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UMBERTO ALLEMANDI & CO. PUBLISHING
LONDON NEW YORK TURIN MOSCOW PARIS ATHENS
A RT BA S E L M I A M I BEAC H DAILY ED ITION 7 DECEMBER 2012
Vanity, vanity… or the
ultimate commission?
No longer limited to oil on canvas, artists are challenging the conventions of portraiture
MURAKAMI: © VANESSA RUIZ. WARHOL: © WILLIAM JOHN KENNEDY, 2012; COURTESY OF KIWIARTSGROUP.COM
PHOTOGRAPHY
Street cred: Takashi Murakami’s commissioned portrait of the graffiti artist Kaws at Galerie Perrotin (G6)
fashion designer Diane von Fürstenberg dominates an outside wall of
Lisson Gallery’s stand (J1). Opie’s
method is to make a series of portraits, with sitters able to choose as
through the artist’s personal approach. But many of today’s artists
are pushing back the boundaries of
the genre. Tobias Rehberger has
been making portraits in the form
“Commissioning a radical artist shows you are
progressive and innovative—and gets you the
respect of the most innovative creators around”
few or as many as they like; the
others go onto the market. Prices
range from £40,000 to £80,000.
These examples are figurative
depictions of the sitter, filtered
The collector sitting for 12 portraits (so far)
If sitting for one portrait is gruelling, sitting for a dozen
must really be a test of patience and stamina.
Nonetheless, the Manila-based property magnate
Robbie Antonio (left) is up for the task at hand, having
commissioned 12 artists so far. The artists Kenny Scharf,
Marilyn Minter, David LaChapelle and Julian Opie have
all captured Antonio, who now hopes to work with
Takashi Murakami on a new commission. The works
will go on show next year. “I wanted to work with
artists I like, to see how they interpret me. I want to be seen in their eyes.
But these portraits also reflect the DNA of the artist,” Antonio says. “I want
to take this series to an extreme level.” Is he worried that he will be called
narcissistic? “George Condo can paint me looking ugly,” he says. G.H.
of sculptural flowers in vases, an
ongoing series that he began in
1996 (neugerriemschneider, C15,
€20,000 each); the Puerto Rican collector César Reyes is among his patrons. The French artist Dominique
Gonzalez-Foerster made a group
“portrait” of her friend, the collector
Andy Stillpass, and his family, in
the form of a clothes line hung with
articles of white clothing taken from
their cupboards. (The artist is represented by 303 Gallery; G5.) The
British artist Tracey Emin has made
neon “portraits” based on the sitter’s
answers to a questionnaire. According to her gallery, she will still occasionally make new works for
“closely vetted” subjects (Lehmann
Maupin, K15; around £60,000).
“The choice of artist and the
manner in which you are portrayed
DESIGN MASTERS
AUCTION
Limited-edition
portfolio of portraits
goes on sale
Miami. The Andy Warhol Museum,
Pittsburgh, is launching its first limited-edition portfolio of photographs
this week in Miami Beach; the private event is due to take place at
the former Versace mansion today.
The box set, which costs $40,000,
comes in an edition of 50 and comprises five signed photographs of
Warhol taken by William John
Kennedy in 1964. The two artists
met the year before, when Kennedy
was an aspiring photographer. “He
was a strikingly handsome young
man, and his talents and looks were
enough to keep him of interest to
Warhol,” says Eric Shiner, the director of the Warhol museum. “They
developed a friendship and he was
able to capture a side of Andy that
few people knew.”
The five works have been selected
from 100 signed and numbered photographs from the Kennedy archives
TRENDS
Miami. Having your portrait painted
by a famous artist must be the ultimate form of possession: it is about
you, but seen through the artist’s
eye. It is about entering into what
can be a very intimate relationship—think Lucian Freud and many
of his models. It is about owning a
work of art that may, one day, transcend your own lifetime and live
on as part of art history.
Although portraiture is as old as
history itself, today’s artists are
changing the rules of the game, and
the Art Basel Miami Beach week offers an array of examples of just
how far artists depicting sitters are
prepared to go in their use of technology and in stretching the limits
of taste and acceptability.
One example at the fair can be
found at Galerie Perrotin (G6). The
Japanese superstar artist Takashi Murakami is taking a leaf from Warhol’s
book and offering commissioned portraits, made from a photograph and
available in a number of formats
and sizes. Sitters supply a favourite
photograph, are Skyped or go into
the studio, and the resulting image
is superimposed on a typical Murakami background of happy smiley
flower faces in candy colours. “We
have had a number of commissions
already, and we are particularly happy
that one is from someone who also
commissioned a portrait from Andy
Warhol,” says Emmanuel Perrotin,
the gallery’s owner. Prices start at
$70,000. Murakami keeps one copy
as a proof for himself and the other
goes to the sitter.
The artist Julian Opie also makes
portraits, and a work depicting the
When Warhol
met William
11 DECEMBER 2012
PHILLIPSDEPURY.COM
NEW YORK
is just as much an indicator of status
today as it was in the past,” says
Louisa Buck, the author of the recently released Commissioning Contemporary Art: a Handbook for Curators,
Collectors and Artists (Thames & Hudson) and a regular contributor to
The Art Newspaper. “But commissioning a radical artist shows you are
progressive and innovative—and
gets you the respect of the most
innovative creators around.”
Pilar Corrias Gallery (N34) is
showing a series of highly explicit
portraits by Leigh Ledare, commissioned by a prominent New Yorker
whose face is obscured (her name
is even redacted in the contract).
The sitter approached Ledare after
being inspired by a series in which
the artist photographed his mother
in a variety of pornographic poses.
The sessions for this series, “Untitled”, took place over seven days in
the sitter’s apartment; the resulting
images were superimposed on
silkscreened front pages of the New
York Times. The agreement with the
artist was that he could make, and
sell, an edition of 16 ($15,000).
Georgina Adam
• For an interview with César Reyes,
see p9
Sales of Kennedy’s work will benefit
artist, museum and publisher
that will be given to the museum
early next year by the Kiwi Arts
Group, the publisher that represents
Kennedy. “They approached us, and
as soon as we saw the photographs
we were blown away, so we started
discussions about how to use them
as a new source of funding for the
museum,” Shiner says, adding that
the artist will receive 10% of the
gross profits, with the net profits
split between the museum (60%) and
Kiwi (40%). Shiner hopes the museum
will produce other limited-edition
works. “I prefer this model to the
silent auction or charity fundraising
event—this way, the artist gets recompense as well,” he says.
Charlotte Burns
2
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
NEW
NEWS
All-American design out in force
Collectors arrived to find 13 newcomers to Design Miami and a strong US and French presence
FAIR REPORT
Download the
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Chairs by Charles and Ray Eames on Mark McDonald’s stand
signer Wendell Castle, considered a
leading figure in handcrafted Modern
furniture, was spotted at Moderne’s
stand. One of his pieces, a wooden
lamp from 1970, sold for $450,000 at
R 20th Century’s stand. “We could
have sold the work several times
over,” said Evan Snyderman of the
New York-based gallery. However,
Dealers are seeing an
increase in collectors
from the ABMB fair
another US dealer, Mark McDonald
of the eponymous Hudson-based
gallery, said on the second day of
the fair that “sales were not as good
as last year”. Nevertheless, he sold a
1958 aluminium group chair by the
designers Charles and Ray Eames.
The piece, priced at $8,500, was
bought by a French foundation.
Although US dealers were making
their presence felt, French galleries
remain at the heart of the fair. Sales
were strong at Galerie Patrick Seguin,
which is showing works made by Le
Corbusier and his cousin, Pierre Jeanneret, for a 1950s project in Chandigarh, India. A sofa set sold for
$115,000 to a Swiss collector, and a
US collector bought a banquette for
$65,000. Galerie Jacques Lacoste, participating in the fair’s Miami edition
for the first time, sold a pair of egg
chairs, 1950, by Jean Royère to a
North American buyer. The pair was
priced at $140,000.
Tapping into a new client base
was a priority for this year’s new-
Online special offer for design
Miami. The online art database Art.sy
has teamed up with Design Miami.
The online resource has invited participating galleries to upload images
of works; around 400 pieces were
available online when the fair
opened earlier this week. Sebastian
Cwilich, the president of Art.sy, says
that “dealers have the option on a
per-work basis to decide what users
can do, ranging from making enquiries to making offers [and] buying
works outright”. Dealers, however,
were lukewarm about the initiative.
“It works as a promotional tool but
it will take time to generate sales,”
said a US gallerist who asked to remain anonymous. Meanwhile, the
Arco Madrid fair has joined forces
with the online auction house
Paddle8 to sell works before and
during its next edition (13-17 February
2013). Works costing less than €5,000
will be available from 1 February
on Paddle8 and early buyers will receive free entry to the fair. R.P.
Correction
• In our daily edition published on Wednesday 5 December (p16), the
book In My View: Personal Reflections on Art by Today’s Artists was reviewed by
Ben Eastham—not Eastman, as stated.
Design Miami /Basel on the move
The Swiss edition of Design Miami is due to move to a new Herzog & de
Meuron-designed space in Basel’s exhibition complex next summer
(above, rendering). “While Hall 5 is a striking exhibition space with a
strong character, space is limited. The new hall will allow [the fair] to
develop [its] gallery programme as well as site-specific projects,” says
Marianne Goebl, the fair’s director. René Kamm, the chief executive of
the MCH Group, which owns the exhibition complex and is a shareholder
in the fair, says: “This infrastructure will make it possible to keep these
shows in Basel and ensure their successful further development.” R.P.
EAMES: © VANESSA RUIZ
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Miami. For collectors and dealers of
Modern and contemporary design,
Design Miami, now in its eighth edition, has a pivotal position on the
burgeoning fair circuit. Located in a
tent in the car park next to the convention centre during Art Basel Miami
Beach (ABMB), the design fair is getting bigger; the number of galleries—
predominantly from Europe and the
US—increased from 23 in 2010 to 28
in 2011, with 36 galleries exhibiting
at this edition. Thirteen galleries are
new to Design Miami this year.
Moderne Gallery is one such newcomer. “We have seen a completely
different clientele here,” said Robert
Aibel of the Philadelphia-based
gallery. “There have been a handful
of New York collectors and many
buyers from Miami and South America,” he said. Works available at his
stand are mainly by figures from
the American Studio Craft movement. By the second day of the fair,
the gallery had sold a 1977 black
walnut rocking chair by Sam Maloof
and a 1964 bench by George
Nakashima. Aibel declined to disclose sale prices, but a 1981 coffee
table by Nakashima in French olive
ash burr was still available for
$50,000. “The market for American
Studio Craft is driven primarily by
US buyers, but Nakashima is in demand worldwide,” he said.
The Kansas-born octogenarian de-
comers. The Cologne-based dealer
Gabrielle Ammann said that even
though sales were patchy, she had
met important collectors and curators, including Jane Adlin, the associate curator of design and architecture at New York’s Metropolitan
Museum of Art. Michael Govan, the
director of the Los Angeles County
Museum of Art, was seen at Mark
McDonald’s stand. The millionaire
publisher Peter Brant and the New
York art collector Aby Rosen were
seen wandering the aisles, and the
musician Kanye West and the actor
Will Farrell were also spotted.
