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ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Market trends
Rubells’ Spain loan
Gulf takes to Hirst
The Gulf state
of Qatar will
stage a major
survey of the
work of
Damien Hirst
in 2013. It will
be “a great
introduction to
the artist’s work in the
region”, says Jean-Paul
Engelen, the director of public
programmes for the Qatar
Museums Authority, which is
sponsoring Hirst’s retrospective at London’s Tate Modern
(4 April-9 September 2012).
Its own show will be entirely
separate, Engelen says. A
curator has not yet been
appointed. The exhibition will
be held in Al Riwaq, a large
display space in the grounds
of Doha’s Museum of Islamic
Art. The space is due to host a
Takashi Murakami show in
February. C.R.
Collecting grows
among West’s wealthy
Art fairs expand VIP opening hours to make the experience more attractive
MIAMI. A glittering gathering of
the world’s wealthy is expected
to descend on Miami today for
the VIP opening of the tenth
edition of Art Basel Miami
Beach. The appetite for art—
and early access to it—is growing: Miami’s mother fair, Art
Basel, will double its VIP
hours in Switzerland next
June, replacing one of the public days with a second private
view. In October, London’s
Frieze Art Fair added an extra
preview hour each day.
It is no coincidence that the
ranks of the rich are swelling
across the world. The number
of millionaires grew by 8.3% to
10.9 million in 2010. They harbour an estimated total of $42.7
trillion, which is a 9.7% rise on
the previous year and exceeds
the high estimate before the financial crisis—$40.7 trillion in
2007. Those worth $30m or
more in investable assets (excluding primary residence, collectibles and consumables) increased 10.2% in number and
11.5% in wealth, according to
the latest World Wealth report,
produced by Capgemini and
Merrill Lynch Global Wealth
Management.
The cliché is that, having
bought property, stocks and
shares, and luxuries such as
sports cars and jewels, the
wealthy often turn their atten-
Seeing double
Photo Clint Spaulding/PatrickMcMullan.com
The collectors
Don and Mera
Rubell are
sending 200
paintings to
Spain,
including
works by
Andy Warhol
(Mao, 1973, above), Luc
Tuymans, Marlene Dumas,
David Salle and Neo Rauch,
for a show at the Fundación
Banco Santander in Madrid
(9 February to 27 May 2012).
Juan Roselione-Valadez, the
director of the Rubell Family
Collection, says these include
pieces by many artists whose
work has never been shown in
Spain. “We’ve chosen the
strongest examples in the
collection,” he says. In Miami,
the Rubells are displaying
nearly 200 works by 64 artists
in “American Exuberance”
(see listings, pp15-17). C.R.
Art is in vogue in Miami
tions to art. Is the recent surge
in art’s popularity related to the
rise of the rich and their desire
to diversify their financial
holdings? “Yes, we have collectors who have said as much,
particularly since 2008, particularly people in the financial
industry,” says Lucy MitchellInnes of Mitchell-Innes &
Nash (C9), who is the president
Rival resort fuels expansion plans
MIAMI.
The Miami Beach
Convention Center could soon
be expanded to compete with
a newer, larger rival planned
for the downtown area. The
Malaysian Genting Group
bought 30 acres of land
earlier this year to create a
$3bn bayfront resort with
restaurants, shops, condominiums, four hotels, a
swimming lagoon and
700,000 sq. ft of exhibition
space (right). The Florida
legislature is considering a bill
that would permit the creation
of resort casinos. If the bill is
approved, the Genting
development will include a
Las-Vegas style gambling floor.
The new development will put
pressure on the City of Miami
Beach to upgrade the
Convention Center, which is
this week hosting Art Basel—
but the City has only $50m to
spend. The property developer
and art collector Craig Robins
says officials should seek
inspiration from Basel in
Switzerland, which is expanding its exhibition centre to a
design by the Swiss architects
Herzog & de Meuron. If the bill
passes, the upgrade could be
paid for by building a resort
casino in what is currently the
car park. The Las Vegas
casino owner Steve Wynn
recently met the mayor of
Miami Beach to discuss a
$1bn resort casino plan. Cristina Ruiz
of the Art Dealers Association
of America. “Many collectors
see art along the lines of the luxury goods business, with investment potential.” Today’s
capricious stock markets and
fluctuating currencies are benefiting the art market. “People
want to take their money out of
Wall Street and put it into hard
assets such as art,” says
Christophe Van de Weghe (Van
de Weghe Fine Art, D6), a secondary market dealer. Unlike
boats or cars, which depreciate
the minute they leave the showroom, art is a potentially resilient investment. “It is easier
to have ten Damien Hirsts than
to have ten yachts… besides,
your yacht becomes more interesting with a Damien Hirst on
it,” says the Mexico-based collector César Cervantes.
“Art has resoundingly become more fashionable. We’ve
all become much better at marketing our wares,” says Oliver
Barker, the deputy chairman of
Sotheby’s Europe. Equally alluring is the “art party scene…
many VIPs are just looking and
having a good time,” says the
Miami-based collector Rosa de
la Cruz. But “there is [also] a
broad cultural interest in contemporary art that was not there
ten or 20 years ago,” says
Gabriel Pérez-Barreiro, the di-
rector of the Colección Patricia
Phelps de Cisneros. “The [area
of the] market that is growing
like crazy is in contemporary
art. One of the factors is the
global art tourism phenomenon—it’s difficult to get into
MoMA these days.” The educational feel-good factor is important, too, says Marc Spiegler,
“
Your yacht
becomes more
interesting with a
Hirst on it
”
the co-director of Art Basel,
who says “good art makes you
see the world differently”.
Although headlines have focused on emerging economies
such as Brazil and countries in
Asia, the bedrock of the art
market still rests on European
and American foundations.
“Places like India, the Middle
East and China are interesting
in terms of the speed with
which the markets are growing,
but the total volumes of sales
are not even close to traditional
markets,” Spiegler says.
It is difficult to separate the
discussion from the wider economic and political issues,
says Pérez-Barreiro. Countries
Art Basel is changing its
entry policy to the Swiss
edition next June to double
the number of hours allotted
to VIPs. Access to the fair on
Tuesday 12 and Wednesday
13 June will be by invitation
only, with the extra day
replacing a public opening.
Overcrowding at the preview
was becoming an issue, says
Marc Spiegler, the fair’s codirector. “We tried a lot of
ways of dealing with [it], but
the phenomenon is too big to
be resolved through
tweaks,” he says. More
details will be announced in
February. There has been no
decision on whether a
similar system will be put in
place for the Miami and
Hong Kong editions. C.B.
such as Brazil are powering
forwards, but their distribution
of wealth is different. “In the
US and Europe, there is great
pressure on the middle class.
In Brazil, where there was always a huge wealth disparity,
the policy now is to create a
larger middle class,” he says.
This has less impact on the top
tier of the art market. The
growing middle classes may
be buying art, but they are
“probably buying further
down the chain”, he says.
Nonetheless, the world is
changing. Art collecting is
rooted in cultural, social and
economic value systems in
the US and Europe, and those
regions remain among the richest. “I do not agree that the art
market needs to be saved by
the Chinese,” De la Cruz says.
However,
according
to
Capgemini, the number of
millionaires in Asia-Pacific
rose 9.7% to 3.3 million last
year. Those hoping that the
Chinese will eventually buy
Western art include Art Basel,
which will hold its first Asian
fair (17-20 May 2012) following the acquisition of a 60%
stake in Asian Art Fairs, the
owner of ArtHK, by MCH
Group, the owners of Art Basel
and Art Basel Miami Beach. Charlotte Burns
DESIGN MASTERS
AUCTION
13 DECEMBER 2011 NEW YORK
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2
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Miami
Deconstructing Art Basel Miami Beach
In the December
main edition
This fair is one of three to be studied in a Swiss sociology project
kinds of ‘actors’ to discover
their philosophies,” adds
Schultheis, stressing that the
study is inspired by the theories of Pierre Bourdieu.
Indeed, the philosophy of the
late French anthropologist
could not be more apt in relation to the ABMB analysis.
“
We want to speak
with all kinds of
‘actors’ to discover
their philosophies
”
© Martin Parr/MAGNUM PHOTOS
MIAMI. Art fairs in the 21st
century have—at least by
uncharitable commentators—
been compared to zoos, with
big cat dealers staking out their
territory (those prime position
booths are all important for
catching the early prey that
comes through the door) while
nimble, meerkat-like buyers
encircle the goods on offer. A
more serious, academic light
has rarely been shone on this
art ecosystem but a new
research project initiated by a
team of sociologists from the
University of St Gallen in
Switzerland aims to “find out
more about the dynamics of the
rapid transformation of the art
world, its social structures and
cultural functions”, with Art
Basel Miami Beach (ABMB)
as the focus of the venture.
“The art world is a complex
social phenomenon. The relationship between art and
money is antagonistic but at the
same time, these two elements
come together easily at art
fairs. We want to explore this
contradiction,” says Franz
Schultheis, the professor leading the study. The project
began at Art Basel in June and
will continue in May 2012 at
Art HK, the Hong Kong
International Art Fair recently
acquired by MCH Group, the
owners of Art Basel and Art
Basel Miami Beach.
So far, the researchers have
made a few revealing discoveries. “Collectors often tell us
what they think of other
collectors—they divide each
other up into categories. So
some will discuss a ‘real’
collector, while others talk
about individuals who only
buy for investment,” says
Schultheis. What impression
does he have of the Miami art
scene so far? “There is cultural
globalisation here.”
The research team will
conduct one-on-one interviews with key collectors,
dealers and curators at the fair
Social stereotypes? Visitors
to Art Basel Miami Beach
in 2008, photographed
by Martin Parr
this week. A visitors’ survey
will also be handed out on the
floor, which includes questions such as: “Do you have the
feeling that the trends in
contemporary art reflected at
ABMB are: [multiple choice
answers include] in step with
the time; short-lived; repetitive;
market
conformcommercial.” Another question asks participants to name
contemporary artists they
consider to be “clearly overvalued by the market”.
