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30 January 2014 Data Henry Moore page 5 Top stories page 10 Museums page 12 Interview Catherine Grenier Fondation Giacometti page 16 Focus Video page 20 Auctions page 22 Interview Sonal Singh Christies Inde page 24 Galleries page 27 Artists page 30 Faires & festivals page 31 Interview Stephanie Dieckvoss Art14 page 34
AMA NEWSLETTER
In the public eye: the ups and downs of public art

Public art is designed to engage people in their surroundings: a visual
installation acts as a bridge, connecting the public to the space around them. Traditionally reserved for commemorative statues and memorials in town centres, the domain of public art developed after the 1960s civil rights movements, when people began to claim urban spaces as their own. The regeneration of built-up areas after the Second World War placed more of a value on public space, transforming sculpture from merely a decorative addition to a space to something which defined it, unified people, and appealed to the greater social interest. Artists such as Henry Moore became prominent producers of public art: combining a broader social desire to return to rationality with a refined abstraction, Moore was viewed as the voice of British sculpture following the war. In recent years, the sphere has developed into a thought-provoking art form which constantly challenges the boundaries of space to ask questions about community, our relationship to each other, our place within our environment, and what constitutes art. Today, public art continues to spark fierce debate across all realms of society.
Rubber Duck Florentijn Hofman photo : Antony Lau, Zenda
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Public involvement Art installations increasingly use innovative new techniques to involve people in the form. In 2009, Antony Gormleys project One & Other invited members of the public to occupy the fourth plinth in Londons Trafalgar Square for an hour each, transforming spectator into artwork. The 2,400 living sculptures did everything from campaigning for rights for disabled people to posing naked, providing the civilian with a literal platform, and thus blurring the lines between art and everyday life. In a less intrusive manner, Anish Kapoors 2006 sculpture Cloud Gate also makes the spectator part of both the artwork and the environment around them. This giant, mirrored, bean-shaped piece, reflects and distorts the viewer in the foreground and the Chicago skyline in the background, making the artwork seem boundless, endless. The sculptures popularity with visitors, who come to take kind of hall-of-mirrors style photos in its surface, confirms its success. Public art also now extends to city-wide events designed to animate both residents and tourists alike. The French city of Lyons Fte des Lumires (Festival of Lights), which takes place in December every year, stemmed from an ancient Lyonnais tradition of celebrating the Virgin Mary. Now, with its roots firmly in history, the festival is an annual occasion to exhibit ephemeral art installations around the city. Around 3 million visitors come to the four-day event every year to see illuminated buildings, light shows, neon pieces and video projections. All projects are chosen with the vision to connect people to the city of Lyon and its history, through the celebration of the medium of light. Another city-wide event is Pariss famous Nuit Blanche, taking place on the first Saturday of October each year. As well as specially-commissioned programmes throughout the city, museums and galleries stay open all night, the entire capital becoming a kind of public art exhibition; its revered monuments a kind of common property, belonging to the spectator. A carefully curated public involvement as seen in these events lends to their success, with the notion of the main centrepiece the art or the people becoming unclear. Redefining space Another way in which public art seeks to connect people to their surroundings is to reconfigure space. Using public art to give a new function to an area, or to get the public to see it in a new light, is a clever technique used by artists and councils. New York Citys celebrated High Line is a perfect example of this. Inspired by Pariss similar Promenade Plante project, the High Line is a 1-mile elevated park built along the old New York Central Railroad. Various art installations along the stretch of viaducts have transformed an old industrial site into an artistic and architectural innovation. Artists to have had works featured along the High Line include George Condo, Frank Benson, David Shrigley and duo Gilbert & George. The park presents commissions, performances, installations, video programmes and billboard-sized artworks along its route, which are renewed every few months. Since its opening in 2009, the High Line has become both a tourist attraction and a symbol for the gentrification of the surrounding Meatpacking District. Contemporary art here has been taken out of museums and institutions and given back to the street, and it is this dialogue between the city, the art and the wider urban landscape that makes the High Line such a success.
Waking Gilbert & George view from the High Line, New York, Photo : Phoebe Cripps
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The reforming of historical places into artistic sites is no more potent than in Germany, in the art that extends along the old Berlin Wall. The East Side Gallery, as it is known, is a 0.8-mile section of the Berlin Wall comprising 105 paintings by international artists. The space functions both as a memorial for political freedom and as what is possibly the worlds largest open-air gallery. Works by Jim Avignon, Thierry Noir, Bodo Sperling and Dmitri Vrubel, amongst others, reversed the Walls original purpose of restricting an area to the public instead, this space now firmly belongs to the people of Berlin. Perhaps the most dramatic example of arts claim on public space is the work of Christo and JeanneClaude, the married couple whose work involved the wrapping of monuments. In wrapping Pariss Pont Neuf bridge and the Reichstag in Berlin, the fabric kept the main outline of the buildings shape whilst exaggerating their details and proportions. A covered place was significantly changed, whilst remaining the same underneath. When it appeared in 1985, The Pont Neuf Wrapped attracted 3 million visitors. Returning once again to Antony Gormley, the sculptors permanent installation of 100 human figures on Crosby Beach, just outside of Liverpool, UK, redefined a seascape into a giant public artwork. The lifesize cast iron sculptures collectively called Another Place are cast from the artists own body, spread over a 2-mile stretch of sand, all gazing out towards the Irish Sea. At high tide the majority of these human figures are submerged by water, to be revealed again later in the day. Gormley said of the works: When I have been down on the beach myself, the majority of people have been intrigued, amused, sometimes very moved. The statues claim on a public, common space caused some health and safety concerns, with authorities concerned that visitors might become stuck in soft sand: the beach has nevertheless become a major tourist attraction. Controversy Another public art project by Antony Gormley, Event Horizon, caused a severe headache for police when it was mounted in London in 2007. This time, 31 life-size replicas of the artists body were erected on the tops of buildings in locations around the capital, designed to prompt people to stop, look up and mirror the statues stillness. Several members of the public, however, mistook the figures for would-be suicide attempts, and the police were subsequently bombarded with telephone calls. The installation, since exhibited in New York, So Paulo and Rio de Janeiro, seems to have fulfilled Gormleys wish to play with the city and the peoples perceptions. One of the first and most notorious public art controversies was Richard Serras Tilted Arc. Installed in 1981 in Manhattans Foley Plaza. Tilted Arc was a post-minimalist, site-specific sculpture which physically divided the plaza in two. A giant steel panel that appeared to jut out of the ground, the artwork was designed to make the viewer aware of their movement through the space which, to a certain extent, was achieved, due to the numerous complaints about blocked access.
Painting #25 of Leonid Brezhnev and Erich Honecker kissing Dmitri Vrubel East Side Gallery, Berlin
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Just months after its insertion in the plaza, over 1,300 workers in the vicinity had signed a petition for its removal. However, Serra insisted: It is a site-specific work and as such is not to be relocated. To remove the work is to destroy the work. Designed specifically to reconfigure the space around it, Tilted Arc would cease to exist in its true capacity if it were exhibited anywhere else, he argued. Despite prominent artists such as Philip Glass, Keith Haring and Claes Oldenburg campaigning in favour of the work remaining in place, the sculpture was voted to be removed in 1989 by a jury who voted 4-1. It remains the artists wish that the work not be installed elsewhere, and therefore the steel sculpture has remained in a storage facility since its removal. The controversy surrounding Tilted Arc raises questions about public arts sense of belonging to a place and whether an artists vision is more important than the peoples approval. No stranger to controversy, Damien Hirsts latest public sculptures, unveiled in Doha in October 2013, have also been widely contested. A series of 14 monumental bronze sculptures, depicting human gestation from conception to birth, was commissioned by Sheikha al Mayassa, chairwoman of the Qatar Museums Authority, to sit outside the Sidra Medical and Research Centre. Entitled The Miraculous Journey (2005 to 2013), the series challenges Muslim taboo in its depiction of the human form. Despite the artworks obvious connection to the immediate space around them (the Sidra Medical and Research Centre specialises in womens and childrens health), it is their wider situation within the Islamic framework of Qatar that has created dialogue here. Sheikha al Mayassa believes its important to have an ongoing conversation, but Hirsts foetuses beg to ask how much public art is created to provoke discussion, and how much it is created for the people for which it serves. Sometimes public art can go severely wrong. In July 2006, Dreamspace by Maurice Agis, an interactive, inflatable artwork that viewers could go inside, was torn from its moorings and carried 30ft into the air by a sudden gust of wind, killing two women in what has since been described as a freak accident. The work, made of colourful plastic sheets arranged in the form of a maze, had been touring Europe at the time. Agis had explained that his idea behind it was to make art accessible to ordinary people, offering them a release from the chaos and fragmentation of the senses in daily urban life. The artist was haunted by the tragedy of the event until his death in 2009, never creating a work on such a large scale again. Another inflatable creation that has left the public feeling somewhat deflated has been Dutch artist Florentijn Hofmans Rubber Duck. Presented with the view of spreading joy around the world, the duck, which weighs over 600kg, has deflated twice and even exploded once on its international tour. The duck burst just hours away from New Years Eve celebrations in the northern Taiwan port of Keelung, leaving spectators with nothing more than a floating yellow disc. Nevertheless, the replica of the famous bath-time toy has proved popular with people the world over, with one girl commenting to Agence France Presse, It takes me back to my childhood memories, another saying, It has a message for peace but for me its just fun. The artist has explained his reasoning behind the public work: Its about connecting people, dont take life for granted, your urban space for granted. You walk every day the same route to work, but look and stop going too fast. Florentijn Hofmans rubber duck philosophy seems to encapsulate the purpose of public art. Whilst the domain will always continue to incite controversy and debate due to its highly visible and even invasive nature its core value remains to connect people to the space around them. If redefining that space triggers a response, whether positive or negative, then public art might be considered to have succeeded in its purpose.
Another Place Antony Gormley Crosby Beach, Liverpool Photo : Chris Howells
30 JanUaRY 2014
Henry Moore
Art Analytics
Henry Moore was born 1898 in Castleford, Yorkshire, and was the son of a coal miner. During the first world war, he served as a soldier in Northern France, before becoming a student at Leeds School of Art in 1919 - going on to study at Londons Royal college of Art between 1920 and 1924. During this period, his work was heavily influenced by that of Constantin Brancusi and Epstein. In 1924-1925, he won a travelling grant to go to Italy to study Michelangelos work. Moores first exhibition, held in 1928 demonstrated the influence which tribal art had on his practice. He also aimed to highlight what he called the truth of the material, using direct carving to shape wood and stone. In 1933 he helped found Unit One, a group of artists and architects with a shared interest in Constructivism and Surrealism. In 1934, he participated in the International Surrealist Exhibition in London. Later, during the Second World War, Moore realised a series of drawings of people taking shelter in the London Underground. In 1948, he won the International Sculpture Prize at the Venice Biennale. After the war, Moore began teaching, instructing young sculptors in his studio. During this time, the artist began to sculpt human figures - viewed both isolated, and in a group - in wood, stone and bronze. In the 1950s, Moore began to receive more and more significant commissions, such as a piece for Pariss UNESCO building, unveiled in 1957. To keep up with demand he employed assistants to help him at his studio in Much Hadham, including Anthony Caro. Highly conscious of the relationship between art and the natural world, the artist sought to produce pieces which expressed a connection to the environment in which they were situated. A number of Moores works are displayed in natural surroundings. Moores depictions of the human figure and, in particular, of reclining women present the body in an abstracted manner: the body is perceived as a silhouette, or a collection of details, but never as a complete reflection of the real physical form. Many of Moores sculptures carry the same title, with the artist having explained: All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery. Moore created the eponymous Henry Moore Foundation in 1972, seeking to promote artistic practice and an interest in art, and to create a place in which to preserve his sculptures. This foundation now runs a museum and gallery in Henry Moores Hoglands house and studio in England. Moore died on 31 August 1986 at the age of 88, and is buried at St. Pauls Cathedral, London. 40 30 20 10 0 1945 1949 1953 1957 1961 1965 1969 1973 1977 1981 1985 1989 1993 1997 2001 2005 2009 2013 group shows
40 30 20 10 0 1945 1949 1953 1957 1961 1965 1969 1973 1977 1981 1985 1989 1993 1997 2001 2005 2009 2013 gallery museum biennials other
Evolution of the number of exhibitions by type Evolution of the number of exhibitions by type of venue
solo shows
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Henry Moore
Art Analytics
Distribution by exhibition type Distribution by venue type Distribution by country
Works by the artist have been most exhibited in the United States, followed by the United Kingdom, Germany, Italy and Canada. The greatest number of exhibitions of his work have taken place at the Museum of Modern Art (MoMA) (United States), the Osborne Samuel Gallery (United Kingdom), the Institute of Contemporary Arts London (United Kingdom), the Crane Kalman Gallery (United Kingdom), and Austin/Desmond Fine Art (United Kingdom). In group shows, Moores works have most regularly been exhibited alongside pieces by artists Pablo Picasso, Alberto Giacometti, Jean Arp and Jon Mir. The artists work has principally been exhibited in museums, as part of group exhibitions.
