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LONDON Shirazeh Houshiary: No Boundary Condition 12 October — 12 November 2011 29 Bell Street Cory Arcangel: Speakers Going Hammer 12 October — 12 November 2011 52 – 54 Bell Street MILAN I know about creative block and I know not to call it by name A group show curated by Ryan Gander 16 September — 5 November 2011 NEW YORK By appointment
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Manatthan Club, 2011
November/January 2011 Flavio Favelli MANATTHAN CLUB
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Burning, Bright A Short History of the Light Bulb Arman Francis Bacon Alexander Calder Pier Paolo Calzolari Brian Clarke Jim Dine Adrian Ghenie Felix Gonzalez-Torres Loris GrĂŠaud Philip Guston David Hammons Jasper Johns Matt Johnson Ilya & Emilia Kabakov Lee Ufan Roy Lichtenstein Man Ray Robert Morris Tim Noble & Sue Webster Claes Oldenburg & Coosje van Bruggen Pablo Picasso Robert Rauschenberg Jeanne Silverthorne Keith Sonnier Hiroshi Sugimoto Robert Whitman Zhang Xiaogang October 28 through November 26, 2011 545 West 22nd Street, NYC
8 8 8 5 ) & 1" $ & ( " - - & 3: $ 0 .
Claes Oldenburg and Coosje van Bruggen, Broken Bulb, 1991 canvas, urethane foam, resin, rope, copper tubing and latex, 65 x 53 x 53" Š 1991 Claes Oldenburg and Coosje van Bruggen
Thinking of You LYNN SILVERMAN
Thinking of You, Rose Garden, PetrĂn Hill, Prague
ArtReview
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Contents 1
56
46
100
176
117
63
Contents 2 Page
Title
Subject
Writer / Photographer
21 28 30
Genus Rosa Contributors A New Reference Dictionary
Photography Who is responsible for all this? The language of art explained
Lynn Silverman
36 37
Now See This November Exhibitions Short Reports
42 46 56 62
Big Is Best Now Buy This Great Critics and Their Ideas Now Hear This
Things you may like to look at Berlin New York Paris The Strip A cartoon guide to making art Fiscal stimulus Denis Diderot The opinionated ones
Martin Herbert Raimar Stange Joshua Mack Marie Darrieussecq Paul Gravett Les Coleman and Neal Fox Oliver Basciano Matthew Collings Nigel Cooke Christian Viveros-Fauné J.J. Charlesworth Maria Lind Jonathan Grossmalerman Hettie Judah
94 99
The State of Things Charlesworth on Power Terraces of Desire
The critic’s tale Artists, sitting in a house, on a cliff
J.J. Charlesworth Liam Gillick
105
The Power 100 1–100
Who’s the boss?
Artwork by Matt Mullican Portfolios by Nick Haymes and Jason Evans
175 194
Looking Back 2002–10 Off the Record
Ten years of tears Well off it
ArtReview Gallery Girl
Neal Brown
Contributors Matt Mullican is an American artist currently based in Berlin. He has been working with hypnosis since 1977, out of which the artist’s alter ego, ‘That Person’, emerged. Mullican and ‘That Person’ have been creative partners for the last 15 years, making drawings, collages and paintings. This month ‘That Person’ did what was asked of him, drawing the cover for the Power 100 issue. An exhibition of Mullican’s work, Behind That Person, will be on show at Tracy Williams Ltd, New York, 3 November – 22 December. Nick Haymes is a photographer born in the UK but currently living between New York and San Franciso. He is also the editorial director for Little Big Man Books. This month he photographed a selection of the New York-based Power 100 entries, using a telescopic lens as a means of distancing himself from the subject. His influences for the shoot included Google Street View, CCTV and celebrity paparazzi shots.
Jonathan Grossmalerman is a painter who has struggled with his incredible fame for the better part of 30 years. He has had solo exhibitions at the Stedelijk Museum, Tate Modern, the Ludwig and MoMA (although that one was admittedly phoned in). For this issue he wrote a column on his practice. For further information, see the extremely intelligent and strikingly hilarious GROSSMALERMAN!, a situation comedy based on the artist’s life, at funnyordie.com ArtReview is a magazine founded in 1949. This month it produced the tenth edition of its annual Power 100 list. For further reading it recommends The Power, by Rhonda Byrne, simply because you are meant to have an amazing life and this is the handbook to the greatest power in the universe: the power to have anything you want.
Contributing Editors Tyler Coburn, Brian Dillon, Hettie Judah, Axel Lapp, Joshua Mack, Christopher Mooney, Niru Ratnam, Chris Sharp Contributing Writers Neal Brown, Matthew Collings, Nigel Cooke, Marie Darrieussecq, Gallery Girl, Liam Gillick, Paul Gravett, Jonathan Grossmalerman, Maria Lind, Raimar Stange, Christian Viveros-Fauné Contributing Artists / Photographers Les Coleman, Jason Evans, Neal Fox, Nick Haymes, Matt Mullican, Lynn Silverman
On the cover Artwork by Matt Mullican 28
Matt Mullican photographed by Heji Shin
Jason Evans is a multidisciplinary photographer working across media platforms in fashion editorial, the music industry and the artworld. He also makes photogenic sculpture and short films. He is cocurating a show on recent Japanese photo books for the Photographers’ Gallery in London, scheduled for May 2012. This month he photographed a selection of the Europebased Power 100 entries. His influence for the shoot was the idea of subjective improvisation, using just one roll of film per subject.
Dictionary L. Ron Hubbard Scientologist. Wrote about art. See lament. labia External female genitalia. labyrinth A maze. A common installation art trope employing tunnels, corridors, passages, etc. Lacan, Jacques See paronomasia. lacquer A hard varnish. The kind known as shellac is made by immersing the lac insect Coccus lacca in boiling water. From this comes a secretion which is melted into thin flakes and then dissolved in alcohol for use as a lacquer. lacuna Area in a painting where a section of the image is missing. See Lacan. ladyboy A male-to-female transgender person. Lady chapel A chapel dedicated to the Virgin, usually at the east end of a church, as an extension of the chancel. la-la land Down the road, take the first left, or right, whichever you prefer, and there you are. Lamb, Henry English portraitist.Painted a greatly admired portrait of Lytton Strachey. lament Common trope. Usually goes under genteel term mourning, especially in instances when it is more properly a dirge. landscape art Used to reinforce a moral allegory of good and evil. In such art the path of virtue may be difficult and rocky, while that of vice may be pleasant. See Richard Long. Laurel and Hardy Esteemed filmic performers. Laurel would cry like a baby when berated by Hardy over contested interpretations of différance and textual meaning. Leda and the Swan Zeus disguised himself as a swan and raped Leda: ‘A sudden blow: the great wings beating still/Above the staggering girl, her thighs caressed… How can those terrified vague fingers push/The feathered glory from her loosening thighs?’ Yeats (1924). See libertine, coke. Lego Children’s game comprising plastic bricks. An occasional art trope locus variant. Lemmy The esteemed singer in the band Motörhead. LeWitt, Sol See Lego. libertine A socially powerful style of art patronage in which the libertine (usually male) introduces his erect penis into an artist’s vagina, anus or mouth, and ejaculates sperm. All parties to the act are deemed to be enjoying liberty of conscience, especially when on coke. life drawing The condition of human nudity is a locus stimulus locus to a mechanical response action of the arm and its extremities (the fingers and opposable thumb), which grip a st ylus of pigmented matter that travels upon the surface of a dried compact of flattened cellular fibres so as to create an ingress locus variant as part of a visible variant locus response. Such marks
Ll
L. Ron Hubbard to Lust
30
Dictionary
unquestionably refer to an external reality, except when they emphatically do not. By means of representing the experience of the nude subject-locus, the drawing effects a social positioning, whose rhetoric is an implication of the artist in an ideological stance pertaining to the visible/invisible. liminal A common art-critical locus reference trope, referencing approved validation formulas. Lindner, Richard German-American painter, due a renewal of interest. lingam External male genitalia or, depending on preference, an aniconic pillar of light – an abstract symbol of God with no sexual reference. litany A common art trope, referencing approved validation formulas. A litany was originally a prayer, consisting of numerous chanted supplications and responses. By extension, any prolonged or repetitive form in art. See incantation art. logocentrism The transcendent locus signifier locus. Lolita Occasional trope locus in contemporary art. Based on a novel written by Vladimir Nabokov which describes the sexual relationship between a twelve-year-old girl and a paedophile murderer. Nabokov said that writing Lolita (1955) was ‘somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature’s cage’. See loss. Long, Richard See landscape art. loss Common trope. love See loss. Lowry, L.S. Painter, Colombian, known for his colourful paintings of extremely large people. Came to prominence after winning first prize at the Salón de Artistas Colombianos in 1958. His work invariably depicts exaggerated ‘fat’ figures (as he once referred to them). Lowry has said, ‘An artist is attracted to certain kinds of form without knowing why.’ See Botero, Giacometti, Rubens. LSD Vastly inferior drug to heroin. lust See Nabokov, zoo.
Angel Otero, He Prefers Himself to Everyone Else Because Everyone Else Abandons Him II (Orange and Blue), 2010, oil skins on canvas, 213 x 183 cm, Courtesy Lehmann Maupin Gallery, New York.
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RAGNAR KJARTANSSON, Song, 2011
i8 Gallery Tryggvagata 16 101 Reykjavík Iceland info@i8.is
RONI HORN
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JANICE KERBEL
until 29 October
ÓLAFUR ELÍASSON HREINN FRIDFINNSSON KRISTJÁN GUDMUNDSSON SIGURDUR GUDMUNDSSON
3 November - 10 December 2011
ELÍN HANSDÓTTIR RONI HORN RAGNAR KJARTANSSON EGGERT PÉTURSSON
RAGNAR KJARTANSSON 16 December 2011 - 21 January 2012
FINNBOGI PÉTURSSON RAGNA RÓBERTSDÓTTIR EGILL SAEBJÖRNSSON KARIN SANDER
ART BASEL MIAMI BEACH 1 - 4 December 2011 | booth N17
HRAFNKELL SIGURDSSON IGNACIO URIARTE ÍVAR VALGARDSSON THÓR VIGFÚSSON LAWRENCE WEINER The Estate of BIRGIR ANDRÉSSON
Photo courtesy Haus der Kunst, Munich
MATT MULLICAN BEHIND THAT PERSON
3 Novemberâ&#x20AC;&#x201C;22 December 2011 Tracy Williams Ltd. 521 West 23 NYC 10011 www.tracywilliamsltd.com
UGO RONDINONE November 17 - December 22, 2011
NEW HORIZON
ALMINE RECH GALLERY ABDIJSTRAAT 20 RUE DE L’ABBAYE BRUSSEL 1050 BRUXELLES T +32 (0)2 648 56 84 CONTACT.BRUSSELS@ALMINERECH.COM WWW.ALMINERECH.COM
Martin Herbert
Previewed: Sherrie Levine, Whitney Museum of American Art, New York, 10 November – 29 January, www.whitney.org / More American Photographs, CCA Wattis Institute for Contemporary Arts, San Francisco, 4 October – 17 December, www.wattis.org / Torsten Lauschmann, Dundee Contemporary Arts, Dundee, 22 October – 8 January, www.dca.org.uk / Sema Bekirovic, Diana Stigter, Amsterdam, 29 October – 3 December, www.dianastigter.nl / Alina Szapocznikow, WIELS, Brussels, to 8 January, www.wiels.org / Rebecca Warren, Maureen Paley, London, to 20 November, www.maureenpaley.com / Danser Sa Vie, Pompidou Centre, Paris, 23 November – 2 April, www.centrepompidou.fr / Imi Knoebel, Galeria Filomena Soares, Lisbon, 17 November – 14 January, www.gfilomenasoares.com / Robert Therrien, Sprüth Magers, Berlin, 16 November – 21 January, www.spruethmagers.com / Artissima, 4–6 November, Turin, www.artissima.it
Sherrie Levine
Now SEE This
A Sherrie Levine retrospective is a neartautological idea: a revisiting of revisitings, since for 30-plus years the Pennsylvania-born artist has taken existing artworks and objects, and girdled them with fresh contexts. Her practice is classically exemplary of the Pictures Generation of wildly appropriative postmodernists, but it’s too subtle and elusive to fit in a box labelled ‘endgame’. Rather, it touches on a myriad of nested issues, from how we often receive art at a remove, in repro – Levine, growing up in the Midwest far from an art centre, knew all about that; her earliest works were rephotographs of Walker Evans’s Depression-era photographs – to the transmuting status of radicalism (see her bronzes of Duchamp’s infamous urinal). More than anything, though, Levine’s art increasingly appears predictive of our current drag-and-drop state of creative play, in which heisting images from the Internet is an artistic default. But don’t blame her for that. Evans’s original Depression photographs appear in More American Photographs, a powerfully opportune show given that the American economy is at its most rickety since the 1930s. From 1935 to 1944, the Farm Security 36
Now See This
Fountain (After Marcel Duchamp), 1991, cast bronze, (37 x 36 x 66 cm). Private collection. © the artist. Courtesy Simon Lee Gallery, London, and Paula Cooper Gallery, New York
BERLIN Three years ago I gave a talk at the GoetheInstitut in Munich on ‘Art + Climate Change’. Afterwards, the Institut’s cultural programme directors – who had flown in from all over the world – told me that political art, like ‘climate art’, was all about commissions and that climate art was mostly just bad eco-kitsch. Despite such dazzling ignorance, the topic of climate change has now loomed into view in the Berlin art scene. These days the artists Tue Greenfort and Florian Wüst, together with the critic Vera Tollmann, regularly organise a ‘green table’ where invited art professionals enjoy salad, bread and wine but also seriously expound and discuss the problem. Even the galleries on the Spree have stopped studiously avoiding the subject. Galerie Klosterfelde, for example, recently showed work by the American Dan Peterman, who has produced classic recycling-art since the late 1980s, and in September Nature Morte Berlin presented the work of 11 young Asian artists who are ‘above all distinguished by their ongoing engagement with the environment’. Recently the German Federal Cultural Foundation (KDB) presented Uber Lebenskunst (On the Art of Living), a four-day festival promising to bring together artists, scientists and activists devoted to ‘culture and sustainability’, in and around the Haus der Kulturen der Welt. There was an innovative filter system on show, which could turn the Spree’s murky waters into clean drinking water; a corrugated panel made from drinks containers thrown away during the annual Berlin Marathon; and sushi made with fish from local lakes. But all that this amounted to, effectively, was more or less new forms of recycling. Art ‘came a poor second’, as Die Welt rightly put it. The KDB had, seemingly deliberately, ignored the fact that art can do much more than recycle and is capable of taking a critical stance on green issues. Peterman showed us how, way back in 1988, with his Chicago Compost Shelter: a common-or-garden VW van designed to stay warm, throughout the bitter Chicago winter, by utilising the heat of decaying organic matter, including steaming horse manure collected from the Chicago Police Department Mounted Patrol Unit. The van itself served as a free shelter for the homeless. Obviously this recycling model can’t be mass-produced, but it does raise awareness of social concerns and the need for sustainable living: that’s why this art is more than pure design. But evidently the KDB is not interested. It only wants art that is well behaved and, at best, pragmatic. In fact, to date the government of the ‘Berlin Republic’ has shown scant interest in environmental issues; Germany’s recent decision to opt out of nuclear energy being the only, albeit shining exception to this rule.
RAIMAR STANGE translated from the German by Fiona Elliott
William E. Jones (see More American Photographs) Restaurant, Canton, Ohio, 2011, hand coated pigment print, 23 x 34 cm. Courtesy the artist and David Kordansky Gallery, Los Angeles
Torsten Lauschmann Before the Revolution, 2011, film still. Courtesy the artist
Administration commissioned indigenous photographers including Evans, Dorothea Lange and Ben Shahn to crisscross the country, photographing what they saw (and formulating a muscular mode of documentary photography in the process). For this show, a cluster of living photographers including Larry Clark, Katy Grannan, Roe Ethridge, Alec Soth and Martha Rosler has been sent out across the US to create an updated freeze-frame of a more complexly pressurised and more unequal American society, the new images juxtaposed with choice selections from the FSA’s 250,000-work archive. The concept is simplicity itself, the results almost guaranteed to be arresting: past and present interlaid. A doubled viewpoint characterises Torsten Lauschmann’s Startle Reaction. The Germanborn, Glasgow-based ‘media-art magician’ (to
borrow DCA’s description of him) has spent the last decade displaying an assiduous interest in the line (and the potential crossover) between fabulist dreaming and new-as-next-week tech. One work in the exhibition, his biggest solo to date, features 3D glasses that allow viewers to watch two films at once; previously, Lauschmann has toured Europe as a solar-powered busker and inveigled volunteers to enact a collective jump in the air in a science-underwritten attempt to shift the earth’s axis and offset global warming. It’s win-win: if these quixotic projects have practical effects, that’s obviously good; if they don’t, Lauschmann – currently shortlisted for the Jarman Award – still gets an art career out of them. Equally fascinated by the hinterland between art and science is Sema Bekirovic. In her last London show, the Dutch artist constructed ArtReview
37
6 October - 20 November, 2011
Matthew Day Jackson Heel Gezelli g
25 November - 5 January, 2012
Mick Peter Tao Foam
25 November - 5 January, 2012
Volker Hueller 14 January - 18 February, 2012
Jess Flood-Paddock 25 February - 26 March, 2012
Nick van Woert 31 March - 30 April, 2012
Charles Avery 12 May- 18 June, 2012
Ger van Elk
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what looked like a puff of smoke (or, close-up, a molecular structure) from countless white dice, insignias of probability themselves freezing a chancy, haphazard form; elsewhere she’s let the random trails of snails structure compositions, and exhibited shelves, patterned by smoke, from a burned-down house. Nature, for Bekirovic – who’s also photographed sleek, mirrored models of skyscrapers in parched desert – is a force we struggle against and that struggles to overmaster us. It’s also, in her hands, a collaborator in disquisitions on otherness. Here, alongside letters digested by insects and IKEA furniture in which bees have made honeycombs, is The Others (2011): a three-hour video, based on weeks of surveillance footage, that documents woodland animals consuming foodstuffs left on a rug for them. Over the past three or four years an international reassessment of Alina Szapocznikow’s work – or for many outside Europe, a first assessment – has gradually gained momentum. First you’d just find, say, a handful of her austere black-and-white photographs of evanescent chewing gum sculptures curated into group shows; now her art is in receipt of major surveys like this one, featuring more than a hundred works plus archival materials. The Polish artist, who survived the Holocaust only to die from cancer age forty-seven in 1973, repeatedly cast her own body, emphasising the bittersweet fleetingness of the human form (she’d also lost her father early to tuberculosis) while creating sculptures that semi-abstracted legs, lips, stomach and breasts. Effectively mashups of Surrealism, Pop and Nouveau Réalisme, these were also models of how to transpose tragedy into a welter of other registers – comic absurdity, unlikely
NEW YORK Sema Bekirovic Event Horizon, 2010, HD video, 4 min. Courtesy Galerie Diana Stigter, Amsterdam
Alina Szapocznikow Petit Dessert I (Small Dessert I), 1970–1, coloured polyester, glass salad bowl, 8 x 11 x 13 cm. Kravis Collection. Photo: Roland Schmid. © the Estate of Alina Szapocznikow – Piotr Stanislawski
Any mildly conscious citizen of the two great experiments in Western democracy, the EU and the US, or of the hereditary one-party states in the Arab world, for that matter, will have suffered bouts of nauseating doubt and despair this past year as ruling elites proved impotent and blind: both unable to cope with the issues facing their nations and so focused on their own selfperpetuation that their interests seemed to decouple from those of the masses they ostensibly represent or, in the latter case, control. In the US, Republican partisans were willing to sacrifice the fiscal viability of the nation for the sake of demagogic principle, while the President seemed devoid of any principle whatsoever. In the UK and Cairo, riots demonstrated not a rise in criminality but a poisonous anomie born of disenfranchisement. Like cancer, which kills its host and thus itself, power run amok undermines its own foundations. The advantage goes to structures that appear to play parallel to the mainstream. A similar, and inevitable, endgame is playing out in the nexus of prominent collectors, galleries, artists, auction houses and fairs known as the artworld. Here a self-reinforcing elite consisting of the moneyed and a coterie of curatorial stars jealously guards its privilege. Position and wealth, and through them apparent influence give momentary lustre and delicious, self-indulgent pleasure, but what is the meaning of ego and status – or the broader significance of art – when only diminishing numbers may participate as insiders? While many today apparently think that money is capable of thought, or that it is an idea in itself, few of the vastly rich have left truly gamechanging legacies. We might count Andrew Carnegie’s building of public libraries, or the Ford Foundation’s continued, and relatively progressive, patronage. But as George Soros’s efforts through the Open Societies Foundations to catalyse self-perpetuating and self-renewing thought suggest, truly innovative ideas tend to come out of leftfield – or given recent history, rightfield – undermining the existing status quo and then generating its own. The most influential figures in today’s artworld – both in terms of market and intellect – are arguably Marcel Duchamp and Andy Warhol (who spent his later years as a rich has-been), and behind them Picasso. And there is the diminishing shadow of other dead people: Alfred Barr, the visionary (if sometimes dictatorial) first director of the Museum of Modern Art, along with a handful of French intellectuals, among them Guy Debord, Deleuze and Guattari, and Michel Foucault. Tomorrow’s real power will come from those who tear down their legacies, or perhaps from those to whom this little artworld of ours is utterly beside the point.
JOSHUA MACK
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sensuality – in art that clings to life even as it anticipates its cessation. Rebecca Warren has, over the last decade or so, also increasingly subjected bodies to abstraction. While she became known for zaftig sculptural conflations of highly sexualised existing images (from Rodin to R. Crumb) in undecorous raw plaster – ostensible retorts to male-dominated art and cultural history, though laced with problematic admiration – the English artist has increasingly plotted a path in which the body is a ghosting reference on works that are barely figurative. More recent sculptures, for example, involve tall or wide geometric planes of metal that serve implicitly as male or female protagonists. If there’s a gaming approach to signification here – we know Warren sculpts bodies, so these are assumedly bodies too – there’s also no diminution of her signature interest in embodying ambiguity: by refusing to clarify the terms of her work, Warren enacts a kind of resistance to being controlled that has gendered dimensions as well as more broadly biopolitical ones. Less ambivalently pinned to the body is Danser Sa Vie, an epic survey of – as the subtitle says – ‘dance and the visual arts in the 20th and 21st centuries’. It’s going to take 2,000 sq m of the Pompidou to do justice to a shadow lineage that will stretch, here, from Degas to techno. That, and a tripartite structure: explorations, in turn, of how dance relates to the creation of new subjectivities; the relationship between dance, abstraction and the body; and dance’s overlaps with performance art. As bonuses to this vastly ambitious scheme: more than 200 films, ‘performance-installations’ by Tino Sehgal and Felix Gonzalez-Torres, live dance, lectures, multiple publications… highfalutin hoofer’s heaven, effectively.
PARIS
Keren Cytter Avalanche, 2011. Courtesy Galerie Christian Nagel, Cologne, and Galleria Raffaella Cortese, Milan
Rebecca Warren Fascia III, 2010, bronze on painted MDF plinth, bronze: 140 x 60 x 35 cm, plinth: 61 x 36 x 31 cm. Courtesy Maureen Paley, London
Ernst Ludwig Kirchner (see Danser Sa Vie) Totentanz der Mary Wigman, 1926–8, oil on canvas, 110 x 149 cm Galerie Henze & Ketterer & Triebold, Wichtrach, Bern
Christophe Honoré’s films are full of colour and song, in the style of Jacques Demy. Joyful despair, in the style of early Godard. Disorderly elegance, in the style of Jean Eustache. Honoré could be smothered by references – Hervé Guibert and Jean Genet are in there too – but he reaches a larger audience than just film buffs. He tells stories of love and death, both serious and lighthearted. He works with the best young French actors: Ludivine Sagnier, Clotilde Hesme, Louis Garrel and the loyal Chiara Mastroianni. In his latest film, Les BienAimés (2011), Mastroianni performs alongside her mother, Catherine Deneuve. Deneuve plays a former prostitute married to a policeman and still crazy about her first husband, a handsome Czech from the Prague Spring. “I’m my parents’ sexuality, that’s all I am”, says Mastroianni’s character, desperately in love with a man who doesn’t desire her. Honoré assumes the popular melodramatic clichés one also finds in classic French theatre: Racine’s ‘fleeing those who love us, and loving those who flee us’. In Love Songs (2007), Honoré’s most critically acclaimed and popular film, Garrel’s character gets rid of the decidedly cumbersome Mastroianni by saying: “I’m selfish, mean, and besides that, I’m a fag!” “It sucks to pass me off as the silly bitch!” retorts Chiara, whose previously dowdy character becomes belligerent and noble. Later on, a teenager tries to seduce Garrel, irresistibly singing at the top of his voice: “I’m a pretty young boy from Brittany, I smell of lemon pancakes and the sea”. “Love me less, but love me longer”, the willingly harassed character replies. Without Honoré’s kitschycomic talent, without his assumed taste for pop songs (beautifully written and composed by his accomplice, Alex Beaupain), the last scene would look like an MTV video, with the dead young girl’s bluish face invading the sky beneath the moon. Instead of laughing, we end up crying. “Pop songs tell the truth”, said The Woman Next Door in Truffaut’s 1981 film. Honoré has made ten or so films, which are also portraits of cities. From the angel at the Bastille to the Porte Saint-Martin, from the Montparnasse graveyard to the Statue of the République, Paris is filmed in the early morning: red and blue light, delivery vans, boxes and opening newspaper kiosks; or in the evening, when the streets are hazed in alcohol. London, too, in Les Bien-Aimés, glowing and almost empty, is strange and familiar, like an impossible love affair.
MARIE DARRIEUSSECQ translated from the French by Emmelene Landon
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Now See This
Robert Therrien
THE STRIP BY
No Title (Pots and Pans II), 2008 (installation view, Gagosian Gallery New York). Photo: Rob McKeever. Courtesy Gagosian Gallery, New York, and Sprüth Magers, Berlin & London
NEAL FOX AND LES COLEMAN (see overleaf)
Igor Grubić (see Artissima) 366 Liberation Rituals: Small Contemplative Actions, 2008–9, photography, variable dimensions. Courtesy the artist and Galerija Skuc, Ljubljana
And, surely, exhausting. For a palliative, the doctor recommends the motionless glowing pleasures of Düsseldorf-based Imi Knoebel’s paintings and reliefs. Some 40 years into his career, the warm-blooded German minimalist isn’t about to radically shred his own rulebook – in which a clean geometric repertoire advanced out of Suprematism regularly fuses with sociable colour blocking, references to industrial production and, not infrequently, the perfectionfoiling waywardness of the artist’s hand. The results are concurrently worldly and disconnected from the real. Ditto, coincidentally, Robert Therrien’s scenographic sculptural redrafts of the domestic, which also get an outing this month, following directly on from his show at Gagosian Beverly Hills. No rest for the LA-based artist, whose Brobdingnagian table legs, chairs, stacks of bowls and oilcans, telephone cables tangled into epic plastic hairballs and, in No Title (Red Room) (2000–7), 888 red objects inside a custommade closet, rekindle childhood anxieties through the cleanest of estrangements – scale, colour –
while running sweet variations on an ambiguous seriocomic tone. It’s also time once again – already, really? – for Artissima. The Turin art fair, lately galvanised under the directorship of Francesco Manacorda, looks set to continue braiding commerce and curatorial resourcefulness this year. Alongside the big galleries’ glossy enclosures and the 11year-old ‘Present Future’ section for younger galleries, 2011 sees an encore for the fair’s 2010 innovation, ‘Back to the Future’, which spotlights underknown artists from the 1960s and 70s in sharp contrast to the contemporary market’s obsession with newness/nowness. Additionally, Manacorda has collaborated with artist Lara Favaretto for a playful ‘proposal for a museum’ in the centre of the fair, Simple Rational Approximations: an institution planned, we’re told, on a logic of impermanence and fragmentation. Oh, and critics will once again be presenting tours of the fair under the rubric ‘Listen to the Writer’ – and it’s hard, isn’t it, to think of more sensible counsel than that.
A bomber pilot, writer, publisher, chat-show host and bohemian bon vivant who teetered through Soho’s hedonistic circles, John Watson was the colourful grandfather Neal Fox barely knew. In 1982 Watson wrote a letter to his one-year-old grandson, to be opened only in 2002, on the occasion of the recipient’s twenty-first birthday. In it, Watson suggested that Fox should raise a toast and ‘smell the roses on the way along’, advice he has been following ever since. Equally formative to Fox as he was growing up was family friend and artist-writer Les Coleman, who introduced him to René Magritte, Robert Crumb, Art Spiegelman and other painters and comix artists. Drawing had been important to Fox since childhood, when he designed elaborate comics with younger brother Leigh or a booklet of portraits of every member of the Royal Family, including the corgis. After studying at London’s Camberwell College of Arts, Fox was unsure how to continue his career as an artist and was jokingly advised by Coleman that he ‘could always paint cats’. Out of their shared satirical perspective evolved a stinging script by Coleman entitled ‘How to Make It in the Art Business’, which Fox illustrated as a one-page comic published by Boekie Woekie, Amsterdam, in 2002. Fox found his feet at London’s Royal College of Art, where he gathered like-minded cohorts to form Le Gun, and to publish its eponymous experimental illustration anthology, the fifth issue of which popped out last summer. They also devise group exhibitions, including most recently a room drawn at full size in black-andwhite, representing the contents of the late critic and jazz musician George Melly’s suitcase. Since graduating in 2005, Fox’s solo career has also flourished as an illustrator for the press and through gallery shows of his monochrome mythical tableaux of Francis Bacon, William S. Burroughs and other rebel heroes from his alternative cultural pantheon, often haunted by his grandfather’s ghostly shamanic presence. This summer he brought striking stained-glass windows of the infamous to Daniel Blau gallery in London, while in November Fox takes part in La Catastrophe – a Le Gun show themed around the last meal of a ‘forgotten’ group of artists who broke away from the Surrealists and called themselves the Black Squid – at Galerie Suzanne Tarasieve, in Paris. Despite, or perhaps because of, his having tasted some artworld success, Fox has reunited overleaf with Coleman, venting again with ‘a bee in his beret’, for a barbed sequel explaining ‘How to Make It in the Artistic Entertainment Industry’. In ‘Big Is Best’, Fox’s caricatures skewer today’s art celebrities, while over their heads a sausagelike string of zeppelin-size speech balloons mimic the gigantism of the puffed-up public art and inflated egos and budgets that Fox and Coleman gleefully set out to puncture. PAUL GRAVETT
ArtReview
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The Strip by Neal Fox and Les Coleman
ArtReview
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My Personal Universe Artist:
Zhan Wang
Date:
Nov. 19, 2011 â&#x20AC;&#x201C; Feb. 25, 2012
Venue:
UCCA Big Hall
This November, UCCA welcomes a highly-anticipated sculpture and video installation from Beijing's revered sculptor Zhan Wang. T Zhan Wang has displayed his series of stainless-steel rock casts at an impressive resume of venues, even hauling one to the top of Mt. Everest. For his exhibit My Personal Universe at UCCA, Zhan Wang began the extensive production process for this project by exploding a gigantic boulder in the mountains of Shandong Province while recording the event on hi-definition video from six different angles at 2000 frames per second. In postproduction, he extended the millisecond of the explosion from all six angles into three-minute clips. The six HD footages will be projected onto giant screens in the UCCA Big Hall, making the path of each floating rock fragment stunningly clear from each angle. Suspended throughout the exhibition space are over 5000 stainless-steel replicas of the stone fragments from the blast: their gleaming surfaces reflect the footage of the explosion into infinity, thus creating an endless abyss reminiscent of the birth of the universe.
Now BUY This
The pick of things you didn’t know you really needed OLIVER BASCIANO
– Hip Hip Library – Bulgaria’s first zine library and bookshop has opened its doors. It’s run by the folks behind the Hip Hip Atelier gallery and the Blood Becomes Water zine (pictured) – each issue of which is published in an edition of 30 and will be available at the Sofiabased venture.
– bloodbecomeswater.tk
– Foreign film posters – Original posters, ranging from Maciej Zbikowski’s design for Zimorodek (1970, pictured) to how the Turkish public were introduced to Peter Sellers in Pembe Panter’in Intikami (1976)
– eyeseaposters.com
– The Unit –
– Gnarly – MAKE skateboards, the brainchild of Scott Ogden, grew out of a show earlier this year at I-20 Gallery in New York. Ogden will now move his stock of commissioned one-off and limitededition artist-designed decks to a temporary shop at White Flag Projects in St Louis over the Halloween weekend. There visitors will be able to get their hands on boards by the likes of Slater Bradley, Orly Genger, Jacob Kassay (pictured) and Joyce Pensato. If you can’t make it to Missouri, the boards are also for sale online. – makeskateboards.com
Coinciding with the V&A’s current critical survey of postmodernism, the museum’s shop is selling a 49cm-high maquette of Ettore Sottsass’s Carlton shelving unit, designed in 1981 for Memphis. Not much good for storing books, but still looks rather stylish.
– www.vandashop.com
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Now Buy This
– Kettles by JeanBaptiste Fastrez – The main body of the kettle is handmade but interchangeable – each variation fitting to one mass-produced electrical element. Body cast in materials from ceramic to Pyrex.
– Jeffrey Lewis – As with everything put out by this anti–folk singer/songwriter, Lewis’s new LP, A Turn in the Dream-Songs, comes encased in examples of his comicillustration practice. At gigs (and he’s on tour throughout the next few months) the musician frequently pulls out an oversize comicbook as illustration for his plaintive, narrativedriven songs with.
– jeanbaptistefastrez.com
– Venice in Peril – Venice is sinking. A charity photography auction, to be held at Phillips de Pury, London, on 3 November, together with an exhibition at Somerset House, both organisaed by the Venice in Peril fund, benefits attempts to keep the waters at bay. A host of artists are pitching in, including Philip-Lorca diCorcia (his work, Giostre, 2011, pictured).
– roughtraderecords.com
– phillipsdepury.com
– Blown – Large Glass (named with reference to the Marcel Duchamp work) is a venture by former Frith Street Gallery director Charlotte Schepke. Situated on the Caledonian Road in North London, it is both a gallery and a shop, with various curated displays of curiosities and editions from the likes of Franz West and Susan Collis. The first window display saw Richard Wentworth turn dresser to curate a mini-exhibition of Charles Booth’s nineteenthcentury ‘poverty maps’, and the space now boasts a stock of unlimited reproductions of Caroline Tisdall’s images (one pictured here) of Joseph Beuys’s 1974 performance Coyote: I Like America and America Likes Me. – largeglass.co.uk
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Now Buy This
25 YEARS AT THE SAATCHI GALLERY SEE THE EXHIBITIONS AT SAATCHIGALLERY.COM/EXHIBITIONS
25 YEARS: SOME OF THE 300 ARTISTS EXHIBITED 1985
Donald Judd Brice Marden Cy Twombly Andy Warhol
1986
Carl Andre Sol Lewitt Robert Ryman Frank Stella Dan Flavin
1987
Anselm Kiefer Richard Serra Jeff Koons Robert Gober Philip Taaffe (Agnes Martin Georg Baselitz see below.)
