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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, REFERENCE SHOULD BE MADE TO A PURCHASE CONTRACT AND THE OTHER DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT INTENDED TO BE AN OFFER TO SELL CONDOMINIUM UNITS IN ANY STATE WHERE PROHIBITED BY LOCAL LAW AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. EQUAL HOUSING OPPORTUNITY.

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Oral representation cannot be relied upon as correctly stating the representation of the developer for correct representations, references should be made to the documents required by section 718.503, Florida Statutes to be furnished by a developer to a buyer or lessee. This ofering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. This is not an ofer to sell, or solicitation of ofers to buy, the condominium units in states where such ofer or solicitation cannot be made. Prices, plans and specifcations are subject to change without notice. Actual improvements may vary from renderings and are used solely for illustrative purposes. Actual views may vary and may not be available in all units. Views cannot be relied upon as the actual view from any particular unit within the condominium. The developer does not guarantee the future view from the property or from a specifc unit and makes no representation as to the current or future use of any adjacent property. We are pledged to the letter and spirit of the US policy for achievement of equal housing opportunity throughout the nation we encourage and support an afrmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin.

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Meet the director

Marc Spiegler

Great Expectations

Art Basel in Miami Beach director Marc Spiegler steers the show’s 13th edition to new heights of success.

he art world has never been more exciting than it is now, and nothing is a better indicator of its energy and success than Art Basel in Miami Beach. Now in its 13th edition, the show is expected to surpass last year’s attendance and sales fgures: more than 75,000 visitors and over $3 billion in sales. It’s an incredible testament to the worldwide impact of contemporary and Modern art, which shows no signs of abating. “With 100 percent of exhibitors in the Galleries sector—the main sector of the fair—reapplying, this year’s list of exhibitors is the strongest yet,” says Marc Spiegler, director of all the Art Basel shows. Spiegler, who has been with Art Basel since 2007, oversees the global development of the organization. With the Miami Beach fair sure to continue growing, one of the constant challenges has been finding ways to evolve the show’s platforms and improve the experience. “Last year was a hugely

successful edition, which is why all the galleries want to come back,” Spiegler says. “We do not take this success for granted and work very hard to keep the quality at our shows high.” For this year’s fair, 24 new galleries have been added to the list of exhibitors presenting, for a total

become tougher.” Eight of these frst-timers to the Miami Beach fair are galleries from the United States: Michael Jon Gallery, Clifton Benevento, Honor Fraser, Freedman Fitzpatrick, Simone Subal Gallery, Garth Greenan Gallery, Menconi + Schoelkopf, and Jessica Silverman Gallery. In terms of programming, the show has continually developed new sectors to showcase certain aspects of and growing niches within the contemporary art world. This year marks the debut of the Survey sector, dedicated to art-historical projects, with 13 galleries. “The projects featured in this sector include rarely seen works by artists such as Niki de Saint Phalle and Alfredo Volpi, as well as an overview of production by the groundbreaking Taller Torres-García,” Spiegler says. “With all the museum groups and connoisseur collectors attending, we feel there is a real audience at our Miami Beach show for these remarkable works.” ABMB

“The show actually has not become bigger over the years, but the competition has certainly become tougher.”

38 art basel | Miami beach 2014

—Marc Spiegler

of 267. And while it may seem like a small number, bringing in more dealers is not as simple as it sounds. “We apply a rigorous selection process that ensures only galleries with strong programming and a great roster of artists make it into the show,” Spiegler explains. “The show actually has not become bigger over the years, but the competition has certainly

PhotograPhy by Marco chow, courtesy of art basel

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Turkish Man (LC96), Joseph Cornell, 1933.

38 Meet the Director 54 FroM the eDitor 56 FroM the Publisher 58 contributors

SectorS 72 Kabinett Diving deep into the curated programs of the Kabinett sector. By Jordan Hruska 74 nova The Nova sector showcases the best in young international galleries this year. By Tamara Warren 76 Positions The Positions sector showcases emerging international artists, who explore everything from memory and political displacement to the process of creation itself. By Jean Nayar 78 survey With the fair’s new sector, Survey, attendees can discover artists by taking a step back in time. By Brett Sokol 82 eDition Entering its second year, Edition, Art Basel in Miami Beach’s most accessible sector, is a growing favorite for blue-chip as well as frst-time collectors. By Michael Dougherty 84 Public The Public sector’s outdoor exhibit fosters experimentation, discovery, and relaxation. By Rebecca Kleinman 88 FilM The Film sector expands. By Susan Plummer

LocaL InStItutIonS 100 even tuesDays are crowDeD After a celebrated opening last December, the Pérez Art Museum continues fulflling its mandate: to

44 art Basel | Miami Beach 2014

104 one way Journey An exhibition of the work, artistic infuences, and collaborations of architect Peter Marino transforms the Bass Museum into an adventure through his creative process. By Jean Nayar 106 Kristalova’s Palace Continuing its popular series Recognition of Art by Women, the Norton Museum of Art introduces work by Klara Kristalova to US audiences. By Tamara Warren 108 the toll oF war A three-part exhibition at the Wolfsonian-FIU evokes the horror of the First World War and the birth of industrialized warfare. By Phoebe Hoban 110 where art anD nature Meet Fairchild Tropical Botanic Garden presents two stunning exhibitions on its lush 83-acre grounds. By Sari Anne Tuschman 112 suPer nova Two stellar shows are worth the trip to the Museum of Art, Fort Lauderdale. By Laura van Straaten 114 a Fresh start MoCA’s former board of trustees founds a new institution in the Design District. By Debra Scott

coLLectIng 124 all that Glitters The de la Cruz Collection Contemporary Art Space weighs fool’s gold against true artistic treasure. By Brett Sokol 126 treasure hunt With his Warehouse in Wynwood closed from April to October, Marty Margulies uses those months to buy art. The results are on view now, part of his collection’s 15th anniversary. By Fred Bernstein

photography courtesy of Van Doren Waxter gallery

contents

bring the art world to Miami and Miami art to the world. By Laura van Straaten

table of contents

130 All in the FAmily The Rubell Family Collection celebrates two major milestones with newly commissioned work by six artists and a 700-page catalog. By Phoebe Hoban 132 AbstrAct exhibitionism This year the Cisneros Fontanals Art Foundation showcases 80 years of international abstraction. By Margery Gordon

Features 146 `men-tôr “An experienced or trusted advisor… to train someone, especially a younger colleague.” By Julie L. Belcove 150 GoinG GlobAl In every part of the world—even those mired in political upheaval—contemporary art continues to expand and fourish. By Robin Pogrebin 154 PrAGer’s World With her subtly disquieting work, it’s photographer Alex Prager’s world; we’re just lucky to live in it. By Edward Helmore 158 A PrivAte AFFAir New art institutions are popping up all over Asia, but private museums are the ones grabbing the spotlight. By Mary Elizabeth Agnew 160 doubles, Anyone? Art-world powerhouses Allan Schwartzman and Amy Cappellazzo partner on a new patronage consulting paradigm that’s both innovative and oldschool. By Rachel Wolff 162 the best oF Printed mAtter Super-collector and book afcionado Phil Aarons breaks down the most important artist tomes of our times. 164 doinG your FieldWork These three outdoor site-specifc works are worth venturing out to fnd at Art Basel in Miami Beach. By Marina Cashdan

46 art basel | miami beach 2014

Untitled (Al Aqsa), 2009/2014, Kader attia, Installation view, Middelheim Museum antwerp.

PhotoPortFolio 168 deco dreAminG Photographer Simon Chaput revisited some of the most celebrated Art Deco buildings in South Beach for this special portfolio. Accompanying the images, noted architectural historian Beth Dunlop puts both the past and the present in perspective.

Conversations 182 JAy sAnders With FrAnk stellA On post-painterly abstraction, space, and Stella’s new “Scarlatti K” series. 184 AdAm sheFFer With GrAŻynA kulczyk On Kulczyk’s ability to mix business with art and her work to empower women worldwide. 186 AGustÍn Pérez rubio With liliAnA Porter On how Porter has always looked at Argentina from both the inside and the outside. 188 lucy mitchell-innis With yAnG bin And yAn QinG On how the Beijing-based collector and his gallerist wife approach the fair. 190 chris dercon With kAder AttiA On Attia’s exhibition “Culture, Another Nature Repaired.”

Big Eyes (2014), directed by tim burton.

inFluenCers 194 bAstions oF berlin Collectors Karen and Christina Boros’s art bunker has become the hottest ticket in Europe. By Alexander Forbes 196 disQuietinG melAncholy With his brilliant frst large-scale retrospective at MoMA attracting crowds and critical praise, Robert Gober cements his reputation as one of the most important artists of our time. By Julie L. Belcove 198 it tAkes one to knoW one LACMA and Prospect.3 curator Franklin Sirmans explains why the one to watch in his business is Eungie Joo.

photography by simon vogel, courtesy of kader attia, middleheim museum antwerp, galerie nagel draxler berlin/cologne (ahin); © the weinstein company (Big EyEs)

134 AustrAliAn obsession Aboriginal abstract painting takes center stage at Debra and Dennis Scholl’s annual exhibit. By Sari Anne Tuschman

table of contents

200 When a hauser & Wirth Becomes a home Bringing new meaning to the term “global art world,” legendary dealers Iwan and Manuela Wirth expand to Los Angeles and… the English countryside. By Mary Elizabeth Agnew 202 the GloBe-trotter Nigerian-born curator and museum director Okwui Enwezor leaves his mark as he takes the helm of the Venice Biennale. By Kate Sutton 204 larGer than life In remembrance of a dear friend, the indefatigable collector Francis Dittmer, Anthony Grant shares memories of their times together.

GroundbreakinG 220 if they Build it, Will you come? With the massive expansion of LA’s gallery scene, the city’s physical space is fnally catching up to its well-known conceptual space. By Kevin McGarry 224 the Whitney revolution The leaders who spearheaded the Whitney Museum of American Art’s move to Lower Manhattan give us the inside story on their decision and what it means for the future of this revered institution. By Robin Pogrebin 228 education By desiGn Recently named director Rodman Primack ushers in a new decade for Design Miami. By Jordan Hruska 230 a museum for the neW millennium The nomadic Moving Museum proves a successful new paradigm for an artistic institution. By Mark Ellwood

48 art Basel | Miami Beach 2014

234 the aBramoviĆ method hits miami The frenzy surrounding omnipresent artist Marina Abramović heightens this week at Art Basel. By Kate Sutton

PhotoPortfolio 238 miami Beach 100th anniversary celeBration To commemorate the centennial of the city of Miami Beach and the redesign of the iconic Surf Club, we take a look back at the sun, sand, celebrity, and culture that embody the spirit of this town.

luminaries 244 sinGular sensations Art-world luminaries reveal the work or show that started it all. By Rachel Wolff

Yellow and Blue Fried Egg, nathalie Djurberg, 2013.

248 33 artists come to miami In preparation for this week’s annual Salon Series, where Sarah Thornton will discuss her new book, 33 Artists in 3 Acts, curator Massimiliano Gioni attempts to solve the eternal mystery: What is an artist? By Massimiliano Gioni 250 younG Guns First-time galleries from around the globe share their excitement and anxiety about making the cut. By Betsy Perry 254 performance at the playBoy Ryan McNamara reimagines his stage piece MEEM as MEEM 4 Miami. By Carol Kino 258 island roots Cuban artists attract global collectors while maintaining native ties. By Margery Gordon

photography © NathaLIE DJUrBErg, CoUrtESy oF thE artISt, gIo MarCoNI, MILaN (DJUrBErg); © BEatrIZ goNZaLEZ, photography By SID hoELtZEr (goNZaLEZ)

Los papagayos (The Parrots), beatriz Gonzalez, 1987.

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table of contents

262 Global GivinG Art Basel’s new initiative with Kickstarter supports visual arts organizations. By Debra Scott 264 Year book Art Basel celebrates 2013, the year it went global, with a new comprehensive tome. By Rebecca Kleinman 266 a DaY in the life Collector and international raconteur Jean Piggozi takes us through his schedule for VIP Opening Day of the fair.

270 Partners Part of the success of Art Basel in Miami Beach is due to the support of partners UBS, Davidoff, Ruinart, BMW, Absolut, and Audemars. 278 art basel in MiaMi beach official GuiDe

thelastword 296 MY MiaMi Universally adored collectors Eleanore and Domenico De Sole break down how they roll at Art Basel in Miami Beach. By Sue Hostetler

on thE covEr

Lady Gaga The Death of Marat, Robert Wilson, 2013.

50 art basel | miami beach 2014

photography courtesy of galerie thomas schulte, berlin

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Senior Managing Editor Danine Alati Art Director Adriana Garcia Special Projects Art Director Anastasia Tsioutas Casaliggi Creative Director Nicole Nadboy Designers Aaron Belandres, Sarah Litz, Natali Suasnavas Photo Director Lisa Rosenthal Photo Editor Marie Barbier Senior Digital Imaging Specialist Jeffrey Spitery Digital Imaging Specialist Jeremy Deveraturda Digital Imaging Assistant Htet San Manager, Copy and Research Wendie Pecharsky Copy Editor David Fairhurst Contributing Research Editor Shelley Nicole Jefferson

Senior Vice President and Editorial Director Mandi Norwood

EXHIBITION + PERFORMANCES: FRIDAY, DEC. 5 - SUNDAY, DEC. 7, 2014 Free public performances by SHEN WEI DANCE ARTS Limited seating available - for tickets visit www.mdclivearts.org

EXHIBITION ON VIEW: WEDNESDAY, DEC. 10 - SUNDAY, FEB. 1, 2015

Vice President of Creative and Fashion Ann Song

Art Basel Miami Beach magazine is a registered trademark of Niche Media Holdings, LLC, and the entire contents of Art Basel Miami Beach are copyright Niche Media Holdings, LLC. All column names are the property of Niche Media Holdings, LLC and may not be used or reproduced without the express written permission of the publisher. Liability in the event of an error is limited to a printed correction. Niche Media Holdings, LLC does not assume liability for products or services advertised herein.

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With a keen eye for exceptional architecture and 25+ years of experience selling luxury real estate in Miami Beach, Nelson is the go-to man when buying or selling luxury property. As a Miami native, Nelson is familiar with everything this city has to ofer: year round beautiful weather, gorgeous views and endless amounts of activity. Miami’s exceptional views are showcased best from most of Nelson’s listings. This would include beautiful high-rise condominiums that ofer unparalleled views to stunning multi-million dollar waterfront estates that ofer everything your heart desires. Nelson attributes his years of success to his clients and his genuine interest in their particular needs.

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FRoM THE EDiToR-iN-CHiEF

Editor-in-Chief Sue Hostetler; at a roundtable about the new Whitney Museum with (among others) Robin Pogrebin, Brooke Garber Neidich, and Adam Weinberg; at Art Basel magazine’s 2013 Women in the Arts luncheon at Lure with Agnes Gund, Ann Philbin, Tracey Emin, and Lisa Dennison.

No words more aptly capture the essence of this week than those of photographer Walker Evans when he said, “Look! We don’t have that much time.” As Art Basel in Miami Beach enters its 13th edition, I am once again stunned at how the show has grown and the immense and diverse events being offered this year. I am frequently asked how Art Basel, now on three continents, consistently puts on blockbuster show after blockbuster show. The answer is quality. More than 250 of the world’s leading international dealers are here exhibiting the best, from contemporary and Modern masters to emerging artists. Congratulations again to Marc Spiegler and his terrifc team for the ambitious and innovative week of programming they have achieved. In every issue that we produce, there seems to be a thematic thread that organically emerges. This year it’s all about the curator as art star. From the upcoming Venice Biennale’s Okwui Enwezor and Sharjah’s Eungie Joo to LACMA’s Franklin Sirmans and, of course, the ubiquitous Massimiliano Gioni and Hans Ulrich Obrist, these brilliant minds seem to be the ones exploring new frontiers, reimagining and elevating the conversation about contemporary art. Don’t miss the profles of or by all of these fascinating trailblazers in this issue. The other theme that is omnipresent in our stories is the continued globalization of the art world. Mark Ellwood talks to the pair behind the Moving Museum; Robin Pogrebin uncovers several unlikely new far-fung art capitals; and our annual Conversation Series spans the globe, having taken place in Asia, Europe, South America, and the United States.

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Not surprisingly, the immense expansion within the art world marches on. We have Kevin McGarry reporting from Los Angeles about the colossal physical growth of galleries and institutions in that city; Mary Elizabeth Agnew details the nonstop creation of art spaces in Asia; and we feature a very special roundtable with the four people instrumental in bringing the new Whitney Museum building to fruition. Most importantly, do not miss any of our extensive coverage of fair programming. I am particularly excited about Nicholas Baume’s second year curating the Public sector, aptly titled “Fieldwork”; the new sector in the Convention Center called Survey; and this year’s feature film, Big Eyes, directed by Tim Burton and starring Christoph Waltz and Amy Adams. And if you venture off-campus, defnitely hit the Margulies Collection, which is celebrating its 15th anniversary with a very special exhibition. So get out there and enjoy Miami and all this week has to offer. As Charley Ray says about great art, “I want to see it again. It asks me to be near, to come closer and look longer or to come back tomorrow and look again. The work whispers, ‘Be with me.’”

sue hostetler

PhotograPhy by Eric ryan andErson (roundtablE); MEgan Mack (hostEtlEr)

clockwise from top left:

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Now in Miami Miami Design District 140 NE 39th Street, Miami

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FROM THE PubLISHER

Jeff Ransdell and I at the Friends of New World Symphony Young Patrons Dinner Salon at Vintro Hotel & Kitchen.

With Dan Marino at the Ocean Drive magazine October Men’s Issue release party at Anthony’s Coal Fired Pizza.

With Carlos Rosso, Edgardo Defortuna, and Andy Mitchell at the announcement— by The Related Group, Fortune International Group, and The Fairwinds Group partnership—that the brand Auberge is coming to Fort Lauderdale.

56 art basel | miami beach 2014

courtland lantaff

photography by alberto e. tamargo (auberge); World red eye (marino, ransdell)

One of Miami’s greatest shows is fnally here. Locals are not the only ones who have been counting down the days until Art Basel in Miami Beach. The show has become something that artists, collectors, curators, and art enthusiasts from all over the world come to South Florida to experience. With more tents being pitched and events being planned, this year’s fair will be bigger and better than ever. In the past year, Miami has catapulted to the top as a leading global arts and design hub, and we have Art Basel in Miami Beach to thank. Infuenced by this fair and subsequent city developments in art and design, former districts of warehouses are turning into hip neighborhoods flled with galleries, luxury retail stores, and high-end condos. Architects are creating residential environments that will keep up with the increasing sophistication of the city, artists are donating their talents to ensure that aesthetically pleasing public spaces surround each area, and all the world’s most elite want a piece of the action. You’ll read all about this and more in the 13th edition of our publication, brimming with details on the upcoming art events, as well as the exhibitions and creators to keep an eye on this season. I hope to see you around at all of the art-full events.

1. ALEXANDER FORBES A Berlin-based art writer and critic specializing in contemporary art and the art market, Alexander Forbes relocated from New York to Berlin in 2010 and the following year joined Louise Blouin Media, overseeing the editorial expansion of the company’s print and online publications into German-speaking Europe. He currently serves as European market editor at artnet News. 2. CAROL KINO A regular writer for WSJ Magazine, T magazine, The New York Times, and 1stdibs, and a longtime contributing editor at Art + Auction, Carol Kino’s work has also appeared in Town & Country, Slate, The Atlantic, and The National (Abu Dhabi), among many other publications. She was a two-time USC Annenberg/Getty Arts Journalism Fellow, in 2007 and 2011. 3. FRANKLIN SIRMANS The Terri and Michael Smooke Department Head and Curator

58 Art Basel | Miami Beach 2014

of Contemporary Art at the Los Angeles County Museum of Art (LACMA), Franklin Sirmans is currently serving as the artistic director of Prospect New Orleans (Prospect.3: Notes for Now). Previously, he was the curator of modern and contemporary art at the Menil Collection in Houston, and he has written extensively for catalogues in addition to articles and reviews in publications such as The New York Times, Time Out New York, Essence, Parkett, and Grand Street. His forthcoming exhibition, “Noah Purifoy: Junk Dada,” debuts at LACMA in spring 2015.

5. MASSIMILIANO GIONI Massimiliano Gioni is the artistic director of the New Museum in New York and the director of the Nicola Trussardi Foundation in Milan. He has curated numerous international exhibitions and biennials, including the 55th Venice Biennale, which he directed in 2013. Gioni has contributed to many publications, including Artforum, Flash Art (for which he served as US editor from 1999 to 2003), and Tate. He cofounded the “Wrong Gallery” with Maurizio Cattelan and Ali Subotnick, with whom he has directed the independent art magazines The Wrong Times and Charley.

4. KATE SUTTON An arts writer currently based in Zagreb, Croatia, Kate Sutton is a regular contributor to Artforum.com in addition to writing articles and reviews for magazines including Artforum, Bidoun, Frieze, The Hollywood Reporter, and Leap. In 2013, she was recognized with an Art Writers Grant from the Andy Warhol Foundation.

6. BETH DUNLOP An author, editor, and critic living in Miami Beach, Beth Dunlop is editor of Modern magazine, a quarterly devoted to design, architecture, and the decorative arts that is published in New York. She is also the author of numerous books on architecture, many of them focusing on the Miami area.

PHOTOGRAPHY BY MARGERY NEWMAN (KINO); © 2013 MUSEUM ASSOCIATES/LACMA (SIRMANS); MARCO DE SCALZI, COURTESY OF FONDAZIONE NICOLA TRUSSARDI, MILANO (GIONI); WILLIAM FARKAS (DUNLOP); © THEA GREGORIUS (FORBES)

CONTRIBUTORS

10.

7. KEVIN MCGARRY A writer and curator based in Los Angeles and New York, Kevin McGarry writes about art, film, and culture for magazines and journals, including Frieze, T: The New York Times Style Magazine, Artforum, W, Kaleidoscope, V Magazine, Modern Weekly China, and others. He has organized film festivals dedicated to artists’ film and video since 2005: Migrating Forms (2008–present) and New York Underground Film Festival (2005–2007). 8. JULIE L. BELCOVE A New York–based independent writer and editor with a focus on art and culture, Julie L. Belcove has written for The New Yorker, The New York Times, the Financial Times, The Wall Street Journal, Harper’s Bazaar, Elle, Elle Décor, and Architectural Digest, among other publications. While deputy editor of W, she created and edited the magazine’s annual Art Issue.

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11.

12.

9. FRED BERNSTEIN New York–based Fred Bernstein studied architecture at Princeton and law at NYU; he now writes about those subjects and others. He has penned articles for Art Basel magazine in the past, as well as this year, and he has attended every Art Basel in Miami Beach since its founding. 10. RACHEL FELDER Rachel Felder’s writing about style, art, and travel frequently appears in The New York Times, the Financial Times, Travel + Leisure, Women’s Wear Daily, Departures, Town & Country, and numerous other outlets. The author of Manic Pop Thrill, a book about the connection between fashion and music, she is currently working on its follow-up, to be published in 2016. 11. MARK ELLWOOD British-born, New York– based Mark Ellwood has lived out of a suitcase

for most of his adult life. He contributes regularly to Departures, Condé Nast Traveler, and The Wall Street Journal, among other publications. He is also the author of Bargain Fever: How to Shop in a Discounted World. 12. ROBIN POGREBIN Robin Pogrebin is a staff reporter at The New York Times, where she covers the business of cultural institutions and issues like preservation, arts funding, and architecture for the Culture Desk. Prior to joining the Times, Pogrebin worked as an associate producer for Peter Jennings’s documentary unit at ABC News, producing hourlong specials on subjects like Bosnia, Haiti, and Christianity in America. She is a freelance writer for publications including Architectural Digest, Vogue, Town & Country, Departures, and New York magazine.

PHOTOGRAPHY BY MILLIE FELDER (FELDER); MEG NOLAN (ELLWOOD); FRED CONRAD (POGREBIN)

CONTRIBUTORS

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Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTE, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT INTENDED TO BE AN OFFER TO SELL, OR SOLICITATION TO BUY, CONDOMINIUM UNITS TO RESIDENTS OF CT, ID, NJ, NY AND OR, UNLESS REGISTERED OR EXEMPTIONS ARE AVAILABLE, OR IN ANY OTHER JURISDICTION WHERE PROHIBITED BY LAW, AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. THIS OFFERING IS MADE ONLY BY THE PROSPECTUS FOR THE CONDOMINIUM AND NO STATEMENT SHOULD BE RELIED UPON IF NOT MADE IN THE PROSPECTUS. PRICES, PLANS AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. THE RELATED GROUP IS NOT THE PROJECT DEVELOPER. SUNNY ISLES IS BEING DEVELOPED BY

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array of exclusive indoor and outdoor amenities. Brickell, SLS Lux, SLS Hotel & Residences, and Brickell Heights offer the ultimate lifestyle at the very center of Miami surrounded by the fnest shopping, dining, cultural, and entertainment destinations. Within Related’s properties, restaurants by renowned chefs such as Katsuya Uechi, Michael Schwartz, and José Andrés are offering premier dining experiences.

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Properties such as Paraiso Bayviews in Edgewater, with design by Karim Rashid, and Hyde Resort & Residences in Hollywood, with design by Debora Aguiar, are redefning beachfront living for a new generation with sleek modern design and an unparalleled

Looking forward, 2015 promises to be an even more exciting year for The Related Group with the development of brilliantly conceived residential and hospitality destinations including Auberge Beach Residences & Spa in Fort Lauderdale, Paraiso Four in Edgewater, and Hyde Beach House in Hollywood.

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F O RT L AU D E R DA L E ’ S O N LY N E W T RU E B E AC H F RO N T R E S I D E N C E S An exceptional development from the team behind many of South Florida’s most desirable properties, including Jade Beach, Jade Ocean, Murano Grande, and Apogee. With lifestyle amenities and services from the brand behind award-winning residential and resort destinations, including Esperanza, Auberge du Soleil, and Calistoga Ranch.

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This is not intended to be an offer to sell, or solicitation of an offer to buy, condominium units to residents of CT, ID, NY, NJ and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase wil depend upon your state of residency. This offering is made only by the Prospectus for the Condominium and no statement should be relied upon if not made in the Prospectus. Developer (as is defined herein below) reserves the right to revise or modify designs and construction specifications. All depictions of appliances, fixtures, counters, soffits, wall coverings, floor coverings, furnishings, closets, and other matters of detail, including, without limitation, items of finish and decoration, are conceptual only and are not necessarily the final finishes and details included with the purchase of a Unit. The managing entities, operators, hotel operators, amenities, resort managers, spas, restaurants, and other features referred to are accurate as of the date of this publication; however, there is no guarantee that these wil not change. Dimensions and square footage of the Units are approximate and may vary with actual construction. This Condominium is being developed by PRH Fairwinds, LLC (â&#x20AC;&#x153;Developerâ&#x20AC;?), which has a limited right to use the trademarked names and logos used herein pursuant to a license and marketing agreement. The Related Group, Fortune International Group, and The Fairwinds Group are not, singularly nor jointly, the developer. No real estate broker is authorized to make any representations or other statements regarding the project, and no agreements with, deposits paid to or other arrangements made with any real estate broker are or shall be binding on the Developer. All prices are subject to change. Services and products offered by any spa, resort, concierge, beach club, restaurant, or other vendor are offered for a fee. Consult the Prospectus for the site plan and the location of the Unit you desire. ÂŠ 2014, PRH Fairwinds, LLC. All rights reserved. Unless otherwise noted, the content is owned by Developer and the unauthorized reproduction, display or other dissemination constitutes copyright infringement.