3%
30%
10% 27% 30%
65%
16% 90% 27%
Evolution of the number of articles published on Henry Moore
gallery events
museum other
group shows solo shows
United States Germany
United Kingdom other
1,500
750
1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
Distribution of the number of articles by country Distribution of the number of articles by langage
John Russell Taylor Alastair Sooke Jonathan Jones 0 20 33 40 46
55
11%
30%
9%
44%
60
10% 70%
7% 8%
11%
The Times The New York Times The Guardian 0 200 400
774 706 704 600 800
United Kingdom Germany other
United States Spain
English Spanish
German other
Top 3 authors and publications whose works have addressed Henry Moore
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Henry Moore
Art Analytics
At auction, Henry Moores works have realised total sales of over $445 million, with the average price of a work being $90,000. The artists auction record was achieved in February 2012 at Sothebys, London, for his bronze sculpture Reclining Figure: Festival (1951), which sold for $26.841 million, hammer price, whilst another bronze sculpture Three-piece reclining figure: draped (1975) was sold for $7.5 million, hammer price, at Sothebys, New York in September 2004. In June 2008, at Sothebys, London, the bronze sculpture Draped reclining woman (1957) realised $7.48 million, hammer price. Whilst the artists sculptures represent only a third of lots offered at public auction, this medium has been the artists most profitable, accounting for 93% of his total sales figure, with 1,471 lots sold for an average of $286,000. Editions by the artist, which represent 56% of lots offered at a total of 2,759 lots, account for only 3% of his total sales figure, with an average price of $1,855. Another significant medium for the artist, drawing, has been represented at auction by 621 lots, which have sold for an average price of $40,000. Finally, in public auctions, 29 photographs taken by the artist have been bought for an average price of $2,200, 16 paintings, for an average of $34,000, and 13 ceramic works, for an average of $35,000. The number of lots appearing on the market has seen a sharp increase in the last ten years, with almost 400 pieces presented at auction each year.
Evolution of the number of lots Evolution of revenue Evolution of the average value of lots
600 400 200 0
1986
1988
1990
1992
1994
1996
1998
2000
2002
2004
2006
2008
2010
2012
$80m $60m $40m $20m $0m 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
$300k $200k $100k $0k
1986
1988
1990
1992
1994
1996
1998
2000
2002
2004
2006
2008
2010
2012
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Henry Moore
Art Analytics
Distribution of lots by medium and revenue Distribution of lots by country and revenue
The market with the highest volume of sales for Henry Moores work is the United Kingdom, the artists country of origin. By value, the United States represents 58% of the total sales value. Only the United Kingdom is comparable with this figure, selling 40% of the total value of lots. Concerning the auction houses, the most prestigious lots have been sold by the major UK- and USbased houses Christies and Sothebys, which together account for 96% of the artists total sales. It is worth noting that the artists rate of unsold works is relatively low, at 17%.
14%
6%
17%
10%
30% 56% 93%
40% 58%
40%
33%
Multiples
Sculpture
Drawing
United Kingdom Germany
United States other
Rate of sold/unsold lots Distribution of lots by auction house and revenue
17% 47%
4% 28% 45% 25% 51%
83%
sold
unsold
Christie's
Sothebys
other
Rate of unsold lots by price of works
Total sales by price of works
> $5m $2-5m $1-2m $500k-$1m $200-500k $100-200k < $100k 0% sold 25% 50% 75% unsold 100%
> $5m $2-5m $1-2m $500k-$1m $200-500k $100-200k < $100k $0m $50m $100m $150m
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Henry Moore
100% 75% 50% 25% 0% 1986 1988 1990 1992 1994 sold 1996 1998 2000 2002 2004 unsold
Art Analytics
2006
2008
2010
2012
A chronological analysis of Moores success in sales shows that, despite an increase in the number of lots appearing in the market, the rate of the unsold works in recent years has also witnessed an increase, rising to around 25%. Whilst the market has sold works covering all of the artists periods of production, the most significant pieces in terms of value were created during the 1950s.
Evolution of unsold lots
Number of presented lots and revenue by creation year
500
$40m
250
$20m
1921 1925 1929 1933 1937 1941 1945 1949 1953 1957 1961 1965 1969 1973 1977 1981 1985 1990 lots turnover
$0m
Until 17 July 2014, the Henry Moore Foundation, in partnership with the Fundacin la Caixa, is presenting the exhibition Henry Moore in Spain.
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Top stories
ArtiCle OF the weeK
Excellent results for 2013s European Capital of Culture A year after Marseille was named European Capital of Culture, officials from the city have commented on the titles positive influence, which they hope will continue in years to come. A programme created for the event attracted almost ten million visitors in stark contrast to the 2 million of the previous year. Major exhibitions have reportedly attracted over 5 million visitors mainly to institutions such as the MuCEM Muse des Civilisations de lEurope et de la Mditerrane (Museum of European and Mediterranean Civilisations), the new FRAC (Fonds rgional dart contemporain Regional funds for contemporary art) and the Villa Mditerrane. The MuCEM, the citys main attraction in 2013, greatly exceeded expectations, seeing a total of 1,824,000 visitors pass through its doors. Close to 600,000 people visited the paying exhibitions, 15% of whom were from overseas, the remainder of which a third were from Marseille. A third of those who visited the MuCEM were said to have made a return visit. After the success of 2013, 2014 is expected to be a challenging year for the city, as it hopes to continue the momentum established by the previous years rich cultural programme.
EXPOrtatiOn
Poussin work subject of a tug of war A work by Nicolas Poussin, The Infant Moses trampling Pharaohs Crown (1645), has been prevented from leaving the United Kingdom by the British Minister for Culture, Communication and Creative Industries, Ed Vaizey. The painting was acquired by the 5th Duke of Bedford in 1798, at the sale of the Orlans collection in London. It has been kept at country house Woburn Abbey ever since. Ed Vaizey has placed a temporary export ban on the painting, after being warned of its imminent departure by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest. The work was sold by Woburn Abbey a few months ago to an anonymous overseas collector for 14 million, a price well above market estimations. Woburn Abbey has justified its decision by explaining that the estate needs to undergo reconstruction and renovation works. The estate has also emphasised that its acquisition of new artworks is ongoing. The Poussin was a standalone piece in the houses collection, which possesses 24 Canalettos. It is hoped that a potential English buyer will come forward in the next few weeks, without which, the work will leave the country.
OUt OF the OrDinarY

An original Victorian painting bought by a collector on eBay for 200 A beady-eyed collector has bought an original watercolour by Richard Dadd (1817-1866) on eBay, created by the Victorian painter while he was in a psychiatric hospital. The collector bought the work, Painting of a lady with minstrel (1874), for 200. At the beginning of the extraordinary online sale, the name of the creator of the artwork was unknown. The watercolour belonged to a wider collection Elizabeth Rickards personal album and nothing indicated that an original work was amidst its contents. The album was like a kind of Victorian scrapbook, comprising Christmas cards, pressed leaves and amateur watercolours. According to The Art Newspaper, the collector knew instantly upon seeing it that the painting was by Richard Dadd. Painting of a lady with minstrel was painted whilst Dadd was incarcerated, after having killed his father, probably following an episode of paranoid schizophrenia. It is the only Dadd watercolour to feature in the album. However, elsewhere in the book, Rickards has drawn Dadds in the middle of painting. The collector has therefore undertaken research to discover the link between Elizabeth Rickards and Richard Dadd. Though the chaplain for Dartmoor prison at the time identified as a certain Clifford Rickards, a potential relation to Elizabeth, for now the mystery remains unsolved.
PrOjeCt
The challenge of bringing contemporary art to Beirut The new Ashti Foundation building is forecast to open in spring 2015 in Beiruts Jal-el-Dib quarter. The ambitious project is being led by Tony Salam, the Lebanese retailer who owns several luxury department stores in Beirut, and who is Chairman and Chief Executive of the Ashti brand. Salam has fought for several years in order to bring contemporary art to Lebanon. He is one of the founders of the Beirut Art Fair, which had its first edition in 2010. He also created his Ashti Foundation in 2005, which brings together around 1,200 artworks representing 150 artists, including Marc Quinn, Giuseppe Penone and Lucio Fontana. Dedicating a new building to the foundation is a kind of defiance to the countrys ongoing war. Salam hopes to encourage the sphere of contemporary art in Lebanon, and present it as a solution to the conflicts devastating the region. The 20,000m2 building, designed by architect David Adjaye, is to dedicate 16,000m2 of its space to luxury retail, the other 4,000 to contemporary art and education. With this space, Salame hopes to highlight the relationship between Western contemporary art and Lebanese youth culture.
taX
Spain halves tax on sales of artworks On 24 January, Spains government decreased tax on sales of artworks by more than half, from 21% to 10%. The initiative came after complaints from the culture industry since the general sales tax was raised from 18% to 21% in 2012, in an attempt to combat Spains high public deficit. Speaking at a news conference, Deputy Prime Minister Soraya Saenz de Santamaria said: It is a first step. We believe we should take a series of measures, including on taxes, to promote and defend culture in Spain. It is a measure to support creators of works including paintings, sculptures, art galleries, art dealers, antique dealers and the world of plastic arts in general. In comparison, the sales tax on artworks in France is currently 5%, Germany 7% and Belgium 6%. www.artmediaagency.com
30 JanUaRY 2014
Art FUnD
2013 results for first art fund based on a private collection Art Vantage LTD PCC has released a statement detailing their 2013 performance, reporting a 9.39% increase in investor returns in 2013, and a cumulative 27.5% since its inception. Art Vantage LTD PCC which describes its aims as transparency, clear macro investment strategy and strong uncorrelated returns owns the Tiroche DeLeon Collection, which invests in leading contemporary artists from developing markets. The collection acknowledges dominant names in each of the regions it buys, discovering emerging artists and working with museums, galleries and curators to build long-term value. Its approach combines ethical collecting with long-term, macro-drive market exposure, and an active management strategy. As of 31 December 2013, the fund was valued at US $16,693,084, containing 300 works by artists including Marina Abramovic, Ai Weiwei, El Anatsui, William Kentridge, Pedro Reyes, and Liu Rei. The fund has a stated a return objective of 10% per annum over its lifetime. An independent valuation conducted by Phillips on 31 December 2013 showed the fund to have generated net investor performance of 9.39% (net of all operating costs, management fees, and performance fees). This figure gives a net cumulative investor performance of 27.5% since inception in 2011 just over 9% per annum. Despite this, Art Vantage LTD PCC claims to have maintained its 10% return objective over the past three years. Speaking via a press release, the company states that calculated returns are based on annual estimations of fair market value, provided by the three leading auction houses on a rotating basis. Works acquired by the company so far have been at an average premium of 25% to these valuations, suggesting that the company may be trading at a discount to its actual value. According to their release, average gross annualised returns on all realised art works stands at 38%. A comparison of the funds returns with those of other investment classes show its returns to have been relatively consistent, with the combination of low volatility, low correlation and strong return being touted as an appealing case for investment. The fund is presented by Art Vantage LTD PCC as being suitable for experienced investors who can tolerate illiquidity and a degree of volativity.
eDUCatiOn
Bergens Hordaland Art Centre seeks new director Described as Norways leading arts institution, Bergens Hordaland Art Centre has opened applications for an ambitious and enthusiastic person, to further develop its profile, placing a focus both on continuity and new ideas. Applications are currently being accepted until 1 February 2014, with the role expected to begin on 1 February. The announcement comes with the news of current Director Anne Szefer Karlsens decision to end her six-year term. The new Director is to continue Karlsens work, holding full artistic and administrative responsibility over the centre. Non-Norweigan speakers are asked to be willing to learn the language.
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Museums
artiCle OF the weeK
V&A to make original degenerate art list public The V&A Museum in London has announced by scholars internationally ever since. It is plans to release the complete list of En- now to be made public, with images of the tartete Kunst (Degenerate art) confiscated original 479 pages to be visible online. The by the Nazi regime, mostly during 1937 inventory was a donation to the museum and 1938. The list is the only known from the widow of Heinrich Robert Harry complete inventory of its kind, documenting Fischer, an Austrian-born art dealer who artworks seized by the Nazis from German fled to the United Kingdom in 1938. It is public institutions. unknown how or for what purpose Fischer The Entartete Kunst list was acquired came into possession of the list, but he is by the V&A in 1996, and has been used thought to have owned it from the 1960s. Martin Roth, Director of the V&A, said: This list is so significant for all those who work in the field of provenance research. The recent Gurlitt case highlights how important it is for this original document to be made available in its entirety to as wide an audience as possible by publishing it online.
DeVelOPment
Tate St. Ives temporarily closes From 27 January, Tate St. Ives closed for a period of 4 months whilst building works take place. The construction project is to see the development of a learning centre, spanning two floors, and a building set to act as a permanent exhibition space for works by British, Post-War artists. The gallery is expected to re-open on 27 May, an occasion which coincides with the institutions 21st anniversary and the opening of a new exhibition: International Exchanges: Modern Art. The latter is to focus on the group of artists who converged in St. Ives after the 1928 formation of the St. Ives School, which included painters Ben Nicholson, Alfred Wallis and Christopher Wood.
COmmUniCatiOns
Thomas Campbells speech at World Economic Forum in Davos Thomas Campbell, Director of the Metropolitan Museum of Art, has given a speech at the World Economic Forum in Davos calling for museums to learn to communicate in a language that businessmen can understand. The annual event brings together the CEOs of 1,000 member companies of the Forum, as well as political figures, representatives from several universities and NGOs, religious leaders and various media personalities. It is the second time Campbell has been invited to Davos for the Forum, and he deplored the tiny place that the cultural sector occupies in society: A major missing part of the dialogue is cultural sustainability. It feels like an add-on. Were the entertainment. He also underlined the need for cultural institutions to speak the language of business and the economy, especially to connect better with the financial, social and political world.