1988
Leon Golub Philip Guston Sigmar Polke John Chamberlain
1989
Robert Mangold Bruce Nauman John McCracken Eva Hesse Robert Morris Richard Tuttle Fred Sandback
1990
Leon Kossoff Frank Auerbach Lucian Freud Howard Hodgkin Patrick Caulfield
1991
Richard Artschwager Cindy Sherman Scott Burton Eric Fischl Andres Serrano Susan Rothenberg
1992
Damien Hirst Rachel Whiteread Richard Wilson
1993
Sarah Lucas Marc Quinn Mark Wallinger
1994
Jenny Saville Paula Rego
1995
Gavin Turk Glenn Brown Gary Hume
1996
Janine Antoni Tony Oursler Richard Prince Charles Ray Kiki Smith Stephan Balkenhol
1997
Duane Hanson Andreas Gursky Martin Honert Thomas Ruff Thomas Sch端tte Thomas Demand
1998
Alex Katz David Salle Terry Winters John Currin Tom Friedman Elizabeth Peyton Carroll Dunham Lisa Yuskavage Jessica Stockholder
1999
Martin Maloney Peter Davies Dexter Dalwood
2000
Rineke Dijkstra Ugo Rondinone Ron Mueck Tracey Emin
2001
Nan Goldin Hiroshi Sugimoto Grayson Perry Chris Ofili
2003
Damien Hirst Jake & Dinos Chapman Daniel Richter Cecily Brown
2002
Boris Mikhailov
2004
Jonathan Meese Rebecca Warren Dana Schutz David Thorpe Noble & Webster Tal R Michael Raedecker
2005
Triumph of Painting: Martin Kippenberger Marlene Dumas Peter Doig Luc Tuymans Jorg Immendorff Hermann Nitsch Dirk Skreber Albert Oehlen Wilhelm Sasnal Thomas Scheibitz Franz Ackermann Kai Althoff Matthias Weischer Eberhard Havekost
2008
The Revolution Continues: New Chinese Art
2009
2010
Unveiled: New Art From The Middle East Abstract America: New Painting And Sculpture The Empire Strikes Back: Indian Art Today Newspeak: British Art Now
SAATCHI GALLERY EXHIBITIONS AT OTHER VENUES 1983
Temporary Contemporary, MOCA Los Angeles The First Show: Painting And Sculpture From Eight Collections, 1940-1980: Malcolm Morley, Julian Schnabel, Chuck Close etc...
1987
Art Of Our Time: The Royal Scottish Academy, Edinburgh Agnes Martin, Georg Baselitz etc...
1997 - 1998
Sensation: Young British Artists From The Saatchi Gallery Royal Academy of Arts, London
1998 - 1999
Sensation: Young British Artists From The Saatchi Gallery The National Galerie, Hamburger Bahnhof, Berlin
1999 - 2000
Sensation: Young British Artists From The Saatchi Gallery The Brooklyn Museum of Art, New York
2006
The Triumph Of Painting Leeds City Art Gallery
2006
USA Today. New American Art From The Saatchi Gallery Royal Academy of Arts, London
2008
USA Today. New American Art From The Saatchi Gallery The State Hermitage Museum, St Petersburg, Russia
2009
Newspeak: British Art Now The State Hermitage Museum, St Petersburg, Russia
2010
La Route De La Soie / The Silk Road, Tri Postal, Lille, France Saatchi Gallery Exhibition at Ipswich Art School Gallery
www.lacoste.com
Great Critics and Their Ideas INTERVIEW BY MATTHEW COLLINGS
No 8: DIDEROT ON
SALON CONCEPTUALISM The works of the Enlightenment philosopher Denis Diderot, who died in 1784, five years before the outbreak of the French Revolution, include critiques of the annual Salon exhibitions, in which new priorities for art in a postmonarchical age are outlined, in particular naturalism and moral meaning
ArtReview Do you think it’s just a cliché nowadays to say that conceptual art is the new Salon art? Denis Diderot Yes, but it’s worth thinking about why the cliché exists and what resentment it expresses. ‘Salon’ means official or accepted, the done thing, academic, unchallenging. Conceptual art has come to mean challenging and acceptable, both at once. The acceptable part is obvious: conceptual art is now the dominant type of art, and the kinds of things you’re supposed to say today about all art actually issue from a conversation that has settled in that is really only about conceptual art. But of course the challenge of conceptual art is obvious as well since it challenges tradition.
DD Sure, what’s not to like? I liked those sculptures by Sterling Ruby in the new Saatchi show. Obvious, big waxy red things with stupid shapes and occasional stencilled words like ‘headbanger’. When you put it like that, they sound dreadful. DD Critical language is difficult to understand straight away. But perhaps ‘dreadful’ is right. Anything else? DD In that show? Yes, it was all very good, lots of grotesque car-crash sights, headed by some actual crashed cars by Dirk Skreber. I saw a literal car crash in the Venice Biennale, too. I think it was the Hungarian Pavilion. It was a tasteful BMW, and there was incredibly well produced opera singing going on in some films in another part of the same building, plus printed texts on the walls. Maybe they 56
Great Critics
were police reports of what survivors had said in a postcrash daze. The artist gave them to some professional singers who sang the words as if they were passionate arias. They put on serious facial expressions and threw in a few gestures, and so on. But they were doing all this not onstage but in nondescript modern spaces, such as a hotel, a bridge over a motorway, a stationary car. When I speak
of this now, I expect it sounds like a dream. And that is perhaps no accident, for a dreamlike atmosphere is an expectation of conceptual art now. It is part of its modus operandi, in terms of governing reception. It is expected that the work will be described, and the shorthand visual language that is used in making the actual art has a built-in element that anticipates later descriptions
Jean-Baptiste Greuze, The Dead Bird, 1800, 68 x 55 cm. Louvre, Paris. Courtesy White Images/Scala, Florence
I think you’re suggesting that if tradition today only means what conceptual art says it means, then there’s no actual challenge going on. Do you like conceptual art?
(the reviews, the account given in award speeches, the casual chat in art places). This might be something that relates current hot conceptual art to the old Salons. Not the disjointed dreamlike quality, a series of jarring images, but the sense of content given as a kind of list. The audience learns to tick them off.
I’m confused by your ideas of the good and the stupid or whatever. Where do you get them, what do they mean?
DD From life and art. Art refers to life, but it has to have a bit of pressure or difficulty from life as well. I used to explain in the form of interesting dialogues – which I made up, with two voices, both chatting away as if two I suppose they were high moral ideals. What are the intelligent types were strolling through one typical themes of the list today? of the annual Salon shows at the Royal exhibition spaces – what art is and what is DD Conceptual art has come to mean fantasies praiseworthy about it. ‘Art’, this marvellous of any old slightly disgusting or sensational thing that comes from the past and from the thing, with some kind of elaboration, so a past of which all art in the present must mere notion, like a sentence written down somehow draw its effects if it’s going to have by a journalist, becomes some extra any resonance at all, any power or nonlinguistic element, the physical form, impressiveness. But at the same time, I used which is certainly not like the old idea of to get my imaginary actors to say that you’ve ‘form’ in art. Instead you’ve got the fantasy got to have a bit of naturalism, too. Naturalism that any idiot could think of, and then its is life, and life is the source, the dimension physical manifestation, which takes a bit of from which issues the raw material that labour and thinking about processes and makes possible art’s lovely effects of light, materials, and so on. You can do it yourself form and movement, and decorative delight. or get someone to pay for teams of workers And it’s only from that stuff that such other to do it. In either case refinement and delicacy, stuff as feeling and emotion, and moral ideas, which used to be the issues with formal art, can be conjured in such a way that they have no longer come into the setup. Instead there some dramatic tension and therefore can be has to be, as I said, a notion: it must equate believed in. As to what things ‘mean’, well, more or less to suddenly seeing someone this is a matter of society’s agreements about having a fit, or a bomb blowing up the reality at any given time. But light has restaurant you’re having your dinner in. And something timeless about it. Light expressed then a process: some material manifestation in art so the art appears to have something that does not serve a tradition of visual ideas to do with life, or to be expressing life: this is that goes back many centuries, as great art rare and powerful, and, I believe, a theme of the past does, and indeed as modernist art throughout all periods. It even exists in your used to do. But which instead kind of packages time, but I would say it has migrated from that initial punch-in-the-face notion in such the realm of art to the realm of design. In art a way that the epileptic does not actually it is only a memory. thrash her limbs too near you, and the bomb doesn’t blow your own arms off. I think there What do you mean by light exactly? were fairytale giants at the end of the Saatchi show, weren’t there? Very amusing. DD You see a river and it will have a kind of light sheen that contrasts with the dark depths, and the shapes they both make in conjunction You said resentment was expressed in the equation of Salon with conceptual? with each other will be unpredictable and changeable, but always possessing a sense DD It’s not terminal resentment, but merely a of believable overall order. It seems profound, flavouring of the thought, the realisation that somehow, and general to what goes on in art. anyone encountering typical art nowadays Any kind, paintings, sculptures or whatever: has: ‘I identify this art phenomenon in a the works. But they have to be pretty rooted certain way, it is both the new hegemony and in visual pleasure. Or if not pleasure, they the new bullshit.’ The bullshit part is of course have to be pretty visual. When conceptual that little is challenged if all the art obediently art challenges tradition, that is really what it conforms to a challenging model. challenges. That unpredictable light and dark shimmer that the surface of a river has is no longer the issue. If refinement and delicacy are out now, what made you say earlier that the opera singing in that pavilion in the Venice Biennale was good? What is? DD Good in a standard way, as an element that must fulfil its own stereotype. Like the BMW crash in the other room was good, very much the indisputable remains of a genuine smash-up.
DD Yes, but nobody’s saying, ‘Oh, let’s have the old purity back.’ In any case, cerebral is still the thing. It’s just that it’s the cerebralism of a ride on a ghost train rather than an obedient sculpture student in 1972 racking her brains trying to understand the first few pages of Wittgenstein. But when you talk about an earlier stage of conceptual art, you raise the issue of this form of art as a tradition in itself. It has leftwing political meanings in the late 1960s. And then gradually there is the conquest of that by consumer exoticism, which is what global sensational conceptual art really tells us about today, in its reflection of global capitalism. What parallels are there between an artist like Greuze, whom you wrote about a lot, who is just kitsch, really, and conceptual art now? DD He is a bit schmaltzy, I know what you mean, but he provided me with a lot of hooks to hang ideas on. I admired Chardin, too, but he only painted still lifes and genre scenes, whereas Greuze did a much broader range of subjects, so I had more to say. ‘Kitsch’ as a concept didn’t exist in the era of Enlightenment, but in your time it doesn’t exist either. It’s a product of capitalism and the Industrial Revolution. It stands for the degradation of all values, a faux art that only sentimentalism and ignorance causes to seem like art. Real art is elevating. But kitsch is a distraction, so no one thinks about art’s relationship to reality, or about wishing to rise above a state of ignorance. But in the next period, your own, any object can be accepted as conceptual art, so long as it has been ironised or positioned correctly. When things are excluded, it is not because they are kitsch or degraded, meaningless concepts now, but because they are only the products of amateurs or the ignorant. Those who make the mistake of not finding out what art has become. What parallels, you ask? Well, they have to do precisely with control and exclusion. It is assumed there has been a transition from elitism to democracy between governmentcontrolled Salon art 300 years ago and the popular, accessible conceptual art of the twenty-first century. And yet there is still control. Today it is certainly the artworld that decides what art is. But this world is supported by something, and something is asked in return for the support. If the annual Salons served the state, today spectacular conceptual art serves the new power that has replaced the state, which is globally mobile, stateindependent, in fact state-contemptuous, private money.
DD The unexpected shocks you might encounter in a hospital emergency room. Conceptual art used to be much more cerebral didn’t it, less about the grotesque?
Next month Plato says no to art ArtReview
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Photo: Piotr Trzebinski Courtesy Neugerriemschneider, Berlin and Foskal Gallery Foundation, Warsaw
PAWEŁ ALTHAMER
28.10.2011 — 16.1.2012 Unter den Linden 13 / 15, 10117 Berlin deutsche-guggenheim.de Daily, 10 am – 8 pm; Mondays, admission free
2011.10.29 ~2012. 01.29
181,Section 3, ZhongShan North Road, Taipei 10461, Taiwan, R.O.C. Opening hours: 09:30-17:30 Tue. - Sun. (Closed on Mondays) Sat. 09:30-20:30 Tel:02-2595-7656 Fax:02-2594-4104 www.tfam.museum info@tfam.gov.tw
hat’s more eerie – the King of Pop, the great Michael Jackson, depicted as a froglike and somewhat unglamorous little corpse on the slab, his stage costume, complete with twinkly glove and trademark white socks, affectionately folded nearby? Or the fact that the painting – The Autopsy of Michael Jackson (2005), by New York painter Dana Schutz – was made four years before the star’s untimely death? At the time it was painted, much of the work’s power rested on what then seemed a farfetched prospect: the event happening for real – Jackson ultimately dethroned, vulnerable and abjectly factual as merely another body to be cut up and scrutinised. In Schutz’s quasifuturistic nightmare world, where even the increasingly dehumanised Jackson – of all people – was dead, the scene became almost fantastical, a premonition of some media-fuelled barbarism and contempt, a universal symbol of voyeuristic inhumanities to come. Now, in light of what we all know happened, the painting has brought this reading forward, its criticisms levelled at the here and now. And with that, this painting has had its relationship with the world radically altered. I met the artist this year in New York just as the painting was being considered for Schutz’s exhibition Dana Schutz: If the Face Had Wheels at the Neuberger Museum, Purchase, New York. Curious at the prospect of the work reemerging in a post-Jackson world, Schutz began to describe her feelings about a painting that had strangely ‘come true’ since it was painted. In the email exchanges that followed, I tried to work out how her conception of the nature of painting negotiated these changing realities. “In the end I did decide to show the Michael Jackson work,” Schutz explained. “It’s a painting that I have always really liked and felt that it should be included in the exhibition, but my fear was that it had all of a sudden become a ‘realist’ painting, too flatly what it is as an event, or all about a time past, the date in which it was painted. Or just straight up too depressing… although it was intense painting it, even in 2005.” It struck me how rare it was to think of painting today as being so contingent on affairs in the world at large. The implied anachronism of what the artist described as the work’s realism felt more like a throwback to painting’s dependence on court or church patronage, to history painting or premodern portrait commissions of the great and the good. That is, when paintings were intended as a point of reference, cementing an official version of events for posterity. Yet given the disappearance of this model from our visual culture, it is, nevertheless, almost impossible not to think that the work’s primary subjects – Jackson’s illusion of timeless iconicity, even immortality,
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NIGEL COOKE The Autopsy of Michael Jackson CHRISTIAN VIVEROS-FAUNE What are curators good for? J.J. CHARLESWORTH Depressing political art MARIA LIND Art of This Century JONATHAN GROSSMALERMAN Studio visitors HETTIE JUDAH Accessorising
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key to the work’s meaning in 2005 – have been wiped out now that Jackson is deceased. As most European painting at the end of the last century demonstrates, the medium usually copes better when its relationship to historical events is the other way around, revisiting past moments that have been represented repeatedly, bringing its own brand of turgid vagueness to canonical historical narratives. As a result, ‘the Tuymans effect’ – via Gerhard Richter – has been successful in raising nuanced, marginal questions about what is known, imagined and desired of historical accounts as signatures of cultural conditions. It’s abundantly clear that Schutz’s idea of painting has no real relationship to this approach, investing more in the possibilities of imaginative creation over abject nihilism, regurgitation as expressionism, or whatever you call it – which is what makes its relationship to real-time events so fascinating and irregular. I asked the artist what happens to the ‘life’ of recognisable images like Jackson’s (even if he was seen like never before) once the artist claims them, when they become embodied in, even transplanted by, one’s ideas about the business of painting above all. If painting’s fidelity to real events is low on the agenda, can the realism mentioned earlier be effectively dodged, once the ‘facts’ are successfully consumed, even overcome, by visual concerns, which in this case are outside such matters? “Images can be unstable, especially when they are so loaded,” says Schutz. “I’m not interested in art purely mirroring life or culture, and I wondered if this painting now simply acted as a mirror. But in the end I don’t think it does. A painting can reorder the world in a physical way. A painting can act as a person. I love the fact that paintings can operate, be contagious, like images, that they have a kind of DNA (did W.J.T. Mitchell say that?). But they do have a physical body too, the experience of this physical body can be bound up in images or even create images.” Here the painting itself sets the agenda, the real-life event subordinate to what the painting demands. The reordering of the conditions of its reception by the work itself (and not CNN news updates) suggests that there was always a sense of the painting having to confront a new reality at some point in time, but the painting’s core importance was not vulnerable to such changes. On the contrary – in this line of thinking, the work’s topical dimension is a conduit, even a metaphor, for something else. Here Jackson is a doorway to other concerns; Schutz operates a painting practice that increasingly appears bound up with the very
Dana Schutz, The Autopsy of Michael Jackson, 2005, oil on canvas, 152 x 274 cm. Courtesy Friedrich Petzel Gallery, New York
Nigel Cooke
inevitability of change, and its role in the completion of a work’s cycle of meanings. “When I was making the painting, I was aware MJ would pass away at some point (unless he opted for freezing) – I mean, everyone dies. So I knew at the outset that this painting was unstable and hypothetical. I thought it might be more interesting to get the scene wrong (because it was all imagined) than to get it right. I could have painted MJ in any form imaginable (he was always changing anyway), or I could have painted him as an eighty-year-old. But it felt right to paint him more or less how he was in 2005.” Given this mutability of options, I asked Schutz if the Jackson painting had lost some specificity – not as an image, but as a painting – after he died, and if her own hold on the image had been radically changed. And when considering showing the work again now, was there a fear that a different kind of content (scandal, ethics, etc) had arrived on the scene, and maybe the artist wanted to distance herself from that? “I did worry about it losing its specificity as a painting and that it did bring up a different kind of content. However, this can happen with any painting once it goes out into the world. The MJ painting for me felt strangely intimate while painting it, like it was a view for one, not for a voyeur, but more a scene that is set up for an audience of one, or a witness.” Perhaps that is what transcends the negative impact of chronology here. It is the artist’s relationship to the surface of the image as the work takes shape that crosses over the two timeframes, connecting them in significance in a picture of both a changing man and a painting (as a consequence of this point) inevitably
A PAINTER ENCOUNTERS A PAINTING THAT CHANGES AS TIME GOES BY susceptible to change. The scene then has something of the devotional about it, freighted with a private, interior kind of sadness that contrasts with the public nature of Jackson’s life and death. But in that devotion Schutz halts the story’s salacious or ethical dimensions and brings in her own presence, one that recruits the star to her cast of painted characters. Like much of Schutz’s work, The Autopsy of Michael Jackson initially disarms with a sunny, childlike wonder at the grotesque or painful, then delivers an intense melancholia that puts me in mind of the sweet bluntness of a child’s questions about mortality – the kind that leave adults fumbling for words. With imagery of such crystalline pictorial clarity, the same happens here; the image is bright and clear, but the meaning is mutable, the attitude difficult to describe, the mood darkly lingering. Openness and candour give way to doubt, a movement of thought that starts to feel central to Schutz’s concerns the more she describes her work. In holding reservations about the work being “too flatly what it is as an event, or all about a time past”, Schutz has created a work whose mobility in relation to the unforeseen has ingeniously converted Jackson – in life always seeking the permanence of the iconic statue – into
an icon of its opposite: unpredictability, the irreversibility of time and the tragedies wrought by random events. Far from being mawkishly prescient, the picture in fact gains weight in the relationship, not the discrepancy, between the two points in time either side of his real autopsy – the media-baited exotic Jackson on one, the martyred victim of cruelty and voyeurism on the other. And here stands Schutz’s supremely nuanced painterly vision, her ability to translate the private time spent making a painting into a universally accessible feeling akin to sympathy for her characters, holding multiple possibilities together in a personal, intimate engagement with the image: “I wondered if the painting of MJ could still work in a way that feels intimate now that his death was a real event in the world. I guess I’ll see when I see the painting in the show – but I think it’s still intimate (I hope).” Even in briefly discussing this painting, Schutz reveals an unusual tenderness towards her pictured worlds, a place where the paradoxes of creativity and mortality are transformed into painted lives (and deaths). There is a powerful sense that the private, intense act of imaginative visualisation involved allows Schutz’s paintings, almost in spite of what they represent, to indeed ‘act as people’ – to create meaning, and have meaning put upon them in turn. ArtReview
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Christian Viveros-Fauné
o, I’m sitting on a new factory-white couch with Bob Geldof – in Dublin, at the opening of a biennial I cocurated – when he leans over and says in a voice that is part honey and part gravel: “I’ve read a bit about you. It says you live in New York and travel around writing about art and curating exhibitions.” Staring down from the heights of his sunglasses in perfect imitation of Professor Kingsfield (the John Houseman character in the 1970s movie and TV show The Paper Chase), he pauses archly to register my response. “Um, yeah,” I blurt out. “More or less.” A hint of surprise shadows his famous features before giving way to a less measured feeling – something more like bona fide amazement. “And you can make a living at that?” Well, Bob – I should have answered – in this economy, there’s no telling. If there is a historical disconnect between specialists and laypeople with regard to the purpose and meaning of art in the world, it’s possible that it has never been wider than in these blessedly fucked-up times we call our own. A lot of that distance can be put down to several decades worth of an overheated art market and the tabloid-laced shenanigans of artists such as Damien Hirst and collector/dealers like Charles Saatchi – respectively, the Salvador Dalí and P.T. Barnum of the 1990s and early noughties. But a fair amount of the confusion can be glasses wearing, black-clad art hipster. The last said to have been caused by a virulent pox of 30 years of growth in the artworld can easily be postmodern relativism that – starting in the 1970s said to have caused chronic hyperactivity among – struck down much of high culture’s desire to its already wacky denizens. But far more than engage empathetically with the world beyond collectors, artists, dealers and art teachers the its prissy designer confines. From philosophy to world over, the curator has come to embody this literature to university liberal arts programmes, endless to-ing and fro-ing between sense and a single, increasingly orthodox brief went out. nonsense in contemporary artistic practice. If the What was once a liberating mashup of genres artworld these days is one big Riverdance and styles descended quickly into art for art’s production of Sydenham’s chorea – what used to sake – with a bit of shock thrown in for the be called Saint Vitus’s dance – then to the curator geezers. belong all its tics. The rash, of course, eventually came to Art, it’s fair to say, has changed utterly since rest between the artworld’s churlish thighs. A the age of Sir Joshua Reynolds and his Royal decade later it had spawned a new specialist Academy. So have the people running it. Yet some jargon, newfangled ‘careers in the arts’ and an of its basic obligations have remained the same: obnoxiously ubiquitous phenotype: the thick- to build symbolic meaning in a largely nondenotative manner; to sacralise, secularly speaking, or at least ennoble (or profane, often the same thing) humanity’s neediest stories. This has proven a tall order of late, one the majority of curators and curator’s apprentices – lined up
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in arts management courses and PhD programmes from Copenhagen to Ciudad Juárez – have not been up to filling as the world and its cache of strangely inexpressive contemporary art sail headlong into uncharted territory. At the tail end of an era marked by increasing specialisation – as well as the general atomisation of knowledge – it turns out it’s the specialists that are letting down the side. The analogy to global bankers is not only tempting here, but really painfully awkward (at the very least). For some two decades now the international curator has stood atop the art heap surveying the scope of globalisation that neoliberalism begot with nary a concern for the consequences – artistic or otherwise. Tricked into a context in which all culture stood on equal footing, yet some cultural products remained more equal than others, his ready audience nodded approvingly at the often perfect conflation of financial and symbolic value. That was then. This is now. Culture budgets have been slashed by as much as 70 percent in Europe, and museums all over are scrambling to sell off some of their boom-time loot. As we survey the party’s broken crockery and assay the slog of the years ahead, isn’t it finally time that the figure of the curator got that second look? What are curators good for? How should they be trained? What is their basic job description? After years of textbook criticism aimed at arts institutions and the objet d’art, should not a similar critique be usefully turned against the figure of the curator himself? Talk amongst yourselves.
Christian Viveros-Fauné, Bob Geldof and Ireland arts minister Jimmy Deenihan at the opening of Dublin Contemporary 2011. Photo: Marc O’Sullivan
A MULTITASKING CRITIC REPORTS FROM THE FRONT LINE OF THE CURATORIAL SURREAL
Gajin Fujita Made in L.A. Recent Paintings 13 October – 12 November 2011
Peter Shelton Sculpture: 1970s — Now 19 November – 30 December 2011
Edward Kienholz Early Works 10 January – 18 February 2012
VENICE , C ALI FORNIA L A LOU V E R . C OM
J.J. Charlesworth
’m not trying to be funny, but why is so much ‘political’ art at the moment so fucking depressing? Imagine yourself in my place right now, walking around Thomas Hirschhorn’s gigantic sculpture The Green Coffin (2006) at the main site of the sprawling new Dublin Contemporary 2011 biennial exhibition. As Hirschhorn sculptures go, it’s a classic: a huge coffin-shaped slab carried aloft by countless mannequin arms reaching up from a sea of green-painted polyurethane foam. On the coffin’s sides, the usual manic-obsessive collage juxtaposition of news headlines recounting economic and social meltdown, photographs of lingerie models on one side, the blasted and splattered bodies of dead and half-dead bomb-blast victims on the other. Atop the coffin, bizarrely, a giant cardboard handbag, real designer handbags, model lobsters, reproductions of Renaissance art and… chessboards. I have no idea whether I know what Hirschhorn’s sculpture is supposed to mean, or what it should do, other than evoke a certain atmospheric sensation that, hey, everything is really terrible right now, and this is somehow because of… er… European civilisation, or Enlightenment reason or something (all those chessboards and high-art paintings, see?). And maybe also it means that for the environment, time is running out, yes? Because all the arms are drowning in the green, and because, look, they’re all wearing watches. The sub-idiotic level of symbolism in Hirschhorn’s sculpture, surrounded as it is by Dan Perjovschi’s witless and unfunny wall-cartoons about art, power and politics, epitomises the thoughtlessness of much art that thinks it is boldly addressing the political realities of the world today, when all it’s really doing is reactively repeating our most pessimistic prejudices about the big bad world out there. What afflicts this kind of work is an assumption that it knows what the political problems are, and you’ll be quick to notice that there’s nothing that needs only make a modified representation of suggests much in the way of any escape from, or these – as if the political positions it’s presenting positive alternative to, what appears to be the are self-evident, forming part of an already catastrophic dreadfulness of the status quo. This accepted consensus of truth. isn’t to argue that art should be full of positive But repeating what everybody thinks they messages about how everything is going to be all agree on isn’t political in any active, thinking right – that would be as artificial as art that sense; it is instead a passive reiteration of endlessly repeats that everything is going to turn mainstream sentiment, which is why it’s always to shit. Rather, what it reveals is the genuine a complete nonsurprise to run into art that wants poverty of imagination in what passes for radical to denounce, say, the badness of the West’s wars politics at the moment, which while thinking it in the Middle East or the destructive effects of knows what it should rail against seems incapable commodity capitalism or the corrupt power of of discovering what it is for. the big corporations and the mass media or – That tendency in current political art, of looming over it all – human society’s destruction berating the world for its ills and presenting the of the planet, etc. And from that fairly familiar results to the audience as if we should somehow list of what usually passes for ‘political’ content, be shocked or guilt-tripped into action, could be characterised as a sort of manic-depressive agitation by artists as detached from any real political engagement as the audiences they hector. Jacques Rancière, in his essay ‘The Misadventures of Critical Thought’ (2008), argues against the state of current ‘critical art’, which, while it has its roots in the post-May 1968 desire to reveal the
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hidden realities of political and social power, in order to better inform those struggling against it, now only repeats the gesture of denunciation, in what Rancière calls ‘left-wing melancholy’. Leftwing melancholy, he writes, ‘invites us to recognize that there is no alternative to the power of the beast and to admit that we are satisfied by it’. It isn’t surprising that much political art should betray signs of manic depression and melancholia, as it no longer has any grip on any substantially progressive vision of the future, and has (secretly) given up on being able to do anything about it. This isn’t the fault of artists, but it reveals how subordinate art really is to the pessimistic and fatalistic preoccupations of the culture it inhabits. By contrast, an art that rejected that pessimism might be the first step to something truly radical. What that might look like is anyone’s guess – let’s just hope it doesn’t involve any more model lobsters…
Thomas Hirschhorn, The Green Coffin, 2006, wood, spraypaint, polyst yrene, hands made of synthetic resin and ceramic, watches, tape, prints, cardboard, fabric, chess, chessboards, crustaceans made of plastic, sculptures, photocopies, handbags, 359 x 1129 x 436 cm. Courtesy Galleria Alfonso Artiaco, Naples. Photo: Renato Ghiazza, Dublin Contemporary 2011
A CRITIC WONDERS: IS ‘POLITICAL’ ART A CRY AGAINST DREADFULNESS OR JUST PLAIN DEPRESSING?
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FRANZ ACKERMANN IAN ANÜLL JOHN BALDESSARI STEPHAN BALKENHOL MATTHEW BENEDICT TROY BRAUNTUCH PEDRO CABRITA REIS KOENRAAD DEDOBBELEER
MANFRED PERNICE MARTIN STÄDELI November 17, 2011 through January 14, 2012
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JÜRGEN DRESCHER
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PIA FRIES LUIGI GHIRRI JITKA HANZLOVÁ GENERAL IDEA ROBERT MAPPLETHORPE RITA McBRIDE HARALD F. MÜLLER
Art Basel Miami Beach Hall A | Booth K11
MATT MULLICAN MANFRED PERNICE MAGNUS PLESSEN GLEN RUBSAMEN CHRISTOPH RÜTIMANN THOMAS RUFF PAUL THEK STEFAN THIEL LAWRENCE WEINER RÉMY ZAUGG MATTHIAS ZINN
ALEXANDER DELLAL PRESENTS
ALEX HODA
1 2 th - 2 3 rd O c t o b e r 2 0 1 1 64 Margaret Street, London, W1W 8SW
Maria Lind
ctober 1942 marks an important moment in the histories and practices of curating, specifically with regard to exhibition design. Not only did that month see Marcel Duchamp’s legendary installation with hundreds of yards of string strung across the refugee benefit exhibition the First Papers of Surrealism in a private mansion in Manhattan. Shortly afterwards, the joint efforts of collector and gallerist Peggy Guggenheim and architect and exhibition designer Frederick Kiesler (a close friend of Duchamp’s) came to fruition when their Art of This Century opened on the same island’s West 57th Street. This museum-cum-commercial gallery was a true sensation: its Surrealist, Abstract, Kinetic and Daylight galleries offered an unprecedented experience of the work of the European avant-garde. As one headine put it: ‘modern art in a modern setting’ was on offer for the first time. Even good photographs of the galleries cannot do justice to the presentation, which included, for example, frameless paintings by Max Ernst and Joan Miró ‘floating’ in front of the undulating curved wooden walls in the Surrealist Gallery. Utopian architecture, stage design and retail display were among Kiesler’s references, and in the Abstract Gallery, where the walls were made of shaped ultramarine canvases, pictures by Francis Picabia and Kasimir Malevich (among others) were hung on V-shaped straps that ran from floor to ceiling as if in a shop window. Flexible pieces of ‘correalistic’ furniture were specially designed by Kiesler to function both as stands for paintings and sculptures and also as seating. In the Kinetic Gallery, items from Duchamp’s Boîte-en-valise were displayed on a Ferris-wheel-like structure that could be manoeuvred by visitors in order to view a particular object through a peephole. Although Kiesler’s staging of the work of his peers was outrageous, it intensified the a minute or so, and you are allowed to take a close perception of art. The work of art itself, its logic look at the miniature replicas of, say, Giorgio de and sensibility, was the starting point for an Chirico’s The Nostalgia of the Poet (1914) or extreme yet customised presentation. Picasso’s The Studio (1925) – it’s like a hybrid of an A sense of the radical nature of this art dollhouse and a funfair. orchestration of art is given by a walk-in 1:3 scale I was reminded of this experience while model of the Surrealist Gallery (on view at the visiting the current Istanbul Biennial in September. Frederick and Lillian Kiesler foundation in In Istanbul amazing works by Dani Gal, Akram Vienna until 11 November). As you walk up to Zaatari, Nazgol Ansarinia and many others are the model, its floor at chest height, the roar of also installed in a highly stylised, elegant manner. an approaching train greets you in the dark. When The five parts of the biennial, each with its own the lights come on, they illuminate a few works theme based on an absent work by Felix Gonzalezat a time, creating a sort of choreography as they Torres, follow a template: a thematic group show move through the space. The sound stops after installed in a space of its own surrounded by a set of solo presentations in individual white cubes. Rather than giving a sense that the art has been allowed to colour the presentation, in Istanbul the presentation becomes bureaucratic: a decision has been taken and then implemented, no matter
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Frederick Kiesler, Art of This Century, Surrealist Gallery, 1942 (1:3 scale model, 1997). © Kiesler Foundation, Vienna
A CURATOR ON THE ART OF EXHIBITION DESIGN, LOST SOMEWHERE ON THE WAY TO VIENNA AND ISTANBUL
the nature of the work. It feels repetitive and somewhat mechanical, rarely enhancing the art or adding interesting meanings in its juxtapositions. Questions of display and therefore the encounter between art and people are important and, to me, much appreciated. The require care. One of the assets of the Art of this Century was precisely its attention to questions of presentation and the experience of the exhibition. But thanks to his proximity and sensitivity to both the artists and the art, what Kiesler managed to create was a radical proposal for how art can exist in reality based on a sense of urgency.
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AN ARTIST ON PAINTING, ART FAIRS, NEIGHBOURS AND HIS STRUGGLE TO DO JUST A LITTLE GODDAMN WORK
ike many successful artists at this time of year, I have a lot of deadlines to meet. Between Frieze and Art Basel Miami, a solo show in Moscow and a retrospective at a Wolverhampton College (don’t get me started), I need to produce a multitude of large-scale paintings investigating the power of women’s sexual organs in an interesting and new way. I’m feeling panicked even writing that! I really have to get my nose to the grindstone! But it’s hard to get anything done when my studio is chock-full of lovably eccentric characters and one very crazy neighbour. Now don’t get me wrong: I love to have a good time. In fact, it’s often been remarked upon. But I also like to get a little goddamn work done, and that’s been next to impossible what with all this chitchat and the hardy-har-har and the spontaneous eruption of song! There I was, settling into an evening of painting the most incredible vagina ever, when who should barge in but my assistant Neal, with a mind to pack some paintings for an art fair in Barcelona. I put my pants back on and asked him what he’d like to drink. Never has such a basic common courtesy resulted in such frustrating unintended consequences. “I’d love a vodka and Dr Pepper!” he says, his lisp more pronounced than usual. The sound of the doorbell shatters the quiet of my outrageous resentment. It’s Joyce! Joyce is a broken-winged bird and I really like to take care of her whenever possible, generally by sharing my cocaine with her. She really likes that. She’s also a great live model. Sometimes I want to hold her. But how do you hold an angel, I ask you. In any case, tonight she shows up with her friend CoCo, who has eyes that reflect the sky like some sort of cosmic mirror, and the best tits ever. Vodka and Dr Pepper for everyone! But my eyes return to unfinished business. The painting’s beautiful vagina whispers quietly: living, breathing man! With blood on fire! A living, Jonathan… Jonathan… you’ve got work to do. That’s breathing man with blood on fire who happens my name, you see… Jonathan! Just as I attempt to have quite a few deadlines and is already really, to excuse myself, my gallerist, Maximilian really behind. Bingeweary, comes in through the window I slink off to the painting to stare at it, to waving a bottle of Champagne and singing a breathe in its vibrant hues of azure and crimson, beautiful, albeit off-colour, song. I live on the its cadmiums and cobalts. I chuckle at its clever fifth floor, for Christ’s sake! I’ve never even references to work that is so recent I have climbed through the window! What a celebration absolutely no business referencing it already. Such of life that man is! How am I going to get anything is the nature of my talent. I’m that good. But the done, surrounded as I am by fascinating drunks painting needs something. What? It looks flat, and wilfully sexy ladies? Painting is such lonely lopsided… I hear the girls giggle, a glass breaks, business! I resent it and I hate it. Must I behave Neal’s sequencer blips and bleeps. I hear the voice like some sort of monk? For God’s sake, I am a of my crazy neighbour. The one who always stops by unannounced with some new harebrained scheme that comes to no good. I hear him speaking manically about his new idea: a hat that when turned over becomes a soup bowl. One of his better ones. I would actually get that. I guess it would have to be washable, and I’m not sure where the spoon would be kept. But it’s a good, simple idea. Almost iconic really… Damn it! How the hell am I ever going to get any work done when my studio is full of all these lovable eccentrics!
