collection and our expertise, and graft
the need to generate more revenues
onto a strategy aimed at building a
truly global museum”. This is partly
prompted by cuts. The Pompidou suffered a 5% cut in its public subsidy in
2011 and another cut of 2% this year.
When Seban took charge of the institution in 2007, the government provided 75% of its funding. “If public
subsidies keep dropping, the ratio
might plummet below 50%,” he says.
Political interference
Such cuts, while serious, are nowhere
near as deep as those made to the
budget of Musac, which led Pérez
Rubio to resign in protest. He saw the
budget halved, from €4.7m when he
took charge to €2.1m. What forced
him to leave was political interference rather than economics, he says.
“It was impossible. The system is sick.
I had money to do an exhibition and
no one to organise it. I could not pay
“It takes a director with a strong will to
come to terms with a world in which there
is no financial safety net”
“Funding always comes from a
local perspective; you might have
foreigners on a board but the individual is interested in funding something locally, whether it’s in New
York, London or Paris.”
It may also be tempting for a collection-rich, cash-strapped European
institution to forge partnerships with
museums far and wide. “We collaborate a lot,” says Hollein, but with
for a young curator to be a co-ordinator. I told a politician that it’s not logical. He said: ‘Agustín, politics is not
logical.’” Pérez Rubio criticises politicians of the Left and Right for not
doing more to encourage private
support. “There’s still a lot of money
in Spain, but rich people will not
give to culture as they do in America
as an [indirect] way to pay tax.”
Meanwhile, in Greece, the
Adrian Ellis
founded AEA
Consulting,
and is the
former director
of Jazz at
Lincoln Center,
New York
“If you increase your fixed costs (buildings etc) and then you get squeezed
financially, the pressure hits your variable
costs. In the long term, everything is variable; in the very short term, everything is
fixed. In the medium term, the stuff that
gets squeezed is your programming and
exhibition budget, research, investment
in professional development—all the stuff
that makes you interesting. The ability of
museums to play a vital part in the life of
communities is compromised.
“Another challenge is the unfortunate
phenomenon of ‘winner takes all’. If you
are in the premier league, then you are in
a virtuous circle of brand, access, visitation, donations, acquisition and global
opportunity—but if you’re not, you get
into a vicious circle. And it’s difficult to
break into the premier league. But necessity is also the mother of invention, and
financial trauma is also a tremendous
spur to new ways of doing things—collection sharing, animating permanent collections, new approaches to public engagement and more pedestrian but critical
functions like security and art handling.
“Turning calamity into opportunity
requires leadership, courage and conviction. I remember a museum director in a
German local authority once saying: ‘You
don’t understand; it’s not that I am not
paid to lead, it’s that I am paid not to lead.’
If that is the prevailing mindset, the most
likely outcome is genteel decline and
decreasing relevance to the communities
these institutions were created to serve.”
eurozone country worst hit by the economic crisis, the situation is so bad
that Marina Fokidis thinks the time is
wrong for museums even to be asking
the state for more help. “We don’t
want the visual arts to take money
from pensioners, when they can’t
even buy their medicine. We want
visual arts by the pensioners. Why not?
It’s culture. By not taking money from
the state, or by taking only a minimum, it’s a gesture of solidarity in a
very severe time that will be remembered.” She finds it discouraging that
some of Greece’s leading collectors,
whose philanthropy is benefiting the
likes of the New Museum in New York
and the Tate and the Whitechapel
Gallery in London, are not doing more
for Greek institutions. “It’s a Greek
idiosyncrasy. People with new and old
money, they only like something
when it comes from outside the country. It’s not part of the culture to support the local. At the same time, some
of the collectors like to have a very
hands-on curatorial approach. So institutions find themselves in a difficult
situation,” she says.
Fokidis says that a popular coping
strategy—heading to the nearest
bar—inspired the Kunsthalle Athena’s
first exhibition, “The Bar”. She
explains: “We wanted to recreate the
methodology of a bar. We thought,
‘We have to bring these people in.’
Lots of young people are allowed to be
here and hang out. If you ask locals
about the Kunsthalle Athena, they
will tell you, ‘There is art and we love
it, but it’s also our place.’”
Helen Stoilas and Javier Pes
• “Museums and Austerity”, part of Art
Basel Conversations, takes place on Thursday
13 June (10am-11.30am)
10
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
IN PICTURES
1
1
Chiharu Shiota, In Silence,
2002/2013, Galerie Daniel
Templon (U46)
2
Marc Camille Chaimowicz,
Enough Tiranny, 1972,
Cabinet Gallery (U70)
3
Lygia Clark, Fantastic
Architecture 1, 1963/2013,
Alison Jacques Gallery (U9)
4
Ai Weiwei, Fairytale 2007,
Ladies Dormitory, 2007,
Galerie Urs Meile (U8)
ALL PHOTOS: © DAVID OWENS, EXCEPT JETZER: ART BASEL
2
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
11
3
Putting
concept
above size
Unlimited has a reputation for scale.
That’s not the point, says its curator
I
n his second year in charge of Unlimited, Gianni Jetzer,
the director of the Swiss Institute in New York, has overseen a big expansion: the section now features 79 works,
more than ever before, and occupies more space in Hall 1,
with Statements, the magazine section and the auditorium
now accommodated in an extension designed by Herzog &
de Meuron. Jetzer tells The Art Newspaper about the reasons for
Unlimited’s expansion, the aims of the section and its balance of
spectacle and absorbing content.
4
5
The Art Newspaper: How do you go about selecting the works
for Unlimited?
Gianni Jetzer: Galleries that have already been accepted to the
show can apply with a project to Unlimited. I also collect names
and projects and create a wish list every year. Then I contact the
galleries and ask them to apply. While I can make recommendations, the selection committee selects the works for each edition.
Can you decline works by major galleries, for instance?
It is all about artistic quality and about matching the parameters
of Unlimited. So, yes, if a project is not outstanding, it will not get
selected, no matter what.
5
Liu Wei, Library II-I, 2012,
Long March Space (U67)
6
Aaron Curry, Daft Dank Space,
2013, Almine Rech Gallery
(U51)
6
Why has it grown bigger? Does that reflect shifts in art practice, such as an increase in large-scale sculptures or installation works?
No, I don’t think so. It is just an outstanding year. Next year
might be smaller again. Many galleries have taken risks by producing artistic visions for Unlimited that are over the top. But size
does not really matter. Martin Creed will send a runner through
the fair. Günter Förg offers a gallery of paintings that is more like
a journey into the infinity of space and time.
Do you attempt to balance the types of work shown?
Yes, the balance is an important point. I don’t want to have strong
individual positions. Each of them is a star in the Unlimited firmament. It is an exhibition of eccentrics—each artist reinvents
the world, and eventually makes us experience everyday life in a
different, more appealing way.
Do you see creating a visual spectacle as
part of Unlimited’s purpose?
Unlimited is spectacular, for sure. But that
doesn’t mean that there is not an unlimited
amount of content ready to be discovered
and to be thought about.
Can creating an enjoyable spectacle be
enough for a work of art?
Spectacle comes from the Latin specere, to look
at, obviously an essential part of art. I see my
role as a curator as a guarantor that the art in
Unlimited is relevant for what contemporary
art represents today. It is eventually
an intertwined dialogue between
generations and genders that produces knowledge in art. Art is
still a miracle to me—there is no
phone application or computer
that can make art, there is also no
art fair that can dictate what art
should be. The process is discursive and polyphonic.
Do you come across works
that are unnecessarily
large?
That happens every now and
then. But why do people
think of Unlimited as a garden of XXL sculpture? Most
works are smaller than
you think, but big in
impact. It is more about
concept than size.
Unlimited is not a measure, it
aims to have no limits at all.
Interview by Ben Luke
MODERN.
CONTEMPORARY.
ABU DHABI ART.
