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09 January 2014 Data Sarah Lucas page 5 Top Stories page 10 Interview Michael Peppiatt, art historian and exhibition curator page 12 Museums page 15 Interview James Edward Deeds by Christian Berst page 18 Galleries page 24 Artists page 27 Report Claude Lvque takes up residency at Bordeaux Bernard Magrez Cultural Institute page 28 Auctions page 31 Fairs & festivals page 33 Schools page 35
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The Broad_3rd floor gallery rendering
AMA NEWSLETTER
A Roundup of the year ahead 2013 proved to be a rich year - very rich. The art world showed no risk of growing stale, with record sales, major exhibitions, ever-expanding fairs, and legal and economic shake-ups from Munich to Detroit. Barely recovered from the events of last year, the art markets major participants have begun to make promises of an equally spectacular 2014. Whilst the global economy is not at its healthiest, the evolution of cultural projects shows little sign of slowing down: new museums have opened their doors, and have rapidly accrued visitor numbers to match those of their more established competitors. Significant exhibitions have followed, with ever-more-ambitious shows having been met with unfailing public interest.
As far as the art market is concerned, the phrase economic crisis doesnt exist. Whilst its difficult to predict whether the exceptional sales figures realised by auction houses this year will be replicated - or even surpassed - in 2014, there is every reason to believe that the demand for prestigious lots will remain high. If works of the same quality as last years reemerge on the market, it seems likely that buyers will respond with enthusiasm - and high sums of money. New art fairs have been appearing across the world, tempted by the business potential of art. Despite increasing competition - and despite the vast difference in scope between some newer fairs and heavyweights such as Art Basel, FIAC and Frieze - art market professionals remain tempted by the lure of collectors and amateurs with a desire to buy.
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AMA NEWSLETTER 134 2
09 JanUaRY 2014
A Roundup of the year ahead

We took a look at some of the largest and most anticipated events for the forthcoming year. Whilst many may remain hidden in unwritten press releases, details of some of 2014s initial openings seem to promise an interesting year. New Museums In Los Angeles, Elie Broad - the billionaire who founded the Museum of Contemporary Art, Los Angeles (MOCA) in 1979, and a member of the board of the Los Angeles County Museum of Art (LACMA) - has, along with his wife, invested $140 million in the construction of The Broad. Dedicated to contemporary art, the institution is expected to open its doors at the end of 2014. Boasting a collection including works by John Baldessari, Jasper Johns, Jeff Koons, Damien Hirst, Roy Lichtenstein, Andy Warhol, Cindy Sherman, Robert Rauschenberg and Ed Ruscha, the opening of The Broad is set to be one of the most hotly-anticipated events of the year. The building housing this museum is vast, measuring over 11,000 m2, conceived by architects Diller Scofidio + Renfro. The structure comprises three floors dedicated to exhibitions, as well as a section which is to hold works from The Broad Art Foundation - an organisation which, since its foundation in 1984, has lent over 8,000 works of art to around 500 museums throughout the world. Autumn 2014 is expected to see the opening of Pariss Louis Vuitton Foundation, whose designer, architect Frank Gehry, stated: I dream of designing, in Paris, a magnificent vessel symbolising the cultural calling of France. Costing 100 million to construct, Gehrys structure is to house a vast collection of works, featuring pieces by Jean-Michel Basquiat, Cao Fei, Ryan Trecartin and Cyprien Gaillard. The impressive glass building is to be situated in the West of the French capital, in the heart of the Bois de Boulogne. Also set to open in autumn 2014 is Massachusetts Harvard Art Museums, a Renzo Piano-designed structure, whose total cost has been estimated at $350m. A spokeswoman for the project has stated: The project will unite the Fogg, Busch-Reisinger and Sackler Museums for the first time, creating new opportunities to use its outstanding collections to explore human creativity. The new facility is also set to include the Straus Center for Conservation and Technical Studies. Amongst other openings planned this year is Pariss Picasso Museum; featuring a rich collection of 5,000 works, the institution is to reopen after five years renovation work and numerous delays the surface area open to the public to double from 2,300m2 to 5,500m2. Anne Baldassari, the museums director, has promised that the works carried out will be a real shock to visitors familiar with the institutions former incarnation. Other projects set to be unveiled in France include the Soulages Museum, to open in Rodez in 2014. The institution is to serve as the home for a donation of works by the eponymous artist. Across the globe, Toronto is to become the site of the new Aga Khan Museum, a space dedicated to Islamic art measuring 1,000 m, which will present over 1,000 objects dating from a period of over 1,000 years. Elsewhere, in the Netherlands, the Mauritshuis Museum - home to Vermeers famous Girl with a Pearl Earring - expects to welcome an ever-increasing number of visitors as of next summer, with a $35m renovation project having allowed the institution to double in size. These, however, are not the only cities whose arts institutions are undergoing expansion or major redevelopment: in St. Petersburg, the new Faberg Museum - set in three wings of the Hermitage Museum - is due to open in summer 2014. Its opening coincides with the 250th anniversary of the Hermitage Museum. In the US, Washingtons Tacoma Art Museum has released details of plans to open a new wing in the autumn. This new space is to exhibit works from a collection of American art donated by the Haub family. Elsewhere in the States, the Aspen Art Museum in Colorado is to open a new build-
09 JanUaRY 2014
ing measuring 3,000m2. Forecast to open in the summer, the new building has been designed by Japanese architect Shigeru Ban. Promising Programmation From 25 April to 24 August 2014, the Muse dArt Moderne de la Ville de Paris is to host a major retrospective of works by the Argentinian-born, Italian artist Lucio Fontana, the founder of the Spatialist movement. Realised in collaboration with Milans Lucio Fontana Foundation, the show is to place an emphasis on the diverse nature of the artists practice, which lies somewhere between abstraction and figuration, and his fascination with metaphysics, technology, utopia, kitsch, and amorphous subjects. His cracked paintings, which have become icons of modern art, will be placed side-byside with his lesser-known works, notably his 1930s sculptures and ceramics, most of which have never been exhibited before in France. This exhibition, which is the most significant in France since 1987, is to cover the full scope of Fontanas production, from the late 1920s until his death in 1968. 200 works will represent all his major areas of study, including: primitive and abstract sculpture, drawing, polychrome ceramics, spatialist works, paintings with holes, environments, TagliNatura, Fine di Dio, Venezia, Metalli, Teatrini. From 15 January to 23 March, Londons Whitechapel Gallery is to present Hannah Hch, a pioneering German collage artist, who was a member of the Dada movement. Also in the British Capital, the National Gallery is set to present a retrospective of works by Italian Renaissance painted Veronese, one of the most significant artists to have produced work in Venice during the 1500s. Featuring approximately fifty of the artists works, lent from museums across the world, the show - entitled Magnificence in Renaissance Venice - is to be the first monographic display of Veroneses works ever to have been held in the United Kingdom. Moving away from the National Gallerys more historical approach is the Tate Modern, which, between 16 April and 7 September, is to host an exhibition dedicated to Henri Matisse. Entitled The Cut Outs, the show is being marketed as the most comprehensive overview of Matisses cut paper works, with Tate director Nicholas Serota having commented: For many people, it will be one of the most beautiful, evocative and compelling exhibitions ever seen in London. After its close in the capital, the exhibition is to travel to New Yorks MoMA, before being exhibited in private galleries and insitutions across the world. Across the pond, New Yorks Guggenheim promises to be the venue for one of the citys most captivating exhibitions: Italian Futurism (1909-1944) Reconstructing the Universe is to present - for the very first time in the United States - a selection of zorks taken from across the Futurist movement. This multi-disciplinary display is to retrace the history of Futurism, which began with Marinettis 1909 manifesto, before disappearing at the end of the Second World War. Organisers of this momentous exhibition have worked to bring toegther a total of around 300 pieces - in genres including painting, architecture, design, cermaics, fashion, cinema, and photography spanning a period of production from 1909 to 1944. The lure of the fair
Concetto spaziale, Attese, 1965, Lucio Fontana / SIAE / ADAGP, Paris 2013 Muse dArt Moderne / Roger-Viollet
As noted - both in our introduction, and in this weeks interview with Michael Peppiatt, the number of art fairs world wide seems to be undergoing a rapid - and seemingly unceasing - rise. 2014 is set to see the first edition of two events in Silicon Valley: between 10 and 13 April, Silicon Valley Contemporary will take place, to be followed, in the autumn by Art Silicon Valley. The latter is to gather a selec-
09 JanUaRY 2014