Meanwhile, dealers emphasised
that increasing numbers of collectors
visiting ABMB are also attending
Design Miami. This crossover may
be because pieces by high-profile
artists not usually linked with the
design sector are being shown at
the design fair. For example, ceramic
ashtrays by the US artist Sterling
Ruby are on sale at Galerie Pierre
Marie Giraud of Brussels, priced between $4,000 and $10,000. Milan’s
Nilufar gallery is offering a set of
chairs depicting the shape of the
Caribbean sea by the artist Michelangelo Pistoletto and the designer Juan
Sandoval (2009, around €130,000).
Furniture appropriated by Robert
Loughlin, a doyen of the 1980s East
Village art scene in New York, can
be found at Johnson Trading Gallery
at Design Miami and at the Regina
gallery (A15) at ABMB.
Gareth Harris and Riah Pryor
HAUNCH OF VENISON
LONDON
103 New Bond Street
London W1S 1ST
United Kingdom
T +44 (0)20 7495 5050
F +44 (0)20 7495 4050
london@haunchofvenison.com
www.haunchofvenison.com
Patricia
Piccinini
.....................................
Those who
dream by night
28 November 2012 – 12 January 2013
Patricia Piccinini,
The Carrier, 2012
Fibreglass, silicone,
human hair, clothing
170 × 115 × 75 cm
4
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
NEWS ANALYSIS
VIP passes for ABMB
at the ready. Below,
Marc Spiegler, the
director of Art Basel
Anatomy of an art fair:
how the sums add up
VIPs, as well as the posters and PR
needed to bring visitors and galleries
to the fair. These costs are rising as
visitors become more discerning.
“The days when an art fair was just
a flea market on steroids are over.
Now everything has to be of a high
standard,” Spiegler says.
For the established fairs, there
are essentially three income streams
to balance costs: fees paid by the
exhibiting galleries make the biggest
contribution, followed by sponsorship and then ticket sales. Organisers
are, again, tight-lipped about the
exact numbers, but galleries showing
at Art Basel Miami Beach pay $685
a basic wall structure, technology
and lighting are included.
Sponsorship is the other important income stream for art fairs,
and for those with big-name banks
in tow, this can mean nearly $1m a
fair from the main sponsor alone.
Other supporters, such as those who
provide cars or hotel rooms for VIPs,
offer more of a “payment in kind”
service—one VIP car can be worth
more than $1,000 once the drivers,
fuel, parking and other costs are
taken into account, so this can be a
more useful form of sponsorship
for all involved. As well as its main
sponsor, UBS, Art Basel Miami Beach
“The days when an art fair was just a flea
market on steroids are over”
per sq. m, so with an average stand
size of 80 sq. m in the main fair,
the total income from the 200 exhibitors equates to nearly $11m. (At
Frieze, the cost per sq. m is higher
but the average stand size is smaller,
so it pretty much evens out.) The
fee includes “certain services and
build out of the stand”, says a spokeswoman for Art Basel, meaning that
lists 18 other “sponsors and partners”, including BMW, the Raleigh
Hotel and Ruinart champagne.
The amount raised by ticket sales
is difficult to gauge as it depends
on how many visitors actually pay
to get into the fair (and to what extent these visitor numbers are massaged). But if half of the expected
50,000 visitors to Art Basel Miami
untitled, 2010 © 2012 Joel Shapiro / Artists Rights Society (ARS), New York
Miami. Although it is notoriously
pricey for galleries to attend major
art fairs such as Art Basel Miami
Beach, with dealers moaning variously about the cost of stands, travel
and transport, little attention has
been paid to what has to be forked
out by the fairs themselves.
No official numbers are given for
the cost of running an art fair, but
the major outlay is on venue hire,
plus labour, and marketing. For the
established fairs, the venue can set
them back a good $500,000 before
any kitting out (walls, lighting, signage) has begun, and then there are
the labour costs to consider (in Miami,
these are relatively high). “One way
or another, it’s an expensive proposition to build the show,” says Marc
Spiegler, the director of Art Basel.
Marketing costs are the most
elastic. “They can be as little or as
much as you want,” says Tim
Etchells, the co-founder of Art13
(which launches in London next
year) and one of the original
founders of ArtHK. Excluding other
overheads, such as staff salaries,
these tend to account for at least
25% of fairs’ expenditure budgets,
and include servicing the needs of
)VV[O*/HSS+LJLTILY¶ Beach were paying this year’s fullprice day charge of $42, then that
equates to another $1m in the fair
organisers’ coffers.
For the satellite fairs (of which
there are again nearly 20 in Miami
this year), the marketing
spend comes in lower, as
they are partly riding
on the coat-tails of
the main events.
Spiegler says Art
Basel has “dozens
of people working
around the world
to bring collectors
and exhibitors to
the show”—something the surrounding
fairs don’t need to do. Perhaps this is one reason why so
many satellite fairs seem to survive,
while regional events appear to be
more fragile.
The smaller events are run with
less money, though, so they are more
vulnerable to the slings and arrows
of each year’s edition. “We’re not
making a quick buck; it’s a massively
capital-intensive exercise,” says Cornell DeWitt, the director of Pulse
(the Ice Palace, 1400 North Miami
Avenue, until 9 December). He says
that his event, also held in New York
in May, is profitable, but this can
change “from fair to fair”. The added
insecurity for satellite fairs is finding
a regular venue. This year, Art Asia
Miami and Scope (both until
9 December) have moved
from Wynwood to 36th
Street in midtown Miami. “There are
around half a
dozen new fairs in
Miami every year,
so we’ve had to
work carefully to
get a long-term
lease,” DeWitt says.
The bottom line is
that once a fair is deemed
a success, organisers can manage the costs and income to their
advantage. Etchells, who sold ArtHK
to Art Basel in 2011, says fairs are
generally managed to make a profit
in their second or third year. “You
expect to lose money in the first
year [to build the brand],” he says.
“The challenge is not to invest so
much in this phase that you can’t
pay it back.”
Melanie Gerlis
FAIR: © VANESSA RUIZ
Staging a major art event is pricey, but the income more than compensates
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INTERNATIONAL CONTEMPORARY + MODERN ART FAIR
INTERNATIONAL EMERGING + CUTTING EDGE ART FAIR
ART MIAMI PARTICIPATING GALLERIES:
101 / Exhibit | Miami Abby M. Taylor Fine Art | Greenwich Adrian Sassoon | London Alan Cristea Gallery | London Aldo de Sousa Gallery | Buenos Aires Alfredo Ginocchio | Mexico Allan
Stone Gallery | New York Alpha Gallery | Boston Antoine Helwaser | New York Arcature Fine Art | Palm Beach Armand Bartos Fine Art | New York Art Forum Ute Barth | Zurich Art Nouveau
Gallery | Miami Arthur Roger Gallery | New Orleans Ascaso Gallery | Miami Barry Friedman | New York Blue Leaf Gallery | Dublin Bolsa De Arte | Porto Alegre Bridgette Mayer Gallery |
Philadelphia C. Grimaldis Gallery | Baltimore Catherine Edelman | Chicago Cernuda Arte | Coral Gables Christopher Cutts Gallery | Toronto Claire Oliver Gallery | New York CONNERSMITH. |
Washington, DC Contessa Gallery | Cleveland Cynthia Corbett Gallery | London Cynthia-Reeves | New York Dai Ichi Arts, Ltd. | New York David Klein Gallery | Birmingham David Lusk Gallery
| Memphis David Richard Gallery | Santa Fe De Buck Gallery | New York Dean Project | New York Denise Bibro Fine Art | New York DeVera.Iglesias | Miami Dillon Gallery | New York Dot
Fiftyone Gallery | Miami Douglas Dawson | Chicago Durban Segnini Gallery | Miami Durham Press | Durham Eckert Fine Art | Millerton Eli Klein Fine Art | New York Evelyn Aimis Fine Art
| Miami Fama Gallery | Verona Ferrin Gallery | Pittsfield Galería Patricia Ready | Santiago Galerie Forsblom | Helsinki Galerie Kleindienst | Leipzig Galerie Olivier Waltman | Paris Galerie
Peter Zimmermann | Mannhein Galerie Renate Bender | Munich Galerie Terminus | Munich Galerie Von Braunbehrens | Munich Galleri Andersson/Sandstrom | Stockholm Galleria Bianconi |
Milan Galleria D’Arte Contini | Venice Goya Contemporary | Baltimore Hackelbury Fine Art | London Haunch of Venison | New York Heller Gallery | New York Hollis Taggart Galleries | New
York Jackson Fine Art | Atlanta James Barron Art | South Kent Jenkins Johnson Gallery | New York Jerald Melberg Gallery | Charlotte JGM. Galerie | Paris Jim Kempner Fine Art | New
York Joel Soroka Gallery | Aspen Juan Ruiz Gallery | Miami June Kelly Gallery | New York KM Fine Arts | Chicago Kreisler Art Gallery | Madrid Lausberg Contemporary | Düsseldorf Leila
Heller Gallery | New York Leon Tovar Gallery | New York Leslie Sacks Contemporary | Santa Monica Leslie Smith Gallery | Amsterdam Lisa Sette Gallery | Scottsdale Lyons Wier Gallery |
New York Magnan Metz Gallery | New York Mark Borghi Fine Art Inc | New York Mayoral Galeria D’Art | Barcelona McCormick Gallery | Chicago Michael Goedhuis | London Michael Schultz
Gallery | Berlin Mike Weiss Gallery | New York Mindy Solomon Gallery | St. Petersburg Modernbook Gallery | San Francisco Modernism Inc. | San Francisco Nancy Hoffman Gallery | New
York Nicholas Metivier Gallery | Toronto Nikola Rukaj Gallery | Toronto Nohra Haime Gallery | New York Now Contemporary | Miami Olyvia Fine Art | London Osborne Samuel | London Pace
Prints | New York Pan American Art Projects | Miami Paul Thiebaud Gallery | San Francisco Peter Fetterman Gallery | Santa Monica Piece Unique | Paris Priveekollektie Contemporary Art &
Design | Heusden Rosenbaum Contemporary | Boca Raton Rudolf Budja Gallery LLC | Miami Santa Giustina | Lucca Schantz Galleries | Stockbridge Schuebbe Projects | Düsseldorf Scott
White Contemporary Art | La Jolla Shaheen Modern and Contemporary Art | Cleveland Simon Capstick-Dale Fine Art | New York Sundaram Tagore | New York Talento / Guijarro de Pablo
| Mexico City Tresart | Coral Gables Unix Contemporary | London Vincent Vallarino Fine Art | New York Waterhouse & Dodd | London Westwood Gallery | New York Wetterling Gallery |
Stockholm William Shearburn Gallery | St. Louis Woolff Gallery | London Yares Art Projects | Santa Fe Zadok Gallery | Miami Zolla/Lieberman Gallery Inc. | Chicago
CONTEXT ART MIAMI PARTICIPATING GALLERIES:
AJLart | Berlin Asymmetrik | New York Atlas Gallery | London Aureus Contemporary | Providence Bankrobber | London Berlin Lounge by LVBG | Berlin Beth Urdang Gallery | Boston Black
Square Gallery | Miami Cancio Contemporary | Bal Harbour Centro De Edicion | San Martin ClampArt | New York CONNERSMITH. | Washington, DC Contemporary by Angela Li | Hong
Kong Curator’s Office | Washington, DC Da Xiang Art Space | Taiwan Dialogue Space Gallery | Beijing Dmitriy Semenov Gallery | Saint-Petersburg Fabien Castanier Gallery | Studio City Frederieke
Taylor Gallery | New York FREIGHT + VOLUME | New York Gaga Gallery | Seoul Galeria Enrique Guerrero | Mexico City Galeria Sicart | Barcelona Galerie cubus-m | Berlin Galerie Kornfeld
| Berlin Galerie Leroyer | Montreal Galerie Paris - Beijing | Paris Galerie Richard | Paris Gering & Lopéz Gallery | New York Glaz Gallery | Moscow J. Cacciola Gallery | New York Jennifer
Kostuik Gallery | Vancouver Kasia Kay Art Projects | Chicago Kavachnina Contemporary | Miami Kit Schulte Contemporary Art | Berlin Kunst Limited | San Jose Licht Feld | Basel Lyle
O. Reitzel Gallery | Santo Domingo Lyons Wier Gallery | New York Magnan Metz Gallery | New York Marcia Wood Gallery | Atlanta The McLoughlin Gallery | San Francisco Merry Karnowsky
Gallery | Los Angeles Morgen Contemporary | Berlin Nina Menocal Gallery | Mexico N O M A D Gallery | Brussels Packer Schopf Gallery | Chicago Patricia Conde Galería | Mexico City Praxis
International Art | New York Robert Klein Gallery | Boston Robert Mann Gallery | New York Swedish Photography | Berlin Traeger & Pinto Arte Contemporaneo | Mexico The Proposition | New
York Torbandena | Trieste Varnish Fine Art | San Francisco Villa del Arte galleries | Barcelona White Room Art System | Positano Witzenhausen Gallery | Amsterdam z2o Galleria | Sara Zanin
| Rome Zadok Gallery | Miami Zemack Contemporary Art Gallery | Tel Aviv zone B | Berlin 532 Gallery Thomas Jaeckel | New York
ART MIAMI + CONTEXT ART MIAMI 2012 | EVENT SCHEDULE
TUESDAY, DEC. 4 - SUNDAY, DEC. 9, 2012 - DURING FAIR HOURS
Art Video | New Media Lounge
Video Program: Girls or Boys? Who Cares?!
