3
SUE
IS
FREE
EVERY
DAY
THE ART NEWSPAPER
Robert Longo’s Death
Star II (2017-18)
and Carol Bove’s
Egg (2018), both
in Unlimited, sold
for $1.5m each
What are the limits of
Art Basel’s Unlimited?
The sector has raised the bar for large-scale
A
works, but price and size do not always match
rt Basel’s intro-
duction of the
Unlimited sector
for large-scale
works in 2000 was
cannily prescient,
foreseeing a global
explosion in private museums hungry
for large-scale anchor works. But nearly
20 years on, can a concept plugging
the gap between the commercial and
the curatorial worlds satisfy both? And
how can it be kept fresh?
Unlimited’s move to the first floor
this year attracted speculation (its pre-
vious ground-floor location is occupied
by another event). But although the
ceiling is slightly lower and there are
72 presentations compared with 76 in
2017, the footprint remains the same.
“It doesn’t have the status of a
museum, but it tries to create a similar,
more considered context for works,”
says Gianni Jetzer, Unlimited’s curator.
Jetzer compares the selection process
to “a board game with many partici-
pants, the most important being the
THEART N EWS PA PE R . C O M
Art Basel: 14 June 2018
galleries who make proposals”. The
works are selected by a committee
of six galleries, with Jetzer casting a
deciding vote for those on a “maybe”
list. “I have a very different role as a
curator; I also work for a museum [the
Hirshhorn Museum and Sculpture
Garden in Washington, DC], and the
two roles are not to be compared,” he
says. What is shown one year, Jetzer
says, “triggers the quality” of the next.
“Unlimited is a good concept and
meets a demand,” says the collector
Alain Servais. “In the beginning, it was
very powerful, as the quality of the art
was very high.” But, he says, with “an
influx of new money into the arts and
low connoisseurship” today, Unlimited
finds itself “full of brand names, but
the quality is perhaps not primary”. He
makes a distinction between “commer-
cial value versus cultural value—the
two are very different”.
A presentation in Unlimited adds
SFr20,000 ($20,000) to the cost of a stand
in the main fair, but large works do not
necessarily mean big bucks. There is
/ D OW N LOAD THE FREE DA I LY A P P
Joan Mitchell’s Composition (1969) sold
at Art Basel for around $14m
often an inverse relationship between
size and price, as the more difficult it is
to display and store a work, the fewer
potential buyers it has. As blue-chip
art is increasingly traded as a financial
asset, paintings by bankable artists are
easier to sell on swiftly. Large works are
trickier, as shown in 2013, when Charles
Saatchi sold off 50 large sculptures at
/ @ THEA RTNE WSPA P E R /
Christie’s in London; without estimates
or reserves, many of the works sold for
less than Saatchi paid for them.
As such, there is a price disparity
between the Unlimited works and the
blue-chip paintings in the main fair.
The most expensive pieces sold in the
main fair by Wednesday afternoon
were two paintings by Joan Mitchell,
both priced around $14m at Lévy Gorvy
and Hauser & Wirth. In Unlimited, the
highest-value sales so far are Robert
Longo’s Death Star II (2017-18), a sphere
of bullets addressing gun violence,
which was sold to a European museum
by Galerie Thaddaeus Ropac for $1.5m,
“Unlimited is a
good concept and
meets a demand”
and Carol Bove’s five-tonne steel sculp-
ture Egg (2018), sold by David Zwirner
gallery to a private US collector, also for
$1.5m. “Unlimited provides a space for
works between the commercial context
and a museum show,” says Branwen
Jones, a director of David Zwirner.
Galleries often help with the
production costs of large-scale works
destined for both fairs and biennials.
“With Carol’s work, we helped her
with production costs and sourcing
scrap metal,” Jones says. The gallery
also supported Bove’s presentation for
the Swiss Pavilion at last year’s Venice
Biennale. Similarly, Lisson Gallery
sometimes funds large-scale works
CONTINUED ON PAGE 2 
@ T H E A RT N E WSPA P E R .O FFI C I A L
Gerhard Richter’s
newest work: a
Foucault pendulum
A FOUCAULT PENDULUM created by the
German artist Gerhard Richter is set to start
swinging permanently from the dome of a
deconsecrated Catholic church in Münster
this weekend.
Invented by the French physicist Léon
Foucault in 1851, the pendulum convinced
the Catholic church that the Earth rotated,
something its leaders had previously
denied. Richter’s work comprises a 48kg
brass ball suspended on a 29m-long cable
from the dome of the early Baroque
Dominican church. A magnet created by the
physics department of Münster University
keeps the ball moving constantly over a
circular space with a stone surface, where
the church altar stood until it was removed
to make way for the pendulum.
Richter, who will attend the inaugura-
tion ceremony on 17 June, says that he is
fascinated by the history of the pendulum
and has long wanted to create his own. “It
particularly appealed to me to put it in a
church, because the church had a different
view [of Foucault’s discovery] at the time”,
he said, when presenting his plan last year.
The pendulum “represents a small victory
for science,” he said. The work is intended
to be meditative rather than entertaining.
Richter envisages the church as a space
for cultural events and wants his installa-
tion to provide a backdrop for concerts,
lectures, readings and similar events.
The city estimates the cost of reno-
vating the church and installing the work,
which Richter has donated, at €650,000.
At Art Basel, Richter’s works can be
found on the stands of Galerie Löhrl, Marian
Goodman and Gagosian Gallery. C.H.
The artist’s new pendulum, which will
swing constantly in the former church
LONGO AND BOVE: © DAVID OWENS; DAVID-OWENS.CO.UK. MITCHELL: PHOTO: RON AMSTUTZ;
© THE JOAN MITCHELL FOUNDATION; COURTESY OF HAUSER & WIRTH. RICHTER: © A KLAUSER
 2 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018

NEWS
 CONTINUED FROM PAGE 1
for Unlimited, says Greg Hilty, the
gallery’s curatorial director. “Unlimited
is comparable in scale and ambition

Basel
to a biennial,” he says. “But, of course,
it is commercial, and it is a bit more
democratic in its curatorial approach,
more catholic in taste.”
Hilty adds that artists “tend to be
thrilled to be shown [in Unlimited]”.
The South African photographer

Swiss galleries
Mikhael Subotzky concurs. “As an
artist, Unlimited makes Art Basel
the only fair worth visiting,” he says.
His collaborative work with Patrick

forge ahead
Waterhouse, Ponte City (2008-14), is
being shown in Unlimited this year,
but when Subotzky’s film Moses and
Griffiths (2012) was shown in the sector
in 2014, he says, “it led to my selection

despite the
for the 2015 Venice Biennale because
the curator first saw my work here”.
Other artists have also gone from
Unlimited to biennial. Shwetal Patel, of
the Kochi-Muziris Biennale, says that the

global squeeze
Polish artist Alicja Kwade was selected
for the Indian event in 2016 on the
merits of her work at Unlimited in 2016.

“Unlimited is a bit
The late Swiss artist
Sophie Taeuber-Arp’s
more catholic in
homes with works from his gallery,
New initiatives, fair without having to buy them. Six Espaces Distinct taste than a biennial”
(1939) is on Von Bartha’s
subsidies and a focus “These shows offer a different
atmosphere from a fair or gallery, and stand at the fair Unlimited also revisits the biennial
on Swiss artists help are much more relaxed,” he says. Von back catalogues. Among the works
Bartha and his parents have exhibited included this year are Wolfgang Laib’s

S
dealers to adapt
wiss dealers have not
been immune to the
recent global squeeze
on the middle market,
with 50 galleries closing
in the past five years,
according to the Swiss
Art Market Association. In a report
published earlier this year, the organi-
sation blamed unfavourable economic
conditions in Europe and increased
running costs, particularly at art fairs,
as well as “the growing dominance
of international auction houses and
online sales”.
But galleries at Art Basel and
beyond are adapting—in some cases,
by setting up new commercial initia-
tives. The Basel-based dealer Stefan von
Bartha—who says that the cost of par-
ticipating in art fairs has doubled over
the past ten years, rising to SFr150,000
($150,000) at Art Basel—is allowing col-
lectors to organise exhibitions in their
at Art Basel for more than four decades.
Works on his stand are priced between
SFr4,500 ($4,500) and SFr1.5m ($1.5m).
Other long-standing Art Basel
exhibitors from Switzerland are doing
their best to fly the flag for Swiss
artists at the fair. Basel-based Stampa is
presenting nine Swiss artists, includ-
ing Roman Signer (Kajak auf Fässern,
2017; SFr70,000) and Gerda Steiner and
Jörg Lenzlinger (Handycreep, undated,
SFr9,000). The latter duo also have an
exhibition at Basel’s Museum Tinguely
this week (Too Early to Panic, until 23
September).
Meanwhile, the Liste art fair in
Basel, which has been providing a
platform for younger galleries for
more than 20 years, offers stands on a
Fifty Swiss galleries
have closed in the
past five years, an art
market report says
means-tested basis, with costs ranging
from SFr6,800 to SFr15,000. “Older gal-
leries subsidise the younger galleries
at Liste. We have been enacting David
Zwirner’s suggestion for many years,”
says Jacqueline Uhlmann, Liste’s head
of fair management. (In April, Zwirner
said that larger businesses should
financially support smaller galleries
at fairs.)
The newly formed, patron-backed
Friends of Liste offers a SFr2,000
stipend to galleries in need of help with
exhibition costs at the fair. Meanwhile,
Pro Helvetia (the Swiss Arts Council)
offers financial support to galleries
showing work by Swiss artists at inter-
national art fairs. Art Basel offers com-
parable rates to Liste in its Statements
sector, which costs SFr12,000 per stand.
More than half of the 18 participants in
this year’s sector, which is dedicated to
solo projects by emerging artists, took
part in Liste in 2017.  
A spokeswoman for Art Basel says
that the fair does not provide a break-
down of galleries by country, but notes
that the number of Swiss dealers has
decreased over the past 20 years “as the
fair has become more global”. There
are no Swiss galleries in Statements
this year, but two appear in the Feature
sector: Galerie Lange + Pult and Monica
De Cardenas.
The initiatives come at a good
time. Nicolas Galley, the director of
the programme in art-market studies
at the University of Zurich, recently
told local press: “Collectors who spend
SFr20,000 to SFr50,000 a year in the
galleries they trust—this collector
base has fallen away.”
Another challenge is whether small
galleries can retain their rising stars.
The art-market commentator Kuno
Fischer says that mid-career artists
“often switch to bigger galleries with
a global presence to be represented on
an international basis and in the most
important art fairs”. It seems that those
dealers battling to sustain a presence
in the difficult middle market may not
feel secure just yet.
Gareth Harris and Anny Shaw
installation You will go somewhere else
(1997-2005) and Lygia Pape’s installation
Ttéia 1, B (2000/2018), works that were
shown at the Venice Biennale in 1997
and 2009 respectively.
Cecilia Alemani, the director of
New York’s High Line Art and curator
of the Art Basel Cities initiative, thinks
that Unlimited provides a platform for
works that “might be hard to exhibit
in conventional venues”. She men-
tions the Romanian artist Ana Lupas,
“who had a small presentation at Tate
Modern in London but here can bring
a monumental work [not previously
exhibited] and get great exposure”.
Curatorial approval aside, Unlimited,
with its large number of interactive
works, is a crowd-pleaser: around 95,000
people visited last year. As Alain Servais
says: “It is a public playground now, but
it’s an expensive exercise for galleries. It
has been a great brand-building invest-
ment for the fair and for galleries, but
is it still necessarily commercial for the
galleries or for the fair?”
Anna Brady