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Guy Richards Smit, video still from Grossmalerman!, 2011. Courtesy the artist and Schroeder Romero & Shredder, New York
Jonathan Grossmalerman
ALASTAIR MACKIE COPSE 18 n ov e m b e r â&#x20AC;&#x201C; 16 december 2011 AL L VI S UAL ARTS
2 omega pl ace london n1 9dr + 44 (0)20 7843 0410 info@allvisual arts.org www.allvisual arts.org
Hettie Judah
uch like the bobby-socked bitchy girls in American teen movies, opportunistic products tend to cluster hungrily around the brightest, wittiest fetish object of the moment, hoping to pick up a pixie-dust-like sprinkling of sex appeal by proximity and group magnetism. In past decades it has seemed as though the world might suffocate under the mass of quirky designer CD racks, ditto decorative dongles for mobile phones and carry-cases for laptop computers. What was once a tendency to huddle around a generic product has in recent years become a full-on exercise in brand humping. Since the first iPod came out, in October 2001, Apple’s every pod, phone and pad has rolled into product-design high school like a magnetically mean blonde with its own madeto-measure entourage of cheerleaders already lined up at point of launch. Brand humping – by which I mean creating an accessory for a specifically named, branded product – is a measure of phenomenal success. It suggests that this one product has such broad appeal, subtribes exist within its devotees that can be approached as multiple separate markets. Given the speed at which products like the iPhone and BlackBerry are changed and updated, brand humping requires a manufacturer to have incredible faith in someone else’s design. The latest megaproduct to achieve this status is the Kindle. Amazon won’t release sales figures for their electronic book, but they have by now sold millions worldwide. There were initial doubts that it would hold its own against tablet computers, but after a circumspect start, the Kindle is being brand-humped left, right and centre. Smythson is of course not the only luxury The Smythson Kindle cover is rather gorgeous. It’s a sleek semiprecious stone- goods house to put out for Kindle (and Kindle is coloured thing in lizard-print leather, styled like not the only megaproduct they put out for), but a 1930s clutch purse by way of an 80s Filofax. It’s they do have the distinction of being a company posh, in the ‘Smythson-Kindle? Are you by any whose image is built on nondigital communication. chance related to the Cheltenham Smythson- Their famous paper notebooks beguile with the Kindles?’ manner, bringing with it the hint of suggestion of the hidden creative greatness that impeccable family connections. Since the cover will be seduced into revealing itself between their costs near on double the price of an e-reader, its calfskin covers. The union of an image based on protective function can fairly be assumed to lie heritage and the written word with the world of in shielding the owner from the Kindle’s rather electronic megaproducts quite neatly points up democratic image, rather than the Kindle itself a couple of uncomfortable aspects in our desire from the wear of use. In this double-barrelled to accessorise sexy brands. For starters, the notion of craftsmanship, branding, Smythson has invited the Kindle to marry up. durability and heritage materials being put in the service of a product that will be replaced by a fresher, sexier model even before its built-in obsolescence kicks in is – to be charitable – comic. Rather less comic is the fact that consumers’ growing readiness to spend fortunes accessorising
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electronic devices has coincided with our growing reluctance to spend anything at all on creative content. As we have increasingly rendered music and the written word intangible, reducing it to device-filler and divorcing it from almost any element of two- or three-dimensional design, we have somehow squeezed it out of the value circle in our material culture. We will go to some lengths to pay as little as possible – or not pay at all – for recorded music, films, shows and the written word, but will pay handsomely for the device we enjoy them on and considerably more on related products. Just like the teen-movie girl gangs, it seems we’re so fixated on image that we’ve stopped being interested in what’s going on beneath it.
Courtesy Smythson, London
CONSIDERING THE INEXORABLE ACCESSORISING OF BRANDED PRODUCTS, OUR DESIGN CRITIC GETS THE HUMP
GIORGIO MORANDI 12 October – 29 November 2011 In partnership with GALLERIA DÊARTE MAGGIORE
WIM DELVOYE 12 October – 16 December 2011 In partnership with SPERONE WESTWATER
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38 Dover Street, London W1S 4 NL T e l . + 4 4 ( 0 ) 2 0 7 4 0 9 1 5 4 0 a r t @ r o b i l a n t v o e n a . c o m - w w w. r o b i l a n t v o e n a . c o m
mother’s tankstation, Dublin
ELODIE PONG
9 November - 17 December 2011
41 - 43 Watling Street Usher’s Island Dublin 8 IRELAND +353 1 671 7654 gallery@motherstankstation.com www.motherstankstation.com
Galleria Pack represents Matteo BasilĂŠ | Peter Belyi | Maria Magdalena CamposPons | Ofri Cnaani | Alberto Di Fabio | Robert Gligorov | Paolo Grassino | Oleg Kulik | Andrei Molodkin | Marco Neri | Marina Paris | Aldo Runfola | Andres Serrano
MODERN. CONTEMPORARY. ABU DHABI ART. 16 - 19 November 2011 Saadiyat Cultural District Abu Dhabi, UAE abudhabiartfair.ae
Organised by:
Principal sponsor:
Associate sponsor:
_ Suzanne Song Interplay November 17 - December 17, 2011 _ DOOSAN Gallery New York _
Primera Disaster, 2010, vandalised car wreck, dimensions variable
James R Ford
CHRISTIAN FERREIRA
Wapping Hydraulic Power Station | Wapping Wall | London | E1W 3SG info@christianferreira.com | www.christianferreira.com
9 HENRIETTA STREET, LONDON WC2E 8PW WWW.SIMONOLDFIELD.COM
18 November — 22 December 2011
Katie Cuddon
Waiting for the Cue
Katie Cuddon, installation view Spanish Lobe (‘M’, detail, 2011) Courtesy Camden Arts Centre. Photo: Andy Keate.
Stephen Inggs L egac y 02 - 30 Nov em ber 201 1
71 Loop Street Cape Town T +27 (0) 21 424 5150 E info@brundyngonsalves.com W www.brundyngonsalves.com previously iART Gallery
LNV ;M?FV(C;GC ?;=B NB;HEM SIO @IL ; AL?;N N?H S?;LM
Art Galleries | A | 303 Gallery New York | A Gentil Carioca Rio de Janeiro | Abreu New York | Acquavella New York | Adler & Conkright New York | Air de Paris Paris | Aizpuru Madrid | Alexander and Bonin New York | de Alvear Madrid | Ameringer McEnery Yohe New York | Andréhn-Schiptjenko Stockholm | Artiaco Naples | B | Baudach Berlin | Benítez Madrid | Benzacar Buenos Aires | Berggruen San Francisco | Berinson Berlin | Bernier/Eliades Athens | Blum New York | Blum & Poe Los Angeles | Boesky New York | Bonakdar New York | Boone New York | Borch Jensen Berlin | Bortolami New York | BQ Berlin | Brito São Paulo | Brown New York | Buchholz Cologne | Buchmann Berlin | C | Capitain Cologne | Carberry Chicago | carlier gebauer Berlin | Casa Triângulo São Paulo | Cheim & Read New York | Chemould Mumbai | China Art Objects Los Angeles | Cohan New York | Coles London | Contemporary Fine Arts Berlin | Continua San Gimignano | Cooper New York | CRG New York | Crousel Paris | D | D'Amelio Terras New York | DAN São Paulo | Dane London | Davidson New York | De Carlo Milan | de Torres New York | Dvir Tel Aviv | E | Eigen + Art Berlin | F | Feely New York | Feuer New York | Fortes Vilaça São Paulo | Peter Freeman New York | Stephen Friedman London | G | Gagosian New York | Galerie 1900–2000 Paris | Gemini Los Angeles | Gladstone New York | Gmurzynska Zurich | González Madrid | Goodman Gallery Johannesburg | Marian Goodman New York | Grässlin Frankfurt Main | Alexander Gray New York | Richard Gray Chicago | Howard Greenberg New York | Greenberg van Doren New York | Greene Naftali New York | Greve St. Moritz | Guerra Lisbon | H | Haas & Fuchs Berlin | Harris Lieberman New York | Hauser & Wirth Zurich | Hetzler Berlin | Rhona Hoffman Chicago | Houk New York | Loretta Howard New York | Hufkens Brussels | I | Insam Vienna | J | Jacques London | Jancou New York | Janda Vienna | Rodolphe Janssen Brussels | Juda London | K | Kaplan New York | Kasmin New York | kaufmann repetto Milan | Kelly New York | Kern New York | Kicken Berlin Berlin | Kilchmann Zurich | Klosterfelde Berlin | Knust Munich | Kohn Los Angeles | Johann König Berlin | Kordansky Los Angeles | Koyama Tokyo | Kreps New York | Krinzinger Vienna | Kukje Seoul | kurimanzutto Mexico City | L | L & M New York | Lambert Paris | Landau Montreal | Lehmann Maupin New York | Lelong New York | Lisson London | Long March Beijing | Luhring Augustine New York | M | Magazzino Rome | Mai 36 Zurich | Mara - La Ruche Buenos Aires | Marks New York | Marlborough New York | Martin New York | Mathes New York | Mayer Düsseldorf | McCaffrey New York | McKee New York | Meier San Francisco | Meile Lucerne | Mennour Paris | Metro Pictures New York | Meyer Riegger Karlsruhe | Millan São Paulo | Robert Miller New York | Miro London | Mitchell-Innes & Nash New York | Modern Art London | Modern Institute Glasgow | Moeller New York | N | nächst St. Stephan Vienna | Nagel Berlin | Nahem New York | Helly Nahmad New York | Naumann New York | Navarro Madrid | Nelson-Freeman Paris | neugerriemschneider Berlin | Nitsch New York | Noero Turin | Nolan New York | Nordenhake Berlin | O | OMR Mexico City | Osma Madrid | P | Pace New York | Paragon London | Parkett Zurich | Parrasch New York | Perrotin Paris | Petzel New York | Polígrafa Barcelona | Praz-Delavallade Paris | Presenhuber Zurich | ProjecteSD Barcelona | R | Rech Paris | Regen Projects Los Angeles | Regina Moscow | Roberts & Tilton Los Angeles | Ropac Salzburg | Rosen New York | Michael Rosenfeld New York | Rumma Milan | S | Salon 94 New York | SCAI Tokyo | Schulte Berlin | Shafrazi New York | Shainman New York | Shanghart Shanghai | Sicardi Houston | Sies + Höke Düsseldorf | Sikkema Jenkins New York | Silverstein New York | Skarstedt New York | Snitzer Miami | Sperone Westwater New York | Sprüth Magers Berlin London Berlin | Staerk Copenhagen | Standard Oslo | Stein Milan | Stevenson Cape Town | Strina São Paulo | Sur Punta del Este | T | Taka Ishii Tokyo | Team New York | Telles Los Angeles | Thomas Munich | Thumm Berlin | Tilton New York | Tonkonow New York | Two Palms New York | V | van de Weghe New York | Vermelho São Paulo | Vielmetter Los Angeles | W | Waddington Custot London | Wallner Copenhagen | Washburn New York | Werner New York | White Cube London | Wolff Paris | Z | Zeno X Antwerp | Zwirner New York Art Nova | Arratia Beer Berlin | Balice Hertling Paris | Campoli Presti London | Castillo Miami | Chez Valentin Paris | Corrias London | Cortese Milan | Elbaz Paris | Carl Freedman London | Gavlak Palm Beach | gb agency Paris | Gelink Amsterdam | Herald St London | i8 Reykjavik | Kadel Willborn Karlsruhe | Kamm Berlin | Koroneou Athens | Leme São Paulo | Lullin + Ferrari Zurich | Maisterravalbuena Madrid | Marsiaj Rio de Janeiro | Meessen De Clercq Brussels | Mezzanin Vienna | Proyectos Monclova Mexico City | Murray Guy New York | Nogueras Blanchard Barcelona | Overduin and Kite Los Angeles | Parra & Romero Madrid | Prometeogallery Milan | Razuk São Paulo | Roesler São Paulo | Schubert Berlin | SKE Bangalore | T293 Naples | Taxter & Spengemann New York | Untitled New York | Valenzuela Klenner Bogotá | Vitamin Guangzhou | Wallspace New York | Wentrup Berlin | Wigram London | Zero Milan Art Positions | Baró Sâo Paulo | Casas Riegner Bogotá | Cintra + Box 4 Rio de Janeiro | de Stampa Paris | Algus Greenspon New York | Gupta Chicago | Karma Zurich | Kimmerich New York | Klemm›s Berlin | Labor Mexico City | Mendes Wood São Paulo | Francesca Minini Milan | Puente Lima | Anita Schwartz Rio de Janeiro | Solomon Los Angeles | Travesia Cuatro Madrid | Index September 2011 Art Basel Conversations | Art Film | Art Kabinett | Art Video | Art Magazines | Art Public | Art Salon Art Basel Miami Beach | December 1 to 4, 2011 Vernissage | November 30, 2011 | by invitation only Catalog order | Tel. +1 212 627 1999, www.artbook.com Follow us on Facebook and Twitter | www.facebook.com/artbaselmiamibeach | www.twitter.com/abmb The International Art Show – La Exposición Internacional de Arte Art Basel Miami Beach, MCH Swiss Exhibition (Basel) Ltd., CH-4005 Basel Fax +41 58 206 31 32, miamibeach@artbasel.com, www.artbasel.com
ab
Artists’ Laboratory 04
Conceptual art in London Abstract Expressionism in New York Both from Thames & Hudson
John Maine RA 9 November – 18 December 2011 www.royalacademy.org.uk www.royalacademy.org.uk www.roy www ww w.royalacade lacade cad cade ade de em my.org. my.o my y.org. org org.uk rg.uk uk
Mark Wallinger
John Maine RA, Central granite carving for the installation After Cosmati in process 2011. Image courtesy of the Artist.
Supported by the Friends of the Royal Academy
Martin Herbert ISBN 978 0 500 093566
£38.00 hb
20th October - 2nd December 2011
de Kooning: A Retrospective John Elderfield ISBN 978 0 500 093634
£48.00 hb
www.thamesandhudson.com Twitter @thamesandhudson Facebook.com/thamesandhudson
Platform-A Gallery Middlesbrough Railway Station, Zetland Road, Middlesbrough, TS1 1EG Telephone: 01642 252 061 Open: Tue - Sat 10am - 4pm www.platformagallery.net
Thursday 27— Sunday 30 October 2011 Quay House, Spinningfields, Manchester The third edition of The Manchester Contemporary continues its commitment to encouraging and developing a market for critically engaged contemporary art in the region. For the full list of participating artists and talks programme visit themanchestercontemporary.co.uk Curatorial Coordinator for The Manchester Contemporary 2011: The International 3
Arcade Bureau Ceri Hand Gallery Cole Man & Eve Mermaid & Monster
Seventeen The International 3 Workplace Gallery WORKS|PROJECTS Plus The Print Room, and project and partner presentations from Axis, Castlefield Gallery, Chinese Arts Centre, Contemporary Art Society, Hot Bed Press, KaavousBhoyroo and Untitled Gallery
www.themanchestercontemporary.co.uk twitter @mancontemporary www.facebook.com/themanchestercontemporary
SCAN ME!
Funded by:
THOMAS HOUSEAGO The Beat of the Show Outdoor Sculpture INVERLEITH HOUSE ROYAL BOTANIC GARDEN EDINBURGH Until 21 June 2012 www.rbge.ac.uk/inverleith-house Supported by Michael Werner Gallery, New York
Andrew Kerr and Maya Deren 13 November to 22 January 2012
Supported by:
Sponsored by:
Stuart Croft COMMA
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EXHIBITION RUNS 12 October â&#x20AC;&#x201C; 5 November OPENING HOURS Mon - Sat, 11am - 6pm Thu 3 November till 9pm Bloomberg SPACE 50 Finsbury Square London EC2A 1HD +44 20 7330 7959 gallery@bloomberg.net
COMMA is a dynamic series of commissions enabling artists to experiment and expand their practice in relation to the particular nature of Bloomberg SPACE www.bloombergspace.com
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here’s only one real question about power in the artworld: does it make any difference to the art? Because unless we’re happy with the naive idea that the art that gets made is largely innocent of and untouched by the context in which it is formed or – worse still – that the artworld is really there only to seek out and celebrate the ‘best’ art, then maybe all our talk of power boils down to this: whether the artworld exerts power in the interests of the art, or in the interests of something else. So in a scene whose main attraction is supposed to be the work of artists, but seems in fact ever-more preoccupied with the activities of all the players and fixers who make up the rest of its strange circus, perhaps it’s worth asking how the current state of power interacts with the state of the art. During the past decade it has become a kind of truism that the artworld has been overrun by the market. Yet while multimillion-dollar auction results, supercollectors and the evergrowing profile of art fairs prey on the imagination of both critics of and apologists for the art of our time, to say that money now dominates is to offer only a very fractured, very partial image of where we are. More on the power of the market later, but at this point it would be more accurate to say that the artworld today is overrun by institutions. Commercial art galleries may have started to feel the grip of the art fairs tightening on their throats, but the last decade is also the decade of the rise
Laura Lima, Puxador, 2011, Biennale de Lyon. Photo: Blaise Adilon
of the biennial, and the decade of the rise of the new museum. Institutions in one form or another are more present than ever: well funded and well organised, and more extensive than perhaps at any time in the modern history of art. Only if you consider biennials and museums to be benign alternatives to the market would you see the rise of the market as a particular problem. But to do so misses the fact that both the art market and the nonmarket sector have grown together, symbiotically. The interrelations between ‘public’ and ‘private’ have evolved, and what we have now, in 2011, is a tense mix of the old and the new – the old world of the commercial gallery and the national museum, and the new world of the contemporary art fair and the international temporary exhibition.
That this great fleet of institutions has evolved together doesn’t mean that they are identical, but rather that their fortunes are intimately linked. Galleries, art fairs, art biennials and art museums now operate in a seamless, networked flow of exchanges between influential individuals who oversee the complex negotiation of who to show and why. Dealers, art fair directors, museum directors and biennial curators all interact hyperactively. Curators and museum directors sit on panel discussions at art fairs while gallerists and art fair directors sit on panel discussions at biennials. There are those who think that there is something unseemly about this promiscuous exchange between the public and the private, possibly something that’s ethically wrong, that’s somehow corrupt. Those critics hold on to the old notion that public institutions have a responsibility to such civic ideals as impartiality and objectivity, or even that the public institution can operate as a corrective or at least an opposition to what happens elsewhere. But in 2011, the promiscuous interaction between institutions is all there is. This is because public institutions no longer defend an ‘inside’ from something ‘outside’. The old national museums or academies of the nineteenth and early twentieth centuries would have defended such ideas as tradition, national culture, respectable moral values or craft skills from the modernist barbarians at the gate (who, by the way, tended to show in commercial galleries). Conversely, the post-1968 ‘radical institution’ defended alternative values: those of political or dissenting art, of antitraditionalist concepts of creativity and of noncommercial forms of production and organisation, from the ‘outside’ – the big, bad, conservative, capitalist market. Now both models of the institution as something separate, pursuing an agenda in some way distinct from the ‘outside’ of commercial culture, are utterly, conclusively dead. The old national institutions no longer defend any notion of continuity, tradition or national identity. The post-1960s ‘radical institution’ is disappearing as a publicly funded alternative to a conservative culture. Why? Because the wars fought over contemporary art since the 1960s – the battles for conceptualism, for postmedium, poststudio art, for political ‘critical’ art – have been won. That is to say, every institution, every biennial, every art fair, every gallery and every museum today can accommodate the spectrum of critical or not-socritical art; every art fair can have its ‘critical’ project for collectors to visit before they buy the limited-edition documentation of that 1970s performance artist; every art museum can have its newly canonised 1970s performance artist as artist-in-residence, while the Middle Eastern video art runs in the galleries on the floor above, and the show of sculptures from that well-known collector’s private collection sits on the floor above that. And every private collector can open his own museum-quality show of sculptures from his own
Art Positions, 2007, Miami Beach. Courtesy Art Basel
MAXXI, Rome. Photo: Werner Huthmacher
collection, which no longer needs to go into a museum because that collector’s own purposebuilt museum has just opened. So in 2011 what makes art contemporary, as opposed to modern, is nothing more than the lack of friction between the institutions that run the artworld, and the syncing of their values. That lack of friction is the consequence of the disappearance of debate within the social elite over the value, identity and purpose of art. Where once upon a time to dislike modern art would have led to the disliker being categorised as reactionary, today if you don’t like contemporary art you are merely thought of as uncool. Without strong differences between the artistic, cultural and political outlooks that defined the old institutions, the divisions between the institutions of the artworld have become more porous, hazier, less distinct. Everything happens inside the institution, because the institution is everywhere; even though it appears that there are formal differences between ‘types’ of institution, they are merely different nodes in the circuit of flow that is ‘the contemporary’. And in such a situation, because the culture of contemporary art has become homogeneous, inclusive and dispersed throughout these institutions, where there is no decisive or critical distinction between the values of one against another, it is only natural that what becomes prominent is not the meaning of the art, but the presence and visibility of those who make the decisions – the curator, the museum director, the gallerist, the art fair manager. Of course, they wouldn’t be in a position to make those decisions if it was not for what is peculiarly new about the artworld today: it is subject to the greatest flow of private wealth committed to art – contemporary art – that human culture has ever seen, so vast it makes the Medicis and the Gettys look like stamp collectors. The great global expansion of wealth over the last decade has fundamentally altered not only the scale but the balance of influence of the different
above top: Kodak, 2006, single-screen projection, 16mm, colour, sound, 44 min
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Firstsite, Colchester. Photo: Richard Bryant/ Arcaidimages
institutions of the artworld. Because as this spectacular florescence of money has filtered through the networks that constitute the totality of the artworld, it has swelled them and extended them, but it has also changed their centres of gravity. It flows through the galleries to artists, through galleries to the directors of art fairs and into the public museums and into the foundations. The institutions of the artworld, in the final instance, manage the flow of this great wealth, channelling it, reconverting it into altered forms, displacing it, further or nearer, from the primal scene of the market, making possible a quasiinfinite range of artistic forms and practices. But who controls this has changed, from the old world to the new, and consequently there are winners and losers. The smaller, older private galleries that used to be the first gatekeepers and confidants of an opaque and intimate group of collectors, find themselves increasingly dependent on the favour of the big fairs, who have become the gatekeepers to a vastly more public and visible congregation – the international collector. It is the art fair that dictates the visibility of a gallery to this new constituency. Meanwhile, public institutions find themselves having to respond to 96
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ARTISTS TODAY NO LONGER HAVE TO
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ADVERSITY
the intellectual and critical influence of the big biennials, whose curators are more mobile, responsive and footloose, able to move and to make contacts in the fluid postnational flow of the globalised artworld. What about the art? It’s a subtle shift, and no one has quite noticed, but artists are no longer in control. Artists may make diamond-encrusted skulls, or build temporary discursive spaces for the thinking-through of alternative modes of practice, but whatever they do, an institution is
there to accommodate them. And because the institution of contemporary art believes itself to be liberal, tolerant, pluralist, inclusive, nonpartisan, wide-ranging, it neutralises the tension that has historically accompanied the activity of artists – their capacity to confront orthodoxy and its control of the public realm and over the public imagination. Unlike modernist artists, artists today no longer have to build their communities in the face of adversity – not for nothing did artists once create their own institutions – the Salon des Refusés, the Vienna Secession, the Bauhaus, Black Mountain College, etc… Does this have an effect on art? Perhaps it’s what gives much contemporary art its feeling of passivity and weightlessness. Perhaps it’s what gives the experience of art fairs, galleries and biennials that strange aura of lukewarm euphoria, their audiences polite, well-behaved, with their mixture of enthusiasm and indifference. No need to fight for your public, they are already waiting. But perhaps that’s the price of an easier, more professional, more comfortable life. Welcome. Come on in. You can do whatever you like here, and the lighting is excellent.
LEONARDO DREW VIGO gallery inaugural exhibition 12 October 2011 – 11 November 2011 Private view Tuesday 11 October 6 – 8 pm
VIGO
22 Old Bond Street London W1S 4PY Opening times Monday – Friday 10 – 6 pm Tel +44(0)20 7491 1485 Fax +44(0)20 7408 0197 info@vigogallery.com vigogallery.com
NADA MIAMI BEACH DECEMBER 1 – 4, 2 011 DEAUVILLE BEACH RESORT COLLINS AVENUE & 67TH STREET DAILY ADMISSION IS FREE AND OPEN TO THE PUBLIC NADAARTFAIR.ORG 47 CANAL New York ADA GALLERY Richmond ALTMAN SIEGEL GALLERY San Francisco AMBACH + RICE Los Angeles AMERICAN CONTEMPORARY INC. New York ARTIS New York AVA New York BAS FISHER INVITATIONAL Miami NICELLE BEAUCHENE GALLERY New York BLANKET CONTEMPORARY ART INC. Vancouver JESSICA BRADLEY ART+ PROJECTS Toronto BRAND NEW GALLERY Milan BRENNAN & GRIFFIN New York BUREAU New York CALLICOON FINE ARTS New York SHANE CAMPBELL GALLERY Chicago CANADA New York CLEARING Brooklyn CLIFTON BENEVENTO New York THE COMPANY Los Angeles CONDUITS Milan LISA COOLEY New York CORBETT VS. DEMPSEY LLC Chicago COUNTRY CLUB Cincinnati / Los Angeles CREATIVE GROWTH ART CENTER Oakland CUMULUS STUDIOS New York CURRO & PONCHO Zapopan DUMBO ARTS CENTER New York ELEVEN RIVINGTON New York DEREK ELLER GALLERY New York THOMAS ERBEN GALLERY New York ESSEX STREET New York EXHIBITION A New York FEATURE INC. New York FITZROY GALLERY New York FOXY PRODUCTION New York FRANKLIN FURNACE Brooklyn JAMES FUENTES LLC New York FRANCOIS GHEBALY GALLERY Los Angeles LAUREL GITLEN New York GOLDEN GALLERY New York /Chicago THE GREEN GALLERY Milwuakee JACK HANLEY GALLERY New York THE HOLE New York VAN HORN Dusseldorf HORTON GALLERY New York / Berlin INVISIBLE-EXPORTS New York THE JOURNAL GALLERY Brooklyn GALERIE BEN KAUFMANN Berlin PARISA KIND Frankfurt NICOLE KLAGSBRUN New York KLAUS VON NICHTSSAGEND GALLERY New York LEO KOENIG INC. New York KS ART New York LAUTOM Oslo GALERIE CHRISTIAN LETHERT Cologne JOSH LILLEY London IGNACIO LIPRANDI ARTE CONTEMPORANEO Buenos Aires LOCUST PROJECTS Miami PATRICIA LOW CONTEMPORARY Gstaad / Geneva LTD LOS ANGELES Los Angeles LÜTTGENMEIJER Berlin MISAKO & ROSEN Tokyo MKG127 Toronto MOTHER’S TANKSTATION Dublin NEWMAN POPIASHVILI GALLERY New York MIHAI NICODIM GALLERY Los Angeles NIGHT GALLERY Los Angeles NON Istanbul NYE + BROWN Los Angeles ON STELLAR RAYS New York OX-BOW Chicago SIMON PRESTON New York RAMIKENCRUCIBLE New York RATIO 3 San Francisco RAUSCHENBERG RE-INSCRIBED New York RECESS ACTIVITIES, INC. New York REGINA REX Queens RENWICK GALLERY New York RIBORDY CONTEMPORARY Geneva GALERIE GABRIEL ROLT Amsterdam ROTWAND Zurich SCHMIDT & HANDRUP Cologne SEVENTEEN London SHOW ROOM New York SILVERMAN San Francisco GALLERIA FRANCO SOFFIANTINO Turin SORRY WE’RE CLOSED Brussels JACKY STRENZ Frankfurt STUDIO VOLTAIRE London TAKE NINAGAWA Tokyo RACHEL UFFNER GALLERY New York JONATHAN VINER London VOGT GALLERY New York KATE WERBLE GALLERY New York WEST STREET GALLERY New York WHITE COLUMNS New York WORKPLACE GALLERY Gateshead
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There was a large international exhibition in a very beautiful region of the country. A lot of artists had been invited to take part. They were mainly from Europe and North America. Almost everyone in the show had arrived to stay for a few weeks, to work towards the exhibition and to enjoy the place. All the artists who had bothered to come were given large studios to work in, and stayed in apartments built quite close to the gallery. Some of the artists knew each other before the exhibition and others got to know each other through their stay and the show. Some of the artists were more gregarious than others. Each evening there would be a meal or party and although not everyone turned up to every event, most of the time the artists got along together pretty well. n 1992 I wrote a short text titled ‘Donating Money to the Getty Foundation’. It was written as an informal anecdote about a few artists sitting in a house on top of a cliff in the South of France. In the story the house was made up of a large number of pods – connected by tubular corridors. None of the walls were flat, yet the place was full of paintings. It didn’t seem necessary to write about this in the text, so I didn’t bother to picture the hanging system deployed throughout the house. There was no host in this story – a crucial new form of absence. The pods were made of rough concrete or stucco in the form of spheres, each with a flattened base – the windows were round and the connecting tubular corridors were in the form of extruded arches linking the varied spheres.
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After about a week staying in this beautiful part of the country there came an invitation to visit a house. The house was quite a long way from the gallery and arrangements were made to share cars and organise lifts from different people so that all the artists could go and visit what was rumored to be a really great place. Most of those travelling to the house that day were surprised at how long it took to get there, but when they arrived everyone realised it had been worth it. The house was incredible, like something out of a film. It was unself-consciously kitsch enough to be unintimidating, but impressive enough for the most cynical visitor. This was a straightforward tale of emerging consciousness amid a shifting dynamic of power and patronage in art. Influenced by Ingres and Other Parables, a 1972 book by John Baldessari, it was one of a number of short stories that combined to provide some kind of update on the position and state of artistic autonomy in relation to the stealthy rationalisations at the heart of globalisation in the early post-Reagan/ Thatcher era. Everyone felt at ease. There were two swimming pools. It was a very hot day. Some people stripped off and began swimming while others just hung around by the pool. There wasn’t much in the way of refreshments but no one really cared. The house was positioned towards the top of a cliff and the main pool was built so that it overlooked the sea. You could spend hours floating around in the water and gazing down at the sea many metres below. Time passed and everyone seemed to be happy. As it got dark, and as if it could have been any other way, it was announced that there was to be a buffet supper at the far side of the house. Where Baldessari’s texts had tended to focus on the plight of the artist in the face of history and the problem of production, these texts placed the artist in an implicated position in relation to the way the art system might draw people into the logic of a revised poststatist and fundamentally neoliberal set of operations. The artist is no longer faced with the stubborn presence of an assured artistic past but instead becomes an ambivalent social figure – populating villas, seminars and dinners – while daily demonstrating exemplary attributes of scepticism and desire. That was really perfect. Some of the artists rushed to eat before others and some were more desperate for a drink. People started talking, opinions were exchanged. At one table sat two artists from the west coast of America. One was telling the other about how he felt a bit guilty about selling quite a lot of work. The other artist sympathised and said he used to feel the same but had tempered his guilt feeling by donating some of his income to worthy causes. As the two pursued their conversation another artist came up and joined them. He listened to what they were saying. 100
The State of Things
Above and preceding page: Liam Gillick, A Game of War Structure, 2011 (installation view). Courtesy Irish Museum of Modern Art, Dublin, and Kerlin Gallery, Dublin
As far as he could see, artists never made enough; even the ones who were really raking it in deserved it, and those who were not making much money but did good work ought to be properly rewarded. The traditional movement of power had been redescribed in the 1980s as a trickle-down process where loss of regulation would free capital to move – now unfettered from state intervention – in a logical if meandering flow to those capable of predicting its outflows and drains, but always in search of promised torrents. In 1992 the luxurybrand conglomerates and spoils from the former USSR were yet to congeal from the primordial soup of chaotic and seemingly infinitely fragmented post-Wall structures. One certainty was emerging, however – that this promised trickle/flow/drip might not be operating in one direction only. Away from the obvious traumas of increasing wealth inequality – even at the heart of apparently developed cultural life – the artist would increasingly be seen as a figure of support for the foundation, the visionary and the corporate structure as much as a recipient of its largesse. In 1992 it was still not completely clear how on earth this strange state of affairs would actually come into being. But you could already see artists struggling with ways to comprehend their sudden emergence onto the well-stocked-yet-hostless terrace of desire.
THE ARTIST WOULD INCREASINGLY BE SEEN AS A FIGURE OF SUPPORT FOR THE CORPORATE STRUCTURE AS MUCH AS A RECIPIENT OF ITS
LARGESSE
Anyway, the artist sat there listening to the other two going on about their guilt feelings and how their dealers had really helped out when it came to working out what charities to give to. He felt it was time to say something. There was a pause in the conversation and he interjected. ‘You know,’ he said. ‘You’ve got a point there, what I do is give a portion of my income to the Getty Foundation.’ There was a silence and the two artists from the west coast of America turned to look at the artist who was claiming to give some of his income to the Getty Foundation. One of them said, ‘Gee, that’s real bad. You know that the Getty Foundation’s real big and powerful already, don’t you?’ They carried on with the meal and changed the subject. It was the only moment of tension or flash of heat in an otherwise good day. A curious postscript to the glib scenario described has been a surprising inability to map power or even represent its aura within the critical framework of an advanced art. The critical default has become an increasingly fraught attempt to present the traumatic result of contemporary lack or a poetic pseudo-sublime image of what may never have existed in the first place. Both these options leave us without a critical map to the real location of power and, as a consequence, do no more than offer solace or sympathy in a context of critical empathy. So until something changes, the terrace remains – a limbo for the contemporary – the only place that can be mapped with its familiar nodes of bar, exit and screen. ArtReview
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The Dubai Sale Art from the Middle East
Mohannad ORABI, 'Self Portrait' Signed, Dated 150 X 150 cm. Mixed Media on Canvas 2011 Estimate (US$ 10,000 - 15,000)
Viewing: October 20 - 23, 2011, 10:00 AM to 8:00 PM Auction: Monday, October 24, 2011, 7:00 PM Catalog available at www.ayyamgallery.com
ayyam auctions 3rd Interchange, Al Serkal Complex, Al Quoz 1, Street 8, PO Box 283174 Dubai, UAE Phone + 971 4 323 6242, Fax + 971 4 323 6243, auctions@ayyamgallery.com
Gerhard Richter in his studio, working on the Cage series, 2006 Photo: Š Hubert Becker
d r a h r e G r e t h c i R 1â&#x20AC;&#x201C; 1 0 2 r e b 6 Octo
2 1 0 2 y r a 8 Janu Supported by The Richter Exhibition Supporters Group and the American Patrons of Tate
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ArtReview
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IN TR O D U C TI O N This year marks the tenth anniversary of ArtReview’s power list. Over that time, its parameters have changed (for example, the first few lists took account of the modern and contemporary art scenes; today it only considers the contemporary) almost as much as the people on it. One thing that hasn’t, however, is the rationale for having a list – which, let’s face it, is something of an anomaly for a magazine that focuses almost exclusively on art and artists, rather than the curators, collectors and gallerists who make up what we have come to call the artworld. The art we see (in commercial or noncommercial galleries) is edited and selected as the result of a vast and complex network of powers and interests. It’s not the case that the art on show is necessarily ‘the best’, however much we may like the idea that the art selected for display in, say, a major institution such as Tate Modern or MoMA is the cream of the crop or the most relevant to now. The aim of the list, then, is to document those forces and describe the ‘world’ that affects the production and display of contemporary art. As with almost everything related to art, however, the production of these lists is not a science. Each one has been compiled by an increasingly large committee of experts from around the world. They are sometimes named and sometimes not – in the latter case largely for social and professional reasons. The panellists
work to criteria – attempting to measure the influence of power candidates over the kind of art that’s been produced during the previous 12 months, the volume of activity of those individuals over that time, and their influence as an international rather than national phenomenon – and attempt to restrain their subjective urges (although ArtReview has graciously allowed Messrs Charlesworth and Gillick to publish their opinions on the forces that shape art today in the two features that those of you who didn’t skip straight to the bit with the numbers will have already read, enjoyed and puzzled over). There’s no doubt that when it comes to art the objective voice is often hard to find, as what tends to bring art alive is the harmony or disharmony of multiple subjective voices. But rest assured, ArtReview can be a firm disciplinarian when it needs to be. Indeed, every summer, when work begins on this list, ArtReview beats its panellists so that they remember that the artworld, like any ecosystem, is not simply about the crocodiles, but the tadpoles as well. In compiling these lists, therefore, we recognise that power is not simply a matter of who bites hardest. And over the years ArtReview has certainly picked up more than its fair share of scars in the wake of the publication of this list. Of course, there are many who would argue that the really powerful forces are the ones you never identify or see or perhaps even feel. But naturally, like all people involved in art, ArtReview likes to think of itself as an extremely sensitive soul…
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took place while the artist was still imprisoned, became a site of pilgrimage and protest regarding his detention. Ai’s exhibition schedule remains intense – his Circle of Animals/Zodiac Heads sculptures, currently in Taipei, has toured from New York to London’s Somerset House to LACMA, while a collection of his photography was on show at the Fotomuseum Winterthur this summer. Apparently publications other than ArtReview make lists, and this year Time magazine included Ai in its list of 100 most influential people in the world – proof of his influence beyond the strict sphere of art. Indeed, Ai’s power and influence derive from the fact that his work and his words have become catalysts for international political debates that affect every nation on the planet: freedom of expression, nationalism, economic power, the Internet, the rights of the human being. Most important of all, Ai’s activities have allowed artists to move away from the idea that they work within a privileged zone limited by the walls of a gallery or museum. They have reminded his colleagues and the world at large of the fact that freedom of expression is a basic right of any human being. In the process, Ai has promoted the notion that art’s real context is not simply ‘the market’ or ‘the institution’, but what’s happening now, around us, in the real world.