The Art Video | New Media Lounge, located in the CONTEXT Art Miami Pavilion,
will showcase a carefully selected group of works sourced from museums, private
collections and art institutions across Europe and the United States. The program is
curated by Julia Draganovic, and Claudia Loffelholz, fouders of LaRete Art Projects.
“Boys or girls? Who cares?!” presents a series of video art works approaching the
polemic gender issues in modern society, and questioning the ongoing debate about
the current roles of men and women.
Video art works include:
Said Atabekov’s Battle for the Square, courtesy of Videoinsight, Turin; Gerald Byrne’s
Homme à Femmes (Michel Debrane), courtesy of Mudam Musèe d’Art Moderne du
Grand-Duc Jean, Luxemburg; Eli Cortiñas’s Dial M for Mother, courtesy of Stiftung
Museum Kunstpalast, Düsseldorf; Oded Hirsch’s 50 Blue, courtesy of Collection
Robert Bielecki, New York; Janet Biggs’ Brightness All Around, courtesy of Tampa
Museum of Art, Tampa (FL), and Carlson/Strom’s Sloss, Kerr, Rosenberg & Moore,
courtesy of Contemporary Collection of Museum of Fine Arts, Boston, USA
BANKSY Out of CONTEXT
CONTEXT Art Miami and photo-sharing platform I PXL U have partnered to exhibit
five walls equaling six-and-a-half-tons in weight, each displaying an iconic stencil by
one of the world’s most prominent graffiti artists.
Sugar & Gomorrah
Peter Anton’s experiential “Sugar & Gomorrah” is the world’s first art installation in
which the viewer journeys in a reworked carnival ride through a modern interpretation
of the destruction of a Sodom and Gomorrah-like world. Attendees will be able to
enjoy the ride as part of the outdoor exhibition area.
Soul of Seoul
Curated by Bernice Steinbaum, this exhibition explores the essence of Korean
artistic sensibility - the commingling of daily life and nature. The exhibition features
an extraordinary range of works that include contemporary art, ceramics, traditional
silver services, hand carved chests and informal modeling of the traditional Korean
dress, the “Hanbok”. An intuitive and innate wisdom and serenity flows from the
natural world to the Korean people and this relationship is prominently seen in the
work of Korea’s most accomplished artists.
LOCATION:
Midtown Miami I Wynwood, 3101 NE 1st Avenue, Miami, FL 33137
PARKING:
Valet and general parking directly across the street from the fair.
DIRECTIONS FROM CONVENTION CENTER:
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UÊ/ÕÀ˜ÊÀˆ}…ÌÊ>Ìʏ̜˜Ê,`ÊVœÕ˜Ìˆ˜Õiʜ˜ÊÌœ˜Ê,`ÊUÊiÀ}iʜ˜Ê̜ʇ£™xÊ7
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SHUTTLE BUS SERVICE:
Wednesday 12/5 – Saturday 12/08 | 12:00 PM - 7:00 PM
Miami Beach Convention Center (17th and Washington) to/from Art Miami
>ÃÌÊÅÕÌ̏iʏi>ÛiÃÊÀÌʈ>“ˆÊÈ\ääÊ*Ê`>ˆÞ°Ê-iÀۈViÊi˜`ÃÊÇ\ää*°
Sunday 12/09 | 12:30 PM - 6:00PM: >ÃÌÊÅÕÌ̏iʏi>ÛiÃÊÀÌʈ>“ˆÊx\ääÊ*Ê`>ˆÞ°Ê
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Wednesday, December 5,. . . . . .11am - 7pm
/…ÕÀÃ`>Þ]ÊiVi“LiÀÊÈ] . . . . . . .11am - 7pm
Friday, December 7, . . . . . . . . . .££>“ʇʙ«“Ê
Saturday, December 8, . . . . . . . .11am - 7pm
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6
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
FEATURE
Dividing the critics:
Luke Fowler’s All
Divided Selves, 2011
We’re in it for
the long haul
T
he strains of one of
Mozart’s most memorable arias will fill
the air of the
SoundScape Park
tomorrow night.
Ragnar Kjartansson’s 12-hour film
Bliss (2012) captures the Icelandic
artist’s performance at last year’s
Performa biennial in New York, in
which a Rococo-costumed company and full orchestra repeat a
two-minute section of the
crescendo of “The Marriage of
Figaro” for half a day, an absurd
yet compelling fusion of theatrical
grandeur of opera and the tough
endurance of performance art.
“I was very keen to include
such a long work and see how it
unfolds and is experienced by the
audience in this context,” says
David Gryn, the curator of the Art
Video section of Art Basel Miami
Beach (ABMB).
At 12 hours, Kjartansson’s work
is an extreme example of an
increasingly prevalent phenomenon—and one that is prompting
significant debate.
The presence in this year’s
Turner Prize exhibition of All
Divided Selves, Luke Fowler’s 93minute film about the maverick
psychiatrist R.D. Laing, provoked a
strong response from UK critics.
As the contemporary art critic at
the London Evening Standard, I
wrote that Fowler’s work was the
strongest in this year’s exhibition
but many fellow critics disagreed.
In the Sunday Times, Waldemar
Januszczak wrote that Fowler’s
film is “tedious beyond words and,
frankly, an insult to the word ‘art’.
I did not become an art critic to
watch 93-minute films in the dark.
That is [the film critic] Cosmo
Landesman’s job. In a cinema.”
Despite Januszczak’s reservations, the presence of long-form
film and video in galleries seems
unlikely to be temporary—Tate
Modern’s Tanks are exclusively
dedicated to film, performance
and installation, and the Whitney
Museum of American Art’s new
building will include a film and
video gallery and a cinema.
Chrissie Iles, a curator at the
Whitney and a specialist in film
and video, links the phenomenon
to performance art’s increasing
prominence, identifying a sea
change in museums’ responses to
time-based media. “People want
the direct experience of watching
a movie or seeing a performance,
and the museum has started to
take this on,” she says. As movies
become commercialised, easily
In the loop: Bliss at Performa 2011
(top), by Ragnar Kjartansson (above)
downloadable and consumed at
home, what artists are doing, she
says, “is almost reclaiming the cinematic experience for themselves
and building it inside the
museum, because you very rarely
get it in the cinema any more”.
Artists are “filling a void”, Iles
says, using the unique conditions
of galleries to push the visual and
spatial qualities of film. “Part of
the reason for the long length is
that they are interested in something other than telling a story in
a conventional entertainment format. Another reason is that the
museum is open for eight hours—
the cinema only comes alive for
two hours or four hours a night.”
The emphasis on duration also
owes much to earlier works such
as Andy Warhol’s Empire, 1964, an
eight-hour film featuring a static
shot of the Empire State Building,
and Douglas Gordon’s 24 Hour
Psycho, 1993, in which he slowed
Hitchcock’s thriller down so that it
ran over the course of a day, Iles
says. Both encouraged viewers to
enter and leave at will, rather than
following a conventional narrative
cinematic approach. But many
artists prefer to have timed entries
to their films to ensure the work is
experienced in its best light, even
if they too eschew traditional narrative structures—Fowler’s diffuse,
impressionistic All Divided Selves,
for instance, has timed showings.
Robin Klassnik, a pioneer in
showing film and video, who has
run Matt’s Gallery in east London
for more than 30 years, argues
that showing some films with
timed entries is a better approach.
Ben Rivers showed his 21-minute
film Sack Barrow, 2011, at the
Hayward Gallery without set
screening times. “It was a beautiful work,” Klassnik says. “I sat
through it twice but while I was
sitting there, I noticed people just
stuck their heads around the corner, glimpsed it and walked out.
Why they didn’t show it on a
timed screening I have no idea,
but I think the film suffered
greatly by just being able to pop
your head round the corner and
catching a few seconds of it.”
This is a particular hazard for
artists showing in group exhibitions. Due to other commitments,
the video artist Willie Doherty was
unable to watch Fowler’s film in its
entirety at this year’s Turner Prize
exhibition. “I watched about 20
minutes of it, and I really liked it, it
looked like a really interesting
piece of work. I wanted to see more
of it and I want to see it again, but I
just couldn’t commit the time to
watch it on that occasion,” he says.
Doherty, who is currently raising funds for a feature-length film,
has resisted showing videos that
are longer than 20 minutes in galleries. “I am not really sure if I
want to make that demand of a
gallery audience,” he says.