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Kabinett of Wonder

Diving deep into the curated programs of the Kabinett sector. By Jordan Hruska

ntering its 10th year, Art Basel in Miami Beach’s Kabinett program offers participating galleries the opportunity to explore an exhibition strategy that falls somewhere between the commercial art fair booth and a tightly focused curated exhibition. This year, 27 galleries present everything from historical surveys to site-specific installations and single-artist programs, furthering Kabinett’s reputation as a patient, thoughtful sector within the bustling Miami Beach Convention Center. The highlights include a selection of 20th-century photography from East Berlin, exhibited by Kicken Berlin. Titled “Germany’s Coming of Age,” the program includes works from a realist school of nine photographers who documented elegiac narratives and subjects in the former East Germany. Photographers such as Sibylle Bergemann and

72 Art Basel | Miami Beach 2014

Ute Mahler stand out as members of the still-active Ostkreuz photography agency, formed in 1990 and named after Berlin’s East Crossing train station. Bergemann’s image of a Marx-Engels monument under construction illustrates the disenchantment of the time, as do the spellbinding portraits of everyday East Germans by Helga Paris. Viewers can also experience how Communism impacted the work of two Romanian artists through a wry, revisionist history of the Nicolae Ceauș escu years at David Nolan Gallery. Artists Ciprian Mureș an and ș erban Savu present “Communism Never Happened,” a collaborative installation comprising intertwined documentary and allegorical works. The installation contains a vitrine-encased book layout in progress, coupled with paintings of prosaic Communist-era subjects hung in the style of a Renaissance altarpiece.

Three major Argentine artists are showing this year in separate presentations. Antonio Asis, who has been based in Paris since 1956, will exhibit sketches he made in the 1950s and ’60s. Houston’s Sicardi Gallery presents these formative works, which exemplify the artist’s movement into the realm of Op Art and presage his cofounding of the artist group Position, consisting of fellow Argentine expats. The Kabinett space is an appropriately intimate setting for these personal gestures—records of how Asis was developing a geometric language to explore the intangible qualities of light. The tessellated shapes in Asis’s midcentury sketches fnd a contemporary cousin in the works of Buenos Aires–based artist Guillermo Kuitca, showing at Sperone Westwater. The artist exhibits his three Acoustic Mass collages from 2005. Composed of overlapping pieces of paper, the collages similarly use dancing geometric shapes to explore the phenomena surrounding acoustics and choreography. Kuitca governs these collages with architectural formations reminiscent of theaters and stage sets. These vibratory works represent a confident articulation of the artist’s interest in theatrical presentation since the 1980s, when he engaged in dialogue with choreographer Pina Bausch. Rounding out the Argentines, Buenos Aires’s Ruth Benzacar Galería de Arte presents smallformat pieces by Liliana Porter, including works on paper, paintings, and photographs. The standout, The Traveler (with green hat), 2014, is typical of the artist’s most recent sculptures, involving miniature figurative statues in uncannily arranged worlds. This piece pits the title traveler against weaponry and scattered objects much larger in scale and contrastingly whitewashed, perhaps figments of an idle brain, which, as they say, is the devil’s workshop. ABMB

photogrAphy Courtesy of the Artist And sperone WestWAter (KuitCA); Courtesy of the Artist And ruth BenzACAr gAleriA de Arte (porter)

left: Acoustic Mass I (Covent Garden), Guillermo Kuitca, 2005. above: The Traveler (with green hat), Liliana Porter, 2014.

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left: Plain Jane Chain Gang, JPW3, 2014. above: Work, Tsuruko Yamazaki, 2009.

Taking the World’s Stage The Nova sector showcases the best in young international galleries this year. By Tamara Warren

ver the past decade, Art Basel in Miami Beach has grown into a greatly anticipated highlight of the global art-world calendar. Part of what keeps the annual event fresh in its second decade is the energy that surrounds emerging artists who exhibit at the show. The Nova sector fulflls one of Art Basel’s purposes by giving young galleries and artists a platform to explore work in a concentrated way. The 34 international galleries selected for Nova may each exhibit work by up to three artists. The sector’s 2014 edition includes a fve-day performance installation by Brazilian artists Cibelle Cavalli Bastos and Patricia Leite at Mendes Wood DM, a twoperson exhibit by Peruvian artists David Zink Yi

74 Art Basel | Miami Beach 2014

and Rita Ponce de León at 80m2 Livia Benavides, and a solo presentation of mounted, highdefnition video pieces by Brian Bress from the Los Angeles–based gallery Cherry and Martin. Cherry and Martin has exhibited at Nova in previous years. “It’s vital that a world-class art fair show a range of material, from blue-chip galleries to emerging artists and new galleries,” says Cherry and Martin cofounder Philip Martin. “Those are markets that collectors are interested in across the board. Bringing new, cutting-edge work through focused presentations and sections like Nova is a great way to do that. It’s the way to bring gallery experience to the fair.” Nova offers small galleries the opportunity to stand out in a massive art fair, while also allowing interna-

tional exhibitors to reach a wider audience, as galleries from Europe, South America, and Asia join the sector—including the Japan-based dealer Take Ninagawa and the China-based exhibitor Beijing Commune. “Since this is our frst time at Nova, we have curated the project to give viewers a sense of the gallery’s identity and the way that we work across generations and historical contexts,” says Take Ninagawa gallerist Atsuko Ninagawa. “We will be introducing Tsuruko Yamazaki, a founding member of the Gutai Art Association, which is the seminal group from the postwar avant-garde; Shinro Ohtake, who began his career in the 1980s and has had a major infuence on the current generation of young artists; and Ryoko Aoki, who is at the forefront of reinventing fguration as a space for conceptual experimentation in Japan.” The Michael Jon Gallery is also new to Art Basel. It frst opened in Miami and recently unveiled a second space in Detroit. “It’s our frst year applying and the frst year we got accepted,” says Alan Gutierrez, a partner and codirector. The gallery will show paintings by Sayre Gomez and a large-scale sculpture by JPW3. “Collectors are naturally curious to see what’s happening that’s new,” Gutierrez says. “And Nova has been created specifcally for that purpose.” ABMB

PhotogrAPhy By SArA gernSBAcher, courteSy of MichAel Jon gAllery (JPW3); courteSy of gAleriA leMe (BrAndão); tAke ninAgAWA (yAMAzAki)

Caixa de Jóias, Alexandre Brandão, 2013.

sectors

Making Waves

This year’s Positions sector showcases the work of ambitious emerging international artists, who explore everything from memory and political displacement to the process of creation itself. By Jean Nayar

fxture at Art Basel in Miami Beach since its inauguration in 2002, the Positions sector, in the Convention Center, provides a platform for young galleries to showcase one of their emerging artists with an exhibition of a single major project. This year the sector spotlights artists from 16 galleries around the globe. Exhibiting for the second time, Kalfayan Galleries, based in Athens, premieres Homesick, a new project featuring video and images from internationally renowned photographer Hrair Sarkissian, who was born in Damascus, Syria, and left the country in 2008. “Sarkissian recreated and destroyed an architecturally exact scale model of the apartment building in Damascus where he grew up and his parents are still living,” says gallery manager Yuli Karatsiki.

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“In addition to providing shelter to his parents, it is the place where he belongs, a container for his memories, and a place for his family’s collective identity.” Although it takes as its starting point the current sociopolitical situation in Syria, says Karatsiki, the project more broadly examines “intertemporal issues of personal and collective history, memory, and displacement.” Exhibiting for the frst time, the New York–based gallery Clifton Benevento will present new sculptures by American artist Zak Kitnick, whose first monograph will also debut at Art Basel in Miami Beach. Incorporating industrial and commercial materials and intended to raise issues of production and distribution, the sculptures blur the boundaries between art, interior design, and commodity

production. “Kitnick’s work explores how these parallel worlds borrow from each other, acquiring and defusing each other’s potential,” says gallery co-owner Michael Clifton, who adds that the artist was part of the “Taster’s Choice” exhibition at New York’s MoMA PS1 this past spring, which highlighted emerging artists who regard choice as both the process and content of their work. Returning to Positions for the second time, the São Paulo–based Galeria Marilia Razuk will present a solo show by emerging Brazilian artist Maria Laet, whose work uses the body as reference in exploring questions of limit and continuation, opacity and transparency. “Her choice of materials and mediums avoids meaning, any codifcation of sense, bringing nearer the very episode of creation,” says gallery coowner Marcela Razuk. Laet uses materials like concrete, gauze, balloons, and thread, as well as natural elements such as wind, sand, wooden sticks, and milk. Among the works she will show in her threepart exhibition is an installation called Propagação, in which visitors will participate by walking amid 800 metal Baoding balls (Chinese exercise or meditation balls) with bells inside, spread over a felt-covered floor. The sounds they create will be captured by microphones and become part of the environment. The Los Angeles–based gallery Freedman Fitzpatrick, participating for the first time, will present a solo project by German artist Lucie Stahl. Infuenced by the visual schizophrenia of digital communication platforms and advertising vernacular, the artist assembles and scans images gleaned from mass media into collages that she subsequently prints then embalms in a viscous layer of polyurethane. For this exhibition, “Lucie will create a portrait gallery of characters culled from found images,” says dealer Alex Freedman. “Some of these works will focus on apocalyptic stock images from video games and political campaigns that have been extracted from their base context. Other works will be more like friezes, with masks, faux body parts, and other objects melded to the surface of the ink-jet print by a layer of resin.” The overall landscape—including a motley of fngerprints—will resemble a sunset caught on screen with a portal to a parallel reality. ABMB

PhotogrAPhy courtesy of KAlfAyAn gAlleries, Athens - thessAloniKi (sArKissiAn); courtesy of slyzMud (núMero 1)

Homesick, Hrair Sarkissian, 2014. right: Número 1, Faivovich & Goldberg, 2014.

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SECTORS

Forward Into the Past With the fair’s new sector, Survey, attendees can discover artists by taking a step back in time. By Brett Sokol

f you visit the booth of New York City gallerist James Fuentes at Art Basel in Miami Beach’s new Survey sector, consider it a digital-free zone. It’s not that Fuentes is a Luddite. It’s just that he takes the art-historical mission behind Survey very seriously. And as the owner of one of the 13 Survey galleries selected by the fair’s committee to present a tightly curated historical project, he’s determined to do justice to New York artist Alison Knowles’s 1967 artwork The Big Book.

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Knowles has dubbed her new piece The Boat Book. Fuentes deems it a “seminal social sculpture” and “an ambitiously scaled work by a historically signiﬁcant artist,” although the artist has referred to it as simply a book. However, it’s one with eight different eight-foot-tall movable pages chockablock with handmade texts, graphics, and—if the reader needs a break while slowly climbing through its tunnels and nooks—a tea station. “Reading about coffee is different from crawling into a book and heating yourself a

cup,” Knowles explained prior to the unveiling of the original piece, striking the wry tone that marked her efforts as a cofounder of the Fluxus movement, with its disdain for traditional art-world attitudes. Nearly 50 years later, The Boat Book offers a whole new layer of meaning as print culture itself seems endangered. “You can’t download this book,” notes Fuentes. “This is a work that needs to be read—and experienced—in person. There’s a younger generation that has grown up without books occupying such a central role in their life. This is ultimately a playful way to see how people respond to that change.” Perhaps channeling the spirit of Knowles, he adds pointedly, “In an art fair context, it’ll be interesting to show something that’s so ‘non-JPEG.’” Striking a more sober note at Survey is New York’s Cecilia de Torres Ltd., whose booth showcases

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Untitled, Tetsuya Ishida, 1998.

“It’s interesting that Art Basel, which epitomizes the world of ‘insider’ art, is highlighting such an infuential outsider artist.” —andrew edlin

Uruguay’s Taller Torres-García, the mid-20thcentury Montevideo artists workshop run by Joaquín Torres-García, who devoted himself to fusing traditional Latin American approaches with Modernist aesthetics. A sense of stylistic fusion is also evident amidst the inventive sculptures of the late French expat Niki de Saint Phalle, who receives a welcome retrospective courtesy of Paris’s Galerie GeorgesPhilippe & Nathalie Vallois. Similarly, the hallucinatory urban scenes of Japanese painter Tetsuya Ishida were rarely seen in the United States before his passing in 2005, a situation thankfully remedied via Survey by Tokyo’s Y++ Wada Fine Arts. The posthumous recognition continues at the booth of New York’s Andrew Edlin Gallery, which is showcasing the collages, drawings, and watercolors of Henry Darger, whose work was discovered

inside his Chicago apartment only after his death in 1973. “He wrote an epic story about children who are enslaved by sadistic, militaristic adult men,” says Edlin. The visual works that illustrate the tale—called The Story of the Vivian Girls—are by turns eerily beautiful and downright creepy, mixing extreme violence and borderline pedophilia and establishing Darger as one of last century’s foremost outsider artists, even as museum curators wring their hands over the mind-set behind it all. Edlin, however, relishes that aesthetic discomfort. In fact, much like fellow dealer Fuentes, he’s looking forward to the notion of challenging expectations. “It’s interesting that Art Basel, which epitomizes the world of ‘insider’ art, is highlighting such an infuential outsider artist,” Edlin says. As for the unsettling subject matter, “What sepa-

rates Darger from so many other contemporary artists whose work has a shocking effect is that Darger wasn’t deliberately trying to shock anybody,” Edlin explains. “He wasn’t making the work for anybody but himself.” Indeed, Edlin believes it’s that very isolation that gives the art its visceral power: “Trained artists, through their academic careers, spend a lot of time under the watchful eyes and company of their professors, fellow students, curators, and their audience. But when they see something made so unselfconsciously, it’s antithetical to their practice. It reminds them of the original spark that motivated them to become artists in the frst place.” ABMB

Untitled, Henry Darger, n.d.

80 Art Basel | Miami Beach 2014

iMAge courtesy of Andrew edlin gAllery (dArger); y++ wAdA fine Arts (ishidA)

The Boat Book, Alison Knowles, 2014.

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sectors

Art for All

Entering its second year, Edition—Art Basel in Miami Beach’s most accessible sector—is a growing favorite for bluechip as well as frst-time collectors. By Michael B. Dougherty

s anyone who has seen Herb & Dorothy— filmmaker Megumi Sasaki’s touching portrait of the prolific collecting duo Herb and Dorothy Vogel—knows, all you need is a little disposable income and an eye for emerging artists to amass a National Gallery– worthy collection. Right. Now that auction houses are the new galleries and eight-figure final bids make for ho-hum headlines, it can often seem like art collecting has become a gated community with very, very high hedgerows. This sense of ultraexclusivity is exactly why the debut of the Edition sector at last year’s Art Basel in Miami Beach felt like such a revelation. Capitalizing on the art fair’s success in Basel with a sector dedicated to prints and limited-edition work, Edition highlights a global lineup of galleries chosen for their profile, history, and artist roster, as well as the strength of their overall exhibition program. So unless you’ve got an excavated Banksy wall in your Shoreditch loft, you may want to head here frst. Making its second appearance at Edition this year is San Francisco’s Crown Point Press, a gallery, studio, and bookshop with a focus on printmaking. Crown Point Press director and partner Valerie Wade sums up the appeal of Edition nicely:

82 Art Basel | Miami Beach 2014

“Many seasoned collectors buy prints to augment the works by a particular artist already in their collection. Or, for the new collector, buying prints offers an opportunity to purchase work by an artist whose prices would otherwise be prohibitive.” Ten

S/T 7, Matias Faldbakken, 2014.

new color prints by German abstractionist Charline von Heyl will fill the gallery’s booth, as well as works by heavyweights like Sol LeWitt, Chris Ofli, and Ed Ruscha. Based in New York City’s Soho, Two Palms has developed graphic large-scale silk screens by Terry Winters, etchings with collage by Richard Prince, and the loose, painterly monotypes of Cecily Brown, all of which will premiere at the fair. Jumping the pond to London and Charles BoothClibborn’s Paragon Press, you’ll fnd a new series of prints by Sarah Morris titled “Bye Bye Brazil,” which were inspired by the city of Rio de Janeiro and seemingly the graphic ad work of midcentury titans like Paul Rand. Barcelona’s Polígrafa Obra Gráfica, which invites artists to its workspace to develop pieces that it then prints to specification, will come with completely new, very limited-edition lithographs by Matias Faldbakken, Peter Amdam, and Jacob Kassay. Another international Edition participant that focuses on artist residencies is Singapore’s STPI. It will present a group exhibition that includes works by Thai artist Rirkrit Tiravanija, whose chromed print series based on H.G. Wells’s classic novel The Time Machine will be shown in the US for the frst time. ABMB

photogrAphy © rirkrit tirAvAnijA/Stpi, iMAge courteSy of the ArtiSt And Stpi (tirAvAnijA); courteSy of pArAgon preSS (cAtundA); courteSy of polígrAfA oBrA gráficA (fAldBAkken)

right: Rio from Projeto Night Club, Leda Catunda, 2014. below: WHEN THE TOBACCO SMOKE ALSO SMELLS OF THE MOUTH WHICH EXHALES IT THE TWO ORDERS ARE MARRIED BY INFRA-SLIM – M.D., Rirkrit Tiravanija, 2013.

a dve r t i s e m e n t

Pride, Potential, Progress: Merrill Lynch connects with Miami The Miami and Fort Lauderdale Gay & Lesbian Film Festivals oﬀer culturally rich and evocative works exploring the lesbian, gay, bisexual and transgender experience. These events give everyone a chance to see artistry that celebrates LGBT life, community and pride. Yet the most important dialogue from these ﬁlms may be the real-life conversations they spark. From the movie house, to the State House, to the courthouse, groups like Equality Florida are lobbying, organizing and building coalitions to help eliminate harassment and discrimination on the basis of sexual orientation or gender identity. Merrill Lynch is privileged to sponsor the Miami and Fort Lauderdale Gay & Lesbian Film Festivals and Equality Florida. We believe that diversity and inclusion make our community stronger — and we’re committed to advancing the rights and freedoms of all Floridians — no matter who they love.

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sectors

nós sonhando [spacebodyship], ernesto Neto, 2014.

Art in the Park

he open green space of Collins Park has served as the site of Art Basel in Miami Beach’s Public sector since 2011. It will do so again this year with the exhibit “Fieldwork,” and Nicholas Baume, director and chief curator of Public Art Fund, curates the sector for a second year. “I often think of public art as a feld of experimentation for artists, of trying out ambitious ideas and verifying them ‘in the feld,’” says Baume. “It demands a different approach and a willingness to take risks.” The firsthand, interactive experience of “Fieldwork” is geared toward both art-world insiders and a broader public that just wants to be part of the excitement. Like “Social Animals,” Baume’s Public sector

84 Art Basel | Miami Beach 2014

exhibit last year, the 2014 edition references its audience as much as the art. “I like the idea that an art fair is an opportunity for direct encounters with works of

“Public art demands a different approach and a willingness to take risks.” —nicholas baume

art rather than just looking at JPEGs or reading online the latest art-world buzz,” he says. He compares art fair attendees to archeologists: “They’re all hoping to make a fnd or discover an important artist.”

The sector boasts an impressive generational range among its approximately 25 participating artists, from Georg Baselitz, who was born in 1938, to millennial Sam Ekwurtzel. Baselitz, a pioneer of German Neo-Expressionism, is exhibiting his 2013 bronze sculpture Louise Fuller. Powerless Structures, Fig. 101, part of a series begun by the artistic duo Elmgreen & Dragset in 1997, is a brand-new version of their original golden bronze statue, which premiered in London’s Trafalgar Square two years ago. Its joyous, witty depiction of a young boy atop a rocking horse departs from the traditional narratives of heroic historical statues. According to the artistic statement of Michael Elmgreen and Ingar Dragset, “The image stands as a

PhotogrAPhy By genevieve hAnson, Courtesy of the Artist And tAnyA BonAkdAr gAllery, new york

The Public sector’s outdoor exhibit fosters experimentation, discovery, and relaxation. By Rebecca Kleinman

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sectors louise Fuller, Georg Baselitz, 2013. below: The degenerated instinct which turns against life with subterranean vengefulness; see you again in your muck of tomorrow, Justin Matherly, 2010.

A rendering/ reference image of Powerless structures, Fig. 101, elmgreen & Dragset, 2014.

“I like the idea that an art fair is an opportunity for direct encounters with works of art rather than just looking at JPEGs.” —Nicholas Baume

symbol of all the innocent battles that take place only in the universe of childhood fantasy.” Justin Matherly’s work titled The degenerated instinct which turns against life with subterranean vengefulness; See you again in your muck of tomorrow is made of concrete and ambulatory equipment. Known for his references to Hellenistic and Roman statuary, Matherly looked to the Belvedere Torso in the Vatican Museums for inspiration for his 2010 piece, whose intentional decay emphasizes the human body’s fragility. Debuting during Art Basel, Ernesto Neto’s nós sonhando [Spacebodyship] expresses the artist’s concept of hammocks as interactive sculptures and his preference for organic shapes and materials that engage all

86 Art Basel | Miami Beach 2014

fve senses, but in using Cor-Ten steel, it also marks Neto’s most ambitious outdoor work. Built for two, the sculpture, with removable hammocks and potted plants, invites people to slow down, a necessity during this art-flled week. The Brazilian artist also represents the sector’s demographic shift. “About 20 percent of the artists are Latin American, which is a big increase over last year,” says Baume. “It makes sense given Miami’s connections to and dialogue with the region.” He also notes that the synergy of the fair’s broad international reach carries over into the performances: “The performances have become a very important aspect of the opening events. We have a stellar international lineup this year.” ABMB

PhotogrAPhy By Jochen LittekeMAn, courtesy of gALerie thAddAeus roPAc, PAris/sALzBurg (Louise FuLLer); © 2010 scuLPturecenter And the Artist, courtesy of PAuLA cooPer gALLery, new york, PhotogrAPh By JAson MAndeLLA (The degeneraTed insTincT...); courtesy of the Artists And VictoriA Miro, London © eLMgreen & drAgset (PowerLess sTrucTures, Fig. 101)

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below: OM Rider, Takeshi Murata, 2013. Under Thunder and Fluorescent Lights, Brian Alfred, n.d.

Screen Time

he approach taken by David Gryn in his selection for this year’s Film sector mirrors the sector’s theme, “Playfulness,” with a loose, nimble program that doesn’t get bogged down in dogma or rigid classifcations. Curated by Gryn, director of London’s Artprojx, it features more than 80 films by artists both wellknown (Martin Creed, Alex Prager, Takeshi Murata) and emerging (Vartan Avakian, Rania Bellou), with nightly sub-programs centered on such diverse subjects as radio broadcasting (“Radio Ga Ga”), classic cinema tropes (“The Night Forevermore”), and modern dance (such as “Rites of Spring”). “I spend most of the year thinking about this program in particular,” says Gryn. “We start in earnest around the time of Art Basel in Switzerland and then work swiftly to make it all happen in a very short time span.” A signifcant portion of this year’s sector deals with art that engages with or reacts to the Internet. The December 4 program, “The Digital Revolutionaries,” addresses online attractions like animation and gaming through the flms of CGI artists such as Tabor Robak, who co-curated the evening with Gryn, and Jon Rafman, whose work analyzes the

88 Art Basel | Miami Beach 2014

“I spend most of the year thinking about this program and then work very swiftly to make it all happen.” —david gRyn

photogrAphy Courtesy of the Artist And AMeringer | MCenery | yohe, new york, ny (Alfred); sAlon 94 Bowery (MurAtA)

The Film sector expands. By Susan Plummer

sectors

disappearing line between reality and virtual reality. On December 3, “Armchair Surfers” examines the ever-increasing consumption of social media, with works by artists including Saya Woolfalk, Clunie Reid, and the Belgian trio Leo Gabin. And on December 5, the Whitney Museum’s flm curator, Chrissie Iles, will moderate a salon panel titled “Playfulness: Artists as Online Gamers, Surfers, and Armchair Digital Revolutionaries” with Robak, Gryn, and artist Rachel Rose. More than 120 flms (about 15 hours’ worth) will be available to view on demand at the Miami Beach Convention Center’s newly designed viewing room. “We wanted to create a more serious and

90 Art Basel | Miami Beach 2014

interrogational approach, [like] how you would research books and archives in a library,” explains Gryn of this new offering, which features six touchscreen monitors. “It also provides some respite from the hectic bustle of the fair.” Of course, for those who prefer their screenings with a bit of “bustle,” the outdoor flm program returns this year to the 7,000-square-foot projection wall at SoundScape Park, part of the Frank Gehry– designed New World Center. With free admission, a seating capacity of 1,000, and the option of bringing your own blankets and picnic chairs, it’s a consistently popular attraction. “It’s very thrilling to watch artist flms that

stimulate, excite, and rivet the audience,” says Gryn of the sector’s offerings. “This is not about showing art that’s just easy to digest, but art that’s immediately engaging and encourages viewers to stay for an hour or three.” Another flm not to miss is this year’s feature flm, Big Eyes, based on the true story of Walter Keane, a successful painter in the ’50s and ’60s, who earned immense notoriety with his mysterious fgurative paintings featuring big eyes. The truth was eventually discovered, though: Keane’s art was not created by him but by his wife, Margaret. Directed by Tim Burton and starring Christoph Waltz and Amy Adams, the flm debuts Friday, December 5. ABMB

photogrAphy Courtesy of the Artist And siMone suBAl gAllery

Invasive Species, Frank Heath, 2012.

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Santo Antônio, Albuquerque, 1994, from Beatriz Milhazes’s “Jardim Botânico” exhibit.

Even the Tuesdays Are Crowded After a celebrated opening last December, the Pérez Art Museum continues to fulfll its mandate: to bring the art world to Miami and Miami art to the world. By Laura van Straaten

or many, a highlight of last year’s Art Basel in Miami Beach was the opening of the Pérez Art Museum Miami, as the Miami Art Museum was rechristened when it moved into its new $220 million home on the waterfront in December 2013. The debut was all about the big reveal of the building, designed by the Swiss architectural frm Herzog & de Meuron, and the largely positive critiques received for the

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structure, the site, and the verdant landscaping. The inaugural exhibition included a variety of works by signifcant artists of the 20th and 21st centuries, such as Ai Weiwei, John Baldessari, Ólafur Elíasson, Dan Flavin, and Kiki Smith. Some unexpected drama arrived within two months of PAMM’s opening, however, when a local artist smashed a vase in Weiwei’s installation to protest the institution’s supposed lack of support for

work by Florida artists. What the vandal didn’t realize is that the museum had pieces by fve local artists on view, with plans to exhibit six others in its frst year. “Ultimately, it drew attention to what we were doing,” says head curator Tobias Ostrander, laughing. “A lot of people all over the world heard about us!” Thom Collins, PAMM’s director, adds that the museum “takes very seriously that the unique demographics of Miami-Dade County can and

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local institutions Abstraktes Bild (7424), Gerhard Richter, 1991, from the “Global Positioning Systems” exhibit.

should be the foundation for our exhibition program and collection development.” The vandal was “ill-informed because we have such an active commitment to the very communities that he was criticizing us for not engaging with.” The shows on view during the week of Art Basel illustrate his point. The largest, running through January 11, 2015, is the frst major North American retrospective of Brazilian artist Beatriz Milhazes, featuring 40 large-scale paintings, screen prints, and collages. Collins notes that Milhazes is a great fit for Miami, as her “references are to the natural and designed environments of Brazil and to the history of tropicalism, tropical abstraction, and ideas about the carnivalesque.” “Jardim Botânico” aims to explore the evolution of Milhazes’s distinct and colorful painting style and the way she layers decorative and geometric forms, along with motifs from the colonial Baroque, European modernism, and Pop Art. A second retrospective features Haitian-born, Miami-based artist Adler Guerrier, who positions himself, especially in his early work, “as a fâneur, a meandering lonely fgure exploring the city with a critical eye” in the urban landscape of Miami, including “the implications of his Francophone Caribbean descent,” according to Ostrander. The show offers a

selection of photographs, sculptures, transfer prints, and drawings, plus works on paper using diverse materials and often collage techniques that “recall the surfaces and mixing of Rauschenberg,” the curator adds. Ostrander describes Guerrier as “an untapped treasure... one of the strongest artists working in Miami,” citing his participation in the 2008

Untitled (Flâneur nycmia) (detail), 1999-2001, from Adler Guerrier’s “Formulating a Plot” exhibit.