20 - 23 November 2013
UAE Pavilion and Manarat Al Saadiyat
Saadiyat Cultural District
Abu Dhabi, UAE
abudhabiartfair.ae
Organised
Organised b
by:
y:
PARTICIPATING GALLERIES
THE
INTERNATIONAL
EXPOSITION OF
CONTEMPORARY
& MODERN ART
NAVY PIER
19–22
SEPTEMBER
2013
Mylar Cone (detail),
Studio Gang Architects
Galeria Álvaro Alcázar Madrid
Ameringer | McEnery | Yohe New York
Gallery Paule Anglim San Francisco
BASE GALLERY Tokyo
John Berggruen Gallery San Francisco
Galleri Bo Bjerggaard Copenhagen
Marianne Boesky Gallery New York
Isabella Bortolozzi Galerie Berlin
Russell Bowman Art Advisory Chicago
Rena Bransten Gallery San Francisco
THE BREEDER Athens | Monaco
CABINET London
David Castillo Gallery Miami
Cernuda Arte Coral Gables
Chambers Fine Art New York | Beijing
James Cohan Gallery New York | Shanghai
Corbett vs. Dempsey Chicago
CRG Gallery New York
Stephen Daiter Gallery Chicago
Maxwell Davidson Gallery New York
Douglas Dawson Gallery Chicago
MASSIMO DE CARLO Milan | London
DIE GALERIE Frankfurt
Catherine Edelman Gallery Chicago
Max Estrella Madrid
Henrique Faria Fine Art New York
Peter Fetterman Gallery Santa Monica
Fleisher/Ollman Philadelphia
Galerie Forsblom Helsinki
Forum Gallery New York
Honor Fraser Los Angeles
Fredericks & Freiser New York
Galerie Terminus Munich
Galeria Hilario Galguera Mexico City | Berlin
Richard Gray Gallery Chicago | New York
Kavi Gupta Chicago | Berlin
Chicago | Berlin
Hackett | Mill San Francisco
Haines Gallery San Francisco
Carl Hammer Gallery Chicago
Harris Lieberman New York
Galerie Ernst Hilger Vienna
Hill Gallery Birmingham, MI
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
Vivian Horan Fine Art New York
Edwynn Houk Gallery New York | Zurich
Il Ponte Contemporanea Rome
Taka Ishii Gallery Tokyo
Bernard Jacobson Gallery
London | New York
R.S. Johnson Fine Art Chicago
Annely Juda Fine Art London
Robert Koch Gallery San Francisco
Koenig & Clinton New York
Michael Kohn Gallery Los Angeles
Alan Koppel Gallery Chicago
LABOR Mexico City
Galerie Lelong New York | Paris | Zurich
Locks Gallery Philadelphia
Lombard Freid Gallery New York
Diana Lowenstein Gallery Miami
Luhring Augustine New York
Robert Mann Gallery New York
Magnan Metz Gallery New York
Matthew Marks Gallery New York | Los Angeles
Barbara Mathes Gallery New York
Galerie Hans Mayer Düsseldorf
The Mayor Gallery London
McCormick Gallery Chicago
Anthony Meier Fine Arts San Francisco
Andrea Meislin Gallery New York
Jerald Melberg Gallery Charlotte
Laurence Miller Gallery New York
moniquemeloche Chicago
Carolina Nitsch New York
David Nolan Gallery New York | Berlin
Richard Norton Gallery, LLC Chicago
Nusser & Baumgart Munich
P.P.O.W. New York
Pace Prints New York
Franklin Parrasch Gallery New York
Galeria Moisés Pérez de Albéniz Madrid
Ricco/Maresca Gallery New York
Michael Rosenfeld Gallery New York
Rosenthal Fine Art Chicago
Galerie Thomas Schulte Berlin
Carrie Secrist Gallery Chicago
Marc Selwyn Fine Art Los Angeles
Sicardi Gallery Houston
Manny Silverman Gallery Los Angeles
Skarstedt Gallery New York | London
Gary Snyder Gallery New York
Carl Solway Gallery Cincinnati
MARC STRAUS New York
Hollis Taggart Galleries New York
Tandem Press Madison
Paul Thiebaud Gallery San Francisco
Tierney Gardarin Gallery New York
Leslie Tonkonow Artworks + Projects New York
Vincent Vallarino Fine Art New York
Tim Van Laere Gallery Antwerp
Susanne Vielmetter Los Angeles Projects
Los Angeles
Weinstein Gallery Minneapolis
Max Wigram Gallery London
Zolla/Lieberman Gallery Chicago
David Zwirner New York | London
EXPOSURE
Benrimon Contemporary New York
Blackston New York
Bourouina Gallery Berlin
Callicoon Fine Arts New York
Galerie Donald Browne Montréal
Luis De Jesus Los Angeles Los Angeles
Diaz Contemporary Toronto
DODGEgallery New York
Hansel and Gretel Picture Garden New York
Charlie James Gallery Los Angeles
JTT New York
MARSO Mexico City
Galerie Max Mayer Düsseldorf
THE MISSION Chicago
On Stellar Rays New York
ANDREW RAFACZ Chicago
Jessica Silverman Gallery San Francisco
SPINELLO PROJECTS Miami
VAN HORN Düsseldorf
Workplace Gallery Gateshead, UK
expochicago.com
Presenting Sponsor
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
14
DESIGNERS
Basel welcomes three award-winning young designers. By Nicole Swengley
I
n the constantly evolving
landscape of contemporary
design, it is often the younger
generation that provides
directional cues. The three
young winners of the
Designers of the Future award, whose
newly commissioned work is presented in Hall 1 Süd, Messe Basel, are
no exception.
This collaborative project by
Design Miami/Basel and W Hotels,
now in its fourth year, has undergone
some modifications. For the first
time, the award-winners visited new
or renovated W Hotels to solve a specific design challenge while also fulfilling this year’s brief, “Making
Connections”, with their site-specific
commissions. The Canadian-Dutch
designer Jon Stam spent time in the
Swiss resort of Verbier, where the W
brand will open its first ski retreat
later this year. Seung-Yong Song,
whose studio is in Seoul, South Korea,
visited W Bangkok, and London-based
designer Bethan Laura Wood travelled
to W Mexico City. Their finished
work will be installed in each hotel.
Candidates for the award must
have practised for less than 15 years.
To qualify, they must demonstrate
originality and reveal an interest in
experimental, non-industrial or limited-edition design. “We’re looking
for designers who work in a variety
of media and display a craft discipline, a narrative process and a conceptual approach,” says Mike Tiedy,
the senior vice-president for global
brand design and innovation at
Starwood Hotels and Resorts (the parent company of W Hotels
Worldwide). “We look for an ability
to develop their work’s conceptual
side and build design solutions out of
a problem. I like to see a sense of
investigation and discovery and an
ability to articulate this. I also look
for a cross-discipline approach and
an international outlook.”
Tiedy is not the only judge: the
winners were selected by secret ballot following nominations from a
jury including Jan Boelen of Design
Academy Eindhoven and Z33, Tony
Chambers, the editor-in-chief of
Wallpaper* magazine, Aric Chen of
Hong Kong’s M+ Museum, Alexis
Georgacopoulos of Ecole Cantonale
d’art de Lausanne, Marianne Goebl,
the director of Design Miami and
Design Miami Basel, and the
author, curator and journalist
Benjamin Loyauté.
Not too exposed
“We looked for designers who have
developed a voice but are not yet too
exposed,” Goebl says. “They needed to
be sufficiently sophisticated in their
work but ready to be pushed to the
next level,” Chambers adds. “All the
winners feel contemporary yet have
very different approaches, so there’s a
healthy mix of perspectives. I’m a big
fan of Bethan Laura Wood’s work. She
produces unique products—contemporary, progressive, craft-based work.
Seung-Yong Song’s work is more traditional, but I’m intrigued by his
Diverse: Bethan Laura Wood
Bethan Laura Wood (born 1983) graduated with firstclass honours in 3-D design from the University of
Brighton (2006) and gained an MA in design products at
the Royal College of Art (2009), studying under Jurgen
Bey and Martino Gamper. She set up her London studio in
2009, creating diverse designs from jewellery to
ceramics, plus the limited-edition furniture and lighting
shown by Milan’s Nilufar gallery. Wood’s work focuses on
pattern, colour, patina and recontextualising elements
from everyday objects or places. Key designs: the “Hard
Rock”, 2009, and “Hot Rock” (above), 2012, series from
the “Super Fake” extended series of laminate marquetry
furniture; “Totem”, 2011, hand-blown Pyrex glass pendant
lights made in collaboration with Pietro Viero.
interpretation of form, and I like
where Jon Stam is coming from—
introducing touch, feel and soul into
digital design.”