Stedelijk director
Beatrix Ruf cleared Liste feels the weight
over ‘conflict of Cuban history
TAEUBER-ARP: © DAVID OWENS; DAVID-OWENS.CO.UK. NOVO: COURTESY OF EL APARTAMENTO. RUF: MICHAEL STEWART/GETTY IMAGES
of interest’
THE LAWS OF the land have been reduced to their weight in ink in a work by the
BEATRIX RUF, WHO resigned Cuban artist Reynier Leyva Novo, on the stand of the Havana-based gallery El
as the director of Amsterdam’s Apartamento at the Liste fair. The Weight of History (2018) includes books with their pages
Stedelijk Museum last October, covered in the exact amount of black ink used to write key parts of the Cuban constitution,
has been cleared of allegations including the penal code. The books (in an edition of ten; €8,000 each), come with a USB
of a conflict of interest by the city stick containing the “software that calculates the amount of ink in the constitution”, says
council. Ruf stepped down after the the gallery’s director Christian Gundín García. The work was produced and published with
Dutch press suggested that her Swiss- help from the Walker Art Center in Minneapolis, which has acquired a copy. J.S.
registered private consultancy Currentmatters
compromised the museum, which accepted works on loan from owners
she advised. She was also accused of failing to disclose arrangements
relating to a donation of works by the collector Thomas Borgmann.
The council’s report, which was leaked to the Amsterdam television
company AT5, focused on whether Ruf had complied with Dutch cultural
governance code. The authors of the report argue that there is no reason
to doubt Ruf’s integrity and criticise the Stedelijk’s supervisory board
for its handling of the affair. On Tuesday, three of the board’s members
resigned. In a statement, Ruf said: “Contrary to stories in the press, the
independent investigators concluded [that] I always acted with integrity;
all side activities were approved; and I never ran an art consulting business
on the side.” M.B.

How do I see the bigger picture?

For some of life’s questions, you’re not alone.
Together we can find an answer.
ubs.com/art

Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas,
UBS Art Collection, © 2018, ProLitteris, Zurich © UBS 2018. All rights reserved.

poster_260x43,5 .indd 1 23/05/2018 11:04

 4 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018

COMMENT
Anna
Brady Listen now
The podcast
that takes
you inside
Could fairs publish “For all the supposed
are on the back foot in terms of data-

the art world

harvesting. “It would be hugely useful to
know exactly what people sold,” he says. desire for transparency,

sale prices? Don’t

“I don’t think it’s realistic at the moment
to insist that exhibitors report all sales, no one will make
but with this drive towards transparency, the first move”
in future it might be.” The Dutch fair’s

hold your breath

In a market increasingly reliant
on price databases to support
its claim that art is a
measurable asset, fairs remain data
deserts. Against a barrage of sales figures
from auctions, step inside a fair and
everyone becomes coy. Many galleries
still “do not discuss prices”—in a trade fair.
In March, Art Basel published its
second art-market report, written by
the economist Clare McAndrew. As Marc
Spiegler, Art Basel’s global director,
writes in the introduction, “understand-
ing the market’s dynamics is essential”.
Yet, ironically, none of Art Basel’s fairs
BRADY: © MIKHAIL MENDELEVICH
Basel’s fairs—or any other fairs—exists.
The 2018 Art Basel and UBS Art
Market Report found that in 2017,
surveyed galleries made 46% of their
sales at fairs, up 5% on 2016; McAndrew
estimates that fair sales “reached close
to $15.5bn in 2017”. By her calculations,
sales at fairs account for around 24%
of the estimated $63.7bn-worth of art
sold in 2017, but we have no idea how or
where that money was spent.
Could fairs do the unthinkable and
insist that exhibitors provide full sales
information? Spiegler says: “As we are
not involved in the sales, it is difficult for
chairman, Nanne Dekking, advocates the
use of blockchain-based technology as
a means of increasing transparency by
creating a digital sales ledger for works
of art. But for blockchain to work, sales
at fairs—and within galleries—would
have to be recorded, accurately.
In its first three years, from 2003 to
2005, London’s Frieze fair attempted to
report overall sales figures (recorded as
£20m, £26m and £30m respectively), but
then stopped on the basis that these were
“misleading” and “inaccurate”. Today,
Frieze co-founder Matthew Slotover says:
“Only around 60% of exhibitors would
respond, and it was mainly larger galleries
who wanted sales to remain confidential,
so we felt that the results were skewed.”
Spiegler acknowledges that the
dominance of auction sales skews the
than it is to sell conceptual work, and yet
that’s the kind of work that often has the
most to offer.”
So, how do we fix it? Arguments
against price reporting at fairs include The Art Newspaper
confidentiality, the administrative
burden and the complexities of after- Weekly podcast
sales, not to mention the value of the
data that galleries would hand to fair in association with Bonhams
organisers (and their competitors).
Again, we hit the rock of opacity that New episode every Friday,
is the comfortable foundation of the art
market. For all the supposed desire for
available from wherever you listen
transparency, no one will make the first to podcasts, including iTunes,
move because it is the far more difficult Stitcher, TuneIn, Soundcloud and
path. Dealers cannot claim to want trans- theartnewspaper.com/podcasts
parency, nor complain that auction sales
skew perceptions of value, unless they
reveal more details of their dealings. And

can contribute sales data to its own
report. Aside from random “selected
sales” reports, no comprehensive public
sales record of deals done within Art
us to stipulate anything, but I do think
that pricing transparency is very helpful.”
Patrick van Maris, the chairman of
Maastricht’s Tefaf fair, admits that fairs
perception of value. “There’s a real risk of
misperception when an artist is successful
but the only sales data is auction data.
It’s a lot easier to sell paintings at auction
to enforce that would require a power
greater than a humble fair organiser.
theartnewspaper.com
• Anna Brady hosts an Art Basel talk on ␣ 
gallery models in Hall 1.1 at 5pm today

THE MAYOR GALLERY

BILLY APPLE
WIFREDO ARCAY
IMRE BAK
JOOST BALJEU
ALBERTO BIASI
CHARLES BIEDERMAN
CARLOS CAIROLI
MIGUEL CHEVALIER
GIANNI COLOMBO
BRUCE CONNER
WALDEMAR CORDEIRO
JOSEPH CORNELL
CARLOS CRUZ-DÍEZ
herman de vries
AD DEKKERS
MAX ERNST
WOJCIECH FANGOR
STANO FILKO
LUCIO FONTANA
JEAN GORIN
WALLY HEDRICK
ANTHONY HILL
GYÖRGY JOVÁNOVICS
ATTILA KOVÁCS
TADAAKI KUWAYAMA
WALTER LEBLANC
RAÚL LOZZA
HEINZ MACK
ROBERT MALLARY
CHRISTIAN MEGERT
FRANÇOIS MORELLET
OTTO PIENE
SIGMAR POLKE
MIRA SCHENDEL
JAN SCHOONHOVEN
GEORGE SEGAL
TURI SIMETI
KLAUS STAUDT
SHINKICHI TAJIRI
LUIS TOMASELLO
GERHARD VON GRAEVENITZ
CAREL VISSER

Art | Basel
Wally Hedrick, For-Ever, 1997, Oil on canvas
221 x 78.8 cm, 87 x 31 inches STAND A4
 Yto
Barrada
Tree Identification for Beginners

Art Basel
Unlimited
Tree Identification for Beginners Curtain 2017
cotton, silk, linen, natural dyes
JUNE 14 – 17, 2018
511.8 x 650.9 x 0.2 cm | 16' 9 1⁄2” x 21' 4 1⁄4" x 1⁄16" overall installed
© Yto Barrada