“We want to speak with all
Bourdieu’s concept of “habitus” explores how tastes, skills
and character traits are
acquired in particular environments, with emphasis on
clearly defined dress codes and
behavioural patterns.
This intellectual endeavour
is being met with a mixed
reception on the fair floor, but
US art adviser Lisa Schiff
welcomed the move, saying
that ABMB is the “perfect
place” for such an exercise. The
research results are due to be
published in the next two to
three years. Gareth Harris
Controversy over planned Marc Jacobs show
Les Arts Décoratifs, the
decorative arts museum in Paris,
is being accused of a “conflict
of interest” over its plans to host
an exhibition devoted to fashion
designer Marc Jacobs, right, and
Louis Vuitton, the 19th-century
founder of the famous luggage
company. Jacobs is the creative
director of Louis Vuitton while
French billionaire Bernard
Arnault, the chairman of the
luxury goods group LVMH,
which owns Vuitton, sits on the
museum’s board of trustees.
The move has prompted
French art critic Didier Rykner,
who runs the website La
Tribune de l’Art, to question the
museum’s motives. “Exhibitions on Louis Vuitton are not
essential. There should not be
such shows in museums linked
to LVMH because of the possibility of a conflict of interest,”
he says. A show on Vuitton was
also held at the Musée
Carnavalet, a museum run by
the City of Paris, in 2010.
Marie-Liesse Baudrez, the
director of Les Arts Décoratifs,
defended her decision: “This
accusation does not stand up.
First, the museum has developed the exhibition, which was
devised by one of our curators,
in an independent and
autonomous fashion. Second,
the trustees have no say in exhibition programming.” The
show is scheduled to open in
March. G.H.
Ryman’s king-sized roses flourish at the Fairchild
Photo: David Owens
MIAMI.
An unusual kind of giant
flora is popping up at the
Fairchild Tropical Botanic
Garden tomorrow with the
opening of an exhibition by US
artist Will Ryman (until 31 May
2012). His largest outdoor
show to date, it comprises four
rose sculptures ranging from
five to 30 feet in height (left,
Origin, 2011). Oversized petals
float on the ponds and are
scattered around the gardens,
doubling as chairs, while two
brass bees and 15 ants are
perched in the trees. “It’s
surreal to see these works in a
tropical setting after first
seeing them in the snow on
Park Avenue,” says Ryman’s
gallerist Paul Kasmin,
referring to an installation in
Manhattan in January. Ryman
also produced a single red
rose for the sculpture garden
at the Frieze Art Fair in
October. “I wanted to take an
organic subject and change it
into something obviously manmade. It is a comment on the
commercialisation of a natural
object for consumption,” says
Ryman. The works range in
price from $350,000 to
$650,000 for a rose, $45,000
for a petal and around
$18,000 for a brass bug
(Paul Kasmin, B14). C.B.
News Are legal claims
killing art history?… fight
to build Malevich foundation by artist’s grave…
Museums New York’s
Museum of Modern Art
interviews James
Rosenquist, below, for its
oral histories collection…
crisis deepens at the British
Empire Museum
Art Market New evidence
released in Cologne art
forgery ring… New York’s
Latin American auctions
Features Yves Saint
Laurent’s former partner,
Pierre Bergé, on the fashion
designer’s legacy… the rise
of private art museums in
Scandinavia
Books Art world luminaries
reveal the best books
they’ve read this year
Paris
PARIS.
Our current edition contains
80 pages packed with the
latest art world news, events
and business reporting, plus
high-profile interviews (and
a smattering of gossip)
Venice Biennale
pulls in the crowds
More than 440,000 people
visited the 54th Venice
Biennale, which ended last
weekend, a vindication for the
biennale president, Paolo
Baratta, 72, who had been told
his term of office would not be
renewed when it ends in midDecember. His successor was
to be Giulio Malgara, 73, a
multi-millionaire foodstuffs
importer, who had the backing
of the former culture minister,
Giancarlo Galan, and prime
minister Silvio Berlusconi, but
he withdrew when Berlusconi
resigned. Baratta is now
hoping to be reappointed. G.H.
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4
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Art market
Is this fair big enough for the both of us?
Some galleries feel the major auction houses are encroaching on their rightful territory
GION
F
airs such as Art Basel
Miami Beach (ABMB)
are not just an opportunity for dealers to reconnect with
local clients, seek new ones
and promote their artists to
an
international
public.
Fundamentally, fairs are how
the highly fragmented dealer
community produces a significant counterweight to the
auction houses, who have just
shown in New York how much
firepower they can muster.
Auction houses have the
financial clout and international networks to organise
swanky parties, glittering
auctions and the buy-it-nowor-you’ll-lose-it experience.
Dealers, mostly operating
from a single base, few of them
with international offshoots,
have fought back by consolidating into art fairs. This gives
them the missing international
reach and offers the same buyit-now experience—as well as
a full programme of events and
a lively party scene. But the
very success of art fairs is attracting more and more attention from the auction houses,
which are also constantly
looking for new ways to expand at Miami this week. For
the second time, Christie’s is
holding an exhibition of highlights this year from its
London sale in February 2012.
And you can be sure the fair
will be visited by auction
house specialists with some of
their top clients in tow, who
will be treated to smart dinners
and private visits to local collections as well as a trawl
through the aisles of ABMB.
Does this matter? It’s natural that auction house staff
should visit the fair, to see
what’s on the market and at
what price. Indeed, auction
Bidding for custom: Christie’s is showing highlights of a future sale at Art Basel Miami Beach
houses have a thoroughly
symbiotic relationship with
the trade. If an artist makes a
big price at auction, a dealer
won’t hesitate to flag it up to
buyers. Alternatively, dealers
can be a valuable source of
material for the secondary
market by helping the salerooms bulk up a slightly thin
catalogue, for example.
Dealers, however, are increasingly wary of auction
houses encroaching on their
turf, particularly at fairs. A
definite no-no is the inclusion
of galleries owned by auction
houses at fairs: the Christie’sowned Haunch of Venison
gallery, for example, is
“
The fairs are valuable for finding
new clients and bringing in new blood,
and I don’t see how you can prevent
auction houses coming in
”
excluded from the Basel group
of fairs.
Another issue is too much
emphasis on auction results.
The Art Dealers’ Association
of America (ADAA) has not
allowed the online data site
Artnet, which publishes saleroom prices, to have a booth at
its annual fair.
The problem overwhelmingly concerns works of art
that are frequently at auction,
where dealers and the auction
houses are in direct competition both for the art and for
buyers. But even in the primary market some dealers
think auction houses are
becoming increasingly aggressive in what they see as
“interfering” in the fairs.
The
gallerist
Claes
Nordenhake (H9) is not impressed by the behaviour of
some auction houses. “The
opening of Art Basel or ABMB
is one of the prime moments in
our activity, that’s when our
major sales are made,” he says.
“And that’s also when the major auction houses send all of
their specialists with clients,
and they steer people away
from the booths. They also
organise dinners around the
fair and take the best tables at
the best restaurants.”
Nordenhake was on the Art
Basel committee for nine
years, and says that this issue
was regularly discussed without any solution being found.
Few are as extreme as
Nordenhake, although the gallerist David Juda (B5) agrees
that the auction houses are
becoming more aggressive.
“They are continually encroaching on dealers’ territory
in other ways as well,” he says,
citing their growing private
treaty business.
Pilar Ordovas worked at
Christie’s before joining
Gagosian for two years, and
then setting up her own gallery
in London this year, so she has
been on both sides of the fence.
“The fairs are valuable for
finding new clients and bringing in new blood, and I don’t
see how you can prevent auction houses coming in,” she
says. “But a couple of years
ago at Basel there were too
many VIP passes given out—
they let too many auction
house people in—that was
problematic.”
Like Ordovas, Emmanuel di
Donna left Sotheby’s to set up
Blain Di Donna, a secondary
market gallery in Manhattan,
with London’s Harry Blain. “I
took clients to fairs when I was
with Sotheby’s, and I never saw
it as a problem: at the end of the
day the clients are not stupid,
and they are led by the object,”
he says. “Dealers also take their
clients to auctions or advise
them to buy or not to buy—it’s
all the same market.”
Lucy Mitchell-Innes of
Mitchell-Innes & Nash (C9),
president of the ADAA, finds
the presence of auction houses
“a bit annoying, because they
exhaust the clients with their
dinners and exhibitions. An art
fair is the gallerists’ time to
shine. And I don’t think auction houses should be on the
VIP lists at the opening, which
is supposed to be a quiet looking and buying time for serious
collectors.”
In response, Art Basel’s codirector Marc Spiegler says:
“Art Basel does not promote
VIP access to auction house
staff in the way we do with
museum directors, curators,
private collectors and artists,
although we do extend a certain level of professional courtesy towards directors of the
main auction houses, just as
we do with directors of other
art fairs.” But, he admits: “A
certain number of auction
house staff attend our shows
in their capacity as advisers to
collectors, who bring them
along as their personal guest.”
At the end of the day, the
auction houses and the dealer
community need each other,
and it is a question of mutual
respect. Art Basel committee
member and gallerist Xavier
Hufkens (C13) says: “All we
expect is a little decency.” Georgina Adam
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Ellsworth Kelly, Spectrum, 1972
Collage on paper, 48 x 104 inches (121.9 x 264.2 cm), UBS Art Collection © Ellsworth Kelly
Celebrating ten years of bringing
new perspectives to the art world.
We applaud
Art Basel Miami Beach
on the show’s
ten-year anniversary
and look forward
to the visionary art
the show’s galleries
will continue to champion.
As the proud main sponsor
of Art Basel Miami Beach
since its inception,
we support this
dedication to excellence—
it is the same dedication
we apply to the work
we do with our clients.
Because until we’ve worked
tirelessly to design solutions
for our clients’
unique financial needs...