Mixing new technology with traditional materials and craftsmanship is
Stam’s forte. “The best way of interacting with digital media is through
touch, so my projects often focus on
making a physical ‘frame’ for the
content,” he says. “My graduation
project—now an ongoing series—was
a modern cabinet of curiosities
where half the drawers are normal
and half act as hard disks.
“In Verbier, I was trying to work
out what inspired me there,” he says.
“The landscape, mountains and valleys are already so beautiful. I
thought: what can I add to this? I
started taking photographs of windows showing reflections of the landscape. Playing with the light and
reflections intrigued me. Then I began
collaborating with Guido Perrini, a
local photographer, to capture 24hour time-lapses throughout the seasons. These appear as constantly
changing digital images on the shiny,
blackened glass of a large, circular
Martial Raysse
May 11 – July 13, 2013
64 E 77th Street, New York, NY 10075
+1.212.452.4646
luxembourgdayan.com
Martial Raysse, Tableau Cassé, 1964
Mixed media on panel, 51 ¼ x 38 ¼ in. (130 x 97 cm)
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris
Photo Credit: Alberto Ricci/Archive Galerie de France
WOOD: ANTONY LYCETT
Future winners
here and now
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
Visionary: Jon Stam
Typological: Seung-Yong Song
STAM: ANTONY LYCETT; © W HOTELS. SONG: © W HOTELS
Canadian-born Jon Stam (born 1984) studied industrial
design at Ontario College of Art and Design, Toronto,
before moving to the Netherlands to attend Design
Academy Eindhoven, graduating cum laude in 2008 and
winning the Rene Smeets prize for best graduation
project. He gained his Masters degree in 2013, studying
under Jan Boelen, Aldo Bakker and Dick van Hoff, then
set up Commonplace Studio in Amsterdam. Key
designs: Cabinet of the (Material & Virtual) World, 2009
(with Ivo de Kogel); An Imaginary Museum (right), 2013,
in which a hacked View-Master toy employs micro-LCD
screens to display captured information in an exhibition
format. Guido Perrini’s photographic still (above) was
created using Stam’s Claude Glass mirror.
wall-mirror I’ve made,” he says.
“In the 18th century, artists used a
black mirror called a Claude Glass—
named after the 17th-century landscape painter Claude Lorrain—to
help them paint landscapes. My mirror is based on that idea,” Stam says.
“A computer behind the mirror runs
customised software that I developed
with a hardware specialist and programmer. Once started, the timelapse sequences run continuously,
but viewers can physically turn the
mirror to alter the image sequence.
The design is a prototype but could
Seung-Yong Song was born in Yangsan, South
Korea, in 1978, and gained his BFA and MFA from the
Ecole Supérieure d’Art et de Design in Reims, France.
He subsequently worked in Claudio Colucci’s studio
and collaborated with Jean-Marc Gady, Patrick
Nadeau and Matt Sindall before opening SY Design
in Seoul, South Korea, in 2011. His work focuses on
new typologies and on the communication between
objects and humans. Key designs: Object-O, 2011
(above), a huge paper lampshade almost enveloping
a chair to create an intimate personal space; the
“Dami” collection, 2012, various basket forms (for
different uses) that employ a traditional Korean
grille in Valchromat, a new eco-friendly material.
potentially show different landscapes
at other W Hotels locations. I’m also
looking at the possibility of making a
smaller, limited-edition version for
residential use.”
“Hand-crafting is everywhere”
Bethan Laura Wood uses “geographical locations and materials” as design
springboards. “My laminate furniture
is inspired by London’s cityscape,
while [the] ‘Totem’ [light collection]
resulted from working with local
artisans using specific materials during a residency in Vicenza, Italy,” she
says. “I found my visit to Mexico City
incredibly inspiring and it will feed
my practice for a long time. I loved
the flower market, the canal area,
the intense colours and the mix of
full-on Baroque and 1960s public
sculpture and architecture. The
Basilica of Our Lady of Guadalupe,
Palacio de Bellas Artes and Frida
Kahlo’s house were particularly inspirational. Hand-crafting is everywhere.
Every day I went to different areas
and took photographs that I later
paired into shapes and repetitions. I
wanted to take all this into my work.
pacegallery.com
Jean Dubuffet, Fête villageoise, November 5, 1976, acrylic and collage on paper mounted on canvas, 8’ 2” x 10’ 73⁄4 ” (248.9 x 324.5 cm)
Booth B20 Hall 2.0
June 13–16, 2013
“At W Mexico City, there are
three public floors but only two sets
of lifts, so I was interested in finding
ways to encourage people to use the
stairs and also fill void spaces like
stair-wells. I wanted to create something to make you walk towards and
all around these areas.” Wood’s collaborations with the Italian workshop Pietro Viero, which contributed
its Pyrex glass-making skills to her
“Totem” pieces, have resulted in
lights with a colourful pendant drop
that is, she says, “like a cascade of
floating flowers whose blooms
15
reflect all my Mexican inspirations”.
Colour is also a key ingredient in
Seung-Yong Song’s installation. “I was
impressed by Bangkok’s vibrant local
street life and the way people adapt
objects to their needs,” he says. “They
transform a car into a street bar. A
wagon becomes a restaurant, bar and
store. It made me think about the
flexibility of objects. The food carts
you see everywhere in Bangkok
inspired me to create a furniture collection built out of common elements
yet with different forms and functions. One can be used as a food-serving table in the lobby, another as a
champagne carrier in the bar. The
parts are made from treated aluminium to provide a textural
response. The surfaces are elaborately
decorated in vivid, contrasting
colours, but the shapes are simple
and clean.”
Time has been the winners’ greatest challenge. “I visited Verbier in
late March, so it was a very scary
deadline to… [be] ready for June,”
Stam says. Nevertheless, Tiedy says
“all three responded fantastically
well to the brief”. And Goebl adds:
“The designers analysed a problem,
reacted to tangible elements in the
various locations and found solutions. This year, we’ve seen a true
design process happening.”
Find out more
• Bethan Laura Wood
www.woodlondon.co.uk
• Jon Stam
www.commonplace.nl
• SY Design
www.seungyongsong.com
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
16
BOOKS
All sorts of stuff
The use of taxidermied animals in contemporary art and elsewhere
TECHNIQUES
I
n this overview of the different types and uses of taxidermy, the author, Alexis
Turner, defines taxidermy art
narrowly as “the art of
preparing and mounting
skins in a lifelike manner”, but then
includes examples of the related
areas of pickling and the display of
skeletons, antlers and horns. Yet
when it comes to his consideration of
art, these are omitted (as are, therefore, any references to skulls and
Damien Hirst’s formaldehyde works).
Constructions with feathers, photographic collages and facsimile animals are, however, among his examples. Definitional boundaries aside,
this is a sumptuously produced and
picture-stuffed survey that presents
taxidermy in the context of the fluctuating history of its reception.
One can distinguish four ages of
taxidermy. First, the age of insufficiency: until 1743, when Jean-Baptiste
Bécoeur came up with arsenic soap as
a means of preventing the growth of
larvae on the inside of hides, techniques were not reliable enough for
the results to survive in the long
term. Second, the age of mainstream
acceptance and elaboration (around
1800-1920): now that stuffed animals,
if prepared correctly, could be rendered imperishable, it was possible to
develop souvenirs of hunting
prowess, educational means of presenting examples of natural science
and increasingly sophisticated and
imaginative—if not always tasteful—
3-D genre scenes. The French, for
example, developed the technically
difficult (because of their thin skins)
art of presenting frogs and toads
dressed as humans. Third, the age of
unpopularity: in the 20th century,
aesthetic trends and ethical concerns,
notably the protection of wildlife,
Building on these developments,
this book is an upbeat account that
emphasises how widespread and fashionable taxidermy has now become—
although it should be noted that the
author is the founder of London
Taxidermy, a commercial supplier of
stuffed animals, and so has a vested
interest in that positive view.