COOPeratiOn
Partnership between K11 Art Foundation and Palais de Tokyo The K11 Art Foundation (KAF) and contemporary art museum Palais de Tokyo (Paris) have announced a three-year partnership. The collaboration aims to support Chinese artists and exhibit their works to a wider audience. Two exhibition curators have already been chosen to produce a month-long show at the Palais de Tokyo, to open on 20 October 2014, three days before the start of FIAC. Wang Chunchen, research director at Beijings Central Academy of Fine Arts (CAFA), is to choose the French participating artists, while Jo-ey Tang, an exhibition curator from Hong Kong, is to select the shows Chinese artists. Tangs selection is to focus on artists from the Guiyang and Wuhan villages which are supported by the KAF. K11 Art Foundation is a nonprofit organisation founded in 2010 by the billionaire Adrian Cheng, an ex-banker aged 33.
at risK
Cairos Museum of Islamic Art at risk following vehicle explosion Cairos Museum of Islamic Art has been damaged, following an attack which saw a vehicle explode in close proximity to the institution. The Museum is not far from the general police headquarters, which were the target of the attack, carried out last Friday, on the eve of the Revolution of the 25 January. The incident resulted in 4 deaths, and at least 70 injured, taking place during a particularly turbulent period for the countrys authorities. It is currently difficult to assess the extent of the damage caused to artefacts and manuscripts, held in rooms which were destroyed by the explosion. For the moment, restoration efforts are being focused on securing the building itself, with an inventory of lost or destroyed items expected to be created at a later date. The museum facade was also damaged by the explosion. A number of cultural figures from across the world have already expressed concern regarding the possible loss, or damage, of artefacts following Fridays events, including Irina Bokova, Director General of UNESCO, and Mohamed Ibrahim, the Egyptian Minister for Antiquities.
hUman ressOUrCes
Nora Atkinson joins Smithsonian American Art Museums Renwick Gallery The curator Nora Atkinson is to join the Smithsonian American Art Museums Renwick Gallery from March. She has been appointed the Lloyd Herman Curator of Craft, a new post in the Renwick Gallery. She is to be in charge of acquiring works for the museums permanent collection, as well as organising exhibitions in the Gallery. Originally from Seattle, Atkinson studied at the University of Washington. She was previously exhibitions curator at the Bellevue Arts Museum (BAM).
30 JanUaRY 2014
GarDen OF EDen
A collection of contemporary art in the Brazilian countryside Established in 2002, Inhotim lies in the heart of the Brazilian countryside, not far from Belo Horizonte. Featuring a huge botanical garden, the site is home to the worlds largest collection of palm trees (boasting 1,400 varieties in total) as well as a major art collection. A series of galleries and 19 artist pavillions hold over 500 works, looked after by a staff of over 700, with the project the result of a $500 million investment. Representing artists of over 30 nationalities, Inhotim aims to make culture accessible to all Brazilians even those who live rurally. The institution aims to establish a collection of contemporary works, which reflect the societies in which they were produced, hoping that the public who visit will establish a relationship with the institution and its exhibits. Inhotim is the only cultural institution in Brazil to have an international collection of art which is made permanently accessible to the public. The museum represents something of a new model, having very assured ambitions, and being located in an environment which immediately differentiates it from city-based models. Visitors are encourage to visit regions of forest and tamed garden in conjunction with the art works on display. And, though Inhotim hopes to establish an expansive permanent collection, it is a space which continues to re-invent itself. Bernardo Paz, who is behind the project, has stressed the importance of using the venue to host exhibitions of major contemporary artists, with those to have already exhibited at the institution including: Doug Aitken, Matthew Barney, Chris Burden, Olafur Eliasson, Paul McCarthy, Dominique Gonzalez-Foerster, Thomas Hirschhorn, Anish Kapoor, Yayoi Kusama, Steve McQueen, Cildo Meireles, Vik Muniz, Hlio Oiticica, Giuseppe Pennone, Miguel Rio Branco, Adriana Varejo, and Tunga.
wOrrY
The Muse Picassos reopening is worrying the French government French newspaper Libration has reported that Anne Baldassari, president of the Muse Picasso in Paris, received a letter from the Ministry of Culture and Communication, dated 8 January, highlighting delays in the museums renovation works. Closed in 2009 for renovation and refurbishment, the museums 17th-century Htel Sal building has seen its reopening date pushed back several times and is now forecast to reopen in June. The letter was signed by Nol Corbin, the ministers secretary general, and Vincent Berjot, director of heritage. They expressed their concerns about the management of the renovation works, and their disapproval of the lack of visibility surrounding the museums reopening. Furthermore, they have requested to see Baldassaris visitor, display and communication plans for the museum, which holds the worlds largest Picasso collection 5,000 works donated by his estate and family. Anne Baldassari, whose contract extends to 2015, has the support of part of the museums board notably Claude Picasso, the artists son, who has expressed his continued admiration for her. She was previously curator at Pariss Muse National dArt Modern (MNAM) from 1985 to 1992, before joining the Muse Picasso as Archive Director. She became president of the museum in 2010.
Museums snapping up Hugo Crosthwaite pieces The Luis De Jesus Los Angeles gallery has announced that several museum institutions have acquired works by artist Hugo Crosthwaite. The Orange County Museum of Art (OCMA) in Newport Beach, the Museum of Latin American Art (MOLAA) in Los Angeles and the Centro Cultural Tijuana (CECUT) in Tijuana, Mexico, have all bought pieces. Hugo Crosthwaite was born in 1971 in Mexico, and currently lives and works between Tijuana, Los Angeles and Brooklyn. In 2013 he represented Mexico at the California-Pacific-Triennial, which was curated by Dan Cameron. His exhibition Tijuana Makes Me Happy, currently on show at the Mexican consulate in Los Angeles, has been extended until 26 January.
Big sPenDer
Catherine
Catherine David to replace Catherine Grenier at Pariss Muse National dArt Moderne Pariss Muse National dArt Moderne (MNAM) has named Catherine David as its new Assistant Director and head of global outreach. David replaces Catherine Grenier, who is to join the Fondation Giacometti in February. Born in Paris in 1954, Catherine David formerly curator at the Centre Pompidou and the Muse du Jeu de Paume, both Paris, and has also occupied a number of roles internationally. As artistic director of the Kassel dOCUMENTA in 1997, she brought a cross-sector approach to the exhibition, inviting writers, sociologists and architects. She also curated Abu Dhabis pavilion during the 2009 Venice Biennale, and oversaw the Witte de With Center for Contemporary Art in Rotterdam.
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Cleveland Museum of Art launches ArtLens The Cleveland Museum of Art has announced the launch of a new iPhone app, entitled ArtLens. Following the museums award-winning iPad app, ArtLens includes over 9 hours of audio-visual content. Users can browse the museums collection, take a tour or create their own tour, find visitor facilities and learn about upcoming events and programmes at the museum. The app features technology that uses a visitors position to provide information, such as the location of a particular artwork. Users can use their phones camera to scan two-dimensional pieces, bringing up corresponding information and commentary on works. A corresponding app for Android devices is to be launched in spring 2014. ArtLens was devised by staff from the museums collections management, conservation, design, education and interpretation, information technology and mangement departments.
mY Own waY
Hiroshi Sugimoto is building his own museum The Japanese artist Hiroshi Sugimoto has begun planning work on his mu seum, the Odawara Art Foundation, set to open sometime in 2016. Situated an hour away from Tokyo by train, the 9,500m 2 building is to sit in countryside, next to the sea, and is to include a minimalist exhibition space, a Japanese tea room, a contemporary Noh theatre and an authentic 15th century entrance gate. Sugimoto has a strong architectural vision, focused on notions of purity. The artist has no misgivings about being outspokenly critical: in 2011 he published Sense of Space, in which he compiled a list of museums in which he had been exhibited, and reviewed them. In 2013, during the opening of his retrospective at the Leeum Samsung Museum of Art in Seoul, he declared it to be the worst space I ever encountered, referring to an escalator which cut the gallery in two, and questioning the decisions of the architectural firm OMA. The Odawara Art Foundation is to place a focus on simplicity. www.artmediaagency.com
30 JanUaRY 2014
whats On
china Xu Zhen is an international Contemporary Chinese Artist The Ullens Center for Contemporary Art (UCCA) is presenting a large selection of works by prolific artist Xu Zhen, to run until 20 April 2014. Comprising 50 installation pieces, 10 videos, 40 paintings and collage works and a number of performances, the exhibition features pieces produced across the artists career. Presented together, Zhens works express the concern of an artist who is at once an observer and participant in the international art world, with the artists scepticism most immediately towards the label Chinese contemporary art forming a prominent part of his canon. Born in 1977, Xu Zhen lives and works in Shanghai. The exhibition is curated by UCCA Director Philip Tinari and UCCA Chief Curator Paula Tsai. germanY Defining contemporary painting: Franz Ackermann in Berlin The Berlinische Galerie is currently hosting Franz Ackermanns Hgel und Zweifel (Hills and Doubts), to be on display until 31 March 2014. Described as a special spatial concept, Ackermanns piece fills the museums large exhibition hall with paintings, panel pieces and photographs, placed in conversation with one another. The resulting piece plays with lines of sight, considering notions of transport and travel, whilst acknowledging and using the museums space and technical equipment. Franz Ackermann was born in St.Veit, Bavaria, in 1963. His exhibition at the Berlinische Galerie forms part of Painting Forever!, a project which seeks to address the question of what painting can and wants to be today. nOrwaY A piece of Brazil in Norway The Astrup Fearnley Museum, in Oslo, Norway, is currently hosting Imagine Brazil, an exhibition focused on contemporary Brazilian artistic production, to continue until 2 March 2014. The exhibition places a particular focus on the work of young, emerging artists from Brazil following a format which the institution has frequently pursued over the last decade, having previously focused on regions including North American, China and India. It is curated by Gunnar B. Kvaran, Director of the Astrup Fearnley; Hans Ulrich Obrist, Co-Director of Londons Serpentine Gallery; and Thierry Raspail, Director of the MAC, Lyon. 14 artists were elected to represent Brazils emerging arts scene, with each of those participating in the exhibition asked to nominate an older artist from the region to accompany them. Those featured in the show are: Jonathas de Andrade, Arrigo Barnab, J. Borges, Sofia Borges, Rodrigo Cass, Adriano Costa, Deyson Gilbert, Fernanda Gomes, Marcellvs L, Milton Machado, Montez Magno, Cinthia Marcelle, Maria Martins Thiago Martins de Melo, Rodrigo Matheus, Cildo Meireles, Pedro Moraleida, Paulo Nazareth, Rivane Neuenschwander, Paulo Nimer Pjota, Sara Ramo, Mayana Redin, Gustavo Speridio, Tunga, Adriana Varejo, Caetano Veloso and Carlos Zilio. United kingdOm Camdens stray socks and captured atmosphere Londons Camden Arts Centre is currently presenting Near Here, an exhibition of works by Nina Canell, to run until 30 March 2014. Canells practice is characterised by a delicate consideration of the intangible, which the Swedish artist seeks to render tangible. Her assemblages fuse together unconventional materials, combining electric currents and atmospheric elements with items including stray socks and chewing gum. An interest in energy transfer reflects the artists admiration for works by Nikola Tesla (1856-1943). Nina Canell has participated in exhibitions at Marian Goodman Gallery (Paris), the ICA (London), and as part of La Triennale de Paris and the Sydney Biennale.
Exhibition view, Nina Canell - Near Here, Courtesy of Camden Arts Centre
United states New Yorks Armory Show celebrates its hundredth year The New York Historical Society is currently presenting The Armory Show at 100: Modern Art and Revolution, to run until 23 February. The exhibition considers the impact which the Armory Show had upon its first appearance in 1913, placing a particular focus on the fanfare which surrounded the event. Produced under the guidance of curators Marilyn S. Kushner and Kimberly Orcutt, the 100th-anniversary edition of The Armory Show inscribes the event in a social history of art. Exhibits consider the shows role as a meeting point for contemporary artists and critics, and include 100 pieces exhibited in the very first Armory Show, along with articles, caricatures and drawings from the period. Marcel Duchamps Nu Descendant un Escalier (1912) is presented through a parody dating from 1913, whilst other exhibited works including Henri Matisses Blue Nude (1907), Brancusis The Kiss, and Wassily Kandinskys Improvisation n 27 are on loan from major collections. The Armory Show was created in 1913 by Alfred Stieglitz and American Critic Arthur Davies. The exhibition takes its name from an ancient armory room, used by the 69th infantry regiment. The founders sought to invest American painting described as moribund and pretentious by Davies with the same innovative, and avant-garde spirit they perceived in the works of their European peers. Davies was able to agree upon the loans of a number of prestigious works from European Institutions, and came up with a structure which gave visitor a general notion of European paintings historical context. Featured artists included Ingres, Delacroix and Manet, whose works were accompanied by pieces from Czanne, Van Gogh and Gauguin. Also included were examples of the Post-Impressionist, Fauvist and Cubist movements, with additional pieces by artists Picabia and Duchamp. In total, 1,250 paintings were shown, representing 300 artists. Later editions of the show were held in both Philadelphia and Boston. The public response to the Armory Show was immense: students in Boston went so far as to burn canvases made to resemble works by Matisse. For many art historians, the event marked the birth of Modern Art in America. www.artmediaagency.com
30 JanUaRY 2014
COming sOOn
netherlands Jeff Wall at the Stedelijk Museum Jeff Wall: Tableaux, Pictures, Photographs, 1996 2013 is to open on 1 March at the Stedelijk Museum, and is to present the photographers recent work, both in colour and in black-and-white. Jeff Wall: Tableaux, Pictures, Photographs, 1996 2013 shows almost forty pieces by the artist. It takes, as its starting point, the year 1996, a turning point in Walls career; it was from this date that he began to produce his black-and-white prints on paper. The new diptych by the artist, Summer Afternoons (2013), is to be on display for the first time. Jeff Wall is a Canadian photographer, born in 1946 in Vancouver. Using intricately prepared sets, his work leads the viewer to question reality. The images give the illusion of photographic documentaries, where in fact everything is skillfully calculated by Wall. The artist is inspired by classic works: namely paintings and novels. He was one of the first photographers to use large formats and to present his photographs in light boxes, following the example of the technical processes used in advertising. He is, therefore, crediting with introducing an otherwise unprecedented aesthetic practice to contemporary photography.