tion of 80 international galleries, whilst Silicon Valley Contemporary will feature 60 exhibitors, amassed under the roof of the San Jose convention centre. Focusing on works of art created since the 1980s, Silicon Valley Contemporary aims to be at once unique and accessible, according to fair director Rick Friedman, also President of the Hamptons Expo Group. Commenting on the project, Friedman stated: We think thats in sync with Silicon Valley. We want it to be cutting edge, but accessible to people. And what of the art market? The activities of auction houses - which produced some remarkable, often surprising results over the course of the past year - seem certain to go on developing in 2014. Private sales have allowed auction houses such as Sothebys and Christies to realise not insignificant figures, with the two auction houses having reported sales figures of $1 million in 2012 - a promising result which seems likely to inspire the houses to continue. For both auction house and collector, private sales offer an appealing anonymity: whilst buyers remain hidden, the auction house selling the work also benefits from a decreased vulnerability, with any failed sales creeping under the radar of marketing materials. It remains to be seen how auction house sales will affect galleries: certain auction sales of the past year have appeared to tap into a market otherwise destined for gallerists - a trend which might threaten to destabilise the work of the latter. This has been particularly true for sales of street art, but has recently been witnessed, quite prominently, in Asia: here, in 2013, Christies sold works issued directly from the atelier of a Hong Kong artist. For Sothebys, the year 2014 promises to be something of a test. Despite good results - and notable development in Asia, where the auction house last year realised sales totals of $947 million (a result comprising $496 million, realised during Autumn sales in Hong Kong) - the house has seen a number of changes in its management. Notable members to have left the Sothebys team included Tobias Meyer, former worldwide head of contemporary art. Other events to have shaken Sothebys included the much-discussed active investment from Third Point LLC, the company directed by millionaire Dan Loeb; with Loeb currently holding a 5.7% stake in the businesss capital, many commentators have expressed concerns for Sothebys future evolution. Other upheavals are to come, with 2014 set to be the year in which Sothebys New York headquarters re-locates to a new location in the city. 2013 also saw Amazons arrival on the art market, with the giant joining businesses such as Paddle8 and Artspace, to enter into online art sales. It remains to be seen whether 2014 will be the year in which online sales, such as these, begin to present valid competition to their more traditional rivals. A recent article from the Forbes reveals the conclusions of a debate organised in the UBS AG: the speakers tried to determine if art was an asset or an investment. The majoritys conclusion was that art is actually an asset with an important investment potential. Over these last years, art has increased its value by becoming an asset or a capital in the portfolio of its owners. The point is to know how much art will bring you benefits, and how much you are ready to pay for this. Indeed, arts aesthetical, cultural and historical worth is unlimited, not to mention its financial value. Many artworks owners have seen a piece purchased years before reaching the double of its initial value, and even more. However, it is not as simple as it seems. This is an exception, rather than something usual. One cannot know or predict in advance if this work or that one will have their value increased throughout the years. Some persons having the fortune of possessing artpieces whose value has increased does not immediately mean acquiring financially promising artworks is something easy and simple. On the art market, a wild place says the Forbes journalist Kathryn Tully, investors must not be fooled by the simple appearance of some things, or else they will make mistakes, and therefore lose money.
Allgorie de lAmour Paul Vronse 1570 oil on canvas 191 191 cm National Gallery
09 JanUaRY 2014
Sarah Lucas
Art Analytics
Sarah Lucas, born on 23 October 1962 in London, is a contemporary artist belonging to the Young British Artists group. Having left school at the age of 16, she studied art at Working Mens College (1982-83), the London College of Printing (1983-84)and Goldsmiths College (1984-87), earning her degree in 1987.D It was during this period she had a relationship with Damien Hirst. Sarah Lucas is well-known for her large-scale collages, created using photocopies and cuttings of press articles, which present pin-up girls from magazines alongside large newspaper headlines of scandals. In 1988, along with Angus Fairhurst, Damien Hirst and Gary Hume, Lucas participated in the exhibition Freeze, presenting her first solo exhibition The Whole Joke and Penis Nailed to a Board, in 1992. The artist uses different objects to represent the human body, including discarded objects or materials created by the artist herself. For the exhibition Au Naturel (1994), she collaborated with Georg Herold to present a collection of objects - a mattress, a bucket, melons, oranges and a cucumber - suggesting male and female parts of the body. 200s solo exhibition The Fag Show, held at Sadie Coles, London, saw the artist use a cigarette as an artistic medium in its own right. The artist frequently brings a comedic element to her work, in which sexuality and violence play a central role. This tendency to treat subjects with humour can be seen in her installations, which criticise and mock the visual pretension of certain works of art. She is frequently viewed as a feminist: she has produced works which challenge photographic depictions of women, has denounced sexist images in the media, and has used photography as a medium through which to question the relationship between image and sexual identity. She represents the female body in a manner which is at odds with classical representations of women, often characterised by soft, harmonious forms. Lucas has been the subject of exhibitions in several prestigious institutions, including the Walker Art Center in Minneapolis, in 1995, the Royal Academy, in 1997, and Tate Britain and the Palais de Tokyo, in 2012. In 2003, the artist participated in the 50th Venice Biennale. The first retrospective of her work was held from October 2005 to January 2006 at Tate Liverpool, followed by another, held at Londons Whitechapel Gallery in 2013. Sarah Lucas is represented by Sadie Coles HQ in London, Barbara Gladstone in New York and Contemporary Fine Arts in Berlin.
Evolution of the number of exhibitions by type Evolution of the number of exhibitions by type of venue
30 20 10 0
1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 group shows solo shows
30 20 10 0
1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 gallery museum biennials other
09 JanUaRY 2014
Sarah Lucas
Art Analytics
The countries to have most frequently presented exhibitions of the artists work are the United Kingdom, the United States, Germany, Austria and Italy. Institutions to have hosted the most exhibitions dedicated to Lucas are Contemporary Fine Arts - CFA (Germany), Sadie Coles HQ (United Kingdom), ZKM - Zentrum fr Kunst und Medientechnologie in Karlsruhe (Germany), the Hayward Gallery (United Kingdom) and the MoMA (United States). She has been most exhibited alongside Damien Hirst, Tracey Emin, Cindy Sherman and Mike Kelley. The artists work has mainly been shown in museum institutions, within group exhibitions. The number of articles published on the artist has grown significantly since the mid-1990s, with an average of 300 articles published annually on the subject of her work.
Distribution by exhibition type Distribution by venue type Distribution by country
8%
28%
10% 46%
25%
16% 62% 90% 13%
Evolution of the number of articles published on Sarah Lucas
gallery events
museum other
group shows solo shows
United Kingdom United States Germany other
500
250
1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013
Sarah Lucas 35 29
Distribution of the number of articles by country Distribution of the number of articles by langage
Waldemar Januszczak Jonathan Jones 0 10 21 20
25% 6% 8%
9% 7% 9%
30
40
61%
76%
The Guardian The Times The Observer 0 233 190 100 200 300
458
United Kingdom Germany United States other
French German
Italian other
400
500
Top 3 authors and publications whose works have addressed Sarah Lucas
09 JanUaRY 2014
Sarah Lucas
Art Analytics
Regarding sales, Sarah Lucass works have realised a total of over $4.7 million, with an average price of over $36,000. The record for her highest-selling work was achieved in October 2013 at Christies in London, for the photograph Fighting Fire with Fire (1997), which sold for about $385,344, hammer price. Her next highest-selling piece is the light installation Somethings Changed Raymond (2000), which sold for $239,220, hammer price, again at Christies London in July 2008. In February 2001, a print of Fighting Fire with Fire (1997) achieved $173,304, hammer price, at Christies London. While the artist creates works using a large variety of media, her photographs and sculptures/installations represent the majority of both the artists lots and sales figures in public auctions. Looking at the average price per medium, photographs represent 56% of lots presented at auction and 50% of sales figures, achieving an average price of $31,500, behind her sculptures/installations, which achieve on average close to $42,000 at auction. 7 drawings have been sold at auction, for an average price of $7,500, whilst two of the artists light installations have seen significant success, selling at $240,000 and $147,000 respectively. It is, however, important to note that only 170 lots have been presented at auction, with an annual number of lots presented remaining relatively stable during the last ten years. While the artists auction record was broken at the end of 2013, the sales figures realised for her works are evidence of an overall stability for several years.
Evolution of the number of lots Evolution of revenue Evolution of the average value of lots
30 20 10 0
1998
2000
2002
2004
2006
2008
2010
2012
$800k $600k $400k $200k $0k 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013
$60k $40k $20k $0k
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
09 JanUaRY 2014
Sarah Lucas
Art Analytics
Distribution of lots by medium and revenue Distribution of lots by country and revenue
The majority of Lucass works have been sold in her home country, the United Kingdom, while a third of her sales figures have been achieved overseas - almost exclusively in the United States. While several auction houses have sold works by the British artist, Christies dominates in sales figures, having sold 57% of her lots by value, with remaining sales figures shared between Phillips and Sothebys. The rate of unsold works presented at auction (23%) is relatively low for a contemporary artist. While all lots presented at over $200,000 have found a buyer, those valued between $30,000 and 50,000 constitute a large proportion of the artists sales figures.
5%
1% 50%
7% 30% 35%
35%
56%
43%
58%
69%
Photography Multiples
Sculpture Painting
Drawing
United Kingdom
United States
other
Rate of sold/unsold lots Distribution of lots by auction house and revenue
23% 22%
10% 41%
16%
2%
26% 77% 27%
57%
sold
unsold
Christie's
Phillips
Sotheby's
other
Rate of unsold works by price
Total sales by price of works
> $200k $100-200k $50-100k $20-50k < $20k 0% sold 25% 50% 75% unsold 100%
> $200k $100-200k $50-100k $20-50k < $20k $0m $0,5m $1m $1,5m $2m
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Sarah Lucas
100% 75% 50% 25% 0% 1998 1999 2000 2001 2002 sold 2003 2004 2005 2006 2007 2008 unsold
Art Analytics
2009
2010
2011
2012
2013
The limited number of lots presented at public auction make it hard to establish a clear trend for the rate of unsold works, when establishing a chronological analysis of the artists sales performance; it is much to establish through an examination of sales figures by year of creation. It is also worth noting the very low number of works produced since 2001.
Evolution of unsold lots Number of presented lots and revenue by creation year
30 20
$900k
$450k 10 0 $0k
1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2005 2006 2007 2008 2009 lots turnover
Until 19 January 2014, the Vienna Secession is presenting a solo exhibition of the work of Sarah Lucas entitled Nob + Gelatin. The artist is showing, amongst other works, giant golden vegetables, having collaborating on this project with the Australian group of artists Gelatin, composed of Ali Janka, Tobias Urban, Florian Reither and Wolfgang Gantner. Until 2 February 2014, the Multimedia Art Museum in Moscow is holding the exhibition Freedom not Genius: Works from Damien Hirsts Murderme Collection. The show presents pieces from Hirsts collection, including works by Sarah Lucas, as well as Ashley Bickerton, Cerith Wyn Evans, Fred Tomaselli, Gabriel Orozco, Gary Hume, Haim Steinbach and Tracey Emin.
Auction results from Artprice.com
09 JanUaRY 2014
Top Stories
arTIClE OF THE wEEK
American copyright office in favour of droit de suite A proposal to instate a resale royalty, or droit de suite, for visual artists is being considered this month in Washington, after a similar project stalled in Congress in 2011. The motion has been brought to Congress by the United States Copyright Office. The legislation has been adapted by 70 pages since 1992, when a report against the establishment of a droit de suite was released in the US. Now, a new, 124-page document highlights the significant growth of the art market since this period, as well as the emergence of increasingly significant databases, which allow droit de suites effect on the art market to be anticipated. The Copyright Office highlighted the effects of droit de suite in countries which had adopted the legislation, such as France and the United Kingdom, concluding that neither had witnessed a negative effect upon their art markets as a result. The distinguishing feature of the USs proposal is that droit de suite would only apply to living artists. This veers away from the practice of other countries who have adopted the legislation, where droit de suite applies for the duration of the artists life, as well as seventy years following their death. The new legislation proposes a reduction in the amount that would be reserved for artists when their work is sold at auction, from the 7% proposed in 2011, to 5% (against a maximum of 4% in Europe). Speaking at an event hosted by the International Foundation for Art Research (IFAR) last month, Congressman Nadler, who is sponsoring the bill in the House, said the new legislation would only apply to auction houses, to eliminate any additional opposition from dealers. However, the Copyright Office recommends the royalty be applied to commercial galleries and private dealers as well as auction houses, in order to ensure the maximum number of artists benefit from the scheme. The Copyright Office has expressed a desire to cover all sales transactions, stating: A law limited to public auction transactions would exclude vast numbers of artists from royalty eligibility given that fewer than half all art sales are made through public auction. Currently the law, which is supported by Congressman Jerrold Nadler, does not apply to gallery sales, and concerns only sales in excess of $5,000..
HErITaGE
Restoration works to commence at the Institut franais du UnitedKingdom The Institut franais du United-Kingdom is to spend the equivalent of 1.5 million on restoration works. The repairs are to begin in the Art Dco reading room, as part of a project led by architectural firm Bisset Adams. The library, known as La Mdiathque, possesses a huge collection of documents, including 55,000 archives and rare 17th and 18th century books. La Mdiathque is housed in a listed building in South Kensington, which was designed by Patrice Bonnet in 1939, a French architect and winner of the Prix de Rome. The building contains a large marble staircase, with the library having originally been designed as a ballroom. The project is also to enable the restoration of the original parquet flooring, stained glass windows and woodwork. The basement is to be developed to create a childrens library and a multimedia hub. The project, which has been mainly financed through private donations, is scheduled to be completed by 2015. Thanks to the help of volunteers, El Tajin wall paintings have been restored The INAH (National Institute of Anthropology and History) supported the restoration and conservation of wall paintings in Building 1 in El Tajin, Mexico City. The tiny, intricately-detailed paintings make up some of the most complete murals which remain in situ. With the support of people from the surrounding communities, the team of the National Coordination of Preservation of Cultural Patrimony succeeded in bringing the lustre back to the paintings. The volunteers were all trained in the preservation of artworks. The wall paintings in Building 1 date from more than 1,000 years ago. Unfortunately, the building is located in the elevated area of Tajin Chico, which, as expert restorer Benjamin JeanMarc Blaisot explained, meant that water falls from the springs in the peaks [...] benefited the migration of salts and formation of wet stains, which damaged the paintings. However, expert Dulce Mara Grimaldi confirmed that, after the necessary care and maintenance, We can be sure of the preservation of the mural paintings for a long time to come [...] Afterwards, we can integrate some kind of infrastructure that may provide better ways for visitors to appreciate