We will not rest
www.ubs.com/artbaselmiamibeach
© UBS 2011. All rights reserved.
6
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Art Basel Conversations
“I am not into artists pretending to be heroes”
The Mexican artist Gabriel Orozco on his work, retrospectives and opening this year’s talks programme
By Gabriela Jauregui
A
Gabriel Orozco, left, and La DS, 1993 above,
from this year’s retrospective at Tate Modern
Cindy Ord/Getty Images
The Art Newspaper: In a recent piece in the
London Review of Books on your show at Tate
Modern, T.J. Clark says you’re the “anti-Joseph
Beuys”. On the other hand, many people have
called your work “conceptual”. Do you feel
either of these is true?
Gabriel Orozco: I avoid these kinds of labels
with cleverness and cunning [laughs]. I don’t
consider myself a conceptual artist. I think it
has become an easy label to place on any artist
who doesn’t do painting. But this is a mistake:
conceptual art is very specific and had its
historical moment. But I was glad when Clark
said I am the anti-Beuys, because when people
ask me if I like his work I always say I don’t.
I try to steer away from self-mythology. I try
to disappear.
Is there a more discreet or intimate aspect to
your work then?
I wouldn’t call it intimate, because that has a
connotation of seclusion: the artist secluded in
his studio, who doesn’t have a public life or
interact. What I am more interested in is small
gestures, discreet gestures that almost seem
banal but that can have public impact. It’s not
just about me: my studio, my love or
whatever. I don’t believe that the opposite of
the shamanistic political figure of Beuys is
privacy or intimacy, but I don’t think the artist
has to be a shaman either.
So your work is in dialogue with its context
but you’re neither a political demagogue nor
an artist-hero?
My work is about erasing my person to create
objects or images that can be appropriated by
the viewer. This is the mechanism I try to
establish. I really hate self-heroism; I am not
into artists pretending to be heroes.
How do you see yourself and your work in the
context of Mexico? Do you feel your career
and your practice have reflected what’s been
happening there?
I am a part of a generation that was at the
forefront of something new. I was a trailblazer,
and I feel that what has come after me is very
interesting and makes me optimistic. The
Mexican art scene is now well established, it
is expanding and becoming more structured.
There are more and more people involved—
it’s less of a closed circuit.
One thing that was important to me was to
not be driven by dogma. I am not interested in
convincing anyone that my way is the only
way. On the contrary, I am still looking to
define myself in an ever-changing situation:
I am in flux. I don’t try to impose my truth, or
my rules. This doesn’t mean I like everything
and agree with everything. There is an ethic to
what I do. I am also against a market-driven
art practice, and against the obsession with
conventional art distribution methods. I try to
have a critical attitude with regards to this.
Until the 1990s, people in my country took a
Fuat Akyuz/LNP
fter a retrospective that toured
over two years to four major
museums—New York’s
Museum of Modern Art, the
Kunstmuseum Basel, the
Pompidou Centre and, most
recently, Tate Modern—Gabriel Orozco has
arrived. But there are several ways of
measuring an artist’s success and influence.
One is the reaction artists have to each other’s
work. In 2003, the young Mexican artist
Joaquín Segura made a piece called Orozco
For the People, for which he stole one of
Orozco’s slides (Migrations, 1994) from a
presentation Orozco was giving as part of a
master class, then multiplied it so that anyone
could have an Orozco print at an affordable
price. Paradoxically, says Jessica Morgan,
curator at Tate Modern: “Although Gabriel’s
work has been of great importance for
subsequent generations of artists, in fact, this
influence has been generated largely by
reproductions rather than a direct experience
with his work.”
In this interview with The Art Newspaper,
Orozco tells us what happens behind the
scenes of such retrospectives, how he has
balanced his work and life, and if his work has
changed in the light of his success.
very hard line about what Mexican art could
be, and now young artists are much freer to do
what they want.
Do you think that you take risks in your work?
I never begin a work using a defined technique
and I don’t have a single way of working: I try
to instrumentalise the work as little as possible.
In fact, that’s why I don’t like video, and why I
do as little photography as I can. The idea is to
be in an open field, without technical or
ideological prejudices; to try to open up as
much as possible and understand the situation.
This is why it’s hard to define my style. It is
risky, because it means I am always a beginner.
I don’t like to give moral, scientific or
“
you’ll be discussing?
I think the conversation will be anchored on
the idea of what a retrospective means: what it
means to be in the moment I am in right
now—when an artist’s work starts to get
presented in these mid-career retrospectives. I
will be talking about this with Michelle Kuo,
editor-in-chief of Artforum. We’ll discuss what
it means to be in the situation I am now; how
I combine my work with my personal life;
how I present my work in institutions—
especially since my work often critiques those
institutions. Also, how my work rhythm is
affected by these kinds of shows and what
their limitations are.
I was glad when it was said I am the anti-Beuys, because
when people ask me if I like his work I always say I don’t.
I try to steer away from self-mythology. I try to disappear
ideological explanations for what I do. That
can generate disconcerting reactions. People
can be disappointed because I don’t like to
explain myself. It can be difficult to
understand why I choose to do something—
that is the risk I take.
On the other hand, people have grown
accustomed to my way of working and I think
that, with time, that has become easier too.
I have managed to get rid of people’s
expectations and the weight they carry.
You will be leading the Art Basel Conversations
programme. Could you give us an idea of what
”
Do you think your life and work have changed
after these large exhibitions?
I am interested in combining moments of great
work and moments of privacy. Working on
these large-scale shows, you become almost a
manager. You have to answer questions about
safety and insurance; about the images that will
be reproduced on mugs, T-shirts, postcards.
Everything. It’s very time-consuming and is
not much fun. The fun part comes when I
install: I get to play with the work. In fact, I
like to play with my pieces as if they were a
chess game, to place them in different ways in
each of the different museums.
I feel that always, in the end, the ideas
for my work happen in the in-between
moments—and I always pay a lot of attention
to those moments. During the three years
these shows have been taking place, I started
doing drawings on Japanese folding paper,
which I just showed at Marian Goodman in
September. I always find a way to
keep working.
It’s funny, the impact these shows can have
on your work is similar to the kind of effect
that having a factory or very large studio must
have: they demand your time and you have a
lot of responsibilities to lots of different
people. I try not to give in to these pressures:
not to get too involved or lost in society, and
not to get lost in my studio, isolated from the
world. My work happens precisely in that
space between the public and the private. As
Oscar Wilde said: “To live in society is
tedious, but to live out of society is dramatic.”
How much freedom do major exhibitions
allow you?
More than anything, the question is what
strategy to follow. What is the way to deal
with this situation and still have an
independent position? And also how not to
get flayed alive. I mean, doing a mid-career
retrospective is risky because your work
could be badly positioned. These kinds of
shows can have a very negative impact on the
image of the artist. And that’s something that
is out of your hands, you know? You just can’t
control it.
For example, a retrospective could be less
than good, but if the work can still hold up the
artist and there is still an interest in the work,
people can still believe in him as a creator. Or
the retrospective could be a good show in the
sense that it is well presented, beautifully
mounted but the work, all together, could look
bad. This can be very detrimental.
A retrospective won’t save you. It can be a
death sentence. The End. Even if the show, as
a show, is good. The pieces can be well
presented and still not work, or the pieces
could be badly presented and work well. I
always give the example of Bruce Nauman’s
retrospective in 1994 or 1995 at MoMA: it had
a negative impact. Even though Bruce
Nauman will always be Bruce Nauman, they
say he stopped working for ten years after that
show. He was really depressed.
I hope you don’t feel in that position...
No, not at all. I just had a show in September,
and I’ve never stopped making work. The
truth is I have to work at a slower pace, but
that’s actually nice. The pace I had before was
very intense. I also get to hang out with my
seven-year-old son and my wife. I want to
spend time with my family, so slowing down
is good. Gabriel Orozco will be in conversation with Michelle Kuo
tomorrow at 10am in the Miami Beach Convention Center
auditorium, near Info Zone D
APPLICATIONS AND INFORMATION ONLINE
AT EXPOSITIONCHICAGO.COM
THE INTERNATIONAL EXPOSITION OF
CONTEMPORARY MODERN ART & DESIGN
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Preview Day 29. November
Miami Beach / USA
designmiami.com
9
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
10th anniversary
How Miami became an artistic hotspot
Since its first edition in 2001, Art Basel Miami Beach has been a catalyst in transforming the city
By Cristina Ruiz
T
en years ago Miami was known
mostly for its beaches and
nightlife. Today it is a cultural
destination with burgeoning
ambitions. The city’s museums are
expanding and its private spaces
for art are increasingly active. Major buildings
by Frank Gehry, Herzog & de Meuron and
Zaha Hadid have either been completed or are
planned. As Art Basel Miami Beach celebrates
its tenth anniversary we asked four of the city’s
most prominent figures—including Norman
Braman and Craig Robins, who lobbied hard
for the fair to come to Miami—how important
the fair has been to that resurgence. We also
spoke to a leading European curator to see how
the international art world’s view of Miami has
changed in the past decade.
Norman Braman Chief executive, Braman
Enterprises, and collector
During the 1990s, Miami and Miami Beach
had a terrible reputation.
There were tourist
muggings and even
murders and the city was
written about as a place
to avoid. Now, as a result
of Art Basel Miami
Beach and the people
who visit South Florida
from all over the world,
the image of Miami has
changed. Visitors from Europe buy apartments
here and even come back to vacation during
the rest of the year.
Art Basel Miami Beach has become the
most important fair in the US and, if you
consider all the satellite events, has probably
surpassed its parent in Switzerland in terms of
the number of galleries and visitors. I’ve been
told that more private jets arrive here for Art
Basel than fly to the Super Bowl.
I remember the difficulty in attracting
galleries here for the first year. Art Miami,
which had been here for a number of years,
was not an overwhelming success and some of
the galleries I knew, such as Pace, had tried it
and did not want to come back. But a number
of collectors, including me, persuaded some of
those galleries to come to the first Art Basel.