Secretion, 2012, shown at this year’s
Documenta in Kassel, amid the
atmospheric dereliction of buildings scattered around the city’s
railway station, was his first to
have a timed starting point. “A lot
of the other works have a more
open-ended structure,” he says, “so
it is possible to pick them up at
any point and the piece loops and
you can then put it together—it
doesn’t necessarily need to be seen
beginning at any point. In the case
of Secretion, it was a particular narrative, it was a story, and it needed
to be understood from the start.”
When he comes to make his
during the Independent art fair. “I
would say that the effect of sitting
through their films from beginning to end is a necessity, to get
the full force of what the works
and artist are trying to convey,”
Gryn says. He adds that the “cinema-focused experience is one that
most artists, galleries and art fairs
I have worked with ultimately relish and value in terms of the work
being interrogated, scrutinised
and viewed most effectively”.
But it can work the other way.
The experimental film-maker
Robert Beavers, a big influence on
Fowler, was given a retrospective
at the Whitney in 2005. His films
were shown every day in the galleries, with start times but on a
loop, and in a presentation that
was “something in between an
installation and a cinema”, Iles
says. “Rather than the same 100
people from the film world seeing
them, the general public and
artists and the art world saw
them, including Luke Fowler. And
suddenly Roberta Smith writes a
great review in the New York Times
about his films, and she is the
fine art reviewer and it appears in
the art section. So it becomes
about contexts. And I think what
is happening is a loosening up of
these contexts.”
Willie Doherty says this is
healthy. “We are at a very interesting moment, and institutions are
having to catch up, and test the
ways in which they show this
work to an audience and anticipate that an audience might
engage with it.” It comes down to
what artists want. “Why are artists
making film and video works that
are of this length?” he asks. “What
is it that they fundamentally want
to say about the experience of
viewing something in a gallery,
and what do they want to say
“What artists are doing is almost reclaiming
the cinematic experience for themselves and
building it inside the museum”
feature-length work, Doherty
expects to show it in a cinema. He
has done so before, with Ghost
Story, 2007, which he showed in
London as part of a project with
Matt’s Gallery and Artprojx, which
regularly presents artist films in
cinema settings.
Artprojx is run by David Gryn,
curator of Art Video at ABMB; as
well as showing Doherty, he presented Fowler’s Turner Prize film
at the SVA Theatre in New York
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
APPLICATIONS NOW ONLINE AT EXPOCHICAGO.COM
about their relationship with
mainstream cinema?”
In Art Video at Art Basel Miami
Beach and in museums and galleries far beyond, we are being
given plenty of opportunities to
search for answers.
• Bliss is showing at Miami Beach
SoundScape Park from 6pm on
Saturday 8 December to 6am on
Sunday 9 December
• For interviews shot at the fair on video
art, visit www.theartnewspaper.com
NAVY PIER
19—22
SEPTEMBER
2013
FOWLER: COURTESY OF THE ARTIST, THE MODERN INSTITUTE/TOBY WEBSTER LTD, GLASGOW AND GALERIE GISELA CAPITAIN, COLOGNE. KJARTANSSON: PHOTO: CLOUDS MOUNTAINTOP
Why performance artists are making feature-length videos. By Ben Luke
FOR
C U R –
I
–
O–
U
S
MINDS
The Global Forum for Design
5.–9. December 2012/
Meridian Avenue & 19th Street
Miami Beach/ USA
designmiami.com
Design Galleries
Caroline Van Hoek/ Brussels
Carpenters Workshop Gallery/ London & Paris
Cristina Grajales Gallery/ New York
Demisch Danant/ New York
Didier Ltd/ London
Gabrielle Ammann // Gallery/ Cologne
Galerie BSL/ Paris
Galerie Downtown - François Laffanour/ Paris
Galerie Jacques Lacoste/ Paris
Galerie kreo/ Paris
Galerie Maria Wettergren/ Paris
Galerie Patrick Seguin/ Paris
Galerie VIVID/ Rotterdam
Galleria Rossella Colombari/ Milan
Gallery SEOMI/ Seoul
Hostler Burrows/ New York
Industry Gallery/ Washington DC & Los Angeles
Jason Jacques Inc./ New York
Johnson Trading Gallery/ New York
Jousse Entreprise/ Paris
Magen H Gallery/ New York
Mark McDonald/ Hudson
Moderne Gallery/ Philadelphia
Nilufar Gallery/ Milan
Ornamentum/ Hudson
Pierre Marie Giraud/ Brussels
Priveekollektie Contemporary Art | Design/ Heusden
R 20th Century/ New York
Venice Projects/ Venice
Design On/Site Galleries
Antonella Villanova/ Florence
presenting Delfina Delettrez
Booo/ Eindhoven
presenting Front
Design Space/ Tel Aviv
presenting Michal Cederbaum & Noam Dover
Erastudio Apartment-Gallery/ Milan
presenting Gaetano Pesce
Mondo Cane/ New York
presenting RO/LU
Victor Hunt Designart Dealer/ Brussels
presenting Sylvain Willenz + CIRVA
Volume Gallery/ Chicago
presenting Snarkitecture
Jean Royère/ Set of four Egg chairs/ 1952/ Galerie Jacques Lacoste
Design Talk
Friday 7. December/
6–7pm
Design Pioneers/
Wendell Castle in conversation with
Alastair Gordon
Design Miami/
5.–9. December 2012/
Meridian Avenue & 19th Street/
Adjacent to the Miami Beach Convention Center/
Miami Beach/
designmiami.com
9
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
INTERVIEW
César Reyes
THE ART
NEWS
NETWORK
Collector
Kaleidoscopic vision
Instead of a beach house, he commissioned an installation. By Louisa Buck
P
uerto Rica-based psychiatrist César Reyes
and his wife, Mima,
have been collecting
contemporary art for
more than 25 years,
resulting in an international collection of more than 500 works. In
the 1990s, the couple acquired
work by then-emerging artists
including Peter Doig, Chris Ofili,
Elizabeth Peyton, Jeremy Deller
and Rirkrit Tiravanija, and today
they continue to buy work from
young artists including Daren
Bader, Jacob Kassay and Emily
Sundblad. In 1997, they commissioned the Cuban-born Californian
artist Jorge Pardo to design a
beach house in Naguabo, Puerto
Rico, and this kaleidoscopic environment of stepped, open-plan
spaces with multicoloured tiled
floors and metal screens was completed in 2005. Recently, the pair
have again worked with Pardo,
this time to transform an historical townhouse in the Mexican city
of Mérida into another vivid architectural work of art. They are currently looking for a building in
Old San Juan to house their
collection.
The Art Newspaper: Your first
purchases in the mid-1980s
were works on paper by the
School of London artists:
Frank Auerbach, Leon Kossoff
and Lucian Freud. How did
this happen?
César Reyes: In the early 80s, I was
friends with Rafael Ferrer, a Puerto
Rican artist who lived in
Philadelphia, where I was studying
medicine, who loved Lucian Freud
and Francis Bacon. So when I came
to London in 1985, to study at the
Bethlem Royal Hospital, I spent a
lot of time in the Tate and visiting
the galleries—London at that time
was quite insular, very different
from now. I started to collect
London School works on paper
because paintings were quite
expensive. Then there came a
point when I thought that I should
be buying artists of my generation.
In 1994, I went into Gavin Brown’s
New York space and he had a Peter
Doig show and that was the first
work that I bought of that generation, a painting called Jetty.
The past decade has seen
Art to live in: the house Jorge Pardo built for César Reyes (above) in Naguabo
dramatic expansion of Latin
America as a centre for contemporary art—is this reflected in
your collection?
I’ve never really collected because
of a nationality, it has to do with
whether the spirit of the work fits
into the spirit of our collection.
But there is a sensibility that we
share as Latin Americans. I have
works by Marepe and José
Damasceno from Brazil, and
Mexican artists Abraham
Cruzvillegas and Gabriel Kuri, and,
of course, from Puerto Rico Allora
& Calzadilla, among others.
Probably your best-known work
is the beach house Jorge Pardo
designed for you.
“I don’t understand
why a collector
would not want to
meet an artist”
We knew Jorge did interventions
in spaces but we didn’t actually
meet him until the 1997 Skulptur
Projekte Münster, where he had
made a beautiful Pier from redwood brought in from California.
There was a park where Rirkrit
[Tiravanija] was doing a barbeque
and that’s where we met Jorge. We
immediately clicked. I’d bought
land in 1992 by the sea in Naguabo
and I wanted to build a house, but
I wanted something different, and
when I saw the pier, it was
perfectly designed and the context
made so much sense, that I asked
him right there on the pier. And
he said: “Sure—nobody’s ever
asked me that before!”
So this was before he was asked
to build 4166 Sea View Lane for
MoCA Los Angeles?
Yes—about a month later I heard
he had started the designs for the
house in LA.
You had quite a struggle when
you wanted some revisions to
his original plans, and you had
to use Pardo’s then-girlfriend,
the artist Laura Owens, as a
mediator.
There was no brief, we just spent
time together and Jorge came up
with some drawings. The original
plan was impractical: he designed
a house that looked like a sculpture on a pedestal, like a Tiffany
lamp with stained glass, which
was going to be seen from the outside. We wanted something more
private but Jorge was stubborn and
didn’t want to change his plan.
Eventually, with the help of Laura,
he revised the design and we loved
the dynamic of the architecture:
the house is about moving
through it, the colours of the floor
define the space where you’re at.
It is a house for living, it’s not a
show house or a museum, and the
garden is still evolving.
And now you have almost completed a second project with
Pardo—this time in Mexico.
Yes, we have become very close
friends with Jorge and we started
to go to Mérida in the Yucatan
seven or eight years ago, and fell
in love with the place. It is a beautiful city with Spanish Colonial
architecture. We eventually found
a gorgeous property in the historic
centre, just a block away from
where Jorge has a house. He would
come in and start suggesting ideas,
so we said: “Why don’t you design
the refurbishment of the house?”
And he said yes. That was about a
year and a half ago, and now it’s
99% finished.
Have you commissioned any
other works?
I commissioned a painting from
Peter Doig: it was a very open commission, we just wanted a painting
from him, and he ended up doing
more than we could ever imagine.
He did a painting of the view from
our Naguabo beach house, it’s
called Black Curtain (Towards Monkey
Island), 2004. I commissioned a flag
from Laura Owens; a drawing
from Chris Ofili; and three portraits of me, Mima and our daughter, Carola, as part of Tobias
Rehberger’s series of flower vase
portraits. We also have a neon
work that says “Start a Revolution
on Rum and Coca-Cola” commissioned from Rirkrit Tiravanija.
Some collectors don’t know the
artists that they collect but you
are close friends with many of
the artists whose work you own
– it seems to lie at the core of
your collecting.
I’ve never understood why a collector would not want to meet an
artist if he or she has the opportunity to do so. It’s fascinating to see
how much in depth you can go
into any kind of work just by hearing how the artist came about producing it: the knowledge that you
have about a particular work
becomes more profound once you
have the insight of the person who
made it. Artists are the people who
can best teach you how to look,
they are the most visually sensitive
and I’ve always been very open
and curious to learn from them.