AwarDS
Jeffrey Gonano is the lucky winner of the Picasso raffle Jeffrey Gonano from Pennsylvania is the lucky winner of the Picasso raffle organised at Sothebys. For just 100 ($135) he is now the owner of a Picasso painting valued at $1 million. Olivier Widmaier Picasso, grandson of the legendary painter, raffled off one of his grandfathers works, LHomme au Gibus (Man With Opera Hat), in Paris on 18 December. The raffle was to raise money for the International Association to Save Tyre, the ancient Lebanese city which is a UNESCO World Heritage Site. The raffle sold an unprecedented 50,000 tickets at 100, with each entrant having the chance to win the 1914 painting. The money raised by the raffle is to contribute to the creation of an arts institution as well as a new education centre in the city of Tyre, which, for several decades, has suffered serious damage as a result of military conflict.
FINaNCE
Webedia re-purchases Exponaute The company Webedia has announced its repurchase of Exponaute, a leading French website for information and services on art and exhibitions. Launched three years ago, Exponaute features an agenda of exhibitions, a magazine covering the latest art news, an online shop and reduced-price exhibition tickets. Vronique Morali, CEO of Webedia, stated: We are delighted to welcome Exponaute into the Webedia group. After Allocin for cinema, the acquisition of a new, key vertical operator continues to concretise the groups ambition to position itself as a leader of cultural entertainment. For Charles Eon and Nicolas de Leudeville, co-founders of Exponaute, the challenge is managing to enable the company to adapt to a bigger audience, and to bring new, relevant digital services to museums and exhibition venues. www.artmediaagency.com
09 JanUaRY 2014
DISCOVErIES
A Hungarian butchers art collection made public The daughter of a Hungarian concentration camp survivor, Istvn Kvesi, who became a butcher following the war, has made public an important art collection amassed by her father. Having remained in the shadows for nearly 50 years, this discovery brings to light more than 200 paintings by artists such as Jzsef Rippl-Rnai, Jnos Vaszary and Izsk Perlmutter. The majority of the works are priceless treasures for Hungarys art heritage. Besides the obvious artistic interest in this discovery, which echoes the recent affair in Munich, the story of a shopkeeper who became wealthy under the Communist regime is equally extraordinary. In fact, Istvn Kvesi was motivated purely by financial and pragmatic reasons he became a passionate collector merely as an after-effect. He kept his collection a secret for his whole life. His daughter has now chosen to make this side of her fathers personality public, some years after his death. Antiques Roadshow uncovers genuine van Dyck portrait The BBC programme Antiques Roadshow has uncovered a genuine van Dyck painting, previously thought to be a copy, dating from the 1630s. The painting, which is a portrait of a magistrate of Brussels, and which is thought to have been a study for a larger 1634 work, was bought for 400 more than a decade ago by priest, Father Jamie MacLeod. When the work was brought to a recording of the Antiques Roadshow to be valued, presenter Fiona Bruce expressed suspicions about the artist behind the work, leading the piece to undergo several months of careful examination in order to determine its authenticity. Philip Mould, art dealer, art historian and co-presenter to Fiona Bruce, commented: Discoveries of this type are exceptionally rare. The paintings emergence from beneath layers of paint was dramatic. Its been revealed as a thrilling example of van Dycks skills of direct observation that made him so great a portrait painter. Father MacLeod now plans to sell the painting to raise money for a set of new bells for his parish.
jUSTICE
Renoir painting the size of a napkin in legal dispute A painting by renowned Impressionist artist Renoir is at the centre of a legal storm, despite being no larger in size than a napkin. Martha Fuqua claims to have bought Paysage Bords de Seine (1879) in 2009 at a flea market for the price of just $7. She claims to have been unaware of its value and authorship until her mother, a fineart expert, noticed the signature and markings typical of Renoir. After realising its value, the painting was scheduled to be sold at auction in September 2012, at the Potomack Company auction house in Virginia, yet the sale was eventually called off after the discovery of a document suggesting that the piece had been stolen from the Baltimore Museum of Art in 1951. The museum has since provided documentation dating back over 60 years to prove it was bequeathed the painting by art collector Saidie May. In a statement to ABC News, a museum spokeswoman commented: The Baltimore Museum of Art is hopeful that it will soon be able to welcome home the Renoir painting that was stolen from its gallery walls more than 60 years ago. This would be a wonderful way to celebrate the BMAs 100th anniversary and the legacy of donor Saidie May. The two sides are to meet in court again later this week.
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THIS DOCUMENt IS FOR tHE EXCLUSIVE USE OF ARt MEDIa AGENCYS CLIENtS. DO NOt DIStRIBUtE. www.artmediaagency.com
09 JanUaRY 2014
Interview
MICHaEl PEppIaTT : aN INTErVIEw wITH THE INTErVIEwEr
Writer, art historian and exhibition curator Michael Peppiatt has been described as the finest art writer of his generation. Over 46 years he interviewed artists including Henri Cartier Bresson, R.B.Kitaj, David Hockney and Francis Bacon, establishing personal relationships which allowed his readers to glimpse a more intimate side of some of the 20th centurys most established artists. Peppiatt graciously agreed to let Art Media Agency have a go at asking the questions.
After Cambridge and a short spell working for The Observer in London, you moved to Paris to work for magazine Ralits and, later, as the Paris correspondent for other publications including The New York Times and The Financial Times. What drew you to the city? How did it compare to Cambridge, or London? What did it offer in terms of your work as an art critic? I went there because I was offered a job, it was as simple as that. Id finished at Cambridge, and had spent a year in Spain: having glimpsed the country as a student and thought it was brilliant, I went back, and got a job reading books in English, French and German for a Spanish publisher, Seix y Barral, in Barcelona. I managed to survive for a year before coming back I didnt have a job and found all my friends were surging ahead. My impression is that I got the job at Ralits because I was a bit off-hand and superior I didnt really want it, and had been happy in London. But I got the job, and there was no way I couldnt go so I went. I found Paris a pretty forbidding place not very open or friendly. When I arrived, there was simply nobody I knew. Francis Bacon had said to me, Do you know Giacometti? [laughs], and of course, I didnt, and I was rather alarmed at the thought of meeting him. The only thing I had was a letter of introduction from Bacon, scrawled over a couple of pages of Paris Match. When I arrived I went almost immediately to his studio on the rue Hippolyte-Maindron, and walked round and round, not daring to knock on the door in case I disturbed the sculptor in the middle of some imperishable work. But poor Giacometti had died the day I arrived in Paris, so there was no contact there. Gradually, I made my way as one does. I met a few people, and my colleagues at Ralits were very pleasant and supportive, and I began to make myself a life there. As a young writer, how did you meet artists? Was there a lot of hanging round outside studios, or was it predominantly through interviews? It did begin that way [doing interviews]. Id edited an issue of a magazine that doesnt exist any more called Cambridge Opinion on Modern Art in Britain. Doing this, Id met Bacon, Freud, Auerbach, Kitaj, Hockney all these people who became known as the School of London. And that gave me a sort of direction. My interest was compounded by my work on an arts magazine, and they made me their main arts writer which was very nice! I got to go to Rome to interview Balthus, when he had just been made director of the French Academy in Rome it was all very impressive. That kind of thing got me going, and I began to get friends more my own age who were artists working around the city. So there were some famous artists, but there were also people struggling to establish a reputation. The names of people you interviewed now makes for a fantastic and rather intimidating list. Im so glad [laughs]. You dont see the pattern in your life until quite late on at least I didnt. I was suitably nervous when I went to meet Balthus, and of course Bacon had been a formidable presence in my life, and continued to be a formidable presence until he died. I love talking to artists drawing them out of themselves and letting them speak, I find it quite exciting to join in the excitement of someone who is creating a new language. And, of course, some artists are more recalcitrant than others. But I like the artist-writer relationship and since I wanted to write, art seemed like a good way to begin.
Michael Peppiatt
09 JanUaRY 2014
Interview
Were there any particularly memorable encounters? There was obviously Bacon. Giacometti was really important to me, because although I didnt meet Alberto myself, I very nearly did. And because I failed to meet him, I followed where he left off, as it were: I met his widow Annette Giacometti and his brother Diego, who designed furniture, and who had helped Giacometti in the studio, and all the other people who had been close to him. That became a big part of my life, pursuing Giacometti: I did a book on Giacomettis studio, which came out two years ago, which was something Id wanted to do all my professional life. I was lucky enough to be curating an exhibition on Giacometti in New York, which facilitated the publication. Giacomettis studio was a really seminal place in the 20th century. To what extent can writing be a helpful means of approaching art? Are interviews, or biographies, necessarily a helpful means of approaching an artists practice? I think it depends in each case. Sometimes artists are able and willing to take you directly into the heart of their work. Other artists are very dissembling; they dont want you to crack the code as it were. Somebody said, Dont believe what an artist says, only what they do but it really depends on the artist.
Art Plural Cover
Obviously I do think its worthwhile, otherwise I wouldnt have spent most of my life doing it. I find it interesting, and I think other people find it interesting too; its a look behind the scenes, and I think it can be very surprising. An artist can turn out to be someone whos quite different from what you might have imagined their whole attitude might be very different to what you imagine it to be when looking at their work. And yes, you can view a meeting with an artist in isolation to their work theres no reason not to. But Ive always been fascinated by meeting artists in the studio: seeing how they work, what sort of techniques and tools they have, what theyre reading, how they live. When did you begin curating? And whats your approach do you start with a central concept, or have a particular theory regarding the process? Not really, no, Im a fairly empirical person. But I do very often have a concept. Im working on a Mir show at the moment for two museums in Hamburg and Dsseldorf, and the working theme is Mir, a painter amongst poets. Literature was very important to the artist; he read a great deal and was very influenced by writing. He also formed a lot of friendships with writers mainly with the Surrealist poets, but also with poets from all over the world. And he did a number of fabulous books he illustrated these poets poems. So this exhibition focuses on Mirs interaction with literature, and features some of the finest books he did with these poets, which are works of art in their own right. So yes, theres a general idea its somewhat dictated by what you can actually borrow for an exhibition, but it a basic concept at the beginning, which might get a little changed as one gets into the nitty-gritty. How do you select the artists you write about, or who feature in shows you curate? Theyre the ones I like, the ones I admire the ones I want to know more about really. But a lot of things in life are chance, and you make of them what you make of them. In a couple of days Im going out to Singapore for an exhibition where Ive written about quite a few artists whose work Ive never written about before. In fact, thats why I took it on, because I hadnt put myself through that process of coming to grips with all kinds of different new work for a long time. Is it very difficult to comment on living contemporary artists, who perhaps dont have a lot of texts written on them? It is in a way, but at the same time its quite liberating, because you dont have that weight. I was very conscious, when I started to write about Giacommeti, of everyone who had written about him before. I felt rather crushed by that stimulated, but nevertheless, a bit overawed. When youve got a relatively blank sheet, its much more liberating; it gives you more scope. And that might mean scope to get it wrong, but nevertheless, youre in virgin territory.
09 JanUaRY 2014
Interview
Does writing about artists who have already been the subject of extensive study not present an opportunity to rebel? To create your own response to their works? Yes, to an extent. You sometimes feel that you have a particular take take is not a very good word or a particular conviction about an artist and you try to make a new contribution. Youve spoken about your friendship with Francis Bacon. What difference does your proximity to an artist make to your understanding of their work? Does it complicate an understanding of their work or offer elucidation? It does make it more complex, it also makes it more interesting. Im interested in art, but Im above all interest in life. Art, for me, is a good entrance point into life itself. So becoming closer to an artist to their past and so on makes the relationship more complex and interesting. Because, after all, art is about life, and thats really why its interesting. What are your current projects? Im beginning to write some memoirs about some of the things youve been asking me about but about life, the people Ive met and the places Ive been, and the things Ive done both in and out of the art world. Thats probably the most important thing for me at the moment: to try and leave a record of what Ive seen and done. Otherwise, the Art Plural project was very exciting, because it exposed me to a number of new artists. I found that very invigorating. ..And challenging? Yes, because you realise theres a whole new world youre not aware of. But you know, I think most artists come out of tradition. They might challenge it, subvert it, or extend it, but they come out of tradition and if they are good enough they add to it. How has the field in which youre working changed? It has got much larger. When I started out in the early 60s the art world was comparatively tiny. There were 200 people, or a little more, in Paris, in London and then the same again in New York. Its vastly exploded now theres one fair after another, one new art centre after another. Im beginning to discover whats happening out in the East and in Singapore in particular, where there are huge art fairs and all these galleries and then theres Hong Kong,which is even bigger. Its an amazing sort of explosion or evolution, depending on your point of view. And how has your work changed? Is the way you write or produce interviews different, or is it just the conversations and the people that have changed? Well I hope Ive got a bit better [laughs]! And, thats why I go on trying to do what I do, but better. Thats all one can do, and Im delighted to still be doing it.
09 JanUaRY 2014
Museums
ArTIClE OF THE wEEK
MOCAs million-dollar success The Board of Directors of the Los Angeles Museum of Contemporary Art, (MOCA) announced that, in less than ten months, the institution has not only attained, but exceeded its funding targets. The exceptional figure of $100 million guarantees the independence of the museum, which is Los Angeles only institution dedicated to Contemporary Art. The Board of Directors also announced its new objective to realise a funding target of $150 million. Benefitting from an exceptionally high level of financial security, the institution is amongst an increasingly rare selection capable of setting such goals. Founded in 1979, the MOCA seeks to be the definitive museum for Contemporary Art in LA. The institution was the first of its kind to launch a television channel dedicated to video art, creating MOCAtv on YouTube a project which acts as a digital extension to the museums exhibitions and educational programmes. Since its launch in 2012, MOCAtv has received over 6 million channel views. In 2014, the museum is to host an eagerly-awaited retrospective of works by Mike Kelly (31 March 28 July).