What they found was that the fair was a tonic
at a normally very quiet time of year.
The fair has also created a new generation
of collectors who never collected before,
including my own daughter. It has also
exposed Miami Beach to people from all over
the world in a positive light. Today the new
Miami Art Museum is under construction,
MoCA is undergoing a major expansion and
the Bass Museum has undergone a tremendous change. And look at Wynwood, which
was one of the most depressed areas of the
city before the fair arrived. Today it’s a
vibrant area full of art galleries—Art Basel
helped revitalise a district that was totally off
limits before.
Craig Robins Chief executive and president,
Dacra (property developer); developer of the
Miami Design District; founder and
co-owner, Design Miami
Art Basel Miami Beach
has had an incredibly
positive impact on the
city.The fair has helped
establish Miami as an
international city of
cultural substance. It has
also paved the way for
other cultural projects
and endeavours that have
enhanced the city. For
example, although the New World Symphony
was here long before Art Basel, a partial
catalyst in the project to build it a new home
designed by Frank Gehry was the fact that
Miami was becoming an international
destination for culture.
Cultural events can have huge influence on
how a city evolves. We saw this in the 1980s
with the re-emergence of South Beach. Dacra
played an integral role in the redevelopment of
A filmed interview with Frank Gehry projected on the side of the New World Center, which he designed
this area. When South Beach and the Art Deco
district began to come back, that changed
people’s image of Miami and it led to tremendous growth in the city as a whole. Art Basel
had a similar impact. The fair was an opportunity for the city to showcase itself to an
international crowd. It gave Miami an important role on the cultural stage. As places
evolve, sometimes they get better and better
and sometimes they peak and decline. Miami is
clearly a city of the future.
Silvia Karman Cubiñá executive director, Bass
Museum of Art
Art Basel brings an
international community
of discriminating and
knowledgeable visitors to
the city’s museums. This
is a wonderful challenge
and opportunity for the
museums and the artists
showing their work.
Furthermore, the
momentum keeps visitors
coming back to Miami for the rest of the year:
dealersreturn to see collectors and museums;
artists come to Miami to install works or have
exhibitions that take place during the year, and
some people simply come for their vacation.
The fair serves as a motor that keeps running
all year long.
The impact of the fair on cultural life in
Miami has been enormous. It has been a big
factor in extending the reach of the city’s
artsorganisations and their ability to attract
world-class artists. It has also helpedincrease
attendance and philanthropy at museums. And
its influence doesn’t stop with art—look at the
architecture. Major architects now have
important projects in Miami Beach: Frank
Gehry’s New World Center, Herzog & de
Meuron’s 1111 Lincoln Road garage, and soon
Zaha Hadid’sparking garage for theCollins
Park neighbourhood.
In Miami Beach you can see an overall
cultural flourishing that has affected what we
do, where we see art and hear music and even
where we park our cars. It has been about
reaching a level of excellence and now it will
be about sustaining it.
Cristina Lei Rodriguez artist
I grew up in Miami but
went to college in
Vermont and then
eventually got my MFA
in San Francisco. When I
finished that me and my
husband, who is also
from Miami, really
wanted to come back. We
returned in 2003. It
seemed like various
things were starting to happen at least partly
because of Art Basel. The attitude among
artists was: “do it yourself”, “make something
happen”. Everyone was trying to get their act
together since Art Basel was starting to
establish itself. Another positive effect of the
fair was that it connected Miami’s art scene to
the international art world.
However, not all the benefits to art in Miami
have been because of Art Basel. Our studio is
in the Design District—there’s a cluster of
studios and art spaces there—and we’re all
generously funded and supported by Dacra...
it’s amazing. It’s been something that has
really formed all of our careers. Even at the
time when we moved in, it was a time when a
lot of things were happening in my career and
to have a space that I didn’t have to pay for
really helped my career reach the next level.
Beatrix Ruf director, Zurich Kunsthalle
I probably would never
have gone to Miami
without Art Basel Miami
Beach. It just wasn’t on
my map. I knew a few
collectors who lived there
but I didn’t have any
motivation to go there.
Now it has become
essential. Except for the
first edition, I have been
every year. Over the years the city has become
more and more active, the collectors with their
private spaces and also the public museums.
Everyone is gearing up to do shows and
projects on all levels. There are independent
projects, the design fair—which is much
stronger than in Basel—and more and more
galleries that only exist when Art Basel is on.
The city is much more confident in its role as a
cultural destination.
Sam Keller director, Beyeler Foundation, Basel;
director, Art Basel, 2000-07
From the beginning, part
of our plan in Miami was
to work with many
partners to do whatever
we could to develop the
cultural programme of
the city. Art Basel Miami
Beach has certainly
helped put the spotlight
on Miami’s cultural life
and made it a destination
for artists, musicians and all creative individuals. The fair has helped private collections
and public museums develop and new spaces
for art have emerged along the way. And the
whole city has embraced the fair with special
receptions, events and parties in private
collections, museums and galleries not just
for the happy few but for thousands.
This opening up of the city was something
new, which we pioneered in Miami and which
has now become an industry standard for
fairs. It has played an important part in
getting local people to engage with art and
getting visitors to engage with the city.
Most important of all, Art Basel Miami
Beach has shown that Miami has huge
potential as a hub between Latin America and
Europe. More people from Latin America now
come to Miami, as do more Europeans and
North Americans, to look for Latin American
art. This link between North America and Latin
America is something that has even been
strengthened within the city, with these two
different communities working much more
closely together, for example, in the boards of
museums and in many other collaborations.
Now many more artists from Latin
America are exhibited and collected internationally and the cultural worlds of three
continents—North America, Latin America
and Europe—are much better connected. I
think Art Basel Miami Beach has played a
significant role in this and it’s what I am most
proud of. n
“Celebrating ten years of Art Basel Miami Beach with UBS.”
An exclusive web series you won’t want to miss at TheArtNewspaper.tv.
We will not rest
www.ubs.com/artbaselmiamibeach
© UBS 2011. All rights reserved.
10
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Art Public
© David Owens
By Yasmine Mohseni
F
or the tenth anniversary of Art Basel
Miami Beach, the organisers have teamed
up with the Bass Museum of Art to
rethink the fair’s presentation of public art. Art
Public, centred for the first time in the newly
landscaped Collins Park by the Bass Museum,
will exhibit 24 works—a record number—
selected by guest curator Christine Kim.
The park will “spring to life” this evening
with the multi-sensory opening of Art Public,
featuring performances by Theaster Gates (Kavi
Gupta Gallery, P16) and the Black Monks of
Mississippi, and by New York artist Sanford
Biggers. The Brazilian collective Alalâo will
present Ronald Duarte’s performance Nimbo
Oxalà, in which a chemical cloud is formed as
multiple fire extinguishers are discharged for
90 seconds. Other performance-based pieces
due to be staged during the fair include Glenn
Kaino’s Levitating the Fair (The Flying
Merchant Ship), 2011 (Marlborough Gallery,
F5) and Jen DeNike’s ceremonial lemanjá, 2011
(Mendes Wood, P1).
Kim, who is the associate curator of
contemporary art at the Los Angeles County
Museum of Art and the co-founder of the nonprofit public art initiative Los Angeles
Nomadic Division, has shifted the traditional
sculpture park model towards the conceptual,
the performative and the temporal. “Christine
[was chosen] because she has curated many
great site- and situation-specific contemporary
art projects. Her Los Angeles perspective was
also a plus,” says Marc Spiegler, the fair’s codirector. For Kim, the involvement of the Bass
Museum was a big part of the attraction. “There
[are differences] in curating for a museum or
for an art fair. This triangulation between Art
Basel Miami Beach, the Bass Museum of Art
and myself was very exciting,” she says.
This summer, fair exhibitors were invited to
submit proposals for Art Public. Kim accepted
around a third and arranged the rest herself,
seeking out young artists represented by
smaller galleries that might not be in a
position to propose projects. These include
Darren Bader (Andrew Kreps Gallery, J5),
Andrea Bowers and Olga Koumoundouros
(Susanne Vielmetter, Los Angeles, C22), Kate
Costello (Wallspace, N26), Anthony Pearson
(David Kordansky Gallery, M2) and Eduardo
Eduardo Sarabia’s snakeskin boots refer to Mexico’s cultural history and its violent drug war
Sarabia (Proyectos Monclova, N6).
Kim says the display is less about an
overarching theme and more about a “matrix”
of discussions. “There are 24 projects that
reflect a variety of artistic practices today [that
are] suited to outdoor spaces,” she says. “I’m
interested in the range of artists and projects
creating conversations, whether actual live
conversations or visual types of
conversations.”As a result, Bowers and
Koumoundouros, who often focus on the
environment, share the space with Alalâo’s
chemical-gushing performance piece.
Although many of the works are for sale, a
number are not geared towards the marketoriented setting of a fair.Silvia Karman Cubiñá,
the executive director and chief curator of the
Bass Museum,asks: “How do we make this a
good exhibition while being part of a commercial venture?” Kim says: “I needed to convince
[some] galleries that this was an important
project that represents the artist in an incredible
way.Some projects aren’t sellable, but it’s
about their interaction with the other works.” Highlights of the Art Public park—dragons, drug lords and an Occupy-style kiosk
Chakaia Booker, Holla, 2008
(Marlborough Gallery, New York, F5)
Booker’s imposing stainless steel and rubber
tyre sculpture, which is over eight feet high,
resembles a fearsome dragon ready to attack.
Christine Kim, Art Public’s guest curator,
was familiar with Booker’s work at the
Studio Museum in Harlem and the Storm
King Art Center in Mountainville, New York.
Andrea Bowers and Olga Koumoundouros,
Transformer Display of Community Information
and Activation, 2011
(Susanne Vielmetter, Los Angeles, C22)
This installation is the third in a series that
Bowers and Koumoundouros have been
working on for two years. They created a
“kiosk” made of material found or bought in
the Miami area, with sections dedicated to
local non-profit organisations such as the
Florida Immigrant Coalition. The artists will
host activities throughout the fair. “It’s a fair
inside the fair—we’re going to look like
Occupy Wall Street,” Bowers says.