Also at Unlimited
Lee Ufan
Visit Pace at Booth A5 Relatum (Iron Field)
 6 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
DIARY
Basel
There’s a piano in there somewhere...
In tune with nature
It can be hard enough to stave off the ravag-
es of time using paper or canvas. But what
do you do when the work is alive? Visitors
to Art Basel’s Unlimited sector will hear
piano music coming from Rashid Johnson’s
installation Antoine’s Organ (2016) when the
work is “activated” by the pianist Antoine
Baldwin, who is hidden behind shelves of
house plants, books and shea butter. If a col-
lector or museum shells out $950,000, the
structure will be supplemented by “typical
house plants sourced locally”, says a spokes-
woman for Hauser & Wirth gallery, which
represents the artist. And will they have to
adopt Baldwin, too? Although the work is
named after the classically trained pianist,
“it can be activated by any musician”, the
spokeswoman explains, although she was
unable to reveal the ability level required.
Perhaps it’s best just to find a gardener who
is partial to a tinkle of the ivories.
How Picasso kept Ernst
Beyeler on his toes
The director of the Fondation Beyeler, Sam
Keller, says that a preliminary sketch of Picas-
so’s epoch-making Les Demoiselles d’Avignon
(1907) once caused an almighty rift between
Ernst and Hildy Beyeler, the powerhouse col-
lecting couple who founded the eponymous
privately run museum just outside Basel. At
the press launch for The Early Picasso: Blue
and Rose, the Picasso blockbuster that is due
to open at the Beyeler next February, Keller
pointed out that Hildy almost left Ernst on
discovering his plans to sell the sketch. “She
even put her suitcase under the work,” Keller
quipped—proof of her passion
for the seismic work
that heralded
Cubism.
Diana
Widmaier
Picasso,
the artist’s
granddaughter,
with Sam Keller
KIMIYO MISHIMA
PAINTINGS AND SCULPTURES
June 8 – July 13, 2018
Malzgasse 20 4052 Basel Switzerland
mail@annemoma.com www.annemoma.com
AnnMoma_TANp_2018_OK.indd 3
Now we
know where
Damien Hirst
goes to find
inspiration
When the love
don’t last
A troupe of semi-naked performers Hirst goes potty
covered in red body paint danced
around the Messeplatz by the Do you want to own a work of art showing
entrance to Art Basel as visitors and Damien Hirst sitting on the toilet? Then head
collectors began to gather for yester- to a pop-up venue near the Liste fair, which
day’s vernissage at 4pm. But the Swiss is selling in-your-face figurines of the YBA
police were quick to react, moving squatting on the loo. The sculpture is the
along the scantily clad group as brainchild of the dealer Jérémie Jean-
they preserved their modesty Ferdinand Maret, the founder of The Pro-
using gold reflective blankets. posal gallery, who produced the pieces in a
“The police said we can’t do it,” factory near Shenzhen in China in an edition
said one of the few clothed members, of 200 (priced at $500 each). “We all look
who handed out leaflets with phrases the same on the toilet,” Maret says, adding:
including “make love”. The short-lived “It’s my body and Damien’s head, by the way.”
performance was not connected to
the Basilea installation currently dom-
inating the space outside the fair. “I
think it was something spiritual,” said
one of the Art Basel guides nearby.
The crowd seemed nonplussed, with
most visitors concentrating on the
matter at hand—getting into the fair to
see the really explicit material.
The semi-naked troupe was deemed
much too cheeky for the Messeplatz
SEMI-NAKED TROUPE, ANTOINE’S ORGAN AND PICCADILLY SHOP: JOSÉ DA SILVA. MARET, KELLER AND “ASK ME” SIGNS: GARETH HARRIS. HEFER: © DAVID OWENS; DAVID-OWENS.CO.UK
Porky Hefer gets ready for a bedtime story
Critters and confessions
The giant cuddly animals created by the
designer Porky Hefer, on the shared stand of
Kebab and a night bus the Leonardo DiCaprio Foundation, Southern
home, anyone? Guild and SFA Advisory in Design Miami/
Basel, have been turning even the most hard-
London calling OVERHEARD nosed collectors into big kids. People’s “faces
light up” and they seem to “lose control”,
says Lezanne van Heerden, the director of
Where does the director of the world’s biggest art fair chill out after VIP day? TO STEWARDS HOLDING Southern Guild, which represents Hefer.
Perhaps he quaffs champagne and slurps raw fish canapés at the Audemars
Piguet Semiconductor opening, or downs an Aperol Spritz at the Kunsthalle bar?
“ASK ME” PLACARDS: One suited-and-booted visitor “flung himself
on to” a giant polar bear. The cute critters,
“Is there a
No. Marc Spiegler was spotted lighting up the dancefloor at the trendiest party made to draw attention to their endangered
in town, hosted by 11 of Liste art fair’s hottest galleries, including Berlin’s Dan status, were the subject of a talk chaired by
Gunn, New York’s Lomex, Glasgow’s Koppe Astner and London’s Arcadia Missa. Design Miami’s chief creative officer, Rodman
McDonald’s
As Spiegler threw shapes in the cabaret-like Balz bar, surrounded by young artists Primack. But the question on everyone’s mind
and gallerists as well as some of London’s top talent-spotters (such as Sarah was whether Porky Hefer was the designer’s
McCrory, the director of the soon-to-open Goldsmiths gallery, and Simon Parris, real name. “Hefer is my real surname,” the
in the fair?”
the head of programme at the South London Gallery), one reveller remarked that designer says, admitting that his brother gave
it was like a “re-creation of Peckham in here”, referring to the trendy south London him the nickname “Porky”. “He called me
area. “Except no bar in Peckham has lightbulbs on its ceiling like this,” she added. every fat name in the book. I didn’t under-
And with people spilling into the street, drinking and smoking outside the retailer stand the [animal] theme at the time… [but]
next door called Piccadilly Shop, it really felt like a little bit of London in Basel. it’s the biggest asset I have at the moment.”
Magazine, oil on canvas, 162 x 130.5 cm (63 3⁄4 x 51 3⁄8 in.)
Transfiguration III (Detail), 1966
Phone +41 (0)61 271 71 83
26/05/2018 12:43
01172018026_HWZH_260x372_AD_ArtNewspaper_Foerg.indd 1 08.06.18 08:42
London Hong Kong New York