HUmaN RESOUrCES
Zoe Zhang Bing named curator of Goethe Open Space, Shanghai The German cultural centre Goethe Open Space, based in Shanghai, has named Zoe Zhang Bing as curator for its 2013-2014 programme, entitled 9m2 Museum. Zoe Zhang Bing was previously assistant director at the Duolon Museum of Modern Art in Shanghai, and has held the position of curator at the Kuandu Biennale, Taipei. In a press release, Goethe Open Space commented that the forthcoming programme is an opportunity for artists to withdraw from their previous experience of exhibition-making and to reconsider the relations between art creation and exhibition, and space, and space and the art system.
TOp STOrIES
National Gallery of Denmark accused of possessing works stolen by the Nazis According to Danish expert Bjrn Wandall, the National Gallery of Denmark is in possession of three artworks which were seized by the Nazis in the 1930s. Two paintings by Emil Nolde and one by Henri Matisse were taken during the Second World War, considered by Hitlers regime to be degenerate art. Wandall is accusing the museum of owning artworks which rightfully belong to Germany. His accusation comes at a time of international debate over the origins of artworks seized by the Nazis during WWII, triggered by the discovery of nearly 1,500 artworks in an apartment in Munich in November. The expert stated that it is important to open up a discussion, adding that the art world should no longer be adhering to a law established in 1938 under the Nazi regime, stipulating that degenerate art be seized by the state. The disputed works by Nolde which are in the Danish museum are Figures and Dahlias (1919) from the Kunsthalle Mannheim, and The Last Supper (1909) from Museum fr Kunst und Kunstgewerbe in Halle. The Matisse work is Reclining Nude I (1907) from the Folkwang Museum.
New director named for the Kunstgewerbemuseum, Dresden Tulga Beyerle has been appointed as the new director of the Kunstgewerbemuseum, the Museum of Decorative Arts, at Pillnitz Castle one of the leading institutions for regional and international applied arts. Commenting on the appointment, Hartwig Fischer, the museums Director General, said he was particularly pleased to welcome Tulga Beyerle as the new Director of the Kunstgewerbemuseum. Born in 1964, Beyerle studied Industrial Design at Viennas Univeristy of Applied Arts. She has organised exhibitions for institutions in Vienna, Cologne, and Wien and has contributed to projects including the ExperimentaDesign Biennale, Lisbon, and the annual Design Week, Vienna for which she acted as Director. Beyerle began her new role on 1 January 2014, and has expressed her excitement in response to the opportunity. She is to replace Dr Peter Plassmeyer, Director of the Mathematisch-Physikalischer Salon, who held the position for Italy pledges to support Graeco-Roman Museum of the past four years. Alexandria After already having been closed for five years, the Catherine Grenier dismissed, then reinstated at Muse National dArt Moderne Graeco-Roman Museum of Alexandria is to finish its Catherine Grenier, Assistant Director of Frances Muse National dArt Mod- renovations and reopen in a year and a half, thanks to erne (MNAM) is to remain in her role at the institution, following a report re- support from Italy. leased on 10 December 2013 which stated that she had received a letter The country is to send both donations and expertise from the Pompidou Centres human resources department, announcing her to aid the museum, which possesses the worlds largdismissal from the institution. The date of effect was set for 27 December, co- est collection of Graeco-Roman art. Money is being incidentally the official departure date of the retiring museum director, Alfred given by the Italian government for both restoration Pacquement. Grenier, who was a candidate to replace Pacquement, has been and development of the project. The total funding a curator at MNAM for twenty years. She is currently curating the exhibition required by the museum is $8 million for a museum, Martial Raysse, scheduled to take place in the Pompidou Centre in May. with the restored institution expected to generate Catherine Grenier is a great curator who has contributed hugely to the mu- around 1,000 jobs. seums collections. This is not a matter of protection, but the sole responsibil- The museum, closed in 2008 for conservation works, ity of the president of the Pompidou Centre, Alain Seban, commented the is experiencing a shortage of money following damMinistry of Culture in a statement. Aurlie Filippetti, Minister for Culture, was age caused during the 2011 revolution. The Egyptian quick to deny any involvement by the government in Greniers dismissal. On institution has a long history of Italian patronage 21 December, she announced that Grenier was to keep her post. Speaking to its first director, Giuseppe Botti, was Italian, as were French newspaper Le Monde, Filippetti said: What has happened to this true all the directors which succeeded him until the 1952 professional is not acceptable. Egyptian revolution. THIS DOCUMENt IS FOR tHE EXCLUSIVE USE OF ARt MEDIa AGENCYS CLIENtS. DO NOt DIStRIBUtE. www.artmediaagency.com
09 JanUaRY 2014
WHaTS ON
United-states Twin Fragonard pieces to be reunited at Toledo Museum of Art From 24 January to 4 May 2014, the Toledo Museum of Art is to present Love & Play: A Pair of Paintings by Fragonard. Blind-Mans Buff, from the Toledo Museum of Art, and The SeeSaw, from the Thyssen-Bornemisza Museum of Madrid, are to be shown together for the first time in 25 years. These twin pieces remained together from their creation in the 1750s until they first appeared on the market in 1954. They were reunited during temporary exhibitions in London in 1968, Paris in 1987 and New York in 1988. Jean-Honor Fragonard (1732-1806) was born in Grasse, France, to an Italian family who later moved to Paris in 1738. He was a student of Chardin, then of de Boucher, who greatly influenced his work. While he also produced genre paintings and landscapes, he is considered the foremost Rococo painter of frivolity. The most expensive artwork in the world on display at Portland Art Museum Since 21 December, Portland Art Museum is presenting Three Studies of Lucian Freud by Francis Bacon, as part of its series entitled Masterworks / Portland. The work is considered to be one of the finest portraits in the world, both in terms of its aesthetic resolution and the insightfulness of its depiction of artist Lucian Freud, grandson of Sigmund Freud. The museums director, Brian Ferriso, explains: For some time Chief Curator Bruce Guenther and I have been looking for a modern or contemporary work to present in this ongoing series that brings singular masterpieces to Portland [...] When the collector agreed to our request to exhibit the triptych, we knew that it would be an once-in-a-lifetime opportunity for our visitors to see this seminal work. A survey of innovative practice at MASS MoCA The Massachusetts Museum of Contemporary Art (MASS MoCA), is currently presenting The Wandering Veil, an exhibition of works by Izhar Patkin, to run until 1 September 2014. Described by museum organisers as a long-awaited survey, the exhibiton presents an overview of veil paintings created by Izhar Patkin over the past decade. Also presented are key works from the artists 30-year career, with organisers seeking to promote Patkin as an artist whose practice is characterised by both formal and technical innovations. Selected pieces include: Don Quijote Segunda Parte, a sculpture in polychromatic anodized aluminium a technique pioneered by the artist; Maids of Honor, a painting on rubber curtains; and early encaustic wire mesh paintings. Born in Israel in 1955, Izhar Patkin lives and works in New York. south africa Meet Mary Sibandes alter ego Cape Towns Iziko South African National Gallery is currently presenting The Purple Shall Govern, an exhibition featuring works by South African sculptor Mary Sibande, to run until 15 January 2014. Featured pieces in the exhibition include a series of life-size sculptures representing Sophie, an imagined alter ego depicted in domestic Victorian costume. The artists works aim to question the construction of female identities, and relations between power and social development in South Africa following the Apartheid. Born in 1982, Mary Sibande lives and works in Johannesburg. She is represented by the citys Momo Gallery, and has had work featured in the Venice Biennale and Paris Photo (both 2011).
Jean-Honor Fragonard (17321806) Collin Maillard/Toledo Museum of Art
ItalY The 1970s at the Palazzo delle Esposizioni in Rome The Palazzo delle Esposizioni in Rome is presenting an exhibition entitled Anni 70 Arte a Roma (70s Art in Rome), which is set to run until 2 March 2014. There are to be more than two hundred exhibits by one hundred Italian and international artists, brought together to explore the art of the 1970s in a city where artistic trends and approaches are very varied. Historians consider the 70s a turning point, a controversial decade generally associated with conflict and confrontation. However, this decade can today be considered a constructive period. The museum is presenting visual pieces, mostly from Rome, which are marked by the plurality of artistic approaches. The exhibition is to feature a multitude of different artistic currents, from Arte Povera to artists from the Romn school, from conceptual art to Anarchitecture, from art which is regarded as the work of a collective to the Transavantgarde movement. united-kingdom Jameel Prize 3 at V&A An exhibition of works entered for the Jameel Prize 3 an international award for contemporary art and design inspired by Islamic tradition has opened at the Victoria & Albert Museum. Works submitted for the prize, which has been awarded bi-annually since 2009, are to be on display until 21 April 2014. The 25,000 prize was this year awarded to Dice Kayek, a Turkish fashion label established by sisters Ece and Aye Ege. Their collection Istanbul Contrast evokes the artistic and architectural history of the city it is named after, making reference to the Ottoman Empire. Other shortlisted artists, whose work is exhibited alongside Dice Kayeks at the V&A, are: Faig Ahmed, who designs carpets using both tradtional Azerbaijani practice and digital techniques; Nada Debs, whose concrete carpets are engraved with redesigned Arabic fonts; Mounir Fatmi, who also finds new ways to use Arabic calligraphy; Rahul Jain, who recreates historical silk textiles; Waqas Khan, who paints in miniature, painstaking detail on a large scale; Laurent Mareschal, whose carpet tiles are, on second glance, composed of spices; Nasser Al Salem, who plays with words in the Arabic script in various media; Florie Salnot, who transforms discarded plastic bottles from refugee camps in the Western Sahara into jewellery; and Pascal Zoghbi, a typographer whose work combines Arabic and 21stcentury fonts. The Jameel Prize, whose patron is internationally-renowned architect Zaha Hadid, was established to boost the profile of art work inspired by Islamic tradition. There were close to 270 nominations for this years prize. www.artmediaagency.com
09 JanUaRY 2014
COmING SOON
United-states Space shuttle on display at the New Museum New Yorks New Museum is to present an exhibition entitled Report on the Construction of a Spaceship Module, from 22 January to 13 April 2014. The museum is to exhibit a space shuttle, a visual reference to the Czech sci-fi film, Ikari XB-1 (1963), and which represents a combination of post-war utopia and Soviet utilitarianism. Inside and surrounding the spacecraft, more than fifty works are to be exhibited (mainly videos, but also sculptures, prints and installations) by artists from across Eastern Europe, from cities such as Vienna, Prague, Budapest and Bratislava. The show offers an allegory of Stedelijk Museum Amsterdam anthropological science fiction, within which the exhibition space is a changed universe, an idea which plays on the intercultural unNetherlands derstanding which is implied through art and exhibitions. The space Stedelijk Museum announces 2014 Public Program shuttle highlights the challenges faced by contemporary artists and Amsterdams Stedelijk Museum has announced details of its curators today. The project is being curated by Tranzit, and organised 2014 Public Program, a hybrid platform within the museum, by Lauren Cornell. which acts as a stage for both young and emerging artists, curators, critics, and scholars to present their latest work and reJapanese modern art at the Cleveland Museum of Art Cleveland Museum of Art is to present the exhibition Remaking Tradi- search. tion: Modern Art of Japan from 16 February to 11 May 2014. Incorporating a broad spectrum of performance, exhibition, The museum is to show more than 50 masterpieces of Japanese modern film, music, dance and public discussions, this years edition art belonging to the Tokyo National Museum. The exhibition is notably of the Public Program follows the success of the 2013 edition. showcasing six works considered to be important cultural properties This years event covers themes including land, understood of Japan, including Dancing Lady Maiko Girl by Kuroda Seiki, Portrait of as an element of colonial and postcolonial discourse, the script Reiko by Kishida Ryusei, Mount Fuji Rising above Clouds by Yokoyama in contemporary performance, the influence of the historical Taikan and Spring Rain by Shimomura Kanzan. It is set to be one of the Russian avant-garde on the no-avant-gardes, the use of vertical largest shows centred on Japanese modern art in the United States since cinema in both art and film-making, and the future of curation. the Second World War. Jacob Hashimotos Gas Giant at MOCA Los Angeles From 1 March to 8 June 2014, Los Angeles Museum of Contemporary Art is to present the third and last configuration of Jacob Hashimotos installation Gas Giant. The piece combines traditional kite-making techniques with painting, producing variously coloured paper discs which hang to produce a sculptural environment. The installation was exhibited in Venice in 2013 at Fondazione Querini Stampalia by Studio la Citt, and in Chicago in 2012 at Rhona Hoffman Gallery. Jacob Hashimoto was born in Colorado in 1973, and lives and works in New York. The artist has been the subject of solo exhibitions at institutions including the Chicago Museum of Contemporary Art (1998-1999) and the Rome Museum of Contemporary Art in 2010. From 15 February to 5 April, his work is to be on display at Martha Otero Gallery, Los Angeles. France Vincent van Gogh and Antonin Artaud : Suicided by Society From 11 March until 15 June 2014, the Muse dOrsay in Paris is to present an exhibition entitled Vincent van Gogh / Antonin Artaud. Le suicide de la socit (Vincent van Gogh / Antonin Artaud. The man suicided by society). Organised by curator Guy Cogeval, President of the dOrsay and Orangerie museums, and Isabelle Cahn, chief curator at the Muse dOrsay, the exhibition is to bring together around 30 paintings, a selection van Goghs drawings and letters, and a range of graphic works by the poet. The event aims to provide an indepth study of work by Antonin Artaud (1896-1948) on the Dutch artist, commissioned by gallerist Pierre Loeb in 1947, a few days before the opening of a van Gogh retrospective in Paris. The exhibition at the Muse dOrsay is to explore the unusual themes proposed by Artaud in his Van Gogh le suicid de la socit, in which he suggests that van Goghs superior lucidity alienated him from lesser minds. Artaud even went so far as to say that it was the publics disturbance by his intolerable truths that eventually drove him to commit suicide. Art and criminality at the Witte de With Center for Contemporary Art The contemporary art centre Witte de With in Rotterdam is to present an exhibition entitled The Crime was Almost Perfect, which is set to take place from 24 January until 27 April 2014. The exhibition, curated by Parisian author and curator Cristina Ricupero, is to be based on the theme of mystery. The centre is bringing together more than thirty international artists and a collection of mysterious objects, to act as characters in a crime story in which visitors are invited to participate. The Crime was Almost Perfect explores the relationship between ethics and aesthetics by questioning the role of the author, the authenticity of the works, the idea of fraud, and the dichotomy between good and bad taste. united-kingdom Sun Xun at Londons Hayward Gallery Chinese artist Sun Xun is presenting an exhibition at London Southbanks Hayward Gallery, entitled Yesterday is Tomorrow, from 16 January to 23 February 2014. The show is to feature a new series of wall drawings by the artist in ink and charcoal, designed to introduce his better-known animations, including 21 KE [21 Grams] (2010), the first ever Chinese animation to be shown at the Venice Film Festival. The artist incorporates ancient Chinese printmaking, drawing and calligraphy techniques with text and images, subtly referencing the propaganda he grew up seeing. Born in 1980 in Fuxin, China, Sun Xun currently lives in Beijing. Sun is widely considered one of Chinas foremost emerging artists, having been awarded several established prizes including the Arts Fellowship by Citivella Ranieri Foundation (Italy). He has presented solo exhibitions at the Hammer Museum (Los Angeles), The Drawing Centre (New York) and Kunsthaus Baselland (Basel). www.artmediaagency.com