Thomas Houseago, Rattlesnake Figure, 2011
(L&M Arts, New York, F7)
This bronze sculpture (edition of two, one
artist’s print), which is almost 12 feet high,
was cast from the LA-based artist’s largest
carved wood sculpture to date.
Glenn Kaino, Levitating the Fair (The Flying
Merchant Ship), 2011
(Marlborough Gallery, New York, F5)
Volunteers will use 80 planks to help Kaino
keep aloft his 20ft by 20ft replica of the 1939
New York World’s Fair. Kaino asks: “How
can you still take positive cultural meaning in
that [art fair] landscape? Is that possible?
How does the audience engage?”
Eduardo Sarabia, Snake Skin Boots with
Snake Head. White Quarry Stone 21st Century.
Northern Mexico, 2011
(Proyectos Monclova, Mexico City, N6)
Sarabia’s sculpture of snakeskin cowboy
boots, which are often associated with
Mexican drug lords, is made of a white quarry
stone local to Guadalajara. The work is more
than six feet high and weighs two tonnes. “I
imagined walking in the jungle and finding a
giant stone snake skin and head, reflecting a
pre-Columbian civilisation,” Sarabia says.
FOTOFEST 2012 BIENNIAL
CONTEMPORARY RUSSIAN PHOTOGRAPHY
International Fine Print Auction and Exhibitions
Nikita Pirogov, Natasha, from the series The Other Shore, 2009–2011
March 16 – April 29, 2012 Houston, Texas
FINE ART AUCTION MIAMI
346 NW 29TH ST, MIAMI, FLORIDA 33127 Tel (1) 305-573-4228
WWW.FAAMIAMI.COM - INFO@FAAMIAMI.COM
AUCTIONS ON DECEMBER 3RD, 4TH & 5TH IN MIAMI
Public viewing from November 22nd until December 4th, 10am to 6pm
PAINTINGSANDSCULPTURESAUCTION December4th
ART DECOANDDESIGNAUCTION December5th
FAAM, LLC Auctioneer License: Jim Buzzella, CAI, Florida Lic. AU1146
Robert INDIANA
Oil on canvas, 1970.
85 x 85 in.
Wassily KANDINSKY
Oil and tempera on panel.
29 1/2 x 17 3/4 in.
Robert INDIANA
Polychrome Aluminum
72 x 72 x 36 in.
Yves TANGUY
Oil on canvas. 1937
16 x 13 in.
DAUM NANCY
CAMILLE FAURE
SPECIALISTS IN NEW YORK & MIAMI
PAINTINGS AND SCULPTURES
Frederic Thut
+1 917 282 6044 - info@fthut.eu
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PAINTINGS AND SCULPTURES
Dan Coissard
+33 148 24 60 88 - info@cedc.fr
Alexander CALDER
Painted sheet metal and wire. 1975
19 x 17.5 in.
Victor VASARELY
Oil on canvas
66 1/4 x 57 in.
EUGENE PRINTZ
SPECIALIST IN PARIS
ART DECO AND DESIGN
Arnaud Plaisance
(786) 365 85 85 (MIAMI) - +33 610 498 338 (PARIS)
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catalogs on line on : www.faamiami.com - www.plaisance-expertise.com - www.artfact.com - www.the-saleroom.com - www.liveauctioneers.com
Miami Art Fair
Nov. 30 - Dec. 4, 2011
Contemporary Works on Paper
Suites of Dorchester
1850 Collins Avenue (19th St)
Miami Beach, FL 33139
Wednesday
Thursday - Saturday
Sunday
10 am - 5 pm
10 am - 7 pm
10 am - 3 pm
PULP PARTY! Sponsored by XL Insurance
Thursday, December 1, 5:30 - 7:30 pm Celebrate INK Miami as the premiere
venue for works on paper during Art Basel Miami Beach with
complimentary hors d'oeuvres, cash bar, and music by
DJ King Eulas.
ARTIST TALK: José Lerma
Thursday, December 1, 11 am with Gregg Perkins, Assistant Professor
at the University of Tampa. José Lerma has had solo exhibitions at
Andrea Rosen (New York), Xavier Hufkens (Brussels), and
Galleria II Capricorno (Venice).
CURATOR-LED TOUR
Friday, December 2, 2 pm with Jane Simmon, Curator, Contemporary Art Museum
Institute for Research in Art will lead a tour of the Fair’s themed exhibition
Saving Face: Reinterpreting the Portrait.
www.inkartfair.com
Premier Sponsor
Presented by the International Fine Print Dealers Assocation
2nd Edition
INTERNATIONAL ART SHOW
November 30 - December 4, 2011 • 11am - 9pm
( Surfcomber Hotel 1717 Collins Avenue – Miami Beach )
2 blocks (walking distance) from Art Basel Miami Beach
International Art Galleries
Tous Ensemble
Including: Art +, Shanghai; (art)n
Ellen Sandor, Chicago; Marc Ash,
Paris; Fabien Castanier, Los Angeles;
Mark Hachem, New York, Paris; Harari
Studio, Miami; Hoyarte Hoy, Buenos
Aires; Kunst Ltd., Rio de Janeiro,
Costa Rica; Hélène Lamarque, Miami;
Octavia Art Gallery, New Orleans;
Christopher Paschall, Bogota; Star
Track, Hong Kong; Taglialatella
Galleries of New York, Paris and Palm
Beach; Taglialatella Shanghai...
An installation about
Remembrance and Tolerance
inspired by the Holocaust, by
artist Marc Ash.
Art Works by Major Artists
Including: Andy Warhol, Jean-Michel
Basquiat, Robert Indiana, Keith Haring,
Roy Lichtenstein, Tom Wesselmann,
Jeff Koons, Arman, Russel Young,
Speedy Graphito, Carlos Cruz Diez,
Jesus Rafael Soto, Victor Vasarely,
Lawrence Schiller, ORLAN...
A Diversified
Program of
Conferences:
New Paradigms of Social
Responsibility in the Arts
Jean-Michel Basquiat
1982. Cabeza. Courtesy of
Taglialatella Galleries
Moderated by Claire Breukel,
with Jeri Wolfson, Sonja
Bogensperger, Paula Lalinde
Art World & Community
With Brook Mason, Carol Damian,
Jean-Michel Raingeard, Fran
Kaufman
Better World Museum©
Curated space with exceptional
pieces presented by private collectors
and galleries.
Van Gogh’s Dream©
An educational project showing Van
Gogh 's Dream. Exclusive Presentation
in partnership with Institut Van Gogh©.
PULSE Miami
Contemporary Art Fair
December 1 – 4, 2011
The Ice Palace Studios
1400 North Miami Ave
at NW 14th Street
Miami, Florida
Van Gogh Conference
Moderated by Sebastien
Laboureau, with Dominique
Janssens, Wouter Van Der Veen.
Recent Trends in
Contemporary Art
With Diana Freundl
Please visit our website for full schedule of events and conferences
WWW.ARTSFORABETTERWORLD.COM
Info@ArtsForABetterWorld.com |
Arts For A Better World 2011
( Entrance: $10 )
WWW.PULSE-ART.COM
ORLAN
American Indian
Self-Hybridization # 12. 2005.
Digital Photography
60" x 49". Courtesy
Lamarque Gallery Miami
FREE FOR All art fair VIP cardholders,
Children and students with ID, Members of the Armed Forces
A tribute to Steve Jobs:
The Apple by Andy Warhol,
Painting presented at the
Better World Museum
For Gallery Leasing Information
Oliver Katcher
212 883 0526
okatcher@rfrrealty.com
www.rfrrealty.com
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Accommodating Distinctive Art Galleries
Madison Avenue between 76 and 77 Streets | NYC
THE 17 ANNUAL LA ART SHOW: CONTEMPORARY AND MODERN,
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LA CONVENTION CENTER, WEST HALL A LAARTSHOW.COM INFORMATION 310.822.9145
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15
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
What’s On
www.theartnewspaper.com/whatson
For the second edition of
Locust’s Billboard Project the
artist will exhibit works on
advertising hoardings and bus
shelters throughout Miami.
Until late December
155 NE 38th Street, Miami
www.locustprojects.org
Exhibition listings are
arranged alphabetically
by category
Exhibitions
1 Bakehouse Art Complex
Woman to Woman
Site-specific installations by
five pairs of Miami-based
women artists.
Until 20 January 2012
561 NW 32nd Street, Miami
www.bacfl.org
12 Lowe Art Museum
Saintly Blessings: a Gift of
Mexican Retablos from Joseph
and Janet Shein
Twenty-eight devotional
images of saints displayed
together for the first time.
Until 23 September 2012
China: Insights
Photographs by seven
Chinese artists.
Until 15 January 2012
University of Miami
1301 Stanford Drive,
Coral Gables
www6.miami.edu/lowe
2 Bass Museum of Art
Laurent Grasso: Portrait of
a Young Man
Historical works from the
museum’s collection
alongside contemporary
works by Grasso.
Until 12 February 2012
Erwin Wurm: Beauty Business
The Austrian artist’s new
large-scale, interactive
sculptural works.
1 December-4 March 2012
2100 Collins Avenue,
Miami Beach
www.bassmuseum.org
3 Boca Raton Museum of Art
The World According to
Frederico Uribe
Site-specific environment
made from everyday objects.
Until 4 December
Outsider Visions: Self-taught
Southern Artists of the
20th Century
Works from the collection of
Ted and Ann Oliver.
Until 8 January 2012
501 Plaza Real, Boca Raton
www.bocamuseum.org
Agustina Woodgate’s
billboard project 11:11
(2011) with Locust Projects
4 Cisneros Fontanals Art
Foundation
Frames and Documents:
Conceptualist Practices
Sixty works by 41 artists
explore three periods in the
conceptual art movement
between 1960 and 1980.