Foam presents Kaveh Golestans depictions of a destroyed city An exhibition entitled Kaveh Golestan The Citadel is to take place between 21 March and 4 May at Amsterdams Foam Museum of Photography. The show is to feature 45 original photographs, taken between 1975 and 1977 by Kaveh Golestan (1950-2003). Works in the series depict Shahr-e No, an area of Teheran which was razed to the ground following the 1979 Revolution and the arrest of Ayatollah Khomeini. Golestans photographs are the only surviving depictions of the city and the women who once worked there many of whom lost their lives, either as a result of Shahr-e Nos destruction, or in the executions which took place in 1980. Kaveh Golestan is an Iranian photographer. Born in Tehran in 1950, she died in 2003 at the age of 52, whilst covering the Iraq War for the BBC. She witnessed a number of conflicts during her lifetime, covering unrest in Belfast and during the Iranian Revolution. Though recognised for her photographic work by artists in Iran, she remains relatively unknown in Europe.
Untitled 7 Prostitute Series (1975 1977 ) Kaveh Golestan courtesy Kaveh Golestan Estate
United states Hiroshi Sugimoto exhibition at the J. Paul Getty Museum The exhibition Hiroshi Sugimoto: Past Tense, which provides an overview of the work of the Japanese photographer, will take place at the J. Paul Getty Museum from 4 February to 8 June 2014. Both photographer and sociologist, Hiroshi Sugimoto uses his work to analyse how history and time can be interpreted through image. He says that his artistic efforts are exposed to time conceptually, but also because of the long poses which his photographs frequently demand. The exhibition will offer a glimpse of his work through three series. The first, Dioramas, creates the illusion of capturing a live animal habitat. Taken in 1974 in the American Museum of Natural History, shortly after the artist moved to New York, these photographs show a troubling reality of the museums exhibits. The second of the series on display, Portraits, shows portraits in wax. Sugimoto immortalised major political personalites in wax statues, preserved in Madame Tussauds. He wanted to instill in these life-size portraits the harshness and solemnity found in the Old Masters he was particularly moved by the work of Hans Holbein the Younger through the means of photography. Lastly, the final series is Photogenic drawings, developed from the first photographs of William Henry Fox Talbot, enlarged and then coloured by Sugimoto.
switZerland Ed Atkins given first Swiss solo show From 15 February to 11 May 2014, the Knsthalle Zurich is to present an exhibition of works by British artist Ed Atkins. The artist, born in 1982, produces videos, texts and drawings which explore the material quality of our contemporary visual world and its existential resonance. Produced in high-definition, saturated colour, and accompanied by intense sounds, video works by the artist offer concentrated reflections upon subjects including depression, death and illness. Atkins was awarded the Jarman Prize in 2011. The exhibition at Knsthalle Zurich is the artists first solo exhibition in a Swiss institution. Forthcoming exhibitions of Atkinss works are to be held at the Palais de Tokyo (Paris) and the Serpentine Gallery (London). Robert Overby receives first Europe-based retrospective Between 31 January and 27 April, Genevas Centre dArt Contemporain is to present Robert Overby Works 1969 1987, the first retrospective of the artists works to be presented in Europe. Robert Overby was born in Harvey, Illinois in 1935, and spent the majority of his life in Los Angeles, where he died in 1993. A successful graphic designer whose notable designs included the Toyota logo his first works were mouldings of architectural forms, cast in plastic, latex and concrete. Between 1969 and 1973, the artist produced over 400 pieces, enaging predominantly with sculptural representations of structure and surface, and their relationship with the human bodys decomposition. Curated by Alessandro Tabottini, the exhibition is organised in collaboration with Italys GAMeC (Galleria dArte Moderne e Contemporanea, Bergamo, Italy), where it is to be exhibited in May 2014, before travelling to Norways Bergen Kunsthall and the Consortium, Dijon. www.artmediaagency.com
30 JanUaRY 2014
Interview
A UniVersal GiaCOmetti: InterView with Catherine Grenier
Catherine Grenier is currently Assistant Director at the Muse National dArt Moderne Centre Pompidou, where she has worked for twenty years. During her time at the institution she has held a number of positions, notably directing the Contemporary Collections department. In February, she is to become Director of the Alberto and Annette Giacometti Foundation. Art Media Agency met with Catherine Grenier to discuss her new role and the Giacometti Foundation.
Whats your background? I came to work at the Pompidou Centre in 1993 and carried out a number of roles there, from working on exhibitions to directing their contemporary collections. In 2009, I became Assistant Director of the museum, in charge of research and global outreach. It was a role which saw me travel extensively, creating a network of partners abroad, and beginning a new project, designed to re-examine the history of 20th century art. Working with a team of curators and academics, I directed the re-hanging of the Pompidous Modern Art Collection, forming the exhibition Modernits Plurielles (Plural Modernities) currently on display. Im also in the last stages of a retrospective dedicated to the artist Martial Raysse, which with the Foundations permission I am going to finish, and which will be presented at the Pompidou Centre in May. How were you appointed to the post? A member of the board of the Foundation contacted me in December, and asked whether the position of director would be of any interest to me. The phone call coincided with a period in which I was willing to consider offers. I think I was selected because of my background: for the work which I had instigated on the history of Modern Art, and for the global networks I had established particularly in locations which are developing a new cultural geography. Can you discuss the reasons behind your decision to leave the Centre Pompidou? I prefer not to expand upon the subject. Circumstances led me to wish to leave. What does the future hold for the Centres programmes for research and global outreach? I didnt finish these programmes, but I am certain they shall be continued. Though its a project which I started, its one which is collective. Weve established the foundations, and the various curators who have participated in the project, along with others others, will continue to build. This document is for the exclusive use of Art Media Agencys clients. do not distribute.
Catherine Grenier
30 JanUaRY 2014
Interview
You nevertheless intend to continue your work with the Pompidou Centre? Absolutely the Giacometti Foundation regularly collaborates with the museum. What were your existing links to the Giacometti Foundation? I didnt have direct links. I had known Vronique Wiesinger, the previous director, for around 20 years, as a personal friend. What are your future projects for the foundation? I am only at the very beginning of bringing together my projects. The board has requested a proposal to be presented in April; this will give me some time to get to know the Foundation, the teams, the rights holders of the Swiss Foundation, and members of the Alberto and Annette Giacometti Association, before bringing the project together. I already know what I am capable of bringing to the Foundation. First of all, the development of an international network: Vronique Wiesinger has started to forge links with non-Western organisations, for example a touring exhibition in Brazil, which will allow us to follow and develop this ethos. One of the goals which were absolutely set upon is ensuring that Giacometti is represented in emerging institutions which, in the future, will become major arts centres notably in Asia and the Middle East, but also in Eastern Europe for example.
Petit buste dAnnette (vers 1946), Alberto Giacometti, Pltre peint, 19 x 15,9 x 9,6 cm, Fondation Giacometti, Paris inv. 1994-0369 , (AGD 418). Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti, Paris + ADAGP, Paris) 2014
I also intend to propose the creation of a space which will give the artists works, and the Foundations activities, permanent visibility. Over the course of the next few months I will consider what sort of form and location would be the most favourable for the project, paying special attention to any options which seem particularly original. Whilst at the Pompidou Centre, I worked with a group of young history of art researchers. In the same manner, Id like the Foundation to develop regular links with recent university graduates, forming a new generation of Giacometti specialists both in France and abroad.
30 JanUaRY 2014
Interview
Do you consider there to be a shortage of experts in this area? Do you think that works by Giacometti are perhaps perceived as being inaccessible? I dont think that its because theres any difficulty in accessing his works, but I do think its important that the Foundation stimulates research and creates initiatives for students and post-doctorats. We need to make archives and documents more accessible, and engage in dialogues with them. The history of art is not a finite science: we are constantly making new discoveries, and our knowledge, and means of interpreting works, are continually developing in response to new sources and new points of view. So you hope to forge a means of increasing Giacomettis presence abroad? Exactly. If young curators and academics from countries across the world grow familiar with Giacomettis works, his canon will become perennial, with a much broader outreach. We know that Giacomettis works still interest young people. He is a Modern artist who continues to speak to both the general public and to other artists. In 50 years time, where, and how, should Giacomettis work be presented? How do we maintain an interest in the artist? These are questions which I want to respond to in an active and conclusive manner. Do works by Giacometti have enough visibility? Are they, for example, adequately represented in institutions? We can always do better. If monographic foundations exist alongside museums, its because, being specialist, they can proactively work to develop knowledge of an artist and the circulation of their works.
Alberto Giacometti working on a bust of Yanaihara in his studio Paris, 1960 Photo : Annette Giacometti Fondation Alberto et Annette Giacometti
30 JanUaRY 2014
Interview
Our Foundation possesses a magnificent collection, as does the Swiss Foundation, with which we have worked very closely. Working collaboratively, we are able to widelycirculate Giacomettis works. We share the same ambition: to encourage research into the artist, and to stimulate the diffusion of his work on a global scale. Can you give more details about the proposed opening of a space in Paris? I believe theres a model to come up with, which will be the challenge for the forthcoming months. Our first task is to give a more precise definition to the project. How long will it take for the project to become concrete? The board first of all has to assess and commit to the project so it wont happen in the immediate future. In the short term, however, there are a number of exhibitions and projects which would serve to pre-figure the centres possible activity. Were going to work on increasing the institutions visibility very quickly. How is the Foundation structured? The Foundation has ten permanent employees, split between different specialisms. One conducts research into sculpture, the other painting, and another into engravings. There are also team members dedicated to transport, conservation, and the cultural dissemination of works, as well as those who consider its legal protection, and experts who verify its authenticity. There have been a lot of legal cases linked to Giacomettis works are they all resolved now? There were two legal cases underway: one launched against the Foundation by Swiss rights holders, and one against the association created by Annette Giacometti. These have now been stalled, with an agreement having been found in each case. We now work hand in hand. Other legal cases have been centred around countefeits: Vronique Wiesinger has been particularly vigilant in this respect. The Foundation is there to defend the artists canon, and to combat the diffusion of fake works: we will continue to pay close attention to these issues. How is the process of authenticating works organised between the Swiss and French Foundation? There is a single Authentification Committee, which is mixed, and includes the head curator of Zurichs Alberto Giacometti Stiftung, Christian Klemm an eminent specialist in the artists works. Has work begun on a catalogue raisonn for Giacomettis work? Its not yet completed. A catalogue for the artists engravings is practically completed, and we will continue to work on the others. Do you have any plans to work with other institutions which represent Giacomettis works such as the Maeght Foundation? Do you have any specific projects planned? I dont yet have any specific projects, though the Maeght Foundation forms a natural partner to the Giacometti Foundation. It is highly likely that we will come to work together, just as we work with all other institutions who are interested in the artists practice. How do you explain the growing success of Giacomettis work, both at exhibition, and commercially? His works have a universality about them; they speak to everybody, wherever they are in the world. His work is timeless: it is at once intimately linked to history being produced in the inter-war Surrealist period, whilst exhibiting an existential awareness of works created after the Second World War yet also possesses an extra-temporal quality. We are able to abstract his figures from their original context and view them as linked to a history of art which began in the cavemen era. This reflection upon human nature, and this timeless quality, are things which have an effect on people which inspire emotion. Giacometti remains a hugely important artist, not simply because he participated in a certain determining movement, but because he embodies exactly what it is to be an artist: a one-off, who, though working from his own experiences, had a capacity to move people which was universal.
30 JanUaRY 2014
Focus
The ViDeO art marKet gets mOVing
On Wednesday 29 January, the first French sale dedicated to video art took place at auction house Vincent Wapler in Paris, in collaboration with the expert Arnaud Brument. This first sale aimed to educate collectors who are likely to know little about buying videos on the second market videos are now integrated into contemporary art sales and to open the debate on defining the limits of digital art, a domain which is constantly evolving and attracting an ever-wider audience. The mediums digital format requires a team of legal practitioners, who can ensure that collectors know exactly what they are buying, and thus are better informed to participate in the growth of this exciting market.
Video art is a still a young genre, having been started in the 1960s by artists such as Nam June Paik, Wolf Vostell and Fred Forest. Whilst it is becoming more and more present in galleries which regularly organise Sunday Screenings in Paris and in exhibitions and specialist fairs, including Loop in Barcelona, Unpainted Art Fair and the now-defunct fair DIVA -, the market is still very much in its infancy. Perhaps we are still consumed by a need to physically hold an artwork, while video art is less tangible, suspended in time, much like performance art. Beside the conditions and time period necessary to truly appreciate a piece (between 10 and 30 minutes on average), viewing platforms eventually, inevitably, become obsolete, which can also pose a problem for enthusiasts. How do you watch a U-matic or a VHS tape when their players are no longer a staple feature in our living rooms? Even the DVD is on its way out. Meanwhile, fair organisers have found a way to make the works accessible to everyone, without it being the viewers responsibility. As well as copying works onto a USB key, they were also selling the accompanying original player (especially concerning works by Eric Duyckaerts, Pierrick Sorin, Paul-Armand Gette, Olivier Megaton, Jonas Mekas, etc.). This solution, which aims to ensure that the works continue to be seen and shared, also poses the problem of the number of editions of a video which exist, which can severely affect its sale price. For example, when a museum finds itself having to ask an artist for a reprint of a photograph or a new edition of an artwork because the piece has been damaged (by the public, or by the materials deterioration), the work being replaced is destroyed in front of a bailiff. So how can we ever know how many editions of a video piece exist, when it is vital to its continued existence that it be transferred to new formats, USB keys, hard discs, to combat ageing and obsolete technologies? Should there be an official governing body or legislation on this? A certificate of guarantee holds true in the event of resale, of course, but what is the collector really buying? When a museum asks an artist for a spare copy of their video in case the original gets damaged while it is on display, what value does that original have for its visitors? Is it right to question the works authenticity?