(1) Gao Yuan
On 3 April this year, Ai Weiwei was dramatically arrested at Beijing airport, following which he spent 81 days in detention for reasons which remained opaque at the time. The media later reported that he was being charged with ‘economic crimes’, and the company that produces his work now faces a bill (being challenged through the courts) for $2 million in back taxes and penalties. For the majority of people outside China, however, it seems clear that Ai was imprisoned for political reasons and as a punishment for his longstanding and outspoken critique of the Chinese government. While Ai has been released under a number of restrictions on his movement and freedom of expression, numerous other dissidents remain imprisoned or missing. Ai has had an enormous following for some time and is famed for his blog (frequently critical of the Chinese authorities, it was shut down in May 2009, but collected and published this year as Ai Weiwei’s Blog: Writings, Interviews and Digital Rants, 2006–2009) and social networking, among other activities and artworks. Last year’s Sunflower Seeds in Tate Modern’s Turbine Hall gave Ai a bigger international platform than ever from which to speak. Any public statement he made on China quickly became world news. Ai’s subsequent political detention, and the outcry that followed, only increased the appetite of a public already keen to see the artist’s work. Lisson Gallery’s exhibition this year, for example, which
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(2) © Olafur Eliasson [Obrist] and John Swannell [Peyton-Jones]; (3) Timothy Greenfield-Sanders
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For the past two years the curatorial dynamo Obrist, a man whose activities in writing, interviewing, encouraging, cajoling, travelling and, somewhere in the midst of all that, putting together exhibitions and events, could never be contained within the concept of something as limiting as an ‘institution’, and has appeared on this list on his own. These days, the Serpentine is very much a centre for international discussions about contemporary art and its intersection with almost every facet of culture and everyday life – literature, science, technology, etc. Its talks (both formal and informal), marathons, architecture programmes, residencies (including the socially conscious Edgware Road Project) and various other activities have created an institution that’s far larger than the miniature former tea pavilion in which its public programmes are housed. Accordingly the gallery is set to expand next year, into a nearby former munitions warehouse. And accordingly Serpentine director Julia PeytonJones now rejoins Obrist, her co-director of exhibitions and programmes and director of international projects, who this year picked up a Bard College Award for Curatorial Excellence, on this list.
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Topping three million visitors to the museum in 2010 must have been a personal triumph for Glenn Lowry, who has been MoMA’s director since 1995 and, since that time, has steered the museum towards ever greater statistical accomplishments. The price of admission to the museum just increased 25 percent (from $20 to $25), which either means that MoMA’s visitor numbers will be down for 2011 or that MoMA’s bottom line will be up. Lowry, and anyone watching his career over the past 16 years, will be banking on the latter. Particularly because in September MoMA opened a big and much-praised retrospective of the work of Willem de Kooning. It’s the kind of show that MoMA was designed, and expanded, and redesigned for. More expansion is on the way, too. This past summer, MoMA bought the former home of the American Folk Art Museum, a bizarre confection built in 2001, which is just two doors down the street. This wasn’t the only acquisition of the year. The museum doubled down on its holdings of conceptual art with important purchases from the Seth Siegelaub collection and the Brusselsbased Daled Collection. But more importantly, MoMA became the first institution to buy for its permanent collection a complete version of David Wojnarowicz’s A Fire in My Belly (1986–7), the video that was cynically pulled from an exhibition at the Smithsonian’s National Portrait Gallery late last year because of pressure from conservative activist groups. That’s right, folks, it’s called leadership.
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Since the last Power 100, in which Larry Gagosian occupied the top spot, the impresario’s empire of galleries has staged a staggering 58 exhibitions across its 11 international outlets. Any dealer (or indeed gallery director of any sort) who can casually pencil in shows by Richard Prince, Takashi Murakami, Richard Serra and Mike Kelley over the course of a year will never be far down this list. Especially when those big names are interspersed with the kind of tangential programming promised in the signing of outsider painter Neil Jenney and evidenced in exhibitions of Franz West’s furniture (in Athens), Bob Dylan’s drawings (on Madison Avenue) and a collaboration between James Franco and Gus Van Sant (in Beverly Hills). In addition to these, however, Gagosian’s most critically significant venture this year was Malevich and the American Legacy, a show featuring a crowd of greats and spanning more than half a century of production, ranging from Barnett Newman (a work from 1949) to Mark Grotjahn (a work from 2011). The works between these two poles – by Cy Twombly, Ellsworth Kelly, Ed Ruscha, Agnes Martin, Donald Judd, Ad Reinhardt, Dan Flavin and Serra, to name but a few – came close to constituting a history of postwar American art. Half the works weren’t even for sale, but rather borrowed from major museums – another reminder that if Gagosian wants to put on a museum-type show, he can. The man himself nonetheless remains somewhat of an enigma; Vogue may lavish a spread on what it rather horribly terms the ‘Gagosiennes’ – the gallery’s plethora of female directors (who outnumber their male counterparts) – but the dealer hardly ever gives interviews, excusing himself as being ‘just like the next guy’. In terms of this list, the next guy is the director of MoMA.
(5) Wolfgang Günzel [Vidokle and Aranda] and Mila Zacharias [Kuan Wood]
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There’s something weirdly impressive about eflux’s apparently effortless ability to deploy its critical activity into even the most orthodox reaches of the artworld. The email information service, founded in 1999 by artist Anton Vidokle, now reaches more than 50,000 artworld readers, yet this isn’t even half the story. Aided by collaborators Julieta Aranda and Brian Kuan Wood, Vidokle’s eflux is a continuously evolving investigation into the mechanisms, economies and ideologies of contemporary art, organising projects and events in New York, Berlin and elsewhere. This June, ‘elsewhere’ happened to be at the heart of the commercial artworld, as e-flux got itself invited to occupy a soon-to-be-demolished wing of the exhibition centre that houses Art Basel: Kopfbau offered residencies for young artists and curators, ‘in-conversations’ with artworld egghead Hans Ulrich Obrist and a rooftop bar-disco, above streetlevel installations of ongoing e-flux projects Time/ Bank currency exchange and Pawnshop – experiments in alternative forms of economy that seemed doubly ironic when rubbing shoulders with the unreconstructed commerce of the art fair next door. But embracing such contradictions has allowed e-flux to project its ideas further than more usually constrained nonprofits; while its paid newswire service has rolled out sister versions targeting the art education sector and the commercial gallery market, e-flux’s regular journal publishes essays by the likes of Boris Groys and Diedrich Diederichsen. Maybe the secret to e-flux’s success is that its vision of radical alternatives chimes with large sections of the artworld establishment. Less a rebel uprising, then, than a government in waiting?
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Steering Britain’s biggest art institution has been a tough job in 2011, but Nicholas Serota has managed it with the steely determination captured in his best publicity shots. While the government may have decided to slice 15 percent off Tate’s grant, the organisation bounced back, announcing an increase in its commercial income and 7.4 million visitors across its four galleries. If you measure success in terms of visitor numbers, then you’ve got every reason to expand, but Tate is still chasing the money it needs to fund the massive Tate Modern additions: the subterranean oil tank spaces (it used to be a power station, remember?) are set to be converted in time for autumn 2012, but the Herzog & de Meuron-designed pyramid extension may have to wait until 2016. The economic climate has definitely put a strain on activities: UBS pulled its major sponsorship last year, redundancies and staff cuts have soured the atmosphere (with accusations of workplace bullying by ex-employees) and the programme across the galleries has shrunk recently. But Tate continues to spread its influence: not content with four galleries of his own, Serota has overseen the expansion of Plus Tate, a partnership scheme which now comprises 18 UK art organisations collaborating with Tate on projects and sharing works from Tate’s collection. On the international front, Tate announced a partnership with Nigeria’s Guaranty Trust Bank, to fund a curator, an acquisitions fund and a series of exhibitions focused on African art.
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Cindy Sherman doesn’t shy away from testing the limits of her public. Over the summer, the fiftyseven-year-old showed up, in collaboration with MAC Cosmetics, in a series of grotesque photographic makeovers demonstrating that the uncompromising assault on bodily ideals Sherman began during the 1970s still has bite. Indeed this is just the latest of Sherman’s engagements with a public that extends far beyond the artworld – Lady Gaga’s professed admiration for the artist is reflected in the feminist pop star’s shapeshifting approach to her body and image. Such far-reaching influence might explain the fact that one of Sherman’s early Centerfolds was sold in May for $3.89 million, making it the most expensive photograph ever sold at auction. MoMA’s major retrospective, which will tour to SFMOMA and the Walker Art Center, Minneapolis, beckons in 2012.
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(8) Felix Clay; (9) Yvonne Venegas, courtesy David Zwirner, New York
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Hauser & Wirth will shortly be celebrating 20 years in business, and it hasn’t been a bad couple of decades, all told. A new space opened 12 months ago in London’s Mayfair that looks beamed in from New York’s Chelsea, and a serious programme that steadily establishes rather than chases trends – picking up Phyllida Barlow, for example, and then coaxing her to produce what was unquestionably the exhibition of her career – complete the picture of a gallery snapping at Gagosian’s heels. Then there was Christoph Büchel’s Piccadilly Community Centre in the same venue this summer, which transformed the gallery – floor to ceiling, and in all kinds of hidden nooks – into a working drop-in centre and suggested that Hauser & Wirth, besides being a dealership, is enacting some kind of para-artistic enquiry into the limits of overhauling its own interior architecture. On the other hand (and necessarily, because God knows what Büchel’s project cost), Wirth knows what sells. He’s lately taken on Ron Mueck, showing him at Basel this year, and tirelessly prolific sculptor Thomas Houseago. And the gallery is hardly unaware of eastward power shifts: witness its recent New York showings for Zhang Enli and Subodh Gupta. Bases? Covered, thanks. Yet that’s only one aspect of what’s going on here. The gallery continues to intervene in art history: this year it mounted the first major show of Lee Lozano’s tool paintings and drawings in New York and showed Dieter Roth in London.
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David Zwirner and Ben Stiller travelled to Haiti in January to witness firsthand the devastation that country continues to suffer, both from its chronic impoverishment and from the earthquake that tried to finish it off last year. Upon returning, the two set in motion Artists for Haiti, a charity auction that would bring together 27 works of art by major contemporary artists in a single evening sale. On 22 September, at Christie’s in New York, Artists for Haiti raised $13.7 million, 100 percent of which will go to nonprofits, aid organisations, and NGOs dedicated to improving Haiti’s health, education and infrastructure. It’s an incredible act of generosity, on the part of the artists, on the part of the auction house, on the part of the bidders and on the parts of Stiller and Zwirner. All are entitled to the recognition they have earned. But Zwirner deserves something more here (and not simply because his name is on this list): not only did Zwirner orchestrate the event, but nearly a third of the artists with works in the auction are represented by him. Zwirner himself bought Francis Alÿs’s Le Juif Errant (2011) at the auction for $300,000. Such a dedication of reputation, resources and capital to alleviating the suffering of others is a model of philanthropy – which, one presumes, is why former president Bill Clinton signed on to cochair the benefit gala that followed the auction. Zwirner runs his gallery with similar largesse. Now that’s real power.
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Category: Museum Director Nationality: German Last Year: 19
As artistic director of the Ringier Collection (since 1995) and director of the Kunsthalle Zurich (since 2001), Ruf has a wealth of experience when it comes to channelling private funds (the Kunsthalle is funded by aKunstverein) into public arenas. But while the boards of every museum would say that such a skill is crucial in a prospective director’s repertoire, it’s not the sole reason Ruf has steadily risen up this list. In her capacity at Ringier she has spent the past six years enabling a full inventory of work by the late American artist Mark Morrisroe to be assembled and stored at the Fotomuseum Winterthur. Meanwhile her recent exhibitions at the Kunsthalle (temporarily housed in the Museum Bärengasse) – Rosemarie Trockel, Heimo Zobernig, Bruce Conner and Walid Raad – read like a catalogue of contemporary artistic cool. Where she goes, others follow, we said last year, and this continues to be the case. So what lies ahead? Nuclear power: Ruf has recently been appointed to the newly constituted cultural advisory board of CERN, home to Europe’s Large Hadron Collider. It’ll be interesting to see who follows her there.
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Gerhard Richter may have drawn pop culture and photography into painting to great effect, but he crucially dragged politics and history along as well. Richter, arguably the most influential living painter, turns eighty next year, and is still reaching at subjects that other artists could never touch. It’s difficult, for example, to think of an artist who could tackle the destruction of the Twin Towers with such sensitive, protective grace as Richter did in September (2005), drawing a light, squeegeed screen across the image as though to save it from being fully consumed. This year sees the release of a major new documentary film about the artist directed by Corinna Belz, Gerhard Richter Painting, which will coincide with the run Category: Museum Director Nationality: French of Panorama, his retrospective at Tate Modern, a Last Year: 15 show that doesn’t so much seal an already airtight reputation as demonstrate that museums are Despite tighter budgets, the increasingly reliant on major, established artists Pompidou Centre in Paris such as Richter to maintain their viewing figures, remains one of the world’s bolster their funding and ultimately provide their most relevant art institutions. shows. In 2011, Pacquement and his team of curators and administrators (including indefatigable president Alain Seban) brought a smart mix of exhibitions to the Pompidou, including midcareer solo surveys (Jean-Michel Othoniel), commissioned group exhibitions (ParisDelhi-Bombay) and crowd-pleasing megashows (Edvard Munch). In its first full year of operation, the Pompidou-Metz satellite drew the country’s largest art crowds outside of Paris, with more than 900,000 visitors. The new Mobile Pompidou hit the road in October, as part of the centre’s continuing mandate to decentralise its collections. The institution also shared its wealth with a record number of museums around the world – banking favours that it can draw on in the future.
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Documenta is the dizzying summit of curatorial seriousness, and in 2012 Christov-Bakargiev makes the ascent. Certainly she, as artistic director, along with Chus Martínez, who heads up the clutch of curators, are promising stewards. Christov-Bakargiev has been chief curator of the Castello di Rivoli Museum of Contemporary Art 114
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It’s appropriate that Marc Glimcher go up this year. After all, the Pace Gallery did take on representation of the de Kooning estate (from Gagosian, no less), which was nicely timed with the major – major – retrospective of the artist at MoMA; the London showroom is on schedule to open soon; more Chelsea real estate was purchased adjacent to the gallery’s newest space, on 25th Street, which will soon squeeze into the empty lot (just as David Byrne’s big squishy globe, the project that inaugurated the land deal, did back in September); and in a unilateral bid to reverse the US trade deficit, Sterling Ruby, a cornerstone of Pace’s rejuvenation programme, wraps up a major show this month at the gallery’s monster space in Beijing. Up indeed.
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There are few bees more busy than Biesenbach. This past year, the director of MoMA PS1 and chief curator at large of MoMA concentrated as much of his attention outside New York as he did on his two institutions (where he squeezed in a retrospective of Francis Alÿs and a survey of Laurel Nakadate’s recent film and photographic practice). Biesenbach served in an advisory role alongside Christine Macel and Hans Ulrich Obrist for Based in Berlin, a six-week exhibition of – guess what? – Berlinbased artists. (Biesenbach’s ties to that city are strong: he is founding director of both KunstWerke and the Berlin Biennale.) At the Manchester International Festival in July he teamed up with Obrist again to stage 11 Rooms, an installation of durational performance works by the likes of Marina Abramovic, Tino Sehgal and Simon Fujiwara. And his most significant project to date, Abramovic’s soon-to-be-renamed The Artist Is Ever-Present, is currently being restaged at Dasha Zhukova’s Garage in Moscow.
(13) © Dawoud Bey, artwork © Sol LeWitt/Artists Rights Society (ARS), New York; (14) Eduardo Knapp; (15) Timothy Greenfield-Sanders; (16) Ofer Wolberger, 2009
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The Whitney Museum’s new, downtown, Renzo Pianodesigned, High Lineanchoring, I-guess-theMeatpacking-District-is-stillhip building broke ground in May under Weinberg’s directorship. We have it on good authority that after this year’s Whitney Gala, which honoured The New Yorker’s visual-arts profiler extraordinaire Calvin Tomkins (holy shit, a writer!?) and took place on Pier 57 (what? The same pier that served as a detention center for 1,400 protesters during the Republican National Convention back in 2004!?), Weinberg will host all future Whitney events in a roped-off section of the Standard’s Boom Boom Room in the West Village (contact the Whitney Development Office for naming opportunities). ‘Ye Olde Whitney’ is what the Metropolitan Museum of Art, future occupant of the Whitney’s Marcel Breuer-designed headquarters on the Upper East Side, has taken to calling the building in official correspondence, apparently with Weinberg’s blessing.
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in Turin and senior curator of PS1, and curated the 2008 Biennale of Sydney; she’s also effectively trailed her Documenta with 100 Notes – 100 Thoughts, a series of artist’s notebooks. For Kassel, the main thing we know is this: no central curatorial concept. In a video on the Documenta website, the director holds a dog and expounds on interspecies dynamics, how too much emphasis is placed on the human, ‘degrowth’, and how to mix contemporary art with the historical avant-garde. Can she bring new dogs, old tricks and planetary consciousness together? Wait and see.
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(17) Pam Francis; (18) Patrick McMullan; (19) © Matteo De Fina; (20) courtesy Art Basel
Category: Curator Nationality: South African Last Year: 9
Performa, New York’s biennial of performance art, grows bigger with each edition and has injected gallons of critical interest into performance – once a ‘hokey-dopey’ area, in the opinion of founder and director RoseLee Goldberg. In its wake, public galleries worldwide have scrambled to programme artist performances. The biennial, taking place
The supercollector continues to slide south – no. 1 in 2007, no. 6 in 2009 and no. 10 last year – despite his growing art collection (in excess of 2,500 works) and complete lock on Venice, where his two art museums, the Palazzo Grassi and the Punta della Dogana, have turned a biennial art destination into an all-year, every-year hotspot. What’s more, sales at Christie’s, his own private auction house, surpassed prerecession levels. So why the demotion? This has been a preparatory year for the billionaire. In September, the Christie’s-owned Haunch of Venison gallery, which lost half its roster of big-name artists when its founders fled last year, reopened in its original London location and a shiny new space in New York. Though the new directors are focusing on younger artists and response from the artworld (which kicked the gallery out of the fair circuit because of its auctionhouse affiliations) has been kinder, the overall relationship remains lukewarm.
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In addition to the ongoing construction of the Eli and Edythe Broad Art Museum at Michigan State University, named after a $26 million gift from the Broads, and designed by Zaha Hadid, this year saw the unveiling of architects Diller Scofidio + Renfro’s designs for ‘the Broad’, the couple’s Grand Avenue museum in LA, which will house their 2,000-strong collection of contemporary art. The $130m three-storey space will be inaugurated in 2013 with an exhibition of 200 top works, including examples by Jasper Johns, Robert Rauschenberg and Andy Warhol. Broad rationalised the decision to build by explaining, ‘If you look at history, too many great collections ended up in storage and not being shown.’ Needless to say, some of the institutions on whose boards Broad sits – LACMA, MOCA, MoMA – were miffed that his major holdings would not pass into theirs, but the Broad will loan as well as maintain its own exhibition program, just like any other museum, so ultimately it’s the art that wins out in the deal.
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in different locations across the city, seemingly gives artists a freer rein than these imitators, and offers a welcome counter to their neat slickness or institutional safety. The 4th edition, launching this month, will include Elmgreen & Dragset’s Happy Days in the Artworld – a Beckettian dialogue in the style of the playwright’s Happy Days (1961) and Waiting for Godot (1953) filtered through Sarah Thornton’s 2008 book Seven Days in the Artworld, in which two artists wait for a Russian oligarch to stop by. This will accompany a highly anticipated array of performance works from the likes of Frances Stark, Ming Wong and Ragnar Kjartansson.
Category: Art Fair Nationality: Swiss/American Last Year: 23
With regional art fairs jockeying for credibility and calendar time, Art Basel stands out for its farsighted move to have long ago expanded its brand beyond its Swiss home, with Art Basel Miami Beach celebrating its tenth anniversary in December this year. Codirectors since 2008, exjournalist Spiegler and manager Schönholzer’s energetic leadership has seen Art Basel’s fairs consolidate their status as the go-to events for European and American collectors, combining an attractive mix of hospitality, talks and artists’ projects to smooth down the raw commercialism. And with its owners having recently acquired a majority stake in Hong Kong’s ART HK fair, Art Basel will be part of an organisation whose reach spans the globe, further concentrating the power of art fairs in the culture of the artworld. Spiegler and Schönholzer must be grinning. ArtReview
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Ouch: Catherine Opie broke off her longstanding relationship with Gladstone to take up with… MitchellInnes & Nash? Sure, there is some firepower in the latter’s roster, but compare it to Gladstone’s. Was it an M-I&N artist representing the US in Venice this year (Allora & Calzadilla)? Or Switzerland, for that matter (Thomas Hirschhorn)? No, they’re both with Barbara. What’s more, Rosemarie Trockel and Anish Kapoor are winning prizes, Shirin Neshat is lending her voice and art to the Arab Spring and its revolutionary aftermath, and Jack Smith is finally getting (got, actually) the exhibition he deserves. It remains a truth around Chelsea that whatever is on show at Gladstone’s gallery warrants a look – and a thought. If not second helpings of both.
Category: Artist Nationality: Serbian Last Year: 35
This year Abramovic staged her own death (with the help of Robert Wilson, Willem Dafoe and Antony Hegarty) in The Life and Death of Marina Abramovic at the Manchester International Festival, successfully turning narcissism into a carefully choreographed, sublime experience. In Venice she launched plans for the Marina Abramovic Community Centre Obod Cetinje in Montenegro, dedicated to the cultivation of 116
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Category: Art Fair Nationality: Both British Last Year: 41
London’s top contemporary art fair is expanding. Always looking for a gap in the market (and to crush the competition), Frieze cofounders Slotover and Sharp announced not one but two new fairs for 2012: Frieze Art Fair heads for New York’s Randall’s Island in May, no doubt with a view to pulling the rug from under the distinctly tired and wobbly Armory Show. Meanwhile, preempting conservative collectors looking for more safe-haven art purchases, next year’s London fair will occur alongside a new venture, Frieze Masters, where galleries will be selling antique through to classic modern art. Oh, and did we mention that Frieze magazine now has a German edition? Firing on all cylinders, then.
(21) Cameron Wittig, courtesy Walker Art Center, Minneapolis; (23) Martin Schoeller; (24) Linda Nylind, courtesy Linda Nylind and Frieze
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There are few artists able to turn the froth of pop culture and the seeming banality of the everyday into a site for serious reflection on the shadowy depths of the contemporary collective psyche, but Kelley does it effortlessly. He has a knack for reworking the defunct paraphernalia of cultural memory into unhinged, darkly comic revelations of the repressed erotics and neuroses bobbing under the surface of the mainstream, and his recent shows at Gagosian’s LA and London galleries and Kunstmuseen Krefeld were no exception: delving into American pop lore, Superman-inspired recreations of the Man of Steel’s home city of Kandor – drawn from the many reinterpretations of it found in decades of old comics – played on infantile nostalgia and distorted memories, showing that Kelley’s brand of anarchic psychoanalysis still has the power to delight and disturb.
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immaterial artforms. The Serbian performance artist, who clearly understands the contemporary era’s yearning for the ‘authentic’ performance or ‘event’, has been influential from the 1970s to the present day; she has spawned countless imitators, although most lack her unfailing certainty of vision and authoritative delivery. At the time of writing she is the subject of a largescale retrospective at the Garage in Moscow, graces the cover of Pop magazine and has become the first artist to have a videogame made about the experience of her work – the delightfully boring The Artist Is Present, an 8-bit rendering of last year’s blockbuster exhibition at MoMA: it involves buying a ticket and queuing for a very, very long time.
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perceived to have continued Venice’s drift towards safe, tasteful exhibitions. Her ILLUMInations was impeccably refined in its installation and savvy cherrypicking of current practice, but might be said to have lacked vigour and, indeed, anything for people to argue about. Still, time may change that opinion. And if the next Venice is a riotous freeform affair in reaction, Curiger’s turn at the tiller will have been worth it.
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Category: Curator Nationality: Swiss Last Year: 6
Everyone complains about the Venice Biennale while it’s on: seemingly, we make our real decisions after the dust settles. (The maligned-at-thetime 2003 edition is now widely seen as ‘the last good one’.) This year, Curiger – esteemed founding editor of Parkett, curator since 1993 at Zurich’s Kunsthaus and a catalyst for the international recognition of artists such as Pipilotti Rist – was 126
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If there were such a thing as a high-powered agent for filmmakers of the ‘independent persuasion’, Goodman would be it. So far this year, Goodmanrepresented artists who specialise in filmwork and videowork have won the Absolut Prize (Anri Sala), debuted three new 35mm films at the Venice Film Festival (Chantal Akerman, Steve McQueen and Eija-Liisa Ahtila) and taken over London’s Parasol Unit (Yang Fudong). And then, of course, there is the rest of the roster, which at any given moment enjoys inclusion in one or another exhibition at a major museum – that is, unless they’re filling one out, as Maurizio Cattelan’s midcareer retrospective at the Guggenheim and Tacita Dean’s Turbine Hall project at Tate Modern will do this month.
Q: When will Fischli/Weiss run out of ideas? A: When our planet runs out of transformable banality. Fond of mammoth projects wherein normalcy teeters into grandeur, the Swiss duo have lately presented vast compendiums of magazine adverts – a poker-faced summation of late capitalism – and banal objects (dog dishes, boots) cast in rubber, mundane yet weirdly sexualised. Ironically, they continue to funhouse-mirror a culture influenced by them: following Wieden+Kennedy’s 2003 concession that they had ripped off The Way Things Go (1987) in an acclaimed ad for Honda, consider the precipitous stacks of food in UK supermarket Waitrose’s recent ad campaign and tell us they haven’t seen Fischli/Weiss’s improbably equilibrated sculpturephotographs, Quiet Afternoon (1984–6). This was, indeed, a quiet year for the pair – a miniretrospective in Chicago, numerous group shows, the Venice Biennale. Erase their modestly magisterial, ordinariness-exalting influence from history, though, and a large swathe of recent art might never have existed.
(25) Timothy Greenfield-Sanders; (26) © Willy Spiller; (27) © Michael Goodman; (28) Walter Pfeiffer, courtesy Sprüth Magers, Berlin & London, Matthew Marks Gallery, New York, and Galerie Eva Presenhuber, Zurich
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While her husband Gustavo’s media empire, the Cisneros Group, has diverse business interests that include many television channels, a brewery and a baseball team, Patricia Phelps de Cisneros concentrates on the couple’s art collection and foundation. The collection is reputed to be the best anthology of Latin American art in private hands, and it is within this field of expertise that Patricia’s philanthropic interests lie too. Fundación Cisneros is supporting a new fellowship for Latin American-based curators to work on the forthcoming Documenta as well as investing in various education scholarships for artists from Latin America. She also sits on Tate’s Latin American Acquisitions Committee and MoMA’s Category: Gallerist board. Nationality: American
(30) Courtesy Lisson Gallery, London; (32) Andrea Stappert
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The richest man in Europe, chairman of luxury goods conglomerate LVMH and a regular on this list, Bernard Arnault can even overcome the bureaucratic intricacies of French planning laws. In February this year a French judge revoked the building permit for the £84 million Frank Gehrydesigned Foundation for Contemporary Art – a 12,000 sq m space (including a 2,500-work collection) in the Bois de Boulogne – on a technicality after protests from locals who pointed out, perhaps not unreasonably, that ‘we lack greenery in Paris, not museums’. By the end of March, the French Senate had approved a bill to allow construction to continue. Clearly the French civic authorities don’t want this major tourist draw Category: Gallerist to go the way of François Pinault’s plans for a Nationality: British Last Year: 25 similar foundation: to Venice. Elsewhere, Arnault, through the foundation, continues to collect and sponsor art and exhibitions internationally. If the bespectacled Old Etonian art dealer will forever be associated with the success of 1990s Young British Artists such as Hirst, Emin, Hume and the Chapman brothers, it’s important to note the geographical breadth and historical depth of White Cube’s massive stable of 50 artists – from old giants Georg Baselitz and Anselm Kiefer to hip youngsters like Elad Lassry or Raqib Shaw. The problem is – where do you put them all? In April, it was announced that White Cube would go ahead with a third London gallery to complement its Hoxton and Mayfair spaces, in the shape of a 5,440 sq m ex-warehouse space south of the river in Bermondsey which includes Category: Gallerist three exhibition spaces, a project space, an Nationality: British auditorium and a bookshop. It opens in October Last Year: 48 as the largest commercial art space in the UK, Being a gallery in the and with a mooted education programme to international fast lane has its support, the exhibitions will, by Jopling’s own ups and downs, as the owner admission, blur ‘the distinction between public of London’s Lisson discovered and private galleries’. To outsiders White Cube in May. Just as Ai Weiwei was has seemed more a business than a cultural centre to present his first solo show over the past few years, but with its extended there, the Chinese artist/ programme the gallery might be on its way back activist was arrested by Chinese police, leaving to the top. Just as big is the news of White Cube’s Logsdail to open the artist’s show in his absence imminent expansion to Hong Kong: gateway to while, additionally, fending off criticisms for his China and the second biggest art market in the decision to exhibit at Hong Kong’s Art HK art fair world, it was only a matter of time before the lofty while Ai was in detention. But Lisson remains at Jopling made his move. Once everything’s up and the forefront in various respects: Marina running look for this dealer to be back on top.
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Abramovic becomes a more prominent cultural figure all the time, Anish Kapoor’s art will be even harder to miss at next year’s Olympic celebrations than Allora and Calzadilla’s upturned tank was at this years’s Venice Biennale, and the gallery’s younger British artists are making their mark: Haroon Mirza won the prestigious Northern Art Prize in January and the Silver Lion in Venice, while Ryan Gander impressed with his Artangelcommissioned Locked Room Scenario. Dynamo Gander has also curated the opening show at Lisson’s new Milan branch, opened in September.
Category: Artist Nationality: British Last Year: Reentry (34 in 2009)
Complex and critical, Gillick’s parallel productions of text and artworks have placed him increasingly at the centre of debates about what it is to be an artist today, trapped, he recently wrote, within ‘a regime that is centred on a rampant capitalization of the mind’. A new interactive installation, Game of War Structure – based on French theorist Guy Debord’s chess variant – opened at IMMA, Dublin, in September. Collaborations, a key feature of Gillick’s practice, have continued, most recently with e-flux (Gillick’s text ‘The Good of Work’ appears in the collective’s catchily titled and recently published book Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art), with old friend Lawrence Weiner for an exhibition at Antwerp’s MuHKA and with Pringle of Scotland for their London catwalk show (which featured Gillick-designed monogrammed benches) and a collection of bags, accessories and knitwear to be launched at this year’s Art Basel Miami Beach. In addition to all that, Gillick teaches at Columbia University in New York City and the Center for Curatorial Studies at Bard College upstate.
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In a world awash with art prizes, how to make yours stand out? Try a $100,000 prize open to any under-thirtyfive-year-old artist anywhere. The Ukrainian billionaire and megacollector Pinchuk’s first edition of the biennial Future 128
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If there’s a lot of lumpy, tactile, ambigu ously s o ciable sculpture in the artworld right now (and there really is), you can thank Franz West. The Austrian has been making antimonumental artworks, often predicated on use – at first small-scale objects to be felt and fondled – since the 1970s. Right now, though, the whole artworld seems to be looking West. A canonisation is in motion: the last couple of years have seen his first major retrospectives, while at Venice this year he was honoured with a Lifetime Achievement Award: he responded by bringing a reconstruction of his studio kitchen to the Biennale, hung with the work of fellow artists and, in the Giardini, exhibiting a big pink phallic column tied in a playful knot.
(33) Andy Ryan; (34) Richard A. Smith Photography [Mnuchin] and courtesy L&M Arts [Lévy]; (35) Sergei Illin, courtesy Victor Pinchuk Foundation, Kiev; (36) Kozva Rigaud
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With American art history’s compass currently facing west due to the multi-institutional ultraretrospective of Los Angeles art, Pacific Standard Time, international attention will inevitably fall on the city’s contemporary artistic scene. Switching coasts in 1998 to the Hammer Museum (from NY’s Drawing Center), Philbin has made current local practice her focus, transforming this rather sleepy university-affiliated institution into an experimental ‘R&D room’ for contemporary art. Inviting artists to take over the museum with participatory projects, Philbin has also been ahead of the game in exploring the Hammer as a kind of ‘town hall or gathering space, where not only art but a larger realm of ideas… is considered’. Extending the Hammer’s influence will be the first LA Biennial (with LAXART), including artists exclusively from the LA area, planned for 2012.
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Historically better known for its secondary market activities, L&M Arts has now planted a substantial stake in the twenty-first century, with recent shows by Liza Lou and Shi Guorui, and has successfully expanded west with a large, recently opened LA space, which has become a focus for its increased primary-market activity. Back in New York, where L&M is still a regular presence at the city’s major auctions, co-owners Lévy and Mnuchin have been mounting museum-quality exhibitions at their plush townhouse space on New York’s Upper East Side: a beautifully executed and reverently praised exhibition of David Hammons’s work earlier this year being a good example of how they can step in to cover the programming gaps left by the city’s museums. More than ever, then, L&M is covering all corners, whether it’s dealing in Willem de Kooning, Jeff Koons or silver-plated auction darling Jacob Kassay.
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Generation Art Prize took place last year, comprising an exhibition of the nominated artists at the Pinchuk Art Centre in Kiev followed by a glitzy award ceremony. The jamboree was, by contemporary art’s standards, a star-studded event with a board and jury that included Jeff Koons, Nicholas Serota, Damien Hirst, Alfred Pacquement, Elton John, Miuccia Prada and Glenn Lowry. Extending the prize’s reach beyond the Ukraine, Pinchuk also took the nominated artists to exhibit at Venice this year. Every interim year the centre – which this year showcased a major Olafur Eliasson exhibition – hosts a prize for Ukrainian artists, helping boost the dialogue on contemporary art in the country.