Until 4 March 2012
1018 North Miami Avenue,
Miami
www.cifo.org
13 The Margulies Collection
at the Warehouse
Selections from the Collection
Multimedia show including
sculpture, photography, video
and painting.
Until 28 April 2012
591 NW 27th Street, Miami
margulieswarehouse.com
Mark Handforth: Rolling Stop
Museum of Contemporary Art, North Miami
Until 19 February 2012
To celebrate its 15th anniversary, the Museum of Contemporary Art, North Miami (Moca) is
bringing back the first local artist to receive a solo show at the museum in 1996. The
exhibition features 30 sculptures, including Rolling Stop, 1998, above, and works will also be
displayed throughout North Miami, including Electric Tree in Griffing Park, which features an
illuminated banyan tree. (See interview on www.theartnewspaper.com) B.R.
5 The Craig Robins Collection
Architecting the Future:
Buckminster Fuller & Lord
Norman Foster
Fuller’s “Fly’s Eye Dome”
and a reconstruction of his
Dymaxion 4 car owned by the
British architect, displayed
outdoors.
Until 4 December
140 NE 39th Street, Miami
www.dacra.com
Rirkrit Tiravanija
Conceptual artist Rirkrit
Tiravanija selects works from
the developer’s collection.
Until 2 December
The Buick Building
3841 NE 2nd Avenue, Suite
400, Miami
6 Deering Estate at Cutler
Carsten Meier: Enigmatic
Landscapes
Images by the German-born
photographer, the estate’s
current artist in residence.
7 December-23 January 2012
16701 SW 72nd Avenue,
Miami
M O D E R N
www.deeringestate.org
7 De la Cruz Collection
Maintain Right
Installation by Funner
Projects, a collaboration
between Miami-based
artists Justin H. Long and
Robert Lorie.
Until February 2012
23 NE 41st Street, Miami
www.delacruzcollection.org
8 Fairchild Tropical Botanic
Garden
Will Ryman: Desublimation of
the Rose
Oversized petals by Ryman
appear in ponds throughout
the garden, along with three
monumental rose sculptures.
1 December-31 May 2012
10901 Old Cutler Road, Coral
Gables
www.fairchildgarden.org
9 Frost Art Museum
Magdalena Fernández:
2iPM009
A single-work show of a video
A N D
of geometric abstractions.
Until 8 January 2012
Humberto Calzada: the Fire
Next Time
Works by Cuban-American
artist inspired by fire.
Until 8 January 2012
10975 SW 17th Street, Miami
http://thefrost.fiu.edu
10 The Gallery at Windsor and
the Whitechapel Gallery
Beatriz Milhazes: Screenprints
Solo show at Windsor’s nonprofit space in collaboration
with the London gallery.
3 December-29 February 2012
3125 Windsor Boulevard,
Vero Beach
www.windsorflorida.com
11 Locust Projects
Ruben Ochoa: Cores and
Cutouts
An installation cutting through
the space’s concrete floor,
revealing its structure.
Until 3 December
Agustina Woodgate:
Billboard Project
14 Miami Art Museum
Enrique Martinez Celaya:
Schneebett
A two-room installation by
the Cuban artist inspired by
Beethoven’s convalescence
and death in Vienna.
Until 1 January 2012
American People, Black Light:
Faith Ringgold’s Paintings of
the 1960s
Rarely seen activist paintings
from the artist best known for
her narrative quilts.
Until 1 January 2012
Focus: Marcel Duchamp
A display of MAM’s edition
of De ou par Marcel
Duchamp ou Rrose Sélavy
(Boîte-en-valise).
Until 18 March 2012
101 W Flagler Street, Miami
www.miamiartmuseum.org
15 Museum of Contemporary
Art, North Miami
Mark Handforth: Rolling Stop
Large-scale sculptures
by the artist who first showed
at the museum when it
opened in 1996 (see box).
Until 19 February 2012
Joan Lehman Building,
770 NE 125th Street,
North Miami
www.mocanomi.org
16 Norton Museum of Art
Dave Cole: Flags of the World
C O N T E M P O R A R Y
Installation featuring a US
flag suspended above the
remnants of 192 world flags.
Until 16 January 2012
Jenny Saville
The British artist’s first major
solo show in the US.
Until 4 March 2012
1451 South Olive Avenue,
West Palm Beach
www.norton.org
17 Rubell Family Collection
American Exuberance
Sixty-four artists present 190
works in a show that samples
contemporary culture.
Until 27 July 2012
95 NW 29th Street, Miami
www.rfc.museum
18 Sagamore: the Art Hotel
Will Ryman’s 65th Street
A colossal bed of roses
installed on the hotel’s
beachfront.
Until 4 December
1671 Collins Avenue,
Miami Beach
www.sagamorehotel.com
19 Vizcaya Museum
and Gardens
Naomi Fisher: Jungle Sweat,
Roseate
A video and installation
create a narrative of the South
Florida-based artist’s life.
Until 16 January
3251 South Miami Avenue,
Miami
www.vizcayamuseum.org
20 Watson Island
Ilya and Emilia Kabakov’s
Ship of Tolerance
The internationally touring
conceptual art project
features drawings by children.
2-5 December
980 MacArthur Causeway,
Miami
www.shipoftolerance.org
21 Wolfsonian-Florida
International University
Liberty, Equality, and
Fraternity
French design from the mid20th century to the present.
Until 26 March 2012
1001 Washington Avenue,
Miami Beach
www.wolfsonian.org
22 World Class Boxing
Love Trips: a Triptych on Love
Works by Jillian Mayer
centred on a three-part video
that shows the artist exploring
the theme of love.
Until February 2012
170 NW 23rd Street,
Miami
www.worldclassboxing.org
A R T
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What’s On
10 Dina Mitrani Gallery
Chuck Ramirez
Large-scale photographic
portraits and installations of
everyday objects.
Until 20 January 2012
2620 NW 2nd Avenue, Miami
www.dinamitranigallery.com
11 Dorsch Gallery
Mette Tommerup: Full Salute
Martin Murphy: Modern
Trance
New oil paintings by
Tommerup and Murphy’s
latest multimedia works.
Until 28 January 2012
151 NW 24th Street, Miami
www.dorschgallery.com
12 Fredric Snitzer Gallery
Cristina Lei Rodriguez:
Change
The Miami-born and -based
artist presents new abstract
sculpture.
Until 17 December
2247 NW 1st Place, Miami
www.snitzer.com
17 The Moore Building
Architecture of the Air:
the Sound and Light
Environments of Christopher
Janney
Works by the artist,
composer and architect.
Until December 4
4040 NE 2nd Avenue, Miami
www.janneysound.com
BravinLee programs
Hales Gallery
Pierogi Gallery
Postmasters
P·P·O·W
Ronald Feldman Fine Arts
Winkleman Gallery
14
3
5
15
16
17
NW 29th St
13
NE 29th St
22
10
24
19
11
5 14 21
13
22 12
8
9 18
9
NE 20th St
NW 20th St
NE 15th St
Do
13
lph
in
Exp
res
sw
ay
39
5
4
NW 8th St
FREEDOM
TOWER
NW 6th St
9
14
20
NE 2nd Ave
9 Diana Lownstein Fine Arts
Xawery Wolski: Thoughts,
Meditations, Acts
Solo show presents Wolski’s
experimentation with organic
materials and handcrafting
techniques.
Until 30 January 2012
2043 North Miami Avenue,
Miami
www.dlfinearts.com
6
Biscayne Blvd
Art Public Opening Night
8pm-10pm
Theaster Gates and the
Black Monks of Mississippi
(below) will respond in
song and verse to the works
displayed as part of the
fair’s Art Public strand.
Collins Park, Miami Beach
8 David Castillo
Don’t Get High on Your Own
Supply
This group show’s druginspired title belies the work
on view, which is more
concerned with craft.
Until 31 December
2234 NW 2nd Avenue, Miami
www.davidcastillogallery.com
15
1
NE 36th St
NE 1ST AVE
Bass Museum of Art
Reception
8pm-11pm
Hosted by Silvia Karman
Cubiñá, executive director
and chief curator of the
Miami Beach museum.
2100 Collins Avenue, Miami
Beach
WYNWOOD
11 5
N Miami Ave
Today’s highlights
30/11/11
NW 36th St
14 Gallery Diet
Clifford Owens: Photographs
with an Audience (Miami)
New photographs and a
selection of the artist’s early
video works.
Until 22 December
174 NW 23rd Street,
Miami
www.gallerydiet.com
16 M Building
Gavlak Gallery
Jose Alvarez and Rob Wynne:
Garden of (Un) Earthly
Delights
Alvarez’s beaded drawings
and Wynne’s collages.
Until 10 December
Kukje Gallery/Tina Kim
Gallery
Haegue Yang: Two Winters
Solo display by the Korean
artist.
Until 10 December
Kurimanzutto
Rirkrit Tiravanija: Untitled
2011 (El Gusano)
Two works that allude to the
drug war in Mexico.
Until 10 December
Galerie Perrotin
JR: Wall and Paper
New works by the street
artist and TED prize-winner.
Until 10 December
Galerie Eva Presenhuber
Outdoor Sculptures
Works by Ugo Rondinone,
Oscar Tauzon and Franz
West shown in the building’s
sculpture garden.
Until 10 December
Regen Projects
Liz Larner
Single-person display of
sculptures by the Californiabased artist.
Until 10 December
Chahan Gallery
Peter Lane, Shizue Imai,
Antoinette Faragallah
Work by three ceramic
artists.
Until 10 December
194 NW 30th Street,
Miami
www.thembuilding.com
3
16
3 10 15 16 4
Interstate 195
NW 2nd Ave
5 Charest-Weinberg
Fernando Mastrangelo:
Black Sculpture
Monochrome works by the
New York-based artist.