Carol Bove Suzan Frecon Marlene Dumas

8 June–4 August 23 May–30 June Myths & Mortals
28 April–30 June

Richard Serra
Fairs Drawings Jordan Wolfson
23 May–30 June Riverboat song

Unlimited
2 May–23 June

11–17 June
Projects by Francis Alÿs,
Carol Bove, and Fred Sandback

Art Basel
12–17 June
Booth G8

David Zwirner
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
FEATURE
Are art awards really worth
WINNING?
P
Winning a prize
rize-winners and nominees
pepper the Basel landscape
can give an artist
this year, but do their
predominantly national
accolades count for much
international on the international
market?
exposure, but the The Turner Prize, for example, which was
established in 1984 by the Tate, recognises
question of who
UK-based artists who have had an outstand-
ing display of work during the previous 12
months. The 30-year-old New Zealander Luke
really benefits— Willis Thompson, the youngest nominee
this year, has a show at the Kunsthalle Basel
critically and (until 19 August), and Lubaina Himid—who
became the oldest ever winner of the
commercially—
PHILIPSZ: REUTERS/ANDREW WINNING. POLSKA: OFFENBLEN.DE
Turner Prize last year, aged 63—has
a solo presentation in Art Basel’s
is an increasingly
Feature section, with London’s
Hollybush Gardens gallery.
“Even before her win, there
vexed one. was quite keen market interest,”
says Lisa Panting, the co-director of
the gallery, which has represented
By Gareth Harris Himid since 2013. “Prices for her
work have increased, but not hugely;
they have not doubled, although we
AUGUST 2-5, 2018
CenturyLink Field Event Center
seattleartfair.com
may have been conservative on that front [in
keeping prices deliberately low].”
The gallery is showing works from
Himid’s Negative Positives: the Guardian
Series (2007-16), in which the eponymous UK
newspaper acts as a canvas. Prices start at
£12,000. Works from the 2017 series known
as Men in Drawers begin at £30,000.
Panting says that collectors outside the
UK are familiar with the Turner Prize and
the way in which it bestows legitimacy on
artists, both critically and commercially.
Candace Worth, a New York-based art
adviser, confirms this view. The prize is
Top: the UK sound “prestigious”, she says, and on the radar of
artist Susan Philipsz “collectors who care”.
wins the Turner The Middle Eastern financier
Prize in 2010. Below, Mohammed Afkhami says: “It is important
Agnieszka Polska because… a recognised and prestigious
(centre) is awarded
the 2017 Berlin
award… vindicates your decision. [But] it
is not the determining factor, which in my
Nationalgalerie prize;
she said she should
view is the aesthetic strength of the work.”
The UK collector Christian Levett is of
have been paid for like mind, saying that “it definitely adds
the work involved to the provenance of an artist to have won
the Turner Prize or represented a country
at the Venice Biennale”. However, the
work itself—its date, quality and
exhibition and publication
history—outweighs any
related awards, he adds.
Worth states that the
Tate’s decision last year
to abolish its previous
age limit of 49 chimes
with recent trends. “It
makes sense at a time
when the market is
acknowledging the sig-
nificance of overlooked,
mid-career artists,” she
9
“Prizes are important,
but the determining
factor is the strength
of the work”
says. Worth equates the Turner Prize with
the annual MacArthur Fellows Program,
which offers “genius grants” to American
and US-based cultural figures, and the
$100,000 Hugo Boss Prize, administered by
the New York-based Solomon R. Guggenheim
Foundation. Frances Stark, who is showing a
painting installation in Art Unlimited, called
The Outsized Series: So that part of a part of
a reader can partially assimilate part of a part
of a book (2018), has been nominated for the
Hugo Boss award this year.
Artists who were involved in the Turner
Prize in its early years, however, are often a
mere footnote in the competition’s history.
The late UK sculptor Helen Chadwick was
one of the first women to be nominated, in
1987. Richard Saltoun’s London-based gallery
is showing a series of works by Chadwick in
Feature at Art Basel—but do collectors know
about her nomination? “I doubt it,” Saltoun
says. “I doubt the Basel audience will be
aware of Helen Chadwick.”
Nevertheless, the gallery is presenting
some higher-priced works by the artist, with
two pieces from Piss Flowers (1991-92) and
Wreaths to Pleasure (1992-93) available for
around $250,000 and $350,000. Smaller works
are priced from $2,000. Saltoun is one of 16
first-time exhibitors—many of them emerg-
ing and mid-sized galleries—at the fair.
CONTINUED ON PAGE 10 
 10
FEATURE
Art awards
 CONTINUED FROM PAGE 9
A recent controversy has raised the question
of whether prizes are in fact lucrative for
artists. The Berlin Nationalgalerie prize,
which takes the form of a solo
exhibition at the Hamburger Bahnhof
museum and an accompanying publication,
was mired in controversy last year, when
the four artists shortlisted said that they
should be paid for the exhibition they were
required to put together.
The prize was awarded to Agnieszka
Polska by the German culture minister,
Monika Grütters, in late October; the
three other finalists were Jumana Manna,
Iman Issa and Sol Calero. All four artists
are female, and they were all born outside
Germany. “There is an unspoken assump-
tion that the participants are likely to be
remunerated by the market as a result of
being nominated for or winning the prize,”
the artists said. “We know that this is not
always the case. The logic of artists working
for exposure feeds directly into the normal-
isation of the unregulated pay structures
ubiquitous in the art field.”
The Nationalgalerie prize, awarded
every two years to artists under 40 living
and working in Germany, is a joint venture
between the Friends of the Nationalgalerie
and the Nationalgalerie itself, which is part
of the Berlin State Museums. The Berlin
State Museums welcomed the nominees’
statement, saying that their points have
been taken seriously.
The four artists also expressed their
concern about the public focus on their
gender and national origin—and another
gender row shook the art world in Belgium
when the five nominees for the 2019 Belgian
Art Prize withdrew. The move came after
MP_TAN_W128 X H184.indd 1
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
Luke Willis Thompson’s _Human (2018) at the
Kunsthalle Basel (top). Above, Lubaina Himid
speaks after winning the Turner Prize in 2017
more than 800 people, including the inde-
pendent curator Katerina Gregos, signed an
open letter condemning the “exclusionary
shortlist” drawn up by seven judges includ-
ing Sophie Lauwers, the head of exhibitions
at Bozar in Brussels.
The row centred on the all-male shortlist
of Sven Augustijnen, Koenraad Dedobbeleer,
Gabriel Kuri and the duo of Jos de Gruyter
& Harald Thys. “The flagrant exclusivity of
this year’s candidates and the prize’s denial
BOOK YOUR TICKETS
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masterpiecefair.com
12/04/2018 10:20
Tse (2016), made from
bottle caps by the award-
winning Ghanaian artist El
Anatsui, is priced at $1.1m
with Goodman Gallery
at Art Basel this year
of not only social but also aesthetic reality,
gender being just one of its glaring discrim-
inatory categories, does not represent how
we see ourselves, or our community,” the
signatories say.
WINNERS AND LOSERS
The nominees hit back, saying that “the
all-too-rapid shift of public attention from
artistic discourse or content—let alone
merit—towards white male privilege
is frankly something that we regret”.
Consequently, the organiser of the prize,
the non-profit body La Jeune Peinture
Belge, decided not to award it in 2019. “[We]
regret that the [nominated] artists are
unable to work serenely due to the current
pressure of a social debate that does not
target them directly, but of which they are
nonetheless the victims,” its representa-
tives said in a statement.
The final word goes to an artist. At Art
Basel, a piece by Kader Attia that combines
painting and sculpture (Untitled, 2018), was
shown earlier this week with Lehmann
Maupin gallery. The French-Algerian artist
won the Prix Marcel Duchamp, France’s top
contemporary art prize, in 2016, and was
awarded this year’s Joan Miró prize by the
Fundació Joan Miró and Obra Social La Caixa.
“Prizes are welcome for an artist,
especially for someone like me, who is
radical and very critical politically,” Attia
says. “I got the Duchamp prize the day after
opening La Colonie [Attia’s space in Paris
for art and cultural activism]. I was sur-
prised; I thought the launch could have put
off the grand jury. The win did not change
me personally. What is important is never
giving up your radicalism.”
Hazlitt Holland-Hibbert
M O D E RN AN D C O N T E M P O R ARY B RIT I S H AR T
PRIZE-WINNERS AT BASEL THIS YEAR
There are plenty of works by awards, which had a noticeable
award-winners on show at the knock-on effect in terms of drum-
fair this year—a sign that prizes ming up more pointed interest
have a certain cachet. The French from collectors and museum
artist Laurent Grasso, who won curators who came to our stands
the Prix Duchamp in 2008, says: at Frieze,” she says. Hank Willis
“Such a prize is always good Thomas, who won a Guggenheim
news. Indeed, ten years later, it Fellowship for photography this
is still interesting and a topic [of year, has expanded his already
discussion].” The win continues enthusiastic collector base, par-
to boost his profile; Grasso’s ticularly at art fairs, she adds.
work is currently in a special Prix One of the biggest winners
Marcel Duchamp exhibition in appears to be the Ghanaian
China (Bridging the Gap, featuring artist El Anatsui. His work on
WILLIS THOMPSON: PHILIPP HÄNGER/KUNSTHALLE BASEL. HIMID: REUTERS/DARREN STAPLES
a selection of nominees, is at Goodman’s stand at Basel,
the Tsinghua University Art entitled Tse (2016) and made
Museum, Beijing, until 17 June). from bottle caps, is priced at
At Art Basel, Grasso is showing $1.1m. “On the eve of El Anatsui’s
new paintings related to his film first exhibition in Africa of his
project OttO (2018), with New metallic tapestries, held at the
York’s Sean Kelly Gallery. Goodman Gallery last year, he
Liza Essers, the director won the Praemium Imperiale
of the Goodman Gallery in award for sculpture. This did not
Johannesburg, says that awards go unnoticed by prominent South
can have a positive effect at fairs. African collectors,” Essers says.
“Two of our artists—Kiluanji Kia Jack Shainman gallery of New
Henda and Kapwani Kiwanga— York is also showing works by El
received the most recent Frieze Anatsui at Art Basel. G.H.
Art Basel
14–17 June 2018
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 14
IN PICTURES
Unlimited
Plastic,
plants—and
lots of gold
“I always find myself playing a
game of Tetris to create a
square that can accommodate
different works to make for a very
intuitive [presentation],” says Gianni
Jetzer, the curator of Art Basel’s
Unlimited sector, which is devoted
to large-scale works. “It’s
important for me to give
every artist the greatest
chance to be seen.” Jetzer
took us on a whistle-stop
tour of Unlimited and
chose a few highlights
from this year’s display.
Emily Sharpe
1 PAUL RAMIREZ JONAS
Alternative Facts (2017)
Galeria Nara Roesler
“This is a work I really cherish. Visitors pull a
number [as part of the installation] and wait
for [the artist or an assistant] to write down
and notarise the alternative facts they bring to
them. A coin is exchanged as a symbolic pay-
ment. The coin is then gilded, which is in itself
a symbolic act, as it may now look like gold, but
it is not. The coin is glued to the paper, which
is then notarised. It has to do with how a state
authority can produce the truth and that it is
actually a very bureaucratic and simple system
that is valid and seems to function.”
2 JOSÉ YAQUE
TUMBA ABIERTA III (2018)
Galleria Continua
“José Yaque, a Cuban artist who lives in Havana,
has created what is almost like a whisky bar but
with natural materials that one might find in a
botanist’s [laboratory]. It’s a way to encapsulate
nature. You can see the different levels of de-
composition—the live process that starts from
the plants rotting—in each bottle by looking at
the colour of the water. The sister piece was
shown at the most recent Venice Biennale.”
3 HE XIANGYU
Untitled (2018)
White Space Beijing
“It’s like an egg carton blown up to an incredible
size. Because it is a square and a wall piece, it
has a certain relationship to painting, although
it is clearly not a hand-painted canvas. The
gold leaf offers a second reference to religious
paintings, as it was often used to show the im-
portance of saints. The single egg [in the work]
is an autobiographical element because the
artist was an only child, so his socialisation and
his becoming who he is today was influenced
by Chinese policy, which meant that boys and
girls of his generation are only children. On the
wall are family photographs; one shows him
standing in Tiananmen Square as a child, eight
years after the [1989] massacre. I asked him if
he knew about it when he posed for the picture
and he said that he only found out about it in
college. It shows us a certain innocence and the
loneliness of being an only child, and how this
can have an impact on a society and on a life.”
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
1
Gianni
Jetzer
4 ANA LUPAS
Christmas trees for the years
to come (1993)
P420
“It’s great to present figures like Lupas because
she has been slightly forgotten in Europe and
hasn’t received much exposure in the US. Believe
it or not, this is the first time the piece has been
exhibited all together. The trees measure the hu-
midity in the space, so they change shape [with
changes in the humidity levels]. The installation
contradicts the archetypal reading of a tree
rooted in the earth. Instead, it’s horizontal, so it
becomes this line, almost like a three-dimension-
al drawing. Lupas has attached gold-leaf accents
and has placed a box of objects or stones with lit-
tle rings that indicate that they can be hung from
the Christmas tree. She has reinvented an iconic
symbol and made it into something different.”
BARBARA BLOOM 2
5 The Tip of the Iceberg (1991)
Galerie Gisela Capitain, in collaboration with
Galleria Raffaella Cortese and David Lewis
“This piece brings together deep space and
deep sea. The tip of the iceberg and sets of china
[stamped with the Titanic logo] allude to the sea
and [the sinking of the] Titanic, while the lunette
on the ceiling depicts objects, such as wrenches,
cameras, gloves and screwdrivers, that Nasa has
reported as being lost in space and so are pre-
sumably orbiting the earth. The walls are a deep
blue—again, a reference to the sea and sky. She
was one of the first artists from the 1980s who
staged objects in a conceptual way. In the 1970s,
much of the conceptual art was very dry.”
6 MATTHEW BARNEY
Partition (2002/2018)
Sadie Coles HQ, Gladstone Gallery
and Regen Projects
“It is a reinterpretation in plastic of a piece from
his film Cremaster 3 [2002], which was originally
made from petroleum jelly—an unstable materi-
al. It combines different elements from the film,
which was shot in the Chrysler Building—a [struc-
ture] mostly built by Irish freemason contractors
and builders. The bar is inspired by a classic Irish
bar, but part of it is twisted and crushed. It also
incorporates freemason symbols, and the pile of
potatoes refers to the Irish potato famine. It is
shown with photographs from the film.”
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018 15

4 5

6
ALL PHOTOS: © DAVID OWENS; DAVID-OWENS.CO.UK
 ART BASEL | JUNE 14–17, 2018 | HALL 2.0 STAND F12

UNLIMITED | ALBERTO BURRI: CELLOTEX | STAND U19

Alberto Burri, Combustione Plastica, 1958, Plastic, acrylic, cloth, and Vinavil on canvas, 47 1/4 x 59 1/8 in. (120 x 150 cm.)
© 2018 Artists Rights Society (ARS), New York / SIAE, Rome

INTERVIEW
Artist
Sam Gilliam:
A life
beyond
the frame
With a show of his unstretched
canvases at the Kunstmuseum Basel,
the lyrical abstractionist is enjoying a
late resurgence in popularity.
By José da Silva
“
I
’ve always listened to
everyone, from Coltrane
to Beyoncé, but not always
while I work,” says Sam
Gilliam during the installa-
tion of works for his show
at the Kunstmuseum Basel
(until 30 September), which focuses on the
period from 1967 to 1973. This is the 84-year-
old US lyrical abstractionist’s first major
European exhibition.
Although “the relation between music
and my work isn’t so direct, the structure of
jazz is important”, Gilliam says. “My Drape
paintings are never hung the same way
twice. The composition is always present,
but one must let things go, be open to
improvisation, spontaneity, what’s happen-
ing in a space while one works.”
The African-American artist embodied
the late 1960s jazz ethos in pushing his
medium to its limits, creating experimental
abstract works just like his musical heroes. In
1962, the Mississippi-born Gilliam moved to
Washington, DC, where he came into contact
with Colour Field painting. But Gilliam
took a different path from the abstract
painters of the period, peeling right back
and dismantling the starting point for most
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
painters—the canvas. In
1967, he began a series
of works called slices, or
bevelled-edge paintings,
pouring diluted acrylic
paint onto the unstretched,
unprimed canvas, then folding or
crumpling the fabric before stretching it
on a bevelled frame after the paint had dried.
He went a step further when he started
his Drape series in 1978. “That is when
he made his most radical decisions, to
completely get rid of the stretcher, to really
advance painting in a way no one had done
before,” says Josef Helfenstein, the director
of the Kunstmuseum Basel and co-curator of
the show. Almost like curtains or tapestries,
Gilliam began to hang the canvases in
corners, from the wall and ceiling.
Gilliam was “blurring completely the
territory [of painting] and widening it in
three-dimensional space, and also, in a
way, in time: these pieces have a perform-
ative component; they’re never the same,”
Helfenstein says.
The artist’s work “compares really inter-
estingly” to that of his peers and he was “not
the only one to have used canvas without
stretchers,” Helfenstein says. “At around
17
GILLIAM IN SAN FRANCISCO: ART FRESH; COURTESY OF THE SAN FRANCISCO CHRONICLE. PORTRAIT: STEPHEN FRIETCH; COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES. RONDO: COURTESY OF THE ARTIST, THE KUNSTMUSEUM BASEL AND DAVID KORDANSKY GALLERY
Sam Gilliam, pictured above in San Francisco
in 1973, was influenced by the Colour Field
artists of Washington, DC. Rondo (1971, left)
has been acquired by the Kunstmuseum Basel
the same time, Richard Tuttle started doing
this, and also some French artists from the
group Supports/Surfaces,” he says. “But it
was very different; it was still very much
in the tradition of classical painting. And
Tuttle’s works were not paintings; they were
coloured fabrics. No one had done it in this
huge architectural way that Gilliam did.”
His works from this period are often
political—a reflection of the turbulent
times in which they were made. While
Gilliam has always believed that “abstrac-
tion is as political as representation”,
some writers associated with the Black
Arts Movement of the 1960s and 1970s
disagreed, as noted by Mark Godfrey in
his catalogue essay for the recent Soul of a
Nation exhibition at London’s Tate Modern,
in which Gilliam’s work was shown. Some
writers felt that “the role and responsibility
of black artists was to create empowering
images for their people”. Further still,
black artists making abstract works were
said to be “prostrating themselves before
CONTINUED ON PAGE 18 
Christopher Wool
A New Sculpture
Through August 2018
Luhring Augustine
Bushwick, New York
 18 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018