The Bath, (2002) Jeanne Suspuglas DVD 156 Signed and numbered 2/5 est. 1200/1500 Jeanne Suspuglas
30 JanUaRY 2014
Focus
The ViDeO art marKet gets mOVing
Clarifying arts digitalisation A lot of the questions raised on the medium of video art bring us back to the realm of digitalisation. The limits of art as we know it have been stretched, and thus we are faced with the difficulty of identifying the limits of a particular work. The problem of the market causes the artist to have to think about the conditions of their works circulation, explains Judith Ickovicz. Holding a doctorate in law, Judith Ickowicz is a researcher and specialist lawyer in intellectual property rights, and author of Le droit aprs la dmatrialisation de luvre dart (The law after arts digitalisation) (Presses du Rel, 2013). What can appear contradictory and paradoxical is that in its inherent video format, the works quality of being unique is compromised, and then reclaimed by the artist (Valry Grancher, Patricia M. Felix, Jeff Scher, Jean-Jacques Lebel, etc.). A romantic vision springs to mind of a unique piece of work carrying the artists signature. We find ourselves faced with the problem of originality, which is the signature of the creators personality, according to Ickovicz. By considering a pieces integrity, we think about the work on an intellectual level, and no longer on a physical level, she continues. The challenge today is to create some sort of legislation that can bring some clarity to the issue a clarity that will reassure new collectors and help jump-start the market. The artist Markus Kreiss a partner in this first sale, and founder of the art television channel Souvenirs from East, which broadcast videos from the sale offers a solution which is commendable in its clarity: he sells commercial and non-commercial rights alongside the work. In general, collectors cannot broadcast videos outside of a domestic setting (so not in an exhibition, for example), hence the importance of that particular stipulation in the buyers contract. We are in a digital culture where the concept of sharing is important, states Kreiss. Reducing a work to three editions and seeing them sit on shelves is at odds with a lot of artists intentions. The work has to be visible the point of making a digital piece is so that it is shared. This is why he offers these double rights: The works buyer can license it to television channels, and have their name in the credits, he explains. The logical progression would be that the collector becomes more and more engaged, becoming a kind of producer. This would make financial sense in any case perhaps as a new economic model due to the high cost of video production, which far surpasses the cost of producing a work on canvas or paper. This aspect of the medium is also problematic as, while cinemas are subsidised, video art doesnt benefit from the same support. In this respect, we must applaud the actions of the general council of Parisian suburb Seine Saint-Denis: taking a very avant-garde position on the issue, they subsidise short films proposed by filmmakers or artists. The council doesnt discriminate against these proposals, as others may do elsewhere. Artists who have already infiltrated the big screen, such as Steve McQueen, Philippe Parreno, Olivier Megaton or the young, promising video maker Medhi Medaci (who is to have an exhibition at the Centre photographique dle-de-France in Paris from 1 February), have proved that a bridge can be built between the two worlds. The notion of ownership is still yet to be determined, and we cannot content ourselves with the enthusiasm of a handful of collectors, whose sole motivator is passion. The goal for the years to come is to reinforce this future market, and to see it really take off. For Arnaud Brument, its inevitable: With the development of tablets and new technologies, instead of a beautiful painting our children of tomorrow will almost certainly be playing a digital artwork on a screen in front of them.. Promising results for video art: the figures The sale, which took place on 29 January, represents an encouraging trend for the growth of the video art market. The bet has therefore paid off the auctions organisers; however, they are keen to emphasise that there is still a long way to go before the medium gets the recognition it deserves and can sit alongside other domains of art at auction. A third of all lots were sold during this first sale at Vincent Wapler. Amongst the best sales were: lot n112, Nam June Paik, sold for 15,000; * lot n128, Samuel Rousseau, sold for 5,000; lot n150, Nicole Tran Ba Vang, sold for 3,000;
One billion dots (2008) Robert Barry DVD 0-Zone 60 N&B, muet Signed and numbered 29/30 exemplaires (+5 E.A)
30 JanUaRY 2014
Auctions
artiCle OF the weeK
Dan Loeb makes plans for the future of Sothebys Dan Loeb, hedge fund manager for Third Point, who have a 9.3% share in Sothebys, has recently been reflecting on the best strategy for the business. Having asked, last autumn, that the current president / CEO of Sothebys, William Ruprecht, step down, Dan Loeb announced that he would study the auction houses performance in terms of Contemporary art, internet sales and, on a more global basis, the international strategy. Most recently, Loeb has criticised the strategy employed by his rival Christies. In his opinion, by selling lots for less than 5,000 dollars, the auction house has adopted an unhealthy strategy in its attempt to attract a greater range of buyers. Despite this strategy, this customer group represents barely 5% of their turnover. The iconic financier is likely to give a new direction to the business in the near future.
regUlatiOn
New bill to regulate auction houses introduced in New Mexico Under the impetus of Senator Tim Keller (Albuquerque District), a new bill designed to regulate auction house activity was introduced in New Mexicos Senate last week. The law would, for the first time, introduce the idea of state surveillance on auction houses. Senate Bill 78 would impose new restrictions on the way they do business, demanding that auction houses make their reserve prices public (or at least the minimum acceptable price for an artwork). Auction houses would also have to make public all of their financial interests in a piece of artwork, and buyers would be able to inspect lots before making an offer. Furthermore, the law would give the Attorney Generals Office authority to regulate art sales and act on consumer complaints. The law proposed in New Mexico is similar to a New York law, which originally contained several of the same propositions, but ended up being considerably diluted. Senator Tim Keller has explained that this bill comes following his receipt of several complaints from gallerists and collectors. He has so far declined to cite particular names, or to indicate the auction houses which are directly involved.
United states 20th century illustration at Swann Galleries draws buyers Swann Galleries sale of 20th century illustrations, which took place on 23 January in New York, totalled $439,075, hammer price. Of 267 lots offered, 184 found an owner a rate of 69%. Amongst the highest-selling lots were: :Their Search for Small, illustration for The House at Pooh Corner by Ernest H. Shepard, 1928, sold for $47,500 : illustration for The Wizard of Oz by W.W. Denslow, 1900, sold for $30,720: Krazy Kat and Ignatz by George Herriman, 1933, sold for $21,250. Results from Sothebys Americana Week in New York Sothebys Americana Week took place last week in New York, during which the auction house held sales of traditional American artworks and objets dart. A sale of pieces from the collection of Ralph O. Esmerian totalled $12,955,943 on Saturday 25 January, a new record for this type of sale. With its concurrent Important Americana sale, Americana Week realised total sales of $18.4 million. The sale, entitled Visual Grace: Important American Folk Art from the Collection of Ralph Esmerian, included, amongst others, sculptures, portraits, weathervanes and painted furniture. The major lot in Esmerians collection was a sculpted figure by Samuel Robb, representing Father Christmas, which sold for $875,000. It had been estimated for a maximum of $250,000. The figure was made as a Christmas present for the artists daughter in 1923. Concerning the Important Americana sale, the major lot was a wooden model of an Eider Drake duck, believed to have been created around 1900 on Monhegan Island in Maine, by an unknown craftsman. Its highest estimation was $500,000; it sold for $767,000.
resUlts...
china Excellent results for Sothebys Boundless: Contemporary art sale in Hong Kong A sale entitled Boundless: Contemporary art which took place 23 January 2014 at Sothebys Hong Kong has been deemed highly successful. Mixing Western and Asian art, the auction realised HK$34.7 million, with 65% of lots selling for prices which exceeded their initial estimates. Of the 62 works on sale, 58 found a buyer, meaning the sale only incurred a 7% tax on unsold items. A broad variety of media was represented, with the auction featuring drawings, installations, light works, sculptures and paintings, by artists including Zao Wou-Ki, Anselm Kiefer, Marc Quinn, and Georges Matthieu. Major sales included: Foret de bambous (1954), by Zao Wou-Ki, estimated at HK$4-6 million, sold for HK$ 5.44 million, 07.08.74-24.08.77 (197477), also by Zao Wou-Ki, estimate between HK$4-6 million, and sold for HK$ 5.44 million, Domencia della Palme (2008), by Anselm Kiefer, estimated between HK$2-3 million (between 188), and sold for HK$3.4 million, Furious Tiger (2005), by Cai Guo-Qiang, estimated between HK$1.52 million, sold for HK$2.2 million and Queen Maude Land (2009), by Marc Quinn, estimated between HK$1-1,5 million, sold for HK$1.6 million.
30 JanUaRY 2014
COming sOOn
france Viscountess of Courvals art collection to go on sale at Sothebys Sothebys Paris is to hold a sale of the Viscountess of Courvals collection of 18th-century art, to take place on 25 March 2014. The 118 lot-session is to include romantic scenes, portraits of women, pastoral landscapes and still lifes typical of the Enlightenment period. Amongst the significant lots are: a pair of vases in embossed celadon (c. 1770) from Chinas Qianlong era, estimated between $300,000 and 500,000; a romantic scene by Nicolas Lancret, a student of Franois Watteau, entitled Les agrments de la Campagne (18th century), estimated between $150,000 and 200,000; and a charcoal portrait of Elizabeth-Louise Vige Le Brun, Mrs Spencer Perceval (1804), estimated between $120,000 and 150,000. The Viscountess of Courval, born Mary Ray in 1835, belonged to the Francophile New York bourgeoisie. After several trips, she moved to Paris and married Arthur Dubois de Courval. She was a great lover of auction sales and amassed a large collection of 18th-century art, which she left to her sons. The collection is to be on display at Sothebys between 20 and 24 March. Christies to start a new cartoon network in Paris On 5 April 2014, Christies is to offer the first French auction dedicated to comic strips. Organised in partnership with Parisian gallery Daniel Maghen, the sale is to include 250 original pages by Franquin, Bilal, Jacobs and Uderzo, with a combined estimation of around 1.5 million. The sale is to take place following Pariss Salon du dessin, the fair dedicated to drawing, which is to run between 26 and 31 March. During this period Christies is to offer two separate sales of drawings. The timing will associate the comic book sale with an international event which attracts collectors from all over the world, explained Franois de Ricqls, President of Christies France, speaking to Agence France Presse. He added: If the result of this sale is conclusive, as we hope it will be, we will hold another sale of comic strips in April 2015. United states Sothebys sale of Modern & Contemporary South Asian Art to include Gaitonde piece On 19 March during Asia Week in New York, Sothebys is to hold a sale of Modern & Contemporary South Asian Art. The auction house has announced that its major lot is to be a significant work by Vasudeo S. Gaitonde. Painting No. 3 is estimated in excess of $2 million, and comes from an important American collection. Additional pieces in the sale are to be announced in the coming weeks. An exhibition of works featuring in the auction is to be on display in Sothebys York Avenue galleries from 11 March. Gaitonde is one of Indias most celebrated artists internationally, and is to be the subject of a major retrospective at New Yorks Guggenheim Museum in the autumn. Priyanka Mathew, Sothebys Vice-President and Head of Sales of Modern & Contemporary South Asian Art, has commented: At this time when interest in Gaitondes work has risen to new heights, it is a privilege to be entrusted with a work from this key period in his uvre. The sale of Painting No. 3 follows the top price achieved for Painting No. 1 at Sothebys London last year and a record for the artist achieved at an auction in India just last month.
Wand (Wall) (1994) Gerhard Richter courtoisie de Stthebys
Untitled Marilyn #13 (2012) Nate Lowman oil and alkyd on canvas 152 x 101.9 cm. (59 7/8 x 40 1/8 in.) Signed and dated Nate Lowman 2012 on the overlap. Estimate400,000 - 600,000 Image courtesy of Phillips
United kingdOm Contemporary art sales at Phillips in London Phillips has announced the details of its Contemporary art sales, to take place in London on 10 and 11 February 2014. 203 lots are to be offered in total, with a combined estimation of between 13.7 and 19.2 million. Amongst pieces to go under the hammer are works by Gerhard Richter, Andy Warhol, Rudolf Stingel, Andreas Gursky, Nate Lowman, Chris Ofili, Urs Fischer, Michelangelo Pistoletto, Robert Longo, Marc Quinn, George Condo, Keith Haring and Wim Delvoye. The major lots are: Abstraktes Bild 776-1 (1992) by Gerhard Richter, estimated between 1.8 and 2.2 million; Untitled (P492) by Christopher Wool, created in 2005, estimated between 800,000 and 1.2 million; and The Saga Continues The Journey from Hell (1997) by Chris Ofili, estimated between 600,000 and 800,000. Preparations underway for Sothebys Ceramics Sale Robert Bradlow, head of Ceramics and Chinese Art at Sothebys, London, is to travel to Sydney and Melbourne to source works for the auction houses Ceramics and Chinese Art sales, to take place in London on 14 May, having set his sights on works in private Australian collections. Bradlow is to work in collaboration with Ann Roberts, specialist in Asian Art at Sothebys Australia, to select objects to be transported from Sydney to the UK. A sale of Ceramics and Chinese Art is to take place in Sydney on 15 April. In 2013, Sothebys realised sales figures of US $362 million for the Ceramics and Chinese Art category. www.artmediaagency.com
30 JanUaRY 2014
Interview
OFF tO a FlYing start: InterView with SOnal Singh FrOm Christies InDia
On 19 December 2013, Christies India held its first auction at The Taj Mahal Palace in Mumbai. The sale which shattered estimates, breaking the world auction records for Indian artists, and achieved an impressive total of $15,455,000 marks both the end of a long process of planning and waiting, and the presence of an international auction house as active player in India. One month on, AMA spoke to Sonal Singh, Specialist and Head of Sale at Christies India, to ask about the sales success, the Indian art market, and the auction houses future plans.