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current chair of MoMA PS1. This year, however, she rose even higher on the establishment ladder, after President Obama nominated her a member of the National Council on the Arts, the body that advises the National Endowment for the Arts. This year also saw her given the Annenberg Award for Diplomacy Through the Arts (because there are ‘few people who have done more for the arts’). Gund collects, blogs regularly for the Huffington Post, sat on the jury for the 2011 Tribeca Film Festival and, among myriad other committee responsibilities, maintains trusteeships of the Cleveland Museum of Art, the Frick Collection and, er, Chess in Schools.
Category: Collector Nationality: Swiss Last Year: 45
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(38) Timothy Greenfield-Sanders; (39) Margarete Jakschik [Blum] and Sam Kahn [Poe]; (40) Ilias Anagnostopoulos
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Hoffmann set up the Luma Foundation in 2004 ‘to launch and produce cultural and art projects worldwide’. It supports the kunsthalles in Zurich and Basel, the Palais de Tokyo in Paris, the Fotomuseum Winterthur, the Venice Biennale, and Artangel and the Serpentine Gallery in London. Luma’s biggest project, however, is the massive Parc des Ateliers in Arles, ‘a new kind of cultural utopia, imagined, invented and designed by artists, architects, art professionals and Category: Gallerists intellectuals as the ultimate cultural destination’, Nationality: Both American with masterplanning by Frank Gehry. In June it Last Year: 33 was announced that the project would be delayed by six months while concerns about its impact on Tim Blum and Jeff Poe have Arles (which is a heritage site) were addressed, settled into their new (and vast) Los Angeles space, but Hoffmann remains busy. Luma also seemingly enjoying the cocommissioned Mike Kelley’s Mobile Homestead freedom it’s given them to project which launched in Detroit at the end of last year, and Hoffmann is a board member of mount monumental shows. the New Museum in New York and Les Rencontres In May this year, the airy architecture facilitated an d’Arles (which Luma partners). Last year the British government appointed her a Tate exhibition of recently signed trustee. Zhang Huan’s large-scale brick sculptures. It was the Chinese artist’s first solo foray in Los Angeles, and the gallery now acts as his West Coast representative. Prior to Zhang’s interventions, the gallery tapped Cecilia Alemani to curate a group show titled Glee: sadly not a presentation of show tunes sung by precocious high-school kids but a group exhibition apparently ‘informed by a synthetic look… imbued in an atmosphere of joyful madness’. Otherwise, it’s the usual treadmill of museum group shows and expansive art fair booths: inevitably so, for a gallery that has Takashi Category: Collector Murakami, Slater Bradley and Yoshitomo Nara Nationality: American Last Year: 14 on its books… Agnes Gund gives more money and time to art philanthropy than can be documented in this word count. Suffice it to say she is the grande dame of New York patronage. Having chaired the board of MoMA from 1991 to 2002, she remains both president emerita there and the
After last year’s controversy over the presentation of Joannou’s collection by the New Museum in New York – where the Greek industrialist is a trustee – 2011 has been a quieter year for the billionaire collector. In May, Joannou’s Athens-based Deste Foundation launched the sixth edition of its biennial Deste Art Prize for Greek emerging artists, won by thirty-two-year-old Anastasia Douka. Meanwhile, Joannou is still putting his weight behind big-name artists, with Deste producing Doug Aitken’s multichannel video installation Black Mirror for the foundation’s project space on the island of Hydra. Although the Greek economy has been on the ropes for a while now, it remains to be seen what effects if any the national debt crisis will have on Deste’s philanthropic activities.
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This year, Rosemarie Trockel was awarded the Kaiserring for being ‘an innovative and versatile personality on the international art scene’. Add ‘hugely influential’, both as an artist and as a professor at the Kunstakademie Düsseldorf. Really, we goofed – she should have been on this list rather earlier. Her 2010 retrospectives were a powerful reminder that Trockel, a rare woman artist among the bad boys of 1980s German art, has always been obdurately farsighted, whether by introducing craft materials into art in the 80s (via her knitted paintings), considering art as an industry (in her mechanised painting machines) or exploring a complexly postmedium practice. In her stellar Venice presentation this year, for instance, Trockel’s ominous sofa draped with spidery material, daubed abstractions and photographs of male artists spoke a cryptic, atmospheric, cluesprinkled language that is hers by right.
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Category: Museum Director Nationality: German Last Year: 58
Kittelmann changed it all. Gone are the times when the displays in the five spaces of Berlin’s National Gallery seemed nearly permanent and dusty. The invigilators in the Hamburger Bahnhof are now occasionally even smiling and volunteering information about works on show. In his strategy for the multivenue institution he heads, Kittelmann is balancing breathtaking one-person installations
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Category: Gallerists Nationality: Both German Last Year: 46
Monika Sprüth and Philomene Magers should be happy gallerists when they get their hands on this list. This year, three of their artists – Fischli/ Weiss, Rosemarie Trockel and Cindy Sherman – have entries of their own. Those three are representative of the gallery’s approach to their roster: it’s the primary dealer for a plethora of Europeans, including photographer Jean-Luc Mylayne, hot Frenchman Cyprien Gaillard and maker of moody film noir David Maljkovic; as well as functioning as a one-stop shop for a stellar list of American artists. Joining Sherman, these last include Ed Ruscha, Richard Prince and George Condo. Condo’s touring retrospective is holing up at its third stop at London’s Hayward Gallery presently, and Sherman will enjoy a massive touring show next year, starting at MoMA.
(41) Curtis Anderson, courtesy Sprüth Magers, Berlin & London; (42) courtesy Whitechapel Gallery, London; (43) Sandra Steins, © Bundesregierung; (44) © Dagmar Schwelle
Category: Artist Nationality: German Last Year: New
With the Whitechapel Gallery well settled into the new spaces of its 2009 rebuild, director Iwona Blazwick now heads up the biggest of London’s publicly funded contemporary art galleries outside of the major national institutions. Relentlessly active – her name appears on judging panels for art prizes worldwide, and she is chair of the London mayor’s cultural strategy group as well as part of next year’s Documenta – Blazwick is a major player in the artworld. As with other museums, the tough financial climate has made Blazwick’s job all the more difficult over the past year; and filling the new galleries on a tight budget has dampened the ambitions of the programming. Nevertheless, if she can steer a steady course through the next couple of years, Blazwick is still one to watch.
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Category: Museum Director Nationality: British Last Year: 21
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(Carsten Höller’s Soma, 2010, and Tomás Saraceno’s Cloud Cities, 2011, in the central space of the Hamburger Bahnhof ) with in-depth reconsiderations of the collections (Modern Times, 1900–1945, 2010, and the forthcoming Divided Heaven, 1945–1968 at the Neue Nationalgalerie).
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(45) © Inez van Lamsweerde and Vinoodh Matadin, courtesy Matthew Marks Gallery, New York; (47) Florian Kleinefenn / Château de Versailles
Category: Gallerist Nationality: British Last Year: 30
Alex Katz, eh? Old glacial cool met new when the eightyfour-year-old signed up with Gavin Brown’s Enterprise this year, casting a new light on the New York dealer and his ability to represent artists across a broad generational
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In May this year Matthew Marks staged an exhibition that included nine new sculptures by Jasper Johns – the largest body of work the artist has completed to date. Having brought his total of New York outlets (all based around the same Chelsea block) up to four this year, Marks has enough square footage (around 16,000) to keep shows like this on for three months at a time and still get through 12 a year, often of work by other big-league painters, such as Ellsworth Kelly and Brice Marden, or a curatorial venture by Thomas Demand. In 2012 Marks will add some West Coast square footage, with the long-awaited opening of the gallery’s Los Angeles outpost. His artists are very present beyond the sanctuary of Marks’s galleries, too: Charles Ray’s Boy with Frog (2009) is currently on the steps of the Getty; Robert Adams and Darren Almond have been exhibiting billboard photographs on New York’s High Line; Katharina Fritsch’s alarming, bright figures are currently in MoMA’s sculpture garden and her ultramarine Hahn/Cock will grace London’s Trafalgar Square in 2013.
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spectrum. And if evidence of the gallery’s currency is needed, look no further than the Venice Biennale, where his artists were out in force. Brown really earns his place on the list, however, for putdown of the year. After a pair of artists temporarily stole his car during a Rirkrit Tiravanija event in a relational aesthetics prank, he commented that without the thieving artists’ gloating social media posts, ‘no one would have given a flying fuck about it. Please, you are human beings – express yourselves through yourselves. You will be dead soon.’ This, along with hosting Mark Leckey’s performance as a talking fridge or seeing Rob Pruitt mount a gleefully Pop-flavoured silver monument to Andy Warhol on Union Square is all in a year’s work for Brown, who’s often found at the centre of a scene, a controversy or a good story.
Category: Artist Nationality: Japanese Last Year: 39
Japan’s powerhouse Pop artist has great universal appeal – from Macy’s Thanksgiving Day Parade inflatables to his recent summer/winter solstice Google Doodle, Murakami is the go-to guy for creating publicity-garnering designs that appear subversive yet remain curiously frictionless. He tries harder to shock with his gallery shows, recently displaying a flock of slick sculptures of porny child-women with tumescent breasts at Gagosian, London. Yet Murakami also has the will to spur on other Japanese artists – his GEISAI fair attempts to graft the international art-fair model onto the everpopular manga and cosplay culture of his home country, and to encourage a stable art market in Japan. The artist has a great appetite for social engagement and for political debate within Japan via social media, and galvanised many dispirited artists following the Japanese earthquake (which saw the cancellation of this year’s fair) to make hopeful imagery via his #newday Twitter project.
Deitch: the dealer turned museum director. Deitch: the man who brought Fab 5 Freddy and SNAKE 1 in from the cold. Those two were among the artists in LA MoCA’s Art in the Streets, a retrospective that proved to be the most visited show in the institution’s history, attracting 201,352 people. That said, the exhibition didn’t pass without a hitch. Gimmicks such as animatronic graffiti artists made the exhibition seem more low-brow Disneyland than popular-art-meetshigh-culture. Also, the museum controversially took down an antiwar mural by Blu after protests from a nearby veteran’s hospital. And attendance figures were boosted by the waiving of the admission fee every Monday, courtesy of sponsorship from Banksy. Deitch is good at reflecting a bit of populist glamour, tapping the pockets of LA’s wealthy by throwing celebritystrewn galas that have raised millions of dollars and varying the museum’s output from a show by hipster all-rounder Miranda July to an exhibition that brought Warhol’s Campbell’s Soup Cans (1962) back to the city in which they were first shown.
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Dubbed a ‘superstar among curators’ by The New York Times, Szymczyk secured his reputation after working under the radar on several ambitious artist projects. A founder of the highly influential Foksal Gallery Foundation in Warsaw, and previous cocurator of the well-received 2008 Berlin Biennale (with Elena Filipovic), since 2003 he has been the director of Kunsthalle Basel, where captive audiences during each Art Basel have come to expect programmes that show them where it’s at. He has curated the first-ever European retrospective of Lee Lozano, programmed artists such as R.H. Quaytman and Sung Hwan Kim at crucial moments in their careers and overseen prescient group shows (the crumpled Arte Povera-inspired Poor Thing in 2007, or last summer’s exploration of labour, How to Work (More for) Less) while also increasing awareness of artists from his native Poland. His efforts were further reconised this year when he received the Walter Hopps Award for Curatorial Achievement.
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Category: Gallerist Nationality: French Last Year: 54
Emmanuel Perrotin’s list of artists – among them Sophie Calle, Maurizio Cattelan, Wim Delvoye, Elmgreen & Dragset, Bernard Frize and Takashi Murakami (and that’s barely scratching the surface) – is as impressive as the four Paris gallery spaces he operates out of, clustered around the rue de Turenne. Not bad going for someone who less than two decades ago was organising shows in his
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Category: Museum Director Nationality: Polish Last Year: Reentry (92 in 2007)
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When it comes to claiming the title of most prominent British artist, Anish Kapoor is well on his way to eclipsing that other giant pretender, Antony Gormley. Kapoor’s landmark structure for the 2012 Olympic park, the ArcelorMittal Orbit, is nearing completion, while late spring saw another of his vast sculpturestructures, Leviathan, wow the public at the Grand Palais in Paris. Kapoor isn’t content with the role of mere celebrity artist, however: he protested Ai Weiwei’s detention by dedicating his Grand Palais show to the Chinese artist and later pulled out of a big British Council show in China planned for 2012 – though cynics thought Kapoor’s gestures whiffed a little of self-publicity. Still, the Japanese Emperor must be a fan: Kapoor was awarded one of Japan’s £115,000 Praemium Imperiale prizes in July.
Category: Curator Nationality: American Last Year: 42
This year Enwezor is shifting his base eastwards (although not as far eastwards as many in the artworld), leaving New York to take up the post of director at Munich’s Haus der Kunst (vacated by Tate Modern director Chris Dercon). Both via curating and writing, particularly in relation to his increasingly referenced Documenta 11, he has been instrumental in changing the way art from Africa is understood, opening up a truly postcolonial perspective on practice in a period in which the artworld has become ever more decentred and international. That’s perhaps what informs his curating of the current Euro–Middle Eastern Meeting Points 6, which straddles venues from Amman to Brussels. And if that wasn’t enough, Enwezor has been announced as curator of Paris’s La Triennale of 2012.
(49) Serge Hasenböhler; (50) Peter Lindberg; (51) Guillaume Ziccarelli, courtesy Galerie Perrotin, Paris; (52) Andreas Gebert, 2011
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bedroom (although he was working with both Damien Hirst and Cattelan at the time). Detractors may criticise him for having turned art into a business, but Perrotin recently flung them a typically witty comeback: ‘They are very sceptical of success here [in France]’ he told The Art Newspaper. ‘[Raymond] Poulidor, the cyclist, was very popular with the French public because he always came second.’ Having shut down a fledgling Miami operation in the face of the recession, Perrotin is back to what he knows best: blazing a trail in the Far East. Having already begun to include Chinese translations on his website, he’s currently looking for a space in Hong Kong.
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Category: Artist Nationality: Polish Last Year: New
Not known for creating pleasant viewing experiences, Zmijewski is a first-order political artist and a crucial figure in Warsaw. Through his art and activism (he is involved in the Krytyka Polityczna – Political Critique – movement), the artist has considered and analysed the period of uneasy transition from communism – including a period of martial law – to capitalism during which he grew up. Zmijewski often explores the ways in which social groups psychologically adapt to new
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Now something of a relentless presence on the international lecture circuit, the East Berlinborn theorist and art historian Groys is an uncompromising critic of art’s relationship to politics, power and the mass media, a lucid interlocutor for the crisis-driven mood of the current moment. Cutting his teeth on the underground Moscow art scene of the 1970s and 80s, Groys is known for his radical rereading of art in the Soviet Union. His early book The Total Art of Stalinism (1988) gets a deserved new edition this year; meanwhile, as curator of the Russian Pavilion at the Venice Biennale, he recently chose to highlight the overlooked career of Russian artist Andrei Monastyrsky and the group Collective Actions. The English translation of Groys’s Introduction to Antiphilosophy hits the bookshelves early next year.
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Category: Critic Nationality: German Last Year: 70
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conditions, and his discomfiting videoworks, which include a recreation of the Stanford Prison Experiment and a recording of deaf children singing Bach, have obviously made an impact on the socially engaged, participatory practice of a younger generation of artists including Yael Bartana and Katerina Seda. This is an artist with a manifesto, no less – ‘The Applied Social Arts’ – which questions what tangible effects art can have on society or activism, and which will be used as a point of departure for his direction of the 2012 Berlin Biennale, for which he invited open submissions (and received 7,500 of them).
Category: Curators Nationality: British Last Year: Reentry (79 in 2006)
A reentry to the Power 100 for the directors of Artangel, the commissioning agency for (primarily) large-scale public art projects. In this year’s funding announcements from Arts Council England the organisation got a hefty budget increase, up £200k to £754,000. That’s perhaps partly in recognition of a string of successes: Roger Hiorns’s sensationally popular 2009 commission, Seizure, an abandoned South London house in which every surface was covered with blue copper sulphate crystals; the commission of a public soundwork in the City of London in 2010 by Susan Philipsz, which contributed to her Turner Prize win last year; and a clutch of awards for Clio Barnard’s ‘genre-busting’ documentary film The Arbor (2010). Morris and Lingwood have also furthered Artangel’s ambitions internationally, in cocommissioning the final part of Yael Bartana’s film trilogy, …and Europe Will Be Stunned, for the Polish Pavilion at this year’s Venice Biennale and cocommissioning Mike Kelley’s Mobile Homestead – the first public work by the artist – in which a reconstructed version of his childhood home toured the streets of Detroit.
Category: Gallerist Nationality: Canadian/Syrian Last Year: New
‘The community is an important component of the gallery’s fabric’, says William Wells, co-owner, with Yasser Gerab, of Cairo’s Townhouse Gallery. Accordingly, the gallery, a hub of four buildings located on a downtown backstreet, is home not only to one of the biggest private exhibition spaces in the Middle East but also a public library, studios and spaces to accommodate a varied programme of performances, workshops and community projects. Working with a mix of Arab and international artists, and making up its own rules for what an institution should be, Townhouse has created opportunities for artists from the Arab region to exhibit abroad (in September they collaborated with the Serpentine Gallery in London to present Susan Hefuna’s ‘I Love Egypt’, Speak Out!, a temporary learning camp in Hyde Park), stepped up to become a teaching institution and set about picking apart the idea of art as the object-based product of a privileged author by throwing open the gallery walls to a wide public: in the wake of the Egyptian revolution, Townhouse opened The Popular Show, for which anyone could submit ‘works of art or objects of any medium, nature, quantity, duration or scale’ in response to the ‘exclusivity that is practiced within contemporary art institutions’.
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Sadie Coles has had a consolidating year, primarily showcasing longstanding gallery artists rather than breaking new ones, though Spartacus Chetwynd had her first show at the gallery in the spring, and Steven Claydon has recently joined as well. Coles has one of London’s strongest, if transatlantic-heavy, rosters (Richard Prince, John Currin, Matthew Barney, Elizabeth Peyton), and her Europeans are doing fine as well: see Wilhelm Sasnal’s much-anticipated Whitechapel show, Hilary Lloyd’s nomination for this year’s Turner Prize and Sarah Lucas’s star turns in the British Art Show 7 and currently Lucas Bosch Gelatin at the Kunsthalle Krems, for example. Without being as showy as some of her colleagues, Coles has consistently matched any exhibition programme in London.
(57) Timothy Greenfield-Sanders, courtesy Creative Time; (59) Thierry Bal; (60) Juergen Teller
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Steve McQueen enters this list for the first time by virtue of his multitasking. Not content with winning the Turner Prize back in 1999 and representing Britain in Venice two years ago, the artist has slid into the role of feature filmmaker seemingly effortlessly. His 2008 debut, Hunger, is one of the most successful examples of an artist directly transferring the aesthetics and concerns of his artwork into cinema targeted at a wider audience. It won more than 50 international awards, including the Caméra d’Or at Cannes, and that 134
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Creative Time – the New Yorkbased public-art agency headed by Pasternak for the past 17 years – has recently focused on participation, mounting an annual summit on the subject as well as a yearly award for art and social change. CT doesn’t shy away from tricky territory, and currently it’s Tania Bruguera’s political party for immigrants that is raising eyebrows and difficult questions. The position of the artist in relation to the world is key to Creative Time’s recent work: Global Residency sends highly regarded artists around the globe based on their interests in a particular issue or geographic locale, with virtually zero demands on them to produce anything as a result (though of course, to date, all of them have). Walid Raad is investigating the reason for the boom in contemporary art galleries, museums and biennials in the Middle East, while street artist Swoon is in Haiti trying to work out what an artist’s position can be in a traumatised community attempting to rebuild itself.
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Over the past several years, Michael Ringier has assembled one of the most important collections of contemporary art in Switzerland. Curated by Kunsthalle Zurich director Beatrix Ruf, it encompasses works by everyone from John Baldessari and Louise Bourgeois to Fischli/Weiss and Urs Fischer. Chairman of media group Ringier AG, Ringier owns Verlag JRP, one of Europe’s premier publishers of art catalogues and monographs, as well as the German art magazine Monopol.
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prestige, together with the film’s relative commercial success, has held film studio doors open for him: Fox Searchlight bought in to Shame, reportedly paying $400,000 for the US distribution rights, and are releasing the feature this year (its preview at the Venice Film Festival garnered critical praise). The movie sees Hunger’s Michael Fassbender starring alongside Carey Mulligan in the role of a man suffering sex addiction. Now that’s in the can, the artist has announced 12 Years a Slave, an adaptation of the autobiography of Solomon Northup, a mixedrace New Yorker who was kidnapped and enslaved on a cotton farm in 1841.
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Victoria Morton and mischievous internationalists such as Urs Fischer, as well as nurturing current breakout stars such as Thomas Houseago (Hauser & Wirth’s newest signing). Martin Boyce, on the 2011 Turner Prize shortlist, is but the latest in a line of gallery artists nominated for and awarded the top British art prize. Two years ago, artist Douglas Gordon described Webster as ‘a modern magician with what he has done in terms of promoting not just art from Glasgow but art in Glasgow’. It still rings true.
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It’s smooth sailing for Toby Webster and the Modern Institute: he’s bestrode the Scottish artworld like a colossus for years now, and nobody seems about to challenge him (on the contrary, his contemporaries are falling by the wayside). As well as maintaining a tireless presence at art fairs in 2011, Webster kept his gallery suavely split between showings for Glaswegian artists such as
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There is not much that can move the fashionable Berlin art crowd off the well-trod path between Mitte or Kreuzberg and the former West Berlin centre of Charlottenburg. But when Daniel Buchholz and business partner Christopher Müller call, they come. The Berlin gallery opened in 2008 and is among the capital’s most influential; and the original Galerie Buchholz, established 25 years ago in Cologne, still leads the pack there. Category: Curator The gallery works with Wolfgang Tillmans, Nationality: Italian Cosima von Bonin, Isa Genzken and Cerith Wyn Last Year: 67 Evans, but also younger stars such as Paulina Olowska and Danh Vo. It is Buchholz and Müller’s Few individuals have shaped continuity and pleasantly relaxed attitude that a country’s art history as finds them their many admirers. Germano Celant has in Italy. Arte Povera was effectively his invention in 1967, and he’s far from done with it. Celant may be busy holding down two main jobs – senior curator at the Guggenheim in New York since 1989, artistic director of the Prada Foundation since 1996 – and fitting in a prolific secondary career as an author and contributing editor for Interview magazine, but he’s determined to keep guiding the trajectory of the movement he identified and named. Recently opened across several Italian cities and stretching into 2012, his epic exhibition Arte Povera 2011 arrives at a highpoint in international attention for Italian art (witness the resurgent interest in Michelangelo Pistoletto and Gianni Colombo); and if Arte Povera resultantly looms larger in the pantheon of recent art, so too will Celant.
Category: Artist Nationality: British Last Year: 53
Can you imagine if the news media covered pop music in the same way they cover contemporary art? It would be as if Oasis were the most culturally relevant band of the moment. That said, perhaps the mainstream press has a mediocre (economic) point with their ongoing Hirst fixation: he still sells and his market seems ever-expanding. Forgotten Promises, the solo show Gagosian used to inaugurate its Hong Kong venture, saw the artist return to his ‘fact paintings’. Works in that series from a few years back had focused on brutal imagery sourced from newspapers; this new collection showed a mellower side to the artist, with moments of nature – particularly butterflies – depicted in a photorealist fashion through oil on canvas. Other Criteria, the artist’s editions outlet and publishing enterprise, continues apace. Next year will be a big one for the artist, too. Despite the rumoured double-bill exhibition across Tates Modern and Britain not materialising, Hirst will still enjoy a retrospective at the Bankside space, scheduled to coincide with the Olympics. ArtReview
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Category: Gallerist Nationality: Austrian Last Year: 72
‘This additional space will obviously increase the number of shows we organize’, Thaddaeus Ropac told Flash Art in the spring of last year, following the opening of Halle, a massive 2,600 sq m exhibition and storage space in Salzburg. Presumably they’ll be running that quotation again next year, when Ropac opens an even bigger, 3,000 sq m facility in the northeast of Paris. Of 136
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Category: Auction House Nationality: British/American Last Year: 50
The Post-War & Contemporary Art department at Christie’s, headed by Brett Gorvy (Chairman and International Head of Post-War & Contemporary Art) and Amy Cappellazzo (Chairman, PostWar and Contemporary Development), has had a good 2011 so far, bringing in sales worth $702.6 million in the first half of the year, a 52 percent rise on the same period in 2010. With this figure – which includes $38.4m paid in New York for Andy Warhol’s SelfPortrait (1963–4) and the £18m paid for Francis Bacon’s Study for a Portrait (1953) at a London evening sale in June – the department is set to beat its 2010 annual total of $934.1m. That said, the Frieze week auctions don’t have the same calibre of work on offer – the high estimate there is £9m for a Gerhard Richter painting, Kerze (Candle) (1982). Elsewhere, the company teamed up with David Zwirner and the actor Ben Stiller for the New York charity auction Artists for Haiti, and is to test a new strategy in Dubai, widening the company’s market share by offering works in the $3,000–$50,000 range, as well as lots for the more-moneyed collector.
(66) Scott Rudd; (67) Robert Longo; (68) © Christie’s
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‘But fuck it, let’s speak frankly, no bullshit, most of the left hates me even though I am supposed to be one of the world’s leading communist intellectuals,’ Zizek told the Guardian recently. There is no doubt that the sixty-two-year-old, who has held teaching posts at a plethora of institutions, is not only a divisive figure but something of a mediahungry showoff. Albeit a very engaging showoff, adept at using and, in turn, abusing the press. His ideological standpoint, which takes Marx via Lacan, is characterised by a myriad of pop-cultural references drawn into an often spittle-infested, tangent-friendly delivery. Though by no means just an artworld figure – he had a heavyweight bout with Julian Assange this year, for example – Zizek’s interpretation of prevailing twentiethcentury philosophy means there are few theory courses or curator’s reading lists that don’t feature the so-called most dangerous philosopher in the West. Oh, and there’s the rumour he was dating Lady Gaga.
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‘As virtually any clown can attest, no one owns the idea of making a balloon dog.’ So began a letter sent to Jeff Koons’s lawyers by Park Life, a small San Francisco-based gallery. It formed the response to Koons’s accusation that the gallery had ripped him off by selling woodcraft balloon-dog-shaped bookends. It turned out to be a PR own-goal, from which the celebrity artist attempted to extract himself by recalling the cease-and-desist letter, though not before the press had had a field day (pointing out that the boot had been on the other foot back in 1992, when Koons was sued for copying Art Rogers’s Puppies postcard). Aside from that debacle, it has been a relatively understated year for Koons: the usual charity work, regular group shows and the ongoing cultivation of his collection of Old Masters.
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course, Ropac already has 800 sq m of exhibition space in the French capital and his original complex of galleries back in Salzburg. But you can never have enough exhibition space when you represent around 50 major international artists, among them Anselm Kiefer, Alex Katz, Georg Baselitz, Sylvie Fleury, Lawrence Weiner, Sturtevant, Gilbert & George and… well, you get the picture: while Ropac needs more space to show them, we’d need more space to be able to list them all here.
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film trilogy dedicated to the Jewish Renaissance Movement in Poland, with the third episode a critical highlight of Venice, where it was shown in the Polish Pavilion. Elsewhere in the world, Outset Hong Kong has supported the state’s Para/ Site Art Space and Vitamin Creative Space. And in the UK, Outset continues to bolster numerous projects and public institutions, including Tate’s acquisitions budget.
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(69) © Sotheby’s [Meyer] and Jenny Lewis [Westphal]; (70) courtesy Asia Art Archive, Hong Kong [Hsu] and Hanart TZ Gallery, Hong Kong [Tsong-Zung]; (72) courtesy Nanou Ghanem
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gateway to understanding the history and context of art production in the region. It has arguably the most comprehensive collection of documentary and archive material related to contemporary Asian art and, through its conferences and research programmes, remains the centre for discussion and dialogue in the region. In some ways the pairing of Chang and Hsu is a little artificial – these days they are quite separate entities. The latter directs the AAA, and the former – a leading expert on the region’s Category: Auction House art since the 1980s, and something of a guru to Nationality: Both German Last Year: 51 an emerging generation of artists and curators – remains an AAA board member while running On the evening of 29 June, it the commercial gallery Hanart TZ, acting as an must have been trebles all adviser to collectors such as David Tang, and round over at the Sotheby’s curating, teaching and writing about Southeast Contemporary Art department, Asian art internationally. led by Meyer and Westphal: the 88-lot auction held that night brought in £108.8 million, the highest total ever garnered at a contemporary art sale in the UK. Records were set for, among others, Georg Baselitz and Sigmar Polke, whose works came from the collection of industrialist Christian Duerckheim, which brought in a total of £60.4m. London’s performance that evening will have come as a relief to Meyer and Westphal, who had suffered a disappointing night in New York a month prior, when only 49 of 58 lots sold, for an anaemic $128m. With these highs and lows, it remains unclear whether the company will surpass their $871.8m worldwide contemporary sales figure from last year.
Category: Curators Nationality: Chinese/British Last Year: 86
As interest in Asian art and Asian money rises, the Hong Kong-based Asia Art Archive (AAA), which Hsu and Chang Tsong-zung founded back in 2000, occupies an increasingly important position as a
Category: Collectors Nationality: Canadian/German Last Year: 79
The driving forces behind the Outset patronage scheme, Yana Peel and Candida Gertler h ave expanded the organisation’s international scope considerably this year. Outset India supported its inaugural project in 2011, a site-specific immersive installation – a dilapidated house filled with cobwebs – by Vishal K Dar, Asim Waqif and Paribartana Mohanty. Outset’s cash is also supporting And Then, One Thousand Years of Peace, a collaboration between artist Subodh Gupta, the Bolshoi Theatre, Moscow, and Ballet Preljocaj, Paris, that is touring India. The money channelled from Peel and Gertler’s network of funders has also provided financial backing for Yael Bartana’s
Category: Curator Nationality: Lebanese Last Year: 95
Writing on the challenges of facilitating art production in the Middle East, critic Anthony Downey notes that a successful organisation must negotiate ‘times of conflict, and, more recently, the unprecedented levels of interest in the output of the region’. Downey goes on to say that Christine Tohme set up Ashkal Alwan, the nonprofit arts agency she remains curator of, in 1994 in the belief that a large, unwieldy institutional structure would be incapable of negotiating rapid sociopolitical change. Given the Arab Spring, Ashkal Alwan’s role seems more pertinent than ever. Taking advantage of the off-year in its biennial Home Works festival cycle, the Beirut-based organisation has moved house, installing itself in a base that comes complete with production and editing studios, performance spaces, auditoriums and Lebanon’s first multimedia library for contemporary arts.
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It’s not just because Miraculous Beginnings, a major two-decade retrospective of the work of Walid Raad and his fictional collective the Atlas Group, is currently touring (having started at London’s Whitechapel in October last year, it’s now on show at the Kunsthalle Zurich) that he makes this list, but also because of his subtle and meticulous investigations (primarily via photography and video) into the physical, psychological and 138
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A modern-day Fitzcarraldo, iron-ore mogul Paz has the money – last year he sold the Itaminas mine to China for $1.22 billion – and the vision to transform a 3,000-acre swathe of forest an hour’s drive from Belo Horizonte – ie, nowhere special – into a Brazilian Xanadu. While his grand plans for hotels, a convention centre and even a historic rail line from his latifundium, Inhotim, to the colonial town of Ouro Preto suggest Disney-like commerce, his collecting has been considered and voracious, if occasionally obvious. Guided by curators Jochen Volz, Rodrigo Moura and adviser par excellence Allan Schwartzman, Paz acquires, and often commissions, installations by artists such as Matthew Barney, Tip Dunham, Chris Burden, Doug Aitken, Doris Salcedo and Janet Cardiff of a size and scope that others can’t handle. These are often housed in designated pavilions built by labourers from the nearby town of Brumadinho. To date Paz has assembled roughly 500 pieces, with significant depth in the work of, among others, Cildo Meireles and Tunga, which alone makes the journey to Inhotim an exceptional joy.
(73) courtesy Domus Collection, Beijing & New York; (74) Luís Asín; (76) Carol Reis
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Richard Chang is fast becoming a primary facilitator of dialogue between the art scenes of the East and the West. His Domus Collection, comprising contemporary art from around the world, is one of the most impressive and comprehensive in China. In the past year alone, it has hosted an exhibition of Mega Death (1999), a major work by Tatsuo Miyajima (at Beijing’s UCCA), and acquired significant installation works by Anish Kapoor (whose 2010 Royal Academy show Chang sponsored), Olafur Eliasson and Damien Hirst, to name only three of the best known. In addition to his work with artists and commercial galleries, and as a key adviser to the blossoming Art HK fair, Chang is a powerful force on the museum circuit. He is a trustee of MoMA PS1 (cohosting, with Klaus Biesenbach and Interview magazine, the institution’s performance and party at last year’s Art Basel Miami Beach) and Japanese artist Mariko Mori’s Faou Foundation, as well as a member of Tate’s International Council and AsiaPacific Acquisitions Committee. Chang, in his capacity as a trustee of the Royal Academy, also facilitated the invitation of the first Chinese academician (this year’s number 1 on the Power 100, Ai Weiwei).
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Last year saw Madrid gallerist Helga de Alvear inaugurate a foundation in Cáceres, south of the Spanish capital, to showcase work she has amassed over the past 45 years: the country’s finest private collection of international contemporary art. Now in its second season, the Fundación Helga de Alvear hosted Stories of Material Life for much of the year, with work by James Casebere, Jane & Louise Wilson, Francis Alÿs and several dozen others. Meanwhile, back in Madrid, de Alvear contends with her day job as head of one of the country’s premier galleries. There, Elmgreen & Dragset staged a show between their many other commitments this year, with additional exhibitions of work by Angela de la Cruz, the photographer Boris Mikhailov and Slater Bradley, whose 2010 videowork Shadow, a collaboration with filmmaker Ed Lachman that takes Dark Blood (1993), the film River Phoenix was shooting at the time of his death (and on which Lachman was the cinematographer), as its inspiration.
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sociological effects of conflict and trauma, and into the blurring of fact and fiction that increasingly occurs in our media-saturated world. Raad has previously said that his work ‘was in some ways made possible by the wars in Lebanon’, in particular the period of conflict between 1975 and 1990, and the uneasy peace that followed it. Crucially, Raad’s pseudohistories and invented archives pursue his theme as it relates both to humans and, increasingly, to the production of art and its reception in art institutions. It’s prescient, not only in terms of recent events in the Middle East, but also in terms of more global debates about the status and commodification of art.