Turner organises his material
effectively, using a mixed approach:
three chapters are based on places in
which taxidermy can be seen, a further three look at taxidermy’s characteristics, and there is a concluding
The French developed the technically difficult art
of presenting frogs and toads dressed as humans
made taxidermy a dubious undertaking. Fourth, the age of recrudescence:
in the past 30 years, and in this century in particular, taxidermy has
returned to favour. The animals are
now roadkill or “ethically” procured,
and the increasing popularity of
Victoriana fits in well with this
change. One confirmatory indicator
was the success (after a failed bid of
£1m by Damien Hirst) of Bonhams’
auction of the contents of Potter’s
Museum of Curiosities in 2003, and
there has been a simultaneous, if
more controversial, revival in the
acceptability of wearing natural fur.
consideration of its use in art. He considers museums, interior decoration
(including the macabre business of
keeping one’s dead pets on view) and
commercial contexts, such as the decoration of fashion-conscious restaurants. He also looks at anthropomorphic tableaux, “freaks and fakes”, and
what he terms the zoomorphic—furniture and objects fashioned from
one or more parts of the animal.
Elephants’ feet, for example, can act
as waste bins, and armadillos make
particularly good sewing baskets.
These, Turner concedes, have not yet
returned to popularity.
Taxidermy as art receives coverage
ostrich with head buried in the floor
similar to that of other themes, with
and elongated hanging horse). There
40 pages of illustrations covering, for
is, however, no discussion of why
example, the surge in British artists—
they use taxidermy. Is it a category
mostly women, as it happens—who
with its own distinct tendencies and
work principally in the area: Tessa
developing tradition, or is it that conFarmer, Polly Morgan, Kate MccGwire
temporary artists use a wide variety
and Claire Morgan. Among the feaof techniques, of which taxidermy is
tured artists who have used taxidermy
but one?
as part of a broader practice are Tim
What Turner gives us, then, is a
Noble and Sue Webster, Daniel
thorough visual overview of the full
Firman (his elephant balanced on its
range of taxidermy. He obviously
trunk adorns the cover) and Thomas
loves much of it, but does not make
Grünfeld, whose “Misfits” fuse differmuch attempt to explain why we
ent animals into one conjunct body to
should share his passion. No matter:
disturbingly attractive effect.
Taxidermy will help you assess your
Another such artist, Maurizio
own tastes as you journey
Cattelan, is the most surthrough its curious world.
prising omission. Several
Paul Carey-Kent
Taxidermy
of the Italian joker’s most
The writer is a SouthamptonAlexis Turner
memorable provocations
based art critic who writes
Thames & Huds
on,
could have been included
reviews for publications
256pp,
(for example, his suicidal
including The Art Newspaper and
£19.95 (hb)
squirrel, infestations of
Art Monthly. For his blog, visit
pigeons, TV-carrying donkey,
paulsartworld.blogspot.com
8TH EDITION:
7-10 NOVEMBER
IN PARALLEL WITH:
13th Istanbul Biennial
Art Istanbul ‘‘A Week of Art’’ - 4-10 November 2013
Robert Motherwell: Collage
BERNARD JACOBSON GALLERY
Hall 2.0 Booth C3
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(Art Fair And Galleries, Museums, Institutions, Initiatives,
Special Projects, Cultural Centers)
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Associate Sponsors
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COCO DE MER: © SAGA SIG. BEAR: © SIMON PASK
Not exactly
as nature
intended…
an advertising
image for the
Coco de Mer
lingerie range
(left) and work
by London
Taxidermy
INTERNACIONAL ART FAIR
OF RIO DE JANEIRO
09 | 05 - 08 | 2013
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P RO D UC TIO N
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PREVIEW AD INVITI
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ORARI
da venerdi 24 a domenica 26 dalle 11 alle 19
lunedi 27 gennaio dalle 11 alle 17
PREVIEW BY INVITATION ONLY
Thursday January 23 from 12 AM to 9 PM
OPENING TIMES
Friday January 24 to Sunday January 26 from 11 AM to 7 PM
Monday January 27 from 11 AM to 5 PM
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
CALENDAR
Art Basel week, 11-16 June
Listings are arranged
alphabetically by category
FAIRS
Art Basel
13-16 JUNE
Messeplatz 10
www.artbasel.com
Design Miami Basel
UNTIL 16 JUNE
Hall 1 Süd, Messeplatz
www.designmiami.com
I Never Read, Art Book
Fair Basel
14-16 JUNE
Volkshaus Basel, Utengasse 9
www.ineverread.com
Liste
UNTIL 16 JUNE
Burgweg 15
www.liste.ch
Scope
UNTIL 16 JUNE
Uferstrasse 40
www.scope-art.com
The Solo Project Art Fair
12-16 JUNE
St Jakobshalle,
Bruglingerstrasse 19-21
www.the-solo-project.com
Volta 9
UNTIL 15 JUNE
Dreispitzhalle, Gate 13,
Helsinki-Strasse 5
www.voltashow.com
EXHIBITIONS
IN THE CITY
BASEL, SWITZERLAND
Ausstellungsraum
Klingental
Kasernenstrasse 23
Within the Horizon of the Object
UNTIL 30 JUNE
www.ausstellungsraum.ch
Cartoonmuseum Basel
St Alban-Vorstadt 28
Proto Anime Cut: Visions of the
Future in Japanese Animated Films
UNTIL 13 OCTOBER
www.cartoonmuseum.ch
Fondation Beyeler
Baselstrasse 101
Max Ernst (see p20)
UNTIL 8 SEPTEMBER
Andy Warhol from the Bruno
Bischofberger, Daros and Beyeler
Collections
UNTIL 22 SEPTEMBER
CATTELAN: © REX FEATURES LTD. HORSE: SERGE HASENBÖHLER, BASEL
Maurizio Cattelan: Kaputt
(see right)
UNTIL 6 OCTOBER
Alexander Calder
UNTIL 31 JANUARY 2014
www.fondationbeyeler.ch
Haus für Elektronische
Künste Basel (House of
Electronic Arts)
Oslostrasse 10
Semiconductor: Let There
Be Light
UNTIL 30 JUNE
www.haus-ek.org
KEY
Listings are arranged
alphabetically by area
쏍 Commercial gallery
Neither shy nor retiring,
Cattelan makes a comeback
Why (stuffed) wild horses couldn’t keep the Duchampian Italian from making art
Kunstforum Baloise
Aeschengraben 21
Franz Erhard Walther
UNTIL 1 NOVEMBER
www.baloise.com
Kunsthalle Basel
Steinenberg 7
Michel Auder: Stories, Myths,
Ironies and Other Songs
UNTIL 25 AUGUST
T
wo years ago, Maurizio
Cattelan announced his
retirement. Speaking to The
Art Newspaper on the eve of
the 2011 Venice Biennale, he
said: “I have come to the
end of a cycle of my art,” explaining that
he would no longer make the hyperrealist sculptures for which he is known.
He added that he wanted to “get out of
a system that seduces you into repeating yourself”.
Since then, he has produced the magazine Toilet Paper with the Italian photographer Pierpaolo Ferrari. Because the “system” clamours for new work, each edition
has become a collector’s item, with copies
of the first issue apparently changing
hands for around €5,000.
And now he’s back. A major new installation, which opened at the Beyeler
Foundation last week (until 6 October),
takes over a central gallery, between the
Max Ernst exhibition (until 8 September)
and the permanent collection show. It
consists of five stuffed horses with their
heads stuck in the wall suspended
together in a cluster, creating the impression that an entire herd has been startled
and is attempting to escape. All of the animals are on loan from private collections
but have been arranged here in a new
installation specifically for the show.
So is Cattelan back in the business of
making art? “He’s definitely
not going to retire from
being an artist,” says
Sam Keller, the director of the Beyeler
Foundation, “but I
think that he [said
he was] because
he wanted to gain
his freedom. If
you are a successful artist, it comes
with all forms of
obligations… your galleries, all the museums,
the press, all want something from you.”
The opening of Cattelan’s retrospective
at the Solomon R. Guggenheim Museum
in New York in November 2011 represented something of a crossroads for the
artist, Keller says. “It’s very difficult for an
artist to have a retrospective where everyone [scrutinises] your life’s work, especially when you’ve always been very careful to show it in a certain, site-specific
context. For him, announcing his retirement was a way to give himself space to
think about what he wanted to do next.”
But even as he was telling the world’s
press that the Guggenheim show would
be his last, Cattelan was planning his
Beyeler display with Keller.
The idea for the show first came to
Keller when he was installing a Surrealist
exhibition at the museum in October 2011.