An extra room had to be added at the sale. What was the atmosphere like inside The Taj Mahal Palace? It exceeded all our expectations, so we couldnt really ask for anything more. We were really overwhelmed by the number of people who came during the viewings in New Delhi and Mumbai and who wanted to be part of the sale they wanted to come to see the auction, the art, and witness the atmosphere. I guess it was an exciting moment for a lot of people to be a part of, so we were really overwhelmed just by the number of viewers and participants on the night itself. Obviously thats a good thing and I can handle an additional auction room. A lot of the most successful artworks were by artists belonging to the Bombay Progressive Artists Group. What is it about this period that attracts such high prices? The Progressives have played a very important role in Indias artistic development. We call them the Modern artists of India, and thats how we refer to them. The whole Progressive Artists Group was founded in Bombay in 1947, so for Christies being in Bombay and presenting the artworks consigned by a Bombay-based collector, who was strongly involved with these artists, was a really nice story and shed light on the history of this particular collection and on the movement as a whole. That, I think, was one of the factors playing an important role in achieving these high prices. The Progressives were only one component of this period of production and there were only 6 of them but their contemporary colleagues also played a very significant role in Indias art history. Up until now Indian artwork has mainly only been sold in New York and London. What has changed to enable it to be sold on home turf? I think the Indian collectors have been ready for a long time its also something that weve wanted to do for a long time. It was just about the right moment in which all the pieces came together to actually set up an international auction in India. We got the go-ahead from the Indian authorities, we had our sale content together, and I think the market was ready. This can be testified by the same level of interest across the entire sale, whether it be for the lower or higher value lots. As long as a work is of the highest quality, collectors are willing to go the extra mile. This document is for the exclusive use of Art Media Agencys clients. do not distribute.
Mahishasura Tyeb Mehta being auctioned at the Christies 1st India sale Courtesy of Christies
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Interview
Christies has a 20-year history in India. Can you describe what an international outpost does if its not an actual salesroom? Christies now holds four sales of Indian art each year two in New York, one in London and the other one in Mumbai. In addition the Mumbai representative office is also participating in Christies Hong Kong sales of Asian Contemporary Art. Our main task is to source material in India for these international sale locations, and to help Indian-based buyers to participate in these as well as our other 450 sales. Our presence is a lot about looking at art and since you are on the ground, you witness what is happening on the contemporary Indian art scene, especially as galleries are all around our office, which is located in the arts district of Mumbai, and we are a central part of the art world here. More increasingly we are also here for our clients who might have questions, who are interested in buying abroad or just like to receive a condition report or a piece of advice regarding an artist they just have discovered. What has changed since 2013: now we are looking at material for both our international and domestic sales. Some of the works featured in the sale were by artists who are deemed national treasures in India, and whose works cannot be exported. What if an international buyer was interested in a piece by one of these artists? They can buy it, but they cant take it out of the country. Each National Treasure lot was identified in our catalogue and the terms and conditions explained in detail that these works cannot be exported we work within Indias legalities. These are works that are of national importance and therefore the government has restricted their export. Some of our international collectors might be Indians and have homes in India, so if this is the case they are welcomed to bid on these lots too. Indias growth has stalled in recent years, and yet the luxury market is ever-growing. Why is this? I think people who are looking to spend in this price level are still willing to spend. I believe an artwork of high quality will always sell even in 2008 and 2009, people were paying top prices for quality and rarity. So in a sense, the market has seen some sort of leveling, but at the same time, we sold the most expensive Indian work of art in 2010 (Saurashtra by S H Raza) during an auction which totaled $17.5 million higher than the total for this latest sale in Mumbai and this happened during a year which was supposed to have been bad for the art world. I think its a matter of what comes into the market and what people are looking for. Do you think that the growth and interest generated by the luxury art market can filter down and grow other areas of Indias economy? Do you see any long-term benefits for India? I think were just a very small part of a very big economy. For all forms of art and handicrafts I hope that people look at it a bit more seriously and see its value, whether its in a museum or a gallery. We have a lot of handicrafts and traditional art forms in India and it is important to look at and appreciate every level of art its not just about the price point, its not just about the work that sells for millions, its our own culture and our own heritage that we need to be proud of. If anything, thats what I really hope people are aware of now. I think thats one of the unique things about Christies in India, that its so closely linked with the culture, and not just another huge sale in New York that might feel less personal. Thats true, but we focused on one small area: Modern and Contemporary Indian art, and obviously we cant handle every category. I think with all the press and publicity weve received obviously not everyone can buy a Gaitonde but when you put a price on things, people take it more seriously, and I do hope that people look at art a little more enthusiastically. If you give things that exposure, then thats already a great start. Does Christies have plans to expand into other domains in India, or to sell Western art? We already have plans in the works for our December 2014 sale of Indian art. We are here for the long run, so once we get a detailed sense of the market and what collectors research, we might expand our plans. Were going slowly: the first sale had about 80 lots, and I think the second sale will have about 80100 lots, so the idea is to keep it tight and stock quality, and go from there. But eventually in the future, yes, I see potential to expand.
Sonal Singh courtesy of Christies
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Interview
How will the advent of public auctions affect dealers in India, and the smaller auction houses? I think it will affect them in a good way, I hope that it will encourage the market players to showcase the best of Indian art. I also hope that even if art enthusiasts dont buy, they use an auction as a place to see and understand what they should be looking to buy, or aspiring to buy. Our Hong Kong sales offer 10 to 15 different categories per sale its really like a museum show. Ive been there myself and been really amazed by the quality of the works that come up. Were very small in comparison, but all our pre-sale exhibitions are open to the public free of charge and we, the experts, are happy to share our knowledge. I think that experience, for anyone whos interested just in appreciating art and learn from it, is a great opportunity to join us and if one day you like to buy a piece of art, you have a lot to compare and have trained your eye.. I think the effect will filter down in that sense. Tell us about Christies sponsorship and support of India Art Fair. This is our second year supporting the India Art Fair, which is about to hold its sixth edition, and weve seen it grow every year. Its a fantastic platform for galleries and for everyone to come together and see whats happening in Indian art, as well as international art too. As far as Indian collectors are concerned, its a very important place to see all the developments in the past year of Indian art, and thats what weve seen previously. Most of the galleries bring works by artists that they might have shown over the past year in important exhibitions theyve had, allowing you to catch up on everything over the course of those four days, to get the sense of which artists you want to follow and who are the new galleries. For us, its all about the art, so were very happy to support the Art Fair. There are also, of course, a number of events that take place around it. We organise a VIP collectors program for our best clients to join us in India for the art fair, there are exhibitions and important shows on at the galleries, so in that sense it becomes a week for Indian art in Delhi, and a good opportunity for anyone interested in the category to come and see firsthand. Would you also say there is an international presence? There is an international presence, yes. They have a fair amount of international galleries and artists, we bring in our own group of international collectors from abroad, and theres also a lot of Indian art coming in so it becomes a very big art party, in a nice way. I suppose Basel and all other art fairs are like that, but this is nice because its this special moment of celebrating Indian art. Do you see a strong future ahead for art fairs in India? I think theres a strong future for any kind of art or art initiatives in India. We all travel, we all understand when someone is exhibiting and presenting you with the best, and when youre not being shown something of Basel quality. We all have that exposure, and so I dont think the price point is as important as the quality. Can you tell us anything of Christies future plans in India? December 2014 will be our next sale its too soon just now to say anything about it [laughs]. Our plan is to keep the level at the same height as December, and this is an exciting challenge. Due to our first sale we have been nominated for the Forbes India Art Awards (taking place this week), for best auction of the year. Weve got a long way to go until the end of 2014, and we are looking at supporting other arts events throughout the year and supporting charity events and auctions. We have three sales to run before this though: the first in New York in March, London in June before another sale in New York in Septemberit is the same team who get the consignments, write the catalogue notes and work on all of these sales, so there is never a dull moment!
30 JanUaRY 2014
Galleries
article of the week
Thomas Bompards ambitious Gradiva gallery to open in Paris Thomas Bompard, who left his post as Camoin-Demachy gallery, redecorated by Director of the department of Impressio- Franois-Joseph Graf, Bompard is to colnist and Modern Art at Sothebys France at laborate with Jocelyne Le Brenn Mercier the end of last year, has acquired a space who, having worked with Alain Demachy, at 9 quai Voltaire, opposite the Louvre, is familiar with using the space. The prowhere he is to open a gallery of modern ject is also to be supported by a group of art in April. Within the space of the vast investors. Thomas Bompard shows great ambition for the new gallery, telling Le Figaro he will offer the top of the range. He adds: We will be Pariss Acquavella! The gallery is called Gradiva, making reference to Andr Bretons gallery opened at the end of the 1930s, on nearby rue de Seine.
mOVement
303 Gallery relocates to luxury location New Yorks 303 Gallery is to move to 551 West 21st Street, relocating to a new, luxury building. Founded in 1996, 303 Gallery is seen as one of Chelseas pioneering institutions. The gallerys new location is on the ground floor of an opulent 19-storey building currently under construction which, when finished, is to comprise 44 residences and feature a swimming pool on its roof.
rePresentatiOn
James White joins Sean Kelly Gallery Sean Kelly Gallery has announced that it now represents British artist James White. James White lives and works in London. At the beginning of his career, he worked collaboratively with another artist, producing large-format pieces which they exhibited together throughout the 1980s. When this partnership ended in 2001, White began to produce paintings, creating monochromatic works in oil. He works on different surfaces, including aluminium, wood and plastic. Rachel Champion joins Hales Gallery Londons Hales Gallery has announced that it is representing Rachel Champion. Born in New York 1982, Rachael Champion lives and works in London. The artist produces site-specific sculptures and installations, which consider the dependent yet unclear relationship between industry, technology and nature. Her practice draws upon a diverse range of influences, including brutalist architecture, agriculture, raw materials, municipal infrastructure, public space and ecology. She has been the subject of exhibitions at institutions including Modern Art Oxford (UK); Socrates Sculpture Park, New York (US); and Bold Tendencies Sculpture Project, London (UK). Hales Gallery is to present an exhibition of the artists work in Summer 2014. Friberg and Schwer in Istanbul and London Gallery Pi Artworks is to present an exhibition of works by Swedish photographer Maria Friberg and German sculptor Paul Schwer, to be on display in Istanbul and London. Maria Friberg was born in Malm in 1966, and studied at Stockholms Royal University College of Fine Arts. Her staged photographs explore themes including energy, masculinity, and the relationship between humans and nature. Paul Schwer was born in 1951 in Schonach, and studied at the Dsseldorf Kunstakademie. The artist is known for his public installations.
OPening
New Tribal Art gallery to open in Lille Dedicated to tribal art, Lilles Primitive Art Gallery is to open on 30 January, on the citys rue Royale. The space is the result of a collaboration between Emmanuel Provost, Franois Hacker both collectors of contemporary and tribal art and Jean-Christopher Zongo, an expert in African art. The 120m2 space is to specalise in objects from West and Central Africa, sourced from private collections. Featured objects are to include masks, statues, and everyday items, with featured regions including Burkina Faso, Mali, Nigeia, Liberia, Cameroon, the Cte dIvoire, and the Democratic Republic of the Congo.
RePresentatiOn
Masood Kamandy represented by Luis De Jesus Los Angeless Luis De Jesus Gallery now represents Masood Kamandy. Born in 1981, Masood Kamandy is a Los Angeles-based artist, who works with photography, video, and computer programming. He studied at the School of Visual Arts in New York and the University of California Los Angeles. Kamandy uses digital processes to explore photography, frequently collaborating with artists and the public. Kamandy produced a project for dOCUMENTA(13), which was presented both in Kassel, Germany, and Kabul, Afghanistan. His works are in the permanent collections of the Los Angeles County Musuem of Art and the US State Departments Art in Embassies programme. Between 2002 and 2005, Kamandy helped found the first photography department at Kabul University.
30 JanUaRY 2014
En COUrs
Brazil Secret Codes at the Luisa Strina gallery in So Paulo Until 22 February, the Luisa Strina gallery in So Paulo is celebrating its fortieth anniversary with a group exhibition entitled Secret Codes. The event is organised by Agustn Prez Rubio and includes works dating from the 1960s to the present day. It seeks to explore the way in which artists play with mystery and concealment, often through poetry and absurdity. On this occasion the gallery, situated on Rua Padre Joo Manuel, is displaying the works of Alighiero Boetti, Anna Maria Maiolino, Andr Cadere, Angela Detanico & Rafael Lain, Antonio Manuel, Art & Language, Bernardo Ortiz, Cerith Wyn Evans, Christopher Knowles, Cildo Meireles, Dora Garcia, Emily Mast, Geta Brtescu, Guy De Cointet, Itziar Okariz, Jack Smith, Julieta Aranda, Julien Bismuth & Jean Pascal Flavien, Karlos Gil, Liam Gillick, Luigi Serafini, Mary Beth Edelson, Mira Schendel, Mirtha Dermisache, Muntadas, On Kawara, Pablo Accinelli, Samuel Beckett, Stephen Willats, Ugo Rondinone and Waldemar Cordeiro. France An American in Paris at Gagosian Gagosians Bourget Gallery (Paris) this week opened An American in Paris: Works from a Private Collection, to continue until 3 May. The exhibition features a broad variety of avant-garde art produced from the 1960s present day. Comprising the work of 7 artists, the show suggests the predilections of a knowing collector, presenting his work in the gallery space for the first time. The first room presents decidedly organic pieces, whose natural forms sit in stark contrast to the white gallery walls. Featured pieces include The Rose (I) (2008) by Cy Twombly, and Fantasia (2006) by Damien Hirst a geometric arrangement of butterflies. Also by the artist is We Dont Like Death, Illness and all that Crap (2006), depicting flies suspended in resin. This first floor display which is predominantly dedicated to monumnetal works also features Ten Foot Flowers (1967-68), Flowers (1965), and Camouflage (1986) by Andy Warhol, displayed alongside Jeff Koonss Balloon Swan (Red) (2006). Other works featured in the exhibition include Andy Warhols Campbells Black Bean soup (1962), a series of mature works by Cy Twombly, and Damien Hirsts Forgotten love (2007), a work composed of a number of ceramic pills. An American in Paris closes with two pieces, placed in conversation with one another: Richard Princes The Housewife and the Grocer (1988), displaying the artists characteristically risqu humour, and Urs Fischers Untitled (seated), a sculpture depicting American sculptor Peter Brant. Created in wax, the latter is to be lit at the beginning of the exhibition, slowly consuming itself over the course of three months. The exhibition is the third to take place in the immense Le Bourget space a former aircraft hangar adapted by Jean Nouvel to more closely conform to the white cube model. germanY Vlado Martek at the Aanant & Zoo gallery From 25 January until 1 March 2014, the Aanant & Zoo gallery in Berlin is presenting the exhibition Vlado Martek, Zureden ohne Unruhe. Vlado Martek, Zureden ohen Unruhe features the work of Vlado Martek, an artist whose primary focus is language and poetic writing, which form the basis of his work. To cross different mediums, Martek tries to find and subvert new forms of language. The exhibition is also an opportunity to discover the artists analytical criticism, both ironic and humorous, of societal structures and constructs.