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Whitney Biennial and the acclaimed 2001 group show “Freestyle” at the Studio Museum in Harlem. Also on view through March 1 is a new commission from Canadian Geoffrey Farmer. “His work at the last Documenta was one of the highlights,” says Ostrander. “And when I came to this institution, I immediately thought of him for a new commission.” Farmer’s complex multimedia installation is composed of sculptures that are choreographed with sound, light, and movement. The show is Dadaist in a late-20th-century way; it’s no surprise that Farmer was inspired by the life and work of Frank Zappa. Ostrander and Collins say that what surprised them most about their frst year was the seamlessness with which PAMM was embraced both as part of the Miami community and as an international cultural institution. “All of the indicators suggest we are going to exceed our wildest expectations in terms of attendance, membership, engagement,” says Collins, noting that many milestones were met by the six-month mark. “We had less than 800 member households when it was the Miami Art Museum, and we are on track to reach about 10,000 now.” “It’s become a part of people’s lives very quickly,” says Ostrander. “I thought maybe there’d be a boom moment and then get quiet, but that hasn’t happened—even on a random Tuesday.” ABMB

PhotograPhy by Sid hoeltzell, © gerhard richter (AbtrAktes bild); courteSy of the artiSt and david caStillo gallery (Untitled)

Adler Guerrier positions himself “as a meandering lonely fgure exploring the city with a critical eye” in the urban landscape of Miami.

below:

A Guy Limone installation featuring Human Heart by Andy Warhol, from Peter Marino’s collection. right: A portrait of Marino.

One Way Journey An exhibition of the work, artistic infuences, and collaborations of architect Peter Marino transforms the Bass Museum into an adventure through his creative process. By Jean Nayar

hose familiar with the work of Peter Marino recognize him as a leading international architect with a bit of a brash streak, responsible for creating luxurious retail environments for the most high-profle fashion brands in the world, including Chanel, Louis Vuitton, Christian Dior, and Fendi. They may also know the acclaimed leather-clad visionary for his work with cultural institutions like the New York Public Library and hospitality groups such as the Four Seasons. Yet few are likely acquainted with the full extent of Marino’s creative reach—as a landscape architect, set designer, sculptor, collector, and collaborator with some of the fnest established and emerging artists in the world. An exhibition now at the Bass Museum called “One Way: Peter Marino,” organized by guest curator Jérôme Sans, aims to bring the full range of this Renaissance man’s multifaceted creativity into clear view. “This is the frst-ever exhibition of Marino’s work in a museum,” says Sans, a Paris- and Beijingbased curator, cofounder of the Palais de Tokyo in Paris, and former director of the Ullens Center for Contemporary Art in Beijing. “The entire museum will be transformed in a way that’s never been seen before to allow visitors to experience a journey, an adventure through Peter Marino’s world.” The expedition begins along a ramp just inside

Those combined realities make unique scenarios.” In one section of the museum, works from Marino’s personal collection of pieces by Keith Haring, Richard Serra, Loris Gréaud, and Andy Warhol offer insight into the modern artistic infuences on his work. In other areas, Pop Art, photographs, and iconic portraits further explore his inspirations at one end of an artistic continuum, while bronze sculptures from his collection of antiquities present historical expressions of those infuences on the other end. The bronze sculptures also hint at Marino’s fascination with materials—particularly stone, bronze, and leather—as tools that enable him to shape his modern architectural notions of luxury. In addition, they inform his own cast bronze boxes, highlighted in yet another part of the museum in a leather-clad room. —peter marino The exhibition culminates with a video presentation of Christophe “I conceived this show like a statement or an Willibald Gluck’s opera Orfeo ed Euridice—which exploration about my various interactions with art,” Marino created sets for and staged with his wife, says Marino. “It wouldn’t seem relevant to me to do Jane Trapnell, in their New York home in colthis without having some specially commissioned laboration with Michal Rovner, Raf Simons, and pieces, because I want people to understand how it Francesco Clemente—adding a mythological works when I integrate another artist’s creative pro- dimension to the diversity of Marino’s creativity. Featuring selected costumes and artwork from the cess into mine.” Marino continues, “Commissioning art makes a actual set, the closing section of the exhibition also superior project. It creates other experiences through- underscores his drive to collaborate with the world’s out the spaces, infiltrating with other dimensions. fnest creative minds. ABMB the museum with an installation by artist Gregor Hildebrant, one of several contemporary artists invited to collaborate in the exhibition. The installation relies on hundreds of strips of videotape gathered from copies of Jean Cocteau’s classic film Orphée, extending the poetic play with imagery of passages to the underworld and guiding visitors through a selection of works from Marino’s private collection. Inside, pieces by contemporary artists Guy Limone, Farhad Moshiri, Jean-Michel Othoniel, and Erwin Wurm reference their relationships with or perceptions of Marino (who has collected works by each of them).

“I conceived this show like a statement or an exploration about my various interactions with art.”

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PHOTOGRAPHY COURTESY OF MANOLO YLLERA. ARTWORK IN BACKGROUND © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED / DACS, LONDON / ARS, NY 2014 (PETER MARINO PORTRAIT); COURTESY OF GALERIE PERROTIN (LIMONE INSTALLATION)

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Kristalova’s Palace Continuing its popular series Recognition of Art by Women, the Norton Museum introduces work by Klara Kristalova to US audiences. By Tamara Warren

“When I started developing my own work more consciously, it was increasingly about looking closely at the world.”

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The Sleepless, Klara Kristalova, 2011.

PhotograPhy Courtesy of the artist, Lehmann mauPin gaLLery, gaLerie Perrotin, and gaLLeri magnus KarLsson

isitors who want to venture a bit off the beaten path during Art Basel in Miami Beach should take the quick trip north up I-95 to Palm Beach’s Norton Museum and discover the work of Czech-born artist Klara Kristalova in “Turning Into Stone,” her frst exhibition of sculptures and drawings in an American museum. Spread across three of the Norton’s galleries, the show, opening December 2 and running through March 29, 2015, features 50 sculptures—ranging from palm-size to child-size—and 25 watercolors. Kristalova draws on the perilous and poignant moments that make up childhood, including her own in a small Swedish village. Although her family left Czechoslovakia for political reasons in the late 1960s, she works in materials such as porcelain, just as her Bohemian forebears did in crafting Meissen pieces 300 years ago. “I started with ceramics because it’s possible to handle by yourself,” Kristalova says, “but also because it’s been considered a ‘crafty’ material, which initially gave me freedom.” What all of her works share is a rich and textured narrative. Each fgure seems to have a story of its own, whether it’s a woman whose head is covered in ivy, people consumed by butterfies, or an individual with stones in place of eyes. “When I started developing my own work more consciously, it was increasingly about looking closely at the world, details in everyday life, a slow life with small children,” Kristalova says. “I spent a couple of months in Iceland in 1993, and —klara kriSTalova the simple yet poetic things [there] struck me, like very hot steam from the water in the tap, hot springs, details in my small children’s faces. Then I moved more and more into psychology, human nature, how things exist in life. The work slowly became more dramatic, somehow drawn to an extent. Now I’m looking at simpler ways again, I think at least partly visually. The outer world interests me more now.” In contrast to the fair’s many high-profle artists, Kristalova has sailed under the radar. “Because her work hasn’t been looked at in depth, what struck us as incredible as we were putting together the exhibition was how much of it is in private collections,” says Cheryl Brutvan, the Norton’s curator of contemporary art and director of curatorial affairs. This is the fourth show in the museum’s annual series Recognition of Art by Women, an effort to support the work of female artists, funded by the Leonard and Sophie Davis Fund/ML Dauray Arts Initiative. RAW’s past subjects have been Phyllida Barlow, Jenny Saville, and Sylvia Plimack Mangold. “Kristalova’s work is extremely appealing: On the surface it seems accessible, but once you get inside, it has this other depth to it,” says Brutvan. “It’s these images that she’s created that have this remarkable power to them and meaning that speaks to something eternal, personal, and maybe even universal.” ABMB

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local institutions sous les bombes [Under the Bombs], Maurice Busset, 1918.

The Toll of War

he impact of a radically new type of warfare—and how it was depicted—is the subject of a three-part exhibition at the Wolfsonian-Florida International University, “Myth and Machine: The First World War in Visual Culture.” The show, on view through April 5, 2015, marks the centenary of the war as well as the 19th anniversary of the museum. Making use of unusual objects in the museum’s collection—such as an ornate bronze ceremonial sword handle decorated with male nudes and a representation of “winged victory”—the exhibit also includes several dozen pieces acquired over the last three years by the museum’s founder, Mitchell Wolfson Jr. The frst part of the exhibition is “War Machines,” exploring “the fascination with the technology of warfare, much of which was new for the artists,” says curator Jon Mogul. “There is a whole section, for instance, of aviation prints and posters… [as well as] beautiful

prints by a French artist, done in really bold, almost hallucinogenic colors, of the bombing of Paris. People were fascinated by the spectacle of war and the cult of aviators. Another subsection is about the industries that produced armaments and the role of women as armaments’ factory workers during the war.” Mogul explains that “there was a common percep-

Finally, “Loss and Redemption” surveys work that attempts to fnd some meaning in the unprecedented chaos and death produced by World War I. Included are images of the war that were created after it ended and of the terrible toll taken not only on individuals but on entire societies. Despite its topicality, the point of the show is not to comment on contemporary events, according to Mogul. But Wolfson definitely hopes that visitors make that connection. “I am a missionary,” he says, “and this show is an attempt to bring a cautionary tale and a fuller vision to the public, so that people can make the comparison between this war and other wars. If we study this one, perhaps we won’t be taken so easily by the next and tricked into participating in an adventure which will only bring horror. We try to put the record straight and examine the war from all angles, and how everyone suffered and everyone was at fault and everyone behaved in an inhuman way.” ABMB

“I am a missionary, and this show is an attempt to [tell] a cautionary tale.”

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—Mitchell Wolfson Jr.

tion that the new technology rendered the individual soldier a mere cog in the machine,” adding that the second part of the exhibit, “Unknown Soldiers,” “deals with material that created the myth of the First World War soldier, the creation of certain types of classic heroic models through imagery, such as the stoic, solid infantryman or the dashing aristocratic aviator, which are key archetypes you see over and over again.”

IllustratIon Courtesy of the WolfsonIan-fIu

A three-part exhibition at the Wolfsonian-FIU evokes the horror of the First World War and the birth of industrialized warfare. By Phoebe Hoban

local institutions Scarlet and Yellow Icicle Tower, Dale Chihuly, 2013 (detail).

Where Art and Nature Meet

Fairchild Tropical Botanic Garden presents two stunning exhibitions on its lush 83-acre grounds.

ertainly the work itself is what speaks loudest at Art Basel in Miami Beach, showcasing the considerable talents and myriad inspirations of countless artists. But one venue also complements the art on display in a unique way by becoming part of the experience. That, of course, is the Fairchild Tropical Botanic Garden, which initiated its Art at Fairchild program in 2005 to expose the community to the power of art in a natural setting. “We launched as a way to highlight the indelible link between art and nature,” says Nannette Zapata, chief operating officer and curator of art exhibitions at Fairchild. “Viewing art in an outdoor tropical setting is a truly breathtaking experience. Fairchild encompasses an amazing array of tropical colors that act as muse to artists’ works.” This year, Fairchild’s 83 acres of tropical plants, lakes, and gardens serve as the backdrop for the work of celebrated American glass artist Dale Chihuly, who has exhibited at Fairchild three times previously. “His 2005–2006 exhibition, ‘Dale Chihuly at Fairchild: A Garden of Glass,’ was one of the reasons that Art at Fairchild was Satyendra Pakhalé’s limited-edition Fish Chairs, to be featured in Design at Fairchild at the Fairchild Tropical Botanic Garden.

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started,” says Zapata. “Visitors came from all over the world to see the fantastic colors of his glass work nestled among tropical lilies, broadleaf plants, stately palms, and sweeping vistas.” In addition, Design at Fairchild—which debuted in 2012 with the goal of displaying inspiring designs that enhance the site’s lush landscape—is showcasing the work of Indianborn industrial designer Satyendra Pakhalé. His exhibit features 99 pieces from his Fish Chair collection, arranged throughout the garden’s arboretum. “This year’s Design at Fairchild exhibition is a testament to the amazing scale of work that can be accomplished when people of all cultures combine their talents,” says Zapata. “Pakhalé, now based in the Netherlands, worked with the Italian frm Cappellini to produce these wonderful pieces that have been created in a fuchsia designed specifcally for this exhibition.” Cristina Grajales of New York’s Cristina Grajales Gallery is the show’s curator. “I love Pakhalé’s refnement, his sense of discovery and magic,” she says. “We chose to display 99 models all in fuchsia. We felt having one color that relates to the beauty of South Florida would create a harmonious aesthetic.” Indeed, Pakhalé was inspired by the unique setting when fnalizing the show. “Nature already provides an incredible base of shapes, colors, textures, and, above all, mystery,” says Grajales. “It’s challenging to come up with works that portray the same feeling. Pakhalé’s Fish Chairs, in the company of Chihuly’s work and the Fairchild Gardens, create a playful, inventive, surprising, and ultimately moving environment.” Zapata agrees that while the surroundings enhance the art, the opposite is also true. “We try to create outdoor galleries so that installations feel like site-specifc interventions,” she says. “Visitors can appreciate the meeting of art and nature when the exhibitions are woven throughout Fairchild’s many acres under the Miami sunshine.” ABMB

PhotograPhy courtesy of chihuly studio (Scarlet and Yellow IcIcle tower); courtesy of the artist and ammann gallery (fish chairs)

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clockwise from below:

Untitled (Self-Portrait), Julian Schnabel, 2004; Portrait d’un jeune ga n, Francis Picabia, 1941; Woman Playing with a Black Cat, J.F. Willumsen, 1945.

Super Nova

ntil two years ago, Julian Schnabel had never heard of Danish artist Jens Ferdinand Willumsen, who fell in and out of favor with Denmark’s art world throughout his long life (1863–1958). But in 2012, Danish artists Claus Carstensen and Christian Vind ambushed Schnabel at a gallery in Berlin, producing photos of Willumsen’s work. “I thought it was pretty radical,” Schnabel recalls. Carstensen and Vind proposed curating an exhibition that juxtaposed Willumsen’s fgurative paintings with Schnabel’s own. The subsequent show— at the J.F. Willumsens Museum, in the Danish town of Frederikssund—would also include fgurative paintings by the great French artist Francis Picabia. Schnabel sent the show’s catalog to good friend Bonnie Clearwater, who at the time was director of the Museum of Contemporary Art in North Miami. “I got the book from Julian and, of course, knew his work and Picabia’s,” says Clearwater. “And then there was this other artist. I was amazed and wondered why I hadn’t heard of him. I felt that I really needed to see it all in person, so I few to Denmark for the day [and] was truly bowled over by the entire exhibition.” Clearwater was so impressed, in fact, that she imported that show to Florida, where it is one of two exhibitions on view this week at Nova Southeastern University’s Museum of Art in Fort Lauderdale, where she became director last fall. The enormous show, titled “Café Dolly,” is on view through February 1, 2015, and includes 75 paintings from the three artists. “We are not saying there are any direct infuences,” Clearwater explains, “but each artist was working contrary to what would have been the main interest of his time, which was abstraction.” Schnabel concurs, describing his work in the show as an experiment with what a painting could be. “I think those guys were doing the same thing, just at a different time,” he says. The Picabias date from a period when the artist had rejected abstraction (to which he later returned) and was “exploring things that

112 Art basel | miami beach 2014

“[They were] working contrary to what would have been the main interests of their time, which was abstraction.” —Bonnie ClearWater

people wouldn’t consider as high art,” Schnabel observes, including photos from French “girlie” magazines. The Willumsens are from an era when he was “painting mythic fgurative pictures instead of reductivist works,” Schnabel says. “You end up with a body of work that is worth comparing.” Clearwater notes the special value of seeing Picabia’s late fgurative work, rarely shown in the United States, in anticipation of the Museum of Modern Art’s planned retrospective of the artist in late 2016. Also on view at the institution through March 22, 2015, are photographs from the collection of Martin Z. Margulies, “documenting the character of America from the early 1900s to today,” says Clearwater, who curated the show herself. In the last 20 years, Margulies has become an almost activist collector of images depicting the challenging and changing social and economic conditions for many of the United States’ diverse peoples. Thus, this exhibit, Clearwater says, “is about how he shaped his collection as much as how his collection shaped him as someone concerned with the human condition.” Dorothea Lange, Lewis Hines, Walker Evans, Berenice Abbott, and Weegee are represented here, along with contemporary photographers, including William Eggleston, Lee Friedlander, Cindy Sherman, Gregory Crewdson, Alec Soth, and Justine Kurland. ABMB

All imAges courtesy of Nsu museum of Art fort lAuderdAle; © 2014 Artists rights society (Ars), New york / AdAgP, PAris (PicAbiA); © 2014 JuliAN schNAbel / Artists rights society (Ars), New york (schNAbel); © 2014 Artists rights society (Ars), New york / billedkuNst.dk (willumseN)

Two stellar shows make it worth the trip to Fort Lauderdale. By Laura van Straaten

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clockwise from right:

A Fresh Start

MoCA’s former board of trustees founds a new institution in the Design District. By Debra Scott

he cultural renaissance continues in South Florida: A brand-new museum opened this fall, the Institute of Contemporary Art, Miami. After North Miami voters rejected a bond proposal to fnance an expansion of that city’s Museum of Contemporary Art, its trustees announced in August their plans to form the ICA. Founded to serve the local community, MoCA had not only outgrown its limited physical capacity but had also aggressively built an international reputation. “The board of trustees sought to grow our institution for more than a decade in order to accommodate the demands of our expanding audience and program,” says board cochair Irma Braman. Audience expansion, the trustees felt, would best be served at a location both more capacious and more centrally located. They considered moving into quarters at the Bass Museum, but that deal fell through, and they took up temporary residence in Miami’s historic Moore Building. Built in 1921 as a furniture showroom, the four-story edifce is now an anchor of the city’s Design District. “We’re excited to tap into that history,” says Alex Gartenfeld, who joined MoCA in May 2013 and is now deputy director and chief curator at the ICA. An antique precursor to

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the Solomon R. Guggenheim Museum, the building has arcaded interior levels (accommodating more than 4,000 people) that overlook a massive central hall with a towering atrium. On December 3, a two-pronged inaugural program—timed to coincide with Art Basel in Miami Beach—will feature the work of highly regarded contemporary artists Pedro Reyes of Mexico and Romanian-born Andra Ursuta, based in New York. “The two exhibitions exemplify our commitment to advancing the work of the most innovative and thought-provoking artists of our time,” says Braman. “The new Institute of Contemporary Art, Miami is a

vital museum in Miami for experimentation and the exchange of ideas around contemporary art.” Reyes’s performative project, Sanatorium, which was frst presented at the Guggenheim in 2011, mixes art and psychology and will take the form of an interactive clinic in which “therapists”—actually volunteers from the community who’ve been trained by the artist—will “treat” visitors using methods including psychodrama and hypnosis. A trained architect, Reyes is known for his structures, his relational installations, and his performance and video work. Ursuta’s recent sculptures and installations, which investigate the relationship between totalitarian power and personal history, will play off the gridded architecture of the Atrium Gallery. Among her works on view will be large infatable fsts made of patchwork-quilted comforters. “The exhibitions demonstrate our commitment to boundary-pushing innovation while engaging with the contemporary political, economic, and cultural landscape,” says Gartenfeld, who oversees the ICA’s curatorial vision, its public education and outreach programs, and its mission to “advance scholarship of underknown, emerging, and established artists.” This inaugural show runs through March. The ICA will celebrate its new beginning this week with an Art Basel kickoff party. Expected is a group of celebrities, philanthropists, fashionistas, and other cultural heavyweights to help the trustees christen this brand-new institution and their impressive opening exhibition. ABMB

PhotograPhy by ULI hoLz (UrsUta); rIchard Patterson (bUILdIng); coUrtesy of the artIst (Sanatorium)

Installation view of Andra Ursuta’s Soft Power; the Moore Building, where MoCA’s former board of trustees will open a temporary museum gallery on the second foor; installation view of Sanatorium by Pedro Reyes at the Whitechapel Gallery in London.

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Gravity Fanatic, Dana Schutz, 2005.

All That Glitters

The de la Cruz Collection Contemporary Art Space weighs fool’s gold against true artistic treasure. By Brett Sokol

“T

here’s a new American landscape of abstraction that artists are exploring,” declares Rosa de la Cruz. “When you look at this new art, what you see is not what it is. Not everything that looks like gold is actually gold.” Giving expression to her argument is the new show “Beneath the Surface,” filling all three floors and 30,000 square feet of exhibition space inside the de la Cruz Collection Contemporary Art Space, where Rosa and her husband, Carlos, have been publicly showcasing their art collection since 2009. For this year’s annual rotating exhibit, de la Cruz says, issues surrounding artistic process have occupied their thoughts. “Beneath the Surface” begins with a large abstraction from New Yorker Wade Guyton, who has been celebrated for feeding scanned images into a huge ink-jet printer that spits out enormous prints. The slight imperfections and glitches that often result have been saluted in some corners as postmodern “painterly” touches. “He delegates not to his pencil or his brush, but to an Epson printer,” de la Cruz says. “He’s more concerned with

124 art Basel | miami Beach 2014

with a life of their own. And these fantastic situations expose both their grotesque and humorous nature.” As in prior years, the show’s third foor focuses on conceptual memorials to loss by Félix GonzálezTorres, who passed away in 1996. This December they’re joined by Rob Pruitt’s Us, consisting of 253 individual faces. According to de la Cruz, the backstory of Us revolves around a childhood memory of Pruitt’s: His now-deceased father balked at continually taking his young son on Saturday afternoons to see a National Gallery of Art exhibit of Mark Rothko paintings, preferring instead the pleasures of attending a baseball game. In an effort to bond with his son, Pruitt’s father would scribble in the air funny-looking faces atop the Rothko felds of color. Pruitt’s ode to his father now looks out at one of González-Torres’s signature candy spills, Untitled, Portrait of Dad—a flial tribute to a man who passed away when the artist was a child. “It’s all very beautiful to look at,” de la Cruz says, “but there’s something under the surface.” ABMB

Freudian metaphysics and the absence of control.” Continuing the show’s dive into au courant abstraction are recent works by Joe Bradley and Christopher Wool. On the second foor of the exhibition, the theme appears to change in Dana Schutz’s 2005 painting Gravity Fanatic, which strikingly depicts a young woman so obsessed with grounding her life that she has literally Scotchtaped herself—as well as her possessions—to her desk. Schutz’s work feels like the polar opposite of Guyton’s, and not only in its visually sumptuous fgurative style. Indeed, the anxiety on display in Gravity Fanatic is anything but inchoate, and every square inch of its canvas has been personally labored over by Schutz herself. “Her paintings spring from her imagination,” says de la Cruz. “By building colorful layers of fat surUntitled, Wade faces, her subjects take volume and Guyton, 2012. weight. She creates fgures that emerge

photography Courtesy of de la Cruz ColleCtion Contemporary art spaCe

The anxiety on display in Gravity Fanatic is anything but inchoate, and every square inch of its canvas has been personally labored over by Schutz herself.

ColleCting

Leuk Stone Circle, Richard Long, 2000.

Treasure Hunt

With his Warehouse in Wynwood closed from April to October, Marty Margulies uses those months to buy art. The incredible results are now on view as part of the Margulies Collection’s 15th anniversary exhibition.

n the bar of the Hotel Americano in New York City’s Chelsea neighborhood, renowned collector Marty Margulies, 76, is having a cranberry juice before starting a gallery crawl beftting a man half his age. First up is the Loretta Howard Gallery, where Irving Sandler has brought together works by Alice Neel, Alex Katz, Philip Pearlstein, and other onetime denizens of the East Village. Riding in the elevator to the fourth-foor space, Margulies teases his old friend Mark di Suvero. “I heard you weren’t coming,” he says, eyes twinkling. “That’s why I came.” A few minutes later, he crosses the street, to MitchellInnes & Nash, where Justine Kurland is having an opening. Margulies owns dozens of early Kurland photographs. “I’ll probably buy two or three [current pieces]. You’ve got to be supportive,” says Margulies, whose eponymous collection at the Warehouse in

126 art Basel | Miami Beach 2014

Wynwood is celebrating its 15th anniversary. But the Mitchell-Innes & Nash gallery is crowded, and Margulies, who prefers looking at art to schmoozing artists, says, “I can’t take in the show. I’ll have to come back to see it.” After hugging Kurland, he heads around the corner to the Marianne Boesky Gallery, where he is quickly ushered away from the madding crowd into a small conference room with Roxy Paine. They chat amicably, but Margulies doesn’t stay long; two of his four children are meeting him at Loretta Howard and then accompanying him to the obligatory opening-night dinner. From there, he’ll return to his apartment, decorated with half a dozen works by the likes of Callum Innes, Donald Baechler, and Edvins Strautmanis. The New York pied-à-terre is nothing like his 11,000-square-foot condo in the Grand Bay of Key

Biscayne, one of 40 or so buildings Margulies has built in the Miami area. As Grand Bay’s developer, he is familiar with the fre alarm system, the sprinklers, the lobby security, the strength of the hurricane-proof windows—all of which are critical, given the museumquality works in the apartment. The 100 or so pieces on display include Pollocks, Rothkos, Lichtensteins, Mirós, de Koonings, Twomblys, Noguchis—the postwar pantheon. Margulies can recite the history of every piece, and although he answers seemingly any question willingly (even discussing how much insurance he has), there isn’t a hint of bravado. And there’s no doubt he means it when, during a discussion of the insurance, he says, “If there’s a loss, it’ll be an emotional loss; it’s not about the money.” The collection in his apartment, where he raised four children (with his two ex-wives), rarely changes because,

PhotograPhy Courtesy of ColleCtion Martin Z. Margulies

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ColleCting Mario Merz’s installation Fibonacciseries 1/1/2/3/5/8 /13/21/34/55/89/1 44/233…, 1996.

Margulies fgures, there are so few works that would improve it. What’s the point, he asks, of buying late-career pieces, “where an artist was just repeating, when I already have an example of the original creative impulse?” But if he rarely buys for his apartment, Margulies buys plenty of art for the Margulies Collection at the Warehouse. The 45,000-square-foot building, enlarged by him over the years, has room to show nearly 1,000 pieces at a time, under Katherine Hinds’s direction. Margulies, the acquirer-in-chief, adds another 20 or 30 pieces a year, mostly photographs or installations. (Asked what he doesn’t collect, he can only think of “performances” and “concrete poetry.”) The Warehouse is open from late October to late April, which gives him time to shop for art each summer. This year, in Berlin, he fell in love with a fberglass sculpture by Wilhelm Mundt. “It’s on the boat right now,” says Margulies. “It’ll look great in the Warehouse.” Putting it in his apartment wasn’t an option. Not only wouldn’t it enhance the collection, he says, “but it wouldn’t even ft in the elevator.” Instead, the Mundt is one of several recent acquisitions on display at the Warehouse, part of a 15th anniversary exhibition, running through April 25, 2015, that places newly acquired pieces (by Mario Merz, Hans Josephsohn, Richard Long, and others) alongside installations acquired by Margulies starting in 1999. They include Olafur Eliasson’s Your Now Is My Surroundings, frst installed at the Warehouse in 2000, and equally large works by Ernesto Neto, Anthony McCall, Do Ho Suh, and Thomas Hirschhorn. Says

“What’s the point of buying late-career pieces when I already have an example of the original creative impulse?”