“I was thinking about how Surrealists like
André Breton called on Marcel Duchamp
twice to install their exhibitions, and
what Duchamp did was to transform the
experience of what an exhibition is and to
19
Paulina Olowska: Pavilionesque
13 JUNE-1 SEPTEMBER
Tercerunquinto: Graffiti
UNTIL 30 APRIL 2014
www.kunsthallebasel.ch
Kunsthaus Baselland
St Jakob-Strasse 170
Christopher Orr: Light
Shining Darkly
UNTIL 30 JUNE
Laurent Grasso: Disasters and
Miracles, 1356-1917
UNTIL 30 JUNE
Manuel Graf: Commercials,
Mosques and Ceramics
UNTIL 30 JUNE
www.kunsthausbaselland.ch
Kunstmuseum Basel
St Alban-Graben 16
Otto Meyer-Amden
UNTIL 7 JULY
The Picassos Are Here! (see p20)
UNTIL 21 JULY
Ed Ruscha: Los Angeles
Apartments
UNTIL 29 SEPTEMBER
www.kunstmuseumbasel.ch
Kunst Raum Riehen
Berowergut, Baselstrasse 71
Annette Amberg, Asier
Mendizabal and Yelena Popova:
Futures of the Past
UNTIL 23 JUNE
www.kunstraumriehen.ch
Museum der Kulturen Basel
Münsterplatz 20
Cattelan’s herd of horses is on display at the Beyeler Foundation. The
institution’s director, Sam Keller, compares the artist with Marcel Duchamp
POPCAP ‘13
UNTIL 23 JUNE
www.mkb.ch
surprise people, for example, by displaying bags of
coal that you needed torches
to see… so we were asking
ourselves: ‘Who would Breton
call today?’ And we thought: ‘He’d
call Cattelan.’ Cattelan also has a practice as a curator and as a publisher—he is
interested in so many things… he is a very
Duchampian figure.”
So what will the critics make of
Cattelan’s resurrection? Some consider
him one of the greatest artists of our time;
“Often, work that looks
humorous or fun actually
has a lot of despair in it”
others say he is only capable of producing
visual one-liners. Keller has no doubts.
“Almost every work by Cattelan that you
see is something you do not forget. For
someone like me who sees a lot, it’s quite
astonishing,” he says. “His works intrigue
you and seduce you at first because
[they’re funny], because they’re very well
executed, because of the visual impact
they have. But then they slowly seep into
your consciousness and keep raising questions. Often, the same work that at first
looks humorous or fun actually has a lot
of despair in it.”
His herd of fleeing horses at the Beyeler
is a case in point. Although the herd does
not have a name, the exhibition itself is
entitled “Kaputt”, after a 1944 novel by
Curzio Malaparte, who served in the Italian
army during the Second World War.
“Malaparte writes about horses in a magical way, bringing to mind over and over
again all the horses used by Cattelan in his
work,” writes the curator Francesco
Bonami in an essay for the Beyeler exhibition catalogue. “In particular… the horses
trapped in the frozen waters of Lake
Ladoga in Finland during [the war], with
only their heads sticking out. Malaparte
tells of the frozen heads being used by soldiers as benches on which to smoke their
cigarettes... and of the horrible stench of
the rotten corpses when spring arrived, the
ice melted and the bloated, dead horses
started to float on the surface of the lake.”
So don’t be fooled by Cattelan’s pranks
or distracted by what he may or may not
say (he declined to speak to us for this
article). “Fear, despair, tragedy and allegory are combined in [his] sensitivity,”
Bonami says. Whether he succeeds in conveying them through his newest work is
up to you to decide.
Cristina Ruiz
Museum für
Gegenwartskunst
St Alban-Rheinweg 60
Some End of Things
UNTIL 15 SEPTEMBER
www.mgkbasel.ch
Museum Tinguely
Paul Sacher-Anlage 2
Tinguely@Tinguely: a New Look
at Jean Tinguely’s Work
UNTIL 30 SEPTEMBER
Zilvinas Kempinas: Slow Motion
UNTIL 22 SEPTEMBER
www.tinguely.ch
Schaulager
Münchenstein,
Ruchfeldstrasse 19
Steve McQueen (see p21)
UNTIL 1 SEPTEMBER
www.schaulager.org
Schweizerisches
Architekturmuseum
Steinenberg 7
Spatial Positions #2: in the Grip
of Art
UNTIL 7 JULY
www.sam-basel.org
CONTINUED ON PAGE 20
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
20
CALENDAR
Art Basel week, 11-16 June
쏍 Daniel Blaise Thorens
Aeschenvorstadt 15
Christian Peltenburg-Brechneff
and Walter Ropélé
Basel
Vitra Design Museum
The changing
face of Max Ernst
Esplanade Léopold Robert 1
Jules Jacot Guillarmod: Wildlife
and Landscape Painter
UNTIL 22 JUNE
UNTIL 18 AUGUST
www.thorens-gallery.com
쏍 Depot Basel
NEUCHATEL, SWITZERLAND
Musée d’art et d’histoire
Neuchâtel
Fondation Beyeler
A35
Uferstrasse 90
His Majesty in Switzerland:
Neuchâtel and its Prussian
Princes
UNTIL 6 OCTOBER
Craft and Drawing
www.mahn.ch
5
UNTIL 29 JUNE
www.depotbasel.ch
쏍 Galerie Carzaniga
SCHAFFHAUSEN,
SWITZERLAND
Hallen für Neue Kunst
3
Gemsberg 8
Baumgartenstrasse 23
Christopher Lehmpfuhl, Christian
Lichtenberg, Paolo Bellini
The Raussmüller Collection
Parcours, Klingental
neighbourhood
UNTIL 15 JUNE
Art Basel, Messeplatz
www.carzaniga.ch
Museum Tinguely
Marktplatz
Museum der Kulturen
Kunsthalle Basel
쏍 Galerie Gisèle Linder
Elisabethenstrasse 54
Roger Ackling
Museum für Gegenwartskunst
Kunstmuseum Basel
13-16 JUNE, SPECIAL OPENING HOURS
DURING ART BASEL, 11AM TO 5PM
www.modern-art.ch
Werkhofstrasse 30
The Double Image: Aspects of
Contemporary Painting
쏍 Galerie Mäder
Robert Müller
UNTIL 11 AUGUST
Claragraben 45
Kunsthaus Baselland
Annette Barcelo
UNTIL 20 OCTOBER
www.kunstmuseum-so.ch
UNTIL 29 JUNE
www.galeriemaeder.ch
Haus für Elektronische Kunste
쏍 Galerie Hilt
Schaulager
Freiestrasse 88
Passion Kunst
UNTIL 29 JUNE
ST GALLEN, SWITZERLAND
Kunsthalle St Gallen
Davidstrasse 40
Flex-Sil Reloaded: Homage
to Roman Signer
UNTIL 4 AUGUST
18
www.galeriehilt.ch
www.k9000.ch
쏍 Marc de Puechredon
in Movement
Caravan 2/2013: Karin Lehman
UNTIL 6 OCTOBER
Kunstmuseum St Gallen
St Johanns-Vorstadt 78
UNTIL 31 DECEMBER
UNTIL 18 AUGUST
www.zpk.org
Museumstrasse 32
New Home
www.musee-unterlinden.com
www.aargauerkunsthaus.ch
14 JUNE-31 AUGUST
Max Ernst
Fondation Beyeler, Basel
SOLOTHURN, SWITZERLAND
Kunstmuseum Solothurn
www.galerielinder.ch
UNTIL 20 JULY
Ernst, At the First Clear
Word, 1923
UNTIL 8 SEPTEMBER
Max Ernst continually reinvented
himself during a career spanning
seven decades and two continents—his native Europe and the
America of his wartime exile. He
is best known for his bizarre
dreamscapes and his involvement in the Surrealist movement, yet his work defies neat
classification. This comprehensive retrospective at the
Fondation Beyeler, which
includes more than 160 paintings, collages, drawings, sculptures and illustrated books,
examines the rebellious artist in
all of his incarnations. V.S.B.