Until 29 February 2012
250 NW 23rd Street, Space
408, Miami
www.charestweinberg.com
18
MIAMI
DESIGN
DISTRICT
NE 2nd Ave
4 Carol Jazzar
Contemporary Art
You are Here Forever…
Multimedia exhibition of
work by ten artists
confronting urban
development in Miami.
Until 27 January 2012
158 NW 91st Street, Miami
www.cjazzart.com
1
15 Ideobox Artspace
Rodrigo Echeverri
The Colombian artist’s first
solo exhibition in the United
States.
Until 20 February 2012
2417 North Miami Avenue,
Miami
www.ideobox.com
Jason Shawn Alexander’s
Undertow, 2011, from his
show at 101/Exhibit
23
20
17
7
N Miami Ave
3 Bernice Steinbaum
Gallery
Peter Sarkisian: New Work
Holly Lynton: Fleeced
Video work by Sarkisian
and large-scale photographs
by Lynton.
Until 7 January 2012
3550 North Miami Avenue,
Miami
www.bernicesteinbaum
gallery.com
MIAMI
NW 5th Ave
2 ArtSpace/Virginia Miller
Galleries
Vincench vs Vincench:
a Dissident Dialogue
from Cuba
Cuban-born artist Jose
Angel Vincench’s first solo
exhibition in the US.
Until 15 January 2012
169 Madeira Avenue,
Coral Gables
www.virginiamiller.com
7 JW Marriott Marquis Miami
Christie’s 2011 Art Basel
Exhibit
Highlights from Christie’s
post-war and contemporary
art sale that will be held in
London on 16 February 2012.
Until 3 December
255 Biscayne Boulevard,
Miami
www.jwmarriottmarquis
miami.com
13 Galerie Helene Lamarque
Claude Viallat: New Works
Orlan: New Sculpture
Paintings by Viallat and
sculptures by the bodymodifying Orlan.
Until 20 January 2012
125 NW 23rd Street,
Miami
www.galeriehelene
lamarque.com
N Miami Ave
1 101/Exhibit
Jason Shawn Alexander:
Undertow
Works by the Los Angelesbased figurative painter.
Until 8 February 2012
101 NE 40th St, Miami
www.101exhibit.com
6 Dimensions Variable
Domingo Castillo: Duets
A solo project by the Miamibased artist.
Until 23 December
171 NE 38th Street, Miami
www.dimensionsvariable.net
Commercial
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
W Flagler St
SW 1st St
6
8 12 19 2
7
16
18 OHWOW
It Ain’t Fair 2011:
Materialism
Twenty artists’ reactions to
the excess of the art fair.
1-4 December
3841 NE 2nd Avenue, Miami
www.oh-wow.com
dynasty.
1 December-31 January
4141 NE Second Avenue,
Suite 104, Miami
www.primaryproject
space.com
19 Pan American Art Projects
Jose Manuel Fors: Fragmentos
The Cuban artist’s first
exhibition in Miami.
Until 5 December
2450 NW 2nd Avenue, Miami
www.panamericanart.com
21 Robert Fontaine Gallery
Sex, Drugs and Profanity
Evocative group show
includes works by Tina la
Porta, Scott Snyder, C. Finley
and Nick Gentry.
Until 5 December
175 NW 23rd Street, Miami
www.robertfontaine
gallery.com
20 Primary Projects
Here Lies Georges Wildenstein
Fifteen artists explore the art
world’s underbelly. The title
refers to the art dealing
22 Seven
Seven galleries team up to
present their own shows:
Pierogi Gallery, Ronald
SEVEN
Nov. 29 - Dec. 4, 2011
Tues. 1pm - 8pm
Wed. - Sat. 11am - 7pm
Sun. 11am - 5pm
2637 N. Miami Ave. at NE 27th St.
(Wynwood District) Miami, FL 33137
www.seven-miami.com
Feldman Fine Arts,
Postmasters, PPOW,
Winkleman Gallery and
BravinLee Programs
from New York, as well as
London’s Hales Gallery.
Until 4 December
2637 North Miami Avenue
at NE 27th Street, Miami
www.seven-miami.com
23 Spinello Projects
Three Solo Projects: TYPOE,
Agustina Woodgate and
Santiago Rubino
Three artists mount
separate exhibitions in a
temporarily disused
schoolhouse.
Until 4 December
150 NE 42nd Street, Miami
www.spinelloprojects.com
What’s On
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
MIAMI BEACH
11
2
8
17th St
10
1
ART BASEL
MIAMI BEACH
NEW WORLD
SYMPHONY
6
17
Washington Ave
Lincoln Road
MIAMI
BEACH
4
18
2
15th St
Espanola Way
12
LUMMUS
PARK
11th St
ART DECO
DISTRICT
21
7
24 Wynwood Walls
Wynwood Walls
Outdoor display features
murals by street artists Retna
and the Date Farmers,
among others.
Ongoing
Shop at the Walls
Pop-up gallery space selling
works by street artists
Miami art fairs
1 Art Basel Miami Beach
1-4 December
Miami Beach Convention
Center
1901 Convention Center
Drive, Miami Beach
www.artbaselmiami
beach.com
Celebrating its tenth
anniversary, Art Basel
Miami Beach is
collaborating with the Bass
Museum of Art this year to
host installations and
performances in nearby
Collins Park. Twenty-six
sculptures by artists such as
Eva Rothschild, Damien
Hirst, Glenn Kaino and
Robert Indiana will be on
view. For the first time, Art
Video will be presented in
SoundScape Park on the
large-scale outdoor
projection wall of the Frank
Gehry-designed New World
Center symphony hall,
which opened earlier this
year.
2 Aqua Art Miami
1-4 December
Aqua Hotel
1530 Collins Avenue, Miami
Beach
www.aquaartmiami.com
This hotel fair brings 35
galleries to Miami mostly
from the West Coast, as well
as regional centres in the US
and Canada.
Collins A
ve
d
ar
lev
ou
B
de
Da
COL
LIN
S PA
RK
featured at Wynwood Walls.
Until 5 December
NW 2nd Avenue between 25th
Street and 26th Street
www.thewynwoodwalls.com
My Miami
Fredric Snitzer director, Fredric Snitzer Gallery
“The Gold Coast Railroad Museum in Miami “I like to go to the gym to relax. That’s
is a hidden gem. I love old trains and this
about all I can do to chill out these days.”
makeshift little museum has a wonderful
collection. They even let visitors take a ride in “I love Joe’s Stone Crab Restaurant in Miami
their old caboose.”
Beach. I go very infrequently and perhaps
that’s why I like it so much. Taking my culinary
“I really think the Vizcaya Museum and
preferences in a different direction, I love great
Gardens in Coral Gables is amazing. Even if
pizza. It’s hard to find authentic pizza in
you don’t go there very often, the grounds
Miami… pizza is one of those things that you
seem to transport you to another time.”
can’t live without—until it kills you.”
3 Art Asia Miami
Until 4 December
NE 1st Avenue,
Miami
www.artasiafair.com
For its fourth edition this
satellite fair, which takes
place in the same pavilion as
Scope, will have an added
emphasis on art from Near
Eastern, Middle Eastern and
Southeast Asian galleries.
4 Arts for a Better World
Until 4 December
Surfcomber Hotel
1717 Collins Avenue, Miami
Beach
www.artsforabetter
world.com
A percentage of sale
proceeds from this small
fair, now in its second year,
will be given to charitable
organisations, including the
Katherine Taglialatella
Foundation and the Institut
Van Gogh.
5 Art Miami
Until 4 December
3101 NE 1st Avenue, Miami
www.art-miami.com
Miami’s long-running fair
features 111 contemporary
international galleries.
Newcomers this year include
New York’s Hollis Taggart
Galleries, Barry Friedman
and Robert Mann. Ai
Weiwei will be among the
six artists whose work will
be shown in the Persol Art
Video and New Media
Lounge entitled “ZOOOM!
Decoding Common Practice”.
6 Art Now Fair
1-4 December
Catalina Hotel
1732 Collins Avenue, Miami
Beach
www.artnowfair.com
Art Now originally launched
in 2008 but failed to return
during the economic
downturn. It re-emerges this
year for a second edition and
will include 30 exhibitors.
7 Burst
1-5 December
Art Deco Center
1001 Ocean Drive, Miami
Beach
www.burstartfair.com
Launched by Miami artists
Gabriela Sanchez-Vegas and
Rudolph Kohn, this new
emerging art fair includes 22
galleries and unrepresented
artists. It will also host public
installations throughout
Miami’s Wynwood Arts
District.
8 Design Miami
30 November-4 December
Meridian Avenue & 19th
Street, Miami
www.designmiami.com
Nearly doubling its pool of
dealers, Design Miami will
host 28 galleries, 13 more
than last year. Newcomers
include London’s Didier Ltd,
Turin gallery Novalis Fine
Arts and Paris’s Galerie Maria
Wettergren. UK-based
architect David Adjaye is this
year’s designer of the year.
He will create his first work
of “giant architectural
furniture”, Genesis, for the
fair’s pavilion.
9 Fountain Art Fair Miami
1-4 December
2505 North Miami Avenue,
Miami
www.fountainartfair.com
Around 20 international
galleries are participating in
this contemporary satellite
fair.
10 Ink Miami Art Fair
Until 4 December
Suites of Dorchester,
1850 Collins Avenue, Miami
Beach
www.inkartfair.com
Founded in 2006, this small
hotel fair focuses on
contemporary works on paper.
11 NADA Art Fair
1-4 December
The Deauville Beach Resort,
6701 Collins Avenue, Miami
Beach
www.newartdealers.org
The New Art Dealers Alliance
is expanding for its ninth year
in Miami by adding another
room to its hotel exhibition
space. Ninety-nine dealers
will display emerging art
throughout the Deauville
Beach Resort.
13 Pulse Miami
1-4 December
The Ice Palace
1400 North Miami Avenue,
Miami
www.pulse-art.com
Now in its seventh year,
this contemporary art fair
will have 80 galleries in its
main section and nine in
the Impulse section, which
hosts young international
galleries.