128 art Basel | Miami Beach 2014

Hinds, “For us, it is nice to look back at our exhibitions over the last 15 years and think about their impact on our audience, especially young students who otherwise would not have had exposure to this kind of art.” As a developer, Margulies’s most recent project is the Bellini Williams Island residences, where units start at about $1.5 million. Linking his vocation and his avocation, he commissioned a fuorescent chandelier for the lobby from Yuichi Higashionna, a Japanese artist represented by Boesky. But when it comes to real estate, Margulies says, “It may be time to get off the train.” Now that he’s “happily single” with grown children, he would like more leisure time. And for him, buying art is the perfect leisure-time activity. He sees nothing cutthroat about it. “I pay my bills punctually—these are people with families and rent to pay—and so they give me very nice terms,” he says of dealers. “And if I lose a piece I want now or then, or even 10 pieces, it won’t make or break the collection.” When discussing today’s red-hot market, Margulies role-plays a dialogue with a gallery owner: “Let’s say I see a work I want. I’ll say, ‘What’s the price of this very nice piece?’ And he’ll say, ‘It’s $50,000.’ I say, ‘That’s

a little more than I want to spend.’ So he says, ‘What do I need to do for you?’ And I say, ‘Make me smile.’ And he says, ‘How’s $40,000?’ Now I’m smiling. So I say, ‘How do you want to get paid? Is six months [one payment each month] okay with you?’ He says, ‘Fine,’ and I say, ‘Thank you very much. You’ve got a deal.’ And that’s all there is to it. Except when I buy a work over $1 million, I try to get 12 months.” Margulies rarely sells (“I’m offered some very big sums, but you can’t hang money on your wall”), although he recently used part of his collection as collateral for $80 million in construction fnancing. He makes frequent loans to other institutions, despite the risks. Not long ago, “a Duane Hanson came back without a fnger,” he says. “Katherine had it fxed.” What he doesn’t do is give art to museums, because he knows they’ll rarely show it. And when he dies, he says, the works in his apartment will be sold, with the money going not to the Met or MoMA (and certainly not to the Pérez Miami Art Museum, of which he has been a persistent critic). Instead, the money will go to help the indigent. Hopefully, whoever gets the art will enjoy it at least half as much as he has. ABMB

PhotograPhy Courtesy of ColleCtion Martin Z. Margulies.

trashstone 412, Wilhelm Mundt, 2008.

—marty margulies

ColleCting Target Acquisition, Mark Flood, 2014. below: US, Will Boone, 2014.

All in the Family

The Rubell Family Collection celebrates two major milestones with newly commissioned work by six artists and a 700-page catalog presenting both an overview of the collection and essays by wellknown artists. By Phoebe Hoban

on and Mera Rubell—whose renowned Rubell Family Collection virtually established the private-collection-asmuseum movement in Miami—are celebrating two major anniversaries just in time for this year’s fair. “It’s the 50th anniversary of our marriage,” says Mera, “and it’s 20 years since we frst opened our space to the public. So it’s a double whammy!” What better way to celebrate than to pull out all the stops and show newly commissioned art that “looks forward,” as Mera puts it, while also showcasing highlights from the permanent collection, which was started in the mid-1960s and now includes more than 6,300 works by 800 artists? The frst foor of the converted former DEA warehouse will be allocated to six artists: David Ostrowski, Lucy Dodd, Aaron Curry, Mark Flood, Kaari Upson, and Will Boone. Each has been given an individual space in which to create his or her solo show; the artworks won’t be revealed until they are completed. “It’s like getting a surprise birthday cake that something magical pops out of,” says Mera. “We just gave them the commission and told them to knock themselves out.” Director Juan RoselioneValadez adds, “It’s a big deal for us. We are extremely excited. The artists are creating particularly large-scale installations.” The second foor will present highlights from the collection, more than half of which have now been richly documented in a 700-page catalog: Highlights and Artists’ Writings, Volume 1 is being published to mark the anniversaries. It includes more than 800 works by 250 artists, as well as personal essays by such famous artists as Richard Prince, Cindy Sherman, Jeff Koons, George Condo, and John Ahearn. “We’ve gotten over 100 artists to contribute their

130 Art Basel | Miami Beach 2014

own voice to this catalog,” says Mera. “It’s really special getting these stories from people like Cindy Sherman, who talks about Robert Longo holding the camera for her 1979 Untitled Film Still, or Richard Prince remembering walking into our house after a Whitney Biennial in the ’80s and seeing his work hanging for the frst time in a collector’s home. These writings are like a personal gift.” Along with the catalog, the second-foor exhibit will provide another reminder of what the Rubell Family Collection is all about. “It will be fun—we are going to put up pieces that we have not seen in a long time, in 10 years,” Mera says. “Hopefully, the upstairs will refect the infuences that brought us to where we are today. I think of this journey as climbing a mountain with a fantastic view, and the higher you get, the better the view. We have spent our life looking at young art, and I can’t imagine having more pleasure. Contemporary art is the ultimate fountain of youth!” ABMB

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Abstract Exhibitionism This year the Cisneros Fontanals Art Foundation showcases 80 years of international abstraction.

bstract art has always held a special attraction for Ella Fontanals-Cisneros. Her frst purchases were geometric pieces from Latin America, and nonobjective forms remain at the core of her collection. “When I started buying abstraction in the ’80s,” recalls FontanalsCisneros, “it opened a window for me, something in my heart.” This emotional connection—rooted in the aesthetic landscape of Venezuela, where she spent most of her formative years—deepened as she educated herself on the concepts behind abstraction, an “intellectual process” that continues to challenge her mind and eyes. While her collection has expanded beyond the Americas and now includes contemporary works in all media and styles, abstract compositions still constitute the majority of her holdings. To refect the evolution of her Cisneros Fontanals Art Foundation’s mission to present diverse perspectives on art history, this year’s exhibition of works from the collection—an annual highlight of Art Basel in Miami Beach—contextualizes Latin American abstractionists in terms of their counterparts in the United States and Europe. “Impulse, Reason, Sense, Confict: Abstract Art from the Ella Fontanals-Cisneros Collection” is a sort of

Midtown–Warner Bros. (1 Times Square), Sarah Morris, 1999.

132 art basel | miami beach 2014

sequel to “The Sites of Latin American Abstraction,” which opened in December 2006 with about 160 pieces culled by guest curator Juan Ledezma from some 600 abstract works of the Latin diaspora. Few of the pieces in this new, broader survey were included then; most are among the several hundred abstract works that Fontanals-Cisneros acquired over the last fve years as she sought examples from the groundbreaking movements that took place from the 1950s to the 1980s, as well as fresh takes on similar themes by those movements’ heirs today. After years of inviting various curators to comb through its storage rooms, the foundation has opted for a group effort this year, with the founder and staff making selections, led by director and chief curator Jesús Fuenmayor. They also sought input from six outside experts, who consulted on and wrote about the show’s four sections: “Abstract Impulses,” “Laboratory of Reason,” “Uncommon Senses,” and “Spatial Conficts.” A ffth catalog essay explores the interdisciplinary links among the works in the exhibit. Resisting traditional divisions by medium, origin, or chronology—as well as the curatorial temptation to coin trends—Fuenmayor has focused on continuity, distilling “the governing principles of abstraction since the mid-20th century.” As he sees it, “Those principles aren’t changing; what is changing is how the artists relate to those principles.” This approach allows for intergenerational transatlantic exchanges, as when American painter and filmmaker Sarah Morris’s Midtown—Warner Bros. (1 Times Square), a Mondrianesque work from 1999 that fragments the façade of 1 Times Square into a grid of primary panes, is hung alongside an equally glossy, ambiguous, and optically pulsating panel from the early 1970s that Mexican graphic designer, architect, and painter Eduardo Terrazas sliced into six striped wedges that appear to split distances. Such playful pairings beckon viewers to step into the shoes of Fontanals-Cisneros as she engages with potential purchases. “She seems to be touching the pieces with her eyes,” says Fuenmayor about his employer, “looking at things with her entire body. She moves a lot back and forth and circles around the work. It’s like a dance.” ABMB

Tablón 14, Alejandro Otero, 1986.

“When I started buying abstraction in the ’80s, it opened a window for me, something in my heart.” —Ella FonTanalS-CiSnEroS

PhotograPhy by Vieri tomaselli, Courtesy of the ella fontanals-Cisneros ColleCtion, © alejandro otero (Tablón 14); stePhen White, Courtesy of White Cube, © sarah morris (MidTown)

By Margery Gordon

De c 3-7, 2014

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Australian Obsession

What’s the last thing you expect to see in Miami? Aboriginal abstract painting, taking center stage at Debra and Dennis Scholl’s legendary annual exhibition. By Sari Anne Tuschman

t was fve years ago on a trip to Australia that collector Dennis Scholl became enamored with Aboriginal abstract works. Just a few days after returning from two weeks in the Australian bush, “I saw a painting and realized how energetic and detailed it was, and I got very excited about it,” says Scholl. “My wife, Debra, and I knew right away we wanted to focus on collecting a limited group of artists that could result in a touring museum show.” In the last few years, the couple has amassed more than 300 pieces, creating one of the largest collections of Aboriginal art in the US—this in addition to their already massive contemporary art collection, which includes works by Olafur Eliasson, Brian Jungen, Anna Gaskell, and Raymond Pettibon, to name only a few. Last year the Scholls gave away 300 contemporary works to Pérez Art Museum Miami. “The desire to buy this art came from the challenge it posed,” says Australian curator and art historian Henry Skerritt, who has consulted with the Scholls on their acquisitions. “Aboriginal art forces us to look beyond our borders, to embrace other ways of seeing the world. For [the Scholls], this has been an incredible learning process—a journey into very unfamiliar territory.” That journey has led them to produce “No Boundaries,” a touring exhibit of 80 works created by nine Aboriginal senior lawmen, all of them abstract painters. “These lawmen are revered elders,” says Scholl. “Most of them didn’t start painting until they were in their 60s or 70s because they were not deemed to have the cultural

134 art Basel | miami Beach 2014

knowledge to commit to painting until then.” Beginning in February, “No Boundaries” will visit several museums around the country, starting with the Nevada Museum of Art. To accompany the show, Scholl and Skerritt have created a hardbound color catalog with 13 essays by Aboriginal art experts and have produced a series of short flms. “The nine artists in ‘No Boundaries’ were all innovators of the highest order,” says Skerritt. “It would be wrong to consider them only great Aboriginal

artists. Their art is great contemporary art.” Before “No Boundaries” makes its way around the US, the Scholls will display many of their works in their Miami home during Art Basel. “For the last 15 years, we have invited a curator to come into our home, and we give them the keys to the storage and go away for a few days, and the curator hangs whatever he or she wants,” says Scholl. This year that task has been handed to international contemporary art curator Tina Kukielski, who previously worked at the Whitney and was one of the curators of the 2013 Carnegie International. The fnal result will likely lean heavily toward Aboriginal and Aboriginal-infuenced pieces. “One of the reasons we found this work so inspiring is because the art is a way of passing on knowledge,” says Scholl. “There is a layering of ideas in the work that do not reveal themselves simply by looking at the paintings. You have to take time and begin to understand what the pieces represent to the makers.” ABMB

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Carroll Dunham (FOREGROUND), Bernice Rose, and Dorothea Rockburne during the installation of the 1972 Rockburne exhibit “Ipanema Suite Drawings” at New York’s Bykert Gallery, which included Z from Domain of the Variable (OPPOSITE, BOTTOM). OPPOSITE, TOP: Untitled (3/12/80), Carroll Dunham, 1980.

`men-tôr

“An experienced or trusted advisor… to train someone, especially a younger colleague.” By Julie L. Belcove

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M PhotogrAPhy Courtesy of DorotheA roCkBurne stuDio (B&W iMAge AnD Domain of the Variable); CoPyright CArroll DunhAM, Courtesy glADstone gAllery, neW york AnD Brussels (UntitleD 3/12/80)

ichelangelo was just 13 years old when he became an apprentice to Domenico Ghirlandaio, an artist known for his portraits, who ran one of the largest workshops in 15th-century Florence. It’s not entirely clear how much the boy genius learned there about painting or chiseling marble, but his employer did facilitate an introduction: to Lorenzo de’ Medici, who would become Michelangelo’s great patron. The artist-protégé relationship is an age-old one, for it has long proved mutually benefcial. Seasoned, well-remunerated artists need cheap labor to meet the demand for their works, while aspiring artists need edifcation about just what it means to be an artist. Today, mentors seldom teach their charges how to make art, and certainly not what to make. But what they do pass on, former assistants and students say, is what it means to wake up every morning, go to the studio, and create work when there are no deadlines, no boss’s approval required, and no rules. And once you’ve made it, how do you find a 21st-century incarnation of a Medici? Being an apprentice can mean an inordinate amount of drudgery (like having to dab on Jeff Koons’s paint-by-numbers canvases or assemble zillions of Tara Donovan’s buttons, pins, or toothpicks), leaving little energy for one’s own work, but sometimes a kid makes good. Here, a look at three noteworthy pairs. Dorothea rockburne anD carroll Dunham Carroll Dunham was a Waspy Connecticut kid who wasn’t sure he wanted to be an artist when a professor of his at Trinity College in Hartford matched him with Dorothea Rockburne for an internship around 1970. As Rockburne remembers it, she didn’t even want the help—she preferred being solitary. But she fnally consented. “He was pretty raggle-taggled, with torn jeans before it was in vogue,” Rockburne says. “But he was so bright. I was teaching at the School of Visual Arts and could never get my students to read the books I was assigning. They were lying around the studio, and Tip [as he’s called] picked them up and read all of them.” Dunham started off running errands; after earning her trust, he took on physically demanding tasks. “I became her hands,” he says. “I would move things around while she watched. I was the physical extension of her ideas.” Rockburne herself had spent fve years toiling as Robert Rauschenberg’s right hand in the early ’60s, when she was a young single mother. They’d been close friends at Black Mountain College, and “he knew that I ran a tight ship,” she says.

For Dunham, what may have had the biggest impact was simply observing the way Rockburne conducted herself—“the depth of her engagement,” he says—in the studio and in the art world. “I don’t think I had ever met an adult role model before.” Through Rockburne, Dunham met artists Mel Bochner, Robert Ryman, and Robert Mangold, as well as Ileana Sonnabend, who would become his gallerist in the late ’80s. Rockburne also introduced him to her toolbox. “I absolutely remember the day she taught me to use a level,” Dunham says. “It was revelatory.” Dunham didn’t show Rockburne his art back then—there wasn’t much to show. And Rockburne did not talk to Rauschenberg about her art, she says, “but Bob was certainly aware of it.” An active collector, Rauschenberg later bought work by other assistants, including Brice Marden, but not Rockburne’s. Asked if she felt wounded, she replies, “Yes, I was. I never thought about it until you asked that question.” With Dunham, though, Rockburne was touched several years ago when he gave her an abstract canvas he’d painted. She was even more moved when she learned of another gesture: When a work of hers came up at auction, his was the winning bid. charles ray anD ry rocklen For Charles Ray, teaching at UCLA has long been an integral part of his life as an artist. And although he insists that “everyone is a standout,” it’s clear that he and Ry Rocklen formed a special bond. Rocklen, who was an undergraduate there in the late ’90s, made an immediate impression. “He cried during a critique,” Ray recalls. “While he was embarrassed by this outburst of true emotion, I felt a little guilty for my tough-love technique. I told him and his peers, ‘Here is a guy who cares so much about his work that he is not afraid to cry when it all falls apart.’” “He loves to bring up that story,” says Rocklen, who may quibble with some of the details but acknowledges that his mentor “is a hard-ass at times. He’s Charley Ray—he’s not particularly a tame guy.” In the classroom, Rocklen was entranced by Ray’s introduction of real-world materials, such as a truck differential or all manner of knots. Outside of class, Rocklen found that his bike route to the university passed by Ray’s house. They started riding together and discovered they’d independently determined “the most optimal route possible.” Says Ray, “I got a lot of joy from his youthful enthusiasm, and to tell you the truth, his teenage angst was a great relief from my own midlife crisis.”

“I got a lot of joy from his youthful enthusiasm, and his teenage angst was a great relief from my midlife crisis.” —charles ray

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PhotogrAPhy © 2014 ChArles rAy, Courtesy of ChArles rAy studio (rAy And roCklen); © Ann JohAnsson/CorBis (kelley); MArkus lieBerniz, Courtesy of the Artist (AudimAx/NeustAdt mANifestAtioN); oPPosite PAge: © ChArles rAy, Courtesy of MAtthew MArks gAllery

Audimax/ Neustadt Manifestation’s performance in 2004, by Catherine Sullivan in collaboration with Mike Kelley, Ron Athey, Sean Griffn, Vera Maeder, Stacy Ellen Rich, and Marek Cichucki.

opposite page: Young Man, Charles Ray, 2012. above: Ry Rocklen (left) and Charles Ray in Los Angeles in 2004.

From Ray, Rocklen gleaned the importance of materials. “He cemented my love of object-making,” Rocklen says. And Ray clearly saw something in Rocklen as well: The elder sculptor asked his former student to pose for Young Man, a 2012 life-size nude rendered in stainless steel, in part to help improve Rocklen’s body image. “I’m not generally comfortable being naked,” admits Rocklen, who says he downed a couple of drinks before climbing onto Ray’s turntable to be photographed. Afterward, Ray recalls Rocklen telling him he felt liberated, and Ray, having himself disrobed for many of his sculptures, could relate. Ray’s work tends to be precise and refned, while Rocklen’s is scruffer, often comprising found objects. For Young Man, Rocklen ventures, perhaps the two approaches converged: “For that sculpture, I felt like I had become Charley Ray’s found object.” Mike kelley and Catherine Sullivan Catherine Sullivan chose Art Center College of Design in Pasadena, California, for graduate school in part for the chance to work with Mike Kelley, whose provocative take on the grotesque made him a pivotal fgure in installation art. What she found when she arrived in the mid-’90s was an artist who was surprisingly pragmatic and didn’t go in for a lot of philosophizing. “He was a big advocate of, whatever you’re going to learn to do, you’re going to learn by doing it,” recalls Sullivan, who is known for her unorthodox performances and flms and is now a professor herself, at the University of Chicago. Kelley had zero tolerance for procrastination. After Sullivan dillydallied over her thesis flm for six months, he fnally demanded, “in a harsh tone but with humor in it,” to see a script, she says. “I remember him saying to people that they had to shit or get off the pot. He didn’t want to see people blow through two years of grad school without making any mistakes.” After earning her MFA, Sullivan went to work for Kelley full-time for five years, applying skills as diverse as bookkeeping, sewing, and film editing when needed. She quickly learned that his irreverent art belied his consummate professionalism. “Mike paid every bill on time,” she says. Sullivan also took note of how he ensured that his growing resources would serve his imagination. “There was never a feeling of a factory, that you’re just kind of turning out a commodity.” Sullivan ventured out on her own in 2002, and, in what was a sure sign of respect, the teacher-student, artist-assistant relationship evolved into a friendship. She last spoke to him two weeks before he committed suicide in 2012. “It was like we were colleagues,” Sullivan recalls. “That was the way he treated me.” ABMB

Mike Kelley

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Global BY ROBIN POGREBIN

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ILLUSTRATION BY MONIKA HUNACKOVA/SHUTTERSTOCK

Going

In every part of the world—even those mired in political upheaval— contemporary art continues to expand and ﬂourish.

PhotogrAPhy Courtesy of LAAgenCiA (Corn shoP); Courtesy of PhAidon, froM ART CITIES OF THE FUTURE: 21ST CEnTURy AvAnT-GARdES, PhAidon 2013, www.PhAidon.CoM (PORTRAIT OF A LAndSCAPE, © ziAd AntAr)

An exhibition organized by LaAgencia in Bogotá in 2012: ‘’A falta de pan buenas tortas’’ (Corn shop) by Maria Fernanda Ariza.

arly in March 2013, the Museu de Arte do Rio officially debuted with great fanfare in Rio de Janeiro’s port district. Also in the city that month, Casa Daros opened as a space for art, education, and communication, housed in a stately 19thcentury building. These new projects attest to the recent surge of artistic activity in Rio, one of several cities around the world that have contributed to an expanding international art scene. Places like Beirut, Bogotá, Istanbul, Jakarta, Johannesburg, Lagos, Seoul, and Vancouver are seeing an increase in art fairs, museums, galleries, and emerging artists. And collectors and curators all over the world are paying attention. “The art world used to have these limited centers—New York, London—very, very focused points,” says Amy Cappellazzo, an art advisor. “Now there’s a little bit of that spreading out. We’re less ethnocentric, so maybe we have a more open perspective that great things can happen in other places.” There appear to be several reasons for this trend. Art proliferates where artists live, and with the increased global interest in buying art, attention has shifted to lesser-known locales. Also at work are forces unique to each city. Bogotá, for example, has long had a strong art scene, but the violence associated with Colombia’s drug trade kept outsiders away. Now that crime has subsided, people have started to visit in greater numbers. “Every biennial curator comes here to check out the local scene,” says José Roca, a Colombian curator. “During the last decade, both the institutional and independent art scenes in Bogotá have strengthened and diversifed.” In his article for the recent book Art Cities of the Future: 21st Century Avant-Gardes (Phaidon, 2013), Roca explains that while the Museo de Arte Moderno de Bogotá used to be “the hub for all things contemporary,” the traditionally conservative

Portrait of a Landscape: Abu Dhabi, UAE, Ziad Antar, 2010, Beirut, Lebanon.

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Galerie Janine Rubeiz in Beirut, with art by Huguette Caland (left to right, on walls): summer 2010, 2010; summer 1946, 2010; Maison De Freige, 2010; Kantari april 1952, 2010; and (in foreground) the sculpture rossinante, 2010.

anyang city rainbow: anyang stream, Jungho Oak, 2007, Seoul, South Korea.

“During the last decade, both the institutional and the independent art scenes in Bogotá have strengthened and diversifed.” —josÉ roca

Wave of Mind, awakening Moment Between, Ho Deuk Kim, 2011, Seoul, South Korea.

amapola santos (Poppy saints), Alberto Baraya, 2012, Bogotá, Colombia.

PhotogrAPhy Courtesy of Museu de Arte do rio; oPPosite PAge: Courtesy of PhAidon, froM ART CITIES OF THE FUTURE: 21ST CEnTURy AvAnT-GARdES, PhAidon 2013, www.PhAidon.CoM (AmApOlA SAnTOS, © AlBerto BArAyA; AnyAnG CITy RAInbOw, © Jungho oAk; And wAvE OF mInd, © ho deuk kiM); Courtesy of gAlerie JAnine ruBeiz (huguette CAlAnd).

An installation at the Museu de Arte do Rio, part of the 2013 exhibition “O abrigo e o terreno” (“The shelter and the land”).

Museo Nacional de Colombia—which focused on history and archaeology as well as art—recently underwent a major architectural overhaul and started looking at contemporary art. The Banco de la República renovated its cultural compound, including a new building for temporary exhibitions, and created an art museum that features contemporary work.

n the last fve years, Roca adds, Universidad Nacional de Colombia’s art museum has produced large exhibitions of local and international contemporary artists. And several independent art spaces have sprung up in the city, including NC-arte, LaAgencia, MIAMI, LIA (Laboratorio Interdisciplinario para las Artes), La Peluquería, and La Cooperativa. Colombian curators working abroad are including local artists in their projects. “Latin America has established itself frmly in the last fve years as a regional player,” Roca says. “An expanding group of collectors, many of them young professionals, has created a strong local market for contemporary art, something unthinkable just a decade before.” In Beirut, a number of galleries—including Sfeir-Semler Gallery, Galerie Janine Rubeiz, Agial Art Gallery, and Art Factum—now participate in events all over the world. “They are hooked into the market,” says Kaelen Wilson-Goldie, a writer and critic based in Beirut. “The economy is a wreck due to the situation in Syria, but still, the money is here, as is the talent and the work and the interest.” In the 1990s, Beirut spawned several successful artists, including Walid Raad,

Akram Zaatari, Jalal Toufc, and Paola Yacoub—many of whom frst came to international attention through Catherine David’s Contemporary Arab Representations project, says Wilson-Goldie, adding that they in turn produced a new generation of artists, such as Rayyane Tabet, Marwa Arsanios, Raed Yassin, and Ali Cherri. In Istanbul, the art scene “has grown at an unprecedented rate,” writes Duygu Demir in his essay for Art Cities of the Future. Cultural institutions and museums have opened in historic buildings, he reports; there are at least two competing art fairs, record-breaking auction sales, new nonproft spaces, and artist residency programs, “not to mention the many galleries popping up in neighborhoods on the city’s European side.” In Rio, too, the contemporary art world is percolating. Galleries based in São Paulo are opening in Rio, such as Galeria Nara Roesler and Fortes Vilaça. ArtRio, the international art fair, attracts collectors from other parts of the world. Curators like Ligia Canongia have been supporting emerging artists such as Ernesto Neto, José Damasceno, Fernanda Gomes, and Marcos Chaves. “New artists are constantly springing up across Brazil,” Canongia says, “assimilated by galleries all over the country.” At the same time, this art renewal has given established local artists a new lease on life, such as Paulo Bruscky, a key fgure of the Brazilian avant-garde of the 1960s. Felipe Scovino, a professor of the history of art at Rio’s Federal University and an independent curator, says, “We are a new phenomenon.” ABMB

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Prager’s World With her subtly disquieting work, it’s photographer Alex Prager’s world; we’re just lucky to live in it. by edward helmore

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All imAges courtesy of lehmAnn mAupin; opposite pAge: photogrAphy by Jeff VespA/ contour by gettyimAges (prAger)

Crowd #10 (Imperial Theatre), Alex Prager, 2013.

Hazelwood #2 (after Steven Siegel), Alex Prager, 2014.

nxiety is never out of fashion with artists, and certainly not in the nondescript Los Angeles storefront where—with photographers Stan Douglas and Cindy Sherman referenced as antecedents—Alex Prager conceives her bold cinematic tableaux. There are no obvious clues to a crisis of personality here. Only in the back room, where racks of thrift-store outfits suggest dozens of available identities, does Prager’s studio environment hint at the relationships (or lack thereof) between the people—or, more accurately, the characters—who repeatedly appear in her images. It’s not always clear whether the outfit or the identity gives rise to a characterization, or if her characters and the sensations they’re designed to evoke are deliberately generic. “Sometimes I’ll have an idea for a situation, or sometimes I’ll come in here and look at colors and textures, and the idea will come from there,” Prager explains, running her hand along the racks. Following her earlier series—among them “The Book of Disquiet” (2005), “Polyester” (2007), “The Big Valley” (2008), and “Compulsion” (2012)—Prager developed a marked interest in, and anxiety around, crowds, which she ascribes to public speaking following her inclusion in the “New Photography 2010” show at New York’s Museum of

Alex Prager

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Prager considers photographs superior at showing emptiness and disconnection— what she’s described as “in-betweenness”— and flm more immersive and better at capturing the chaotic energy that comes between people. Modern Art. Now, with Prager serving as both casting director and stylist, her shoots have grown more ambitious, often with dozens of friends and extras. Her most recent series, “Face in the Crowd,” was shot not for stills but for multiscreen projection, an intense process requiring extensive direction. Along with Southern California, old Hollywood, and street photographers such as Weegee, Mark Cohen, and Enrique Metinides, she is inspired in particular by the subtle line between a spontaneous shot and one that’s been set up. “I don’t want them to look like reenactments of real crowds,” Prager says. “I wanted them to look real and then to have this artificial, staged quality.” Even a master of street photography like Weegee used aspects of production to enhance his pictures. After photographing the wedding of the police commissioner’s daughter, he was given a certain freedom to arrange and light a crime scene to his liking. For Prager, this underscores the fact that even some so-called documentaries may be partially staged. The truth can be slippery to pin down, and images are only perceptions—especially in Hollywood—giving Prager no shortage of material to mine for inspiration.

Eve, Alex Prager, 2008.

ast year it was The Red Shoes, the classic 1948 Michael Powell and Emeric Pressburger film in which a dancer played by Moira Shearer is forced to choose between love and ballet. In “Compulsion,” Prager created a series of images dealing with disaster, while her second short film, La Petite Mort, narrated by Gary Oldman, looks at the moment when “pain turns into pure ecstasy.” Of the two formats she works in, Prager considers photographs superior at showing emptiness and disconnection—what she’s described as “in-betweenness”—and film more immersive and better at capturing the chaotic energy that comes between people. The 35-year-old artist, a native of Los Angeles, has been invited to stage her crowd pictures in various locations—perhaps to emphasize the international language of loneliness and neurosis—but she prefers to stay close to home. “The reality is these are such huge undertakings,” she says. “I don’t mean X-Men large, but large enough. I need my whole team—lighting technicians, hair and makeup people, costume designers—with me. I don’t know if [travel] would pan out.” For now, at least, Prager’s interest in crowds, and the moment of creation, is being satisfied. “I try to control everything, but there’s only so much you can do once it gets going,” she says. “Often the best moments come when I’m not entirely in control.” She has considered putting herself in her pictures, as Hitchcock did, but the moment never seems to allow it. “The images are an honest emotional or psychological experience for me,” Prager says. “If they weren’t, they wouldn’t ring true for anyone else.” But, she adds, “As staged as my pictures are, they aren’t about me.” ABMB

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A Private AffAir New art institutions are opening all over Asia, but private museums are the ones grabbing the spotlight in China. By Mary Elizabeth Agnew

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A digital rendering of the interior of the highly anticipated, governmentsupported M+ building, showing the lobby and the â&#x20AC;&#x153;Found Space.â&#x20AC;?