09 JanUaRY 2014
Interview
JamES EDwarD DEEDS, THE ElECTrIC pENCIl: INTErVIEw wITH GallErIST CHrISTIaN BErST
The story of James Edwards Deeds is an incredible one, of a young man of 17, sectioned by his abusive, authoritarian father, who lost a great deal of his reasoning due to electroshock therapy. It is this story and other, more fantastic ones, that he told in his drawings, which would later be found by chance by a 14-year-old boy in a dustbin. The boy kept the drawings for thirty years, before giving them to a bookshop which put them up for sale on eBay in 2006. A collector discovered them, fascinated by these portraits of an unknown identity, and a search was launched to find the true identity of the so-called Electric Pencil artist. Gallerist Christian Berst spoke to AMA about this exciting story of discovery, and about the exhibition of around 40 of Deeds drawings he is presenting until 18 January.
Deeds work was not, upon first look, intended for anyone in particular: it was something that allowed him to deal with his obsessions, to make sense of his world
Could you explain to us how the idea to present the artists drawings in your gallery came about? It is always a chance discovery! I saw the first exhibition on James Edwards Deeds when I was in New York: the collector Harris Diamant, who discovered him, was showing the full collection of his drawings. At the time, articles were published in the New York Times and Art in America raving about the exhibition, and it was these articles that led to the start of a proper investigation into the true identity of the Electric Pencil. This exhibition was held four years ago, at a time when the artists identity was still unknown. How was the investigation carried out? It was members of Deeds family who, seeing the articles and reproductions of his drawings in the press, made contact with Harris Diamant through the newspaper. They told the story of Deeds that we can now discover in a short film, featuring accounts from his niece (who recognised her uncles drawings that she had seen as a child), from people who worked on uncovering family archives, and from the hospital, which allowed us to understand the storys basic points. With all this, we could eventually presume Deeds geographical origin, as his drawings were produced on hospital documents from where he was detained, the State Lunatic Asylum No. 3 in Nevada, Missouri. He was called Electric Pencil, assuming that he had misspelled his name on the drawings, when in fact, in writing Ectlectric Pencil, the ECT was an abbrevation for Electroconvulsive Therapy, or electroshock therapy. What do we know now about the artist? We have since learned that it was James Father who was very authoritarian and perhaps played favourites who had sectioned his son, following a violent argument between James and his brother, as one could in an era when medical advice did not exist. He was just 17 years old, and only left the hospital near the end of his life to spend his final days in a hospice, alone, where he died in 1987. His brother did, however, come to see him several times, and we have photographs of the two brothers in the hospitals park.
he Pephool Thoes. Gingr. Snaps (2425),reverse, circa 1950. 23.5 x 21.4 cm, courtesy Christian Berst
09 JanUaRY 2014
Interview
Did the niece who remembered his drawings have any other memories? Could she give you any other information? She can remember details of his personality, which has led us to believe that it is quite probable that he didnt have any mental or learning difficulty he simply had a fairly troubled adolescence and an overbearing father. What makes the story even more tragic is that he received electroshock therapy two or three times a week, at any moment, with no other reason than that his family had decided it was compulsory. Its terrifying. Can you sense this violence in his drawings? Yes, there is an element of distress and stupor which is characteristic of the treatment he suffered, and that we can feel in the clear and systematic swollen quality of his portraits, whether it is a judge, a nurse, a young woman from his memory We dont know the identity of every subject, but each one has bulging eyes, so that you wonder whether they were all on his side of the fence, as it were. He treats them as if they were also living in the same context, in the same conditions, themselves sufferers of electroshock therapy. They are a kind of projection of the oblivion in which he found himself.
Jack Rock. Of. Ages (5859), circa 1950. 23.5 x 21.4 cm, courtesy Christian Berst THIS DOCUMENt IS FOR tHE EXCLUSIVE USE OF ARt MEDIa AGENCYS CLIENtS. DO NOt DIStRIBUtE. www.artmediaagency.com
09 JanUaRY 2014
Interview
There is equally a kind of theatric quality to the composition, with the fold of fabric which frames the characters in several portraits. He sometimes did dramatise his compositions, and there is definitely a symbolic element to this. We can see that there is a definite distinction between the drawing on the side of the paper printed with the institutions name, and the drawing on the other side of paper. This was the side to which he devoted the most attention and care usually in the form of a portrait, and the other side of paper would be a memory of a visit somewhere a geographical feature, or moments from his childhood remembered, or wild animals (lions, monkeys). He also drew means of transport, which is an image that features heavily in the imagination of secluded people, a symbol of evasion and travel. Trains and cars become a way to journey somewhere else and dream of other places. Is there something which recurs in his work, a sign or a feature that he repeats? It isnt so much a feature of his work as a style, that is to say that, at first glance, we get the impression that these are innocent drawings that someone has taken a great deal of care over, that dont have any real punch or edge to them. The counterpoint to that is that this first impression of them is also of terror, the stupor in the eyes in the portraits, a silent scream. Despite all this, everything has been mastered: each individual hair has been treated with care, we can see how he used tone, using grey for cheeks, chins, the finely drawn mouth, how he carefully dressed his characters. The clothes are clearly from another era, alluding more to the late 19th-century or early 20th-century, which would have been out of style when he made these drawings, which was roughly between 1935-1955. In his style of drawing, even if he labels the characters he is representing (doctor, chef, judge, etc.), we get the impression that we are looking at a stereotype, where all the lips are similar, for instance, as if we were looking at an idea of something rather than a true portrait. Yes, the women almost always have the same thick hair, like a lions mane, which again are more like hairstyles from the 19th century than the early 20th century.Why this anachronism? Why this jump in time? Possibly, so that he could talk about people he knew perhaps the judge he drew was the one who delivered the decision of his detainment for life but the mystery of his characters identity remains unsolved. Since this discovery, is there any other information which has emerged? No, no more than what we were able to learn from this investigation. Unless we were to one day gain access to the hospitals complete archives, we wont learn anything else for now. I can imagine other drawings one day turning up in an attic somewhere, or discovering drawings that he sent to his relations. That was the case for Carlo Zinelli: people discovered his drawings very late. He sometimes wrote to his sister and family from his asylum in Verona, always accompanying his postcards with a small drawing. People found them a long time afterward. Was the collector Harris Diamant, who discovered Deeds drawings on eBay, a collector of outsider art? No, not strictly speaking he was originally an artist, so he knew how to look at things. The drawings affected him, and his first intention was not to sell them. He first wanted to publish a monograph with the whole collection of drawings, perhaps having to sell a few to cover the costs, but without dividing them up all over the world. Steamer Ship Rucian (3839), circa 1950. 23.5 x 21.4 cm, courtesy Christian Berst.
09 JanUaRY 2014
Interview
Its quite incredible to take on the publication of a monograph on an artist who he knew nothing about! He really felt that there was an extraordinary story to be told here. Its not like there were tens of thousands of people in psychiatric institutions at the same time all making this type of work! Artists of this standard are exceptional, like nuggets of gold. Do you think that today, because we know the artists identity and story, the discovery of which is both dramatic and spectacular, that the story surrounding the work is more important, and participates in creating a kind of myth? In this sense, it has not only become a myth but an illustration of a kind of archetype of stolen destiny. Does this add to our understanding of the work, or more to our personal enrichment and knowledge of history? The work embodies itself, its like going from 2 dimensions to 3. We see a volume, a depth, a perspective which develops around this work. We can even give a face to the drawings creator, which changes everything. When we are in the presence of this sort of work, its like an intensified slice of humanity, but when that is attached to a personality, the artistic and human dimensions come together. Are there other artists with a similar story? In the discovery process of their work? I can think of one of the more famous outsider artists Henry Darger having no family or friends, nobody could testify as to who he was or what his career was like. Once he died, the huge volume of work he created during his life was discovered in his bedroom. The story he wrote comes from a tale which resonates differently when you know that his favourite book was The Wizard of Oz strongly tinged with autobiography, but nobody could have known that when they found it. People saw a tragic story, with the little girls who had boys penises and who were being strangled by their teachers. The first instinct of many which was the tendency at the time was to say that he must have been a paedophile; but it was eventually discovered that he himself had been a victim of paedophilia. His secret died with him. With Darger too, his story was reconstructed piece by piece, weaving together the threads to ensure that his story takes its place in humanity. He had a terrible childhood and so his story is very similar to that of Deeds. You compare Darger and Deeds to one another both experienced suffering and pain, and both had an amazing rediscovery. Do these ingredients contribute to the price of the work? Darger is nowadays very expensive, while Deeds drawings are valued around 10,00012,000, which is quite a lot compared to other artists. No, ultimately the fair price is always what people are prepared to pay, which can appear unfair to those who cant afford to pay it. The value of a work rests on a sort of agreed free partnership between dealer and collector, with several elements of comparison to balance. Yes, would the work sell for the same price without knowing its history? History isnt enough to set prices. I once found myself in this sort of situation, when I was invited to a psychiatric institution to meet a patient, whose amazing story I heard but compared with the output, there was no masterpiece. To know the story of something gives it another dimension, a way to connect with it, a kind of closeness to it. But if something affects us more, does the price go up? Im not sure. I didnt know anything about it when I first saw this work and found these extraordinary drawings. Someone could have told me that they cost THIS DOCUMENt IS FOR tHE EXCLUSIVE USE OF ARt MEDIa AGENCYS CLIENtS. DO NOt DIStRIBUtE. www.artmediaagency.com
Steamer Ship Rucian (3839), circa 1950. 23.5 x 21.4 cm, courtesy Christian Berst.
09 JanUaRY 2014
Interview
Rebel. Girl Lion (169170), circa 1950. 23.5 x 21.4 cm, Courtesy Christian Berst
10,000, and I would have found that reasonable considering the quality of the work, and here again is proof that its not always about what you already know. There are certain pieces which carry a kind of charge, a tension that you can discern upon first look, and adding to that, a rarity. There are 140 pages here in total, over half of which the collector will never sell. Today, how many of these drawings are available on the market? Only the ones on show in your gallery? There are some drawings in New York and others which are now in private collections. I would say about 70 are in private collections, and 45 are here. Are there certain aspects of his work that relate to this group of outsider art, which act as clear signs telling us that this is an outsider artist? According to the documentation set forth under what we call outsider art, Deeds does meet the majority of the requirements: that the work is produced in almost total isolation, often following an existential crisis, or a sometimes brutal, sometimes tragic break from something (the artists didnt always have tragic endings, but several did). Deeds work was not, upon first look, intended for anyone in particular: it was something that allowed him to deal with his obsessions, to make sense of his world and to fight against the terrible situation he found himself living through. The most important thing wasnt so much that the work wasnt intended for anyone in particular. I think that with this type of personality and extreme situation, it is this convulsive existence that leads to creating a work, and this work just has a need to be. At any moment, either great pain, distress, elation or the building madness of a schizophrenic can overcome him. I think that, finally, the public or the spectator disappear into the background. Maybe Deeds wanted to make us a witness to something, and maybe not.
09 JanUaRY 2014
Interview
He took a lot of care over his drawings, and in sewing them together and joining them, it was as if he were telling a story with this book. It could have been his family album, fictional, real or fantastical. In any case, he had some sort of link with his characters. Yes, and the first link was with Deeds himself: they all have the common denominator of having been drawn by Deeds. He is their father in some way. The fact that he sewed these drawings together is also very symbolic, the thread is a representation of a link between them. There needs to be a link, and with this stitch comes a way of bringing and holding everything together. I think that there is a possibility, as with Darger, of some sort of autobiography created in code, but we must also be wary of speculating too much and trying to overinterpret things. We cant keep reproducing his drawings over and over again.
Christian Berst Pierre Emmanuel Rastoin
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09 JanUaRY 2014
Galleries
ArTIClE OF THE wEEK
Nina Fowler christens Galerie Dukans new space in Leipzig Galerie Dukan, which opened in the Marais dedicated to the work of British artist Nina area of Paris in 2011, is to open a second Fowler. Entitled The Lure of Collapse, the exhibition space in Leipzig, Germany. exhibition is to be on show until 22 FebruSituated in Spinnereistrae 7, Halle 4b, the ary. new exhibition space is to be inaugurated The gallery also represents artists Josef on Friday, 10 January, 2014, with a show Bolf, Folkert de Jong, Nicholas Di Genova, Arturo Hernndez Alczar, Bayrol Jimenez, John Kleckner, Olivier Masmonteil, Yigal Ozeri, Alicia Paz, Richard Stipl, Johan Tahon, Alexander Tinei, Narcisse Tordoir and Craig Wylie.
OpENING
Jablonka Galerie and Aroldo Zevi to open 107 S-chanf It has been announced that Jablonka Galerie from Zurich, and Aroldo Zevi of London and Schanf are to open 107 S-chanf, a new space in the small Swiss town near the Italian border. The gallerys inaugural exhibition, AVEDON WARHOL Portraits, is to take place sometime between February and March 2014. The exhibition is to feature works by Carl Andre, Robert Barry, Ross Bleckner, Sherrie Levine, Pablo Picasso, Philip Taaffe and Andy Warhol. Ralph M.Chait opens new 5th Avenue gallery Ralph M. Chait Galleries, a specialist in Chinese art works and porcelain, has opened a new space in New Yorks Crown Building, situated at 730 5th Avenue. Founded 104 years ago, the gallery already held a space on the prestigious New York street. The new building, however, measures nearly 370 m2, and features an interior realised by Stylander Design Group. Discussing the development, Chait whose business is the oldest in the US to specialise in Chinese art stated: Since the building is next door to us, this is a relatively easy move, adding, We look forward to showcasing the best Chinese porcelain and works of art in our new gallery.
TOp STOrIES