INTERVIEW
GILLIAM AT
UNLIMITED
Gilliam is also showing a new

Artist
large-scale work, Unpainted
(2018), in the Unlimited
section of Art Basel with Los
Angeles’s David Kordansky
Gallery. “Gilliam is one of the
most important US artists of
his generation. It is long due
that he gets more international
presence,” says Unlimited’s
curator Gianni Jetzer, adding
that he is “thrilled” that Claude
Viallat—who was a key member
of the Supports/Surfaces
group and is “another master
of staging painting as three-di-
mensional installation art”—is Gilliam’s
also appearing in this year’s new piece
Unlimited. “The French and the Unpainted
American artist are the same age (2018) can
and for me they are soulmates be seen at
with different backgrounds and Art Basel
origins,” Jetzer says. J.S.

 CONTINUED FROM PAGE 17

white institutions and producing work
according to established white aesthetic
ideals”, Godfrey writes.
But Gilliam argues that “the expres-
sive act of making a mark and hanging
it in space is always political. My work is
as political as it is formal. Sometimes the
politics are foregrounded by titles. For
example, Green April (1968-70) [which is
in the Kunstmuseum show] is the largest
The show at the wildly into a new territory”, Helfenstein says.
Kunstmuseum This difficulty in categorising his work is,
Basel focuses on Helfenstein believes, one of the reasons that
Gilliam’s work from Gilliam was forgotten for so long. “It was the
1967 to 1973 time of Minimalist art, it was the late period
of Pop art, conceptual art,” which Gilliam
did not fit neatly into, either. “Now he’s
seen again in the broader historical context,
which is really the goal of our show,”
Helfenstein says.
The curator also notes that Gilliam was
who are very much focusing on African-
American art,” Helfenstein adds.
One of the major markers of a renewed
interest in Gilliam—and one that could not
be missed by visitors—was his huge work
Yves Klein Blue (2017) at last year’s Venice
Biennale. This marked the return to Venice
for Gilliam, who in 1972 became the first
African-American artist to represent the
US at the biennial when the curator Walter
Hopps invited him and five others, includ-
look at the Kunstmuseum’s collection,
like in every collection, there are gaps,” he
says. The exhibition includes the museum’s
recent acquisition, Rondo (1971).
Gilliam was very involved in hanging
the show. “These works are a little bit
site-specific, and what I find more interest-
ing is that they are kind of time-specific,”
Helfenstein says. “Depending on the space
and the place and the moment, they need to
be almost performed—you don’t just hang

KUNSTMUSEUM: JULIAN SALINAS. UNPAINTED: © DAVID OWENS; DAVID-OWENS.CO.UK

example of a suite of works responding to
the April 4, 1968 assassination of Dr Martin
Luther King Jr.”
Although “he really comes from the
Washington Colour Field group, he goes
“The expressive act of
“sidelined” as an African-American for
making abstract work that was not obviously
and figuratively political. “You could see
in that context [of the Soul of a Nation
exhibition] how unique he was; there were
very few abstract black artists at the time,”
he says.
The recent resurgence of looking at
ing Diane Arbus, to participate. “I spent
a week living in the American Pavilion,
installing my work,” the artist says.
“Showing at the entrance of the Central
Pavilion 45 years later was liberating: one’s
work is experienced more broadly; the
reading is universal rather than national.”
“The reason why I thought this show
them like most paintings.”
“It is historically very important to
document what he says about the work and
to learn how it was intended, as it has not
been shown for decades now,” Helfenstein
says. “As a curator you have a certain space
to interpret things, but it’s up to you—
because at a certain point he won’t be

making a mark and

histories of art that are not skewed towards would be especially appropriate here in around any more—to show this in a respon-
white male artists has led to a renewed Basel is because we have a well-known sible and ideal way. There is also something

hanging it in space interest in many African-American artists

who influenced today’s generation.
collection of post-war American art,”
Helfenstein says, who had come to know
very generous about it—in a way it’s like the
jazz of the time.”
is always political” Furthermore, “there are now African-
American collectors with significant means
Gilliam from his time as director of the
Menil Collection in Texas. “But when you
• The Music of Colour: Sam Gilliam, 1967-73,
Kunstmuseum Basel, until 30 September

ANSELM KIEFER
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12 MAY - 28 JULY 2018

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 Art Basel
Hall 2.0 Booth D4
Works by
Andreas Gursky, Pierre Huyghe, Anselm Kiefer,
Ragnar Kjartansson, Sherrie Levine, Glenn Ligon,
Sharon Lockhart, Paul Pfeiffer, Ed Ruscha
and more from the Broad collection.

bernard jacobson gallery Reserve free tickets at thebroad.org

28 duke street st james’s london sw1y 6ag Leading Partner

+44 (0)20 7734 3431 www.jacobsongallery.com

Henri Matisse Patitcha 1947 35 x 28 cm Image Credit: Ragnar Kjartansson, The Visitors, 2012. Nine channel HD video projection. Commissioned by the
Migros Museum für Gegenwartskunst, Zurich. The Broad Art Foundation. Photo Elísabet Davids. © Ragnar Kjartansson

ArtbaselDailies20183.indd 1 08/06/2018 12:40

 THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
GALLERIES
Anglim Gilbert Gallery San Francisco
Peter Blake Gallery Laguna Beach
Bockley Gallery Minneapolis
Bortolami New York
BorzoGallery Amsterdam
Rena Bransten Gallery San Francisco
Gavin Brown’s enterprise New York, Rome
CarrerasMugica Bilbao
Century Pictures Brooklyn
Cernuda Arte Coral Gables
Ceysson & Bénétière Paris, Saint-Étienne,
Luxembourg, New York
James Cohan New York
Corbett vs. Dempsey Chicago
Stephen Daiter Gallery Chicago
DC Moore Gallery New York
De Buck Gallery New York
Galerie Division Montréal, Toronto
Catherine Edelman Gallery Chicago
Eric Firestone Gallery East Hampton,
New York
Flowers Gallery London, New York
Tory Folliard Gallery Milwaukee
Fort Gansevoort New York
Forum Gallery New York
David Gill Gallery London
Michael Goedhuis London, New York, Beijing
Richard Gray Gallery Chicago, New York
Garth Greenan Gallery New York
GRIMM Amsterdam, New York
Kavi Gupta Chicago
Hackett Mill San Francisco
HDM Gallery Beijing, London
Richard Heller Gallery Los Angeles
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
The Hole New York
Edwynn Houk Gallery New York, Zürich
GALLERY HYUNDAI Seoul
Charlie James Gallery Los Angele
Jenkins Johnson Gallery San Francisco,
New York
Kalfayan Galleries Athens, Thessaloniki
Paul Kasmin Gallery New York
Anton Kern Gallery New York
Tina Kim Gallery New York
David Klein Gallery Detroit, Birmingham
Robert Koch Gallery San Francisco
Alan Koppel Gallery Chicago
Galerie Kornfeld Berlin
Lévy Gorvy New York, London, Shanghai
David Lewis Gallery New York
Library Street Collective Detroit
Presenting Sponsor
27–30 SEPTEMBER 2018
OPENING PREVIEW THURSDAY 27 SEPT
CHICAGO | NAVY PIER
Long-Sharp Gallery Indianapolis, New York
Galeria Javier Lopez & Fer Frances Madrid
Luhring Augustine New York, Brooklyn
Matthew Marks Gallery New York,
Los Angeles
Philip Martin Gallery Los Angeles
MARUANI MERCIER Brussels, Knokke, Paris
McCormick Gallery Chicago
Miles McEnery Gallery New York
Monique Meloche Gallery Chicago
Mendes Wood DM São Paulo, Brussels,
New York
Gallery MOMO Cape Town, Johannesburg
Nahmad Projects London
David Nolan Gallery New York
Gallery Wendi Norris San Francisco
Richard Norton Gallery Chicago
October Gallery London
Claire Oliver Gallery New York
ONE AND J. Gallery Seoul
Peres Projects Berlin
Perrotin New York, Paris, Hong Kong,
Tokyo, Seoul, Shanghai
PKM Gallery Seoul
P.P.O.W New York
Praz-Delavallade Paris, Los Angeles
R & Company New York
Roberts Projects Los Angeles
Ronchini Gallery London
rosenfeld porcini London
Royale Projects Los Angeles
Galerie RX Paris
Salon 94 New York
Georgia Scherman Projects Toronto
Vito Schnabel Gallery Engadine Valley
Eduardo Secci Contemporary Florence
Carrie Secrist Gallery Chicago
Stuart Shave / Modern Art London
William Shearburn Gallery St. Louis
Jessica Silverman Gallery San Francisco
Simoens Gallery Knokke
Sims Reed Gallery London
SmithDavidson Gallery Amsterdam, Miami
Fredric Snitzer Gallery Miami
Sous Les Etoiles Gallery New York
Stene Projects Gallery Stockholm
MARC STRAUS New York
Hollis Taggart Galleries New York
Sundaram Tagore Gallery New York,
Singapore, Hong Kong
Tandem Press Madison
TEMPLON Paris, Brussels
Vallarino Fine Art New York
Aligned with
Susanne Vielmetter Los Angeles Projects
Los Angeles
Weinstein Hammons Gallery Minneapolis
Wexler Gallery Philadelphia
Yares Art New York, Palm Springs, Santa Fe
Zolla/Lieberman Gallery Chicago
Pavel Zoubok Gallery New York
David Zwirner New York, London,
Hong Kong
EXPOSURE
Curated by Justine Ludwig
313 Art Project Seoul
Amar Gallery London
Piero Atchugarry Garzón, Miami
BEERS London London
Club Pro Los Angeles Los Angeles
Luis De Jesus Los Angeles Los Angeles
Dio Horia Athens, Mykonos
Anat Ebgi Los Angeles
Edel Assanti London
Daniel Faria Gallery Toronto
FOLD London
Fridman Gallery New York
Geary New York
Asya Geisberg Gallery New York
Grice Bench Los Angeles
MARIANE IBRAHIM Seattle
Instituto De Visión Bogotá
KANT Copenhagen
Klowden Mann Culver City
LAZY Mike Los Angeles, Moscow
Harlan Levey Projects Brussels
NINO MIER GALLERY Los Angeles,
Cologne
Moskowitz Bayse Los Angeles
Shulamit Nazarian Los Angeles
Night Gallery Los Angeles
NOME Berlin
Officine dell’lmmagine Milan
ROCKELMANN& Berlin
Romer Young Gallery San Francisco
Sapar Contemporary New York
SIM Galeria Curitiba, São Paulo
Catinca Tabacaru New York, Harare
Zalucky Contemporary Toronto
expochicago.com
PROFILE
Carbon12 Dubai
Edward Cella Art & Architecture
Los Angeles
Chambers Fine Art New York, Beijing
Derek Eller Gallery New York
Klaus von Nichtssagend Gallery
New York
Gallery Luisotti Los Angeles
Martos Gallery New York
MARUANI MERCIER Brussels,
Knokke, Paris
Galerie Barbara Thumm Berlin
EDITIONS + BOOKS
Art+Culture Projects New York
Boreas Fine Art Chicago
Candor Arts Chicago
Downtown for Democracy U.S.A.
Independent Curators International
(ICI) New York
Index Art Book Fair Mexico City
LAND (Los Angeles Nomadic Division)
Los Angeles
NFP Editions | Field Editions, Tate
Editions, Royal Academy of Arts
One, All, Every.
René Schmitt Berlin, WOL
Spudnik Press Cooperative Chicago
TASCHEN Los Angeles, New York,
Miami, London, Paris, Berlin,
Amsterdam, Milan
SPECIAL EXHIBITIONS
6018North/ 3Arts Chicago
Aperture Foundation New York
Artadia New York
Eli and Edythe Broad Art Museum
East Lansing
Chicago Artists Coalition Chicago
The Conservation Center Chicago
DePaul Art Museum Chicago
Human Rights Watch
Hyde Park Art Center Chicago
The Joyce Foundation
MOSTYN Llandudno
National YoungArts Foundation Miami
Natural Resources Defense Council
(NRDC) Chicago
ProjectArt Chicago, New York,
Los Angeles, Detroit, Miami, Pittsburgh
The School of the Art Institute
of Chicago Chicago
Threewalls Chicago
University of Chicago Department
of Visual Arts Chicago
by Lincoln Schatz
Lake Series (Lake Michigan)
I N T A R S I O / E R C O L E B A R O V I E R , 1 9 6 1 / C O U R T E S Y O F M A R C H E I R E M A N S