PhotogrAPhy © SifAng Art MuSeuM, CourteSy of Steven holl ArChiteCtS; oPPoSite PAge: iMAge CourteSy of M+, WeSt KoWloon CulturAl DiStriCt

even years after founders Baron and Baroness Guy and Myriam Ullens de Schooten opened the groundbreaking Ullens Center for Contemporary Art in Beijing, a spate of new, privately owned art museums has swept across China, as the enormously wealthy elite attempt to make their mark on Asia’s ever-changing cultural landscape. “Private museums are very important for a number of reasons,” says Jonathan Crockett, director and senior specialist in contemporary Asian art at Sotheby’s. “Firstly, the collectors who are forming the frst museums are pioneers in their own right, showing others in China what it means to build and showcase a great art collection. Further, they often have great fnancial resources at their disposal and are able to pursue the very best that comes onto the market.” Those fnancial resources have certainly been put to use since 2012, when the Long Museum in Shanghai was opened by billionaire Liu Yiqian and his wife, Wang Wei. That endeavour is funded solely by the family’s personal wealth and houses its diverse collection of ancient and contemporary art and artifacts, worth millions of dollars. The Yellow River Arts Centre, which opened in the past year, is situated in Yinchuan along the banks of the Yellow River and is funded by industrialist Liu Wenjin. It is an ambitious project that consists of the Yinchuan Art Museum, Sculpture Grounds, Art History Park, and Artists Village, and it’s comparable in scale to the architectural wonder that is the Sifang Art Museum. Designed by New York architect Steven Holl and open since 2013, Sifang is a 21,528-square-foot exhibition space that stands tall on enormous 30-foot columns, glowing like an ethereal alien, overlooking the outskirts of Nanjing. The project is supported by real estate mogul Lu Jun and his son Lu Xun and is part of a large 11-building complex of luxury villas, reported to have cost $164 million to develop. Lu Jun and his son have stated that they anticipate the Sifang Art Museum to be fnancially self-suffcient by the end of its fourth year of operation. But Meg Maggio, founder and director of Pékin Fine Arts in Beijing and Hong Kong, thinks the smart investors will understand that maintaining a museum of any sort is often a nonproft endeavor. “In most cases, [the owners] know what they’re doing,”

An exterior view of Sifang Art Museum in Nanjing, designed by Steven Holl Architects.

Maggio says. “Of course, private museums are subject to the personality traits of one individual, but in my experience they’re sophisticated about the art world and realistic about the realities of running a cultural institution. The best ones will keep costs down and try to get good deals from the government on land.” A lot has been made of the comparable rate of growth and investment in private art museums in China in recent years and in cosmopolitan US cities in the early 20th century. “MoMA, Guggenheim, Whitney… the list is very long,” says Lars Nittve, executive director of the much-anticipated, government-supported museum of visual culture M+, currently under construction in Hong Kong. “At the present, the private museums are obviously trailblazers in China, just as they in many ways were, and perhaps still are, in Miami.” That sentiment is echoed by Maggio, a Boston native. “In the US, we are very comfortable with privately owned museums and have been for a long time,” she

“The private museums are the trailblazers in China, just as they in many ways were, and perhaps still are, in Miami.”—lars nittve says. “The number of museums being opened is proportional to the growth in the economy. The two operate in tandem, and the more growth there is in the economy, then the more opportunity people have to pay attention to cultural change.” As China’s über-rich venture to commit their wealth to the development of civic cultural enterprises, many have questioned not their intention but their commitment. Are people who are used to calculating a business’s worth in dollars and cents prepared to bear the costs of running an art institution that’s unlikely to make money? “I don’t necessarily think that the funding is the key aspect, but rather how the institution sees itself,” says Nittve. “What is its mission? If it has a strong public-service ethos, like MoMA had very early, that is more important than the funding.” ABMB

The upper gallery of the Sifang Art Museum during the “Garden of Diversion” exhibition, by curator Philippe Pirotte.

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Doubles, Anyone? Art world powerhouses Allan Schwartzman and Amy Cappellazzo partner on a new patronage consulting paradigm that’s both innovative and old-school.

By Rachel Wolff

he international art world was set abuzz in February when Amy Cappellazzo left her eradefning position as international chairwoman of postwar and contemporary art at the auction house Christie’s for a then-unnamed private venture. A consummate market-maker—who set record after record during her decade-plus with the auction giant—she was nothing short of a fixture on the salesroom floor, smartly coiffed, perpetually fanked by coveted masterworks, and frequently taking bids from key players by phone. Consequently, her departure may have felt like a jolt to the increasingly highstakes system. But for Cappellazzo herself, it was simply the next logical step. “Thirteen years is a long time to do something,” she says of her tenure. “It just felt absolutely right.” Soon after her fnal string of sales with the frm (going out with a bang, so to speak, as the February auctions in London yielded some $291.5 million in four days and set 28 artist records), Cappellazzo announced her new enterprise: an evolutionary step in the artadvisory model called Art Agency, Partners, a joint venture with Allan Schwartzman, the venerable consultant responsible for museum-caliber (and often museum-bound) private collections around the world. “When you’re sitting at an auction house, you think that’s the center of the world,” Cappellazzo says. “And it is in a certain way. But it’s only part of the world. There are lots of other things going on, and I believe that art as an asset class will continue to be important globally. The art market has become a really big business, and the sums of money [involved] are quite consequential. You’re sort of beyond hobby when you’re spending this much money for works of art. And so more and more people seek out excellent advice when there’s more at stake.” Heeding that call, Art Agency, Partners employs a model predicated on a more holistic view of art patronage—a kind of cradle-tograve perspective that acknowledges not only how signifcant an asset class art has become, but also the ways in which a rigorous collection expands, contracts, and evolves over many active years. Equally important to the founding partners—and undoubtedly their new clients—is the perspicacious dialogue the pair has been having for years. “Allan and I are old friends,” Cappellazzo says. “He is very, very, very smart—we all know this. And he’s a very lucid thinker about

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something that gets occasionally murky, which is why you like a work of art or why something is more valuable than something else. We got to talking, and we felt like there really was no business in the art world that was completely collector-centric.” Adds Schwartzman, “For many years, Amy has been the principal person I dealt with in the auction world. We have a kind of compatibility and a confuence in the way we look at things, although it’s not exactly the same…. We come from different perspectives.” The two also have somewhat different pedigrees. Schwartzman explains, “I never set out to be an advisor. I was a writer, and I was introduced to a collector, Howard Rachofsky from Dallas, who was interested in working with someone who could help him think through the development of his collection. I began doing this work in a very kind of unintended, organic way.” And successfully, at that: Schwartzman has helped build some of the most dynamic collections of contemporary art in the world, including those of Deedie Rose (who, like Rachofsky, has promised her collection to the Dallas Museum of Art) and Bernardo Paz, who, with Schwartzman’s help, founded the Instituto Inhotim, a must-see 5,000-acre campus of large-scale installations of contemporary art in Brumadinho, Brazil (where Schwartzman continues to serve as chief curator). Thus, Schwartzman’s primary contribution to Art Agency, Partners will be in the collection-building category (his rigorous approach includes developing a kind of thesis with a collector—a fulcrum around which most acquisitions will then revolve). Collection defning and the reallocation of assets is key to Cappellazzo’s role in the new frm. “The business is modeled on an old-fashioned trust company,” she says. “To give someone long-term strategy advice, to give investment advice, and to help them monetize an asset.” Discretion is critical in a business like theirs, so it comes as no surprise that Schwartzman and Cappellazzo are mum about the clients that Cappellazzo was able to woo over from her former frm and any new business they’ve generated since word of their collaboration spread. But suffce it to say that by June, Cappellazzo was back in the London salesrooms, seated in the orchestra this time as opposed to the wings, where she reportedly bid on pieces by respected artists like Lucio Fontana and Roy Lichtenstein in proxy for her clients. “Amy and I are in a better position to service our clients by working together, because the knowledge that each of us has is greater than the sum of its parts,” says Schwartzman. “And it’s just the beginning. I’m excited to see where this brings us.” ABMB

PhotogrAPhy By roe ethridge, Courtesy of Art AgenCy, PArtners

Amy Cappellazzo and Allan Schwartzman, photographed at Roe Ethridgeâ&#x20AC;&#x2122;s studio in Brooklyn, New York.

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3. 5.

4. 2.

The Best of

Printed Matter American proponents of the artist book form—folks like Lucy Lippard and Dick Higgins—believed that artist publications had the potential to be best sellers and sit among romance novels on book racks. While many artists went on to produce publications that looked and felt like an average paperback or hardcover, few were able to capture the content appeal of the best seller. But no entity has come closer to perfecting the practice than Printed Matter. Founded by Lippard and Sol LeWitt in 1976, the nonproﬁt has been producing some of the most affordable, collaborative, historically important art books ever since. Phil Aarons, board president and book scholar, revisits the top 10 Printed Matter books ever published. 1) VARIABLE PIECE 4: SECRETS BY DOUGLAS HUEBLER (1977) “I consider this often-overlooked publication a quintessential artist book. Simply put, it is a collection (or as I like to think of it, an archive)

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of individuals’ secrets, which the artist culled throughout the ‘Software’ exhibition (1970, Jewish Museum) by asking audience members to write down personal secrets and drop them into a box. Huebler’s Secrets gives us what every beach reader wants—short concise stories that reveal seemingly spontaneous tawdry, banal, or illegal admissions—under the umbrella of a rigorous conceptual framework. We don’t need to read the dailies, the gossip rags, or the true-crime books to ﬁnd out that one participant ‘took $5,000 in black market money in Europe,’ or that another makes his/her money ‘by acting in porno ﬁlms.’ Each fragment cuts to the chase without the burden of an extended form. Thousands of secrets (many of which double as wishful thinking or social commentary) are here in aggregate, creating a work that is both titillating and formulaic, or rather, entertaining and conceptual.” (Excerpt from James Hoff, “Reading List: An Exhibition at the MoMA Library”)

2) SERVICE: A TRILOGY ON COLONIZATION: A BUDDING GOURMET; MCTOWERS MAID; TIJUANA MAID BY MARTHA ROSLER (1978; REPRINTED 2008) The publication consists of three short postcard novels that address the social uses of food. The stories were originally distributed via postcards typed and mailed every few days by the artist in 1976 before being compiled in this now-rare artist book. 3) GAAG: THE GUERRILLA ART ACTION GROUP, 1969-1976: A SELECTION BY JON HENDRICKS AND JEAN TOCHE (1978; REPRINTED 2011) This book serves as the primary text to the signiﬁcant work of the activist artist group GAAG (Jon Hendricks, Poppy Johnson, Silvianna, Joanne Stamerra, Virginia Toche, and Jean Toche), both as a document of the group’s ideological and

PHOTOGRAPHY COURTESY OF PRINTED MATTER INC.

Super-collector and book aﬁcionado Phil Aarons breaks down the most important artist tomes of our times.

logistical concerns and more broadly as a historical record of 52 of the many political art actions it carried out through the late ’60s and early ’70s. The book stands as both historical documentation and a model for contemporary and future critique and practice. 4) ABSENCE BY J. MEEJIN YOON (2003) Both a book and a sculptural object, Absence is a solid white block of thick-stock cardboard pages. The book’s only “text” consists of one pinhole and two identical squares die-cut into each of its 120 pages—one for each story of the World Trade Center towers, including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings toward the final page, where the footprint of the entire World Trade Center site is diecut into a delicate lattice of absent structures. 5) TOSCANA 3 BY MATTHIAS HERRMANN (2009) Matthias Herrmann is at it again—only this time he’s strutting his stuff all over the Tuscan landscape. Liberated from the privacy of the hotel rooms that were the stage for so many of his previous performances, the artist’s en plein air self-portraits are his most inventive to date. The costumes, wigs, signs, and other everyday objects that have been his props in the past are joined in this book by the bounty of the natural world. The artist, wearing characteristically little if anything, swings from trees, crouches in bushes, or poses in the middle of a field, confronting the viewer with his body, his sexuality, and his stagings.

6) AMERICAMERICA BY MATT KEEGAN (2008) In early 2008, New York artist Matt Keegan undertook a journey that loosely followed the 1986 Hands Across America route. This book acts not only as documentation of Keegan’s road trip but as an investigation into his belief, shared by many, that our present political and economic experiences can trace their roots to policies of the 1980s. He addresses such issues as hunger, homelessness, the AIDS crisis, sexuality, real estate, feminism, and corporate greed, mining a diverse range of sources, such as publicly displayed artworks and People, Life, and Butt magazines. Americamerica is a collection of interviews and cultural artifacts that, read together, begin to formulate an answer to the question “How did we get here?” 7) CHARTED PATTERNS FOR SWEATERS THAT TALK BACK BY LISA ANNE AUERBACH (2008) Political, relational, humorous, and instructive, this artist book—uniting many aspects of Lisa Anne Auerbach’s diverse practice—offers the reader stepby-step instructions on how to knit sweaters and skirts that feature a variety of snappy slogans. “When there’s nothing left to burn, you’ve got to set yourself on ﬁre” and “Yes we can! No we McCain’t!” are two examples. Full-color glossy photos of Auerbach and friends modeling her fashions on a photo shoot actually succeed in making juggling and unicycling look cool. 8) THE SIGNING BY JOSH SMITH (2008) The Signing is a facsimile reproduction of the gallery sign-in book from the artist’s 2007

exhibition “Abstraction” at Luhring Augustine. Hardbound in black cloth to resemble the sketchbook on which it’s based, the book consists of the signatures and notes left by visitors, famous and unknown. 9) ABRAHAM LINCOLN BY RACHEL HARRISON (2011) Comprising Googled images of Abraham Lincoln, the book shows our 16th president sequentially turning his famous proﬁle from right to left. Rachel Harrison’s large collection of images combines familiar portraits and absurd representations attesting to the overcommodiﬁcation of American history in the form of Lincoln memorabilia—a Lincoln toe ring, cake, egg, coffee mug, emoticon, pillow, and hulk. The images are all presented as they were found online, their formats untampered with and recontextualized in print. 10) QUEER ZINES, EDITED BY PHILIP AARONS AND A.A. BRONSON (2008, 2014) The catalogue Queer Zines collects the various practices of zine makers past and present, from North America and Europe, and lists them alphabetically, starting with Toronto’s 88 Chins and ending with the Dean Sameshima zine Young Men at Play. In a riotous assemblage of more than 200 pages are comprehensive bibliographies and sinful synopses of more than 120 zines by Alex Gartenfeld, excerpted illustrations and writings by zine makers, and reprints of important articles in and about queer zines. ABMB

7. 6.

10.

Printed Matter has been producing some of the most affordable, collaborative, historically important art books ever since 1976. Art Basel | Miami Beach 2014 163

Eva (EvE), AnA LuizA DiAs BAtistA, 2014, GALeriA MAriLiA rAzuk Known for sculptures and installations that play with dichotomies, such as origination and appropriation, and that explore notions of dissemination and scale, Ana Luiza Dias Batista has taken a popular 1980s amusement-park attraction from her native Brazil—Eva, a monumental doll originally built for Playcenter Park in São Paulo that has since traveled around South America, Central America, and Spain in many incarnations—and replicated it in human scale. “The idea was to provide an expedition into the human body,” she says. “The theme of exploring the tiniest bits of the body was parallel to that of exploring the immensity of space, as some movies of the time can attest. Both of them translate, after all, a need for redimensioning human scale. Considering [that] Florida is the primary location for amusement parks, it seems to be the perfect destination for the piece.”

Doing Your

FielDw

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For this year’s Public sector presentation, Mitchell-Innes & Nash will feature Sarah Braman’s Door.

T These three outdoor site-specifc works are worth venturing out to fnd in South Beach this week. by marina cashdan

work

itled “Fieldwork,” this year’s Art Basel in Miami Beach Public sector presentation, curated by Nicholas Baume, brings together works by 25 international artists tasked with creating outside their comfort zones—literally outside: under the open sky, in Miami Beach’s Collins Park, just a skip from the ocean and a short walk from the Convention Center. But Baume also presents the audience with a task. “This is feldwork for collectors, curators, writers, and the curious public—time to get out and about, do your research, and gather information,” he says. “Like a school of budding archeologists, visitors to an art fair are all hoping to make a fnd or discover an important artist”—which leads to the sculptures and installations of “Fieldwork.” From a scaled-down version of Elmgreen & Dragset’s Powerless Structures, Fig. 101 (2014), which debuted in London’s Trafalgar Square and is now making its frst US appearance, to Ernesto Neto’s nós sonhando (Spacebodyship), they’ll turn Collins Park into a sun-soaked archeological destination for fairgoers and Miamians alike. Here are three Public pieces to take special note of.

Door, Sarah Braman, 2013-14, mitchell-inneS & naSh As part of her frst outdoor commission, Sarah Braman takes a cue from the ancient Egyptian “false door,” an architectural embellishment on tombs, believed to be the threshold between mortals and deities and the site for offerings to the deceased. “They marked a place of passage for the interred’s soul to come and go as it sought comfort and nourishment of the world of the living,” says Braman, who in addition to being an artist is also a cofounder of the New York gallery CANADA. Referencing minimalism and color feld painting, Door—made from translucent violet and magenta panels— allows light to pour through its colored panes, creating both a physical and spiritual precipice between alternate realities. Says Braman, “I hope that [viewers] can lose themselves even for a minute.”

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Previous sPread: PhotograPhy Courtesy of galeria Marilia razuk, sao Paulo (Eva); Courtesy of the artist and Mi&n (Door); this Page: © tatiana trouvé, Courtesy gagosian gallery, PhotograPhy by leonie felle (WatErfall).

Waterfall, TaTiana Trouvé, 2013, GaGosian Gallery Originally conceived for a church square in Munich, Italian artist Tatiana Trouvé’s Waterfall will make its debut in America in an unusual setting: “The exuberant landscape and environment of Miami, [which] will be a radically different context for this rather melancholic work,” says Trouvé. The patinated bronze mattress (cast from one she found) balances atop a concrete wall, seemingly water-soaked, with rivulets trickling down from either end, creating an unexpected fountain. With its forlorn history and its monumental new form, and having both dynamic and static states, the piece is at once uplifting and disquieting.

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Dreaming

Miami Beach is the undisputed capital of Art Deco architecture, with more examples of the style than anywhere in the world. We sent photographer Simon Chaput to revisit some of the most celebrated Deco buildings in South Beach for this special portfolio. Accompanying the images, noted architectural historian Beth Dunlop puts both the past and the present in perspective. Look for Chaputâ&#x20AC;&#x2122;s work in the Howard Greenberg Gallery booth at the Convention Center. 168 art basel | Miami beach 2014

photography courtesy of Library of congress, prints and photographs division [habs fLa, 13-MiaM, 20--1]

DECO

opposite page: This vintage photo shows the Governor Hotel, at 435 21st Street in Miami, in 1980. this page: The same entrance, photographed by Simon Chaput in the summer of 2014.

Seen here in 1939, the Breakwater Hotel, at 940 Ocean Drive, was originally designed by Anton Skislewicz. opposite page: Simon Chaput’s photo of the hotel in the summer of 2014.

photogrAphy © MiAMi News ColleCtioN, historyMiAMi, 1989-011-24388

iami Beach’s Art Deco District came into being during America’s Great Depression—a truly dark time in this country’s (and the world’s) economy—yet in many respects its buildings offer testimony to the ways in which we prevail over adversity. These are not drab or sober works of architecture; rather they are joyful and capricious and, in their own way, elegant. The Depression also brought us big-band jazz and Busby Berkeley musicals, and the Art Deco buildings that line the streets of South Beach could conjure the notion of architectural chorus girls ready to sway to a syncopated beat. Not so long ago (at least in terms of the life of a city), this true treasure trove of architecture had been left to decay. Most of the 800 or so buildings were, at best, barely kept. They were slathered in beige and brown paint—dirty layer upon dirty layer—to the point that their architectural features were all but obscured. It took keen eyes to see their beauty. Barbara Baer Capitman was a marketing expert who had grown up in an artistic and design-loving family and emerged (the proverbial “old lady in tennis shoes” who became the face of historic preservation work in America) to lead the fght to turn this square mile of then-shabby (but beautiful) buildings into a National Historic District, which she did in 1979. She was joined by a cadre of others and soon found some unlikely allies,

such as the famed photographer Bruce Weber, who shot a Calvin Klein ad against an Art Deco backdrop, and the producer Michael Mann, who saw the historic district as the perfect setting for his landmark television series Miami Vice, which debuted in 1984. The Art Deco style evolved, really, out of design. Furniture and objects came first, the product of the 1925 Paris Exposition Internationale des Arts Décoratifs. In New York City especially, some grand skyscrapers that are still emblems of our ability to reach to the sky—most particularly the Empire State Building and the Chrysler Building—were to follow. But when the style came south to Miami Beach, it expressed a different kind of aspiration, a different optimism. Miami Beach’s version was a Stucco Deco with nautical and tropical details. There were porthole windows and front porches like ships’ decks, as well as inlays of banana leaves and flamingos and egrets, all speaking to a particular place at a particular time. Buildings are at once symmetrical and off-kilter. Their design emphasizes a type of horizontality, with lines of windows topped by “eyebrows” (or sunshades) and horizontal banding in the stucco. But there are pinnacles and spires that reach upward, offering a kinship with the Deco skyscraper: compression and release. During the height of the district’s construction boom—really between 1933 and 1941—new buildings

seemed to appear almost weekly; there were well more than 1,000 of them, of which a remarkable number survive. It’s intriguing, especially today— a period in which architects have a profound need to communicate their aesthetics so clearly and distinctly (and sometimes outlandishly)—that these thousand buildings all work so well together, as if they were instruments in an orchestra. There were very few hands at work on these thousand buildings, not more than a handful of architects, a dozen or so, all embracing a single style. Of these, Henry Hohauser and Lawrence Murray Dixon were perhaps most prolifc, but there were others, too: Albert Anis, Anton Skislewicz, Robert Swartburg, Victor Nellenbogen, Roy France. It all came together seamlessly, block after block. Like the movie stars of the same era, the buildings are really at their best in front of a camera. The lens seems to capture the contrasting qualities of the architecture—the upward thrust and horizontal pull, the balance and imbalance, the sober elegance and the buoyant, insouciant exuberance. It expressed an era then, one in which we could fnd beauty despite the dire circumstances of the world economy, and its survival and prosperity today stand as testimony to the triumph of that quest. The architecture—and these photographs—are well worth a long study, and as you look carefully, the nuances will emerge. ABMB

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From the ocean side, the Beach Patrol Headquarters with beach chairs on the sand, circa 1950.

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photogrAphy Courtesy of the City of MiAMi BeACh (BACk view); Courtesy of MiAMi BeACh City historiAn seth h. BrAMson, MyrnA And seth h. BrAMson ColleCtion (oCeAn view)

A back view of the Beach Patrol Headquarters in June 1950. right: The Beach Patrol Headquarters in the summer of 2014.

photography ÂŠ historyMiaMi, 1997-349-5. (Victor 1980). opposite page: photography by Myron DaVis/ the LiFe picture coLLection/getty iMages (1942)

The Hotel Victor, circa 1980, and (below) in the summer of 2014.

A crowd of US Army recruits outside the Colony Theatre in 1942. The marquee advertises The Big Street, starring Henry Fonda and Lucille Ball. above: The theater photographed by Simon Chaput, summer 2014.

Miami Beachâ&#x20AC;&#x2122;s version of Art Deco was a Stucco Deco with nautical and tropical details, porthole windows and front porches like shipsâ&#x20AC;&#x2122; decks.... Buildings are at once symmetrical and off-kilter. Art Basel | Miami Beach 2014 175

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Conversations Each year, we pair art-world luminaries for a series of candid conversations—our own version of a mini cultural salon. Seminal and emerging fgures in the art world participate, discussing sujets du jour. This year the conversations took place all over the globe, and the topics were more wide-ranging than ever—from the convergence of contemporary art and business in Poland to the theory of evolution to the eternal questions of space, composition, and equilibrium. Enjoy.

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conversations

Jay SanderS: It’s funny; I fnd it hard to conceive of simple questions about your work because in so many ways the work answers its own questions. The formal issues are in the materials, in the decisions, in the design and the experience of the work itself. So verbalizing the questions sometimes moves further away from that experience instead of toward it. But I had a thought about the contemporary space of abstraction and imagination. I like this title of one of your series— “Imaginary Places”—and how the art you make seems to pick up on the potentials and the borders of contemporary abstract space and the designing of that space. I wonder how your imagination of space has changed. Frank Stella: Well, I don’t know if I have any real idea about space. I wrote a book called Working Space, but outside of that…. Art ends up being shown in a museum in a big space. And since

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we started out, things have changed a lot about space, I suppose, in some ways…. We started out in New York, and Abstract Expressionist painting was basically created for gallery space and then sometimes in museums. So it was very straightforward compared to what goes on now. On the other hand, you could point to people like Calder, Duchamp, and Kiesler, who were all over the place, so things are not so different. But painting was kind of condensed in a way, and it didn’t have so many, well, options. JS: In your works, like the early shaped canvases, for example, the formal compositions you explored lead you to completely adjust the basic frame of the picture just like that. I feel like there are always certain artists who can see in the broadest sense what defnes their form and what the frontiers are, and also the perceived limits that others see—though, of course, there really aren’t limits. And then it’s the ability to tweak these rules and expectations in real time. FS: Yeah, but there’s a basic historical problem. If you’re interested in abstract art, in some ways it’s nice because there’s not so much as an absolute given. It really begins at the start of the 20th century, and it does have its own dynamic. And in New York it went pretty much from understanding— although we never saw it until later—the Russian avant-garde with Malevich and then all the Constructivists like Tatlin, but that we didn’t know. At most, you could see a few pieces at the Museum of Modern Art, but that was pretty low-key. And then on the other side, there was Kandinsky, who tied in what was coming from the 19th century with landscape and turned it into abstraction. But the other reality was that Mondrian actually came here, so there was a touchstone for abstraction that ended

in New York by the time of the Second World War. JS: In thinking about the ways your compositional space has changed over time—from the parallel line and the shaped canvas, to the ’80s and ’90s assembled works using combinations of painted forms, and now to these newest works, like the “Scarlatti K” series— there’s more of a sense with the new work of there being a continuous form, these complex aerodynamic structures that feel less juxtaposed and more an overall composition. Is that in part your use of the computer and how you’re able to totalize their design? FS: I don’t know how much the computer has to do with it…. It certainly plays a part. But ultimately, the issue is some kind of equilibrium. So maybe if you move from basically something that’s twodimensional or illusionistic and it becomes off-the-wall or more three-dimensional, then the issue becomes not so much about composition but a question of equilibrium or a kind of balance. You could say that Cubism was a way of dealing with the cube in two dimensions or in an illusionistic space, one way or the other, as fat as it may have become. Now the issue becomes, the space has changed from the cube to the sphere. But the requirements are basically the same. It has to be in equilibrium; it has to balance. So whatever you call composition, whatever you call formal relationships, they’re the same for everybody. JS: As you’re now working on a major upcoming retrospective exhibition at the Whitney Museum of American Art, organized by Michael Auping with Adam Weinberg, I’m curious how you are thinking about it. Your art is always looking forward, making moves into new terrain, and furthering its investigations. As you and the curators look back through all your work and construct the narratives of your history, are there different approaches with this survey? FS: Well, that last show I had in Wolfsburg in Germany

photogrAphy By KiriKo ShiroBAyAShi (StellA); By gretA hArtenStein, courteSy of JAy SAnderS (SAnderS)

Whitney curator Jay Sanders sits down with American icon Frank Stella before his career retrospective at the museum to discuss post-painterly abstraction, space, and his new “Scarlatti K” series.