• César and Mima Reyes will be in
conversation with Tom Eccles, the
executive director of the Center for
Curatorial Studies, Bard College, New
York, and The Art Newspaper’s Louisa
Buck at the ABMB Art Salon today,
2pm-3pm
TURIN
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LONDON
NEW YORK
The Art Newspaper
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ATHENS
Ta Nea tis Technis
founded 1992
PARIS
Le Journal des Arts
founded 1994
www.lejournaldesarts.fr
TURIN
Il Giornale
dell’Architettura
founded 2002
www.ilgiornaledell
architettura.com
MOSCOW
The Art Newspaper
Russia
founded 2012
info@theartnewspaper.ru
founded by Umberto
Allemandi in 1983
Watch our exclusive new web series at TheArtNewspaper.tv.
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We will not rest
© UBS 2012. All rights reserved.
10
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
INTERVIEW
Striking a propaganda
pose: Dean Cornwell’s
1918 Work for America!,
photographed by Esther
Shalev-Gerz for the
Wolfsonian exhibition
Esther Shalev-Gerz
Artist
Hammering out a
theory of description
E
sther Shalev-Gerz,
the Lithuanian-born
Paris-based artist,
works in situ. Her
most recent location
of choice is the
Wolfsonian–Florida International
University museum, where her
solo exhibition “Describing
Labour” will be on show until
7 April 2013. Drawing on the
museum’s collection of art and
artefacts from 1885 to 1945,
Shalev-Gerz invited 24 people to
select and describe pieces that
depict industrial workers, images
that have fallen out of favour in
the West thanks to their socialist
connections and use as propaganda. The descriptions were
videotaped and projected alongside photographs, sound installations and glass sculptures, in her
distinctive, multifaceted approach
to history and memory.
Shalev-Gerz came to public
attention in 1986, when she created
Mahnmal gegen Faschismus (Monument
against Fascism) for the German city
of Hamburg, with her husband,
Jochen Gerz. In a statement on the
futility of such monuments, the
installation repeatedly, and deliberately, sank into the ground until it
finally disappeared in 1993.
Running parallel to the
Wolfsonian show is Shalev-Gerz’s
first big exhibition in Switzerland,
“Between Telling and Listening” at
the Musée cantonal des Beaux-Arts
in Lausanne (until 6 January 2013).
The Art Newspaper: You completed a residency at the
Wolfsonian in 2011. What
attracted you to the museum?
“I can describe
someone forever,
and it will never
be that person”
Esther Shalev-Gerz: It really
intrigued me to enter into this slice
of time, it was a mind-boggling
experience. There is an endless
amount of stuff on show, not only
art but also parts of buildings,
windows, etc. Through bits and
pieces, the museum tries to do the
impossible: to take you back in
time. It’s very touching. And
propaganda is something that I
have been interested in for a long
time. What struck me most [when
looking through the collection] was
the image of the worker and that
we don’t depict these people any
more, it’s no longer attractive. It
was very much used in propaganda
and nobody salvaged it after that.
Images are everywhere nowadays.
Pictures of ourselves, our families,
of politicians and of criminals. But
nobody in the art world really
makes pictures of the people who
make the things around us. Why
are we living in a world that
doesn’t have a face? This is
particularly striking in Sweden,
where I teach. It is the country
where they invented Ikea, Metro,
H&M – ways to disconnect from
historical objects, from the clothes
or the table of your grandmother.
The title of your show is
“Describing Labour”. What does
that mean?
The word “describing” is a funny
one. I can describe someone
forever, and it will never be that
person. It’s always this thing next
to them. It’s this other thing. It’s a
creative process, it’s a wish to
duplicate the person, which is
what art is all about. I therefore
decided to make a project around
the idea of description. The people
involved in the exhibition are
familiar with the language of
description in art: artists,
curators, historians, journalists,
collectors, etc. Also, when people
look at art, they are silent.
Describing the work brings them
out of that silence. A lot of my
work deals with silence and
words, and this was a bonus that
came out of the project.
To prolong this futility, this
other thing that is taking place
when we are describing, I decided
to create hammers out of glass.
Many workers are holding hammers in the pieces that were
selected. Hammers are still tools
that we use now. Almost every
household owns a hammer. These
glass hammers, which are shown
with the videos and photographs,
have a ghostly appearance. They
almost look like drawings.
Were there similarities in
the way people described the
works?
A number of people related the
pieces to their own experiences,
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Images of workers inspire a new kind of show and tell. By Julia Michalska
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
11
Artists’ impressions: Shalev-Gerz’s
video of the Miami-based artist
Bhakti Baxter talking about Lynd
Ward’s print Workers straddling
pipeline, 1945, is projected beside
a detail of the work he is describing
saying that they reminded them of
this or that. It was one of the things
that came out: the way we bond
with works. One person said the
work reminded them of the grandfather they had never met. One
woman looked at a piece and said
that, although she knew exactly
when the work was made, it still
reminded her of 9/11. It was also
very touching because the people
were intuitively in the now. History
or memory depends on who tells it
and when it’s told. The project captures how people actualise their
relationships to these works, their
memories, or what it evokes in
them at that particular moment.
Dialogue and personal memory
play an important role in your
exploration of history. Can you
explain the significance of
speaking and telling stories in
your work?
Voices are an important material
for me, because until not too long
ago, voices were hard to capture.
No one teaches us to speak. We
are taught to write and to read,
but not to talk. Usually, when we
speak in class we are kicked out.
Our talk is still the wild element
and can reveal profound things
about us. You have writers who
write, singers who sing, but talkers? No. Most of my work is based
around making somebody talk,
and every time I find a different
way of making this happen. At the
Wolfsonian, it was through the
works. For me as an artist, speaking is almost the utmost format
through which we reveal our
thoughts about the world. The
voice is also the first thing that
the child hears. In the womb, the
ear develops before the heart. I
discovered this not too long ago.
The voice is something that
anchors you to the world more
than other things.
Do you deal with memory so
that we don’t forget?
Yes, we must not forget for a reason: so that it doesn’t happen
again. [Western] Europe used to be
the bloodiest place on earth. It
changed itself and killed itself
many times over. For 60 years, it
has been peaceful, which is incredible, and it’s important that we
don’t forget that. I like the personal, I don’t work with heaps or
with numbers. We can’t imagine a
billion of money, a billion of grain,
a billion of people. Art is all about
this border between imagining or
not imagining. Do we imagine it or
do we need to see it? But the border
keeps changing because our world
changes. It’s not only the portrait
of the speaker but also the portrait
of the listener that is important. I
will stop speaking to someone if
they stop listening to me. These
two are a necessity because if it’s
only the speaker, then we have a
demagogy. A lot of my work deals
with these two; not just the one,
because the one is scary.
Much of your work also
touches on the experience of
the immigrant. Do you see
yourself as an immigrant?
For me, immigrating was a
moment of celebration. It was
absolutely fantastic, it transformed me completely. I was eight
when we moved from Lithuania to
Jerusalem. I remember everything
because it was like “wow!” There
were people from all different
colours, it was a complete liberation. In this way, Israel is an even
bigger melting pot than the US. I
therefore never thought of immi-
Biography
Esther Shalev-Gerz
Born: Vilnius, Lithuania,
1948
Education: Bezalel
Academy of Fine Arts,
Jerusalem, 1975-79
Lives and works:
Paris/Gothenburg
Selected solo shows: 2012 “Describing
Labour”, the Wolfsonian–FIU, Miami
Beach; “Between Telling and Listening”,
Musée Cantonal des Beaux-Arts,
Lausanne 2010“Your Image is Looking
at Me?!”, Jeu de Paume, Paris
2008 “Echoes in Memory: the Queen’s
House, Greenwich”, National Maritime
Museum, London
Selected group shows: 2012 “Newtopia:
the State of Human Rights”, Mechelen
2010 “The Moderna Exhibition”, Moderna
Museet, Stockholm
gration in a negative way, it made
me fall in love with this moment.
So whenever I had a bit of money,
I would travel. I particularly love
Europe. I find myself more
European than anything else. All
artists today are immigrants, they
all move around. I actually feel
more like a migrant, I need to
migrate. When you look at the old
maps of human migration, it
poses the question, why did they
migrate? I don’t think it was for
food, but rather out of curiosity.
They were bored! I remember the
first time I went to the beach in
Miami, I met some people from
the south of France. “Why would
you travel from Nice to Miami?” I
thought to myself. But they said
the beach was different.
Immigrants have tremendous stories to share. In my class in
Sweden, whenever I have a student that comes from two cultures, I get them to share their
experiences with everyone. It
wakes the Swede-Swedes up, it
makes them more creative. And
we know that; when immigration
happens, even when we are resistant to it at first, the place flourishes, it becomes energised. It is a
scary thing to meet somebody
new, one has to make an effort.
And this effort is sometimes positive and sometimes negative. I’m
interested in this change, in this
impact of a new arrival.
What are your forthcoming
projects?
In January, I have my first solo
exhibition in Canada at the Morris
and Helen Belkin Art Gallery in
Vancouver [“Esther Shalev-Gerz”,
11 January-14 April 2013]. I am also
working on a research project
called “Trust and the Unfolding
Dialogue”, which has been funded
by a three-year grant from the
Swedish government. It’s a project
based around the word “trust”,
and its importance in my work,
the art world and the world
around us. We rarely use the word
in art, it’s not really something
that artists explore. But we employ
it all the time. When we go to a
museum, we have to trust that
what we are shown is important,
that it’s authentic and not a forgery. The heavy museum walls
were built so we can trust the
institution, a work is sold for
€120m and we trust that this is its
value. I want to know why the
word trust is rarely used in art.
I have invited three researchers to
work on the project with me, and
next year we will organise an exhibition, a conference and publish a
book on the topic.
•”Describing Labour” is at the
Wolfsonian-FIU (until 7 April 2013)
Visit the Private Sales
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The Online Gallery offers a convenient and
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This season’s selection of Post-War and
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Campbell’s Soup Box (Onion), 1986
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Talley Dunn Gallery
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Forum Gallery
Fraenkel Gallery
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Independent Curators
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Sean Kelly Gallery
Kirsh Foundation
Holdings Ltd.
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Galerie Lelong
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THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
IN PICTURES
15
Colour chameleons come and go
Art Basel Miami Beach displays its inimitable style as fairgoers effortlessly complement the art
2
1
4
3
6
Mix and match: 1 Julia Dault, Dancing Queen, 2012, Harris Lieberman Gallery (New York), J14 2 Nick van Woert, Untitled, 2012, Yvon Lambert (Paris), L13 3 Philip Taaffe, Untitled, 2012,
Luhring Augustine (New York), K17 4 Michael Werner (New York and London), B5 5 Jack Pierson, IF, 2012, Regen Projects (Los Angeles), C14 6 Julie Mehretu, Untitled, 2001, John
Berggruen at his stand (D3)
© VANESSA RUIZ WWW.VANESSARUIZ.COM
5
16
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
BOOKS
Nightmare to work with, but he
took great photographs…
Arnold Newman’s portrait of
David Hockney, 1975
A study in contrasts
W
illiam Ewing,
the Canadian
curator and
historian of
20th-century
photography,
has stepped up the pace since
retiring in 2010. After 14 years as
the director of Lausanne’s Musée
de l’Elysée, he has produced two
books in swift succession.