CALENDAR
Art Basel
Bacon and Giacometti
CAROLINE: PHOTO: ROBERT BAYER; © SUCCESSION ALBERTO GIACOMETTI/PROLITTERIS, ZURICH, 2018. RAWSTHORNE: PHOTO: © BPK/NATIONALGALERIE, STAATLICHE MUSEEN ZU BERLIN/JÖRG P. ANDERS;
© THE ESTATE OF FRANCIS BACON/PROLITTERIS, ZURICH, 2018. TÊTE D’ISABEL: FONDATION GIACOMETTI, PARIS; PHOTO: JP LAGIEWSKI; © SUCCESSION ALBERTO GIACOMETTI/PROLITTERIS, ZURICH, 2018
face off at the Beyeler
Major show explores how artists treated love and violence “in vicious ways”
Bacon and Giacometti
Fondation Beyeler
UNTIL 2 SEPTEMBER
A solo show of works by Francis
Bacon or Alberto Giacometti
alone would be enough to draw big
crowds, but the Fondation Beyeler has
upped the ante by staging a double
whammy on the two Modern masters.
The Swiss Giacometti (1901-66) and
the Dublin-born Bacon (1909-92) were
well acquainted. They first met in the
early 1960s, and were probably intro-
duced by the British painter Isabel
Rawsthorne, who was Giacometti’s
lover and a model for both artists
during different periods. Both strived
to capture Rawsthorne’s famously
alluring character—Bacon in paint
and Giacometti in sculpture.
Other similarities between the two
SOTHEBY’S INSTITUTE OF ART IS A DIVISION OF CAMBRIDGE INFORMATION GROUP
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THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
artists are presented thematically in
the exhibition, with works juxtaposed
to allow for direct comparisons. As
well as a section dedicated to pieces
modelled on Rawsthorne, themes
include the artists’ obsession with
depicting the human head; the rep-
resentation of movement in painting
and sculpture; love and violence;
and the use of cage-like structures to
create space and perspective.
Although the similarities in the
artists’ work are highlighted, striking
differences are also brought to the
fore. Giacometti’s use of grey stands
in stark contrast to Bacon’s lavish use
of colour. Both artists used distortion
in their work, but Bacon preferred a
blurring of the face; Giacometti, on
the other hand, attempted to elimi-
nate the presence of the sitter.
The show’s co-curator Ulf Küster
TEACHING
THE ART OF
COLLECTING
SINCE 1969
“Both challenged the
traditional borders
of aesthetics”
attributes these differences to
Bacon’s tendency to work from pho-
tographs, while Giacometti liked to
draw from life. “The differences and
similarities deepen the understand-
ing of the work of both artists,” he
says. Küster has organised the
100-piece exhibition with the direc-
tor of the Fondation Giacometti,
Catherine Grenier, and the Bacon
expert Michael Peppiatt.
Both men were known for their
small, chaotic studios; although
Bacon admitted very few outsiders,
Giacometti received visits from many
fellow artists. Two video projections
For Connoisseurs, Collectors
and Art World Citizens
From short courses to full-time Master’s study,
Sotheby’s Institute offers a range of educational
opportunities for those seeking an in-depth under-
standing of art history and the international art market.
SOTHEBYSINSTITUTE.COM
23
From left: Giacometti’s Listings are arranged
Caroline (1961), Bacon’s
Portrait of Isabel
alphabetically by area.
Rawsthorne Standing in Commercial galleries
a Street in Soho (1967)
and Giacometti’s study are marked ▼
of Rawsthorne, Tête
d’Isabel (1937-39)
○ Basel
Non-commercial
Artstübli
Steinentorberg 28
• Eddie Hara: This Is Not Street Art
UNTIL 30 JUNE
Ausstellungsraum Klingental
Kasernenstrasse 23
• Requiem: Artists from
Atelierhaus Klingental
UNTIL 17 JUNE
Fondation Beyeler
Baselstrasse 101
• Beyeler Collection: Nature
& Abstraction
UNTIL 12 AUGUST
• Bacon-Giacometti
that cover the walls and floor in the UNTIL 2 SEPTEMBER
final room of the exhibition recreate
these spaces, using archival photo- HeK. Haus der Elektronische
graphs overlaid with sound recordings Künste Basel (House
of the artists. Created by Christian of Electronic Arts)
Borstlap, the head of the Amsterdam Freilager-Platz 9
design studio Part of a Bigger Plan, Basel/Münchenstein
the installation “offers a fascinating • Rafael Lozano-Hemmer: Voice Theatre
insight into this personal cosmos”, UNTIL 1 JULY
according to a statement. Visitors can • Lynn Hershman Leeson: Anti-Bodies
also watch a 360-degree film of the
studios on their mobile phones.
UNTIL 5 AUGUST
The idea for the exhibition came Historisches Museum Basel/
out of a discussion between Küster
and Grenier at the 2015 Venice
Museum für Geschichte
Barfüsserplatz 7
Biennale. Although the Swiss museum • Medieval Worlds of Faith
owns important works by Bacon and
Giacometti (the museum’s founder,
UNTIL 17 NOVEMBER 2019
the renowned art dealer and collector Kunsthalle Basel
Ernst Beyeler, knew both artists per- Steinenberg 7
sonally), and has long exhibited the • Raphaela Vogel: Ultranackt
two side by side in its collection, the UNTIL 12 AUGUST
curators were surprised to find that • Luke Willis Thompson: Human
no major institution had put on such UNTIL 19 AUGUST
a comparative show.
The challenges artists faced after Kunsthaus Baselland
the Second World War prompted St Jakob-Strasse 170
different responses in Bacon and • Rossella Biscotti
Giacometti. “Both challenged • Rochelle Feinstein
traditional borders of aesthetics,” • Naama Tsabar
Küster says, “in sometimes vicious UNTIL 16 JULY
ways: Bacon more outspokenly • Vittorio Brodmann
expressive, Giacometti more inwardly UNTIL 31 DECEMBER
destructive.”
Aimee Dawson ○
Continued on p24
6/8/18 8:44 AM
 24 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018