The curtain falls on Brancolini Grimaldis partnership After ten years working together, Camilla Grimaldi and Isabella Brancolini of the London gallery Brancolini Grimaldi are ending their partnership. The close of the Terrain exhibition by Jackie Nickerson on 16 December 2013, a show which explored agriculture in Sub-Saharan Africa, marked the end of Brancolini Grimaldi in London, as the end of the two Italian art dealers working partnership was announced. Nico Anklam to join Wentrup Gallery Nico Anklam is to join Wentrup Gallery in Berlin as head of its institutional relations. An art historian by trade, Anklam is currently curator-in-residence at Kunsthal 44 Men in Denmark. He also teaches at Humboldt University and at Deutsche Bank Kunsthalle, both in Berlin. He previously worked at the prestigious Deutsche Guggenheim. Wentrup Gallery is currently run by Tina and Jan Wentrup.
TOp STOrIES
Pop-up exhibitions popping up all over New York A trend is emerging amongst New York gallerists to showcase their artists in pop-up spaces. Between 14 September and 5 October 2013, Paula Cooper Gallery occupied a former auto parts shop with an exhibition dedicated to Alan Shields works. During the month of December, the ephemeral space opened once more as a Holiday Pop-Up Shop, selling editions, multiples and small-scale prints by artists represented by the gallery. Between 8 November and 21 December 2013, former gallerist Nicole Klagsburn exhibited clay works by Brie Ruais in another pop-up exhibition. Klagsburn gave up her 24th Street gallery after 30 years last May, citing a desire to do things differently. She has since confirmed her intentions to continue to exhibit in this temporary manner. You would call it a pop-up space, I suppose [...] Now Im going to do shows that way.
09 JanUaRY 2014
WHaTS ON
france Galerie Taglialatella celebrates its anniversary with Andy Warhol Until 31 January 2014, Galerie Taglialatella in Paris is presenting an exhibition dedicated to Andy Warhol. To mark its third anniversary, the gallery is presenting nearly fifty works which highlight the central importance of American popular culture in the artists production. The exhibition, entitled 3 Years Anniversary: 50 Warhols, is offering a collection of works covering the entire productive period of the artist. The collection includes pieces inspired by scenes from old Hollywood films and celebrities from the 1950s and 1960s presenting an enchanted vision of a powerful America as well as his iconic representations of objects. Located in the Haut-Marais district, Taglialatella gallery, directed by Nadge Buffe, specialises in Pop Art and offers the work of major artists from the movement, including Keith Haring, Jean-Michel Basquiat, Tom Wesselmann, Jim Dine, Robert Indiana, Mel Ramos and Roy Lichtenstein. People watching in Paris Until 2 February 2014, Pariss Galerie Pont Neuf is hosting an exhibition featuring works by photographer Jean-Franois Baecker, entitled Exprience. The artist, whose subjects include people, expressions, movements, sensations and experiences, is to present the essential, yet forgotten. Presenting simple photos, whose sole intention is to present a life between fiction and reality, between banality and chance, Baecker describes himself as a spectator of life, seeking to maintain the objective gaze of a tourist. INDE Vadehra Gallery: Between India and Mexico New Delhis Vadehra Art Gallery is presenting the group exhibition An Antipode So Close, to run until 11 January 2014. The exhibition sees work by some of Mexicos most influential artists displayed in India. The show takes its title from Octavio Pazs The Antipodes of Coming and Going, an essay featured in the book In Light of India, which imagines a bridge between these two countries situated at opposite ends of the planet. An Antipode So Close uses the gallery as a laboratory, welcoming residencies and performances, as well as a space for debates and meetings. Artists featured in the exhibition are Artemio, Tania Candiani, Roberto de la Torre, Demin Flores, Arturo Hernndez Alczar, Rafael Lozano-Hemmer, Armando Miguelez, Manuel Rocha Iturbide and TRIODO. united arab emirates Lulwah Al Homoud at Dubais Artspace gallery Dubais Artspace gallery is hosting an exhibition of works by Saudi artist Lulwah Al Homoud, to continue until 16 January 2014. Entitled 99, the show demonstrates the gallerys ongoing commitment to promoting works by contemporary Middle-Eastern artists. A leading regional presence, the gallery has a vast international clientele, and seeks to bridge the gap between Eastern and Western art. Lulwah Al Homoud was born in Riyadh, where she studied Sociology at King Saud University. She was the first person from her country to study at Londons Central St. Martins College of Art and Design. In 2009, her work was selected by Christies for an auction of Middle-Eastern Work, held in Dubai. The artists practice focuses both on the social sciences and on the use of language, with her production greatly inspired by modern approaches to Arabic calligraphy. Both the form and technique of her work is considered revolutionary.
Andy Warhol (1928 - 1987) Electric Chair (FS.II.74), 1971 The Andy Warhol Foundation for the Visual Artwork is 1987-2011.
United States Sculptures by Debanjan Roy in New York New Yorks Acion Gallery is currently showing works by artist Debanjan Roy, as part an exhibition set to run until 1 February 2014. Entitled The Altar of Convenience, the exhibition features the eponymous The Altar of Convenience the artists most recently-produced piece. The artists second solo exhibition at Aicon Gallery features twenty, hand-carved sculptures depicting everyday objects, piled up like rubbish. Roys work considers modern life and the states of ecological crises, perceived by the artist not only in his native India, but on an international level. Zhang Wei at New Yorks 798 Photo Gallery New Yorks 798 Photo Gallery is currently hosting an exhibition of works by artist Zhang Wei, on display until 15 March 2014. At first glance, the artists photographs seem to offer an unremarkable, objective depiction of their subjects. Formed from spliced images of Chinese bodies, however, the images display a subtle disjuncture, with face and body combining to create an absurd, surreal effect. Described by the gallery as having a deep understanding of human nature, the artists practice plays with notions of reality and fiction. At once delicate, yet bizarre, his images engage with both cultural and political concepts. A tribute to pioneering photographic display: Image Gallery at the Howard Greenberg Gallery The Howard Greenberg Gallery in New York is holding a retrospective of the pioneering Image Gallery, which opened in 1959 and was the first of its kind in New York dedicated solely to photography. The Image Gallery Redux: 1959-1962 is to run until 15 February 2014. The exhibition is to feature the work of 21 now-legendary photographers who were shown at Image Gallery, including Saul Leiter, Rudy Burckhardt, Sid Grossman, Duane Michals and Garry Winogrand. Many of these photographers had their first shows at the gallery. Larry Siegel, founder of Image Gallery, explained his inspiration to Art in America: I liked the idea of seeing pictures on the wall. Photography was not known in that way then. Photographers would show work by putting prints on the kitchen table, that sort of thing. It felt disrespectful, and it really wasnt the best way to look at them. www.artmediaagency.com
09 JanUaRY 2014
COmING SOON
Austria Claire Adelfang exhibited in Salzburg for the first time at Thaddaeus Ropac From 25 January until 6 April 2014, Thaddaeus Ropac Gallery in Salzburg is to present the work of young French photographer Claire Adelfang. Through the exhibition, entitled Ecrans (Screens), the gallery is to present the artists perspective across ruined architectural structures, images which portray plant material, groundwater, or architectural accidents, in order to contradict a perspective which would produce a visual reading that is far too simple. Adelfang graduated from ENSBA (National School of Fine Arts), Paris, in 2010. Her work has already been exhibited in a number of public and private institutions, including the Institut Culturel Bernard Magrez in Bordeaux, in an exhibition entitled Rves de Venise (Dreams of Venice). The artist was nominated for the 2013 Meurice Prize and the 2013 MasterCard Prize, while her video pieces have been the subject of an installation work which was on display during the White Night in Paris in 2013. Australia Seascapes at Melbournes Alcaston Gallery Pencil, Paint, Paper Seascapes of Bentinck Island is the title of a collective exhibition which is to take place at Melbournes Alcaston gallery from 16 January until 14 February 2014. The gallery, located in the Fitzroy district, is bringing together the works of Sally Gabori, Netta Loogatha and Elsie Gabori. The exhibition is to feature a range of paintings, pencil works on paper and watercolours, which represent the unique style of these three women who are originally from the Aborigine Kaiadilt tribe. Each artist depicts the marine and tropical landscape of Bentinck Island in the Golf of Carpentaria in Queensland. china David Short at Shanghais Pantocrator Gallery Shanghais Pantocrator Gallery is to host a solo exhibition of works by David Short, from 25 to 30 January 2014. The artist, who lives and works in Australia, explores a variety of concepts through different media, placing a strong focus on domestic environments and the interior of the home. Pantocrator Gallery is to present videos, sculptures and installations by the artist, who, for the exhibition, collected thousands of small objects found in the vicinity Shanghais M50 complex, which houses the gallery. Small enough to be held in the palm of ones hand, these objects are individually analysed by the artist before being placed within a larger composition, which floats in space like a pseudo-gallery. France Myeongbeom Kim at Paris-Beijing Gallery Paris-Beijing Gallery is to present an exhibition entitled In Wonder, featuring the installations, videos and photographs of Myeongbeom Kim in his commercial Parisian space, from 11 January until 8 March 2014. The show is to be Kims first in France. The young Korean artist takes inspiration from Surrealist codes, and explores the boundaries between the natural and the artificial, the everyday and the absurd. The artist creates intriguing atmospheres and unusual experiences through the unexpected combining of everyday objects, surprising creatures, and space. Kims aesthetic is both ironic and joyful, all the while generating a subtle sense of anxiety. The visitor is immersed in this feeling of wonder, but also of uncertainty; the dream could turn into a nightmare. Myeongbeom Kim was born in 1976, gaining his degree from the Fine Art Academy in Seoul, where he specialised in sculpture.
Willie Doherty, REMAINS 2013 single-channel HD video installation with Dolby digital surround sound 15 min
Ireland Willie Doherty at Kerlin Gallery Between 17 January and 4 March 2014, Dublins Kerlin Gallery is to present artist Willie Dohertys new video work, Remains. Remains was created in the streets and countryside of Derry in Northern Ireland, where episodes of peace have been frequently interrupted by sudden moments of fear and violence. Willie Doherty is one of Northern Irelands major artists. She works principally with photography and video, and has been nominated for the Turner Prize twice, in 1994 and again in 2003. Her work is exhibited in several important collections, and she has also participated several times in the Venice Biennale (1993, 2005, 2007). United-Kingdom Jaakko Pallasvuo at Londons Edel Assanti Gallery Edel Assanti Gallery in London is to present the exhibition of works by artist Jaakko Pallasvuo, entitled Nu Paintings, from 22 January until 5 November 2014. Finnish-born Pallasvuo is an Internet-based digital artist, who works between London, Berlin and Helsinki. His work has been exhibited at Futur Gallery (Berlin), AMOA-Arthouse (Austin), Arcadia Missa (London) and W139 (Amsterdam). Born in 1987, he also illustrates and designs comic strips, having studied at the Finnish Academy of Fine Arts in Helsinki. His work can be seen in several Finnish magazines, as well as in a variety of anthologies and magazines in Britain, Belgium and France. Diarmuid Kelley at Offer Waterman & Co in London The works of Diarmuid Kelley are to be exhibited between 24 January and 28 February 2014 at the Offer Waterman & Co gallery in London, which focuses on modern and contemporary art. The British artist was born in 1972 in the North of England and, from an early age, established a reputation as a specialist portrait painter. Kelley sought to distinguish himself from his peers by placing a particular importance on light in his compositions, and has cited artists including Caravaggio and Vermeer who also made sensitive use of light as influences. His works feature in the collections of the National Portrait Gallery in London, Chatsworth House in Derbyshire, and in the private collections of Steven Spielberg, Lord Allen of Kensington and Michael Fisher. He has been the subject of five exhibitions at the Offer Waterman & Co gallery since 1996. www.artmediaagency.com
09 JanUaRY 2014
Artists
ArTIClE OF THE wEEK
Phyllida Barlow to create work for Tate Britain Commission 2014 British sculptor Phyllida Barlow is to present her largest work to date on 31 March for the Tate Britain Commission 2014, created in response to the Tates Duveen Galleries, where the work is to be installed. On being awarded the commission, Barlow commented: Having seen the space evolve over several decades, Im very excited by the opportunity to work in the Duveen Galleries. Barlow studied at Chelsea School of Art (now Chelsea College of Arts) and the Slade School of Fine Art, where she was later a professor. She became a Royal Academician in 2011. She is well-known for her largescale sculptural installations, often created from everyday, commonplace materials such as cardboard, fabric, polystyrene and cement. Lengths of wood wrapped in mesh, cement and brightly-coloured ribbons featured in her most recent work, TIP, produced for the Carnegie International Musuem in Pittsburgh. Tate Britains director Penelope Curtis said: We knew that when we invited Phyllida Barlow to make work for the Tate Britain Commission it would be exciting and challenging in terms of the scale and energy Previous commissions for the Duveen Galleries include Simon Starling, Fiona Banner, Martin Creed, Michael Landy and Mona Hatoum.
OBITUARY
Jean Rustin (1928-2013) The French painter Jean Rustin died in Paris on 24 December at the age of 85. Born on 3 March 1929 in Montigny-ls-Metz in Lorraine, he studied at the School of Fine Arts in Paris. While his work became progressively more figurative, an important retrospective of his oeuvre was held in 1971 at the Muse dArt Moderne de la Ville de Paris, showing 150 paintings and watercolours. This retrospective marked a turning point in his output, himself declaring that he found his painting too pretty and decorative, and the exhibition would go on to profoundly influence his career. In his studio in Bagnolet, on the outskirts of Paris, he began a work of indepth research. He remained faithful to figurative art, with its central subject, the human figure, in a dark and tortured universe. The Jean Rustin Foundation is to open a permanent space in 2014 in Anvers, Belgium. Antony Gormley receives knighthood for services to art Celebrated sculptor Antony Gormley has been knighted in the New Year Honours List, which recognises the exceptional achievements and service of people in the United Kingdom. Sir Antony Gormley won the Turner Prize in 1994, and was awarded an OBE (Officer of the British Empire) in the 1997 New Year Honours List. He also won the prestigious Praemium Imperiale Prize for Sculpture in 2013. Commenting on his knighthood, the artist said: I receive this honour in the name of sculpture as the art of collective imaginationhistorically these awards recognised people that served the country militarily, politically or industrially but now they are awarded to people that have opened peoples mindsthis reflects a happy shift in what Britain holds dear.
AWARDS
Shirin Neshat to receive ICP Spotlight Award The International Center of Photography (ICP) is to present the Spotlight Award to Iranian-born artist Shirin Neshat on 28 January. She is to be awarded at the 2014 ICP Spotlights, an annual luncheon honouring influential women in the visual arts, particularly in photography or film. This years event is also to include the first annual ICP Legacy Award, to be presented to Chuck Kelton, a long-standing faculty member. Shirin Neshat uses still and moving images to explore contemporary Islam, considering gender, society, politics and identity in the Arab world. In 1999 she received the International Award of the 48th Venice Biennale for her works Turbulent and Rapture. Neshat lives and works in New York. Winners of the AFD Photo Prize announced The Agence Franaise de Dveloppement (AFD) announced the winners of its 2013 photography prize in December. Marie Dorigny was named recipient of the AFD Polka prize for the best photographic reportage project, Cdric Gerbehaye was awarded the AFD Nikon prize for the best web documentary, and Gal Turine received the AFD special prize for photographic reportage. As the winner of the AFD Polka prize, Dorigny is to receive 15,000. The recipient of the AFD special prize for photographic reportage is to receive 5,000, whilst the AFD Nikon prize awards its recipient 3,600. Commenting on the prize, Benjamin Neumann, head of AFDs communications, stated: Transparency, efficiency, a great sense of balance, human rights, the environments, sustainability, and the development of countries at the bottom of the NorthSouth divide raise recurrent questions, which demand responses. A challenge which the Agence Franaise de Dveloppement has also used images to tackle, with the creation of the AFD Photo Prize. As well as being one of Frances foremost aid-givers, the institution is proud to promote the development of Southern countries with this unifying and meaningful project, working in collaboration with some of photographys great names.