Jay Sanders I liked, because pretty much everything that was there were good examples. It had a kind of fow, you could look around, and the chronology wasn’t terribly strict. So that you could see an early painting here, and you could see a Protractor painting there, and you could see something else over there. I liked the idea of being able to track not just in one direction, but you could make choices about what you wanted to see. All shows have a direction, but most shows are designed to go in and go out. The idea of the Whitney show is you’re supposed to go in and circulate. It will be an open space, and those spaces will be defned but not closed off…. We don’t want viewers to be stuck with rooms or corners. JS: Do you see interesting juxtapositions between works from very different time periods that can bring out new things for you? FS: Yeah, I see some things…. A simple example: If you take one of the “Aluminum” paintings, like Union Pacifc, and then you think of the frst “Moby Dick” piece, Aluminum Loomings, which is an aluminum piece in three dimensions, they sort of make sense to see one and then see one over there. It’s not like the end of the world, something so different happening, but it ties together a bit. JS: I think there’s a renewed contemporary relevance to your series such as “Moby Dick,” “Imaginary Places,” “Exotic Birds,” and other pieces from that time. For many younger artists working with abstraction now, abstraction in painting is received with 100 years of history and almost becomes ready-made content, where its many stylistics can be deployed in almost illustrative ways. I was thinking too of the recent Sigmar Polke retrospective at MoMA, which was eye-opening to me. Polke deals with parody of abstraction, and you might almost say the semiotics of what these kinds of gestures mean. In your work there’s a tension, in that it never becomes parody of mark-making, but you use a vast range of techniques. It’s held in a very interesting equilibrium. FS: It’s not particularly deliberate. The forms and the way you put the forms together dictate a lot of what happens. Sometimes you get the feeling that the marks you make make sense, and sometimes you feel that they’re at odds with the forms. So you strike a balance, or maybe you try to push it through. You’re not quite sure where it’s going to come out. JS: It’s always been the case that your paintings are

a key source of inspiration for artists working in other forms, such as theater, dance, and music. When I first met the playwright Richard Foreman, he told me that seeing your Black Paintings early on was among the most infuential artistic encounters for him. Or your work has had an effect on minimalism in music. It’s interesting how it’s so generative for time-based forms. FS: I don’t think about it too much, I guess. I remember La Monte Young, and when the scene was more manageable or smaller, you met a lot of people and you did a lot of things. You were really a kind of participant. I was once a performer in a Rauschenberg and Tinguely production. Everybody was pretty loose. JS: You make your works in series, and I’ve read where you speak of being in the middle of one series and then getting the idea of where to go next as you’re producing. Where do you fnd yourself right now? Still in the “Scarlatti K” series? FS: Yeah, I’m pretty deep into it. I guess I’m thinking ahead. But it’s changed; it hasn’t been a problem in the sense that it’s not quite as dramatic as it was with the “Moby Dick” pieces, which kept coming out in different ways over 10 or 15 years, right? And so I don’t worry about it too much; I do other things, and I could go back to it. And I think about how it could be better. JS: Are there things that are exciting you now, for the next maneuver you’ll make or where the work will go in the future? FS: No, at least not right now. I don’t know that there ever was. The problems are always so real and pedestrian that it’s pretty hard to call it thinking. Decide where this screw should go so it won’t fall off. JS: Are there things you see that excite you in emerging art? FS: I see a lot of things I like. The question I’m most often asked is what young artist I like. When I think about them, they all turn out to be 50 or 60 years old. So it’s pretty hard. But I look at a lot of things. I see things that are going on. JS: Even though you’ve been such a key part of the story of Modernism, I know from your writing that that narrative of progress is not necessarily how you see art occurring. You seem to always find earlier

instances of a purported innovation as well as more circular patterns of development. FS: It’s just very dangerous and fatuous to say this is really new. What’s important is not so much how it gets described but how it creates an atmosphere of anticipation that’s really kind of tough on the artist. It’s hard to meet that idea that it’s really going to make progress. JS: In the staging of one’s career, there are these breakthroughs in that way. FS: It takes away the impetus of what it’s really supposed to be about, which is to be yourself and to see how you develop and in the end to express how you come to deal with consciousness in the best ways you can. JS: When you’re making exhibitions of new work, do you think a lot about the staging of the works in dialogue? Or is it more about the singularity of each piece and its clear presentation? FS: It’s always dictated by the dimensions of the space and how much you can get in. No matter what I do, everybody says, “Oh, it’s overcrowded; it’s this and that…,” but that’s the way I see it, and basically my feeling is that if you’re paying your money, you ought to really see something. I’m not in the business of exhibiting white walls. If you go there to see something, you want to see what the artist is doing. ABMB

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Cheim & Read’s Adam Sheffer talks with Graz˙yna Kulczyk, Poland’s wealthiest woman and leading collector, about her ability to mix business with art and her work to empower women worldwide. AdAm Sheffer: Graz˙yna, you were trained as a lawyer, and you almost became a judge. What was it that changed your path toward art? ˙ ynA KulcZyK: It all started really early. GrAZ During my studies at university, I came into contact with artistic circles at school. I became a part of these circles, and as a result of my conversations and discussions with them, I began to collect smaller artworks, such as posters. AS: Though you began with posters, you’ve become a very serious art collector through the years. Tell me about your collection and the collecting process for you. GK: Although we may call anyone a collector from the moment they purchase a work of art, they are

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not truly collectors yet. You must frst mature until there is a moment in the process, similar to an apprentice, when you realize you have your own vision and that you have become a collector. At the same time, the infrastructure grows, and as a result you become ready to showcase your vision. My role as a collector developed out of a two- to three-year maturing process. At the very beginning, I did not have a clear perspective or full notion of what I was doing or that I would be exhibiting the artworks one day—at the beginning you don’t think that way. But then you begin to realize that, yes, you collect, and have a clear vision, and the next step will be to show the artwork. AS: That’s very inspiring. GK: The key moment for me as a collector came in 2007 when the Graz˙yna Kulczyk Collection was shown to the public and exhibited in aesthetic and thematic groups for the first time. Facing an audience is one of the biggest challenges, but it was an important step towards understanding what the collection could be. It gave me the opportunity to review the collection and ask myself several questions: What am I doing? Where is this going? What do I want? It was from that point on that I knew I was a collector. AS: Because you had collected some of the greatest works of Polish art of the 20th century— Strzemiński, Wroblewski, Kantor, for example— did you feel that the next step was to take Poland’s rich history and expand upon it with artists from Europe, the Americas, Latin America? Or was this something that just came naturally? GK: Through my travels and numerous conversations with critics, art historians, and gallerists, it became apparent to me that the works in the collection were already in dialogue with other

international representations or art, and I felt that this dialogue needed to be illustrated. The inclusion of art from other geographic areas makes the collection whole, especially since Polish art has such a strong connection to the work and style of other international artists. Therefore, it was natural for me to demonstrate this international context for Polish contemporary art within the collection. AS: I imagine that by attending art fairs, you have also had tremendous exposure to other artworks that speak to you visually and aesthetically and allow you to expand on the tenets of what is in your collection. For instance, I’m wondering if your interest in Latin American art expanded by seeing things at Art Basel in Miami Beach. At what point did attending art fairs contribute to the expansion of your collection to works from around the world? GK: During my travels to Miami and through meetings with gallerists, dealers, and collectors at the fair, it became apparent to me that numerous people knew of Polish artists. I have always been interested in tracing the extent of these international connections, which show the bigger picture of Polish contemporary art, especially in terms of the artists that are collected or exhibited in museums. For example, I have always been very pleased by the fact that most people know of or have heard about Henryk Stażewski, specifcally from the point of view of Latin America, because he was a member of Cercle et Carré. With Wojciech Fangor’s 1970 solo exhibition at the Guggenheim Museum, the show presented another key example of the bridge between Polish and international contemporary art. Art fairs represent a unique opportunity to trace these bridges since they provide fertile ground for further conversations and research on the history of artists and objects.

photogrAphy By AMy Mcculloch; opposite pAge: photogrAphy By ZuZA KrAjewsKA & BArteK wiecZoreK; in the BAcKground: Bionic Angel, MichAel nAjjAr, 2006, grA ynA KulcZyK collection

Graz

conversations

az ˙yna Kulczyk AS: It’s wonderful that we’ve now started talking about artists, especially since I know how devoted and generous you are to artists and supporting their work, and making opportunities happen for them. It is clear to me looking at your collection that you are somebody with a deep social conscience. I know you’ve collected artists like Jenny Holzer and Alina Szapocznikow, who address societal and political issues. Have you undertaken certain initiatives outside of art that deal with the idea of gender equality? GK: Socially conscious women artists are a key element of my collection. Numerous experts have also pointed this out, including Timothy Persons, who curated an exhibition of my collection at the Banco Santander Foundation in Madrid earlier this year titled “Everybody Is Nobody for Somebody.” As I continuously add new, high-quality artworks from women artists, this element has certainly become even more prominent and is something that now defnes the collection. AS: As you mentioned earlier, there is often a moment in the collecting process when the collector realizes they have a unique vision and want to share it with the world, and that is exactly what you have done with Stary Browar Urban & Art Centre [a retail space and art gallery in Poznańń, Poland], which is extraordinary and among the most impressive in the world. People have said that it functions as a privately owned institute of contemporary art, dance, and performance for Poland. How did you arrive at this idea to share your collection with all of Poland in such a unique and historical way? GK: My decision to transform the 20-acre postindustrial city block known as Hugger Brewery into a cultural and shopping district was inspired by the needs of artists as well as the need for a new method for promoting the arts in Poland. Stary Browar is a unique platform to support contemporary art and creativity—not just the visual arts, but also dance and other artistic forms—through an infrastructure predicated on the reciprocally supportive relationship of business and art. I wanted to create a special platform for the coexistence of business and art because I have always known that while art itself does not necessarily need so much support, artists

do, and that is why I decided to establish an innovative infrastructure to offer ongoing and long-term support to artists. AS: And this is where you came up with the name Stary Brower 50/50, because it’s 50 percent commerce, 50 percent art? GK: Yes, 50 percent business, 50 percent art. AS: From what I understand, there are three very important elements to what you do at Stary Browar—art, fashion, and technology. Please tell me a little bit about each of these. GK: Art Stations Foundation provides a platform for artists to develop and present their artistic expressions. I have also established a special scholarship intended to open doors for Polish and international artists and also dancers. This year the scholarship, which covers her education at Central Saint Martins, was awarded to a very gifted female choreographer, Alexandra Borys, to help support her studies in the world of dance. Stepping a bit further outside the realm of visual art, I have also developed the Art & Fashion Forum in order to support talented people across many age groups within the fashion industry. This year Stary Browar also hosted the final for the Fashion Global Battle for start-ups. Naturally, it happens that many women are involved with this program. AS: And technology is the third facet of your initiative, correct? How did your interest in technology come about? GK: My interest in technology actually relates to my personal mandate to empower women and create opportunities for them. There is a worldwide disparity, even in well-developed countries, between the number of male and female engineers, with only 14 percent of engineers being women. However, certain tests done by Debbie Sterling, a graduate of Stanford University, reveal that introducing the elements of engineering at a very young age, through behavioral studies or even with toys, can help young girls develop the mind-set that will lead them to become engineers. Later on, she founded the amazing company GoldieBlox, which produces technical toys for girls. Not so long ago, I had the opportunity to meet a young Polish woman named Kamila Staryga, who works at Google in California.

She has come up with the interesting idea to create a program for children at the kindergarten and primary school level that will inspire them to become engineers. I believe it is possible, and I am excited to support this innovative program. AS: That’s wonderful and unique. You’re doing incredible things in Poland, but also beyond. Speaking of which, I am very excited about your plans in Switzerland. Are you going to have an exhibition program like you do in Poznańń? Can you speak about that? GK: As the collection has grown and become more prominent, I feel that I am now seen as a worldwide ambassador of Polish modern and contemporary art. My mission is to show that Polish art has long been part of an important international dialogue, even during postwar Soviet occupation. As a result, I feel it necessary to create additional platforms to showcase Polish contemporary art on an international scale. The frst example of such activities was the exhibition at the Banco Santander Foundation in Madrid. Now the next logical step is a museum space, which will function out of the Grisons region in Switzerland. AS: Well, your vision is very distinct. It’s exciting, and I can only imagine how wonderful it’s going to be. We look forward to watching it grow. ABMB

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Agus

conversations

Agustín PéRez Rubio: To me, Liliana Porter is absolutely an Argentinian artist… someone who has always been looking at Argentina from the inside and from the outside. I would never even think of you as an American artist—even though you lived in New York City, taught at CUNY Queens College, and exhibited extensively there. LiLiAnA PoRteR: No, I don’t think about [how people view me]. APR: You had a show at MALBA in Buenos Aires earlier this year that was almost more of an “introspective” rather than a retrospective. It was a very beautiful installation…. What was the title? LP: It was called “The Man with the Hatchet and Other Brief Situations.”

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APR: And those “brief situations,” I think, are like many chapters of your own work inserted into the installation… the pieces and fragments of the work you have made. There is something I like very much about this woman, above all because she is an artist who in 1964 decided to go live in a city like New York. And I mean, an Argentinian artist, from Buenos Aires, from that political and social context, who leaves in ’64? LP: Yes, yes, but it wasn’t quite like that…. I had gone to Mexico to visit my brother, and I was planning to go to Paris…. A friend of mine from art school, Carlos Spiegelman, said to me, “Why don’t you come first to New York for a week to see the World’s Fair and then keep going?” So my life in New York was a little due to chance. APR: How did it begin? When you arrived in New York, why did you all organize the New York Graphic Workshop? LP: I arrived to New York when I was 22 years old, after studying fne arts since I was 12, so I had been doing art for a long time. Artists [came] from other places, and New York was starting to become the epicenter. It was just the right moment. And when that happens to you at that age, it’s a perfect combination. Luis Camnitzer was living with Luis Felipe Noé, and I admired Noé very much. Noé is eight years older than me—back then, eight years was a lot, but now it’s like we are the same age. So then, the three of us were together seeing exhibitions, seeing all this, and all the conversations…. It was very edifying.

But also, when you are outside of your country and in a different context, you begin to see yourself. You realize, for example, that you have an Argentinian accent compared to other Latin American people. You begin to delineate yourself better and to understand yourself better. Also, when you are alone, you realize what it is that interests you. So you don’t have to listen to anybody or to follow anybody’s schedule, and it’s like you progressively reinforce your personality. At that point, when I decided to stay with Luis and this boy, Castillo, from Venezuela, we put together the New York Graphic Workshop. It was a professional printing workshop. We taught and more, but especially what we had there was intense self-criticism, and we started to analyze what we were producing ourselves. We started cheating more technically, using many plates, strange inks, whatever. I decided to stop all that and see if I could do some work that had nothing at all to do with technique. I started to use very simple elements: a nail, a piece of thread, some leaves. Our workshop had a manifesto…. We did silk screen on the wall; we did things like installations with office paper, mail exhibitions, things like that. We were at that time what was called avant-garde. APR: We’re talking about 1965, ’66, ’67? LP: It was ’68 and after that. APR: So how come the Museum of Modern Art, after you all had been in New York for only four years, decides to include these kids? Nowadays it would be almost impossible—MoMA does not usually include 27-year-old kids! At that time, let’s remember that Frank Stella did his retrospective at the age of 32, right? Because MoMA nowadays is

photogrAphy Courtesy of MALBA

Artist Liliana Porter discusses with Agustín Pérez Rubio, artistic director of MALBA, her work and how she has always looked at Argentina from both the inside and the outside.

Liliana

stín Pérez Rubio divine, but it has become, like all museums, all institutions, something more archaic, with more weight, that has to be validated by the market, validated by the critics. I think we’re missing something at the museums. That is to say we work with a lot of time in advance, but many times we lose that freshness. LP: The curator wanted to see what was being done at the moment. And you have to remember, a little of it was New York psychology. In our countries, when someone approaches a gallery, they take all of the newspaper clippings about their art, press…. In the United States, they hate the past. What they’re interested in is what you’re going to do moving forward. APR: In what way do you think the art world has been globalized or transformed since the ’60s until today? Obviously, there has been an emergence of a new generation of artists who are recognizing the past and the artists of another time, but who are also contributing a new way of producing and different contexts that the Americans or Europeans are looking at. LP: When I arrived in 1964, Galeria Bonino had a very important gallery on 57th Street, and in addition to Argentinians like Bonevardi and Noé, her artists were Niki de Saint Phalle, Nam June Paik…. And nobody stopped to think that Nam June Paik was Asian, that Bonevardi was Hispanic, because that term did not exist at that time. And my frst perception was a more plural thing, like it was normal. APR: Homogenized? LP: Yes. Later, at the time of Nixon, more or less, the term “Hispanic” appeared and the forms where you still have to indicate whether you are Hispanic, Asian, or African American. It was as if the groups had separated. Although now there is a little more acceptance, it’s more plural, that way of naming groups is still very current. For

example, the Museum of Fine Arts in Houston buys one of your paintings, and where does it go? It goes to the Latin American Collection. It’s not just “contemporary art”; instead it is divided by ethnicity. So in that sense, I do think that right now we are at a time when there is more interest in Chinese art and in things that are happening in other places. APR: Africa, too, is known. People say, “There is a lot of African art now!” And I say, “What do you mean? It’s an entire continent. What do you know about Africa? You don’t know anything.” LP: Of course. There is a new interest or a fashion— things sometimes happen in strange ways—about what’s new and in vogue. APR: As an artist, do you feel comfortable within a Latin Americanist terminology, or no? I think in many cases that it also homogenizes the work of the artists. So often the vision, the subtleties of the differences between a Brazilian artist and an artist from another Latin American country… it seems like the barriers become amplifed. LP: Oh, you mean with regard to Latin America? Well, frst they’ll have to get to know the countries. That is one way of seeing it. Do I feel comfortable being a Latin American artist? I do feel comfortable, because I am one… an Argentinian woman. As a friend of mine says, “As long as we have to defend ourselves, it will be necessary to take an identity.” So it’s something along those lines. But little by little, I think, especially the younger generation, they are naturally less… they don’t have that barrier. I see that the young people in New York are a lot more integrated. Because I would like it better if I had friends from many different places and learned strange things.

Porter

APR: What do you think of the new generation of artists? Be as sincere as possible. What do you think of this generation of Argentinian artists, or young North American artists? LP: The context keeps on changing, and when the context changes, what happens is a reflection of that. It’s very difficult to “blame” the poor young people, when things keep changing. It feels like, when I was young, there was an attitude—you had more of a utopia. There was no Internet… there were no art fairs. So in that sense, everything was kind of practical. For example, at CUNY there is a course called The Business of Art. In my time that would have been impossible—that is to say, you may have studied the book in the bathroom, but you wouldn’t tell anyone. Because it was strange. In that sense, I don’t think you can say…. It’s just different. I think it’s less adorned. The career aspect of it has become very intensifed. And in a certain sense, it’s a little scary because it feels like the artwork is a by-product of the career. ABMB

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Lucy M

conversations

Lucy Mitchell-Innes: I just want to thank you both for your gracious hospitality while I’ve been in Beijing and for participating in this conversation. I’d love to begin with where you started. What was the very first moment that you thought about art? Yang Bin: In my childhood, I thought about art. When I was a young little boy, my mother asked me to buy a fish, but the fisherman gave me a fish without a head, so I thought, That is not complete— maybe if the fish had a head, it would be perfect. So I think at that time I was thinking about art. LMI: And for you, Yan? Any family members involved? Yan Qing: After opening the gallery [Aye Gallery in Beijing], I became more and more interested in art. LMI: But you two didn’t start your life in art? You worked in the automotive industry?

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YB: Actually before, I was a trainer in a car company, and then the company held an exhibition of cars. LMI: What are you really looking at right now as collectors, for a personal collection? YB: I am very proud of my collection. At the beginning I thought I didn’t understand art, so I collected oil paintings with the traditional artworks of China. Then I started to see a lot of new things, fresh artworks, and so I was more confident, and I started to collect Western artwork. I am very proud to have such a collection. LMI: What was the first Western work that made the transition? YQ: Jörg Immendorff, the German artist. That is the first important piece from my collection. I bought it in 2006 in Germany. But now I think that German gallery is closed. LMI: How did you start collecting Chinese art? And how did you move away from the tradition into more contemporary work? YB: I went abroad many times to see the museums and galleries—actually, we have been to Basel for 10 years—so I’ve started to understand Western contemporary art better and better. LMI: Do you think that the art fairs like Art Basel in Miami Beach play an important role in your collecting? YQ: Yes, we think the art fair plays a very important role for us in collecting, because at the shows—no matter Art Basel or other art fairs—all the galleries will take their best works [to

exhibit], so it’s very good for us to learn and have a look at the Western artworks. LMI: How do you find a connection between Western artwork and contemporary art in China? Where for you is the link? YQ: When we started to collect Western contemporary artwork, we felt that a lot of Chinese contemporary artists were affected or influenced by the Western artists. We definitely saw this with the Immendorff piece. Fang Lijun and some other Chinese artists were inspired by Immendorff, and he also painted a lot of Chinese themes— Chinese topics such as Mao and others. When we started collecting Western work, we selected Immendorff because it has a real connection to the Chinese. But now we have changed our minds and have become more open, so the link is not as great as before. LMI: So when you come to an art fair, how do you plan it—whether it’s Hong Kong or Miami or Switzerland? Switzerland is the biggest in the world. How do you plan what you’re going to see? YQ: We go in with no plans. YB: Nowadays we have a lot of friends there, so we stop first at the galleries that we have relationships with, whose programs we like… and then, if we have time, we will look around. So no plans, but we will usually spend many days there. LMI: When you’re looking around—when you have seen your friends and the artists that you know and you know you’re going to see a new work and you’ve done that—does sometimes something catch your eye unexpectedly? I see you have some American artists here in your home. Does

Yang Bin

photography courtesy of Mitchell-Innes & Nash (Lucy Mitchell-Innes); Courtesy of Aye Gallery (Yang Bin and Yan Qing)

Dealer Lucy Mitchell-Innes has a rare chat with Chinese businessman and collector Yang Bin and his gallerist wife, Yan Qing.

Mitchell-Innes something happen that you don’t expect and you just go with your instinct? YB: That has happened before. There are some amazing works that have caught our attention unexpectedly, but we have expert friends there, so we always discuss the pieces with them. At frst we cannot buy immediately, so we will discuss with friends. LMI: Do you encourage friends from Asia who are not necessarily collectors to begin collecting? And if so, how do you do that? YB: I encourage my friends to attend Basel or other art fairs, to buy something. If my friends do not have time to come, we will help them begin collecting. Every year we organize a group, maybe fve to six people, to all come together to the fair. YQ: We organize a group not only from mainland China but also from Hong Kong and Taiwan. We suggest to our friends or new collectors to go out of the country to have a look at artworks in art fairs and museums and specifcally to see the difference between Chinese contemporary art and Western contemporary art. Because we feel art has no boundaries between the nations…. We think that when you see more, you know so much more. LMI: Tell me about the work that got away…. Everyone regrets not buying something. What do you regret not buying? YB: One time in Basel, there was a work by [Yoshitomo] Nara…. I saw the artwork, and the gallerist told me that another collector had the piece on hold, but if he didn’t take it, maybe they could give it to me. When I got the call that it was mine, I wasn’t in Basel, so when I came back, the work was sold. There was also another time—at auction in Japan about

three years ago—with a Luc Tuymans. YQ: In the recent years when we come to Art Basel, we do our frst loop to look around. And then we think about it, and when we go back to the booth, the work has always sold. Recently this has always happened. LMI: You were talking the other night about the platform for young artists in China and how you really try to create a national or international collecting base and platform. YB: There is a café in Shanghai that exhibits young artists’ work. Within Chinese contemporary art, the critics are not very good, so our company created a scholarship with Peking University to improve the practice of criticism. We send several students to Europe to have a look at the museums during Art Basel or during the Venice Biennial. We feel strongly about young people having that worldwide vision and education. LMI: You were so nice to introduce us to Linghan and Wan Wan [two Chinese collectors who are creating a private museum], and it seems very exciting what they’re doing with their new space. What do you think? They were talking today about bringing together the worlds of European and Chinese art. How do you think that will impact Beijing? YQ: Actually, there are a lot of private museums right now, in Shanghai especially. It is very easy to build a museum but very diffcult to run a museum. After the opening exhibition, there are a lot of other things to think about, such as daily operation and future exhibitions. It is very complicated to think

through very thoroughly…. We’re in no hurry. It takes a long time to prepare. There are so many new private museums [in Asia] that have been created recently; the question for them is to think about the future and how they will exhibit good work, like the Western museums, generation by generation, so they have a long time to develop their styles. LMI: I am very impressed with the quality and professionalism of the private galleries here, like your gallery and the other galleries in the area. They are incredibly professional, extremely focused, well thought out. It seems to me that they are providing the role of mini-museums. ABMB

Yan Qing

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On the occasion of his exhibition “Culture, Another Nature Repaired,” Kader Attia talked with the Tate’s director, Chris Dercon, at the Middelheim Museum in Antwerp. Chris DerCon: Do you think that archives and museums are the same in regard to their function? KADer AttiA: In my different works of art, the idea of the museum is illustrated as part of a broader intellectual project, rather than a formulation of theories or concepts. What interests me, and I speak from my own experience, is that through The Repair, formal and informal notions are postulated in ways that we normally neither see nor think. So, when I make use of archive documents from the basement of a museum, my intention is not to examine the archives’ relationship with the museum, but to explore the interplay of archives against the museum. It is about creating a visual and emotional punctuation in a discourse with an

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unknown spectator, who questions the commonly accepted notions of Western modernity and colonialism as fostered by the praxis of museums. Such a political perspective must be included to understand the use of the term: The Repair. Of course, beneath the surface of politics, it seems to me that every existing system in the universe is based upon another endless self-repairing system. Any kind of continuity is a succession of rectifications, followed by improvements. From the concrete to the abstract, from politics to intimacy, there is an underlying system of repair, across time and space and in all order of things. The sociologist Serge Gruzinski once said to me, “Since ancient times, we believe that we create, but all we do is repair.” I chose such a perspective in my installation of Continuum of Repair: The Light of Jacob’s Ladder at the Whitechapel Gallery. Now, when it comes to understanding how reparation applies from the quantum level to an infnitely large scale, how it links time and space in a continuum, we see an ongoing system of “repair” underpinning every part of our world. When Darwin and Wallace conceptualized the theory of evolution, they also crafted the idea of natural selection. What is natural selection if not repair? CD: From your take, then, what is the difference between preservation and repair? I am asking you this question because today, in the feld of architecture, the concept of repair is overtaking us. On the other hand, Rem Koolhaas and Jorge Otero-Pailos also constantly assert that “preservation is overtaking us.” Did Violet-le-Duc tackle the question regarding preservation? KA: In my opinion, there is a natural foundation

to repairing because repairing is a fundamental tenet of the universe. On the other hand, preservation has a cultural basis or indeed a political basis. This is the main difference between repair and preservation. CD: What about the difference between art and politics? KA: I would say that what distinguishes them is similar to what distinguishes conservatism from reactionarism. Being reactionary is a pathology of being conservative. CD: Besides your take on the concept of repair, you also use other words like “reconstruction.” KA: I used words like “reappropriation,” “reconstruction,” but only for myself…. The concept of “repair” encompasses all of those terms. Preservation is about fetishizing things. In non-Western cultures, “repair” is what defines humanity across the great divide between modernity and tradition. Since Descartes, modernity has developed the idea that repairing means coming back to the state before the injury, to make the injury disappear. CD: What does “preservation” mean to you? KA: Preservation is a “fake” culture, or rather a culture of myths. It is a mythology. We like to believe that we preserve. In preservation lies the misconception that we can preserve things for all eternity. At the scale of the universe, what we believe to have been preserved, from Greek sculptures to paintings by the great masters, were actually not. Preservation is a concept of the human mind. It is irrelevant at the scale of the universe. Do you remember Lars von Trier’s movie Melancholia? In this movie, a planet much larger than Earth was on a path to collide with Earth, and until the very end of the movie, we believed that the collision could not