CALENDAR
Art Basel


Continued from p23
Schweizerisches a Collaborative Installation
Kunstmuseum Basel Gegenwart Architekturmuseum UNTIL 4 AUGUST
St Alban, Rheinweg 60 Steinenberg 7
• Theaster Gates: Black Madonna • Bengal Stream: the Vibrant t John Schmid Galerie
UNTIL 21 OCTOBER Architecture Scene of Bangladesh St Alban Anlage 67
UNTIL 24 JUNE • Olaf Holzapfel
Kunstmuseum Basel Hauptbau UNTIL 4 NOVEMBER
St Alban-Graben 16 Commercial
• Metropole in Schwarz-Weiss: Paris t Laleh June Galerie
Im Spiegel der Editions Paul-Martial t Anne Mosseri-Marlio Galerie Picassoplatz 4
UNTIL 24 JUNE Malzgasse 20 • Ten Years
• Art, Money, Museum: the • Kimiyo Mishima UNTIL 28 JULY
Picasso Story, 50 Years Later UNTIL 13 JULY
UNTIL 12 AUGUST t Nicolas Krupp
• Modern Dance of the Dead t Atelier-Editions Fanal Contemporary Art
UNTIL 2 SEPTEMBER St Alban-Tal 39 Rosentalstrasse 28
• Adolf Wőlfli: Focus Paper • Karin Kappeli-von Bülow, • Raimer Jochims Gerda Steiner and Jörg Lenzlinger’s installation Floods (2011) will be restaged as part of the artists’ show
UNTIL 2 SEPTEMBER Fabienne Sylvestre UNTIL 1 SEPTEMBER
• Martha Rosler, Hito Steyerl: War Games
UNTIL 2 DECEMBER
UNTIL 12 JULY
t Stampa Swiss artists run amok at the Tinguely
• My Dear Holder! Documents from t Balzer Projects Spalenberg 2
the Archive of Carl Albert Loosli Wallstrasse 10 • Vivian Suter: Works, 1988-2018 Too Early to Panic: Gerda Steiner and Jörg Lenzlinger
UNTIL 14 OCTOBER • The End Is Where We Start From: • General Idea: Works, 1981-92 Museum Tinguely, Basel
UNTIL 23 SEPTEMBER
on Tsunamis, Nuclear Explosions UNTIL 1 SEPTEMBER
Kunstmuseum Basel Neubau and Other Fairy Tales What do tears, fitness machines, labyrinths, fertiliser crystals, secretaries, tree branches and
St Alban-Graben 20 UNTIL 21 JULY t Tony Wuethrich Galerie meteorites have in common? Nothing, normally, but in the surreal worlds that the Swiss
• Bruce Nauman: Disappearing Acts Vogesenstrasse 29 artists Gerda Steiner and Jörg Lenzlinger concoct, using natural and mass-produced objects, each
UNTIL 26 AUGUST t Büro • Bettina Scholz: Parallel Realities has a role to play. For the exhibition Too Early to Panic, the Museum Tinguely is presenting
• Maria Lassnig: Dialogues St. Johanns-Vorstadt 46 UNTIL 30 JUNE labyrinthine installations that incorporate all of these elements and many more. Nature,
UNTIL 26 AUGUST • Lynn Hershman Leeson biodiversity and transformation are key themes in the duo’s work, and the immersive
• Sam Gilliam: the Music of Colour UNTIL 17 JUNE t Vitrine Basel presentation is designed to awaken the senses and allow for the contemplation of concepts such as
UNTIL 30 SEPTEMBER Vogesenplatz growth, beauty, death and fertility—and the impact on society of the choices we make. “It’s a total
t Galerie Carzaniga • Hanae Wilke: Close Quarters work of art—a real gesamtkunstwerk,” says the exhibition’s curator, Séverine Fromaigeat, who
Museum der Kulturen Basel Gemsberg 8 + 10 UNTIL 24 JUNE worked closely with the artists on the show, which explores 25 years of Steiner and Lenzlinger’s
Münsterplatz 20 • Lorenz Spring: Works from • Jamie Fitzpatrick, Lindsey working relationship, as well as what they did separately before they became a duo. E.S.
• Secrecy: Who’s Allowed to Private Collections Mendick: Smut
Know What UNTIL 16 JUNE UNTIL 2 SEPTEMBER
UNTIL 21 APRIL 2019 Stadtmuseum Aarau WINTERTHUR Schweizerisches Landesmuseum
t Galerie Knoell t Von Bartha Schlossplatz 23 Fotomuseum Winterthur Museumstrasse 2
Museum Tinguely Luftgasslein 4 Kannenfeldplatz 6 • Peter Koehl: Carte Blanche Gruzenstrasse 44 and 45 • Swiss Press Photo 18
Paul Sacher-Anlage 1 • Konstruktiv: Vantongerloo, • Landon Metz: Feels So Right Now UNTIL 14 JUNE • Juergen Teller: Enjoy Your Life! UNTIL 1 JULY
• Gerda Steiner and Jőrg Albers, Bill, Loewensberg UNTIL 21 JULY • Network Swiss Press UNTIL 7 OCTOBER • World Press Photo
Lenzlinger: Too Early to Panic UNTIL 14 JULY UNTIL 8 JULY UNTIL 8 JULY
UNTIL 23 SEPTEMBER Kunst Raum Riehen • Multicoloured Is Life Kunstmuseum Winterthur • In Search of Style 1850-1900
• Gauri Gill: Traces t Graf & Schelble Galerie Berowergut Baselstrasse 71, Riehen UNTIL 26 AUGUST Museumstrasse 52 UNTIL 15 JULY
UNTIL 1 NOVEMBER Spalenvorstadt 14 • Louisa Clement: Language of Realities • The Female Touch: Miniature Portraits • What Does Switzerland Eat?
• Selected Works by Gallery Artists • Tim Berresheim: Smashin’ Time II BERN • Rembrandt Operates UNTIL 23 SEPTEMBER
Salts UNTIL 20 JUNE UNTIL 12 AUGUST Kornhausforum UNTIL 17 JUNE • Joggeli, Pitschi, Globi: Popular
Hauptstrasse 12, Birsfelden Kornhausplatz 18, Postfach • Occupying Spaces: Works Swiss Picture Books
• Rodrigo Hernandez: t Guillaume Daeppen • Architektur Macht Schuel: by Female Sculptors 15 JUNE-14 OCTOBER
the Gourd and the Fish Gallery for Urban Art Architekturforum Bern Vortragsreihe UNTIL 12 AUGUST
Shedhalle
 Beyond Basel
• Jumana Manna Müllheimerstrasse 144 UNTIL 26 JUNE • Ferdinand Hodler/Alberto
• Bhanu Kapil • Sergej Vutuc • Walter Studer: Photographs, 1918-86 Giacometti: a Confrontation Rote Fabrik, Seestrasse 395
UNTIL 25 AUGUST • Tadej Vaukman UNTIL 5 AUGUST UNTIL 19 AUGUST • Studio A Fantasy
UNTIL 14 JULY UNTIL 29 JULY
Schaulager France Kunsthalle Bern Kunsthalle Winterthur
Ruchfeldstrasse 19 t Hebel 121 Helvetiaplatz 1 Market Gasse 25 t Galerie Eva Presenhuber
• Bruce Nauman: Disappearing Acts Hebelstrasse 121 ALTKIRCH • Harald Szeemann: Grandfather, • Una Szeemann Maag Areal, Zahnradstrasse 21
UNTIL 26 AUGUST • Kate Shepherd/Daniel Gottin: Crac Alsace a Pioneer Like Us UNTIL 22 JULY • Doug Aitken
18, rue du Chateau UNTIL 2 AUGUST UNTIL 27 JULY
ZURICH
 SATELLITE FAIRS
• On Working and then Not Working • Harald Szeemann: Museum
UNTIL 16 SEPTEMBER of Obsessions Haus Konstruktiv t Galerie Gmurzynska,
UNTIL 2 SEPTEMBER Selnaustrasse 25 Talstrasse
MULHOUSE • Imi Knoebel Talstrasse 37
La Filature Kunstmuseum Bern • Till Velten • Christo
20 Lane Nathan Katz Hodlerstrasse 12 UNTIL 2 SEPTEMBER UNTIL 30 JUNE
• Christian Milovanoff • Gurlitt: Status Report, Nazi Art • Wifredo Lam: Nouveau
UNTIL 1 SEPTEMBER Theft and its Consequences Kunsthaus Zürich Nouveau Monde
STEINER AND LENZLINGER: © GERDA STEINER AND JÖRG LENZLINGER, 2018. BROTHERUS: © ELINA BROTHERUS; COURTESY OF THE ARTIST AND CAMARA OSCURA GALERIA DE ARTE

UNTIL 15 JULY Heimplatz 1 UNTIL 30 SEPTEMBER

Germany • Martha Stettler: an Impressionist • Magritte, Dietrich, Rousseau:
Between Bern and Paris Visionary Objectivity t Galerie Gmurzynska,
SIEGEN UNTIL 29 JULY UNTIL 8 JULY Paradeplatz
Museum für Gegenwartskunst • Fashion Drive: Extreme Talstrasse 37 and Paradeplatz 2
Unteres Schloss 1 Zentrum Paul Klee Clothing in the Visual Arts • Christo
• Remembering Landscape Monument im Fruchtland 3 UNTIL 15 JULY UNTIL 30 JUNE
UNTIL 30 SEPTEMBER • Etel Adnan
15 JUNE-7 OCTOBER Luma Westbau t Galerie Mark Müller
WEIL AM RHEIN • Cosmos Klee Lowenbraukunst Hafnerstrasse 44
Elina Brotherus’s Gelbe Musik with Sunflowers (2016, detail),
Vitra Design Museum UNTIL 28 OCTOBER Limmatstrasse 270 • Christine Streuli: Smokescreen
presented by Camara Oscura Galeria de Arte at Photo Basel
Charles-Eames-Strasse 1 • Ser Serpas UNTIL 21 JULY
Design Miami/Basel Paper Positions • Bas Princen: Image and Architecture LIESTAL • Lena Tuntunjian
Hall 1 Süd, Messe Basel Ackermannshof, UNTIL 5 AUGUST Kunsthalle Palazzo • Women’s History Museum: t Galerie Nicola von Senger
UNTIL 17 JUNE St Johanns-Vorstadt 19-12 • Night Fever: Designing Club Poststrasse 2 Her Bed Surrounded by Machines Limmatstrasse 275
UNTIL 17 JUNE Culture, 1960-Today • Spirit of Geneva: Narrative UNTIL 2 SEPTEMBER • Daniele Buetti
Frame UNTIL 9 SEPTEMBER Painting from the Geneva Area UNTIL 14 JULY
Basel Art Center, Photo Basel UNTIL 24 JUNE Museum für Gestaltung
Riehentorstrasse 31
UNTIL 17 JUNE
Volkshaus Basel, Rebgasse 12-14
UNTIL 17 JUNE
Switzerland Ausstellungsstrasse 60 t Galerie Peter Kilchmann
LUCERNE • Protest! Resistance in Posters Zahnradstrasse 21
GZ-Bazel Rhy Art Fair AARAU Kunstmuseum Luzern UNTIL 2 SEPTEMBER • Los Carpinteros: Susurro
An der Messe, Schönaustrasse 10 Rhypark, Mülhauserstrasse 17 Aargauer Kunsthaus Europaplatz 1 • Oiphorie: Atelier Oi Del Palmar
UNTIL 17 JUNE UNTIL 17 JUNE Aargauerplatz • Carnival of Animals: Works UNTIL 30 SEPTEMBER UNTIL 27 JULY
I Never Read, Art Book Fair Scope Basel • Su-Mei Tse: Nested from the Collection
Kaserne Basel, Klybeckstrasse 1b Scope Haus, Webergasse 34 UNTIL 12 AUGUST UNTIL 6 JANUARY 2019 Museum Rietberg t Hauser & Wirth
UNTIL 16 JUNE UNTIL 17 JUNE • On the Road: Ten Years of Caravan Gablerstrasse 15 Limmatstrasse 270
UNTIL 23 SEPTEMBER t Galerie Urs Meile • Monsters, Devils and Demons • Jean Dubuffet and the City
Liste Volta 14 • Pictures for Everyone: Prints and Rosenberghohe 4 UNTIL 16 SEPTEMBER • Roni Horn Wits’ End Sample:
Burgweg 15 Elsässerstrasse 215
Multiples by Thomas Huber, 1980-2018 • Meng Huang: Bo (Waves) • Bead Art from Africa Recent Drawings
UNTIL 17 JUNE UNTIL 16 JUNE
UNTIL 11 NOVEMBER UNTIL 3 AUGUST UNTIL 21 OCTOBER UNTIL 1 SEPTEMBER