TOp STOrIES
Ousmane Sow admitted to Acadmie des Beaux-Arts On 11 December, Senegalese artist and sculptor Ousmane Sow was admitted to Frances Academy of Fine Arts (the Acadmie des BeauxArts) during a ceremony held at Paris presidential lyse Palace. He is the first African to enter the Academy. Sow, 78, dedicated the honour to all of Africa, its diaspora and the great man Nelson Mandela. He sculpted the late Mandela earlier in 2013 as part of his ongoing series Great Men, portraying him with an outstretched hand to keep corrupt African heads of state at bay, as Sow explained to AFP in June 2013. A minutes silence was observed for Mandela at the ceremony. Sow gained international recognition when he exhibited a larger-than-life sculpture of two men wrestling on the Pont des Arts bridge in Paris in 1999. He uses a mixture of clay, rubber and an all-weather substance to produce his unmistakable works. www.artmediaagency.com
09 JanUaRY 2014
Report
HErE I REST: ClaUDE LVQUE TaKES Up rESIDENCY aT BOrDEaUX BErNarD MaGrEZ CUlTUral INSTITUTE
Claude Lvque, Attends moi. Claude Lvque. Photo: Stphanie Pioda
Claude Lvque has been warmly welcomed into Bordeauxs Bernard Magrez Cultural Institute - a formal, 18th-century residence, temporarily transformed into a romantic punk dwelling for the duration of an exhibition, Here I Rest, which runs until 26 January 2014.
Whilst the artists works are generally presented in white cubes, here they mingle with their austere surroundings, becoming infused with influences from their historic setting. Explaining his decision to exhibit in the Magrez Institute, artist Lvque stated: I have relocated works produced across my career, situating them as part of an inhabited location - a context never previously used. The idea sees the chteau return to its original state, the artist removing staid picture rails to return the building to its original function as a home. Each of the pieces in Lvques exhibition displays autobiographical elements which, though feeding into the artists practice, nevertheless remain a minor element of the final result; viewers of Lvques works are encouraged to craft their own, liberal interpretations. Whether Claude Lvque will elect to take the rest implied by the exhibitions title remains unclear. He remains an artist who produces complex work which takes time to read, tirelessly working to create pieces which encourage moments of elucidation. His approach to his work appears to be summarised in a glowing piece attached to the buildings faade, which declares Nous irons jusquau bout (We will continue until the end), as though it were a bright profession of faith.
Claude Lvque, Mon repos au Chteau. Claude Lvque. Photo: Stphanie Pioda
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09 JanUaRY 2014
Report
HErE I REST: ClaUDE LVQUE TaKES Up rESIDENCY aT BOrDEaUX BErNarD MaGrEZ CUlTUral INSTITUTE
Visitors to the exhibition are welcomed by a moped caught in a mesh fence, sealed off by the word chagrin (sorrow) in rather clumsy neon handwriting. The work creates the impression of a teenagers distress at not being allowed to rebel and fight for freedom. His only way of escape is blocked, and all hope appears lost. The emotion is strengthened by this flickering word sorrow, suggesting a wounded feeling. But there is no time for stoicism, as next we see the words Le rveil de la jeunesse empoisonne (The rise of the poisoned youth). Claude Lvque appropriates objects belonging to a collective subconscious, turning their meaning upside down. He calls on a heritage of popular culture. For example, in light of history, his Citron Traction car transports the viewer back to the time of the Second World War and the Gestapo, to images of Nazi uniforms in occupied cities and the actions of the French Resistance, images largely perpetuated by film. The car here, opposite the entrance, has been upturned. It is not the tragic scene of an accident, but it does become a scene from a nightclub. The car is filled with fairy lights, and is vibrating to the sound of Billy Jean, the classic song from Michael Jacksons legendary album Thriller - but only the first few notes of the bass have been looped. The viewer gets the feeling of having been invited to a wild party, which is further confirmed in the entrance halls installation of car parts, like a room within a room, lit by a crystal chandelier. The visitor is encouraged to actively participate in the installations, having to cross them to enter them. Just afterwards, exhaust pipes are suspended, which clink against one another when touched, echoing with the distorted guitar and flashing lights. The tour of the house is over, the party has finished. The artist then invites the spectator on a second, more intimate visit in the adjacent rooms: we hear Attends-moi (Wait for me), a distress call from a child to its mother, or see the heartbreak of the artists mother losing her sight, walking along a white path. Night is a theatre in a childs bedroom filled entirely with teepees and childrens silhouettes, backlit with lights to give the impression of halos. Waiting and looking in the shadows, anything seems possible.
Franoise Ptrovitch, view of the exhibition B. Magrez cultural institute. Photo: Stphanie Pioda
09 JanUaRY 2014
Auctions
ArTIClE OF THE wEEK
Sellers can remain anonymous in American auction houses On 17 December 2013, the New York Court of Appeals overturned the lower courts decision and ruled that auction houses can continue to guarantee anonymity to art sellers, as has traditionally been the case. This decision is the latest episode in the case brought to court by auction house William J. Jenack (Chester, New York) over a 19th-century Russian silver and enamel box. It was bought for $400,000 by Albert Rabizadeh in 2008, which he then refused to pay. Jenack sued, and eventually won the case. However, in 2012, the appeals division of the Supreme Court ruled in Rabizadehs favour. He argued that his refusal to pay was centred around the anonymity of the seller of the Russian box. The appeals division ruled that the buyer had the right to know the identity of the objects seller. While the case concerned a relatively small-scale auction house, the impact of the courts decision has been felt at the higher levels of the American art market. In fact, according to The Art Newspaper, Sothebys submitted a brief urging the Court of Appeals to rule in Jenacks favour.
TOp STOrIES
Two selling exhibitions at Sothebys Hong Kong Sothebys Hong Kong is currently holding two selling exhibitions, Modern Masters: From Rembrandt to Picasso - Representation of the Figure in Western Art, and Age Of Elegance: European Paintings, Furniture And Works Of Art From The 19th Century, until 16 January 2014. The house hopes to build on its success from previous editions. This edition of Modern Masters features 18 works from a broad range of artists, schools and movements, including Rembrandt, Picasso, Chagall, Renoir, and a bronze Rodin sculpture. Age Of Elegance showcases 19th-century European Decorative Arts, comprising some 45 pieces of furniture, paintings and objets dart. Both exhibitions were shown late last year in Beijing, from 28 November to 1 December 2013, during Sothebys Beijing Art Week. Sothebys seeks new Manhattan location A report published in the New York Post suggests that Sothebys is seeking a new Manhattan location a move which is dependent on the sale of its purpose-built headquarters on New Yorks Upper East Side. The auction houses current location at 1334 York Ave. is currently taking second-round bids, with property organisation Real Estate Alert having suggested that potential buyers could make offers either for the entire 490,000 sq.ft, or just the lower 227,000 sq.ft. If only a portion of Sothebys were to be sold, it has been suggested that the auction house would move to fill the buildings top five floors and part of the ground, with a separate lobby space to be reconfigured. Exact details of Sothebys new location have yet to be released, though speculative reports suggest the auction house may consider Midtown, the Hudson Yards, TriBeCa, and the Meatpacking District. The latter is the site of both the upcoming Whitney Museum and the High Line Park, both of which might bring in a younger audience to Sothebys events.
rESUlTS
Christies first auction in India doubles pre-sale estimates Christies inaugural sale in India, of South Asian Art, held on 19 December 2013, has surpassed estimates and broken records, realising total sales of $15,455,000, selling 98% by lot. Two lots fetched in excess of $3 million, the leading lot being Untitled (1979) by Indian abstract artist Vasudeo S. Gaitonde, which realised $3,792,400, the highest price ever paid for a modern work of art in India representing a new world record for the artist. The second lot to achieve over $3 million was a Tyeb Mehta piece, Mahisasura, which reached a total of $3,165,200. Another work by Mehta, Untitled (Falling Figure) ($1,578,000), was one of 52 works on sale from the Estate of Kekoo and Khorshed Gandhy, the influential Mumbai-based gallerists. Hugo Weihe, International Director of Asian Art at Christies, and Sonal Singh, Head of Sale, commented: With the two top works selling tonight for more than $3 million, this sale proves that Mumbai can already stand alongside London and New York in the global market for Indian art. Our first auction in India has illustrated the huge appetite domestically for works by Indian artists. The sale was attended by buyers from around India, across Asia, the United States and Europe. Interest in the sale had been garnered at pre-sale exhibitions in Mumbai and New Delhi.
pUBlICaTION
Memoirs of an auctioneer: Simon de Pury to publish book Former Phillips de Pury chairman Simon de Pury has sold a book to St. Martins Press documenting his experience of the auction world. De Pury, who left Phillips in 2012 after 12 years as chairman, is to cast a rare insiders light on the auction industry. Jennifer Weis, the executive editor and manager of content development at St. Martins, has explained: It will be a look inside the auction world in his voice. Stories, history, the highlights, the problems, everything. William Stadiem, author of Jet Set, is reported to have teamed up with de Pury for the project, which is forecast for release in 2015. Swiss-born de Purys auctioneer career began in the 1970s, when he worked for houses Bern Auctioneers and Kornfeld and Klipstein. He began working at Sothebys in 1974 after studying at its Institute, becoming chairman of Sothebys Switzerland in 1986 and eventually chairman of Sothebys Europe. In 1997 he launched his own auction house with Daniella Luxembourg, entitled De Pury and Luxembourg Art, which merged with Phillips Auctioneers in 2001. Since leaving Phillips in 2012, he has cultivated his public profile, appearing on reality TV programme Work of Art: The Next Great Artist, and making use of social networking sites such as Facebook and Instagram. www.artmediaagency.com
09 JanUaRY 2014
COmING SOON
hong kong Contemporary Asian and Western art sale at Sothebys Hong Kong Sothebys Hong Kong is organising, on 23 January 2014, its sale Boundless: Contemporary Art, dedicated to contemporary Asian and Western art. The second edition of this sale is to present two paintings by Zao Wou-Ki (1920-2013) as the major lots, Fort de Bambou (1954) and 7.8.74 24.8.77, each estimated between $4 and 6 million. Other lots valued at more than $1 million include: Anselm Kiefers Domenica Delle Palme (2008), valued between $2 and 3 million; Furious Tiger (2005) by Cai Guo-Qiang, estimated between $1.5 and 2 million; a small Keith Haring sculpture entitled Self-Portrait, estimated between $1.2 and 1.8 million; a painting by Kim Tschang-Yeul, PA 1980 (1980), estimated between $1 and 1.5 million; and the painting Queen Maude Land (2009) by Marc Quinn, valued at the same price. Damien Hirst, Joana Vasconcelos, Bernar Venet, Barbara Kruger and Ivn Navarro equally feature in the auction catalogue. A section dedicated to design is to offer works by the Campana brothers as well as Franois-Xavier, Claude Lalanne and Philippe Hiquily. United-Kingdom An important Swiss collection of Modern Art at Christies Christies London has announced details of a February sale, to feature works from a major Swiss collection of modern art. The collection is valued at close to 30 million, with two major pieces set to lead the sale. A Juan Gris painting, Nature morte la nappe carreaux (1915) has a pre-sale estimate between 12 and 18 million, whilst Piet Mondrians Composition No. 2 with Blue and Yellow (1930) is estimated between 8 and 12 million. Amongst other lots are: a Theo van Doesburg painting, Contra Composition XX (1928), valued between 1 and 1.5 million; Solitudine by Carlo Carr, estimated between 2.5 and 3.5 million; and Joan Mirs Loiseau nocturne, expected to fetch between 1 and 1.5 million. Other pieces in the sale include works by Georges Vantongerloo, Le Corbusier and Laszlo Moholy-Nagy. Commenting on the sale, John Lumley, Honorary Chairman of Christies, states: In all my 50 years at Christies, this is a collection which stands out. It has faultless historical credentials, it provides insights into the personalities of the artists and the collectors, and it also reflects their daring, now justified support of modern art itself, ranging across Cubism, Purism and Surrealism. Impressionist and Modern Art at Bonhams London Bonhams is offering a sale of Impressionist and Modern Art on 4 February 2014 at its London showroom. 36 lots are to be offered in the auction, of which the star lot is a bronze sculpture by Salvador Dal, lephant qui triomphe, cast in 1984, five years before the artists death. The sculpture is estimated between 250,000 and 350,000. Other significant pieces in the sale are a painting by Joan Mir, Femme, toile (1978), estimated between 180,000 and 220,000; a 1920 painting, Berliner Strassenszene, by Lesser Ury, estimated between 100,000 and 150,000; a painting of a ski-scene by Alfons Walde, Almen im Mrz (c. 1935), estimated between 80,000 and 120,000; and an Impressionist painting by Isidro Nonell y Monturiol entitled Le Square Saint-Pierre, Paris (1897), also estimated between 80,000 and 120,000. Damien Hirst takes his Mickey to auction The British artist Damien Hirst has created a piece representing Disneys famous character Mickey Mouse, using the same technique as in his notorious Spot Paintings. Hirst unveiled the work on his website, explaining that it is to go up for auction in February at Christies in London, and that the money from the sale is to go to Kids Company, a British charity which helps vulner
Photographed by Prudence Cuming Associates Damien Hirst and Science Ltd. All rights reserved, DACS 2013
able inner-city children. Mickey Mouse represents happiness and the joy of being a kid and I have reduced his shape down to the basic elements of a few simple spots, Hirst wrote on his site. I hope people love it, because it is still instantly recognisable -- Mickey is such a universal and powerful icon. The work is to feature in the sale of Postwar and Contemporary Art to take place in February 2014 at Christies, on view to the public from 8 February. United-states Eric Martin Wunschs collection on sale at Christies From 23 to 29 January 2014, Christies New York is to offer several pieces from Eric Martin Wunschs collection at auction. The sales result is forecast at over $4.5 million for a total of 59 lots. A selection of silver objects is to be presented on 23 January, with American furniture to be sold the following day. Chinese export art is to go on sale on 27 January, and 29 January is to be dedicated to Old Master paintings. The major lots in the auction are to include, amongst others, a carved mahogany Chippendale tea table, estimated between $800,000 and 1,200,000, created by a Philadelphia craftsman in the mid-18th century, thought to have been carved by Richard Butts. Furthermore, the Silver sale is to offer a pair of silver plate warmers, created in around 1715 by silversmith John Coney, who created another pair now belonging to the Museum of Fine Arts in Boston. Stamped with Coneys signature, they are a fine example not only of their creators talent, but of this eras rare engraved heraldic decoration, hence their estimation at between $120,000 and 180,000. The lots from the final days sale of Old Master paintings include A traveler at rest, a small oil on copper by Frans van Mieris I de Leyde, estimated between $1.5 and 2.5 million, as well as Peasants playing cards in an interior by David Teniers II, predicted to fetch betwen $400,000 and 600,000. The sale is to include other pieces from the golden age of Dutch painting, including works by Abraham and Diepraam and Hans Holbein the Younger. www.artmediaagency.com
09 JanUaRY 2014
Fairs & festivals