Ernst Haas: Color Correction
aims to raise our awareness of the
Austrian-born, New York-based,
former Magnum member Ernst
Haas (1921-86), whose critical
standing has sadly declined since
his heyday. Masterclass: Arnold
Newman, the first posthumous
monograph of the American portrait photographer Arnold
Newman (1918-2006), is more
definitive, enlarging his known
repertoire with works in other
genres, such as landscape and
urban still-life. Moreover, while
the former could be described as
introspective in nature and all
about colour, the latter is roundly
retrospective and deals mainly
with black and white photography.
The mere compiling of the
book on Haas involved a remarkable level of commitment on
Ewing’s part in completing a
meticulous examination of the
200,000 slides in the Haas archive
at Getty Images, which revealed
many hitherto unknown, overlooked or unpublished gems.
Ewing’s collaborator, Phillip
Prodger, puts the case for the long
overdue reassessment of Haas’s
reputation as a pre-eminent, if
recently neglected, master of contemporary colour photography.
Ewing completed
an examination of
200,000 slides
The archive reveals that Haas
often devoted unused frames
remaining at the end of an assignment to shoot images of a rather
more personal kind. Seizing the
opportunity to undertake a fairly
epic trawl of Haas’s colour transparencies (with permission granted
by his heirs, Alex and Victoria
Haas), Ewing has cast a decidedly
contemporary curatorial gaze over
the material, resulting in a selection of eclectic images that is
largely atypical of Haas’s best
known work but just as accomplished. The images betray a less
optimistic bent, more in keeping
with current attitudes to disposable
consumer culture. One may wonder exactly what was deemed lacking in Haas’s known work, and
even whether Ewing might be
guilty of picking a dead man’s
pockets for his own advancement.
Despite this, the book provides a
novel vantage point from which to
view Haas’s oeuvre, and, indeed, a
fascinating visual experience.
Surveying the work of Arnold
Newman is rather less tricky. He
died more recently, having consolidated his reputation over six
decades as a photographer of celebrated figures, ranging from
famous artists, architects, designers
and scientists to powerful bankers,
industrialists and politicians. One
essay describes Newman’s background, training, influences and
early practice, leading to his socalled “environmental” portraits,
which integrated the sitter, their
occupation and their professional
or real-life environment. A second
essay draws on Newman’s many
lectures and interviews to describe
his working methods and ongoing
influence as an artist and teacher.
Arthur Ollman, the founding
director of San Diego’s Museum of
Photographic Arts, contributes a
personal memoir vividly recalling
what Newman was like to work
with. David Coleman—who, as the
curator of photography at the
Harry Ransom Center at the
University of Texas, Austin, was
instrumental in establishing the
Arnold Newman Archive—discusses Newman’s leading role as
both a portrait photographer and a
photo-essayist in the “Faces of
America” US Bicentennial exhibition project. In the preface, Todd
Brandow, the director of the
Foundation for the Exhibition of
Photography, reveals Newman the
“control freak”, whose legendary
obstinacy his collaborators, fortunately, no longer have to deal with.
Richard Pinsent
Ernst Haas: Color Correction
William A. Ewing,
Phillip Prodger
Steidl, 200pp, £43, $65, €48 (hb)
Masterclass: Arnold Newman
William A. Ewing, et al
Thames & Hudson, 272pp, £38 (hb)
HOCKNEY: © ARNOLD NEWMAN/GETTY IMAGES
The curator William Ewing revives the reputation of a neglected Magnum
member and dissects a “control freak” photographer in two books
ANSELMKIEFER
VISIT US ON BOOTH C11
PA R I S
F R A N C E 7 R U E D E B E L L E Y M E T E L 3 3 1 4 2 7 2 9 9 0 0 R O PA C . N E T
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PULSE Miami
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December 6–9, 2012
The Ice Palace Studios
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25.28 APR 2013
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arlborough Graphics
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ixografía®
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THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
CALENDAR
Art Basel Miami Beach
KEY
Listings are arranged
alphabetically by category
• Exhibitions
• Commercial galleries
• Art fairs
Landscape and Trees
Exhibitions
9 DECEMBER-3 MARCH 2013
• Rob Wynne: I Remember
Ceramic Castles, Mermaids and
Japanese Bridges
Bass Museum of Art
2100 Collins Avenue,
Miami Beach
UNTIL 6 OCTOBER 2013
• The Endless Renaissance:
Six Solo Artist Projects
www.norton.org
UNTIL 17 MARCH 2013
Rubell Family
Collection
www.bassmuseum.org
95 NW 29th Street, Miami
Cisneros Fontanals
Art Foundation
• Alone Together
1018 North Miami
Avenue, Miami
Oscar Murillo: Work
• Unsaid/Spoken
www.rfc.museum
UNTIL 2 AUGUST 2013
UNTIL AUGUST 2013
UNTIL MARCH 2013
www.cifo.org
The Triad
180 NE 39th Street,
Unit 222, Miami
FURTHER
LISTINGS
• Sumakshi Singh
7-14 DECEMBER
www.thetriad.org.uk
www.theartnewspaper.
com/whatson
Vizcaya Museum
and Gardens
De la Cruz Collection
3251 South Miami
Avenue, Miami
23 NE 41st Street, Miami
• Josiah McElheny
• Pleat Construction: Jim Drain
UNTIL 18 MARCH 2013
UNTIL 8 DECEMBER
www.vizcayamuseum.org
www.delacruzcollection.org
Fairchild Tropical
Botanic Garden
10901 Old Cutler Road,
Coral Gables
Wolfsonian-Florida
International University
Bill Viola: Liber Insularum
1001 Washington Avenue,
Miami Beach
Museum of Contemporary Art North Miami
• Esther Shalev-Gerz:
Describing Labour (see left)
• Pardo on the Allée
UNTIL 3 MARCH 2013
UNTIL 31 MARCH 2013
www.mocanomi.org
UNTIL 7 APRIL 2013
• Chamberlain at Fairchild
5 DECEMBER-30 APRIL 2013
• Design at Fairchild:
Sitting Naturally
UNTIL 31 MAY 2013
• Chapungu: Custom and
Legend, a Culture in Stone
“Liber Insularum”, the first survey of Bill Viola’s work in 15 years, opens
at the Museum of Contemporary Art in North Miami after showing in
Spain, and is the only US venue for the show. It includes many works
made after Viola’s last US retrospective at the Whitney Museum of
American Art, New York, in 1997. The show explores the emotional
response that art can generate, in both the viewer and the artist creating it, says the museum's director, Bonnie Clearwater. “Viola’s work
represents the individual’s feelings of isolation but through art we’re
brought together. It’s the one thing that keeps us from feeling alone.”
(Above, The Quintet of the Astonished, 2000.) P.P.
UNTIL 31 MARCH 2013
• American Sculpture
in the Tropics
UNTIL 31 DECEMBER
212-260 NE 59th Terrace
UNTIL 2 JUNE 2013
www.locustprojects.org
• Global Caribbean
www.miamiartmuseum.org
Frost Art Museum—
Florida International
University
thefrost.fiu.edu
Lowe Art Museum
10975 SW 17th Street, Miami
Locust Projects
University of Miami, 1301
Stanford Drive, Coral Gables
• Mark Messersmith:
Fragile Nature
3852 North Miami
Avenue, Miami
• Christo and Jeanne-Claude:
Prints and Objects
UNTIL 9 DECEMBER
• Theaster Gates: Soul
Manufacturing Corporation
UNTIL 13 JANUARY 2013
• Selections from the Collection
UNTIL 3 MARCH 2013
• Art Lab@the Lowe
UNTIL 28 APRIL 2013
www.mocanomi.org
www.margulieswarehouse.com
• Ivan Navarro: Fluorescent
Light Sculptures
UNTIL 27 JANUARY 2013
• To Beauty: a Tribute
to Mike Kelley
UNTIL 24 FEBRUARY 2013
UNTIL 7 APRIL 2013
• Postcards of the Wiener
Werkstätte: Selections from the
Leonard A. Lauder Collection
www.wolfsonian.org
UNTIL 31 MAY 2013
www.fairchildgarden.org
• Bhakti Baxter: Construction
of Good
UNTIL 20 MAY 2013
7 DECEMBER-16 FEBRUARY 2013
UNTIL 21 DECEMBER
UNTIL 21 APRIL 2013
• Jacin Giordano: Wound,
Bound, Tied and Knotted
www.lowemuseum.org
UNTIL 21 DECEMBER
Little Haiti
Cultural Center
• Nicole Eisenman: Intentions
World Class Boxing
170 NW 23rd Street, Miami
www.theglobalcaribbean.org
Museum of Contemporary
Art (MOCA NoMi)
• Aaron Angell: Raga for Fishwife
Margulies Collection
at the Warehouse
Joan Lehman Building, 770 NE
125th Street, North Miami
www.worldclassboxing.org
591 NW 27th Street, Miami
• Bill Viola: Liber Insularum
UNTIL 28 FEBRUARY 2013
Commercial
101 Exhibit
Norton Museum of Art
101 NE 40th Street, Miami
• Chambliss Giobbi: Se7n
101 West Flagler Street, Miami
1451 South Olive Avenue,
West Palm Beach
• New Work Miami 2013
• Sylvia Plimack Mangold:
www.101exhibit.com
of Political Expression
director Bonnie Clearwater
about his work.
Miami Art Museum
UNTIL 31 JANUARY 2013
Events
DON’T MISS:
Art Film
Colony Theatre, 1040 Lincoln
Road, Miami Beach
8PM
Emile de Antonio’s 1972 documentary “Painters Painting”
follows Abstract Expressionist
artists Willem de Kooning,
Barnett Newman, Frank Stella
and Jasper Johns.
See the studios of Chris Carter,
Dimensions Variable, Jim Drain,
Naomi Fisher, Adler Guerrier,
Kathleen Hudspeth, Legal Art,
Leyden Rodriguez, George
Sanchez, TM Sisters, Frances
Trombly and Thom Wheeler.
Art Basel Conversations
Rethinking the
Encyclopaedic Museum
Convention Center
Artist Studio Visits in
Downtown Miami
Maps available at BasFisher
Invitational, 122 NE 11th
Street, Miami
9AM-12 NOON
Convention Center
1PM
The London-based arts patron
Princess Alia Al-Senussi talks to
James Brett, the founder and
curator of the Museum of
Everything, London, and
Tala Saleh, the author of
Marking Beirut.
Art Film: “Painters Painting”
follows Willem de Kooning
10AM-11AM
Two top museum directors,
Thomas Campbell of the Met,
New York, and Michael Govan of
Lacma, discuss the future of the
encyclopaedic museum, with
Artist Talk: Bill Viola
Convention Center
András Szántó, a contributor to
The Art Newspaper.