14 Red Dot Miami
Until 4 December
3011 NE 1st Avenue
at NE 31st Street,
Miami
www.reddotfair.com
Eleven of the 51
participating galleries at
Red Dot Miami come from
Asia, lending the fifth
edition of this
contemporary art fair an
Eastern flavour.
15 Scope Miami
Until 4 December
NE 1st Avenue at NE 30th
Street, Miami
www.scope-art.com
With 72 participating
galleries, Scope Miami is
returning for its 11th year
with an increased emphasis
on film, music, installation
and performance.
16 Sculpt Miami
Until 4 December
46 NW 36th Street and
3011 NE 1st Avenue,
Miami
www.sculptmiami.com
This fair concentrates on
large-scale indoor and
outdoor sculptures. Twenty
artists will be exhibiting.
17 Verge Art Miami Beach
1-4 December
The Greenview Hotel,
1671 Washington Avenue,
Miami Beach
www.bridgeartfair.com
Dedicated to new art, this
small fair is back for a
third year. Building on its
success in Miami, it
launched a Brooklyn
edition this year.
18 Zones
1-5 December
47 NE 25th Street,
Miami
www.edgezones.org
To set itself apart, this
boutique fair will feature
food tastings, talks and
speed dates with presenting curators and artists. GAVLAK GALLERY
Haegue Yang
KUKJE GALLERY / TINA KIM GALLERY
JR
Ugo Rondinone
Oscar Tuazon
Franz West
Liz Larner
Wednesday 30th to Sunday 4th December, 9am - 7pm / Tuesday 6th to Saturday 10th December, 10am - 4pm
www.thembuilding.com
12 Pool Art Fair
2-4 December
Sadigo Court Hotel
334 20th Street, Miami
Beach
www.poolartfair.com
This boutique fair shows
only unrepresented artists
and is returning to Miami
for its fifth year in a new
location.
Jose Alvarez
Rob Wynne
Rirkrit Tiravanija
The M Building 194 NW 30TH STREET MIAMI FL 33127 +1 305 573 2130 - 1 BLOCK FROM RUBELL FAMILY COLLECTION
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Peter Lane
Shizue Imai
Antoinette Faragallah
KURIMANZUTTO
GALERIE PERROTIN
GALERIE EVA PRESENHUBER
REGEN PROJECTS
CHAHAN GALLERY
Mid-Century furnishing and ceramics
Come and visit us at
stand Q24
for a free copy of
The Art Newspaper
If you can remember Apollo 11.
If you used to be a hippy, a punk
or a new romantic.
If you believe you’ve never had it
so good.
If sex is about as important to you
as good food and drink. (Very.)
If you’re thinking of coming out.
Or getting divorced. Or starting
a business.
Or celebrating your silver wedding.
If you invest your money wisely.
If you spend your money stylishly.
If you believe old is good.
And friends and family and health
are wealth.
And you wouldn’t be a member of
any club that would have you.
Welcome to high50.
high50.com
AGE HAS ITS BENEFITS
19
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 30 NOVEMBER 2011
Diary
Move over Mera Rubell and Rosa de la Cruz:
another Miami matriarch is also collecting up a
storm. Her face may grace taxicabs rather than
the pages of Artforum, but with over 3,000 works,
Naomi Wilzig, the owner of the World Erotic Art
Museum, is a force to be reckoned with. Alongside
her collection, which includes pieces by Miró and
Picasso, Wilzig recently opened a show of erotic
etchings by Rembrandt, borrowed from the Baron
of Fulwood & Dirleton (until 31 March 2012)
Jeffrey Deitch, the director of
MoCA in Los Angeles, might
recognise one of the works in
“Home Alone”, an exhibition
at Adam Sender’s Miami
house—it was in MoCA’s
bathroom. The piece, installed
in a closet, is a depiction of a
woman holding a football, by
the LA street artist Becca. “I
was excluded from [the “Art
in the Streets”] show and I’ve
been doing street art for 20
years, mostly in LA,” Becca
told us. She had a mural near
MoCA for two years, and felt
passed over by Deitch’s
exhibition. “ MoCA was sort
of my building. So I went into
the museum bathroom with
glue and a piece of paper in a
plastic bag and I put up [the
work]. It lasted the whole
show. People were even
standing in the toilet stall next
to it and looking at it, because
for a while [the museum] had
locked the stall.”
Artistic practice
What do you get when you put
together New York Yankees
power hitter Alex
Rodriguez—better known as
A-Rod—and artist Nate
Lowman? Bullet hole
paintings in a batting cage.
Last year A-Rod was seen
Greenberg Rohatyn. “As
someone who trained his
whole life to be a ball player,
Alex understands that focus
and mentality.” Apparently,
the two get on pretty well.
“Now, Nate is interested in
superstition in baseball and
wants to interview Alex about
it,” Greenberg Rohatyn says.
Horsing around
Photo: David Owens
Photo: David Owens
Artoon by Pablo Helguera
Editorial and Production
(Fair papers):
Stealing the show
Drink up!
Some people think ABMB is
just about going to parties and
getting drunk. Well, this year
it really is—and all in the
name of art. Erwin Wurm’s
solo show at the Bass
Museum includes a handful of
his “performative sculptures”,
pieces that he does not
consider to be complete until a
person viewing them has
become drunk. The sculptures,
which are pieces of furniture
accompanied by bottles of
booze and are being shown in
the US for the first time
(above, with curator Peter
Doroshenko), are each named
after a famous artist who also
happened to be, well, a
famous drunk: Willem de
Kooning, Martin
Kippenberger, Edvard Munch.
“They were all alcoholics, all
heavy drinkers, but great
artists,” Wurm says. “I knew
Kippenberger. If you took
drinking away from him he
wouldn’t have been
Kippenberger. It’s an attitude.”
At tomorrow night’s opening,
performers will be drinking at
the sculptures, but just to get
other people to join in. Isn’t
all of this a bit… excessive?
“Excess has always been part
of art,” Wurm says.
“Remember Dionysus!”
ART BASEL MIAMI BEACH DAILY EDITION
Piece of cake
Consumption was the name of the game at last night’s ABMB welcome
party at the W Hotel, where interventions of an artistic kind, including
Paola Pivi’s pile of “Free Tibet” gummy candy and Angel Otero’s pair of
putti peeing rum, chocolate and butterscotch, were eagerly ingested by
a rapacious mob of artists, dealers and collectors. With the stack of
oysters, barbecued racks of lamb and handfuls of free Davidoff cigars
also on offer, however, it was sometimes hard to spot the difference
between culture and catering. Nonetheless, the greatest gesture of
artistic faith undoubtedly came from Ryan McNamara, whose Let Them
Eat Cake (above) consisted of a giant baked and iced replica of his
personal Visa credit card. “It’s got my real number on it,” he confided.
“Anyone who tries to use it won’t get far, though, as I’m sure I’m the
poorest person here.” “
Being a
businessman, I
remember going to
restaurant trade fairs
and the stands were
full of good-looking
hostesses to greet
you and push the
sale. Art fairs never
had this; however,
the last time I visited
one, I got the feeling
that artists were now
happily playing the
role of ‘hostess’
”
César Cervantes, collector
around ABMB, including at a
posh dinner hosted by Larry
Gagosian, Dasha Zhukova and
Wendi Murdoch. It turns out
the ball player is a burgeoning
collector. Last summer, while
he was having a house built in
Miami, he invited dealer
Jeanne Greenberg Rohatyn
and Lowman down and they
talked about doing a project
together. Lowman was dead
set on installing work in the
second-floor batting cage.
Tomorrow night, A-Rod is
hosting a swanky party to
showcase seven of Lowman’s
bullet hole paintings, which
take on a whole new resonance hanging from the cage’s
netting, accompanied by the
artist’s smiley-face paintings
placed around the edges of the
room like spectators at a
game. A-Rod owns two of
Lowman’s pieces, but this is a
temporary show, up just
during ABMB. “Everything
Nate does is directed toward
his art making practice,” says
In his booth at ABMB,
Emmanuel Perrotin (G6)
demonstrated for The Art
Newspaper some new pieces
by the art collective Gelitin—
plush costumes that make it
look as though the wearer is
riding a toy horse. At €4,000
apiece, the suits, which are
very much meant to be worn,
are just about affordable as a
gift for a collector’s kid.
Perrotin is, of course, no
stranger to playing dress up at
the behest of his artists. Ten
years ago, Maurizio Cattelan
had the dealer wear a bright
pink outfit that made him look
like a cross between a bunny
rabbit and a giant penis.
Editors: Jane Morris,
Javier Pes
Deputy editor:
Helen Stoilas
Production editor:
Ria Hopkinson
Copy editors:
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Hobbs, Emily Sharpe
Designer: Emma Goodman
Editorial researcher/picture
editor: Julia Michalska,
Bonnie Rosenberg
Contributors: Georgina
Adam, Louisa Buck,
Charlotte Burns, Sarah
Douglas, Gareth Harris,
Javier Pes, Riah Pryor,
Cristina Ruiz, Emily Sharpe,
Anny Shaw
Photographer: David Owens
Exhibitions: Bonnie
Rosenberg, Juliette McPeak
Editorial trainee:
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Executive director:
Anna Somers Cocks
Managing director:
James Knox
Associate publisher:
Patrick Kelly
Business development:
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By the book
Who knew Gabriel García
Márquez would emerge as a
sort of mini-star of ABMB?
New York dealer Sean Kelly
(B17) installed a large vinyl
work by Julião Sarmento on
an outside wall of his booth
that reproduces the cover of
the Colombian novelist’s
famous book One Hundred
Years of Solitude (Cien años
de soledad) with, below it, a
small drawing of a figure
reading the book. Meanwhile,
just across the aisle at Galerie
Thomas Schulte (C18) is
Alfredo Jaar’s neon work that
spells out the name of the
novel. According to Kelly,
when Schulte visited his booth
he said: “I can’t believe you’re
putting that up!”
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