Filipa César: Single Shot Films
Haus Konstruktiv
UNTIL 23 JUNE
Selnaustrasse 25
Dan Flavin: Lights
Hot Spot Istanbul
LIESTAL, SWITZERLAND
Kunsthalle Palazzo
Poststrasse 2
UNTIL 18 AUGUST
UNTIL 22 SEPTEMBER
Nature? Swiss Photography from
1870 until Today
www.kunstmuseumsg.ch
www.hauskonstruktiv.ch
6PM, 13 JUNE
MULHOUSE, FRANCE
La Filature
BERN, SWITZERLAND
Kunsthalle Bern
www.puechredon.com
20 allée Nathan Katz
Helvetiaplatz 1
Cyril Hatt, Nicolas Lelièvre and
Jacques Perconte: Blow Up
Ericka Beckman
UNTIL 4 AUGUST
UNTIL 23 JUNE
Lokremise
Kunsthalle Zurich
UNTIL 7 JULY
www.kunsthalle-bern.ch
www.palazzo.ch
Grünbergstrasse 7
Limmatstrasse 270
Anthony McCall: Two
Double Works
Cameron Jamie
UNTIL 21 JULY
www.kunsthallezurich.ch
Ewerdt Hilgemann: Implosion
www.lafilature.org
Kunstmuseum Bern
Geoffrey Farmer at the Migros
Museum, Zurich
쏍 Nicolas Krupp
Contemporary Art
La Kunsthalle, Centre d’art
contemporain
Hodlerstrasse 8-12
LUCERNE, SWITZERLAND
Kunstmuseum Luzern
Hannes Schmid: Real Stories
Europaplatz 1
16 rue de la Fonderie
UNTIL 21 JULY
Jorge Macchi: Container
Daniel Gustav Cramer:
Ten Works
Myths and Mysteries: Symbolism
and Swiss Artists
UNTIL 16 JUNE
Franz Karl Basler-Kopp
THUN, SWITZERLAND
Kunstmuseum Thun
UNTIL 25 AUGUST
UNTIL 18 AUGUST
UNTIL 28 JULY
Thunerhof, Hofstettenstrasse 14
UNTIL 16 JUNE
www.kunsthallemulhouse.fr
www.kunstmuseumbern.ch
www.kunstmuseumluzern.ch
Zentrum Paul Klee
쏍 Galerie Urs Meile
Valkyries over Zurich: 150 Years of
Wagner Performances in Zurich
FREIBURG, GERMANY
Augustiner Museum
“It Is Almost Too Beautiful Here”…
on Lake Thun: August Macke and
Switzerland
Monument im Fruchtland 3
Rosenberghöhe 4
UNTIL 1 SEPTEMBER
The Hubert Looser Collection
Augustinerplatz
Satire, Irony, Grotesque:
Daumier, Ensor, Feininger,
Klee, Kubin
Xie Nanxing
www.kunstmuseumthun.ch
With Pen and Quill: Drawings from
Classicism to Art Nouveau
www.freiburg.de/museen
Rosentalstrasse 28
www.lokremise.ch
Kunsthaus Zürich
www.galerieursmeile.com
Basel’s love affair with Picasso
Heimplatz 1
Kelly Nipper
UNTIL 18 AUGUST
UNTIL 8 SEPTEMBER
www.kunsthaus.ch
UNTIL 6 JULY
15 JUNE-15 SEPTEMBER
UNTIL 18 AUGUST
WINTERTHUR,
SWITZERLAND
Fotomuseum Winterthur
Migros Museum
Grüzenstrasse 44 and 45
Geoffrey Farmer
Walter Swennen
Museum für Neue Kunst
UNTIL 29 JUNE
Marienstrasse 10a
www.nicolaskrupp.com
Julius Bissier
UNTIL 25 AUGUST
UNTIL 1 SEPTEMBER
Lewis Hine: Photography
for a Change
Limmatstrasse 270
UNTIL 18 AUGUST
John Armleder, Stefan Burger,
Valentin Carron, Edward Krasiński,
Manfred Pernice
쏍 Stampa
Make Active Choices
This Infinite World: Set 10 from
the Collection
Spalenberg 2
UNTIL 8 SEPTEMBER
UNTIL 9 FEBRUARY 2014
Zilla Leutenegger
www.freiburg.de/museen
www.fotomuseum.ch
Erik Steinbrecher
Naturmuseum
Fotostiftung Schweiz
Ausstellungsstrasse 60
UNTIL 24 AUGUST
Gerberau 32
Grüzenstrasse 45
René Burri: a Double Life
www.stampa-galerie.ch
From Butterflies to
Thunder Dragons
Adieu la Suisse!
UNTIL 13 OCTOBER
UNTIL 25 AUGUST
www.museum-gestaltung.ch
UNTIL 16 FEBRUARY 2014
www.fotostiftung.ch
Museum für Gestaltung
UNTIL 24 AUGUST
쏍 Tony Wuethrich Galerie
Vogesenstrasse 29
20 Years of the Tony
Wuethrich Galerie
UNTIL 18 AUGUST
www.migrosmuseum.ch
www.freiburg.de/museen
Kunsthalle Winterthur
Schweizerisches
Landesmuseum
WEIL AM RHEIN, GERMANY
Vitra Design Museum
Waaghaus, Marktgasse 25
Museumstrasse 2
UNTIL 29 JUNE
Patricia Esquivias
www.tony-wuethrich.com
Charles-Eames-Strasse 1
UNTIL 23 JUNE
Picasso’s sketch for Les Demoiselles d’Avignon, 1907
www.kunsthallewinterthur.ch
Animals and Mythical
Creatures from Antiquity to the
Modern Age
Archizines
The Picassos Are Here!
Kunstmuseum Winterthur
www.musee-suisse.ch
Daniel Robert Hunziker
UNTIL 6 OCTOBER
Kunstmuseum Basel
Museumstrasse 52
UNTIL 20 JULY
Zaha Hadid: Prima
UNTIL 21 JULY
Giuseppe Penone
Shedhalle
www.vonbartha.com
12 JUNE-11 AUGUST
The Kunstmuseum Basel has dedicated its entire second floor to a show
celebrating Picasso and his ties to the city. In 1967, “the year of Picasso”,
Basel’s citizens raised funds to purchase two of his masterpieces for the
Kunstmuseum: The Two Brothers, 1906, and Seated Harlequin, 1923. The
artist reciprocated this civic effort with the donation of four additional
works. All of the other paintings, drawings, prints and sculptures in the
show come from collections in Basel, including the Fondation Beyeler.
Among them are privately owned works that have never before been
shown in public. V.S.B.
UNTIL 11 AUGUST
Rote Fabrik, Seestrasse 395
www.kmw.ch
Switzerland Is Not an Island #2
ZURICH, SWITZERLAND
Fondation Beyeler
www.shedhalle.ch
쏍 Von Bartha Garage
Kannenfeldplatz 6
Louis Kahn
UNTIL 11 AUGUST
www.design-museum.de
EXHIBITIONS
FURTHER AFIELD
AARAU, SWITZERLAND
Aargauer Kunsthaus
Aargauplatz
COLMAR, FRANCE
Musée d’Unterlinden
Rhythm in It
1, rue d’Unterlinden
Cut! Video Art from the Collection
Robert Cahen: Painting
UNTIL 11 AUGUST
UNTIL 11 AUGUST
UNTIL 14 JULY
UNTIL 30 DECEMBER
Vorderer Utoquai/Bellevue
쏍 Annemarie Verna Galerie
Thomas Schütte: Vier Grosse
Geister (Four Great Spirits)
Neptunstrasse 42
Celebrating 20 Years
UNTIL 2 JULY
UNTIL 6 JULY
www.fondationbeyeler.ch
www.annemarie-verna.ch
FARMER: COURTESY OF THE ARTIST, PHOTO: GEOFFREY FARMER STUDIO. PICASSO: PHOTO: KUNSTMUSEUM BASEL, MARTIN P. BÜHLER © SUCCESSION PICASSO / PROLITTERIS, ZÜRICH. ERNST: PHOTO WALTER KLEIN, DÜSSELDORF.© 2013, PROLITTERIS, ZURICH. MAP KATHERINE HARDY
CONTINUED FROM PAGE 19
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
Schaulager turns into ‘city of cinemas’ for McQueen show
Steve McQueen, 7th Nov., 2001
Steve McQueen
Schaulager, Basel
UNTIL 1 SEPTEMBER
The Schaulager is staging the most in-depth look to date at the work of the British artist and film-maker Steve
McQueen. This exhibition includes more than 20 film and video installations and other works. It is presented on
two floors that have been specially adapted for the show, turning the gallery space into a “city of cinemas”, with
varying lighting schemes, mirrors and other effects to enhance the viewing experience. Visitors will find themselves engulfed in films such as Deadpan, 1997, a silent, black and white film showing a building repeatedly collapsing around the artist, which contributed towards McQueen being awarded the Turner Prize in 1999. Tickets are
valid for three visits to the Schaulager to allow visitors the time to fully experience the show. V.S.B.