Art Salon: Street Art in the
Middle East: Alternative Forms
Luna Park
Collins Park, between the
W hotel and the Setai
4PM
The French artist duo Kolkoz is
staging a soccer tournament on
the beach on a pitch that looks
like the moon, with teams made
up of artists, collectors, curators, art critics and gallerists.
5PM
As his show opens at the
Museum of Contemporary Art,
North Miami, the video artist Bill
Viola talks to the museum’s
End the night with drinks at the
Art Bar installation by the Cuban
artists Los Carpinteros.
Güiro Art Bar
Oceanfront, between 21st and
22nd Streets, South Beach
5PM-2AM
Art Video Nights
New World Center,
SoundScape Park, 500
17th Street, Miami Beach
8PM, 9PM AND 10PM
A programme of video art.
“Shadows, Circles & Fire” features work that plays with space
and time, “Laughing, Wondering
& Meditating” explores strangeness and “Spirit, Breath & Air”
starts with “something invisible
like breath, but touches on the
visual and the tactile”.
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
CALENDAR
KEY
Listings are arranged
alphabetically by category
• Exhibitions
• Commercial galleries
• Art fairs
Art Basel Miami Beach
David Castillo Gallery
Freedom Tower
2234 NW 2nd Avenue, Miami
600 Biscayne Boulevard, Miami
• Dark Flow Lurking
• Foreverglades: Renzo Nucara,
Carlo Rizzel, Alex Angi, Marco
Veronese, William Sweetlove
and Kicco
UNTIL 31 DECEMBER 2013
www.davidcastillogallery.com
Miami fairs
Art Basel Miami Beach
Diana Lowenstein Fine Arts
UNTIL 26 JANUARY 2013
2043 North Miami Avenue,
Miami
www.for-everglades.com
Miami Beach Convention
Center, 1901 Convention
Center Drive
• Loris Cecchini
Galerie Helene Lamarque
www.miamibeach.artbasel.com
Miami’s art scene may be known
for its love of young talent but
this year’s Art Basel Miami Beach
(ABMB) is not immune to the fair
circuit’s increasing appreciation
of the past. While it may lack a
timeline as long as the inaugural
London-based Frieze Masters
(11-14 October), the 11th edition
of ABMB promises strong
Modern material and
programmes exploring links
between generations, and
welcomes a new selection of
Modern galleries into the fold.
UNTIL 9 DECEMBER
UNTIL JANUARY 2013
125 NW 23rd Street, Miami
www.dlfinearts.com
• Ohad Meromi: the Working Day
Dimensions Variable
www.galeriehelenelamarque.com
UNTIL 31 DECEMBER
100 NE 11th Street, Miami
• Odalis Valdivieso
Gary Nader Fine Art
UNTIL 5 JANUARY 2013
62 NE 27th Street, Miami
www.dimensionsvariable.net
• Masterpieces from
the Berardo Collection
Frederic Snitzer Gallery
UNTIL MARCH 2013
2247 NW 1st Place, Miami
www.garynader.com
• Lucas Arruda: Desert Model
UNTIL 5 JANUARY 2013
JW Marriott Hotel
• 35th Anniversary Group Show
1109 Brickell Avenue, Miami
UNTIL 5 JANUARY 2013
• Martin Kreloff Retrospective
www.snitzer.com
UNTIL 9 DECEMBER
Visitors to this year’s edition of Design Miami will be met by Drift, an inflated pavilion made
by the collaborative studio Snarkitecture
www.martinkreloff.com
Aqua Art Miami
JW Marriott Marquis
Aqua Hotel, 1530
Collins Avenue
225 Biscayne Boulevard
Way, Miami
www.aquaartmiami.com
UNTIL 9 DECEMBER
Organised by a group of Seattle
dealers and held in the eponymous hotel, this contemporary
art fair focuses on emerging and
mid-career artists.
www.inkartfair.com
• Christie’s: Highlights from the
London Surrealist Auction
5-7 DECEMBER
www.christies.com
UNTIL 9 DECEMBER
M Building
Ink Miami Art Fair
Suites of Dorchester Hotel,
1850 Collins Avenue
This compact fair has 15
exhibitors and focuses on
contemporary works on paper.
International Contemporary
Jewelry Fair
art fair, organised by artMRKT,
the company that also runs fairs
in Houston, San Francisco and
the Hamptons. Around 65 galleries are expected to take part.
To make space for the additional participants, there will be
no sculpture park this year.
Scope Miami
Miami River Art Fair
110 NE 36 Street
and Midtown Boulevard
James L. Knight International
Center, 400 SE Second Avenue
www.scope-art.com
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
A new venue for the 12th edition
of this contemporary art fair.
Eighty-five international
galleries are due to take part, in
addition to a section focusing
on around 15 younger galleries.
194 NW 30th Street, Miami
Art Asia Miami
• Gallery shows. Clearing:
Harold Ancart; Galerie
Rodolphe Janssen: Justin
Lieberman; Kukje Gallery/Tina
Kim Gallery: Ghada Amer;
Galerie Eva Presenhuber:
Valentin Carron; Sorry We Are
Closed: Artist Jewellery; Venus
Over Manhattan: Betty
Tompkins; Chahan Gallery:
Ceramics by Peter Lane, Shizue
Imai, Antoinette Faragallah
36th Street and North
Miami Avenue
www.primaryprojectspace.com
UNTIL 9 DECEMBER
www.art-miami.com
JustMad Mia
What’s the hype? This Miamiborn artist considered becoming
a lawyer before deciding to study
at the Art Institute of Chicago,
according to an interview with
the Miami New Times. A stint in
rehab and jail taught him the use
of everyday materials: “When
you’re locked up and confined
somewhere—and this is basically
the story of my life—you kind of
make stuff out of whatever’s
available, and paper’s always
available, wherever you go, right?”
Where to see him: A pop-up
installation in the Wynwood Arts
District will simulate an authentic gun store “loaded with replicas that range from traditional
snub-nosed revolvers to M16
assault rifles”—but all of them
are crafted from cardboard. The
work is a challenge to “a gunobsessed America”, according to
the gallery, and Farooq describes
it as “confessional”. H.S.
www.thembuilding.com
The largest satellite fair in Miami,
which now reaches its 23rd edition, is expanding. The contemporary art fair adds a new section, Context Art Miami, which
takes place in a 45,000 sq. ft
pavilion opposite the main fair.
The new section will feature
more than 65 galleries representing emerging and midcareer artists, while Art Miami
focuses on Modern and contemporary art with 125 galleries.
Soho Studios,
Wynwood Convention Center,
2136 NW First Avenue
UNTIL 26 JANUARY 2013
Design Miami
6-9 DECEMBER
Overture
www.art-untitled.com
www.primaryprojectspace.com
Meridian Avenue,
19th Street
www.newartdealers.org
NW 34th Street
and Buena Vista Avenue
This contemporary fair is organised by the non-profit organisation Arts for a Better World, and
includes a selling exhibition of
100 works by Andy Warhol.
The organisers of this new
satellite fair asked the New
York-based curator Omar
Lopez-Chahoud to select the
45 participating galleries,
rather than use a selection
panel. The fair will be in a tent
designed by John Keenan of
K/R Architects.
Red Dot Miami
Verge Art Miami Beach
3011 NE First Avenue
at NE 31st Street
Essex House and Clevelander
Hotels, 1001 Collins Avenue
and 1020 Ocean Drive
Hot artist:
Asif Farooq
“Asif’s Guns”
at Primary Projects
UNTIL 9 DECEMBER
OHWOW
3841 NE 2nd Avenue, Miami
• It Ain’t Fair 2012
UNTIL 9 DECEMBER
www.oh-wow.com
Primary Projects
4141 NE Second Avenue,
Suite 104, Miami
• Asif Farooq: Guns (see left)
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
Intercontinental Hotel
Dock next to Bayfront Park,
100 Chopin Plaza
www.artasiafair.com
UNTIL 9 DECEMBER
This small fair has a new venue
for its fifth edition and will have a
section devoted to contemporary art from South Asia.
www.expoships.com
Art Miami
3101 NE 1st Avenue
The inaugural edition of the
jewellery design fair takes place
at the same mega-yacht venue
used for the Art Greenwich and
Art Sarasota fairs. More than 25
exhibitors are taking part.
UNTIL 9 DECEMBER
• Rebecca Raney: Raneytown
UNTIL 9 DECEMBER
www.justmadmia.com
Organised by the team behind
MadridFoto, this is the first edition of the fair. It will focus on
emerging art and is due to
include 40 galleries.
Nada Art Fair
Deauville Beach Resort,
6701 Collins Avenue
More than 100 exhibitors are
expected to take part in the
tenth edition of the gallery-led
fair run by a not-for-profit organisation. This well established
satellite, which takes place in the
ballrooms of the Deauville, has
been feeling the pressure of late,
not least from the new kid on the
beach, Untitled.
miamiriverartfair.com
Set in downtown Miami, this
contemporary art fair is due to
include more than 42 booth
exhibitors and a riverside
sculpture walk.
Sculpt Miami
Pool Art Fair
Sky House Marquis,
1100 Biscayne Blvd
46 NW 36th Street
and 3011 NE First Avenue
UNTIL 9 DECEMBER
7-9 DECEMBER
www.sculptmiami.com
www.poolartfair.com
A contemporary sculpture fair
that hosts 26 solo projects.
This fair aims to create a meeting
place for unrepresented artists
and professionals.
Select Fair
Pulse Miami
Catalina Hotel and Beach
Club, 1732 Collins Avenue
The Ice Palace, 1400 North
Miami Avenue
www.select-fair.com
UNTIL 9 DECEMBER
www.pulse-art.com
Set in the Ice Palace Film Studio,
this contemporary fair now
presents its eighth edition with
its loyal group of exhibitors.
There will be 86 galleries, more
than half of them from the US.
UNTIL 9 DECEMBER
Located close to ABMB, this contemporary fair will feature 64
exhibitors. Admission is free and
a separate section is devoted to
contemporary prints.
Untitled
Ocean Drive and 13th Street
UNTIL 9 DECEMBER
Seven
UNTIL 9 DECEMBER
2200 NW 2nd Ave, Miami
www.designmiami.com
• Seven galleries team up to
present their own shows:
BravinLee Programs, Hales
Gallery, Pierogi Gallery,
Postmasters, P.P.O.W, Ronald
Feldman Fine Arts and
Winkleman Gallery
The eighth edition of Design
Miami, sited next to ABMB for
the third year running, includes
25% more galleries (bringing the
total to 29) with a greater focus
on American design.