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There is currently no way past Neuger and Riemschneider. Their gallery’s lineup of bluechip artists includes Olafur Eliasson, Elizabeth Peyton and Ai Weiwei, and they’re developing a dominating influence on the market in Berlin and elsewhere. Neuger and Riemschneider are closely linked to Gallery Weekend Berlin, to the listings magazine INDEX and to the sales exhibition abc (Art Berlin Contemporary – the larger Berlin galleries’ Category: Gallerists response to Art Forum, and one of the reasons Nationality: All Italian for its demise). Tim Neuger is also on the jury for Last Year: 83 Art Basel, which this year excluded prominent Berlin galleries Giti Nourbakhsch and Eigen + Art. When you have the artists that A recent newspaper article in Der Tagesspiegel even Galleria Continua has – Daniel claimed that there is an art cartel building up, and Buren, Antony Gormley, that Neugerriemschneider are among its Subodh Gupta, Anish Kapoor, beneficiaries. Michelangelo Pistoletto among them – and as a Western gallery you opened a 1,000 sq m Beijing branch ahead of trend in 2004 (as well as Le Moulin, a 10,000 sq m space an hour outside Paris in Boissy-le-Châtel, dating to 2007, and their original space in San Gimignano), you can afford to spend money on your artists and take risks in the marketplace. Through their notfor-profit outfit, Arte Continua, the gallery organised Kapoor’s massive Ascension installation at Venice this year, negotiated the installation of a permanent public work by Kiki Smith, Color Category: Gallerist Skill, in the Tuscan town of Colle di Val d’Elsa, Nationality: Italian and were one of the main supporters of Pistoletto’s Last Year: 77 exhibition at the Serpentine Gallery. They are also Based in one of the largest – perhaps oddly at first glance – taking their stable gallery spaces in Milan, MDC to the second Marrakech Art Fair. Yet for a gallery has an enviable stable of that looks after Kendell Geers, Meschac Gaba and artists, heavy on the Americans Moataz Nasr, the decision to lend their name to – Kelley Walker, Chris Burden, such a comparatively minor event could well be Steven Parrino and Sol LeWitt another gamble likely to pay off, and another – as well as a select number of market to exploit. important Italians – Paola Pivi, Massimo Bartolini and Roberto Cuoghi. Most are hitting high: 148
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Category: Curator Nationality: Italian Last Year: 91
It’s only a matter of time before current New Museum associate director and director of exhibitions Gioni moves closer to the top of this list. This year sees the expansion of the NuMu’s programming, under Gioni’s direction, to ‘Studio 231’, a storefront adjacent to the museum that will be dedicated to emerging talent (the UK’s own Spartacus Chetywnd is the first to light this candle). Add to that Ostalgia, Gioni’s well-received romp through the art of the former Soviet bloc; closely cropped presentations of Gustav Metzger and Lynda Benglis; and 8 ½, a celebratory exhibition mounted in Florence for the centennial of the fashion house Trussardi, and it’s apparent that Gioni will be an institutional force for some time to come.
(77) Pawel Althamer, Tim & Burkhard, 2011, plastic on metal wire construction, dimensions variable, unique, photo: Jens Ziehe, Berlin, © the artist, courtesy Neugerriemschneider, Berlin; (79) Ela Bilakowska; (80) Marco De Scalzi
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consider, for example, that Spartacus Chetwynd and Carsten Höller, both gallery artists, recently opened solo exhibitions on the same day in October at the New Museum. Having amassed such a group, De Carlo’s not about to rest on his laurels. He has slowly been establishing Carlson, his London exhibition space, and gathering artists for London representation, and has chosen the present moment to turn his attention to a generation of young ‘slacker’ artists – Dan Colen, Aaron Young, Nate Lowman and the late Dash Snow – who flourished in New York during the financial boom years, via a major exhibition in Rome.
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among a supportive network of artists, the L&M exhibition (Hammons is not represented by any gallery) is a reminder of the way in which the artist has found a place for himself that operates somewhat outside the usual power systems. In short: he has a strong hand in deciding where and how he shows his own work.
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This year Zhukova has done a clever thing. Take a look at the past 12 months of programming at the Garage Center for Contemporary Culture, the foundation she runs from the vast former Bakhmetevsky Bus Garage in Moscow, and you will see that it is packed with some of the biggest shows of recent times. Christian Marclay’s The Clock got an airing, the Hayward’s New Décor was shown last October, and William Kentridge’s Five Themes travelled over from MoMA – as did last year’s 100 Years of Performance and the current exhibition of Marina Abramovic’s The Artist Is Present. Zhukova will have even more space to show the fruits of her cherrypicking when, with the help of husband Roman Abramovich, the Norman Foster-designed development of a 19acre island in St Petersburg into an outpost for the Garage is finally completed. Oh, and she left Pop magazine to open a new art and fashion title, called, er, Garage.
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(81) courtesy Garage CCC, Moscow; (82) Mohamed Somji Photography; (84) Chai Lizeng
Category: Collector Nationality: Russian Last Year: Reentry (54 in 2008)
Curator, writer and teacher Kortun has been a key figure in the rejuvenation of the Turkish art scene over the past two decades. After taking the reins of the Istanbul Biennial for its third edition in 1992, Kortun taught at Bard College’s Center for Curatorial Studies in New York, returning to Istanbul in 2001 to open the influential Platform Garanti Contemporary Art Center. Part of a network of increasingly important freelance curators to emerge in the 1990s, Kortun has been instrumental in opening up channels between the Turkish scene and an increasingly internationalised artworld. High–profile curatorial posts have recently included the ninth Istanbul Biennial (2005) and responsibility for the UAE Pavilion at Venice this year, and his star keeps rising: April saw the opening of Istanbul’s ambitious new SALT art centre, where Kortun is the director of research and programmes.
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When ArtReview started writing this entry, Beijingbased Tinari was a teacher, critic, curator, Art Basel’s sinister-sounding ‘man in China’, director of Office for Discourse Engineering (an imprint, editing and translation office that has proved crucial in internationalising dialogue in and around China’s emergent art scene) and the editor/publisher of Leap, China’s leading (and bilingual) contemporary art magazine (which he founded, having previously edited Artforum’s China website). At about the point it’s got to now, ArtReview suddenly found out that Tinari had newly been appointed director of the Ullens Center for Contemporary Art, one of the largest contemporary art institutions in Beijing. Which presumably means he’ll be even more central to the exhibition, dissemination and understanding of Chinese art.
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David Hammons’s work, often employing delicate (and frequently waste) materials, such as chicken wings, cigarettes and his own hair, has been crucial as a reference point for several artists from a younger generation, perhaps most prominently among them Glenn Ligon and Chris Ofili. His pivotal positions in New York and LA have been highlighted this year in both a knockout exhibition at New York’s L&M Arts and his central position in California-art retrospective Pacific Standard Time. While PST emphasises Hammons’s place ArtReview
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1991), was on view at the family space during last year’s Art Basel Miami Beach, while Jennifer is an increasingly prominent artist in her own right. A solo show of her sculpture practice was on view at Stephen Friedman Gallery in London (complete with a lifesize waxwork of groom-to-be Prince William) earlier this year, while her food-filled performance Made in Texas debuted at Dallas Contemporary in September.
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Through her position as an Iranian artist based in New York, Shirin Neshat has managed to give a long-term consideration to the complexities regarding the political position of women in Muslim states. There is a nuanced reflection in her work of the ideological struggle between Islam 150
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The Rubell Family Collection strives to be the largest in private hands, with the family orchestrating not just exhibitions at their 45,000 sq ft Miami foundation space, but travelling shows that tour the smaller US museums – all consisting solely of works they own. One such example is the critically lauded 30 Americans, which debuted at the Miami space during Art Basel Miami Beach (an event that the Rubells were instrumental in bringing to the city) in 2008, but is currently at the Corcoran Gallery of Art, in Washington, DC. Don and Mera have passed the art bug to their children – Time Capsule, a display of works from Jason’s collection (acquired, incredibly, when he was between the ages of thirteen and twenty-one, and first staged as part of his college thesis at Duke University in
Category: Artist Nationality: Swiss Last Year: NEW
Nothing is as it seems when it comes to the Swiss installation artist. This year’s Piccadilly Community Centre, in which everything from a charity shop to tango-dancing clubs and bell-ringing lessons found a home, proved a deft game of double bluff – the community centre was installed within the shell of Hauser & Wirth’s Piccadilly gallery, blurring the lines between real and staged scenarios, and questioning the politics of the space and David Cameron’s ‘big society’. It was Büchel at his most commentariat, building on a reputation gained early on through the bewildering mazelike installation at Hauser & Wirth’s Coppermill space in 2007, investigating unpalatable sexual activities that might exist beneath the bourgeois veneer by inviting a Viennese swingers club to make its home at the Secession gallery and dissecting sectarian politics during last year’s Glasgow International festival. There are other artists whose practice also concentrates on constructed architecture, but it is surely Büchel’s that risks the most in its near destruction of the division between art and life.
(85) Brigitte Lacombe; (86) Lina Bertucci, courtesy Gladstone Gallery, New York; (87) Chi Lam; (88) courtesy Piccadilly Community Centre, London
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and the secular world – and her audience, as well as her importance, grow ever steadily: her first feature film, Women Without Men (2009), on the subject of the 1953 Iranian coup, won the Silver Lion at Cannes, and its release coincided with the election protests in that country. Neshat gave one of the widely seen TED (‘ideas worth spreading’) talks at the end of last year, on the subject of this ‘cry for democracy’ from Iran, and she has been creating a series of seasonal films this year for The New York Times website: Spring and Summer so Category: Collector far, and they have both obliquely focused on the Nationality: Italian Last Year: Reentry (87 in 2008) Arab Spring. This month will see Neshat return to Performa, realising a major new commission, Still at the peak of her powers Overruled. This courtroom drama, featuring as far as her fashion house is projections and live performers, tackles the subject concerned, Miucca Prada has of female censorship in Iran, and will mark a been collecting art for years, decade since RoseLee Goldberg commissioned establishing the Prada her to make Logic of the Birds for Performa, in Foundation with husband 2001. Patrizio Bertelli in 1995. Prada has amassed a collection with a focus on important contemporary works – Höller, Koons, Kapoor – and historical Italian Arte Povera. While Rem Koolhaas is currently designing Prada’s gallery in her native Milan, Venice, it would seem, is the home for the European collection of note. While Prada has organised several exhibitions in Venice, 2011 saw the unveiling of a major new home for the collection: Ca’Corner della Regina. This summer’s first collection show (organised by regular collaborator Germano Celant) demonstrated the institution’s increasing engagement with international museums: Tate Modern curator Nicholas Cullinan and Jean-Paul Engelen of the Public Art Museums of Doha were among those to contribute. The latter collaboration is a continuing one: Prada is hooking up with increasingly powerful Qatar to launch a curatorial award, providing opportunities for curators to realise exhibitions in Qatar and Italy.
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not unreasonably, that she remains committed to the area, though ‘I don’t want to be seen as limited to it. I’m really international, and many of my colleagues are.’ She programmes far in advance, and will be staging shows by last year’s star signings Gert and Uwe Tobias and Liam Gillick in December this year and October next year, respectively. The gallery’s May exhibition of new paintings by David Salle proved a schedule highlight. Meanwhile, Rebecca Warren, also on her books, had a striking turn in Bice Curiger’s curated show at the Venice Biennale.
(89) Danai Anesiadou; (91) Frederike Helwig
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With a PhD on Marcel Duchamp, two substantial tomes on the history of biennials and the codirection of the 5th Berlin Biennale (with Adam Szymczyk) already under her belt, Elena Filipovic has begun to make a steady, lasting influence felt with her programme at WIELS Centre for Contemporary Art, in Brussels. With ambitious exhibitions that place the artist at the centre of the work, LA-born Filipovic has a proven ability to send ripples through the artworld from the Belgian capital. Her exemplary handling of Felix Gonzalez-Torres’s subtle, antiauthoritarian work, part of which included getting other artists to dismantle the retrospective she had curated, is a case in point: a rash of exhibitions employing the late Cuban-American as a centrepiece (the Istanbul Biennial, for instance) have since appeared. Filipovic has also proved two steps ahead in programming one of the first Alina Szapocznikow retrospectives outside Poland, as well as the first survey of Yto Barrada.
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Qatar currently acquires more modern and contemporary art than any other country in the world, thanks to the ruling Al-Thani family’s hyperactive buying. Sheikh Saud bin Muhammad bin Ali Al-Thani has spent more money on art (several hundred million dollars, reputedly) than any other collector in the world over the past two years, and his relative Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, also a major collecting force, is chair of the Qatar Museums Authority (Christie’s chairman Edward Dolman recently left the auction house to run her office there as well as join the QMA’s board). The family’s name crops up in relation to several international projects, including joint exhibitions with the Prada Foundation and bankrolling the Murakami exhibition at Versailles last autumn. There’s much being commissioned at home, too, with projects from Richard Serra and Jeff Koons in the pipeline (so to speak), art museums to be built and an identity as the Gulf ’s most important cultural destination to be forged in time for the World Cup, which Qatar will be hosting in 2022.
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Category: Collectors Nationality: Both Qatari Last Year: NEW
Category: Collectors Nationality: Both German Last Year: 66
This autumn sees a rehang in the spectacular airraid shelter that houses the collection of Christian Boros and Karen Lohmann in Berlin, adding works by Tomma Abts, Franz Ackermann, Thomas Scheibitz, Klara Lidén, Alicja Kwade and Wolfgang Tillmans. It will ensure that visitor numbers remain high and that all guided tours are booked up weeks in advance. Though where they find the time is a mystery: they’ve been tremendously successful at transforming their acumen as collectors into business opportunities, she in VIP relations for the ever-expanding Art Basel and he as PR guru for cultural institutions and fairs, as well as publisher for exhibition catalogues and other art-related books (with recent publications on Amelie von Wulffen and Tomás Saraceno) in his fast-growing Distanz Verlag.
Category: Gallerist Nationality: American Last Year: 78
While the art scene in Bethnal Green – the East London area that has been home to Paley’s gallery for more than 20 years, and more recently to stalwart younger gallery Herald St and now Hotel – can sometimes seem far removed from the London artworld’s dominant West End centre, Paley has resisted the temptation to relocate, telling The New York Times, ArtReview
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According to The Jewish Chronicle, when they are not very publicly displaying art from their collection at their 176 space in North London, Anita and Poju Zabludowicz are secretly running the Middle East peace process by hosting talks between Israeli President Shimon Peres and Palestinian President Mahmoud Abbas in their London home. But you don’t get points for 152
The Power 100
The art historian George Baker, writing in ArtForum last year, noted, ‘It is a recurring experience. I am doing a studio visit, and there on the artist’s shelf is a book by Kaja Silverman.’ Baker goes on to describe Silverman’s lectures as being ‘greeted with the kind of wild enthusiasm usually reserved for performances and concerts’. To call Silverman a feminist film theorist and art historian rather misses the point of her writing. In Flesh of My Flesh, her 2009 book, Silverman charts the modern obsession with uniqueness – the identity of difference and departmentalisation – bringing the text to a head through the work of Terrence Malick, James Coleman and Gerhard Richter. After the publication of that book Silverman left her teaching post at the University of California, Berkeley for the University of Pennsylvania; and this year the professor received the Distinguished Achievement Award – $1.5 million over six years – from the Andrew W. Mellon Foundation, to add to her 2008 Guggenheim Fellowship. That money should see her through the completion of The Miracle of Analogy, a book on photography in which Silverman continues an ongoing reappraisal of the Renaissance idea of analogy as a philosophical methodology.
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Over the past year several of the artists that show at Johann König’s Berlin gallery have made the transition from defining a kind of conceptual Berlin edginess to becoming staples on the European kunsthalle circuit. Michael Sailstorfer, for example, has notched up solo shows at SMAK, Ghent, Modern Art Oxford and Kunsthalle Nürnberg; Alicja Kwade has been at Kunsthalle Nürnberg and Kunstverein Bremerhaven; and next year sees Kris Martin take on Kunstmuseum Bonn, Aargauer Kunsthaus, Aarau, and Kestnergesellschaft, Hannover. You get the picture. Elsewhere Annette Kelm’s photographs were a memorable inclusion in Bice Curiger’s Venice Biennale this year. Back at the gallery, König continues a confident, deliberate expansion, showcasing a project with Juergen Teller this year, along with a group show of nongallery artists on the subject of expanded sculpture. And he has taken on bright young British sculptor Helen Marten.
(93) Thierry Bal; (94) © David Bebber, courtesy the Zabludowicz Collection, London; (95) Andrew Moisey; (96) Maxime Ballesteros
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Nationality: American Last Year: NEW
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While the backbone of Victoria Miro’s North London gallery is a group of artists who have done much to shape the current British art scene – Chris Ofili, Grayson Perry, Peter Doig, Isaac Julien, Phil Collins, Stephen Willats – it’s her international artists, in particular Elmgreen & Dragset (a massive installation in Rotterdam over the summer and a new play for this year’s Performa) and Doug Aitken (his first London show in eight years, and Black Mirror, featuring Chloë Sevigny, at the Deste Foundation in Hydra over the summer) – who have been making the most noise this year. It’ll be more of the same in 2012, with Yayoi Kusama’s late-career renaissance set to continue with a retrospective at Tate Modern in February. Category: Critic
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arranging world peace on this list. The Zabludowiczes are also at the centre of the London art scene, not just because they moored their 120 ft yacht outside the Giardini in Venice to act as a nucleus of hobnobbing. They are trustees or benefactors of Tate, Camden Arts Centre and Whitechapel Gallery; they have an invited residency programme in Sarvisalo, an island an hour east of Helsinki; and this year saw the first open-submission curatorial call to stage a show at 176. Next year will be busy, too, as Anita is playing a central role in the artists’ commissions for the East London Olympic Park.
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(97) Anders Sune Berg; (98) Felix Friedmann Photography, courtesy Galleria Franco Noero, Turin [Noero] and Sebastiano Pellion di Persano [Falone]; (99) MLV
Category: Gallerist Nationality: Both Italian Last Year: NEW
Based in Turin (the gallery is nicknamed la fetta di polenta because that’s what the building’s shape and colour call to mind: a giant slice of polenta), Franco Noero and business partner Pierpaolo Falone are discreet yet influential forces behind several prolific artists, including Tom Burr, Rob Pruitt and Simon Starling. They are in charge of the international representation
Category: Collector Nationality: Russian Last Year: NEW
The CEO of Novatek, Russia’s largest natural gas producer, Mikhelson has used the $9.1 billion fortune he built up during the post-Soviet privatisation of Russia’s energy industry to pursue his interests in contemporary art (and volleyball). His enigmatically named Moscow foundation, Victoria – the Art of Being Contemporary, was founded in 2009 to fund the promotion of post-avant-garde Russian art abroad and broaden the domestic audience’s access to theory from the West. It backed the New Museum’s Ostalgia exhibition, not just with cash but also expertise. Curator Massimiliano Gioni was quoted as noting that ‘without the foundation’s support, the show would have been simply impossible: it’s not exactly easy to borrow works from an artist in Siberia, who has no email and speaks no English’. Victoria also costaged the recent retrospective of Andrei Monastyrski at the Moscow Museum of Modern Art and the Francesco Bonami-cocurated exhibition Modernikon at Turin’s Fondazione Sandretto Re Rebaudengo; it has instigated a scholarship for international students to attend the Courtauld Institute, London; and it plans to set up a publishing wing to translate Russian theory to English, and vice versa.
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That Copenhagen is on the contemporary art map is in no small part due to Nicolai Wallner, who was an early promoter of artists Elmgreen & Dragset, Douglas Gordon and Jeppe Hein, and who more recently took the decision to move his gallery to a former Carlsberg garage, encouraging and enabling other organisations – an artist-run space, a space for graduate students and one of Copenhagen’s other important commercial galleries, Nils Stærk – to cluster around. It paid off, and the complex is now an important art hub. This year Wallner has shown several homegrown artists, including Jens Haaning and Christian Schmidt-Rasmussen, among international names such as Jonathan Monk.
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of Mike Nelson, whose labyrinthine installation for the British Pavilion at the Venice Biennale this year had three-hour queues out front in its opening week. Less difficult to enter, but just as pleasurable to see, was gallery artist Steven Shearer’s Canadian Pavilion, next door. This has been a transformative year for Henrik Olesen – with a raved-about solo show at the Museum für Gegenwartskunst in a prime slot this summer – and for Pablo Bronstein, with shows at the Kunsthalle Charlottenburg and the ICA in London. Next year looks busy for homegrown talent Lara Favaretto, who will be included in Documenta 13 and has a solo exhibition at Rome’s MAXXI.
Category: Gallerist Nationality: Slovenian Last Year: 96
This year Gregor Podnar barely used the gallery in Ljubljana that he opened back in 2003. Bar shows by Anna Ling in April and Ariel Schlesinger in July (coinciding with his solo exhibition at the Kunstverein Braunschweig), the gallerist’s attention is now focused on what has become his primary space, in Berlin. Here Podnar exhibits gallery artists, most of whom hail from Eastern Europe, including Ion Grigorescu (who was part of Romanian Pavilion at Venice this year), Dan Perjovschi, Tobias Putrih and Yuri Leiderman, but also showcasing work from outside the roster, such as a summer exhibition of the nudes and landscapes Bogoslav Kalaš has created since the early 1970s using his self-invented ‘painting machine’. Elsewhere, The Archimedean Point, the brilliant Hungarian artist Attila Csörgő’s touring museum show left Luxembourg’s MUDAM and hit the Hamburger Kunsthalle. As the currency of artists from the former Eastern Bloc countries continues its trend upwards, so too does the standing of Podnar as their facilitator.
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50
Ai Weiwei Hans Ulrich Obrist & Julia Peyton-Jones Glenn D. Lowry Larry Gagosian Anton Vidokle, Julieta Aranda & Brian Kuan Wood Nicholas Serota Cindy Sherman Iwan Wirth David Zwirner Beatrix Ruf Gerhard Richter Alfred Pacquement Adam D. Weinberg Carolyn Christov-Bakargiev Marc Glimcher Klaus Biesenbach Eli Broad RoseLee Goldberg François Pinault Annette Schönholzer & Marc Spiegler Mike Kelley Barbara Gladstone Marina Abramovic Amanda Sharp & Matthew Slotover Patricia Phelps de Cisneros Bice Curiger Marian Goodman Peter Fischli & David Weiss Bernard Arnault Nicholas Logsdail Jay Jopling Liam Gillick Ann Philbin Dominique Lévy & Robert Mnuchin Victor Pinchuk Franz West Maja Hoffmann Agnes Gund Tim Blum & Jeff Poe Dakis Joannou Rosemarie Trockel Iwona Blazwick Udo Kittelmann Monika Sprüth & Philomene Magers Matthew Marks Gavin Brown Takashi Murakami Jeffrey Deitch Adam Szymczyk Anish Kapoor
51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79
Emmanuel Perrotin Okwui Enwezor Boris Groys Artur Zmijewski Michael Morris & James Lingwood William Wells & Yasser Gerab Anne Pasternak Michael Ringier Steve McQueen Sadie Coles Daniel Buchholz Toby Webster Germano Celant Damien Hirst Slavoj Zizek Jeff Koons Thaddaeus Ropac Brett Gorvy & Amy Cappellazzo Tobias Meyer & Cheyenne Westphal Chang Tsong-zung & Claire Hsu Yana Peel & Candida Gertler Christine Tohme Richard Chang Helga de Alvear Walid Raad Bernardo Paz Tim Neuger & Burkhard Riemschneider Massimo De Carlo Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo 80 Massimiliano Gioni 81 Dasha Zhukova 82 Vasif Kortun 83 David Hammons 84 Philip Tinari 85 Miuccia Prada 86 Shirin Neshat 87 Jason, Jennifer, Mera & Don Rubell 88 Christoph Büchel 89 Elena Filipovic 90 Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani & Sheikh Saud bin Muhammad bin Ali Al-Thani 91 Maureen Paley 92 Christian Boros & Karen Lohmann 93 Victoria Miro 94 Anita & Poju Zabludowicz 95 Kaja Silverman 96 Johann König 97 Nicolai Wallner 98 Franco Noero 99 Leonid Mikhelson 100 Gregor Podnar
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PULSE Los Angeles Sep 30 – Oct 3, 2011 The Event Deck at L.A. Live 1005 West Chick Hearn Court Los Angeles, CA 90015
PULSE Miami December 1 – 4, 2011 The Ice Palace 1400 North Miami Ave at NW 14th Street Miami, Florida
PULSE New York March 8 – 1 1, 201 2 The Metropolitan Pavilion 125 West 18th Street Chelsea, New York
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UNITED STATES Blum& Poe 2727 S. La Cienega Boulevard Los Angeles, California 90034 +1 310 836 2062 info@blumandpoe.com www.blumandpoe.com Matt Saunders: China in Nixon 11 Nov – 22 Dec David Zwirner 519 West 19th Street New York, NY 10011 +1 212 517 8677 information@davidzwirner.com www.davidzwirner.com Robert Graham: Early Work 1963–1973 7 Nov – 10 Dec Open 10–6, Tue–Sat
Oh Wow 937 N. La Cienega Blvd Los Angeles, CA 90069 +1 310 652 1711 info@oh–wow.com www.oh–wow.com Bert Rodriguez: A Meal I Make with my Mother (Los Angeles) Nov 12 – Dec 3 Open 11–6, Tue – Sat
David Zwirner 525 West 19th Street New York, NY 10011 +1 212 727 2070 information@davidzwirner.com www.davidzwirner.com Michaël Borremans: The Devil’s Dress 4 Nov – 17 Dec Open 10–6, Tue–Sat
The Pace Gallery 32 East 57th Street New York, NY 10022 +1 212 421 3292 info2@thepacegallery.com www.thepacegallery.com Calder: 1941 21 Oct – 24 Dec Open 9.30–6, Tue–Fri; 10–6 Sat
Doosan Gallery 533 West 25th St New York, NY 10001 +1 212 242 6343 info@doosangallery com www.doosangallery.com Jenny Cho: In–Between: Through the eyes of the others to 12 Nov Open 10–6, Tue–Sat
The Pace Gallery 534 West 25th Street New York, NY 10001 +1 212 929 7000 info2@thepacegallery.com www.thepacegallery.com Roberto Matta: A Centennial Celebration 7 Nov – 28 Jan, Open 10–6, Tue–Sat
LA Louver 45 North Venice Boulevard Venice, California 90291 +1 310 822 4955 info@lalouver.com www.lalouver.com Loose Canon Gajin Fujita: Made in L.A. to 12 Nov Open 10–6, Tue–Sat L&M Arts 45 East 78 Street New York, NY 10075 +1 212 861 0020 info@lmgallery.com www.lmgallery.com Dan Flavin: Three Works to 3 Dec Open 10–5.30, Tue–Sat Lehmann Maupin 201 Chrystie St New York, NY 10012 +1 212 254 0054 info@lehmannmaupin.com www.lehmanmaupin.com Billy Childish: I am the Billy Childish Curated by Matthew Higgs 3 Nov – 21 Jan Open 10–6, Tue–Sat
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Lehmann Maupin 540 West 26th St New York, NY 10001 +1 212 255 2923 info@lehmannmaupin.com www.lehmanmaupin.com Klara Kristalova: Sounds of Dogs and Youth 27 Oct – 28 Jan Open 10–6, Tue–Sat
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The Pace Gallery Open 10–6, Tue–Sat 545 West 22nd Street New York, NY 10001 +1 212 989 4258 info2@thepacegallery.com www.thepacegallery.com Burning, Bright: A Short History of the Light Bulb 29 Oct – 26 Nov Open 10–6, Tue–Sat The Pace Gallery 510 West 25th Street New York, NY 10001 +1 212 255 4044 info2@thepacegallery.com www.thepacegallery.com Hiroshi Sugimoto: Surface of the Third Order to 3 Dec, Open 10–6, Tue–Sat Tracy Williams Ltd 521 West 23rd Street New York, NY 10011 +1 212 229 2757 info@tracywilliamsltd.com www.tracywilliamsltd.com Matt Mullican: Behind That Person Nov – Dec, Open 11–6, Tues – Sat
CHINA Aye Gallery Room 601, unit 3, Yong he Garden, Yard 3, Dong Bin he Road, An Dind Men, Doncheng district, Beijing + 86 10 8422 1726 juliameng2003@gmail.com www.ayegallery.com Chen Wenji: What 27 Nov – 20 Jan Open 10–6, Tue–Sun Ullens Center for Contemporary Art 798 Art District, No.4 JiuXianQiao Lu, Chaoyang District, Beijing visitor@ucca.org.cn www.ucca.org.cn + 86 10 5780 0200 Zhan Wang: My Personal Universe 19 Nov – 25 Feb, Open 10–7, Tue–Sun Long March Space 4 Jiuxianqiao Rd, Chaoyang District, Beijing +86 10–59789768 press@longmarchspace.com www.longmarchspace.com Wu Shanzhuan / Liu Wei / Wang Jianwei 2011 Frieze Art Fair, Stand: E20 13–16 Oct Open 10–6, Thu– Sun
JAPAN Galleria Grafica Tokio Ginza S2 bldg Chuo–ku, 104–0061 Tokyo +81 3 5550 1335 info@galleriagrafica.com www.galleriagrafica.com Kaori Watanabe / Akira Nagasawa / Hideo Aratani / Mao Nakada Art Daegu 2011, South Korea 9–14 Nov, Open 11–8
TAIWAN Taipei Fine Arts Museum 181 Zhongshan North Road Section 3 Taipei + 886 2 25957656 yangsw@tfam.gov.tw www.tfam.museum Ai Weiwei: Absent 29 Oct – 29 Jan Open 9.30–5.30, Tue–Sun
UNITED ARAB EMIRATES Abu Dhabi Art 2011 Saadiyat Cultural District, Abu Dhabi +971 2 4061501 abudhabiartfair@tdic.ae www.abudhabiartfair.ae/en/ 16–19 Nov Open 2–10, Wed–Sat Traffic 179 Umm Suqeim Rd, PO Box 6716 Dubai + 9714 3470209 info@viatraffic.org www.viatraffic.org God Save The Queen from 10 Nov 10–7, Sat–Thu
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The Page Gallery B101 Boutique Monaco, 1316-5 Seocho-Dong, Seocho-Gu, Seoul 137-857 +82 2 3447 0049 britkenko@gmail.com www.thepage-gallery.com Yin Zhaoyang 18 Nov –18 Dec, Open 10.30–7 Tue–Sun
Kunsthal Charlottenborg Nyhavn 2, 1051 Copenhagen K +45 33 13 40 22 www.kunsthalcharlottenborg.dk Simon Starling 7 Oct – 22 Jan Nina Beier 7 Oct –31 Dec Open Tue, Thu–Sun, 11am–pm, Wed, 11–8
National Museum of Contemporary Art 313 Gwangmyeongro Gwacheonsi Gyeonggido, 427–701 +82 2 2188 6114 soleh@korea.kr www.moca.go.kr Tell me Tell me: Australian and Korean Art 1976–2011 10 Nov – 19 Feb Open 10–5, Tue–Fri; 10–8, Sat–Sun Arario Gallery #354–1 Shinbu-dong Chonan-si Chungnam +82 41 551 5100 info@arariogallery.com www.arariogallery.com Leslie de Chavez 15 Nov–15 Jan, Open 11–7, Tue–Sun
Louisiana Museum of Modern Art Gl. Strandvej 13 – 3050 Humlebæk www.louisiana.dk Vija Celmins: Louisiana on paper to 8 Jan Klee & Cobra to 8 Jan Open Tue–Fri, 11–10; Sat–Sun, 11–6 V1 Gallery Flaesketorvet 69–71, 1711 Copenhagen V www.v1gallery.com mail@v1gallery.com +45 33310321 Wes Lang: Life And How To Live It to 18 Nov
FRANCE AUSTRIA Hubert Winter Breite Gasse 17, 1070 Vienna +43 1 5240976 office@galeriewinter.at www.galeriewinter.at Marcia Hafif: Orange and Green: Splash Paintings to 5 Nov Katherine Porter 10 Nov – 23 Dec Thaddaeus Ropac Mirabellplatz 2, 5020 Salzburg +43 662 881 393 office@ropac.at www.ropac.net Gerwald Rockenschaub: If I Ever Had The Chance Again, I’d Probably Do The Same to Nov Open 10–7, Tue–Sat
BELGIUM Almine Rech 20 Rue de l’Abbaye Abdijstraat, B–1050 Brussels +32 2 648 5684 brussels@alminerech.com www.alminerech.com Richard Prince: The Fug to 5 Nov Zeno X Gallery Leopold De Waelplaats 16, B–2000 Antwerp 32 (0)3 216 16 26 info@zeno–x.com www.zeno-x.com Dirk Braeckman 28 Oct – 26 Nov Open 2–6, Wed – Sat