ArTIClE OF THE wEEK
Details of the 2014 edition of Art Geneva announced Art Geneva is to take place from 30 Janu- The third edition of Art Geneva is to be ary to 2 February 2014 in Geneva, Swit- held in the Palexpo complex, but will also zerland. expand across the city with a number of This years edition of the event is to bring additional events conceived to spread art together 60 galleries, as well as 10 non- through urban spaces. The programme profit public institutions exhibiting in the comprises a number of soires, breakfast event led by President Simon Lamunire meetings and vernissages one of which and Director Thomas Hug. The event aims will notably unveil a piece commissioned to establish a first class contemporary specifically for the city of Geneva. That this years event aims to be espearts event in Swiss Romandie. cially accessible to the wider public and not merely the elite of the contemporary art market is clear to see, with a particular focus having been placed on arts events in public places.
TOp STOrIES
Masterpiece London gets new sponsor Masterpiece London, the fair dedicated to the most exquisite in art, antiques and design from across the world, has announced the sponsorship of RBC Wealth Management. RBC is one of the worlds largest wealth managers. A statement on Masterpiece Londons website reads: Since our inaugural edition in 2010, the fair has strengthened its position as one of the worlds premier international art fairs and this year we celebrate our 5th anniversary making it the perfect time to assign a principal sponsor. RBC Wealth Management is renowned internationally for its commitment to the arts and we are thrilled to be partnering with them. In addition, Elizabeth Walder is to leave her post as Event Manager at the fair. She joins Gong Muse, a communications agency for the arts and luxury goods sector, as Account Director. Masterpiece London is to take place between 26 June and 2 July 2014. New record of visitors for 12th edition of Biennale de Lyon Open since 12 September 2013, the Biennale de Lyon, whose theme this year was narration, closed its doors on 5 January. During this 12th edition curated by Gunnar B. Kvaran, the number of visitors to the event, which remained relatively stable at 204,669 visitors across 17 weeks (compared with 202,404 in 2011), has nevertheless allowed organisers to announce a new record. The popular success of this years biennale is all the more impressive when looking at figures for its first edition in 1997, which attracted 70,000 visitors. Freezing New York announces Frieze participants New York is looking past its freezing weather, ahead to May, announcing the list of participating galleries in this years Frieze fair, which is to take place between 9 and 12 May 2014. The list of over 190 galleries participating in Frieze New Yorks third edition includes: Art: Concept (Paris), Marianne Boesky (New York), The Box (Los Angeles), The Breeder (Athens), Sadie Coles HQ (London), Dvir (Tel Aviv), Stephen Friedman (London), Frith Street (London), Gagosian (New York), Hauser & Wirth (New York), Hyundai (Seoul), Taka Ishii (Tokyo), Perrotin (New York), Francesca Pia (Zurich), Plan B (Cluj), Thaddaeus Ropac (Paris), Project 88 (Mumbai), Sprth Magers (Berlin, London), The Third Line (Dubai), White Cube (London) and David Zwirner (New York).
COmING SOON
canada Initial details of Art Toronto 2014 released The 15th edition of the Toronto International Art Fair is to take place between 24 and 27 October 2014. Art Toronto is Canadas only modern and contemporary art fair, serving to showcase Canadian artistic production alongside international contemporary pieces. The 2013 edition of Art Toronto saw record sales and attendance figures in excess of 19,000 visitors, with 113 galleries from 13 countries taking part. Speaking via a statement, organisers of Art Toronto said: Many new and returning galleries saw sales that exceeded the pre-2008 levels showing the great strength of the art market in Canada as was evidenced by the steady stream of artwork leaving the show floor. [...] Art Toronto is not only Canadas visual art event of the year but one of the most successful art fairs in North America! United-States 23rd edition of photo L.A. goes downtown The 23rd edition of photo L.A. is to take place between 16 and 19 January 2014 at a new location the historic, 60,000 ft2 LA Mart in downtown Los Angeles. photo L.A. was the first photography-focused art fair in the city, and is now also its longest-running. This year it aims to present its broadest range of photography yet, exhibiting works from the 19th century, to todays most cutting-edge pieces. It is to showcase pieces submitted from internationally-renowned galleries, whilst, at the same time, providing platforms for education and discussion. The fairs new location corresponds with downtown L.A.s artistic expansion, joining major art establishments like the new Broad Museum, The Geffen Contemporary, MOCA, and the Japanese American National and Chinese American Museums, as well as a number of new contemporary galleries. www.artmediaagency.com
09 JanUaRY 2014
COmING SOON
france 23rd edition of the Salon du Dessin in Paris The 23rd edition of the Salon du Dessin, the art fair dedicated to drawing, is to take place between 26 and 31 March 2014 at the Palais Brongniart, the Paris stock exchange. A breath of fresh air is expected to reinvigorate this edition, namely by the appointment of Louis de Bayser as President of the event, son of the respected dealer in drawings, Bruno de Bayser. He replaces Herv Aaron, the Parisian gallerist who also took over from a President of 16 years. Other noteworthy new additions include Parisians Nathalie Motte-Masselink and Mathieu Nouze as well as New-Yorker David Tunick. The Salon is to host, like every year, galleries specialising in ancient, modern or contemporary drawing, as well as 23 museums. This year, the guest of honour is to be the Museum of Fine Arts of Nancy. More than 1,000 drawings are to be offered this year for collectors and amateurs alike. Netherlands 15th edition of Art Rotterdam Between 6 and 9 February 2014, the most important international contemporary art fair in the Netherlands, Art Rotterdam, is to take place. 90 galleries are to participate in this edition, an increase from last year, half of which are international. Amongst the proposed themed spaces, Art Nouveau is to showcase 25 young galleries, who are to present solo exhibitions of emerging artists, while the video section Projections is to show 19 films and videos, projected on large screens. Fons Hof, born in 1966, previous Director of the Hof & Huyser gallery in Amsterdam, is Art Rotterdams Director: Art Rotterdam occupies an important slot on the calendars of European contemporary art collectors. The Projections section we launched in 2013 further accentuates the international aspect of the Salon. Projections Art Rotterdam is an international meeting place for lovers, collectors and creators of film and video art. philippines Art Fair Philippines returns in February The second edition of Art Fair Philippines is to take place in Makati, Manila, between 20 and 23 February 2014. The fair mainly showcases artistic talent from the Philippines, with 25 Filipino galleries and three international galleries participating. This is a slight increase from last years total of 24 galleries, and therefore the fair is also to expand its alternative exhibition space onto another floor of the Makati car park building it uses. Several site-specific installations have been commissioned, including works by Rodel Tapaya, a reception area piece by Jose John Santos III, an interactive sportsinspired work by Louie Cordero, and silk-screened scarves and graphic wallpaper from UK-trained artist Pio Abad. The second floor area will feature new sculptural works by established artist Benedicto Cabrera, also known as BenCab, alongside solo exhibitions by Filipino artists Marina Cruz, Geraldine Javier and Ronald Ventura. Christies is also to run a lecture series on Southeast Asian contemporary art and historical art movements.
Art Rotterdam 2013 Photo: Tertius Xavier van Oosthuyzen
Singapore First edition of Singapore Art Fair The inaugural edition of Singapore Art Fair is to take place between 27 and 30 November 2014. Focusing on the ME.NA.SA region (Middle East, North Africa and Southeast Asia), the new fair is to showcase a culturally diverse selection of work, featuring displays from around 100 galleries. The programme is also to include 20 solo exhibitions dedicated to young Middle Eastern and Southeast Asian artists. Laure dHauteville, director and founder of the Singapore Art Fair and Beirut Art Fair, explained: We base ourselves on the premise that the Arab world has increasingly turned itself towards Asia and vice-versa. It was within this context that we created in 2013 the South East Asia Pavilion at the Beirut Art Fair and that we are launching in 2014 the Singapore Art FairWith this new showcase in Asia we wish to develop the connections between these two regions and promote their cultural exchanges. The fair the first of its kind dedicated to artists from the ME.NA.SA region is expected to become one of the most significant art events in Asia. It corresponds with an increase in collectors interested in the regions art, as well as a burgeoning new art scene in the city of Singapore. united-states New York to host eighth edition of Master Drawings From 25 January to 1 February 2014, a fifteen-block stretch of New Yorks Upper East Side commonly nicknamed the Gold Coast is to host the eighth edition of Master Drawings, with a preview event to be held on 24 January from 4 to 8pm. Coinciding with major art collectors events taking place in the city including the Old Master auctions and the Winter Antiques Show the event is to feature around 30 of the genres top dealers, hailing from both the US and Europe. A press release distributed in advance of the event advertises the fairs breadth of genres, styles and mediums, and pricing options that are attractive both to seasoned and new collectors. The event was jointly founded in 2006 by New York Old Masters specialist Margot Gordon and London dealer Crispian Riley-Smith. Commenting on Master Drawings, Riley-Smith stated: Master Drawings New York has become very special to both private and institutional clients because it makes it convenient to see a number of exhibitions from the very top tier of world dealers in a single area of the city. FotoFest 2014, the 15th edition of the contemporary photography biennial The Fifteenth International Biennial of Photography and Photo-related Art, FotoFest 2014, is to take place between 15 March and 27 April 2014 in Houston, Texas. This edition, organised by German curator Karin Adrian von Roques, is to highlight contemporary photography from the Middle East and North Africa. This is to be the first time showing in the United States for several of the artists exhibited. FotoFest 2014 aims to throw a spotlight on certain issues relevant to the 47 exhibited artists: issues of identity, changes in their regions, gender, and religion.
09 JanUaRY 2014
Schools
ArTIClE OF THE wEEK
NYU explores the coded language of Keith Haring Until 28 February 2014, New York Universitys Fales Library is to present Keith Haring: Languages. The exhibition is centred on the films, notes, collages and sketches that Haring created in the late 1970s and early 1980s, just after moving to New York. The show is presented as a linguistic study which develops the pictograms (of barking dogs, intertwined male bodies, and happy, dancing people) which the artist is known for. On the pages of his notebooks, Haring identifies the limits of the written word, and finds a new, extensive language, which enables him to discuss subjects which were considered to be taboo at the time. By modifying their forms, the artist was able to integrate themes of homosexuality, for example, into a language which in part excluded such things. In 1980, the artist began to draw hieroglyphic characters, which he later graffitied onto the walls of the subway. These figures publicised the private ideas that Haring had, until then, only shared with fellow members of New Yorks underground scene.
TOp STOrIES
International Center of Photography launches six new online courses The International Center of Photography (ICP) is to expand its online education programme with six new courses. Each course is to provide an interactive learning environment between a small number of students and members of ICPs faculty, including Ed Kashi, photojournalist for VII Agency, and the South Africa-based photographer Jonathan Torgovnik. The courses include weekly live lectures and critiques, a discussion forum with fellow students, and an online gallery for each student to upload their work to. The range of courses on offer is designed to cater to all levels, from beginners through to photographers with significant experience. The courses are: The Art of Visual Storytelling: Exploring Photojournalisms New Frontiers; The Impossible Portrait; Developing Projects, Establishing Vision; Documentary Photography Project: Story Telling and Photo Essay; Photography I (for beginners); and Investigation of Self and the Human Condition. The courses are to run either between late January and April or from early March to May 2014. The Catlin Guide 2014 highlights emerging talent The Catlin Guide 2014 has been published, detailing the 40 most promising graduate artists in the United Kingdom. Distributed annually throughout the art world, The Catlin Guide can provide a vital springboard for these emerging artists. The shortlisted graduates are selected for their work shown in their BA, MA, MFA or PG Dip final exhibitions. The list is as follows: Pio Abad (Royal Academy Schools, PG Dip Fine Art), Alex Ball (Slade School of Fine Art, MA Painting), Philip Booth (Camberwell College of Arts, BA (Hons) Painting), Lydia Brain (Wimbledon College of Arts, BA (Hons) Fine Art: Print & Time Based Media), Shih Hsiung Chou (Central Saint Martins College of Arts and Design, BA (Hons) Fine Art), Hans K Clausen (Edinburgh College of Art, BA (Hons) Sculpture), Chris Cooper (London College of Communication, BA (Hons) Interaction & Moving Image), Rosie Farrell (Chelsea College of Art and Design, MA Fine Art), Nicolas Feldmeyer (Slade School of Fine Art, MFA Fine Art), Virglio Ferreira (University of Brighton, MA Photography), Andrew Gannon (Edinburgh College of Art, MFA Contemporary Fine Art Practice), Deme Georghiou (University for the Creative Arts at Farnham, BA (Hons) Fine Art), Elizabeth Gossling (Royal College of Art, MA Printmaking), Micah Harbon (Goldsmiths, BA (Hons) Art Practice), Hyojun Hyun (The Glasgow School of Art, MFA Fine Art), Alzbeta Jaresova (Camberwell College of Arts, MA Visual Arts (Fine Art)), Chloe Leaper (City & Guilds of London Art School, MA Fine Art), Geoff Diego Litherland (Goldsmiths, MFA Fine Art), Hannah Lyons (Goldsmiths, BA (Hons) Art Practice), Hollie Mackenzie (Arts University College at Bournemouth, BA (Hons) Fine Art), CJ Mahony (Camberwell College of Arts, MA Visual Arts (Fine Art)), Alex Millar (The Glasgow School of Art, BA (Hons) Fine Art Painting and Printmaking), Theresa Moerman Ib (The Glasgow School of Art, BA (Hons) Fine Art Photography), Tom Railton (Chelsea College of Art and Design, MA Fine Art), Josephine Sowden (University of Wales, Newport, BA (Hons) Photographic Art), Maaike Anne Stevens (Goldsmiths, MFA Fine Art), Margaret Stewart (Goldsmiths, BA (Joint Hons) Fine Art and History of Art), Lucy Tomlins (Royal College of Art, MA Sculpture), Rafal Topolewski (Manchester School of Art, BA (Hons) Fine Art) Sam Zealey (Royal College of Art, MA Sculpture), Tereza Zelenkova (Royal College of Art, MA Photography), Maaike Anne Stevens (Goldsmiths, MFA Fine Art), Margaret Stewart (Goldsmiths, BA (Joint, Hons) Fine Art and History of Art), Lucy Tomlins (Royal College of Art, MA Sculpture), Rafal Topolewski (Manchester School of Art, BA (Hons) Fine Art), Sam Zealey (Royal College of Art, MA Sculpture), Tereza Zelenkova (Royal College of Art, MA Photography).

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AMA NEWSLETTER 134 2

A Roundup of the year ahead

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A Roundup of the year ahead

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A Roundup of the year ahead

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Distribution by exhibition type Distribution by venue type Distribution by country

16% 62% 90% 13%

Evolution of the number of articles published on Sarah Lucas

group shows solo shows

United Kingdom United States Germany other

Waldemar Januszczak Jonathan Jones 0 10 21 20

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$60k $40k $20k $0k

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Rate of sold/unsold lots Distribution of lots by auction house and revenue

26% 77% 27%

Rate of unsold works by price

Total sales by price of works

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Auction results from Artprice.com

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DISPONIBLE SUR WWW.ARTTAXGUIdE.COM

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Jean-Honor Fragonard (17321806) Collin Maillard/Toledo Museum of Art

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Christian Berst Pierre Emmanuel Rastoin

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Claude Lvque, Attends moi. Claude Lvque. Photo: Stphanie Pioda

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Fairs & festivals

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Art Rotterdam 2013 Photo: Tertius Xavier van Oosthuyzen

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