UNTIL 9 DECEMBER
Fountain Miami
www.seven-miami.com
2505 North Miami Avenue
Miami Project
UNTIL 9 DECEMBER
NE First Avenue, NE 30th Street
UNTIL 9 DECEMBER
Spinello Projects
www.fountainartfair.com
UNTIL 9 DECEMBER
www.reddotfair.com
7-9 DECEMBER
2930 NW 7th Ave, Miami
Thirty-five galleries are due to
take part in the seventh edition
of the contemporary art fair.
www.miami-project.com
More than 80 galleries are due
to take part in the sixth edition
of this fair, up from 51 last year.
www.vergeartfair.com
• Closer
UNTIL 5 JANUARY
www.spinelloprojects.com
This is the inaugural edition of
the contemporary and modern
UNTIL 9 DECEMBER
www.overturemiami.com
A contemporary fair that focuses
on emerging art.
DESIGN MIAMI: TENT RENDERING FOR DESIGN MIAMI BY SNARKITECTURE
20
Absolut Art Bureau is a unit of The Absolut Company AB
AN ART BAR INSTALLATION BY
LOS CARPINTEROS
Open December 5–8
At Oceanfront, Miami Beach
Wednesday–Saturday, 5pm–Midnight
—
Absolut Art Bureau is Associate Sponsor of Art Basel
and Presenting Partner of Art Basel Conversations
—
www.absolutartbureau.com
Rendering of Güiro (2012), an art
bar installation by Los Carpinteros
in collaboration with Absolut Art
Bureau © Los Carpinteros/Courtesy
Sean Kelly Gallery
ENJOY WITH ABSOLUT RESPONSIBILITY®.
ABSOLUT® VODKA. PRODUCT OF SWEDEN. 40% ALC./VOL. DISTILLED FROM GRAIN. ©2012 IMPORTED BY ABSOLUT SPIRITS CO., NEW YORK, NY
AB Gallery
Gagosian Gallery
Hauser & Wirth
October Gallery
Agial Art Gallery
Galerie Brigitte Schenk
Horrach Moya
Ota Fine Arts
Art Sawa
Galerie El Marsa
Hunar Gallery
Paul Stolper Gallery
ARTSPACE
Galerie Enrico Navarra
kamel mennour
SFEIR-SEMLER
Atassi Gallery
Galerie GP & N Vallois
Kerlin Gallery
Simon Lee Gallery
Athr Gallery
Galerie Janine Rubeiz
Kukje Gallery / Tina Kim Gallery
The Breeder
Ayyam Gallery
Galerie Jérôme de Noirmont
Lam Art Gallery
The Park Gallery
Bait Muzna Gallery
Galerie Kashya Hildebrand
Leehwaik Gallery
The Third Line
CDA Projects Gallery
Galerie Thaddaeus Ropac
Leila Heller Gallery
Tina Keng Gallery
Edward Tyler Nahem Fine Art, L.L.C.
Galleria Continua
Lisson Gallery
Waterhouse & Dodd
EOA. Projects
Hanart TZ Gallery
Meem Gallery
22
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Friday 7 December 2012
DIARY
“Expressing oneself is like a drug.
I’m so addicted to it”
CHINESE ARTIST-PROVOCATEUR AI WEIWEI, IN THE BOOK
WEIWEI-ISMS, EDITED BY LARRY WARSH AND PUBLISHED
ON 12 DECEMBER
Mood-changing
fashion
ART BASEL MIAMI BEACH DAILY EDITION
Liquor cabinet
of curiosities
It’s a little-known fact that
patroness extraordinaire
Dominique de Menil used to stash
the small-scale works given to her
We’re over the moon
The art world is always partial to a spot of soccer, and the French art duo Kolkoz’s three-day tournament on the
beach (between the W Hotel and the Setai; presented by Galerie Perrotin) is giving art-worlders—including Art
Basel’s sporty director Marc Spiegler and his spirited predecessor Sam Keller, and the artists Jesper Just and
Bhakti Baxter—a chance to show off their best moves. But matters have been made somewhat challenging, as
the shoreside pitch has been fashioned to resemble the cratered surface of the moon, as revealed during the
Apollo 11 landings. According to the artists, they wanted “to superimpose three realities—the beach, the moon
and the tournament”. Which of the Bronze, Silver, Gold and Copper teams (all resplendent in metallic kit) manages to triumph over such adversity will be revealed in the final play-off on Saturday at 4pm.
by artists in the liquor cabinet of
her Philip Johnson-designed house
in Houston. Devon Dikeou, the editor of Zingmagazine, has created her
own version of this bar-cum-miniature museum as an artist project at
Nada. Not Quite Mrs de Menil’s Liquor
Closet is lined with specially made,
pocket-sized pieces by artists such
as Maurizio Cattelan and Carl
Andre. But the piece also has some
unexpected gifts from those normally associated with showing or
selling work rather than making it,
Artoon by Pablo Helguera
including a text piece stating that
“Devon is a place in England” by
Gregor Muir, the executive director
of London’s Institute of
Contemporary Arts, some elegant
works on paper by Pauline Daly of
the Sadie Coles gallery and a piece
by the dealer Kenny Schachter,
which declares: “It’s even worse in
Europe.” While Ms Dikeou will not
be parting with these bespoke
treasures, some facsimile wallpaper is in the pipeline so that anyone can recreate the bibulous wunderkammer in their own home.
Lowman, who happened to be in
the gallery at the time, thought it
was funny. “He said, ‘It’s a portrait
of the Rubells; it tells a lot’,” Mera
Lost and found
Staying on message
about online
A work by Nate Lowman in the
Rubell Family Collection tells a very
personal story about the collectors
who own the gallery. The piece
(above right) is a blown-up image of
a $3,000 cheque to Lowman’s
dealer, Michele Maccarone, dated 1
March 2004 and signed “Don
Rubell”. Mera Rubell, Don’s wife,
tells us the story behind the piece.
In 2004, the Rubells bought
Lowman’s entire studio and
worked out a payment plan with
his dealer that had the couple paying $3,000 a month. When the couple got a call from Maccarone,
telling them she hadn’t received
the second cheque, the Rubells figured it had been lost in the post
and sent a replacement. Maccarone
was cleaning out her desk recently
and found the original cheque.
DIRECTORS AND PUBLISHING
Chief executive: Anna Somers Cocks
Managing director: James Knox
Associate publisher: Ben Tomlinson
Finance director: Alessandro Iobbi
Finance assistant: Melissa Wood
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Office administrator: Belinda Seppings
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Rubell says. And after he made the
cheque piece, she says, “we had to
buy it”.
The Q&A sessions after the Art
Salon talks can be tedious, but
sometimes they are fodder for slapstick comedy. Yesterday, Josh Baer
of the Baer Faxt newsletter was
speaking about the art market with
Marc Glimcher of the Pace Gallery.
“Do you think online platforms are
going to play a bigger role in the
market?” asked a woman in the
audience. “No, no,” said Baer,
before asking: “Do you work for
Art.sy?” The woman made a gesture indicating that she might. “Of
course, it’s the future!” Baer suddenly cried. Glimcher chimed in:
“Yes, yes, yes, absolutely.” Baer
made one last comment: “The Baer
Faxt does take advertising. I can
help you with that.”
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© U. Allemandi & Co Publishing Ltd, 2012
All rights reserved. No part of this newspaper may be
reproduced without written consent of the copyright
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statements expressed in the signed articles and interviews.
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Jasper Johns / Bruce Nauman
April 5 – May 24
Catalogue available
C RAIG F. S TARR GALLERY
5 East 73rd Street New York 212.570.1739 Mon-Sat 11-5:30 www.starr-art.com
SOCCER: © VANESSA RUIZ. AI WEIWEI: AI WEIWEI STUDIO
The larger-than-life collector, photographer and all-round party animal Jean Pigozzi (above) is known
for cutting a considerable dash at
art events, decked out in vibrant
examples of his distinctive
LimoLand clothing range. True to
form, Mr P was one of the first
through the door at Wednesday’s
Art Basel Miami Beach VIP preview,
resplendent in a LimoLand shirt
that provocatively pondered: “Is
business war?” Yesterday, however,
Pigozzi was spotted at Nada looking
less energetic and wearing another
item from his range, this time
emblazoned with the penitent slogan: “I am never drinking again.”
Some merry imbibing with Demi
Moore, Damien Hirst, Pharrell
Williams and Naomi Campbell at
the Chanel and Art.sy barbecue at
the Soho Beach House might have
accounted for the change of slogan.
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editors: Jane Morris, Javier Pes
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: Anne-Marie Conway, James
Hobbs, Andrew McIlwraith, Iain Millar,
Emily Sharpe
Redesign art director: Vici MacDonald
Designer: Emma Goodman
Editorial researcher: Pac Pobric
Picture research: Katherine Hardy
Contributors: Georgina Adam, Louisa Buck,
Charlotte Burns, Sarah Douglas, Ben
Eastham, Melanie Gerlis, Gareth Harris,
Richard Hickman, Andrew Lambirth, Ben
Luke, Julia Michalska, Javier Pes, Richard
Pinsent, Riah Pryor, Ermanno Rivetti,
Cristina Ruiz, Toby Skeggs, Helen Stoilas,
Nicole Swengley, Christian Viveros-Fauné,
Ossian Ward
Photographer: Vanessa Ruiz
PAB LO ATCH UGARRY
GALERIA SUR
A RT B A S E L M I A M I B E AC H - B O OT H B .10
D E C E M B E R 6 - 9 / 2 012
Miami Design District
Tuesday December 4 — Sunday December 9
11am – 7pm
The dynamic destination for
design, art, luxury and culture
38th to 41st Streets between
NE 2nd Avenue and N Miami Avenue
Miami, FL 33137
Phone 305.722.7100
$3 Valet Parking
miamidesigndistrict.net
facebook.com/miamidesigndistrict
Agnona
Apt 606
Cartier
Céline
Christian Louboutin
Dior Homme
En Avance
Hermès Editeur
Louis Vuitton
Maison Martin Margiela
Marni
Prada
Adamar Fine Arts: Glamour Reigns
– Warhol & Fendi Casa
Architecture For Dogs: A Kenya Hara Project
Craig Robins Collection
de la Cruz Collection Contemporary Art Space
Design Miami/ Designer of the Year 2012:
Acconci Studio
Inventory 03: Experience of a City
Inventory Projects: Luis Pons
Locust Projects
Luminaire Lab: Nendo & Piet Stockman
Mr. Andre: Love Graffitt
Muñoz & Company: Mestizo City
Ping Pong: Basel & Miami
Poltrona Frau & Le Corbusier: The Interior Of The Cabanon
Ray Azcuy: Inside/Out
ShopBAZAAR
StoreFront
Swampspace: 100 Years Of Artitude
Triad: Circumferences Reforming – Peel Till They Bloom
Until an empty space is transformed into a premier art show, co-directors Annette Schönholzer and Marc Spiegler will not rest.
Until every detail receives the attention it deserves.
Co-directors Annette Schönholzer and Marc Spiegler
plan the Art Basel show in Miami Beach from start to finish
with one simple philosophy in mind:
Details matter. All of them.
We believe in this philosophy too, infusing it
into every commitment we make to our clients.
It’s why UBS is the proud main sponsor
of the Art Basel show in Miami Beach.
And until you’re convinced of our commitment to you...
We will not rest
www.ubs.com/sponsorship
© UBS 2012. All rights reserved.