PhotogrAPhy By Li LiAngxin, Courtesy of gALLery MAgAzine (DerCon); oPPosite PAge: PhotogrAPhy By sAM Mertens (AttiA)

conversations

Kader Attia happen. Well, the collision does fnally take place, and Earth explodes. The most basic realization is that if Earth disappeared in such a way, all the amazing things invented by humankind, all these things that history and anthropology brought to our attention—the discovery of fre, the advent of writing, the Assyrian culture, the Renaissance period, modernity, et cetera—would all disappear into the nothingness. Consequently, it would be as if none of these great things had ever existed. Everything, absolutely everything, comes to an end, after having a beginning. The same rule applies to the concept of repair. However, repair is concurrently the beginning and the end. A repair cannot exist without an injury. The repair is an oxymoron that embodies concurrently both repair and injury. Existence is an infnite succession of injuries and repairs, of beginnings and ends, all succeeding themselves across time and space…. CD: Nonetheless, today, in the architectural world, the way the architect David Chipperfield led the reconstruction of Berlin’s Neues Museum is proof that we can think of preservation as a kind of repair. Chipperfield introduces a critical reconstruction in the architectural dimension of Berlin’s Museum Island, while pursuing the dialogue with Okwui Enwezor, the curator and director of the Haus der Kunst in Munich, about concepts of preservation, reconstruction, repair. It proves anyway that reconstruction and repair can also be paired. Regarding the distinction between archives’ structures and museums’ shapes… are you leaning towards the archives side or towards the museums side? KA: Neither of them, because I do not fetishize archives by exhibiting them. I am relying upon archives as a source of inspiration. For example, all wood sculptures that I do with my friends Falou and Issa come from pictures of wounded soldiers during the First World War, which were found in archives. To extract the likeness of the face of a soldier, who has been dead for almost one century, from a piece of teak wood, using an axe as the only tool, takes a lot of work, a lot of time, and it requires you to forget about yourself…. We are far away from archives and museums. With the typical ethnology or natural history museums, the issue is this kind of fetishism. Foucault called it “the archaeology of knowledge.” The modern society has accumulated items, books, statues, all kind of

things, sacred or not, in order to better understand and especially to control the knowledge of other cultures. In the end, I believe that the ideal museum—at this point it becomes very complicated—is the museum of the world, as André Malraux conceived it. CD: However, when we look at your installations in the Kunst-Werke Institute for Contemporary Art or in the Whitechapel Gallery, you used shapes that look a lot like shapes from museums, archives, and storages. KA: It is true, but you also have to bear in mind that in my work at the Kunst-Werke or at the Whitechapel, there is also a cynical and ironical dimension. There is a dimension of criticism. CD: What do you mean? What are you criticizing? KA: I precisely criticize what I just talked about, how the modern Western civilization has established this obsession for the accumulation of knowledge about other civilizations, how it has drawn out a classifiable world, an orderable world. But such a world is measured and ordered from this specific perspective. I always loved shelves, not only because they remind me of the storage but also because they formally illustrate what Descartes calls the measure and the categorization of things. Descartes was a mathematician. In the Discourse on the Method—which is also displayed, by the way, in the installation at the Whitechapel Gallery—he argues that we make sense of the world through our ability to measure and categorize. CD: What is also interesting in your work is that you merge the structure of the archive with the shape of the museum. You state that your approach is ironic. But in your approach towards temporality, according to which only art is really anthropologic, you rely a lot upon the montage principle in your installations. You take two temporal systems and you put them together. You juxtapose them even though you disconnect and reconnect them in a montage. KA: Exactly, you got it. Earlier, I emphasized that there is a repair because there is an injury. Though the repair is also what cannot be repaired. From a conceptual viewpoint, it is a loopback. You mentioned, and it is a good point, that I am using a lot the process of rapprochement through analogy or similitude. At a fundamental level, I believe that all our thinking—from the simplest to the most

sophisticated kind—works thanks to the process of rapprochement, in the same way you said that juxtaposition works. Again, it is thanks to the repair. Hence, the collage is a kind of repair integrating with an injury. We cut the paper, and then we stick it onto the collage. A montage for a movie is a repair that integrates an injury, which we call a “cut.” Medvedkin explained what lies behind Eisenstein’s choice of two situations when he discovered that when he put two pictures together, he obtained a third one: 1+1=3; it is the repair. Sculpture is the art of the cut in the space. We slice into space. We hurt space. It is what sculpting is about, and because of that I distinguish it from architecture. Dance, and especially music, is a cut into silence. We hurt silence in order to repair it. The mind repairs those injuries until it reaches a conclusion. Through the accumulation of truths, we come to a formula: the ultimate repair, the axiom, the theorem, et cetera. This idea of rapprochement is interesting for me because I have always been fascinated by the public. I really do care about the audience. In art in general, the audience, the public, really matter. In my work, I am never happier than when I meet people—who are not art amateurs—who tell me that they have been moved by the work of art. ABMB This excerpt is courtesy of the Middelheim Museum, Antwerp, and Galerie Nagel Draxler.

Art Basel | Miami Beach 2014 191

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Infuencers In our annual Infuencers section, we honor a group of visionaries whose passion for and work in the art world raises the bar for all of us. These individuals personify the qualities that great art usually possessesâ&#x20AC;&#x201D;originality, beauty, unpredictability, and imagination.

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Karen and Christian Boros in their penthouse atop the Bunker, in front of three works by Elizabeth Peyton (left to right): rob in trafalgar square, 1999; ryan, 2000; and stephen Malkus, 1997.

“Here at the Bunker, we don’t show pieces; we show single artist positions.”

—Christian Boros

Bastions of Berlin Collectors Karen and Christian Boros’s art bunker has become the hottest ticket in Europe. By Alexander Forbes

f you’ve been to Berlin in the past seven years, you might well have skipped the city’s traditional museums, but chances are the Boros Bunker was a can’t-miss—if you could get a tour. Since opening in 2008 and being rehung in 2012, the 30,000-square-foot, 80-room exhibition space in a World War II bunker—on top of which collectors Karen and Christian Boros live—has become a defning voice of contemporary art in the German capital and an international emblem the city can be proud to sport. It’s a long-term personal pursuit. Although the couple is shooting to reinstall the works again in 2016, Karen admits there’s no strict schedule; every four years just seems right. “It has to ft into our other lives,” she says. (Karen manages her Rhineland family’s real estate enterprise, Christian runs an eponymous branding and strategic marketing frm, and they have a son, Anton.) With a months-long wait for a ticket, getting into the Bunker can be diffcult—even for a Berliner. The slow turnover hasn’t diminished the couple’s collecting, but the Bunker’s esteem has had an infuence. “It’s gotten much more diffcult to start collecting

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“That’s a serious responsibility.” In both of the Bunker’s hangings so far, every artist—other than Ai Weiwei—has installed his or her sector in person, which is extremely rare and a testament to the artists’ enthusiasm for being part of a collection that now numbers more than 700 works. The couple continues to be deeply involved in the careers of old favorites like Wolfgang Tillmans, Olafur Eliasson, Thomas Ruf, Alicja Kwade, and Klara Lidén, sometimes to such an extent that their collection has become an authority on an artist’s oeuvre. They recently purchased another major Eliasson work, Colour Experiment 51 (2013), and loaned it to the Louisiana Museum of Modern Art for its retrospective on the artist, running through January 4, 2015. Germany’s Langen Foundation will host a presentation of the full Boros holdings of Eliasson next spring. Meanwhile, the pair searches for the next generation of art-world superstars. That’s no easy job, Christian says: “With artists from my generation, I get it immediately: This is good, that’s bad; this is cool, that’s just superfcial.” Gaining the same fuency with the work of younger artists requires additional study. But one thing is certain: Where the Boroses begin buying, others follow. Recent additions to the collection include pieces by New York–based sculptor Justin Matherly and Katja Novitskova, creator of the “Post-Internet Survival Guide 2010” exhibit. Christian and Karen are quick to point out that the most important infuence they exert isn’t within the art world, however. “I would say 75 percent or more of our visitors aren’t art professionals,” Karen explains. “They come because of the building itself.” The Bunker thus serves as a kind of evangelizing force for art. “People who might never set foot in a contemporary art museum are confronted with it here,” says Christian. “That’s important.” ABMB

new artists,” says Christian. “It’s clear that we can’t just buy one work.” They acquire a small number of new artists each year and try to purchase substantial groups of works that provide a strong overview of an artist’s practice. “Here at the Bunker, we don’t show pieces; we show single artist positions,” Christian explains, noting the collection’s important role in local education as well as in showcasing strong Berlinbased artists to the art world at large.

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Robert Gober in 2001.

Disquieting Melancholy

With his brilliant frst large-scale retrospective at MoMA attracting crowds and critical praise, Robert Gober cements his reputation as one of the most important artists of our time. By Julie L. Belcove

“You should know what a piece is constructed of... sometimes the metaphor is embedded in the material.”

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t the entrance to “The Heart Is Not a Metaphor,” Robert Gober’s powerful 40-year retrospective at New York’s Museum of Modern Art, hangs a small oil painting of a white house—his own childhood home, the type of modest structure inhabited by countless middleclass Americans in the postwar years. A few steps away, on the museum’s foor, sits a sculpture of a playpen cut through with an enormous culvert pipe in the shape of a cross, rendering the playpen more of a trap than a joy for tots. Those two pieces, the former from 1975, the latter completed in Gober’s Chelsea studio this past summer, offer a preview of what awaits viewers: a complex, layered take on the oft-conficting values of American domestic life in the late 20th and early 21st centuries. Gober’s dollhouses and warped furniture question what exactly goes on inside the nation’s nuclear families, while his empty wedding dress, custom-ft to his own body in the late 1980s, queries just who is and is not allowed to create those families. That the work is psychologically loaded is obvious; the specifc “meanings,” however, can be anything but. A sculpted bag of doughnuts in a room wallpapered with drawings of genitalia baffles. Is the human-size cigar, made of wood, paper, paint, and tobacco, just a cigar? Gober prefers that viewers come to their own conclusions. In a rare interview in his personal studio, where, removed from his assistants, he can think and draw quietly, he acknowledges that he has been in therapy “most of my adult life,” although not hard-core analysis. “For the frst time, with the MoMA show, I wished I Whitney Museum of American Art closed just after Gober’s was in analysis,” he admits with a little laugh. “Why am I doing show opened, has constructed an ode to kitschy banality, this? I don’t have to do this. Why am I?” Gober’s attention has been focused on weightier matters. Perhaps because, frst and foremost, Gober, 60, is a sculpHis forthright pieces about homosexuality—such as the closet tor. He is an artist of exacting standards. The red and yellow that confronts viewers in the exhibition’s first room or the apples scattered in a sculpture of a crib, for instance, look so lithographed newspaper ads featuring self-portraits in drag— startlingly real, down to their supermarket stickers, that even helped usher in identity art. His installations are unafraid to Gober, stopping at a table in his studio where an assistant has be politically confrontational: Hanging Man/Sleeping Man been painting them, isn’t entirely sure which are edible and takes the form of wallpaper printed with ominously repeated which are facsimiles. Just about the only found objects in the images of a lynched black man and a sound-asleep white show are the shoes—street-worn just so—attached to Gober’s man. Gober’s best-known work, his seminal 1980s series of signature severed legs and the human hairs that have been —robert gober sinks from which no water could fow, expressed the sorrow of gingerly inserted in the legs one by one with tweezers. AIDS. Even a subsequent, more optimistic installation from Materials are paramount in Gober’s practice. “Sometimes there’ll be a material that haunts me, or a color or something that I know I want 1992—the sinks are plumbed and water rushes in, surrounded by a beautiful to work with,” he says. It has been suggested that the real titles of his works painted forest—still features prison windows high on the walls. “His generation turned sculpture from something impersonal to the realm are the lists of media they’re composed of, and Gober seems to endorse the idea: “You should know what [a piece] is constructed of, because sometimes where narrative and personal readings had a very central place,” says Amy the metaphor is embedded in the material.” Usually, though, he begins with Temkin, MoMA’s chief curator of painting and sculpture, who organized an image. The wax legs, for example, which protrude from the wall or pile up the retrospective, which is on view through January 18. “Bob’s work is exemin a freplace, originated when he caught a glimpse of fesh peaking out from plary of that.” Gober’s art is indeed deeply personal, entangled not only with his sexual between a man’s pant leg and sock. “It’s a really riveting, weird moment, like it’s not supposed to happen,” he says. “It’s a peak inside the façade: Is it hairy? orientation but with his Catholic upbringing and working-class roots. Yet as he demonstrates so adeptly, the personal is often the best means of illuminatIs it smooth? Is it pale?” While his contemporary Jeff Koons, whose blockbuster retrospective at the ing the universal. ABMB

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Eungie Joo at Sharjah Art Foundation’s Art Spaces.

It Takes One to Know One LACMA and Prospect.3 curator Franklin Sirmans explains why the one to watch in his business is Eungie Joo.

“The image of the globetrotting curator is a part of Joo’s makeup.”

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PhotograPhy courtesy of sharjah art foundation

ince meeting in 1992, Eungie Joo and I have been friends, exchanging notes on exhibitions—particularly projects such as this year’s Prospect.3 in New Orleans, which I organized, and the 12th Sharjah Biennial, opening in March, which Joo is curating—as well as discussing everything about art and life. I have been amazed and invigorated by the curatorial acumen and intellectual prowess of Joo for a very long time. Her New Museum triennial “The Ungovernables” (2012) has greatly informed my own work in the last two years. made me feel very close to him.” Reminiscing about it all, she sums it up modWhile that show was organized in her capacity as the museum’s director and estly, “I can’t complain.” Before the gigs and the global travels, Joo entered the curatorial world curator of education and public programs, she has worn many hats stylishly. In via scholarship and a decidedly academic approach. Her 2003, she started an alternative space in Los Angeles with the graduate thesis sought to examine the buzzwords of the 1990s. artist Kehinde Wiley before becoming the founding director “Crisis to Collapse: The Racialized Subject in Contemporary of REDCAT, the gallery affliated with CalArts. More recently, American Art” was a critique of the confnes of identity politics Joo moved to Brazil to work at Inhotim, before accepting her as a means of approaching works of art and an attempt to write current position as curator of the Sharjah Biennial: “The past, about how artists were actually interrogating race as a subject. the present, the possible.” I was struggling with how cultural or ethnic studies approaches Recently we caught up and reminisced. She recalled that to visual art overemphasized content and how art writing August was too hot to remain in Sharjah, so she set out travelneeded to address that same content in a more sophisticated ing, as she is wont to do. The image of the globe-trotting cura—Franklin SirmanS way—to look at the works more closely and shift the examinator is a part of Joo’s makeup. I must get around a little myself, as tion of race from the racialized body of the artist to the work we’ve danced in Dubai, sung karaoke in Busan, and hung out itself. It made a lot of sense to me at the time. in Minneapolis, where she also worked at the Walker years ago. Working in the here and now is what Joo is all about, though. Her approach Constantly surrounded by artists, Joo is one who plays the role of artist’s compatriot, always ready to share and respond to artistic ideas. That summer has been international in scope for quite some time. And “The past, the presmonth on the road was all in stride. She is not one for vacationing just to be vaca- ent, the possible” (like “The Ungovernables”) will speak to a global mind with tioning, a constant worker. “I was just in Palermo and Pantelleria with Danh an international array of artists. “The Ungovernables” suggested a new world, Vo, Heinz Knes, and Rayyane Tabet,” Joo recalls, “and now on the outskirts unruly, flled with those who agitate from a point of view diffcult to pin down, of Basel staying with Koyo Kouoh of Raw Material Company and her partner, hold, and control. I expect that her Sharjah Biennial will take on the moment the composer and saxophonist Philippe Mall. I had a drink with Hassan Khan from an equally optimistic space, where political agitation makes the world a in Basel last night. Today I saw Paul Chan’s survey at the Schaulager—which better place for the governables and ungovernables alike. ABMB

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Iwan and Manuela Wirth

When a Hauser & Wirth Becomes a Home

Bringing new meaning to the term “global art world,” legendary dealers Iwan and Manuela Wirth expand to Los Angeles and… the English countryside? By Mary Agnew

“Although we have evolved into a global business, we have the same ethos as when we were founded in 1992.”

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photography by Vincent eVans, courtesy of hauser & Wirth

n the quiet hills of Bruton, England, nestled by the river Brue, international Nevertheless, the gallery remains in touch with and continues to promote the gallerists Iwan and Manuela Wirth have transformed a dilapidated former source and foundation of its origin. “Although Hauser & Wirth has evolved over 18th-century farm into this year’s most anticipated commercial art destina- the past 20 years into a global business,” says Iwan, “we have the same ethos as tion. No strangers to fnding unusual locations for their galleries—Hauser & when we were founded in 1992.” This bifurcated strategy, along with the Wirths’ mischievous curatorial bravWirth Zurich is housed in a former brewery, and their New York outpost occupies the 23,000-square-foot space of the former roller disco Roxy in Chelsea—this con- ery, has led to exhibitions that on the surface seem filled with whimsy and sidered and conscientious couple has managed to unite their personal aims with farce—such as the giant infatable sculptures of feces exhibited in Hong Kong by American artist Paul McCarthy, or the bar presented as a work of art at the 2013 the community of the Somerset town they now call home. “Somerset is a very special location for Iwan and Manuela Wirth,” says James New York opening of “Dieter Roth. Björn Roth”—but that are, in fact, curatorial trailblazers, thought to be calculated and often resulting Koch, executive director of Hauser & Wirth. “The specific in substantial commercial benefts for everyone (that bar, for location is an essential aspect in encompassing the local comexample, remained after the exhibit as a place for the gallery munity, landscape, and architecture and merging it with their to serve coffee and liquor). passion for contemporary art. For Hauser & Wirth, each of our By cleverly navigating unpredictable economic climates, locations is central in its own environment and has a unique Hauser & Wirth has had enormous fnancial success while place in our overall vision.” seeming to encourage and nurture an artist-driven environHauser & Wirth is known for producing ambitious, boundaryment. As the gallery locations have multiplied, so too have defying exhibitions, and the new Somerset location offers ample the artists represented, and in recent years the Wirths have space among its fve galleries, bookshop, bar, restaurant, edubecome well-known for collecting artists with the same voraccation center, artist residences, guest house, library, and extenity as they acquire and sell those artists’ work. sive gardens (designed by Piet Oudolf, the celebrated Dutch “The artists continue to drive the gallery’s agenda, and it’s landscape designer responsible for the High Line in New York our job to contextualize what our artists are doing and disCity) for the Wirths’ eclectic stable of artists to stretch their creseminate it to the wider world,” says Iwan. “We may employ ative muscles far from bustling urban distractions. —Iwan wIrth more people, work with more artists, and be situated across Hauser & Wirth has continually evolved with seemingly prophetic precision since 1990, when Swiss retail doyenne Ursula Hauser decided to a larger number of cities, but at its core the gallery’s expansion enables us to invest in the buoyant, youthful ambition of Iwan Wirth. Since their initial partner- build new landscapes for our artists to investigate their practice.” One of their most outstanding recent exhibitions was the presentation of Louise ship and Wirth’s subsequent marriage to Hauser’s daughter, Manuela, in 1996, the business has remained a family endeavor, guided by the Wirths’ pronounced and Bourgeois’s spiders and tapestries at Hauser & Wirth Zurich this past summer, and now one of Bourgeois’s unmistakable giant arachnids occupies the courtyard profound personal taste and their interest in artists leading the way. The gallery’s successes can be credited to the couple’s seeming synchronic- of Hauser & Wirth Somerset. Its wire-thin legs, belying their robust strength, are ity with every appetite of global commercial culture, such as the development planted deep in the Somerset farmland. Its enormity dwarfs the newly rendered and upcoming opening of Hauser Wirth & Schimmel (with former LA MOCA surrounding pillars. It is an organic beast with its joints pointed directly to the sky. curator Paul Schimmel) in Los Angeles in response to LA’s artist community. And, like its owners, it is thriving in its new home. ABMB

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influencers

Okwui Enwezor between paintings in the exhibition “Histories in Confict: Haus der Kunst and the Ideological Uses of Art, 1937–1955” in Munich, Germany, in 2012.

The GlobeTrotter Nigerian-born curator and museum director Okwui Enwezor leaves his mark as he takes the helm of the Venice Biennale. By Kate Sutton

or more than a century now, the Venice Biennale has been the standard-bearer for the international art world, a place where long careers are celebrated, comebacks staged, and fresh faces launched. With surging attendance—2013’s 55th Venice Biennale attracted a record 495,000 visitors—and myriad parallel programs eager to cash in on association with the event, there is no denying the Biennale’s continuing impact and infuence in the art world. What a terminal and a terminus. I immediately thought, Well, this is the way I want merits a challenge, however, is its model of nationally branded pavilions. After the exhibition, or the project and its program, to function—not nomadic, but all, in an age of increasing globalization, art also seems to be slipping further as a series of movements.” Enwezor’s Documenta 11 would operate not as a single centralized exhibiand further from national affliations. Who better to take the helm of the 56th Venice Biennale, then, than Nigerian- tion, but rather as a series of platforms in outposts as far-fung as New Delhi, St. born curator, writer, and museum director Okwui Enwezor? At 51 years old, he Lucia, and Lagos, Nigeria. Each platform had its own theme, grappling with notions of inclusion and exclusion to change not just what already has some of the art world’s biggest biennials under his story is told, but also who is doing the storytelling. belt as an undisputed specialist in what he calls “the unique Enwezor had test-driven this strategy in 1997 with the secgrammar” of large-scale exhibitions. Impeccably dressed, ond Johannesburg Biennale. Titled simply “Trade Routes: impossibly eloquent, and more than a mite sly, Enwezor is a History and Geography,” the exhibition tracked the cultural true cosmopolitan, gliding between posts as varied as founder transactions occurring along the pathways of international of Nka: Journal of Contemporary African Art, curator of the 2002 commerce—or “the global traffc in culture,” as Enwezor put it. edition of Documenta, dean of academic affairs and senior Although he has established himself as an expert on the topic, vice president at the San Francisco Art Institute, and his curdirecting biennials in Paris, Seville, and Gwangju, South Korea, rent role, director of the Haus der Kunst in Munich. he has also produced a number of smaller-scale stunners Given all his globe-trotting, it would make sense that disand game-changers, like “The Short Century: Independence placement is a recurring theme for Enwezor. He has refned the and Liberation Movements in Africa, 1945–1994” (2002) and tactic of using dislocation—be it geographic or discursive—as a —Okwui EnwEzOr “Archive Fever: Uses of the Document in Contemporary Art” way to shake off (or at least loosen) some of the fctions around the dominance or permanence of given ideas or institutions. For instance, (2008). When Enwezor was appointed to Munich’s Haus der Kunst in 2011, he when Enwezor was tapped as the frst non-Western curator to take the helm of promptly acknowledged the institution’s Nazi history but refused to let it overDocumenta, he promptly set about dismantling the exhibition’s Eurocentrism, shadow the opportunities for its present. His program since has showcased artpushing out past the traditional bounds of its home base in Kassel, Germany. “I ists like Stan Douglas, Matthew Barney, and Lorna Simpson. Speaking of the present, the 2015 opening of the Venice Biennale has been wanted to deterritorialize Documenta,” he says. “I was not really interested in bumped forward almost a full month to coordinate with Expo Milano, giving its falling into the cult, or the myth, of Documenta.” Enwezor’s radical re-envisioning of the exhibition came to him in the curator less time than ever to prepare. Don’t expect to catch Enwezor ruffed by Kassel train station: “What struck me was the idea that it was simultaneously the schedule change, however; this is a curator who never shows fear. ABMB

202 art basel | Miami beach 2014

PhotograPhy by Sven hoPPe/dPa/CorbiS

“This is the way I want the exhibition to function... as a series of movements.”

influencers

Larger Than Life In remembrance of a dear friend, the indefatigable collector Frances Dittmer, Anthony Grant shares memories of their times together.

met Frances Dittmer in the early 1980s, and our relationship with art and collecting began when she and then-husband Tom moved into a new home just outside of Chicago. There, the palatial scale of the interiors made them the perfect blank canvas for Frannie (as friends called her) to realize a passion that had been building for years. Frannie always started at the top. When she left Texas and worked in Washington, she loved the National Gallery. It was there that she saw great Impressionist and Modern art that nourished her burgeoning interest in 20thcentury art. Later, when she moved to Chicago and was exposed to the Art Institute of Chicago, she saw frsthand its extraordinary holdings of Modern art. It was no surprise that her frst major acquisition was Juan Gris’s Cubist masterpiece Bottle and Glass on a Table (1913-14). She went on to collect Pablo Picasso, Fernand Léger, and Georges Braque. When she felt priced out of those works, Frannie—again starting at the top—went on to acquire Willem de Kooning’s masterpiece of 1957, Ruth’s Zowie, a catalyst for a new collection that would be devoted to American abstraction, including more de Koonings, Franz Kline, and Jackson Pollock. Making another sea change, she acquired a painting by Brice Marden, the abstract painter of the next generation, whom Frannie called “our Rothko.” Then came minimalism. Frannie found her true love in works of Agnes Martin, Robert Ryman, Richard Serra, Dan Flavin, Sol LeWitt, and Donald Judd. While she was refning a frst-class collection at home, she was building another collection for Refco, the commodities giant her husband founded in Chicago. Our friendship fourished with the advent of art fairs and biennials throughout the world. We found ourselves everywhere from Miami to Istanbul to Los Angeles. I recall one of our frst art fairs together: We separated, and I was pawing through two piles of drawings by a then-emerging LA artist named Raymond Pettibon—at the time exhibited by the best gallery in Los Angeles, run by Stuart Regen. I was literally on the foor, trying to put together a group that I liked, when Frannie found me and exclaimed, “What are you doing?!” I explained that I was looking at work by a young artist that she would like and that was very well priced. Frannie, not known for her patience, told me to get up and stop “fooling with that young stuff.” As Frannie and I left the booth, I told her that I thought the work was promising and not expensive now and that it represented a good opportunity, only to have her reply, “I am rich enough to wait!” A few years later, I arrived at her home in Aspen, and installed in my bedroom was a wall of some 20 works on paper by Pettibon, acquired from Barbara Gladstone.

Frances Dittmer, circa 1980s, in front of Willem de Kooning’s Ruth Zowie.

In the pursuit and acquisition of works of art, Frannie was not envious, aggressive, or jealous. While she wanted to be on time at the Convention Center doors when the fair opened, it was not about getting something before someone else did. Frannie especially loved the Miami show, seduced by the city, the fair’s energy, and her large extended family—the art world. Equally known for her world-class philanthropy, “Frannie was a force behind some of the most important institutions in this country,” says Phillipe Vergne, director of the Museum of Contemporary Art in Los Angeles. She was a trustee of the Art Institute of Chicago, where she and Tom also endowed the Dittmer Chair of Modern and Contemporary Art. As a lifetime trustee of Chicago’s Museum of Contemporary Art, she was instrumental in the fundraising that led to the institution’s 1991 expansion (the frst major museum to be built in that city in 65 years). More recently, Frannie was one of the visionaries who helped bring the new Aspen Art Museum to fruition. She was a legend not only for her generosity, but maybe even more so for her take-no-prisoners straight talk, leadership, vision, and Southern sense of humor. Above all, Frannie Dittmer was an iconoclast: a woman with a pilot’s license, a lavish entertainer, and a die-hard football fan— and, apparently, player. (Tom was quoted in her obituary as saying, “Hell, she could throw the ball 50 yards.”) Beloved, she is most aptly described as someone who was prone to call a spade a shovel. ABMB

204 art Basel | miami Beach 2014

PhotograPhy Courtesy of the Dittmer family

Frannie especially loved the Miami show, seduced by the city, the fair’s energy, and her large extended family— the art world.

MICHAEL

MINA

N O W

O P E N

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B E A C H

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114 South River Road | Stuart | Price Upon Request

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575 MADISON AVENUE, NY, NY 10022. 212.891.7000 | © 2014 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS ARE DEEMED RELIABLE, BUT SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.