쏍 Barbarian Art Gallery
쏍 Galerie Mark Müller
Limmatstrasse 275
Hafnerstrasse 44
Aida Mahmudova: Inner Peace
Joseph Marioni: Painting at 70
UNTIL 13 JULY
UNTIL 20 JULY
www.barbarian-art.com
쏍 RaebervonStenglin
John Nixon: EPW
Pfingstweidstrasse 23
UNTIL 20 JULY
Ivan Seal
쏍 Galerie Andrea Caratsch
Waldmannstrasse 8
www.markmueller.ch
UNTIL 27 JULY
www.raebervonstenglin.com
UNTIL 27 SEPTEMBER
쏍 Galerie Nicola von
Senger AG
www.galeriecaratsch.com
쏍 Scheublein Fine Art Ltd.
Limmatstrasse 275
Schloss Sihlberg, Sihlberg 10
Thomas Feuerstein
Monuments
John Armleder: Overload
쏍 Galerie Bob van Orsouw
Limmatstrasse 270
MCQUEEN: COURTESY THE ARTIST / MARIAN GOODMAN GALLERY, NEW YORK / PARIS, AND THOMAS DANE GALLERY, LONDON, PHOTO: JOHN BERENS © STEVE MCQUEEN. HINE: © COLLECTION OF GEORGE EASTMAN HOUSE, ROCHESTER
UNTIL 27 JULY
www.mai36.com
UNTIL 13 JULY
UNTIL 17 JULY
www.nicolavonsenger.com
www.scheubleinfineart.com
Shirana Shahbazi:
Between Daylights
쏍 Thomas Ammann Fine Art
UNTIL 27 JULY
Restelbergstrasse 97
Albrecht Schnider
Francesco Clemente
UNTIL 27 JULY
UNTIL 27 SEPTEMBER
www.bobvanorsouw.ch
www.ammannfineart.com
쏍 Galerie Eva Presenhuber,
Löwenbräu-Areal
ART BASEL EVENTS
Limmatstrasse 270
Jay DeFeo: Chiaroscuro
WEDNESDAY 12 JUNE
UNTIL 20 JULY
Art Conversations
www.presenhuber.com
Artist Talk: Thomas Schütte
Lewis Hine photographs at
Fotomuseum Winterthur
Art Basel, Hall 1, Auditorium,
Messe Basel
Zahnradstrasse 21
쏍 Galerie Peter Kilchmann
Ugo Rondinone: Soul
Zahnradstrasse 21
UNTIL 20 JULY
Los Carpinteros: Bola de Pelo
쏍 Galerie Eva Presenhuber,
Maag Areal
10AM-11.30AM
UNTIL 20 JULY
쏍 Galerie Römerapotheke
Mark Handforth: Blackbird Rämistrasse 18
The artist Thomas Schütte in
conversation with Massimiliano
Gioni, the curator of this year’s
Venice Biennale main exhibition
and the associate director of the
New Museum, New York, and
Theodora Vischer, the senior
curator at the Fondation Beyeler.
UNTIL 7 SEPTEMBER
Alexandre Joly
Design Talks
www.presenhuber.com
UNTIL 13 JULY
The Power of Patronage
www.roemerapotheke.ch
Design Miami Basel Studio,
Hall 1, Süd, Messe Basel
Trisha Donnelly: April
UNTIL 27 JULY
UNTIL 20 JULY
www.peterkilchmann.com
Eva Rothschild
쏍 Galerie Francesca Pia
Limmatstrasse 268
쏍 Hauser & Wirth Zurich
Elad Lassry
Limmatstrasse 270
UNTIL 20 JULY
Lee Bontecou: Works on Paper
www.francescapia.com
쏍 Galerie Gmurzynska
UNTIL 27 JULY
Wilhelm Sasnal
UNTIL 27 JULY
5:30PM-6:30 PM
Horacio Silva, the editor-in-chief
of Crane TV, moderates a conversation between Ginevra Elkann,
the president of the Pinacoteca
Agnelli and the Parisian design
gallerist Patrick Seguin.
Paradeplatz 2
www.hauserwirth.com
Robert Indiana:
the Monumental Woods
쏍 Häusler Contemporary
UNTIL 30 JULY
Stampfenbachstrasse 59
www.gmurzynska.com
David Reed: Recent Paintings
6PM
UNTIL 17 AUGUST
Parcours Night
www.haeusler-contemporary.com
Klingental neighbourhood
Jean Fautrier
쏍 Mai 36 Galerie
UNTIL 28 JUNE
Rämistrasse 37
A evening of special performances. Food and drinks available.
www.galeriehaasag.ch
John Baldessari
쏍 Galerie Haas AG
Talstrasse 62a
Film
Stadtkino Basel, Klostergasse 5
Films by Michel Auder, Part 1
7PM-12AM
21
THE ART NEWSPAPER ART BASEL DAILY EDITION 12 June 2013
22
DIARY
Brother, where
art thou?
Footsore and
fancy free
Everyone knows that aching tootsies
are an unfortunate, if inevitable, byproduct of tramping the aisles at art
fairs, hence the popularity of this
year’s Nationale Suisse Art Prize winners, Michael Meier and Christoph
Franz. The artists’ footbath installation at Liste pays homage to the
building’s previous life as the
Warteck brewery and also offers succour to the tired fairgoer, recycling
the “brewers’ grains” residue from
beer production in a chic copper vat,
in which tired fairgoers can immerse
their throbbing toes. Seating, towels
and cakes of soap are all provided as
part of the piece, but despite desperate pleas from footsore visitors, the
artists are declining to offer a personalised foot massage as an extra performative element.
ART BASEL DAILY EDITION
Cop a load of this
A reflection of society?
It is a well-established fact that artists
always love to find new ways to bite
the hands that feed them—only
equalled by the extent to which collectors revel in the exquisite pain of
being bitten. It is no surprise, then,
that, no sooner had the fair opened, a
pair of masochistic takers were immediately prepared to pay $55,000 apiece
for the two editions of Rirkrit
Tiravanija’s polished stainless steel
mirror, Untitled (Rich Bastards
Beware), 2013, at Gavin
Brown’s Enterprise.
Off with
their heads
The fact that they
never even met, let
alone exchanged any
bodily fluids, hasn’t
deterred Pablo
Bronstein from devising
an irresistibly entitled performance piece, Marie Antoinette
and Robespierre engage in an irritable
Tired of the scrum at the Kunsthalle bar? Can’t face yet another bout of beats
spun by the auctioneer-turned-DJ Simon de Pury? Help is now at hand in the
form of Confiserie Copley, the soothingly decadent pop-up salon opened by the
dealers Adam Lindemann and Paul Kasmin. The space offers those suffering
from “fairtigue” the comforting alternative of hot chocolate, cognac, cherry
kirsch and unlimited cigarettes in an elegant first-floor suite above Confiserie
Schiesser, Basel’s oldest chocolate shop, which has occupied its Marktplatz site
since the 19th century. Open every night between 6pm and 1am, the hedonist’s
haven is adorned with an installation of risqué work by the maverick artist
William Copley, whose saucy nudes also appear on the copious handmade
chocolates provided by the sweet-maker. With chocolate, sex, alcohol and art,
it’s a Swiss mainstay in the making.
post-coital conversation, which presents
the elegant 18th-century individuals
having what can only be called a daily
couch-off on Herald St gallery’s
stand. The artist describes this
exercise in artistic licence as “a
sloppy tableau vivant”, although
the London dancers portraying
the reclining pair, who must
hold their poses every day
throughout the fair, may
have another name for it.
PUBLISHED BY UMBERTO ALLEMANDI
& CO. PUBLISHING LTD
It’s not every day you’re asked
to tickle a cat’s testicles. But this
feline fondling is taking place
on a daily basis at the shared
stand of Carpenters Workshop
Gallery and Steinitz at Design
Miami Basel, where visitors
can see (and stroke) a sculpture
UK OFFICE:
70 South Lambeth Road, London SW8 1RL
Tel: +44 (0)20 3416 9000
Fax: +44 (0)20 7735 3322
Email: [email protected]
Here, kitty:
Studio Job, The
Black Cat, 2013
Confessions of an art dealer
Simon Lee
Simon Lee Gallery
2.1/L7
My biggest mistake…
Buying a share of a painting
that didn’t exist. Always view a
work of art and check its title
before paying!