Artwork by Jeff Koons Jeff Koons. Artwork by Andy Warhol The Andy Warhol Foundation for the Visual Arts, Inc. / ADAGP, Paris 2014. Photo by Zarko Vijatovic, courtesy Gagosian Gallery.
United states Pace Gallery goes neon New Yorks Pace Gallery is presenting an exhibition of Keith Sonniers neon creations until 22 February 2014. The exhibition, entitled Elysian Plain + Early Works, features seven pieces from the artists new Elysian Plain series, produced over the last three years, a piece entitled Zig Zag Square from 2013, and four early works created in 1969 and 1970. The new pieces are wall-sized, composed of abstract designs sculpted in neon behind large sheets of curved acrylic, suggesting various shapes. Keith Sonnier was born in rural Louisiana in 1941, where his fascination with neon began. He has said of his hometown: I grew up in the dark when it was dark at night, it was dark. You had the stars and the moon and the neon sign of the roadhouse. Sonnier was one of the first artists to work with neon lighting during the 1960s. Daniel Richs architectural paintings at Peter Blum Gallery New Yorks Peter Blum Gallery is currently presenting an exhibition of works by Daniel Rich, entitled Systematic Anarchy, to run until 15 March. Daniel Richs architectural paintings explore the political and social undertones of the built environment, with the artist stating that his work considers the highly symbolic role architecture plays in politics and its power to function as a vehicle for the inscription of history. Born in Germany in 1977, the artist lives and works in Brooklyn, New York. He studied at the Atlanta College of Art and the School of the Museum of Fine Arts in Boston. His work is included in the permanent collections of the Cornell Fine Arts Museum and the Maramotti Collection in Italy.
30 JanUaRY 2014
COming sOOn
greece Yiorgos Kordakis exhibition at the AD gallery The Athenian artist Yiorgos Kordakis is to unveil his latest work 10,000 American movies at the AD gallery, from 21 February to 5 April 2014. The series began to take shape in 2009 with the artists first visit to the United States. Kordakis was fascinated to find that the American countryside evoked paradoxical memories for him, and that he was affected by a sensation of familiar exoticism; thus he made several return journeys in the following four years. As a result of these photographs, Kordakis was awarded Place of outstanding achievement at the 6th Photography Master Cup Awards in New York in 2013. On this occasion, Kordakis said: I took photographs with no fixed goal, no concrete vision of a project. The retro vehicles, signs, buildings it all made my heart beat faster. It was so surprising to see actual evidence of these movie images embedded in my brain from films I watched as a young boy. He therefore reveals what lies at the heart of his work: to canonise the American Dream and its aesthetic which is broadcast throughout the world, notably through film. He explores the abstract sentiment between exoticism and intimacy experienced during a journey to America. italY John Bocks latest work exhibited at the Gio Marconi gallery From 14 February to 22 March 2014, the Milanese gallery Gio Marconi presents the latest work by John Bock: sweetSub-NOTHING-Spores. It is John Bocks third solo exhibition at Gio Marconi which is, for the occasion, to transform the white cube into a theatre of the absurd where no traditional rule or logic seems to apply, according to the gallery. The work of John Bock can be disconcerting: the artist mixes performance, theatre, video, installation and sculpture in his unpublished works, where autobiographical allusions are interwoven with relflections on Western society and parody. Born in Gribbohm in 1965, John Bock currently lives and works in Berlin. He became known in the 1990s through his Speeches performances, in which he gave a sceptical audience a caricature of a lecture on economy and art the artist studied these two subjects at the University of Hamburg. Bocks work has been exhibited in several prestigious institutions such as the Palazzo Enciclopedico during the 55th Venice Biennale, the Kunstmuseum in Bohn, the Museum of Contemporary Art in Tokyo, and at Sadie Coles HQ in London. new Zealand Lovers at the Starkwhite gallery The Starkwhite gallery presents Lovers, an exhibition running from 6 February to 6 March, organised by Martin Basher, an in-house artist. The event displays the works of eleven artists both Americans and New Zealanders Basher and his contemporaries: Kevin Appel, Martin Basher, Whitney Bedford, Tamar Halpern, Amy Howden-Chapman, Kate Newby, Peter Nicholls, Brie Ruais, Layla Rudneva-Mackay, David Scanavinno and Gordon Walters. Martin Basher himself was born in 1979 in Wellington, New Zealand. Lovers, the exhibition, serves as a paean to beauty for the romantic viewer and as an illicit assignation, providing visual pleasure for the serious conceptualist.
Palms John Bock Courtesy Gio Marconi Gallery
switZerland Yan Xing at the Urs Meile gallery From 14 February to 12 April 2014, the Urs Meile gallery in Lucerne (Switzerland) is to present the first solo exhibition of the work of Yan Xing. Standard exhibition shows two of Yan Xings recent projects, with various sources of inspiration behind them: art, history, politics and also literature. Yan Xing sees himself as an artist who belongs to the avant-garde tradition. He writes short commentaries on his works, which tend to make their origins more opaque, rather than clearer, for the viewer. Essentially, the aim of these texts is not to enlighten the viewer, but to situate the artitsts works in the context in which he wants them to be regarded. Yan Xing was born in 1986 in Chongqing (China). He now divides his time between Beijing and Los Angeles. He is one of the emerging artists on Chinas contemporary art scene, using diverse media such as video, photography, installation and performance. United states Damian Loeb at Acquavella Gallery Between 28 February and 11 April 2014, New Yorks Acquavella Gallery is to present an exhibition of Damien Loebs latest paintings, entitled Sol d. The painters new series - of which 12 paintings have been selected for this show - represents Earth and its celestial surroundings. Loebs recognisable style is always hyperrealist, with extreme contrasting colours. Pieces by the artist begin as photographs, which the artist then manipulates and intensifies. The exhibitions title is a play on words relating to both a financial metaphor and scientific jargon. Sol d is the name for Earth in scientific language: the fourth planet (d) of the Solar System (Sol). Loeb is determined to keep producing his figurative paintings in an age where almost everything is digitised or photographed. As an extension, he hopes to reflect upon the transition from the manual to the digital, and from classical paintings to an unbridled consumerist culture, in which new forms of representation are constantly sought. www.artmediaagency.com
30 JanUaRY 2014
Artists
artiCle OF the weeK
Corin Sworn wins the Max Mara Art Prize for Women The English-Canadian artist Corin Sworn has won the Max Mara Art Prize for Women 2013-2015. She was selected from amongst five finalists: Beatrice Gibson, Melanie Gilligan, Judith Goddard and Philomene Pirecki. Sworn was born in 1976 in London, and currently lives and works in Glasgow. She principally produces drawings, photographs and videos. While she was one of three Scottish artists to participate in the 55th Venice Biennale in 2013, her work has also been exhibited at the Centre Pompidou in Paris and the Tate Britain in London. The prize is organised in conjunction with Max Mara and Londons Whitechapel Gallery. Awarded every two years, it recognises a young, female artist working in the United Kingdom. The prize includes a major exhibition at the Whitechapel Gallery and a six-month residency in Italy. The Max Mara Art Prize for Women 20112013 was awarded to Laure Prouvost, the French artist living in London who won the 2013 Turner Prize.
legal
Jasper Johns flags up unauthorised copy The 83-year-old artist Jasper Johns appeared in a Manhattan federal court last Thursday. He testified that he had not authorised the creation of the bronze sculpture Flag by Brian Ramnarine, the former owner of Empire Bronze Art situated in Queens. In fact, Ramnarine is suspected of having sold, or tried to sell, thirteen unauthorised copies of sculptures by Johns, Saint Clair Cemin and Robert Indiana. The founder was arrested in 2012. One of his clients, to whom he had offered Flag for $11 million, had suspected the work to be a fake, and alerted the FBI. Ramnarines lawyer has pointed out that artists collaborating with him often gave him works as a present or means of payment. He added that Ramnarine never signed written contracts with any of his clients, so none of the artists accusations could be proved. Cemin and Johns both objected to this defence. Johns also explained on Thursday that he had never asked the founder to create a bronze version of Flag only a wax version. It is not the first time that Jasper Johns has found himself at the centre of a trial of this nature. Last summer, his former assistant James Meyer was accused by the FBI of having stolen 22 of his works.
OBitUaries...
Artist and critic, Douglas Davis, dies Artist and critic Douglas Davis died on 16 January 2013 in Queens, New York. He was recognised as one of the pioneering figures of video and internet art. Born on 11 April 1933 in Washington DC. Davis received a Masters from Rutgers University. His began his career as a critic for the National Observer, before moving to New York in the 1960s to write for Newsweek. These years saw an increasing overlap between different spheres of artistic production, and saw the beginning of explorations into the potential of video art and interactive media. Davis became internationally recognised in 1977: he participated in Kassels documenta6 and, working in collaboration with Nam June Paik and Joseph Beuys, produced the performance The Last Nine Minutes, distributed by satellite in 25 countries. In this performance, played with the time difference between two countries, producing a piece which appeared to invite television viewers to communicate with the artist through the screen. In the same year, he published his much-celebrated critical work: Artculture: Essays on the Post-Modern. In the 1990s, Davis was one of the first artists to realise the potential of the internet, as a collaborative medium. At Lehmann College, he created The Worlds First Collaborative Sentence (1994), a project wich began with sentence: I did not feel separated I felt very close even though we were thousands of miles apart.. Over the course of 6 years, 200,000 people took part in the project Works by Davis are exhibited in some of the worlds largest institutions, including Pariss Centre Pompidou, The Metropolitan Museum of Art and the MoMA. Death of the artist Frdric Bruly Bouabr Frdric Bruly Bouabr died on 28 January 2014 in Abidjan, at the age of 91. The news was announced by Parisian gallerist Andr Magning, who had closely followed the artists career. Bouabr was predominantly known for his graphic and pictorial images. The artist first began to receive international recognition following his participation in the 1989 exhibition Magiciens de la terre, which was held at Pariss Pompidou Centre and the citys Grande Halle de la Villette. His work became increasingly visible after this event, with Bouabr featuring in shows such as: World Envisioned: Alighieroe Boetti and Frdric Bruly Bouabr at the Dia Center for the Arts, New York (1994-95); Cassels Documenta 11 (2002); and the 55th Venice Biennale. Frdric Bruly Bouabr was born around 1923 in Zprgh, the Ivory Coast. A multi-faceted artist, he was at the same time a philosopher, poet and storyteller. Driven by an encyclopaedic ambition, he sought to catalogue and explain everything, engaging in a variety of schools of thought. He notably created his own unique alphabet the alphabet bt, designed as a means of communicating knowledge to his people an endeavour which would later capture the attention of celebrated scientist Thodore Monod.
awarD..
The Crystal Awards recognise Shirin Neshat On 21 January, the Crystal Awards took place during the World Economic Forum in Davos, Switzerland. The prize aims to recognise different artists who work individually to improve the state of the world. Each year carries a different theme, with 2014s theme The Reshaping of the World: Consequences for Society, Politics and Business. Artists as varied as actor Matt Damon, Peruvian tenor Juan Diego Flores, orchestral conductor Lorin Maazel and Iranian artist Shirin Neshat were recognised. Born in 1957, Shirin Neshat is a photographer and video artist of Iranian origin. She garnered international fame for her portraits of women covered in Farsi calligraphy, and won the Golden Lion at the 48th Venice Biennale. Neshat has lived in exile in the United States since the 1970s, and fights for womens rights in the Muslim world. During the Crystal Awards presentation ceremony, she launched a personal appeal to Hassan Rohany, the first Iranian President to come to the World Economic Forum in Davos since 2005.