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AMERICAN SCENE mARTIN Z. MARGULIES COLLECTION PHOTOGRAPHY ON VIEW THROUGH MARCH 22

One East Las Olas Boulevard, Fort Lauderdale, FL 33301 www.moafl.org (954) 525-5500

FREE SHUTTLES on December 5 and 6 from Miami Beach and The Margulies Collection at the Warehouse to and from Fort Lauderdale. Visit moafl.org for shuttle schedule. VIP BRUNCH Saturday, December 6 from 11 am to 3 pm Cafe Dolly: Picabia, Schnabel, Willumsen is supported by Brickell Flatiron, the Andrew J. and Christine C. Hall Foundation, Inc.,Sandra and Stephen Muss, and W Fort Lauderdale. Organized by the J.F. Willumsen Museum, Frederikssund, Denmark, and curated by visual artists Claus Carstensen and Christian Vind, and researcher Anne Gregersen, University of Copenhagen.

American Scene Photography: Martin Z. Margulies Collection is supported by the David and Francie Horvitz Family Foundation, Bonnie E. Eletz, Art4Vision Foundation, and Scott R. Anagnoste. Organized by NSU Museum of Art Fort Lauderdale and curated by NSU Museum of Art Director and Chief Curator Bonnie Clearwater.

groundbreaking

If They BuIld IT, WIll you Come? With the massive expansion of LA’s gallery scene, the city’s physical space is fnally catching up to its well-known conceptual space. By Kevin McGarry

The exterior of LA’s Kohn Gallery.

“S

PhotograPhy by Karl PuchliK, courtesy of Kohn gallery

pace, schools, and weirdos”: This trifecta, in a nutshell, is Los Angeles according to David Kordansky, whose gallery’s new home—south of Miracle Mile, the strip of Wilshire Boulevard where LACMA sits—is an anchor for one of several rapidly evolving districts in the art world’s seemingly favorite current city. A year after opening the doors of his space in September, Kordansky will have more than 100,000 square feet of new neighbors. Next spring, Sprüth Magers will debut its frst American outpost, in a freestanding 1960s building on Wilshire. And in early 2016, the Maurice and Paul Marciano Art Foundation aims to fnish renovations on the former Masonic Temple down the street, turning it into a private museum occupying an entire city block. Yet for all the millions going into palatial new digs for contemporary art, Angelenos seem to agree that their city’s lifeblood is not the market. As Paul Schimmel, who arrived in LA almost three decades ago, explains, “The unique quality of Los Angeles, going back as long as I’ve been here, lies in the high density of artists, their independence, and their unaffliation. Successful galleries, museums, and collectors here have taken their lead from artists more than in other cities, where theory or consumerism might dominate.” Hauser Wirth & Schimmel, slated to open in late 2015, will occupy not one but seven freestanding buildings in the no-man’s land east of downtown—the second, in no particular order, of LA’s decentralized new centers. A stone’s throw (i.e., a 10-minute Uber ride) from MoCA and the impending Broad Museum (2015), this is roughly the same area where Gavin Brown opened 356 South Mission Road with artist Laura Owens in 2013. “Although it’s not a nonproft space,” Brown says of their joint venture, “the commercial imperative is not front and center.” When asked about this locale he’s played a role in pioneering, he adds, “I’m not a native, but I think there’s an inevitability to it. There are great spaces, and it’s east—it’s not Hollywood. It’s a different kind of thing, more in tune with the way that artists think and the kinds of spaces they enjoy.” While any bohemian edge may have dulled under Hollywood’s glamorous glare, the neighborhood (which contains its share of dodgy industrial strips) has dominated in the last year or so, with

“The unique quality of Los Angeles lies in the high density of artists, their independence, and their unaffliation.” —paul schimmel

groundbreaking

Freedman Fitzpatrick art gallery’s “blind Country’’ exhibition in 2013, which featured, among other works, karl Holmqvist’s neon piece I am with you in rockland (2012) glowing in the window.

“Artists want other artists to see their work.” —matthew marks

regen Projects in Los angeles.

222 art basel | miami beach 2014

one, while recently it was the site of the National Wushu Training Center, a martial arts and stunt studio often rented out for commercial shoots. Shaun Regen offers an explanation for how the city’s sprawl appeals to and empowers artists: “For artists, there is an autonomy created by the distances and different neighborhoods, and this is conducive to making art. You can really be on your own here.” This could soon be history, however. A couple of blocks up Highland, Kohn Gallery opened a new space in May, and in the other direction there’s Hannah Hoffman Gallery, established in 2013. West of Central Hollywood, Matthew Marks Gallery can be credited for starting the LA franchise trend when its space opened in 2012. For Marks, it boils down to common sense. “Artists want other artists to see their work,” he says, citing the area’s large number of schools (and thus artists) as a factor in his decision to open here. Moving east down Sunset Boulevard, the upstart gallery Freedman Fitzpatrick is situated in the corner of a bilevel shopping plaza, next to a smoke shop. The young proprietors relocated here from Berlin and opened in the spring of 2013. “Space” is a word that Alex Freedman also associates with LA, along with “sound, light, and trash.” They opted for LA over more conventional international hubs like New York, London, or Berlin in part because the overhead of operating here hasn’t yet caught up to the city’s hype. “Don’t get me wrong, LA is corporate, kitschy, and loathes conceptualism. But the city is still apathetic to art,” says Freedman, who adds that this indifference creates an opportunity for an aspiring dealer with modest resources “to do your own unadulterated thing.” It’s important to remember that all this talk of space is not solely about real estate. “We have the physical and conceptual space to do whatever we want here,” says Kordansky. What may prove to be LA’s most enduring asset is that when everyone is done building their empires here, there may be enough space left to stay a little weird. ABMB

PhotograPhy Courtesy of the artist and freedman fitzPatriCk, Los angeLes; PhotograPhy by ChristoPher norman, Courtesy of regen ProjeCts, Los angeLes; PhotograPhy by fredrik niLsen, Courtesy of david kordansky gaLLery, Los angeLes

the city’s densest aggregation of brand-new galleries. Highland Avenue and Santa Monica Boulevard is home to Regen Projects’ new 20,000-square-foot building, completed by architect Michael Maltzan in 2012. With a 4,000-square-foot main gallery and an equally large rooftop sculpture garden, the sleek white complex— at an intersection otherwise characterized by the distinctly Angeleno confuence of doggy hotels, pawn shops, and a lumber yard—stands apart as a pivot of the developing neighborhood. The city’s art-world architect du jour, however, is Kulapat Yantrasast, whose frm, wHY, is currently at work on the Marciano Art Foundation edifce and was behind L&M Arts in Venice, the now-shuttered Perry Rubenstein Gallery in Hollywood, and Kordansky’s new building, with more than 20,000 square feet of indoor and outdoor space. Like many spaces in LA, the two buildings combined to create Kordansky’s gallery on Edgewood Place have vivid pasts in other LA industries: For a time in the 1950s, an auto sales and repair shop operated out of

a viewing room in the new david kordansky gallery.

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groundbreaking

The Whitney Revolution The leaders who spearheaded the Whitney Museum of American Art’s daring move to Lower Manhattan give us the inside story on their decision and what it means for the future of this revered institution.

By Robin Pogrebin | Illustrations by Sam Kerr

What motivated the move downtown? ith a massive, hipper footprint and a chic downtown location, ROBERT J. HURST: It really goes back to the ’80s. It was very clear to us that the Whitney Museum of American Art’s new building promises we have a great permanent collection, [but] we did not have enough space to to solidify the institution’s reputation as the art-world power player. But who exactly raised all that money (close to $1 billion) exhibit it and we had to fnd new and bigger space. That could have included expanding uptown—which we couldn’t get to work—and then downtown came and was prescient enough to pick the High Line site eight years ago? along, and it was a great opportunity. When the Whitney makes its bold move from the tony Upper East Side to It’s a very different milieu downtown, and you’ve had a very loyal folthe trendy Meatpacking District next spring, its new building, by acclaimed lowing on the Upper East Side. To what extent do you feel like you’re Italian architect Renzo Piano, will provide more exhibition space and start tapping into a whole new audience and risking the loss of a new chapter in the museum’s 83-year history. But this is your core constituency? not the frst time the Whitney has changed neighborhoods. ADAM D. WEINBERG: The Whitney started downtown, so Originally located on West Eighth Street in Greenwich this is a return to our home. And if you look at the demographVillage, it moved to West 54th Street in 1954 before settling ics of the Whitney, the great majority of people come from in Marcel Breuer’s Modernist building on Madison Avenue all over the city, not just the Upper East Side. There’s a huge at 75th Street 12 years later (that building will now be tempoamount of people who come from downtown, Brooklyn, the rarily inhabited by the Metropolitan Museum of Art). West Side, and, to a lesser degree, the outer boroughs. I’m We talked with the Whitney’s leadership—Adam D. Weinberg, sure those people who were kind of day-to-day neighborhood its director; Neil G. Bluhm, president of the board of trustees; museumgoers may not go quite as often. I just took a number of and cochairmen Brooke Garber Neidich and Robert J. Hurst— people from the Upper East Side on a tour of the new building. about why the museum sought to relocate for so long, what the Before they walked in, they said, “I still can’t understand why new building at Gansevoort and Washington Streets will offer, you’re leaving Breuer.” Then after they went into the building, and why the Whitney is so excited to move into its new space. —adam d. weinberg

“I do think our building sets the standard for a contemporary museum anywhere.”

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top row, from left:

Robert J. Hurst and the Whitney Museum. bottom row, from left: Adam D. Weinberg, Robin Pogrebin, Neil G. Bluhm, and Brooke Garber Neidich.

Art Basel | Miami Beach 2014 225

GROUNDBREAKING

they said, “I understand why you’re going downtown.” So for those who might be doubters, one walk into the museum will change their minds. It’s not just the scale; it’s the quality of space, the light, the amount of art, the variety of spaces in performing arts and education. NEIL G. BLUHM: We had a lot of discussions about this topic, and there were pros and cons. But there was a belief by many of us that the action downtown was a permanent thing for the city of CLOCKWISE FROM TOP:

Brooke Garber Neidich, Robert J. Hurst, and Neil G. Bluhm.

“It’s booming in the Meatpacking District.... People who love the Whitney uptown will love the Whitney downtown.”

—ROBERT J. HURST

New York, and that’s proven to be true even more than we imagined. It’s such a growing, hot, exciting area. So many people are moving there. And it was an opportunity to add another major art museum where you don’t have as many as you do on the Upper East Side. RJH: Culturally, it’s booming in the Meatpacking District; in terms of residences and restaurants,

226 Art Basel | Miami Beach 2014

it’s the place to be. People who love the Whitney uptown will love the Whitney as much, if not more, downtown. NGB: Even Bob moved there. BROOKE GARBER NEIDICH: And we moved there, too! Do you have any data about a population that perhaps hadn’t found the Whitney so convenient before and might start going? ADW: It’s a much larger international audience. We have looked at all the studies of the audience of the High Line, and their demographics currently are very closely matched to ours. The one huge growth area will be international tourists. BGN: When you’re downtown, you hardly hear English spoken in the way that you hear French, Spanish, and German. You’re conscious of it all the time in a way that you aren’t on East End Avenue, where I raised my children. So it’s a huge difference. We did have a wonderful conversation at the very beginning where someone asked if we were worried about safety. Those of us who had been down there often said, “Only if you’re worried about being mugged by a supermodel.” What else will you get besides more exhibition space? You’ll have more than twice the square footage for galleries. ADW: If you count the outdoor space, it’s much more than twice. But in terms of permanent collection, we’ll have three times the space. We’ll also have a study center for all of our works on paper. It’s the first time we’ll have a place where scholars, curators, classes, and acquisition committees can meet. We have our first theater. We also have a small indoor/outdoor black box, which allows you to do performance indoors and outdoors. We have our first serious conservation lab. We never had a single dedicated education space; now we have a beautiful education studio, a wonderful seminar room, great docent spaces, and then—one of my favorite things—the loading dock. The Whitney has not had a real loading dock in over 35 years, and all of the art has been loaded in the front door—hundreds of millions of dollars going across the Madison Avenue sidewalk with the doors wide open and the air being sucked out. So we have a grown-up loading dock. And it’s spectacular. There has been a movement toward making cultural institutions more transparent, more welcoming, less intimidating—moving away from an ivory tower model. That informed a lot of your thinking in terms of this design—you wanted the museum to feel like a place where people can hang out as well as see art. How is that concept manifested in the architecture? ADW: The current Breuer building restaurant was in space that was intended to be a gallery;

there was never a public restaurant designed in the building. This has a dedicated restaurant that can open when the museum is closed, and an outdoor café that’s even bigger in terms of seating than the restaurant itself, which spills over into the outdoor plaza and connects to the whole community space. Then the lobby gallery, which is a bit larger than the current one, is open to the public for free. The idea is, people can get a taste of the Whitney before they even come into the upstairs galleries. How has the explosion in the Modern and contemporary art market fueled this project? ADW: The collection has been building a long time. Our prewar collection is really astonishing. We have the largest Calder collection of any museum in the United States, the largest Hopper collection, a great O’Keeffe collection, incredible masterworks by all the early-century artists— whether it’s Reginald Marsh or Jacob Lawrence or John Sloan. I think this is a response to being able to show the whole history of 20th-century American art. The Museum of Modern Art does not do that, the Guggenheim doesn’t do it, the Brooklyn Museum doesn’t have the ability to do it, and the New-York Historical Society does it only in a partial way. We’re the only museum that can tell the story of 20th- and 21st-century American art. This project had a $760 million price tag. How did you manage to raise that amount of money? RJH: It was very much a team effort. As with most campaigns, the people who are closest to the museum are the board of trustees, and they have been extraordinarily generous. We started the campaign with a gift from the American Contemporary Art Foundation, led by Leonard Lauder. But we’ve raised a lot of money since. We have support from the city and from the state. It hasn’t been easy, but we’ve made terrific progress. Leonard Lauder, your chairman emeritus, was for so long identified with the museum. He was initially ambivalent about the move downtown. How would you describe his role now? RJH: It was his vision and his initial gift that gave us the ability to do what we’ve done. He’s always wanted us to expand, to transform the museum, to take it to another place. NGB: Some of our greatest pieces were donated by Leonard. ADW: He’s definitely one of the top two donors of art in the history of the Whitney. I know Leonard had said at one point that he didn’t want you to sell Breuer for a number of years. Where does that stand? How are you feeling about the future of Breuer and whether

“The Whitney started downtown, so this is a return to our home.”

—ADAM D. WEINBERG

Robin Pogrebin and Adam D. Weinberg

it’s part of your thinking going forward? RJH: It’s deﬁnitely part of our future. In the mid2020s, we will revisit the issue, and there’s a good probability that we will come back. At that point we should be able to afford running two sites, which we thought would be a burden. There is also the possibility of expanding downtown. We feel great because we have a lot of options in the next half-dozen to dozen years for expansion. NGB: We’re sharing the use of the building with the Met during this period. It’s worked out perfectly because our time, effort, and attention is towards the new building, but at the end of the term, we can ﬁgure out what we want to do then. When you see MoMA deciding to remodel so soon after its last renovation and the Met talking about renovating its Modern and contemporary galleries, do you feel like you’ve started a trend and other institutions are trying to have a similarly exciting moment for themselves? ADW: I do think our building sets the standard for

a contemporary museum anywhere, in terms of the indoor/outdoor space, the transparency, the ﬂexibility. I think others are looking to see what we’re doing, what they can learn from us. Do you think that being downtown will change your identity in any fundamental way? There is the sense that the location makes you edgier. Will that come through in the programming? BGN: It’s not about being downtown; it’s having a new facility that’s going to transform the museum. ADW: Somebody asked me about a year ago, “What do you want people to say when you open the new building?” And I thought, I want them to say it feels like the Whitney Museum, but there’s more of it and more facets of it. They recognize the art; they like the feeling—the warmth, the intimacy, the energy. But there are more opportunities to see the collection, the exhibitions, the performance program. I don’t want them to feel like they’ve gone to another museum. I want them to feel like they are home. ABMB

Art Basel | Miami Beach 2014 227

gRoundbReaking

Education by Design

Recently named director Rodman Primack ushers in a new decade for Design Miami.

By Jordan Hruska

228 art basel | Miami beach 2014

PhotograPhy by andrew Meredith (PriMack); courtesy of Joe kraMM for r & coMPany (table); oPPosite Page: PhotograPhy courtesy of Max laMb (laMP); courtesy of koninkliJke tichelaar MakkuM (PyraMids)

Round dining table and curved-back chairs by Joaquim Tenreiro (circa 1954) at R & Company.

Granite lamp in progress by Max Lamb at Johnson Trading Gallery, 2014. below: Pyramids of Makkum by Studio Makkink & Bey at Priveekollektie, 2008.

odman Primack, the new director of the art fair Design Miami, began his love affair with interior and industrial design at an early age. “I started wanting to design furniture when I was a little kid,” he says. “I was consistently looking at shelter magazines.... From the age of 8 or 9, I began with Mexican crafts, then Japanese paper, then books.” Although Primack may have already amassed half a lifetime’s worth of design, the market for collectible contemporary design is relatively new. Celebrating its 10th year, Design Miami has proven itself to be the ultimate source for collectors interested in contemporary design. And to solidify its position amid a rising tide of rival fairs, the director intends to expand Design Miami’s platform to include advocacy by developing new educational programs. Primack’s varied career spans the gallery, auction house, and design firm. He says the time he spent working alongside architect Peter Marino, known for his over-the-top retail interiors, was when he began to grasp another dimension of design. “In his practice, he was convincing his clients to create collections,” Primack says. “He was really good at getting people to think about collecting functional pieces, rather than the idea of filling a room with furniture.” The collections that Primack most admires and respects, he adds, demonstrate their usage, weathering, and function. “It’s about the pleasure of sitting down at a Prouvé table with Nakashima chairs to have breakfast.” Because the design collection market is still in its infancy, Primack understands that Design Miami must be a platform for education as well as exhibition. “Design Miami really fulflls the need for showing the breadth of what the market really is,” he says. “Collectors feel a bit more confdent in seeing design in this context.” At Design Miami’s Basel fair in June, Primack debuted the Design at Large exhibition program, in which Dennis Freedman, the creative director of Barneys New York, curated a group of works from international designers. Freedman is himself an accomplished collector, with a museum-worthy array focused on avant-garde Italian design from the 1970s to the present. This project allowed exhibitors to show larger pieces while also demonstrating to potential collectors how a peer such as Freedman has developed a robust collection in a particular niche. For Design Miami, Primack continues this curatorial mission. The inaugural Design Curio program calls upon designers, institutions, and other influencers to curate small cabinets of design curiosities from the 20th and 21st centuries, which will be installed throughout Design Miami’s exhibition space. “This is not an extension of the gallery program,” he says, “but rather it’s meant to be a look at broader happenings in the world of design.” And each year, Design Miami also introduces its visitors to earlycareer architects and designers by commissioning a young firm to design the fair’s entryway. This December, Minneapolis-based designer Jonathan Muecke rises to the challenge, lending his style of shamanistic minimalism to what Primack calls a beautiful and

“Design Miami really fulflls the need for showing the breadth of what the market really is.” —rodman primack

understated entrance. This commission demonstrates Design Miami’s commitment to a new generation of designers, but for Primack it also represents a shift away from discussing the design market in a way that concentrates on the discipline’s celebrity creators. “In earlier years, it was about big names. What is interesting now is that the communication has become much more broad,” he says. “The discussions I’m excited about having concern the larger picture of design, whether it’s about production, technology, or architecture. It’s about getting people to see that design is touching every part of their lives.” ABMB

Art Basel | Miami Beach 2014 229

groundBreAking Simon Sakhai and Aya Mousawi in front of an exhibition banner of artwork by Ali Banisadr.

A Museum for the New Millennium The nomadic Moving Museum proves a successful new paradigm for an artistic institution. By Mark Ellwood

230 Art Basel | Miami Beach 2014

iMAge courtesy of the Moving MuseuM; opposite pAge: photogrAphy courtesy of MohAMMed Bin shABiB

The Moving Museum Dubai, with exhibition banners showing work by the Bruce High Quality Foundation.

hank goodness Easyjet passengers can switch seats. It was around dawn that Aya Mousawi was sitting bleary-eyed on the tarmac, waiting for a fight to take her from London to Art Basel. That was the summer of 2012, and it was Mousawi’s first time at the fair in Switzerland as an independent consultant. “The fight was full of art-world people looking really exhausted,” she says with a laugh. One man sidled up the aisle, and with typical ebullience, Mousawi beckoned him over. She recalls a rat-a-tat conversation: “Who are you sitting with? No one? Come sit right here next to me!” She spent much of the rest of her trip with that stranger, absorbing the work on display at Art Basel and traveling together on a three-day road trip to Documenta. Two years later, that “stranger”—Simon Sakhai—is her closest confdant, as well as the cofounder of her passion project, the Moving Museum. Although that Easyjet fight brought them together, 20-somethings Sakhai and Mousawi already had impressive art-world

résumés on their own. Sakhai, an Iranian American, helped launch the gallery Shirazu in London’s Mayfair, while Mousawi, a British-born Iraqi, had just left her job as assistant curator for the nonproft organization Edge of Arabia. Coming together, the pair found themselves equally fascinated by two cultural trends: first, the vogue for pop-up projects, whether shops, galleries, or food trucks, and second, the rise of fairs (like the three-continent Art Basel) and biennials, which have elbowed aside brick-and-mortar galleries and museums to take center stage on the art circuit. They considered: What if there were a mobile art project that traveled to these fairs and capitalized on them, popping up and engaging with the city? Provocatively, the pair decided to call their project the Moving Museum. “We knew that calling it a museum could be problematic, a really loaded connotation and totally confusing to people in the art world who don’t like to see things as commercial,” Mousawi admits. Yet it was a timely gesture, with museum shows serving as much as kindling for artists’ prices as showcases for their talent.

What if there were a mobile art project that traveled to these fairs, popping up and engaging with the city?

Art Basel | Miami Beach 2014 231

gRounDBReaking below:

From wowow to Now Now! Part 1, LuckyPDF, 2013, installed in the Moving Museum London in 2013. right: Portrait, Jeremy Bailey, 2013.

“We had a lot of conversations about the Internet.... And what if there were a museum that followed you?”

The Moving Museum’s first two years have seen three iterations, each an our permanent home,” Mousawi says. “And what if there were a museum that expansion on the last. It was launched in May 2013 in the Middle East around followed you?” Working with digital artists such as Joe Hamilton, Jonas Lund, Art Dubai. Not only did the pair have close connections with the art world there, and Jeremy Bailey, the museum launched an electronic exhibition program in but they also saw an opportunity in a city whose cultural scene was vibrant but October, flled with specially commissioned works. Mousawi and Sakhai are still mulling the location of their next brick-andfar from well-established. Michael Rakowitz’s Dar Al Sulh was the highlight of the 300-piece show they mortar project; leading candidates include Los Angeles and Hong Kong, dependstaged, dubbed “Tectonic.” The work was a seven-night pop-up Iraqi-Jewish ing on logistical issues such as sponsorship. Maybe it’s time to tap Easyjet. ABMB restaurant, serving dishes cooked from recipes handed down by the artist’s grandmother. Mousawi proudly recalls how it was packed with locals, Jews and Arabs alike, every night. From there, the pair opened a more straightforward show last fall, “Open Heart Surgery,” in a huge central London space, while prepping the Moving Museum’s most ambitious project to date, in Istanbul. From August through October of this year, the museum oversaw a residency program for 46 artists, each creating work in a dialogue with Turkey and its traditions. Mai-Thu Perret, for example, was already known for her work using carpets as canvas. “So we found this foundation in the eastern city of Van, near the Iranian border,” explains Mousawi. “It’s a poor area, and they set up a workshop for the girls there to hand-make kilims, so they don’t need to get married young. She went out there for three days, learned the process, designed what she wanted, and now her kilims are all in production.” Portrait, Rafaël The Moving Museum’s next project is characteristically eclectic. Rozendaal, 2007. “Simon and I had a lot of conversations about how the Internet is

232 art Basel | miami Beach 2014

Images courtesy of the artIst and the movIng museum

—AyA MousAwi

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groundbreaking

The AbramoviÄ&#x2021; Method Hits Miami Beach The frenzy surrounding omnipresent artist Marina AbramoviÄ&#x2021; heightens this week at Art Basel in Miami Beach. By Kate Sutton

234 Art Basel | Miami Beach 2014

PhotogrAPhy © Knut Bry And EKEBErgPArKEn oslo, 2013 (PortrAit of ABrAMovic); © AnniK WEttEr, 2014 / courtEsy of cEntrE d’Art contEMPorAin génèvE (ricE)

ast August, social media feeds buzzed with viral footage of Lady Gaga wandering naked through the woods, then spooning with a giant crystal. While she may have seemed to be testing new strategies for getting attention, the pop star was actually following in the footsteps of another diva: Serbian artist Marina Abramoviććć. Lady Gaga’s video was part of a promotional drive to raise money via a Kickstarter campaign for the Marina Abramoviććć Institute, an innovative incubator for longduration performances and immaterial work. Based in a 33,000-square-foot former theater in Hudson, New York, the institute will be home to what the artist calls the Abramovićć ć Method, a series of exercises designed to help visitors reconnect to the experience of being in one’s own body. To aid in this process, Rem Koolhaas’s Office of Metropolitan Architecture is outfitting the building with some decidedly nonstandard facilities, like a Crystal Chamber, a Luminosity Chamber, and a Magnetic Tower Chamber. The Switzerland-based Fondation Beyeler and the National YoungArts Foundation of Miami have joined forces to bring the Abramoviććć Method to Art Basel in Miami Beach this year through a series of performances at key locations in the city, including the Convention Center, Design Miami, the Miami Design District, and the YoungArts Campus. These performances will be open to the public, giving anyone with a brave soul (and some time to spare) a chance to participate in the unambiguously titled Slow Motion Walk, Sleeping Performance, and Counting the Rice, in which participants will tally grains of rice while sitting on a bench designed by architect Daniel Libeskind especially for this purpose. “All of these activities focus on slowing down the mind and bringing a sense of awareness to the here and now,” said Abramovi ć in November while she was preparing the program. “This is very much needed in the lively, fast-paced environment of Art Basel.” Contributors of as little as $1 to the institute’s Kickstarter campaign received an embrace from the

artist, while those who gave $25 or more were treated to special live-streaming performances, like Water Drinking and Eye Gazing. The simplicity of these gestures drew some jeers, but at a time when everyday life is geared toward the immediate and the on-demand, there may be something revolutionary in Abramovi ć’s advocacy of slowing down, cultivating concentration, and reawakening one’s senses. “The 21st century needs new rituals,” says Serpentine Gallery curator Hans UlrichObrist. “Marina could bring us those rituals.” Abramovi ćć frst started practicing in the 1970s, developing a substantial body of performance work that would come back into the spotlight in 2010 with a retrospective at the Museum of Modern Art in New York. Tasked with fnding a way for the museum to showcase past performances, curator Klaus Biesenbach and Abramovi ćć enlisted a troupe of trained artists from various disciplines to reenact seminal long-duration performances like Imponderabilia, which stations two live nudes in a doorway, forcing visitors to pass between their bodies. Abramovi ćć herself held court in the museum’s atrium for a new piece titled The Artist Is Present, in which she offered the seat in front of her to visitors. Over the course of the exhibition, Abramovi ćć sat for a total of 716 hours, locking eyes with more than 750,000 museumgoers. Since then, the artist has been nothing short of omnipresent, with follow-up exhibitions (including this summer’s “Nothing” at London’s Serpentine Gallery, where Abramovi ćć did exactly as the title suggests), documentaries (one of which—Matthu Placek’s slow pan of the artist’s naked body in 3-D—premiered at last year’s Art Basel in Miami Beach), and even a guest spot in the video for Jay-Z’s art-world anthem, “Picasso Baby.” The week of Art Basel will also mark the launch of Immaterial Vol. 1, the Marina Abramovi ćć Institute’s inaugural e-book version of its online journal, including archival and exclusive content. In addition, there will be a public talk at Art Basel’s Art Salon featuring Abramović,ć Libeskind, and Fondation Beyeler director Sam Keller. Says Keller, “It’s going to be Marina mania!” ABMB

A Counting the rice exercise at the Centre d’Art Contemporain Génève in May 2014.

“Slowing down the mind and bringing a sense of awareness to the here and now… is very much needed in the lively, fast-paced environment of Art Basel.”

—Marina abraMoviĆ

Art Basel | Miami Beach 2014 235

Named one of the “10 Events Beyond Basel”

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