The museum I’d like to lead…
The Simon Lee Foundation for
Contemporary Art in Provence.
The artist I should have
signed…
All the ones I love for whom I
don’t work.
Things that keep me awake
at 3am…
Art fairs and unanswered
emails.
I last cooked for…
Myself.
I should have been…
A vigneron.
Dealers are misunderstood
because…
They are dealers.
Fairs are important…
Because they are an ally and an
enemy and cannot be ignored
either critically or commercially.
Small talk is…
A luxury.
A recurring nightmare
involves…
Small talk.
The First Emperor
of China – now in Bern
Qin – The eternal emperor
and his terracotta warriors
DIRECTORS AND PUBLISHING
Chief executive: Anna Somers Cocks
Managing director: James Knox
Associate publisher: Ben Tomlinson
Finance director: Alessandro Iobbi
Finance and HR manager: Melissa Wood
Marketing and subscriptions manager:
Stephanie Ollivier
Head of sales (UK): Louise Hamlin
Commercial director (US): Caitlin Miller
Advertising executives (UK): Kath Boon,
Henrietta Bentall
Advertising executive (US): Adriana Boccard
Advertising executive (South and Central
America): Elsa Ravazzolo
Ad production: Daniela Hathaway
Office administrator: Francesca Price
Feelin’ a feline
15 March – 17 November 2013
Bernisches Historisches Museum
www.qin.ch
of a midnight-hued moggy—The Black
Cat, 2013, designed by Studio Job—
whose eyes light up once his nether
regions are rubbed. The moggy, which
is proving a hit (it comes in an edition
of eight, all sold at a mere €28,000
each), prompted one well-known
Miami design collector to remark: “If
you don’t perk up when your balls are
brushed, you’re dead, really.”
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editors: Jane Morris, Javier Pes
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: James Hobbs, Iain Millar, Emily
Sharpe, Anny Shaw
Designer: Craig Gaymer
Picture researchers: Katherine Hardy,
Ermanno Rivetti
Editorial assistants: Pac Pobric, Laurie Rojas
Editorial researcher: Victoria Stapley-Brown
Contributors: Alexander Adams, Martin Bailey,
Robert Bevan, Louisa Buck, Charlotte Burns, Paul
Carey-Kent, Benjamin Eastham, Eddy Frankel,
Melanie Gerlis, James Hall, Julia Halperin, Gareth
Harris, Ben Luke, Julia Michalska, Javier Pes, Pac
Pobric, Laurie Rojas, Cristina Ruiz, Anny Shaw,
Helen Stoilas, Nicole Swengley
Photographer: David Owens
I was happiest when…
art world is…
My phone and email were
The one I’m having lunch with…
disabled.
My Art Basel dream is to…
My greatest achievement is…
Hang my stand in the way I
To still have a thriving gallery
had planned.
and a thriving family.
Gareth Harris
The most underrated art
movement is…
Dada.
The next big thing…
Neo-Dada.
I wish I had met…
Lorenzo de Medici.
Sim
on L
ee
Travel broadens…
Exposure to radiation.
Life's too short to…
Drink bad wine.
My favourite person in the
US OFFICE:
594 Broadway, Suite 406, New York,
NY 10012
Tel: +1 212 343 0727
Fax: +1 212 965 5367
Email: [email protected]
ALL AMERICAS
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(from outside the US)
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SUBSCRIPTION ENQUIRIES:
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www.theartnewspaper.com
Twitter: @TheArtNewspaper
Printed by Druckzentrum Bern, Switzerland
© U. Allemandi & Co Publishing Ltd, 2013
All rights reserved. No part of this newspaper may be reproduced
without written consent of the copyright proprietor. The Art
Newspaper is not responsible for statements expressed in the
signed articles and interviews. While every care is taken by the
publishers, the contents of advertisements are the responsibility
of the individual advertisers
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CONFISERIE COPLEY: © DAVID OWENS. BLACK CAT: PHOTO: ADRIEN MILLOT
A striking trio of dashing, wellconnected brothers is making its
presence felt at the fairs on the
Messeplatz this week. The Los Angelesbased Haas siblings, Niki and Simon,
are showing a selection of hirsute
benches and chairs adorned with
wooden horns and cast bronze hooves
at Design Miami Basel. The pieces, at
R20th Century Design’s stand, were
inspired by the hairy monster in Where
the Wild Things Are. “We can’t stop
stroking them,” said a keen gallery
assistant, hand straying towards a
piece from the collection, which is
catchingly titled “Beast Feast”. The
brother-designers, meanwhile, who
were spotted dashing through the
aisles of Art Basel, move in very starry
circles, citing the film star Tobey
Maguire as a friend. When asked if
they’d seen Tobey’s stint in the
blockbuster “The Great Gatsby”, Niki
and Simon admitted they’d not yet
seen the 1920s-era flick, even though
“all our friends are in it”. Their other
headline-hitting Gatsby chums include
none other than the
swoonsome art
aficionado and movie
heart-throb
Leonardo DiCaprio
(right), who
ventured into Art
Basel yesterday
accompanied by
(you guessed it)
another Haas
wunderkind, the
actor Lukas, making
this year’s fair a
decidedly family affair.
1050, 1951
1050
Gino Sarfatti, courtesy of Galleria O.
Design Galleries
Antonella Villanova
Villanov / Caroline Van Hoek / Carpenters
Workshop Gallery/
Gallery / Cristina Grajales Ga
Gallery/
y / Dansk
Gallery / Demisch Danant / Didier Ltd /
Møbelkunst Gallery
Apartment-Gallery/
Erastudio Apartment-Galler
y / Franck Laigneau
Laignea / Gabrielle
Gallery/
Duval / Galerie
Ammann // Galler
y / Galerie Anne-Sophie Duva
Saint-Laurent / Galerie Chastel-Maréchal
Chastel-Marécha /
BSL – Béatrice Saint-Lauren
Galerie Downtown – François Laffanour / Galerie Eric
Philippe / Galerie Jacques Lacoste / Galerie kreo / Galerie
Maria Wettergren / Galerie Pascal Cuisinier / Galerie
Patrick Seguin / Galerie Ulrich Fiedler / Galleria O. / Gallery
Gallery / Hostler
Libby Sellers / Gallery SEOMI / Heritage Gallery/
Burrows / Jacksons / Jousse Entreprise / Nilufar Gallery
y/
Ornamentu / Pierre Marie Giraud / Priveekollektie
Ornamentum
Art|Design / R 20th Century/
Century / Salon 94 /
Contemporary Art|Desig
Sebastian + Barquet / Southern Guild / Steinitz / Thomas
ARTRIUM / Victor Hunt Designart Dealer /
Fritsch – ARTRIU
YMER&MALTA /
YMER&MALT
Design O
On / Site Galleries
Armel Soyer presenting Mathias Kiss / Carwan Gallery
presenting India Mahdavi / Elisabetta Cipriani presenting
Enrico Castellani / Galerie VIVID presenting Richard
Woods & Sebastian Wrong / Granville Gallery presenting
Elizabeth Garouste / Louisa Guinness Gallery presenting
Anish Kapoor / NextLevel Galerie presenting Bina Baitel /
ProjectB presenting Philippe Malouin
Maloui /
E L
ET
ME
SE
E
LET
E
LE
ME
T
M
SE
E
S
SH
SE
ME
E
W
M
HO
Design M iami
m / Basel 2013
The Global For um for Design
11–16 June 2013
New Locat ion / Hall 1 Süd
Design Talks
Wednesday 12 June / 5.30pm
The Power of Pat ronage
Ginevra Elkann, President, Pinacoteca Agnelli
in conversation with
Patrick Seguin, Principal, Galerie Patrick Seguin
Moderated byy /
Horacio Silva
Editor-in-Chief, Crane TV
,QĬQDQFHDVLQDUWinsightFRPHV
IURPĬQGLQJQHZSHUVSHFWLYHV
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an opportunity for our clients to pursue their
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And that’s why we work to provide access to collecting
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