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Almine Rech 19 rue de Saintonge, 75003 Paris +33 1 45 83 71 90 paris@alminerech.com www.alminerech.com Aaron Young: Always Forever Now 20 Oct – 22 D ec Open 11–7, Tue–Sat Thaddaeus Ropac 7, rue Debelleyme, 75003 Paris +33 1 4272 9900 galerie@ropac.net www.ropac.net Alex Katz: Face the Music Banks Violette: Nice Patriotic Hymns For Children 20 Oct – 19 Nov Open 10–7, Tue–Sat Emmanuel Perrotin 76 Rue de Turenne & 10 Impasse St Claude, 75003 Paris +33 1 42 16 79 79 info@perrotin.com www.perrotin.com Xavier Veilhan: Orchestre to 12 Nov Takashi Murakami: Homage to Yves Klein 20 Oct – 7 Jan JR 19 Nov – 7 Jan Open 11–7, Tue–Sat FIAC Grand Palais, 3 Avenue du Général Eisenhowers, 75008 Paris info@fiac.com www.fiac.com 20–23 Oct, 11–7
Galleria Continua Le Moulin 46 rue de la Ferté Gaucher 77169 Boissy–le–Châtel (Seine–et–Marne) +33 1 64 20 3950 lemoulin@galleriacontinua.com www.galleriacontinua.com Sphères 4 22 Oct – 6 May Open 12–6, Fri–Sun Suzanne Tarasieve Paris 7 Rue Pastourelle, 75003 Paris Loft 19 Passage de l’Atlas / 5, Villa Marcel Lods, 75019 Paris +33 1 42 71 76 54 info@suzanne-tarasieve.com www.suzanne-tarasieve.com Marcus Lüpertz: Classic and Maverick to 10 Nov Russell Crotty 19 Nov – 7 Jan Open 11–7, Tue–Sat
GERMANY Galerie Daniel Blau Odeonsplatz 12, 80539 München +49 89 29 73 42 contact@danielblau.com www.danielblau.com Rachel Kneebone: Still Life 22 Oct – 23 Dec Open Tue – Fri, 11–6 Mon & Sat by appointment Deutsche Guggenheim Unter den Linden 13–15, 10117 Berlin +49 202 093 14 berlin.guggenheim@db.com www.deutsche-guggenheim.de Pawał Althamer: Almech 28 Oct – 16 Jan
ICELAND i8 Gallery Tryggvagata 16, 101 Reykjavik +354 551 3666 info@i8.is www.i8.is Roni Horn to 29 Oct Janice Kerbel 3 Nov – 10 Dec
IRELAND Douglas Hyde Gallery Trinity College, Dublin 2 +353 1 896 1116 dhgallery@tcd.ie www.douglashydegallery.com Alice Neel: Family to 16 Nov Open 11–6, Mon–Fri Kerlin Gallery Anne’s Lane, South Anne Street, Dublin 2 +353 1 670 9096 gallery@kerlin.ie www.kerlin.ie Sean Scully: Cut Ground to 19 Nov 10–5.45 Mon–Fri; 11–4.30, Sat
2011 ר࿔ᣗࣼࣃቛ Chen Wenji’s Painting Works 2011
ਸట：2011 11 ሆ 27 න 15：00 — 18：00 Opening: 3PM — 6PM，November 27, 2011 ቛ：2011 11 ሆ 27 න— 2012 01 ሆ 20 න Exhibition：November 27, 2011 — January 20, 2012
ԛ۫൶Ҿۨோ۫՟ࢋୟ 3 ࡽᇾᆠࢅॆᇴ ܾ 3 ڇᇮ 601 100013 room 601, unit 3, yong he garden, yard 3, dong bin he road, an ding men, dongcheng district, beijing 100013
Tel: 86 10 8422 1726 Fax: 86 10 8422 1728 Email: aye@ayegallery.com Website: www.ayegallery.com Open Hours: 10am-6pm, every Tuesday to Sunday with appointment
Listings
Europe
Mother’s Tankstation 41–43 Watling Street, Ushers Island, Dublin 8 +353 1 671 7654 gallery@motherstankstation.com www.motherstankstation.com Elodie Pong to 17 Dec Open 12–6, Thu–Sat
Fondazione Trussardi Cinema Manzoni Via Manzoni 40, Milan +39 02 806 8821 info@fondazionenicolatrussardi.com www.fondazionenicolatrussardi.com Pipilotti Rist: Parasimpatico 9 Nov – 18 Dec Open 10–6, Tue–Fri
ITALY
Riccardo Crespi Via Mellerio n° 1,20123 Milan +39 02 8907 2491 info@gallery.com www.riccardocrespi.com Roee Rosen 16 Nov – 15 Jan Open 11–7, Mon–Sat
Massimo De Carlo Via Giovanni Ventura 5, 20135 Milan +39 02 70 00 39 87 info@massimodecarlo.it www.massimodecarlo.it Massimo Bartolini: Basements to 12 Nov Open 11.30–7.30, Tue–Sat Cardi Black Box Corso di Porta Nuova 38, 20124 Milan +39 02 4547 8189 gallery@cardiblackbox.com www.cardiblackbox.com Flavio Favelli: Manatthan Club Open 10–7, Mon–Sat Brand New Gallery Via Farini 32, 20159 Milan +39 02 8905 3083 info@brandnew-gallery.com www.brandnew-gallery.com Shinique Smith: To the Ocean of Everyone Else 10 Nov – 22 Dec Open 11–1, 2.30–7, Tue–Sat Galleria Pack Foro Bonaparte 60, 20121 Milan +39 02 8699 6395 info@galleriapack.com www.galleriapack.com Andres Serrano: Holy Works to 19 Nov Open 11–7, Tue–Sat MAXXI Via Guido Reni, 4A, 00196 Rome +39 06 3996 7350 info@fondazionemaxxi.it www.fondazionemaxxi.it Indian Highway to 29 Jan Open 11–7 Tue–Fri, Sun; 11–22 Thu–Sat Lorcan O’ Neill Via Orti d’Alibert 1e, 00165 Rome +39 06 6889 2980 mail@lorcanoneill.com www.lorcanoneill.com Rachel Whiteread: Looking On to 10 Dec Open 12–8, Tue–Sat Galleria Continua San Gimignano Via del Castello 11, 53037 San Gimignano (SI) 39 0577 943134 info@galleriacontinua.com www.galleriacontinua.com Chen Zen: Les Pas Silencieux to 28 Jan Open 2–7, Tue–Sat
160
Listings
Galleria Massimo Minini Via Apollonio, 68, 25128 Brescia +39 030 38 30 34 info@galleriaminini.it www.galleriaminini.it Paolo Chiasera Paolo Gioli: Dietro il volto to 12 Nov Open 10–730, Mon–Fri; 3.30–7.30 Sat
NETHERLANDS Grimm Eerste Jacob Van Campenstraat 23–25, 1072 BB Amsterdam +31 6 1488 3834 info@grimmgallery.com www.grimmgallery.com Matthew Day Jackson: Heel Gezellig 6 Oct – 20 Nov Mick Peter Nov–Jan Open 12–6, Wed–Sat
SPAIN Helga de Alvear Calle del Doctor Fourquet, 12, 28012 Madrid +34 91 468 05 06 www.helgadealvear.com Axel Hutte: Rheingau to 29 Oct Santiago Sierra Dan Perjovschi 17 Nov – 1 Jan Open 11–7, Tue–Sat Centro de Artes Visuales Fundacion Helga de Alvear Calle de Pizarro, 8, 0003 Cáceres +34 92 762 64 14 general@fundacionhelgadealvear.es www.fundacionhelgadealvear.es Group Show Open 10–2 & 5–8, Tue–Fri; 10–2.30, Sun MUSAC Avenida de los Reyes Leoneses, 24 24008 León +34 987 09 00 00 musac@musac.es www.musac.es Paradigm Shift: Serralves Collection 60–70s to 8 Jan Open 10–3 & 5–8, Tue–Fri; 11–3 & 5–9 Sat–Sun ProjecteSD ProjecteSD. Passatge Mercader 8, Baixos 1 08008 Barcelona ++ 34 93 488 1360 info@projectesd.com www.projectesd.com Matt Mullican 22 Nov – 21 Jan Open 11–7, Tue–Sun
SWEDEN de Appel Arts Centre Eerste Jacob van Campenstraat 59, Amsterdam +31 0 20 6255651 info@deappel.nl www.deappel.nl Sven Augusti jnen: Spectres to 12 Feb Open 11–6, Tue–Sun
POLAND Art Moves Festival +48604967852 artmoves@tlen.pl www.artmovesfestival.org Art Moves Festival Marcos Raorez Erre / Ken Lum / Bob and Roberta Smith / Daniele Buetti / Adam Niklewicz / Jerzy Kosalka / Andrew Willett / Joanna Gorska / Rafal Goralski to 16 Oct
Magasin 3 Frihamnen, SE – 115 56, Stockholm art@magasin3.com www.magasin3.com Andrea Zittel: Lay of My Land to 11 Dec Open 11–7, Thu; 11–5 Fri–Sun Malmö Konsthall S:t Johannesgatan 7, Station Triangeln Box 17127, SE–200 10 Malmö +46 40–34 60 00 www.konsthall.malmo.se Misaki Kawai: Big Bubble Chris Johanson: Alright Alright to 27 Nov Open 11–5; 11–9 Wed
SWITZERLAND Eva Presenhuber Zahnradstrasse 21, 8005 Zürich +41 43 444 70 50 info@presenhuber.com www.presenhuber.com Beat Streuli Verne Dawson 17 Nov – 23 Dec Open 10–6, Tues – Fri, 11–5 Sat
Listings
Europe & South Africa
Galerie Peter Kilchmann Zahnradstrasse 21, 8005 Zürich +41 44 278 10 10 info@peterkilchmann.com www.peterkilchmann.com Zilla Leutenegger: Rock the Chair Michael Bauer: The Summer I Started Collecting Knives through 29 Oct Open 10–6, Tue–Fri, 11–5 Sat Mai 36 Ramistrasse 37, CH–8001 Zürich +41 44 261 68 80 mail@mai36.com www.mai36.com Christoph Rütimann: Venice in a Boat to 30 Oct Open 11–6.30, Tue–Fri, 11–4 Sat Migros Museum für Gegenwartskunst Albisriederstrasse 199A, CH-8047 Zürich info@gallery.com www.migrosmuseum.ch The Garden of Forking Paths to 30 Oct Florian Germann: The Poltergeist Experimental Group 19 Nov – 15 Jan Open 10–6, Tues, Wed, Fri; 12–8 Thu; 11–5 Sun Urs Meile Rosenberghöhe 4, 6004 Luzern +41 41 420 33 18 galerie@galerieursmeile.com www.galerieursmeile.com Andreas Golder: Retrospektive 2011.7 – 2011.8 to 5 Nov Open 10–6, Tue–Fri; Sat (by appointment)
UNITED KINGDOM Alan Cristea Gallery 31 & 34 Cork St, London W1S 3NU +44 207 439 1866 info@alancristea.com www.alancristea.com Ian Davenport: Prismatic to 12 Nov Open 1–5.30, Mon–Fri; 11–2 Sat Lisson Gallery 52–54 Bell Street, London NW1 5DA +44 20 7724 2739 contact@lissongallery.com www.lissongallery.com Allora & Calzadilla: Vieques Videos 2003–2011 23 Nov–14 Jan Daniel Buren: One thing to another, situated works 25 Nov – 14 Jan Open 10–6, Mon–Fri; 11–5, Sat Mary Mary New Art Centre Roche, Court, East Winterslow Salisbury, Wilts SP5 1BG +44 1980 862244 nac@sculpture.uk.com www.sculpture.uk.com Victor Pasmore: From Construction to Spray Paint 12 Nov–29 Jan Open 11–4, daily
162
Listings
Open Eye Gallery 19 Mann Island, Liverpool Waterfront Liverpool, L3 1BP +44 151 236 6768 info@openeye.org.uk www.openeye.org.uk Mitch Epstein: American Power 5 Nov–23 Dec Open 10.30–5.30, Tue–Sun Platform A Gallery Middlesbrough Railway Station Zetland Road, Middlesbrough, TS1 1EG +44 1642 252 061 info@platformagallery.net www.platformagallery.net DJ Simpson: New Works 20 Oct – 2 Dec Open 10–4, Tue–Sat Richard Young Gallery 4 Holland Street, London W8 4LT +44 20 7937 8911 info@richardyounggallery.co.uk www.richardyounggallery.co.uk Ohad Maiman: 2 Klicks South Of Wonderland to 12 Nov Open 10–6, Mon–Thu; 10–5, Fri; 10.30–5 Sat
Timothy Taylor Gallery 15 Carlos Place, London W1K 2EX +44 207 409 3344 mail@timothytaylorgallery.com www.timothytaylorgallery.com Josephine Meckseper to 12 Nov Open 10–6, Mon–Fri; 10–2 Sat Turner Contemporary Rendezvous, Margate, Kent, CT9 1HG +44 1843 233 000 info@turnercontemporary.org www.turnercontemporary.org Nothing in the World But Youth 17 Sep – 8 Jan Open 10–7, Tue–Thu; 10–10, Fri Victoria Miro Gallery 16 Wharf Road, London N1 7RW +44 20 7336 8109 info@victoria–miro.com www.victoria–miro.com Tal R: Science Fiction 12 Oct – 12 Nov Open 10–6, Tue–Sat
SOUTH AFRICA Saatchi Gallery Duke of York’s HQ, King’s Road London, SW3 4RY +44 207 811 3085 admin@saatchigallery.com www.saatchigallery.com Gesamtkunstwerk: New Art from Germany 18 Nov – 30 Apr 2012 Open 10–6, daily Sadie Coles HQ 69 South Audley Street, London W1K 2QZ +44 20 7493 8611 info@sadiecoles.com www.sadiecoles.com Christiana Soulou 2 Nov – 21 Dec Open 11–6, Tue–Sat Sadie Coles HQ 4 New Burlington Place, London W1S 2HS +44 20 7493 8611 info@sadiecoles.com www.sadiecoles.com Hilary Lloyd 16 Nov – 21 Dec Open 11–6, Tue–Sat Simon Oldfield 9 Henrietta Street, London, W2E 8PW +44 207 395 3701 art@simonoldfield.com www.simonoldfield.com Daniel Wells: Fragile Construct to 9 Nov Katie Cuddon 18 Nov – 22 Dec Open 10–6, Tue–Fri, 12–4, Sat Simon Lee Gallery 12 Berkeley Street, London, W1J 8DT +44 20 7491 0100 info@simonleegallery.com www.simonleegallery.com Merlin Carpenter: Tate Café 3 Nov – 22 Dec Open 10–6, Mon–Sat
34 Fine Art 2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Road, Woodstock, Cape Town +27 21 461 1863 info@34fi neart.com www.34fineart.com Relate 22 Nov – 28 Jan Open 10.34–4.34, Tue–Fri; 10.34–1.34 Sat Brundyn + Gonsalves 71 Loop Street, Cape Town +27 21 424 5150 info@brundyngonsalves.com www.brundyngonsalves.com Stephen Inggs: Legacy 2–30 Nov Open 9–5 Mon–Fri; 10–2, Sat SMAC Art Gallery 1st Floor De Wet Centre, Church Street, Stellenbosch +27 21 887 3607 info@smacgallery.com www.smacgallery.com Nel Erasmus: Retrospective to 12 Jan Open 9–5, Mon–Fri; 9–3.30, Sat SMAC Cape Town 60 New Church Street (Access off Buitengracht), Cape Town, 8001 +27 21 422 5100 info@smacgallery.com www.smacgallery.com Jake Aikman: Proximity to 30Nov Open 9–5, Mon–Fri ; 10–2, Sat Whatiftheworld Gallery Argyle Rd, Woodstock, 7025 Cape Town +27 21 802 311 info@whatiftheworld.com www.whatiftheworld.com Maja Marx: Fold to 26 Nov 10–5, Tue–Fri; 10–2, Sat; or by appointment
ArĆ&#x;sts Le Quy Tong Pham Luan Phuong Quoc Tri Hong Viet Dung Do Quang Em Dang Xuan Hoa Tran Luu Hau Hoang Duc Dung Nguyen Van Cuong
Bui Huu Hung Le Thanh Son Dao Hai Phong Do Hoang Tuong Dinh Y Nhi Le Thiet Cuong Lim Khim Katy Bui Van Hoan
Pham Luan, Street Vendors oil on canvas, 135x155cm, 2009
Le Quy Tong, One Side of Youth, oil on canvas, 200 x 320 cm, 2009
LALEH JUNE GALERIE
PICASSOPLATZ 4 CH - 4052 BASEL
T. + 41.61.228.77.78 INFO@LALEHJUNE.COM WWW.LALEHJUNE.COM WIM DELVOYE, 'Coccyx Double', Yellow gold, var. dimensions
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Softkill Lyndall Phelps
University of Hertfordshire Galleries Art and Design Gallery, College Lane, Hatfield. AL10 9AB +44 (0) 1707 284 290 www.go.herts.ac.uk/uhgalleries Exhibition dates: 25 November 2011 – 28 January 2012 Art and Design Gallery opening hours: Monday - Friday 9.30am - 5.30pm Saturday 9.30am - 3.30pm
CALL FOR ENTRIES Deadline to register: 20 January 2012 To enter visit: liverpoolmuseums.org.uk/johnmoores
First Prize: £25,000 Jury: Fiona Banner Iwona Blazwick Alan Yentob
George Shaw Angela de la Cruz Patron: Sir Peter Blake
A partnership between National Museums Liverpool and John Moores Liverpool Exhibition Trust
@JohnMoores2012
scan for more information
A R T I S T S
N E W
A U D I E N C E S
Edgar Martins, Untitled (Atlanta, Georgia), from the series This is not a House, 2009. Colour photograph. Courtesy the artist.
N E W
TWO ARTISTS Eileen Cooper RA Lisa Wright TWO CRITICS Brian Sewell Ossian Ward TWO COLLECTORS John Deston John Pluthero
Edgar Martins
This is not a House Supported by the Calouste Gulbenkian Foundation (UK branch)
Self Portrait as Proteus I by Tai Schierenberg
Structure & Material
10 - 20 November 2011
Claire Barclay, Becky Beasley, Karla Black
Mall Galleries, London SW1
An Arts Council Collection Exhibition curated by Katrina Brown and Caroline Douglas
30 September — 24 December 2011
10am-5pm Admission Free All works are for sale www.discerningeye.org
Supported by: Walsall Council & Arts Council England
For further details please contact Parker Harris 01372 462 190 or de@parkerharris.co.uk
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2002 Beginnings The List 1 2 3 4 5 6 7 8 9 10 11 12 13 14
These days ArtReview’s PR people insist that any mention of ‘the Power 100’ must always be followed by: ‘is an institution’. But strange as it may seem, that wasn’t always the case… Back in 2002, no one in the artworld ever talked about power unless it was whispered in the soundproofed control rooms of their subterranean art bunkers. Of course, power – exerting an influence over the weaker-minded individuals who cross your path – was what everyone in art truly craved. They all pretended they were reading some text by Nicolas Bourriaud about ‘inclusion’ and ‘open-endedness’, but in private they were reading Iyanla Vanzant’s Tapping the Power Within or Ben Stiller and Janeane Garofalo’s Feel This Book: An Essential Guide to Self-Empowerment, Spiritual Supremacy and Sexual Satisfaction, while reminding themselves that the twentieth century’s most powerful creative minds tend to get more than their fair share of sex. Given that it runs a scriptorium, however, ArtReview was naturally of a more scholarly and monastic bent. And it was reading the famous vicar and partridge-shooter Charles Caleb Colton’s celebrated Lacon (1820), from which the following passage leapt out and struck it like the direct hit of a thunderbolt to the eyeballs: ‘To know the pains of power, we must go to those who have it; to know its pleasures, we must go to those who are seeking.’ And so, once it had recovered enough of its sight to use its brand new iMac DVSE, ArtReview professed the love that, for everyone else in art, had dared not speak its name: the love of power. Of course, ArtReview didn’t want to brag about the length and breadth of its reading when it wrote the introduction to its inaugural Power 100 list. No one likes a show-off. So instead it 176
Looking Back
15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64
Charles Saatchi François Pinault Ronald Lauder Gerhard Richter Lucy Mitchell-Innes & David Nash Nicholas Serota Francesco Bonami Kelly Nahmad Alfred Taubman Patricia Barbizet Paul Allen William Acquavella Michael Bloomberg Simon de Pury & Daniella Luxembourg Bernard Arnault Eli Broad Bernard Green Jay Jopling Arne Glimcher Dakis Joannou William Ruprecht Carmen Thyssen Larry Gagosian Jeff Koons Kaspar König Nicholas Logsdail Si Newhouse Anthony d’Offay Andrew Lloyd Webber Jacob Rothschild Harald Szeemann Norman Rosenthal Victoria Miro James Roundell Minoru Mori Mikhail Shvydkoi David Geffen Patricia Phelps de Cisneros Ernst Beyeler Zahi Hawass Tracey Emin Benedikt Taschen Ugo Zottin Marian Goodman Steve Wynn Lex Fenwick David Hockney James Lingwood Kim Heirston Anthony O’Reilly Andreas Gursky Marc Blondeau Jasper Johns Enrico Navarra Craig Robins Joe Berardo Okwui Enwezor Matthew Barney Maurizio Cattelan Robert Hughes Samuel Keller Damien Hirst Germano Celant Andrea Rosen
65 66 67 68 69 70 71 73 74 75 76
Anselm Kiefer John Sainsbury Julia Peyton-Jones Ivor Braka Matthew Higgs Angela Nevill Tadao Ando Anthony Browne Leslie Waddington Hans Ulrich Obrist Harry Blain & Graham Southern 77 Dean Valentine 78 Matthew Marks 79 Edemar Cid Ferreira 80 Sandra Esqulant 81 Rem Koolhaas 82 Lowery Sims 83 Frank Gehry 84 Ingvild Goetz 84 Julian Schnabel 85 Robert Storr 86 Raymond Nasher 87 Lew Manilow 88 Eugenio López 89 Pauline Karpidas 90 Rudi Fuchs 91 Chang Tsong-Zung 92 Peter Marzio 93 Mike Smith 95 Barry Munitz 96 Patrizio Sandretto Re Rebaudengo 97 Frank Dunphy 98 Detmar & Isabella Blow 99 Thomas Sokolowski 100 Rolf Harris
used the magic of the ‘bold’ function on its new copy of Adobe InDesign to highlight the words ‘jockeying’, ‘idea power’, ‘privately’, ‘key moment’, ‘changed’ and ‘you’ in the midst of its usual friendly, unthreatening, inclusive waffle. Nuff said, right? Well, it was back then, when people weren’t so stupid. But let’s try and work it out: as you leaf through the glorious first issue, there’s a hint, in a featurette called ‘Power Couples’, that ArtReview, always known for its subtle manipulations of art and the people who hang around it, was using its power list to launch a campaign for gender equality. The artworld ‘specialises in power partnerships’, ArtReview shrieked, baring its breasts and adopting a half-remembered pose from an art-history class on Delacroix. That is, before realising how exposed it really was, covering up and turning tail in full-fledged retreat, muttering that ‘behind every great dealer is a woman of great taste’ and leaving only the masculine part of any of the partnerships it appeared to be celebrating on the list. Exceptionally, Lucy Mitchell-Innes shared the number 5 slot with fellow gallerist David Nash (the lesson here, ladies, is to make sure your man includes your name in that of the gallery). Still, to balance things out, ArtReview mentioned Tracey Emin’s (41) unnumbered lover Mat Collishaw, and pointed out that Warren Miro, the famous ‘property panjandrum’ (ArtReview’s mother had bought it an antique thesaurus for its birthday) ‘helps out his favourite tenant, wife Victoria Miro’. Although now that it’s thinking things over, ArtReview’s not sure that balanced up anything at all… Still, the game of power is all about coming first. And in 2002, Charles Saatchi, ‘the leading market-maker and artist-maker in contemporary art in London, New York and Berlin’, managed to make the number 1 spot on his own, having ‘a kind of absolute power on the contemporary art market’. Elsewhere, Phillips de Pury were about to dominate the auction market, curating was ‘currently the most desirable vocation’ among all arts professions, East London pub landlady Sandra Esqulant was the 80th most powerful person in the artworld, and Gerhard Richter (4) was the only artist in the top 23 (Jeff Koons, ‘the epitome of the commercial art world – seemingly vulgar and shallow, but actually shrewd and highly profitable’, was sparkling away at number 24). As ArtReview was saying, the world was… errr… certainly a different place back then. No one had heard of David Zwirner or Iwan Wirth, and Louise Bourgeois was presumably still best known as the woman of great taste behind the late museum director Robert Goldwater. That’s not to say that things weren’t better back then. Because it can’t remember anything about that time, ArtReview’s sure it enjoyed its free tab at Esqulant’s Golden Hart, and it’s definitely going to mount a campaign to reintroduce the term ‘picture dealer’ (last applied to Ivor Braka, number 68 in 2002).
‘Saatchi has acquired a kind of absolute power on the contemporary art market.’ – ArtReview 2002
History – Documenta 11, curated by Okwui Enwezor, runs in Kassel over the summer – The first Art Basel Miami Beach is held in December
ArtReview ArtReview
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History – The first Frieze Art Fair is held in London’s Regent’s Park in October – A coalition of forces, including the US and the UK, invade Iraq – The Saatchi Gallery moves to London’s County Hall
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2003 Lessons
In 2003 ArtReview decided to teach its readers that power was a fleeting thing. Charles Saatchi, the man who had held ‘absolute power’ over art just 12 months previously was deposed, tumbling down the power pile to number 6. And as it would with any former lover, ArtReview started telling its friends how rubbish the ex had been in bed. It pointed out the ‘hoots of derision’ that had apparently accompanied the opening of Saatchi’s new County Hall gallery and peddled rumours of a falling-out with numbers 25 (dealer Jay Jopling) and 49 (Damien Hirst) – although, on reflection, ArtReview concedes that there is little logic in claiming that number 6 is beholden to numbers 25 and 49 for his power. Whatever, you all lapped it up at the time. And now that the ex had married a celebrity chef (Nigella Lawson), ArtReview wholly failed to contain its mocking titters, issuing the devastatingly cutting speculation that Saatchi might ‘be moving into catering’ in the near future. But enough of all that, by now ArtReview only had eyes for the far more distinguishedlooking Ronald Lauder. And to prove it, it came out with what was already starting to become its trademark love token: a meaningless sentence. ‘Cosmetics billionaire Ronald Lauder’s influence in the art world and beyond is unrivalled’, it gushed, before adding, with a saucy wink and snigger, ‘and as wide and deep as his pockets.’ ArtReview even had enough love left over to pen a similarly fatuous token of its ardour to our lover no. 2, French billionaire François Pinault: ‘still one of the very biggest animals stalking around the artworld’, it squealed while ogling the photo of him clutching at his groin. Meanwhile, ArtReview introduced the artworld to the following: the world’s most famous bag-maker,
Takashi Murakami (new entry at number 7 by virtue of his work for Marc Jacobs rather than any of that useless gallery ‘art’, ArtReview helpfully informed you); David ‘son of powerful Cologne dealer Rudolf ’ Zwirner (new at 32); Iwan ‘the very incarnation of the gallerist as producer’ Wirth (new at 17); Miuccia Prada (new at 79), the world’s second most famous bag-maker; and revealed that art theorists were ‘ultimately more influential’ than art critics (Benjamin Buchloh, number 85). Oh, yes: forgetting that she had once had a powerful artworld husband, ArtReview allowed ninety-two-year-old Louise Bourgeois (40) on its list, although it did come up with this moment of sublime stupidity, lest she forget her place: ‘the Zeitgeist pendulum of contemporary art has swung back in her direction. After all, even a broken clock is right twice a day.’ On an equally sad note, after 2002’s pub session, ArtReview lost its appetite for alcohol. But luckily not for comedy: it named Gil Perez, the doorman at Christie’s, New York, the 50th (50th!) most important man in art. ‘So good is he at meeting the high-net-worth group which attends important evening sales and special events that he sometimes swaps doors, and can be seen in London, Paris and Los Angeles’, we uttered marvellingly. ArtReview’s real purpose, of course, was to make you lazy art people raise your game in the power stakes. And that’s why it settled an ex-pop star (the KLF’s Bill Drummond), a Hoor (Al-Qasimi) and a dentist (Adrian Mullish, Damien Hirst’s tooth fairy) into places 98 to 100.
‘Power is not fame, yet people make this mistake all too often. To be the only naked homeless person in your neighbourhood will make you very famous but not very powerful.’ – Francesco Bonami 2003
The List 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53
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Ronald Lauder François Pinault Nicholas Serota Larry Gagosian Gerhard Richter Charles Saatchi Takashi Murakami Maja Oeri Leonard Lauder Dakis Joannou Santiago Sierra David Geffen Jacques Herzog & Pierre de Meuron Glenn D. Lowry Samuel Keller Leonard Riggio Iwan Wirth Barbara Gladstone Eli Broad Tobias Meyer Zaha Hadid Dan Cameron Matthew Barney Maurizio Cattelan Jay Jopling Adam D. Weinberg Sadie Coles Marian Goodman Peter-Klaus Schuster Ed Ruscha Andreas Gursky David Zwirner Francesco Bonami Agnes & Karlheinz Essl Sigmar Polke Brett Gorvy Rafael Viñoly Jeffrey Deitch Gavin Brown Louise Bourgeois Gerard Woodrow Norman Rosenthal Mick Flick Matthew Marks Alanna Heiss Bernard Arnault Yvon Lambert Jeff Koons Damien Hirst Gil Perez David Elliott Lawrence Luhring & Roland Augustine Barbara Guggenheim & Abigail Asher Alain Dominique & Marie-Thérèse Perrin Udo Kittelmann
ArtReview
56 David Adjaye 57 Jose, Alberto & David Mugrabi 58 Thelma Golden 59 Cheyenne Westphal 60 Jake & Dinos Chapman 61 Maureen Paley 62 James Snyder 63 Cindy Sherman 64 Victoria Miro 65 Frances & John Bowes 66 Peter B. Lewis 67 Harry Blain & Graham Southern 68 Thaddaeus Ropac 69 Thea Westreich 70 Simon de Pury & Daniella Luxembourg 71 Chang Tsong-Zung 72 Gustavo Cisneros & Patricia Phelps 73 Margaret Riley 74 Paul McCarthy 75 Max Hetzler 76 Elena Geuna 77 Nicholas Logsdail 78 Robert Morgenthau 79 Miuccia Prada 80 Craig Robins 81 Richard & Pamela Kramlich 82 Lisa Dennison 83 Richard Schlagman 84 Uli Sigg 85 Benjamin Buchloh 86 Hans Ulrich Obrist 87 Ydessa Hendeles 88 Isabela Mora 89 The Public Art Fund 90 Clarissa Dalrymple 91 Edmund Capon 92 Cai Guo-Qiang 93 James Moores 94 Fergus & Margot Henderson 95 Anita & Poju Zabludowicz 96 Carlos Basualdo 97 Walter Robinson 98 Bill Drummond 99 Sheikha Hoor Al-Qasimi 100 Adrian Mullish
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History – A Momart warehouse in London, which stores major pieces of Britart, including works held in Charles Saatchi’s collection, burns to the ground – MoMA moves into its new building, designed by Yoshio Taniguchi – Jacques Derrida dies
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2004 Prophecies
In 2004, to celebrate a trinity of its by now internationally famous and massively respected power lists, ArtReview paid British poet Edward Lucie-Smith to write about the future of its glorious project. Edward earned his crust with this opening salvo: ‘ArtReview’s new Power 100 list can perhaps be taken more seriously than most’. (Although our PR people – rather an aggressive bunch – keep telling us that we should track down the editors who allowed Eddie to retain that ‘perhaps’, reduce them to tears and then fire them.) We paid Eddie because he’s a man who likes to please and, like all poets, is wonderfully silver-tongued, enabling him to deliver this innocent-sounding inanity: ‘If one were to make a list in five or ten years’ time, it would be very different’. Which cleverly camouflaged the fact that ArtReview’s PR people are constantly barking at it to make sure the list is very different every year in order to provide a news story for the press. Still, Eddie did slip into the role of prophet at the end of his article, shrugging on his ceremonial robes, rotating his eyeballs back in their sockets until only the whites were showing, channelling the Bard, striking the pose of the soothsayer from Julius Caesar, shuddering epileptically and wailing that this was ‘the last time that a list that is not fully global will seem in the least convincing’. ‘The Chinese!’ he howled slobberingly. It was all a bit much for ArtReview, and so, just to teach him his place and learn him that it is always several steps ahead of the staff, ArtReview placed his article opposite a page featuring a Swiss, a Frenchman, a couple of Venezuelans, a Chinese and an American. ‘Fuck you and your mystical mumbo jumbo’, ArtReview thought to itself.
Naturally every other page featured the traditional bunch of white Anglo-Saxon males. Among those new to the gang were William Ruprecht (7), the new guy at Sotheby’s; Robert Storr (9), ‘the quiet intellectual’ who was ‘surprisingly understated for the heavyweight curator and thinker that he is’ (although he didn’t look that fat in his photograph); casino baron Steve Wynn (16); newly anointed art-fair tycoons Amanda Sharp and Matthew Slotover (32), emerging in hot pursuit of the master, Art Basel’s Samuel Keller, now number 5 on the list and apparently confusing people with his art fairs that looked like ‘museum-quality installations’. Joining the newbies were artists Richard Serra (23), Olafur Eliasson (29), Jasper Johns (33), John Currin (37), Neo Rauch (41), William Eggleston (56) and, at number 99, an artist-run project called e-flux, although ArtReview must have run out of funds by the time it got this far down the list, as its employees couldn’t find out which artists they were. Meanwhile, in the wealthier region of the list, Ronald ‘the elegance’ Lauder had slipped to number 8 (looking at his picture, we assume it must have been as a result of the less-than-elegant stubble he was now sporting), while the previous year’s number 4, art dealer Larry Gagosian, was now number 1. ‘A figure of mystery and controversy’, ArtReview hissed, doing its best to present a less hysterical incarnation of soothsayer Eddie. ‘You don’t get canonised for being the world’s greatest art businessman’, wrote former employee Daniel Kunitz, slipping seamlessly into ArtReview’s preferred tone of inoffensive nonsense, ‘you get power’. After which he slipped on a baseball hat, flipped it backwards, insisted that ArtReview refer to him as Turbo B and jiggled his legs and arms while mouthing the words to a classic piece of Eurodance by Snap!
The List
‘The artworld isn’t about power per se. It’s about control. Power can be vulgar. Control is smarter.’ –
44 45 46 47 48 49 50
Jeff Poe 2004
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43
51 52 53 54 55 56 57 59 60 61 62
Larry Gagosian Glenn D. Lowry Nicholas Serota Maurizio Cattelan Samuel Keller Dakis Joannou William Ruprecht Ronald Lauder Robert Storr Takashi Murakami Iwan Wirth Gerhard Richter François Pinault Rem Koolhaas Marian Goodman Steve Wynn Charles Saatchi Jeff Koons Leonard Lauder Zaha Hadid Marc Glimcher Eli Broad Richard Serra Adam D. Weinberg Peter Brant Nicholas Logsdail The König family David Tieger Olafur Eliasson Daniel Buchholz Maja Oeri Amanda Sharp & Matthew Slotover Jasper Johns David Zwirner Mick Flick Barbara Gladstone John Currin Sadie Coles Gary Garrels Don & Mera Rubell Gerd Harry Lybke & Neo Rauch Max Hollein Alain Dominique & Marie-Thérèse Perrin Paul Schimmel Ed Ruscha Matthew Marks Ingvild Goetz Michael Govan Jay Jopling Rose & Carlos de la Cruz Kathy Halbreich Roger Buergel David Geffen Peter-Klaus Schuster Lawrence Luhring & Roland Augustine William Eggleston Victoria Miro William Acquavella Chuck Close Max Hetzler Peter B. Lewis
ArtReview
63 Maria de Corral & Rosa Martinez 64 Rafael Viñoly 65 Cy Twombly 66 Eugenio López 67 The Dusseldorf photographers 68 Thelma Golden 69 Thea Westreich 69 Richard Green 70 Toby Webster 71 Sigmar Polke 71 Francesca von Habsburg 73 Yvon Lambert 74 Luc Tuymans 75 Harry Blain & Graham Southern 76 Tim Blum & Jeff Poe 77 Simon de Pury 78 Damien Hirst 79 Uli Sigg 80 Yoshio Taniguchi 81 Maureen Paley 82 Miuccia Prada 83 Anish Kapoor 84 Monika Sprüth & Philomene Magers 85 Charles Esche 86 Hans Ulrich Obrist 87 Cai Guo-Qiang 88 Alfred Pacquement 89 Lee Bontecou 90 Gustavo Cisneros & Patricia Phelps 91 Paola Antonelli 92 Richard Koshalek 93 Gerhard Steidl 94 John Baldessari 95 Xu Jiang 96 Will Alsop 97 Daniella Luxembourg 98 Harvey Shipley Miller 99 e-flux 100 Jack Vettriano
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2005 Immortality
It may have been the Year of the Rooster to some one billion three hundred million Chinese, but 2005 was the Year of the Artist to the hundred or so readers who were scanning ArtReview’s worldfamous and much admired power list to find out where they’d placed. ArtReview knows they all check to see if they’re number 1, and when they did, they would have found that Damien Hirst had hit the afterburners and raced from number 78 to the top spot quicker than a monkey with a stick of dynamite up its ass. The first artist to receive the honour, Hirst stuck his fingers in his mouth, went cross-eyed with pleasure and gurned for the cover shoot. And what did ArtReview give him in return? Immortality, of course. That’s what any powerful person most desires. ‘Damien Hirst will never die’, squawked Sarah Thornton as she hailed the new-crowned king. Meanwhile, ArtReview contractor and power expert Marc Spiegler contributed a summary of the previous year in art. He marvelled at the £11.1 million sale of the fixtures and fittings from Hirst’s failed Pharmacy restaurant (replica ashtrays in an unlimited edition selling for £1,600); his mind boggled at the ‘Machiavellian’ attempts by Tate to circumvent dealers; he was awed by the raw ambition of MoMA; and gobsmacked at Thomas Krens’s ousting of Guggenheim board members; but delighted at the money raised by contemporary art auctions. Meanwhile Spiegler (future director of Art Basel), it turned out, had made it into German magazine Monopol’s much less important power list because of his skills as a compiler of power lists. ArtReview was suitably flattered. Elsewhere, Charles Saatchi had had a ‘very successful year’ and dropped two places to number 19, and ArtReview had ‘discovered’ Bruce 182
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Nauman (a new entry at number 9) following his installation in Tate’s Turbine Hall. Among its other discoveries were Richard Prince (22), Paul McCarthy (37) and Marlene Dumas (45), who, along with Louise Bourgeois, was one of only two living women artists whose work had sold for more than £1m. More saucily, ArtReview had its eye on the dashing Tobias Meyer, Sotheby’s star auctioneer and a ‘charming Austrian’ with his own eye on ‘big ticket art’ (26). Its other eye had been tracking Whitechapel Gallery director Iwona Blazwick, who had ‘moved gracefully into the Power 100’ at number 67. But ArtReview was by now getting bored of art people and supplemented its list with sidebars on architects and pop stars – the people it really wanted to be running art. It swooned over David Bowie’s Modern British collection, whimpered at David Geffen’s newly purchased Johnses and Pollocks, and fidgeted bashfully in its seat while musing about Madonna’s collection of Diego Riveras, Frida Kahlos and Tina Modottis, before baffling its readers by describing how architects were ‘increasingly caught up in powerfully vague creative forces’ and cryptically concluding that tomorrow’s architects would be Situationists. At which point ArtReview erected barricades at its East London headquarters and wandered off on a dérive around London’s pubs in search of Austrian charmers and graceful movers.