 The week’s
talks and events
Unless otherwise noted, all take
place in Hall 1.1, Messe Basel
THURSDAY 14 JUNE
CONVERSATIONS
10am What Can a Biennial Do?
Forthcoming biennial directors Ralph
Rugoff (2019 Venice Biennale), Zoe
Butt (co-curator of Sharjah Biennial
14) and Eva González-Sancho,
curator (Oslo Biennale 2019) and the
researcher Shwetal Ashvin Pavel offer
tips on how to avoid biennial fatigue
and look at where biennial culture
may be headed.
2pm Blockchain and the Art World
The Berlin-based artist Simon Denny
weighs in on the current and future
impact of blockchain on art with the
founder of the blockchain company
Verisart, Robert Norton, and Kelani
Nichole, the founder of Brooklyn’s
Transfer gallery and director of the
New York co-operative collection of
media art, The Current.
5pm Ethics of Exporting
Gallery Models
The gallerists Massimo De Caro, David
Maupin of Lehmann Maupin and Liza
Essers of Goodman Gallery discuss
the use of traditional gallery models in
non-Western environments with The
Art Newspaper’s art market editor,
Anna Brady.
FILM
7pm Lynn Hershman Leeson,
Conceiving Ada
The Scottish actress and art-fair
regular Tilda Swinton plays the role of
the 19th-century English mathemati-
cian Ada Lovelace, who is thought to
be the very first computer program-
mer. A Q&A with the US artist and
film-maker will follow the screening.
Stadtkino Basel, Klostergasse 5
9pm Vertighosts: Homages to
Hitchcock’s Vertigo
Two films by Douglas Gordon and
Lynn Hershman Leeson that pay
tribute to Hitchcock’s 1958 thriller.
Stadtkino Basel, Klostergasse 5
Actress and art-fair regular Tilda
Swinton stars in Lynn Hershman
Leeson’s 1997 film Conceiving Ada
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
w
FRIDAY 15 JUNE
CONVERSATIONS
10am Society, Politics and the
Art System
Artists Lauren Bon and Ahmet Ogut
and the curator Laura Raicovich discuss
the ways in which the arts community
is supporting social change and areas in
which more can be done.
2pm Self-Construction,
Self-Governance
The architects Patti Anahory and
David Juarez, and Santiago Cirugeda,
the architect involved in the Basilea
Messeplatz project, discuss how
architecture can serve as a platform
for pubic inquiry.
Messeplatz
2pm The Impact of Data on
the Market
Josh Baer of the Baer Faxt and the
economist Clare McAndrew talk
about how transactional data is
currently affecting the art market
and what effect this data may have in
the future.
3pm Artist Talk: Lynn
Hershman Leeson
The artist and film-maker Lynn
Hershman Leeson chats with the
director of the House of Electronic
Arts, Sabine Himmelsbach, and Art
Basel film curator Maxa Zoller about
her interest in artificial intelligence
and biological progress.
4pm Sustainable City
Development: the Role of Art
Cecilia Alemani, the artistic director
of Art Basel Cities Buenos Aires, the
curator of the Kochi-Muziris Biennale
2018, Anita Dube, and the artistic
director of Public Art Munich 2018,
Joanna Warsza, discuss the arts and
healthy urban growth.
Messeplatz
5pm How to Buy Art
French dealer Philippe Charpentier of
mor charpentier, collector Monique
Burger and others discuss topics such
as trusting one’s intuition, how to
handle buyer’s remorse and the com-
mitments made when one acquire a
work of art.
FILM
8.30pm Shirin Neshat:
Looking for Oum Kulthum
A fictional film inspired by the life
of the famed Egyptian singer Oum
Kulthum, who was active throughout
the Arab world from the 1920s to the
1970s. A Q&A with the Iranian artist
will follow the screening.
Stadtkino Basel, Klostergasse 5
25
JOIN
SATURDAY 16 JUNE
CONVERSATIONS NEW YORK’S
LEADING FAIR
10am Artist Influencers
The New York-based artist Sarah Sze
tells Serpentine Galleries artistic direc-
tor Hans Ulrich Obrist how the German
artist Katharina Grosse’s work inspired
and informed her own practice.
2pm The Alberto Burri Case
The life and work of the Italian
post-war artist is explored by Bruno
Corà from the Fondazione Palazzo
Albizzini Collezione Burri, Luca
MARCH 7–10,
Massimo Barbero from the Giorgio
Cini Foundation and Philip Rylands,
the emeritus director of the Peggy
Guggenheim Collection.
5pm Starting a Collection
The Swiss collector of Chinese art Uli
2019
Sigg and the emerging art collector
Tom Kümmeke share their experi-
ences—good and bad—of assembling
an art collection.
PERFORMANCE
From 7pm Parcours Night
Performances
Multi-media presentations by artists,
including Keren Cytter, Luke Willis
Thompson and Venuri Perera, staged
at locations within the city.
On and around Münsterplatz
FILM
APPLICATION
8pm Heather Lenz: Kusama—Infinity
The documentary film-maker charts
the rise of the Japanese artist
DEADLINE JULY 11
Yayoi Kusama.
Stadtkino Basel, Klostergasse 5
SUNDAY 17 JUNE
CONVERSATIONS
1pm Techne Techno Tech
Basilea artist, dancer and electronic
music-maker Isabel Lewis talks about
the contemporary rituals associated
with gathering, with the Tate’s
international art curator Catherine
Wood and Sharjah 14 Biennial curator
Claire Tancons.
Messeplatz
2pm Different Histories,
Different Futures
Art Basel’s Unlimited curator Gianni
Jetzer and the Bulgarian artist
Nedko Solakov, who has a piece in
the Unlimited sector, discuss works
in this section and explore how by
re-examining history we can change
the future.
3pm Artist Talk: Haegue Yang
The South Korean artist and 2018
Wolfgang Hahn prize-winner discusses
her work with the director of Cologne’s
Museum Ludwig, Yilmaz Dziewior.
TAS18_Advertising.indd 161 5/17/18 5:16 PM
 26 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2018
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
“Female artists
are the heroines
of my recent
acquisitions”
What was the first piece of
art you bought?
I made my first purchases while
I was still in law school. I focused
on posters by Polish artists for
two reasons: they were within
the reach of my student pocket—
but, foremost, because during that
time the Polish School of Posters
was a widely acknowledged and
well-respected form of art.
What is the most recent
work you have bought?
I am fascinated by female artists
and they are the heroines of my
most recent acquisitions.
What is the most valuable
work in your collection?
It was, of course, a work by a
female artist. I hope that I will see
the day when, on the list of 100
top-selling artists, 50% of them
will be women. For many years,
my activity has been informed by
a 50-50 philosophy, which should
be transferred to the sphere of
male-female equality as well.
If money was no object,
what would be your dream
purchase?
My dreams often revolve around
Grazyna Kulczyk
works that are for various reasons
inaccessible but are not necessar-
ily the most expensive.
Which work in your
collection requires the most
maintenance?
Sometimes I wish I had trained as
an engineer because I would then
Deep in Switzerland’s Engadin valley, in a remote town on the ancient How did you first get into find it easier to handle kinetic art.
pilgrimage route to Santiago de Compostela, lies the future Muzeum Susch. collecting?
The contemporary art museum, scheduled to open on 2 January 2019, will The people who inspired me Which artists, dead or alive,
join a dense cluster of more than 30 cultural institutions in this corner of most during the course of my would you invite to your
the Swiss Alps. Located on the site of a 12th-century former monastery, which has been legal studies were mainly people dream dinner party?
transformed by the Swiss architects Chasper Schmidlin and Lukas Voellmy, the museum connected with art: artists and Turning this question on its head
will house the vast art collection of Grazyna Kulczyk, Poland’s richest woman. art historians. So, alongside my a little, it is actually my dream to
Kulczyk—who was married to the late billionaire industrialist Jan Kulczyk—is the core studies, I educated myself have been seated at the table of
founder of Stary Browar in Poznan, a former brewery that she turned into Poland’s on topics connected to art and Judy Chicago’s The Dinner Party
largest cultural institution. In 2015, Stary Browar, which also housed shops and then began to conduct classes [1974-79].
restaurants, was sold to a German investment company for €290m. “It was time for as a volunteer at cultural com-
the next step. For many years, I have dreamed about building a world-class museum munity centres in various small Which purchase do you
of contemporary art, and I want to dedicate myself to this goal in the coming years,” towns in Poland. This activity most regret?
Kulczyk said at the time. In addition to her museum in Susch, she also dreamed of eventually inspired me to start They say that our personality and
establishing one in Warsaw, but these plans were put on ice around the same time as building my own collection, with what we find interesting changes
Poland’s right-wing government came to power. Here, Kulczyk tells us about how she the aim of enabling and edu- every seven years. So, really, I
started collecting art while she was at law school. cating others in art, which is a would have to answer this ques-
Interview by Julia Michalska strong value I hold. tion differently every seven years.
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Baker, Anna Brady, Aimee Dawson, Alec Evans,
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McGivern, Julia Michalska, Jane Morris, Emily
Sharpe, José da Silva, Anny Shaw
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 SINCE 1707

Modern and Contemporary Art

at Dorotheum
www.dorotheum.com

Egon Schiele, Reclining Woman, 1917, price realised €2,345,000

TAN-E2_ArtNewspaper_18jun.indd 4 07.06.18 11:50

 Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas, UBS Art Collection,
© 2018, ProLitteris, Zurich

How do I see the

bigger picture?
For some of life’s questions, you’re not alone.
Together we can find an answer.

ubs.com/art

© UBS 2018. All rights reserved.

poster_260x372.indd 1 23/05/2018 11:04