30 JanUaRY 2014
Fairs & festivals

ArtiCle OF the weeK
Art Miami goes to Downtown New York The Art Miami group has purchased Downtown Fair, a Modern and Contemporary art fair set to hold its inaugural edition in New York between 8 and 11 May 2014. Coinciding with Frieze Week, the new fair is to be held at the 30,000ft2, historic 69th Regiment Armory, a venue in the heart of the citys Flatiron District. Around 50 international, high-quality art dealers are to exhibit over the four-day event, which is designed to offer a more accessible alternative to Friezes organised sales. Art Miami Partner and Director Nick Korniloff is to direct the first edition. Speaking in a press release, Korniloff explains: The Art Miami ownership team recognized the overwhelming requests from its collectors and exhibitors for us to produce another quality show in New York during Frieze Week and the Spring Auction previews. We are an extremely experienced and connected organization that knows what it takes to launch and manage an art fair. The Art Miami group has launched four new fairs and acquired one since 2009, when it acquired Art Miami.
attenDanCe
26th edition of London Art Fair gets record visitors The 26th edition of London Art Fair, which took place between 15 and 19 January 2014, saw record visitor numbers, with over 30,000 people attending the event. The figure is a significant increase on 2012s 25,000 visitors. In a statement released by the fair, several galleries commented upon high sales figures, with London dealer Stephen Paisnel commenting: Weve made sales every day, and anticipate more follow-up thanks to the extent of the appreciation weve received.During the event was the sale of paintings by Scottish artist Alan Davie, to be featured in a forthcoming exhibition at the Tate, which sold for around 100,000 each. Goodman Fine Art also reported the sale of a Francis Bacon triptych on paper. In contrast, The Art Newspaper reported on the growth of the fairs middle market, with works under 10,000 constituting the majority of sales. John Martin, the London Contemporary and Modern art dealer, said: There are too many fairs that target the same few collectors, whereas the bulk of buying is more at this level. The publication noted the unusual visibility of prices in booths, which it heralded as a rarity at higher-minded trade events and a welcome change. The London Art Fair conducted a poll amongst 57 of its exhibiting galleries on the health of the art market, with 61% of those surveyed predicting that the art market will fare better in 2014.
aPPOintments
Ralph Rugoff to curate Lyon Biennale Thierry Raspail, the artistic director of the Biennale de Lyon, has named Ralph Rugoff as curator of the events 2015 edition. This edition of the Biennale has been constructed as a trilogy, based around words selected by Raspail, with Transmission, Temporality and Global having already been launched. A fourth cycle is to take place from 2015-2019, inspired by the word Modern. Ralph Rugoff began his career as a critic and independent curator, and has led projects in locations including the Serpentine Gallery, London. From 2000 to 2006, he was director of the Wattis Institute for Contemporary Art in San Francisco and, since 2006, has directed Londons Hayward Gallery. In 2002, he acted as an advisor on the board of the Syndey Biennale, and in 2002 was part of the jury for the Turner Prize. Steven Evans named new director of Fotofest Steven Evans has been named director of Fotofest, a Houston-based organisation which is responsible for an annual photography biennale. Evans is currently director of the Linda Pace Foundation and, in the past, directed New Yorks Dia:Beacon. Commenting on the appointment, Evans explained that he had been in talks with the founders of Fotofest, Wendy Watriss and Frederick Baldwin, for almost a year before a decision was taken. The next edition of Fotofest is to take place between 15 March and 27 April, and is to be organised by Watriss and Baldwin, with Evans joining the team to work collaboratively on Fotofest 2016. This year the biennale, which is curated by Karin Adrian von Roques, is to place a particular focus on contemporary photography from the Middle East and North Africa.
30 JanUaRY 2014
COming sOOn
france Newly-named Lille art fair hopes to expand From 13 to 16 February 2014, Lilles Grand Palais is to host the 7th edition of Contemporary art fair Art Up. Directed by Didier Vesse, the event was formerly called Lille Art Fair: this years new name hopes to appeal to a more international audience, and express less of a connection to the city of Lille a strategy hoped to increase the fairs growth. In 2012, the fair which is the first of the year in Frances art calendar welcomed 26,000 visitors. This year, organisers hope the figure will exceed 30,000, an interest which they hope will be translated into sales, which have recently grown by 12%. This years fair is to feature over 100 galleries, a quarter of which are based outside of France, and a quarter of which are Paris-based, with a number of galleries from Lille also expected to be present. Exhibitors include Galerie Bertheas (St tienne, France), Galerie Wagner (Le Touquet, France), El Quatre, Sala dArt (Barcelona), Forni (Bologna), Galerie Lazarew (Paris), Macadam Gallery (Brussels), and Mead Carney (London). The event is also to feature YIA, or Young International Artists, a platform dedicated to emerging creatives. hong-kong Art Basel Hong Kongs participating galleries announced The 2014 edition of Art Basel Hong Kong, to take place between 15 and 18 May in the Hong Kong Convention and Exhibition Centre, is to welcome 245 exhibiting galleries, the same number as last year. 39 countries are to be represented on this occasion, and while American heavyweights such as Acquavella, David Zwirner, Gagosian and Hauser & Wirth will be present, close to half of the stands are reserved for Asian galleries, including Beijing Commune, Boers-Li Gallery, Chambers Fine Art, Long March Space, Tang Contemporary Art, de Sarthe Gallery and Pearl Lam Galleries. The exhibitors are to be divided into different sections, entitled Curatorial projects, Insights sector and Emerging stars. Concerning new additions for 2014, the main innovation is to be a new section dedicated to film, organised with the support of artist Li Zhenhua and presented in collaboration with the Hong Kong Arts Centre. United states Independent announces list of participants The Independent Art Fair has announced its list of participants for its 5th edition, to take place between 7 and 9 March 2014. The event is to be directed by Laura Mitterand, whilst Kristina Valberg, who has previously worked for the performance biennale Performa, has been responsible for liaising with gallerists and artists. Almost fifty galleries from around the world are to participate in the fair. The list is made up of both returning and new galleries, including OKO, the East Village, New York outpost of Luxembourg & Dayan; the nonprofit organisation ProtoCinema; Ramiken Crucible gallery; and the Karma bookshop. The event is to take place in the former Dia Foundation building in Chelsea, New York, with an architectural concept designed by Andrew Feuerstein and Bret Quagliara. This document is for the exclusive use of Art Media Agencys clients. do not distribute.
Barbara Hepworth. chez Godson & Coles la BADA
United kingdOm Antiques fair to fill Chelsea square BADA art fair is to take place in London between 19 and 25 March, in Chelseas Duke of York Square. Around 100 antiques dealers, all of whom are certified members of the prestigious British Antique Dealers Association (BADA), are to take part in the event, with pieces on offer ranging in price from 100 to several million. A diverse selection of objects is to be included in the event, including furniture, paintings, clocks, ceramics, silverwear and gold. The eras of production represented are equally varied, with a broad selection of traditional pieces to be accompanied by modern and contemporary works. This years fair is also to feature In Love and War: The Story of the Military Miniaute Portrait, an exhibition of fifty military portraits in miniature.
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ART UP 2014 Stand / Booth C22
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30 JanUaRY 2014
Interview
A glOBal art histOrY: StePhanie DieCKVOss, DireCtOr OF Art14
After the success of last years edition Art13, Art14 is to take place at Londons Olympia Hall between 28 February and 2 March 2014. Placing a focus on new galleries and emerging markets, the fair aims to be a global meeting point for galleries. We met with the events director, Stephanie Dieckvoss, to discuss the ins and outs of fair management, and to learn more about this years edition
Art13 London. Installation View Copyright: Theo Cohen Photos
Whats your involvement with the fair how did you come to be part of Art14? Im the director of Art14, launched last year as Art13. Its a new fair, and one which has I hope quite a different approach. We wanted to create a fair that is truly global: that reflects changes in the art market and in the way galleries operate. And were not just looking at emerging markets, such as China and the Middle East we think some of the most interesting contemporary art production at the moment is coming from countries that you barely see in Europe. Other fairs arent really opening up to that idea. We wanted to do something that reflects the globalised world we live in an idea which seems to be very dominant in other industries, but not necessarily in the contemporary art market at least not within art fairs. The fair came about when Tim Etchells and Sandy Angus the two original owners of ArtHK said they were thinking of doing something in London. I had been co-director of ArtHK in 2007-09 and, at that time, had had enough of art fairs; I didnt want to do one again. But Tim and Sandys idea was so interesting that I developed a strategy with them. Again, we focused on creating something that was truly international and London seemed the perfect place for that. Auction houses are already there, and people are thinking about Africa, Asia and the Islamic world more and more. Overall, feedback for Art13 has been very positive, and the event is really gaining momentum. We had around 30 countries participating last year, and this year we have 42. I dont think any other fair at the moment can say that. And its not a numbers game its about quality. Were trying to show the youngest, hottest art from Taiwan, Thailand, Singapore and so on alongside really established galleries.
30 JanUaRY 2014
Interview
Was the decision not to coincide with Frieze or Master Paintings a taken on purpose? Absolutely on purpose. We think London is big enough to have two international fairs, and galleries can do both fairs if they want to. But it was really important for us to be independent. And spring is a great time the art fair calendar is just beginning, and we really see ourselves as starting the arts season. Can you tell us more about the form of this years event? This year we have 180 galleries, which seems quite substantial. 32 of these galleries, however, are in our Young Galleries section and have smaller stands. Were really big fans of those and this year weve placed a big focus on sections such as London First, designed for galleries exhibiting in the capital for the first time. Stand rates are subsidised, and those galleries really are located at the very core of the fair. Im really curious as to how people will react. Last years fair had 25,000 visitors. This year we hope to get 30,000, which I think is absolutely feasible. How are you organised? Our team only works on this fair, and were part of a larger events company, Single Market Events, of which were a subsidiary. There are ten people in the team in total: someone full time on VIP, two marketing people, two ops people, one head of projects, one gallery liaison manager, one sponsorship person, and a business development head. And then, of course, we get additional help, as I think every fair does. What were sales like for last years event? We dont publish overall sales figures we think they are never true anyway. Can you give any indication of the fairs budget? I can just say were investing heavily and its a long term investment. So youre not breaking even yet? Im not answering that. I think what I would really like to see is if a fair could develop a sound financial model that wouldnt have to so strongly rely on the fees that galleries pay. The main income for the fair is what the galleries pay. That means you need to always work with people who are financially strong, when it would be so much more interesting to find galleries that can come who dont have an immense amount of money. I havent had the opportunity to work on a model like this, but I think that tourism and trade departments should support galleries more.
Stephanie Dieckvoss, Fair Director.
30 JanUaRY 2014
Interview
What have you done differently this year? What did you learn from last years edition? We have done a lot of things differently, but were also working on establishing ourselves and improving the things that worked well. We are one of the few fairs to have a really dedicated performance programme, with hourly displays that was a success last year, and were building on that this year. Last year, a lot of people felt that the selection of galleries in the main section felt very Asian. That was great, but this year I hope to show that Asia doesnt just mean China. We have four Taiwanese galleries I dont think any other fair in Europe has that and we have our first gallery from Pakistan, along with a group of galleries from Indonesia. We really want to try and be more global in incorporating more galleries from Africa and Latin America, as well as strengthening our positions within Europe and the United States. Over a period of time, wed also like to show where contemporary art comes from to look at Chinese art in the 80s, for example, to show where Chinese avant-garde started. Wed like to show what contemporary art looks like in Africa this year we also have a number of galleries from India who will show the strongest Indian Modernists, as well as a gallery showing Modern Arab art, and lots of contemporary British. My idea is to have a little visual art history. The fair is also about emerging markets, and we understand that when working with new markets and showing pieces that arent frequently exhibited, you have to educate people, find ways to make them engaged, and make pieces accessible. How do you give buyers the cultural references needed to buy these works? We have talks about different regions, and how to collect from different regions. But I think if people see art and they like it, they will buy it. If a piece is interesting, it doesnt matter that its by a Taiwanese artist and they know nothing about Taiwan. And whilst people might not buy at the fair, they undertake research and stay in touch with galleries theres been a lot of follow-up business from Art13. For a fair like ours its also important that galleries connect to other galleries and exchange artists we had some artists from Asia who now have their first shows in London. Its all part of building the market, and that doesnt happen overnight.
Installation View 20 Tapestry Grayson Perry Copyright: Ashley Bingham
Whats your audience? Are you aiming for young collectors, or institution heads? We see attendees as different tiers, all of which we want to attract though we market our event to each in a different way.
30 JanUaRY 2014
Interview
Every year we have the Global Private Museum Summit, which sees 40 very wealthy collectors come to the fair. We really pitch to the highest end. I dont think a fair can function if it doesnt have a solid collection base thats the core. But, of course, we are interested in new collectors, and people who might not call themselves collectors in the traditional sense, but who might just develop a passion for buying art for their homes. People from regions without a long tradition of collecting might feel that its a very elite, closed off circle thats something we want to change, and its something which is ideal to do in London, where there are a lot of second homes. We also have a much stronger editions section this year, which is great for collectors who are starting out: there are really great artists who produce editions which are much more affordable than unique works. Last year, we expected there to be a sort of natural selection, with either more affordable works selling really well, or a real appetite for high-end pieces emerging. But actually, each segment was really strong: we had collectors who could come and buy something for under 5,000, but we also had the British Museum, the Tate and the V&A buying from the fair. Theres enough work of a high enough quality to be attractive to institutions. And in the UK they are tasked so much with buying non-European art; the fair is really the perfect forum for this. Do you also have a middle market? Yes, of course, and I think thats the market thats really struggling the most. Were not in the US, where $20,000 doesnt mean anything. If someone is going to pay $20,000, they want to understand that the artist has a really interesting institutional record, or the potential to do more. How do you find the galleries you work with? Did you scout them? Yes, theres a lot of scouting, and you always need to know the territories youre working with. But its an open application process, and this year a lot of galleries knew about the fair, so it was easier than the first time around. We have a selection committee that consists of curators, who work independently and select galleries based on proposals for stands. Then we have a single curatorial advisor for the two sections devoted to younger galleries who we hope will give a very sharp aesthetic. And sometimes galleries come to us Even for the first year? Was it not tough in the first year? Its tough in the second year too, but actually, in emerging markets, theres much more awareness of the fair than I had thought. People really see that theres a chance to do something in London that might have a real impact. I do travel a lot, but you actually find that there are all of these pre-existing networks. Its super interesting. But I ask people about galleries all the time whats interesting, who I should go and see when I travel its an endless learning process. What are your plans for the future? I have lots of ideas for the fair, as well as ideas regarding what needs to be done to have a global art market that functions better which includes much more education and professional development. For the moment, I believe our project is one which is very unique, and which is very much needed. I want to focus my time and attention on developing it, and making it the highest quality possible. The fair has grown in an organic way, though Im not a fan of huge art fairs. I want to consolidate what were doing, and ensure that the quality gets better and better. And that could include a larger education programme, more talks theres lots to do. Im thinking about 2015 already.

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In the public eye: the ups and downs of public art

Rubber Duck Florentijn Hofman photo : Antony Lau, Zenda

Buy ! Sell ! Expose !

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Wand (Wall) (1994) Gerhard Richter courtoisie de Stthebys

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Sonal Singh courtesy of Christies

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Palms John Bock Courtesy Gio Marconi Gallery

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