‘I am a sequoia among shrubs.’ – Larry Gagosian 2005
The List 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59
Damien Hirst Larry Gagosian François Pinault Nicholas Serota Glenn D. Lowry Eli Broad Samuel Keller Iwan Wirth Bruce Nauman David Zwirner Jacques Herzog & Pierre de Meuron Ronald Lauder Richard Serra Marian Goodman Dakis Joannou Amy Cappellazzo & Brett Gorvy Thomas Krens & Lisa Dennison Marc Glimcher Charles Saatchi Neo Rauch Bernard Arnault Richard Prince Leonard Lauder Steven A. Cohen Gerhard Richter Tobias Meyer The König family Takashi Murakami Maja Oeri Nicholas Logsdail Jay Jopling Barbara Gladstone Amanda Sharp & Matthew Slotover Jeff Wall Renzo Piano Simon de Pury & Michael McGinnis Paul McCarthy Gerd Harry Lybke Ed Ruscha Peter Brant Don & Mera Rubell John Baldessari Paul Schimmel Dominique Lévy & Robert Mnuchin Marlene Dumas Matthew Marks Adam D. Weinberg Sadie Coles Rem Koolhaas Victoria Miro Alfred Pacquement Peter Doig Jose, Alberto & David Mugrabi Anselm Kiefer Lawrence Luhring & Roland Augustine Max Hollein Ingvild Goetz Chris Ofili Thelma Golden
60 61 62 63 64 65 66 67 68
Philippe Vergne William Acquavella Jeff Koons Allan Schwartzman Harald Falckenberg Philippe Segalot Gerhard Steidl Iwona Blazwick Harry Blain & Graham Southern 69 Howard Greenberg 70 Max Hetzler 71 Francesca von Habsburg 72 William Eggleston 73 Robert Storr 74 Perry Rubenstein 75 Zaha Hadid 76 Stefan Edlis 77 Alanna Heiss 78 Thaddaeus Ropac 79 Ann Philbin 80 Daniel Buchholz 81 Maureen Paley 82 Shaun Caley Regen 83 Rose & Carlos de la Cruz 84 Charles Esche 85 Christo & Jeanne-Claude 86 Hans Ulrich Obrist 87 Sprüth Magers Lee 88 Richard Schlagman 89 Miuccia Prada 90 Christopher van de Weghe 91 Frank Dunphy 92 Gustavo Cisneros & Patricia Phelps 93 James Lingwood & Michael Morris 94 Yvonne Force Villareal 95 Christian Boros 96 Harvey Shipley Miller 97 Rachel Whiteread 98 Agnes & Karlheinz Essl 99 Tadashi Kawamata 100 Sebastian Lopez
History Harald Szeemann, curator, dies First Moscow Biennale of Contemporary Art is held Maria de Corral and Rosa Martinez become the first women to direct the Venice Biennale Terrorist attack on London transport systems ArtReview
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2006 Stratagems The List 1 2 3 4 5 6 7 8 9 10 11 12
Having discovered the secret of immortality and selflessly donated it to the 2005 power king, ArtReview decided to continue its quest for a more spiritual understanding of power and spent 2006 mainly reading The Thirty-Six Stratagems of Lord Tán. (Although, despite that Lord Tán business and much like ArtReview’s power entries, no one’s quite sure who really wrote the stratagems or even if it was one person – perhaps it was Sun Tzu or Zhuge Liang, or maybe even Gallery Girl in a previous life. But as all you powerphiliacs know, speculation is pointless. The truth isn’t out there.) Meanwhile… With its nose buried in a pile of Lord Tán, ArtReview was immediately attracted to stratagems number 4 (‘loot a burning house’), which sounded the most fun, and number 8 (‘openly repair the gallery roads, but sneak through the passage of Chencang’), which appeared to be the most applicable to the business ‘strategy’ that ArtReview’s publisher was demanding it adopt. But ultimately ArtReview was most enamoured of number 5: ‘make a sound in the east, then strike in the west’. For those of you who don’t yet speak Mandarin, that translates as the art of surprise. Which is precisely the art that ArtReview deployed on its new edition: no longer would the most powerful of the powerful glower masterfully at readers from beneath ArtReview’s logo. Instead ArtReview asked Mark Titchner to make a sound in the east (by creating a bespoke artwork for the power cover), while it surprised its readers from the west (by revealing the anointed one only to those who could be bothered to open the magazine). ‘Is Art Power?’ howled Titchner’s cover. “Who’s number one?” shrieked the confused and 184
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13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
31 32 33 34 35 36 37 38
39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57
François Pinault Larry Gagosian Nicholas Serota Glenn D. Lowry Samuel Keller Eli Broad Charles Saatchi Amanda Sharp & Matthew Slotover Bruce Nauman Jeff Koons Damien Hirst Amy Cappellazzo & Brett Gorvy Robert Storr Iwan Wirth Marian Goodman David Zwirner Gerhard Richter Marc Glimcher Jay Jopling Mike Kelley Paul Schimmel Andreas Gursky Cheyenne Westphal & Tobias Meyer Barbara Gladstone Thelma Golden Victoria Miro Dakis Joannou Richard Prince Don & Mera Rubell Donna De Salvo, Shamim Momin & Chrissie Iles Daniel Birnbaum Steven A. Cohen Michael Govan Simon de Pury Sadie Coles Robert Gober Eugenio López Bruno Brunnet, Nicole Hackert & Philipp Haverkampf Francesca von Habsburg Jeffrey Deitch Nicholas Logsdail Thomas Hirschhorn Iwona Blazwick The Wrong Gallery Jeff Wall Hans Ulrich Obrist Ingvild Goetz Pierre Huyghe UBS Deutsche Bank Tracey Emin Gilbert & George Dominique Lévy & Robert Mnuchin Harry Blain & Graham Southern Roberta Smith Jacques Herzog & Pierre de Meuron Jerry Saltz
58 59 60 61 62
Frank Gehry Javier Peres Christine Macel Eileen Norton Rose & Carlos de la Cruz 63 Ralph Rugoff 64 Max Hetzler 65 Miuccia Prada 66 Neo Rauch 67 Gerd Harry Lybke 68 Carsten Höller 69 Maureen Paley 70 Zach Feuer 71 Ai Weiwei 72 Antoine de Galbert 73 Richard Serra 74 Paul McCarthy 75 Okwui Enwezor 76 William Acquavella 77 Matthew Marks 78 Michael Ringier 79 James Lingwood & Michael Morris 80 Thomas Krens & Lisa Dennison 81 Matthew Higgs 82 Lorenz Helbling 83 David Adjaye 84 Anita & Poju Zabludowicz 85 Hou Hanru 86 Gavin Brown 87 Lynne Cooke 88 Anselm Kiefer 89 Jean-Marc Bustamante 90 Matthew Barney 91 Rem Koolhaas 92 Ann Philbin 93 Abigail & Leslie Wexner 94 Anish Kapoor 95 Agnes B 96 Luc Tuymans 97 João OliveiraRendeiro 98 Takashi Murakami 99 Cai Guo-Qiang 100 Google
cubicled dealers and artworld types as ArtReview went about its annual trudge through the Frieze Art Fair. As it saw their eyes staring cluelessly at its cover, ArtReview knew all that time in study of Lord Tán’s lessons had been fruitful. “Look to the west”, ArtReview replied in a mystic tone that it had learned from careful study of blind Master Po from TV’s Kung Fu. Before losing its Buddhalike calm as the dealers’ eyes continued their brainless boggle and screaming: “For fuck’s sake, you lazy bastards, ask your assistant to turn it to page 60!” There ArtReview’s readers would find the grinning visage of French supercollector and auction-house owner François Pinault, to some ‘an insatiable omnivore who sends out fleets of art advisors like deep-sea fishing trawlers, scooping and buying every species of artwork in their path’, to others ‘a tireless devotee of contemporary art who keeps the market lively and buoyant’. ArtReview clearly liked the sound of both. Drunk on immortality, Damien Hirst had toppled over to number 11. ‘As I get older, I think it would be great if young artists thought I was cool’, he muttered, even as ArtReview slapped him round the face and reminded him that thanks to its munificence he’d never get old. A few pages later, Andreas Gursky (22) joined the ranks of power thanks to his 99 Cent (1999) having broken the auction record for contemporary photography. Meanwhile, ArtReview’s latest flame, Whitney curator Donna De Salvo, who appeared at number 30 on the list, alongside her equally well loved coworkers Shamim Momin and Chrissie Iles, obliged it with the perfect power quote: ‘As a curator I strive to represent the full potential and power of art itself ’ – a meaningless muddle of words that ArtReview would have been proud to have written itself. Oh, yes… Just to remind everyone that despite the seriousness of its power game ArtReview enjoyed a laugh as much as the next magazine, it installed Google at number 100. ‘Who is number one on the Power 100?’ ArtReview asked it. ‘I never build only one of anything important. All important systems will have redundant control panels and power supplies. For the same reason I will always carry two fully loaded weapons at all times.’ At which point ArtReview closed its list, flung The Stratagems in the bin and vowed only to ask Google about the important things in life.
‘I still believe the artists themselves are the ones who have the greatest power. Some of them will produce things that might live forever.’ – Daniel Birnbaum 2006
History Manifesta 6 in Nicosia is cancelled due to difficulties in holding the project in both Greek and Turkish parts of the city Billionaire collector Victor Pinchuk opens the Pinchuk Art Centre in Kiev The Wrong Gallery curates the 4th Berlin Biennale
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History – The New Museum opens at new premises on the Bowery, New York – Larry Gagosian buys Jeff Koons’s Hanging Heart (Magenta and Gold) for $23.6 million in an auction at Sotheby’s New York – Peter Doig’s White Canoe sells at Sotheby’s New York for $11.3 million, then an auction record for a living European artist – Christie’s purchases London primary market gallery Haunch of Venison
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2007 The East
As Lord Tán’s stratagems gathered dust in the bin, ArtReview set out another demonstration of how it had surpassed any ‘lesson’ the so-called old masters had to teach it. After all, everyone knows that ArtReview is all about the moment, the contemporary. And so, as its legions of adoring fans waited with bated breath to see who would be declared centurion of its cohort of power, ArtReview decided to add a twist – a refinement of Tán’s art of surprise. “Make a sound in the east, then strike in the east,” it shrieked. And lo, François Pinault was number one. Again. And thus, ArtReview confused everyone – but mostly its PR people, who kept frantically phoning and pretending that “make a sound in the east, then strike in the east” didn’t make much sense to the people who had received the power press release. “None of the top four have changed – it makes perfect sense”, ArtReview howled in righteous rage. But still the PR people complained, demanding that the glorious list have a “story” to it that could be “spun” and “peddled” to other media outlets. “Stories?” ArtReview replied. “Get on your bikes and go pedal these.” In 2007 ArtReview discovered India – collector Anupam Poddar slipped onto the list at number 100, auction house impresario Neville Tuli was one step ahead, and artist Subodh Gupta made himself at home at number 85. ‘If Indian artists are the next big thing, then Subodh Gupta has a lot to look forward to,’ ArtReview declared in one of its tautological-nonsense specials. Three years later there were no Indians on the list. The real story of 2007 had to do with the rise of the collector. When they weren’t collecting things, they were running the museums on whose boards they sat; founding their own museums so that they could be more ‘open’ about running
things; receiving tributes from the auction houses and galleries who bought and sold their chattels; and inviting their newfound artist-friends to come on holiday with them. All of which meant that collectors occupied a whopping 31 percent of the list; new to the party were Belgians Guy and Myriam Ullens (97), Korea’s Kim Chang-il (87), Iranian Ebrahim Melamed (82), Brits Muriel and Freddie Salem (81), Portugal’s José ‘just call me Joe’ Berardo (75), New York-based real-estate developer Aby Rosen (70), and hedge-fund ‘billionaire’ Adam Sender (66). ‘He will be buying art for years to come’, ArtReview squawked of this newest arrival as it proudly polished its crystal ball, all the while hoping that no one would realise that it was merely parroting a hysterical statement issued to Businessweek by Sender’s fearful curator after the collector offloaded a chunk of his holdings at auction and at a profit. Sense? This is art. None of it makes sense. Have you learned nothing? Meanwhile, HSBC was writing down its holdings of something called a ‘subprime mortgage’ by $10.5 billion and all ArtReview’s friends were muttering stuff about commodities being the true ‘stores of value’. The immortal Damien Hirst (number 6) seemed to have taken that advice to heart, having spent much of the year gluing diamonds onto a skull and then ‘selling’ it for £50 million. But ArtReview didn’t care. As long as it had enough credit to carry on downloading Sugababes videos every 15 minutes, this was the best of all possible worlds.
The List
‘The question is left open as to whether Pinault considers himself a Caesar or a Doge, but the world of contemporary art certainly bears his mark.’ –
30 31 32 33 34
ArtReview 2007
1 2 3 4 5 6 7 8 9 10 11
12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
35 36 37 38 39 40 41 42 43 44 45 46
47 48 49 50 51
François Pinault Larry Gagosian Nicholas Serota Glenn D. Lowry Eli Broad Damien Hirst Charles Saatchi Jay Jopling Steven A. Cohen David Zwirner Samuel Keller & Cay Sophie Rabinowitz, Annette Schönholzer, Marc Spiegler Amy Cappellazzo & Brett Gorvy Jeff Koons Iwan Wirth Michael Govan Harry Blain & Graham Southern Amanda Sharp & Matthew Slotover Cheyenne Westphal & Tobias Meyer Richard Serra Daniel Birnbaum Marian Goodman Marc Glimcher David Geffen Don & Mera Rubell Dakis Joannou Richard Prince Matthew Marks Thomas Krens Lisa Phillips & Richard Flood Ann Philbin Paul Schimmel Agnes Gund William Acquavella Sheikh Mohammed bin Zayed al Nahyan Simon de Pury Barbara Gladstone Dominique Lévy & Robert Mnuchin Frank Gehry Patricia Phelps de Cisneros Ronald Lauder Robert Gober Sadie Coles Victoria Miro Thomas Hirschhorn Chris Kennedy Donna De Salvo, Shamim Momin & Chrissie Iles Eugenio López Hans Ulrich Obrist & Julia Peyton-Jones Jerry Speyer & Katherine Farley Gerhard Richter Michael Ringier
ArtReview
52 53 54 55
Bruce Nauman Andreas Gursky Jeffrey Deitch Bruno Brunnet, Nicole Hackert & Philipp Haverkampf 56 Christian Boros 57 Jeff Wall 58 Gary Garrels 59 Ingvild Goetz 60 Roberta Smith 61 Jerry Saltz 62 UBS 63 Deutsche Bank 64 Tim Blum & Jeff Poe 65 Charles Schwab 66 Adam Sender 67 Mitchell Rales 68 Ai Weiwei 69 Anselm Kiefer 70 Aby Rosen 71 Francesca von Habsburg 72 Franz West 73 Mike Kelley 74 Maureen Paley 75 Joe Berardo 76 Rose & Carlos de la Cruz 77 Jacques Herzog & Pierre de Meuron 78 Antoine de Galbert 79 Lisa Dennison 80 Anita & Poju Zabludowicz 81 Muriel & Freddie Salem 82 Ebrahim Melamed 83 Thelma Golden 84 Nicholas Logsdail 85 Subodh Gupta 86 Zhang Xiaogang 87 Kim Chang-il 88 Paul McCarthy 89 Takashi Murakami 90 John Baldessari 91 Lorenz Helbling 92 Adam Szymczyk 93 Nikolaus Schafhausen 94 Zach Feuer 95 Javier Peres 96 Iwona Blazwick 97 Guy & Myriam Ullens 98 Gerde Harry Lybke 99 Neville Tuli 100 Anupam Poddar
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2008 Confusion
On 15 September 2008, while Lehman Brothers filed for bankruptcy despite holding over $600 billion in assets, Damien Hirst began a two-day auction of new work at Sotheby’s, London. By the end of the next day he’d raised £111 million and assured himself of top spot on ArtReview’s glamour list. ‘A spectacular coup’, ArtReview trilled as it carefully pasted a picture of Hirst’s head onto a photograph of its former king of coups – Central African Republic ‘emperor’ Jean-Bédel Bokassa. Much of ArtReview’s admiration for the immortal one came about because, while taking work straight to auction seemed to be a kind of democratisation of the art market – ‘anyone’ who had enough money could buy into Hirst without having to suck up to his dealers first – the operation was something far closer to the acts of benevolent dictatorship by which ArtReview rules its own world. Hirst’s London dealer, Jay Jopling, was rumoured to be the underbidder on some of the more expensive lots during the sale, while other rumours suggested that Hirst and Jopling were members of the consortium that had bought For the Love of God (2007), the artist’s jewelencrusted skull.
Indeed tricksiness seemed to be the theme of the year. Hirst had appeared on the cover of Time magazine dressed as Bono beside the headline squealing ‘Artist As Rock Star’ and, confusingly, an explanatory blurb that mentioned nothing at all about Bono, or even rock. Meanwhile, in some sort of pale imitation of the great man, Jose, Alberto and David Mugrabi (43) sent in a photo of Alberto (but not Jose or David) with Harry Lis (a collector not on the list) to ‘represent’ them on ArtReview’s power list, new entrant Liam Gillick was the 86th most powerful person in art because he’d managed to trick some Germans into letting him ‘represent’ their country at the next Venice Biennale despite being British. And comedy Christian artist Thomas Kinkade had made it to number 100 by virtue of having allegedly peed over Winnie the Pooh during a visit to Disneyland. Most confusing of all, François Pinault had slipped down to number 8 on ArtReview’s list, prompting it to offer a mild apology: ‘Number 8? Who are we kidding?’
‘Before making the list, I made fun of it; now that I am on it, I dread being taken off.’ – Jerry Saltz 2008
The List 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54
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Damien Hirst Larry Gagosian Kathy Halbreich Nicholas Serota Iwan Wirth Jay Jopling David Zwirner François Pinault Jasper Johns Eli Broad Jeff Koons Steven A. Cohen Daniel Birnbaum Charles Saatchi Amy Cappellazzo & Brett Gorvy Cheyenne Westphal & Tobias Meyer Marian Goodman Gerhard Richter Richard Prince Dominique Lévy & Robert Mnuchin Michael Govan Marc Glimcher Annette Schönholzer & Marc Spiegler Alfred Pacquement Amanda Sharp & Matthew Slotover Barbara Gladstone Matthew Marks Takashi Murakami Agnes Gund Sheikh Mohammed bin Zayed al Nahyan Dakis Joannou Bernard Arnault Richard Serra Sadie Coles Julia Peyton-Jones & Hans Ulrich Obrist Donna De Salvo Simon de Pury Don & Mera Rubell Ann Philbin Paul Schimmel Patricia Phelps de Cisneros Michael Ringier Jose, Alberto & David Mugrabi Chris Kennedy Bruce Nauman Cy Twombly Ai Weiwei Tim Blum & Jeff Poe Andreas Gursky Olafur Eliasson Harry Blain & Graham Southern Jeff Wall Peter Doig Roman Abramovich & Dasha Zhukova
55 Bruno Brunnet, Nicole Hackert & Philipp Haverkampf 56 Marlene Dumas 57 Gavin Brown 58 Victoria Miro 59 Mitchell Rales 60 Yvon Lambert 61 Mike Kelley 62 Paul McCarthy 63 Banksy 64 Emmanuel Perrotin 65 William Acquavella 66 Lucian Freud 67 Victor Pinchuk 68 Maurizio Cattelan 69 Cai Guo Qiang 70 Maureen Paley 71 Roberta Smith 72 Peter Schjeldahl 73 Thelma Golden 74 Ralph Rugoff 75 Robert Gober 76 Iwona Blazwick 77 Richard Armstrong 78 Massimiliano Gioni 79 Jerry Saltz 80 Reena Spaulings/ Bernadette Corporation 81 Louise Bourgeois 82 Cindy Sherman 83 Okwui Enwezor 84 Jeanne Greenberg Rohatyn 85 Shaun Caley Regen 86 Liam Gillick 87 Miuccia Prada 88 John Baldessari 89 Francesca von Habsburg 90 Christian Boros 91 Nicholas Logsdail 92 Subodh Gupta 93 Long March Project 94 Paula Cooper 95 Peter Nagy 96 Casey Reas 97 Anita & Poju Zabludowicz 98 Guy & Myriam Ullens 99 Laurent Le Bon 100 Thomas Kinkade
History Damien Hirst consigns new work directly to Sothebyâ&#x20AC;&#x2122;s, who raise ÂŁ111.5 million in October during the sale Beautiful Inside My Head Forever. Commentators speculate about whether this will change the face of the art market forever Lehman Brothers collapses in October, and the world economy spins into a deep economic crisis The first edition of Prospect New Orleans, a new biennial to take place in the city ravaged by Hurricane Katrina in 2005, takes place
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History Writer J.G. Ballard dies London Metropolitan Police advise Tate Modern to remove Richard Princeâ&#x20AC;&#x2122;s Spiritual America, an image of a young, naked Brooke Shields, from the Pop Life exhibition. The reconstructed Neues Museum in Berlin, architecture overseen by David Chipperfield, reopens
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Looking Back
2009 The Message
“Anyone can do a lot; not everyone can do a lot and do it consistently well”, ArtReview barked at one of its grovelling contributors while jabbing its finger towards its own chest sometime around the beginning of 2009. “Even fewer can keep doing it well, year upon year”, it bellowed as the contributor shuffled backwards away from ArtReview’s throne, never once taking his eyes off the majestic leader. Clearly the message sunk in. By the end of the year, the contributor was using ArtReview’s exact words to describe Hans Ulrich Obrist, who had risen 34 places up the list to become the newly crowned king of power and the first curator to attain such a station. However, ArtReview was forced to schedule its contributor for remedial therapy in its newly constructed korrektur anlager for adding the words ‘and of those who can, nobody does more, better, than Hans Ulrich Obrist’. Philosopher and that year’s Venice Biennale director Daniel Birnbaum had breached the top 5 (at number 4), while the e-flux crew, nameless in 2004, had been identified as Anton Vidokle, Julieta Aranda and Brian Kuan Wood (after half a decade of painstaking and meticulous research by ArtReview’s miserable contributor) and popped out of nowhere into the top 10 (at number 8). The new-look top 10 also featured Whitechapel Gallery director Iwona Blazwick at number 9 – ‘Blazwick is a shrewd power operator’, the contributor wrote; ‘she gave Damien Hirst his first major show and once declared that the massive Tate Modern Turbine Hall “was in fact just a rehearsal” for her plans for the [much smaller] Whitechapel’. Much to ArtReview’s disappointment, and despite Blazwick having dropped such a hefty hint, no one has since attempted to muscle her way into its favour and
onto its power chart by diminishing or slagging off the opposition. Schande über dich. Elsewhere, Bruce Nauman (10) had become the most important artist on the planet following his installation at the US Pavilion in Venice, while Swiss artists Peter Fischli and David Weiss, ‘masters of deadpan enquiry into the everyday’, were a new entry at 19. After Liam Gillick (now at 34) made it onto the list for being a not-German German, a number of actual Germans made it on, including artist Isa Genzken (38) and critics Diedrich Diederichsen (46) and Isabelle Graw (70). Anyone would have thought that ArtReview had spent the past 12 months trying to learn German or something. But just to prove that it treated all languages and beliefs equally, ArtReview had the voice of the American right, Glenn Beck, at number 100, after his tirades against the US’s National Endowment for the Arts and its ‘progressive sympathies’. Schweinhund.
‘It’s this very dangerous thing that these people are playing with… This list, it’s almost like the Nobel Prize.’ – Glenn Beck 2009
The List 1 2 3 4 5 6 7 8
9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45
46 47 48 49 50 51 52 53 54 55 56
Hans Ulrich Obrist Glenn D. Lowry Nicholas Serota Daniel Birnbaum Larry Gagosian François Pinault Eli Broad Anton Vidokle, Julieta Aranda & Brian Kuan Wood Iwona Blazwick Bruce Nauman Iwan Wirth David Zwirner Jeff Koons Jay Jopling Marian Goodman Agnes Gund Takashi Murakami Alfred Pacquement Peter Fischli & David Weiss Mike Kelley Barbara Gladstone Steven A. Cohen Dominique Lévy & Robert Mnuchin Adam D. Weinberg Marc Glimcher Amy Cappellazzo & Brett Gorvy Cheyenne Westphal & Tobias Meyer Ann Philbin Matthew Higgs Matthew Marks Tim Blum & Jeff Poe Gavin Brown Ralph Rugoff Liam Gillick Anne Pasternak Dakis Joannou John Baldessari Isa Genzken Paul McCarthy Michael Govan Eugenio López Cindy Sherman Ai Weiwei Patricia Phelps de Cisneros Annette Schönholzer & Marc Spiegler Diedrich Diederichsen Richard Prince Damien Hirst Bernard Arnault Massimiliano Gioni Amanda Sharp & Matthew Slotover Joel Wachs Victor Pinchuk Udo Kittelmann Marina Abramovic Michael Ringier
ArtReview
57 58 59 60 61 62
Gerhard Richter Richard Serra RoseLee Goldberg Kasper König Roberta Smith Monika Sprüth & Philomene Magers 63 Germano Celant 64 Emmanuel Perrotin 65 Peter Schjeldahl 66 Beatrix Ruf 67 Okwui Enwezor 68 Nicolas Bourriaud 69 Christian Boros & Karen Lohmann 70 Isabelle Graw 71 Maurizio Cattelan 72 Charles Saatchi 73 Jerry Saltz 74 Jasper Johns 75 Louise Bourgeois 76 Thaddaeus Ropac 77 Mera & Don Rubell 78 Thelma Golden 79 Sarah Morris 80 Carolyn ChristovBakargiev 81 Anita & Poju Zabludowicz 82 Paul Schimmel 83 Jose, Alberto & David Mugrabi 84 Sadie Coles 85 Daniel Buchholz 86 Victoria Miro 87 Maureen Paley 88 Johann König 89 Nicolai Wallner 90 Maria Lind 91 Massimo De Carlo 92 Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo 93 Rirkrit Tiravanija 94 Toby Webster 95 Long March Space 96 Nicholas Logsdail 97 Harry Blain & Graham Southern 98 Claire Hsu 99 Peter Nagy 100 Glenn Beck
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2010 Consistency
In the aftermath of his 2009 appearance, Glenn Beck was moved to devote a section of his radio show to ArtReview’s marvellous list. “It’s this very dangerous thing that these people are playing with”, Beck whispered as the whole of America clustered eagerly around their sets, copies of ArtReview clutched in their sweaty little hands. And indeed, despite the fact that ArtReview now floats around the Frieze Art Fair disguised as a former editor of Artforum, it’s got the bruises to show it. “It’s almost like the Nobel Prize,” Beck continued. But better, Glenn – much, much better. For which understatement ArtReview arranged to have Beck removed from the list, get his TV show cancelled and have him deported to Israel. You see, despite what ArtReview’s manic PR people, with their insistence on using words like ‘surprise’, ‘shock’ and ‘amazement’ every time a new Power 100 comes along, would have you believe, ArtReview’s list is about consistent excellence. And when it comes to consistency of power, no one has achieved more of it than American gallerist Larry Gagosian. He’s spent only one year (the first) out of the top five. Indeed, if the list were about gallerists alone, he’d undoubtedly be number one every year. In 2010 he was back on the top of the pile. In fact, gallerists as a group were on the rise, with Iwan Wirth at number 3 and David Zwirner at number 4. Hans Ulrich Obrist was marooned yet unblinking at number 2. In other news, the long-promised ‘rise’ of China began to amount to more than a slight swelling. The highest-ranked artist on the list was Ai Weiwei (13). ‘Is he in danger of overexposure?’ ArtReview quipped at the end of his entry – on the 192
Looking Back
face of it a reference to the many shows (culminating with an installation at Tate Modern’s Turbine Hall) the artist was then involved with, but for the true art connoisseur actually an oblique reference to the fact that the artist took all his clothes off when ArtReview photographed him for its cover in May 2008, leaving it with a tricky typographical problem when it came to placing the dots on the ‘i’s in his name. In Ai’s wake came Art Hong Kong director Magnus Renfrew, who joined the list at 92, having made his art fair one of the prime trade shows in the art calendar, while collector, patron and Art Hong Kong adviser Richard Chang was a new entry at 98 and on his way to becoming one of the gatekeepers to East– West relations. Meanwhile, for the entertainment of its beloved readers, ArtReview thoughtfully provided photographs of Marina Abramovic (35) seductively spilling milk over the floor of an otherwise spotless Georgian interior and Lisson Gallery’s Nicholas Logsdail (48) cackling madly over an On Kawara catalogue. If nothing else, you see, these past ten years have been very entertaining.
The List
‘As public purses tighten around Europe, many an institution is coming to rely on its richest patron.’ –
24 25 26 27 28 29 30 31
ArtReview 2010
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
17 18 19 20 21 22 23
32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56
Larry Gagosian Hans Ulrich Obrist Iwan Wirth David Zwirner Glenn D. Lowry Bice Curiger Nicholas Serota Eli Broad RoseLee Goldberg François Pinault Adam D. Weinberg Jeffrey Deitch Ai Weiwei Agnes Gund Alfred Pacquement Anton Vidokle, Julieta Aranda & Brian Kuan Wood Bruce Nauman Marc Glimcher Beatrix Ruf Dominique Lévy & Robert Mnuchin Iwona Blazwick Marian Goodman Marc Spiegler & Annette Schönholzer Barbara Gladstone Jay Jopling Mike Kelley Cindy Sherman Dakis Joannou Franz West Gavin Brown Peter Fischli & David Weiss Steven A. Cohen Tim Blum & Jeff Poe Anne Pasternak Marina Abramovic Bernard Arnault Victor Pinchuk Eugenio López Takashi Murakami Patricia Phelps de Cisneros Matthew Slotover & Amanda Sharp Okwui Enwezor Matthew Higgs Tino Sehgal Maja Hoffmann Monika Sprüth & Philomene Magers Jeff Koons Nicholas Logsdail Sadie Coles Brett Gorvy & Amy Cappellazzo Tobias Meyer & Cheyenne Westphal Ann Philbin Damien Hirst Emmanuel Perrotin Gerhard Richter Nicolas Bourriaud
57 58 59 60 61 62 63 64 65
Matthew Marks Udo Kittelmann Michael Ringier Kasper König Daniel Buchholz Anish Kapoor Daniel Birnbaum Toby Webster Carolyn Christov-Bakargiev 66 Christian Boros & Karen Lohmann 67 Germano Celant 68 Maurizio Cattelan 69 Neo Rauch 70 Boris Groys 71 Helga de Alvear 72 Thaddaeus Ropac 73 Ralph Rugoff 74 Victoria Miro 75 Jerry Saltz 76 Anita & Poju Zabludowicz 77 Massimo De Carlo 78 Maureen Paley 79 Yana Peel & Candida Gertler 80 Roberta Smith 81 Charles Saatchi 82 Tim Neuger & Burkhard Riemschneider 83 Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo 84 Johann König 85 Caroline Schneider 86 Chang Tsong-zung & Claire Hsu 87 Dimitris Daskalopoulos 88 Rirkrit Tiravanija 89 Wolfgang Tillmans 90 H.H. Sheikha Hoor Al-Qasimi & Jack Persekian 91 Massimiliano Gioni 92 Magnus Renfrew 93 Nicolai Wallner 94 Stefan Kalmár 95 Christine Tohme 96 Gregor Podnar 97 Elizabeth Dee 98 Richard Chang 99 Bruce High Quality Foundation 100 Margot Heller
History – Artists Louise Bourgeois and Sigmar Polke die – Ai Weiwei’s Sunflower Seeds, his Turbine Hall commission for Tate Modern, is cordoned off due to health and safety concerns – MAXXI, designed by Zaha Hadid, opens in Rome
ArtReview
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Friday, September 30, 2011 18:19 Subject: off the record Date: Friday, September 30, 2011 18:18 From: gallerygirl@artreview.com To: <office@artreview.com> Conversation: off the record
ArtReview Towers has never seen such a stressful month. The editor has taken to wearing enormous sunglasses, Thakoon-style blue hair and a bright Peter Jensen checked jacket in order to disguise himself from the hordes of curators, collectors and gallery directors who throng our lobby pleading to be allowed a spot in the mid-90s on the power list. Meanwhile, our ever-dapper lawyer has invested in one of Mr Start’s delightful plaid suits and started a lucrative sideline in no-win-no-fee ‘I put my fist through the painting’ cases brought by speculators who need to quickly disinvest from their hastily assembled collections. This new nefarious trend is inspired by Steve Wynn’s infamous accidental $40-million-dollar elbowing of Picasso’s Le Rêve (1932). That of course was back in the boom time of 2006, when the response of guests who witnessed the unfortunate spasm was to order a six-litre bottle of Bordeaux and take a vow of silence that lasted all of a week. These days hedge-fund managers are turning up with stories of accidentally head-butting the entire collection of emerging Belarusian graduates they bought on the advice of a glamorous West Coast milf art-adviser whose website seems to have stopped working. Meanwhile I’ve been locked in hours of research trying to work out how to skip through Frieze week on an austerity budget. I’ve been reliably informed to invest in premium personal products in order to deliver ‘the lipstick effect’ – a consequence of the theory that when faced with an economic crisis, we shun fur coats and other such expensive luxury goods, but treat ourselves to less expensive luxuries such as lipstick to keep up morale. This was famously evident after Osama bin Laden’s attacks on the free world, when sales of Clinique’s Black Honey Almost Lipstick surged to record levels in the Central Asian market. Faced with the prospect of years of stealth bombing and CIA agents running amok, religious scholars throughout the Waziristan region bought it up by the carefully camouflaged handcart load. The point is that money needs to be saved: after all, this is also the season of fundraisers. And you have to be seen to give. I duly invested the £75 (in nonsequential notes) that was stuffed into a garishly coloured envelope on the editor’s desk marked ‘From Takashi’ in order to see London’s latest hottest DJ duo Liberty Ross and ex-Museum 52 head-honcho Christopher Taylor. They were spinning their idiosyncratic take on postironic call-and-response at the Serpentine’s Future Contemporaries party. Future Contemporaries is an ‘exclusive members group for a new generation of philanthropists, aged 39 and under’, although you’d never know to look at half the room’s wrinkled faces. Afterwards I felt that I had at least invested in a performance that will eventually be seen as one of the most important cultural responses to the collapse of late global capitalism. Move over, Kanye and Jay-Z! Indeed, perhaps such investment in the arts could be just the springboard to growth that the global economy so badly needs. In fact, perhaps it’s time to tear up that austerity budget and plunge headfirst into an orgy of spending, wearing little more than a Carine Gilson Thème Egérie silk-satin kimono and a pair of Louboutin Belle 100 glossed-python ankle books. Hoarding, scrimping, cuts and austerity will bring ruin to us all. Now is the time to invest heavily in the precious commodity that is contemporary art. Forget gold; it has hit its peak. Plunge your money into the ultimate intangible asset with little liquidity! Together we can break the stranglehold of 0.1 percent quarterly growth figures and soar into the giddy heights of, erm, 0.7 percent. If Belgium can achieve that in the second quarter of 2011 without a government in place (compared to the UK and the USA hitting 0.2 percent – good going, guys!), then surely the contemporary art world – or Team Art, as we should now be known – can make this happen. The politicians have failed. It’s time to hand the reins to Gerhard Richter and Jeremy Deller. But who is the Bob Geldof of the moment urging us to spend some fucking money? Might it be the dapper Matthew Slotover and Amanda Sharp, who, like old Bob, hail from Camden and like nothing more than rocking out to early Genesis albums? Or could it be the mighty development teams at Tate and Serpentine luring collectors into their orbit to fund mighty expansions where others quake at the latest utilities bill? These are the type of people that us Keynesians must invest our hopes in. It is time for captains of industry to take an early shower and for us lot to take over. This year, the artworld’s Power 100. Next year, government! GG
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