Issue 2 - The Art Newspaper

MILIBAND: PHOTO: DAVID OWENS 

FIND US AT 

FRIEZE 

London: stand M1 

Masters: stand M14 

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FRIEZE ART FAIR WEDNESDAY 10 OCTOBER 2012 

Galleries stake their claims 

Competition for the top artists is hotting up as the art market goes global and galleries’ empires expand 

REPRESENTATION 

London. The rules of artists’ representation 

are being rewritten as the market 

expands. As dealers open more spaces 

abroad, artists have to decide who to 

show with, and where. Anselm Kiefer 

has created new works for both Larry 

Gagosian (FL, D7; FM, C5) and Thaddaeus 

Ropac (FL, F4) to launch their 

vast new venues in Paris next week. 

The New York gallerist Michael Werner 

(FL, F8) opened his Mayfair space last 

month with a show of paintings by 

Peter Doig, who until this point was 

represented in Britain only by Victoria 

Miro (FL, D2; FM, C10). It remains to 

be seen how artists’ territories will be 

divided in emerging cities such as 

Hong Kong—fresh ground for most 

Western dealers. 

Traditionally, artists worked on the 

primary market with dealers in different 

regions, who respected each other’s 

turf. Unspoken codes meant that American 

dealers did not encroach on the 

territory of their European counterparts, 

and vice versa. But “the art world is 

changing. It seems that anything goes, 

and there’s no such thing as exclusivity 

any more,” says Victoria Miro, who 

adds that Peter Doig is “only with 

Michael Werner, for now”. She is philosophical, 

however. “You can just do 

your best for the artist; you can’t be 

rigid. Maybe it’s a good thing, as long 

as everyone is bettering the artist’s career,” 

she says. 

Previously, “local galleries showed 

local artists, but it doesn’t work like 

that any more. It’s become really corporate,” 

says Pilar Corrias (FL, H5). “Galleries 

don’t work with artists in one 

country any longer.” Collectors are less 

dependent on their local dealers, too. 

The proliferation of art fairs means 

that buyers can access works by one 

artist at several galleries. 

The empire-building of megagalleries 

like Gagosian has also changed 

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Peter Doig puts the finishing touches to his work just before his show at Michael Werner Gallery 

the natural order. Gagosian’s unprecedented 

business model has led to 12 

permanent galleries in eight cities. 

White Cube (FL, F7), which has spaces 

in London and Hong Kong, will expand 

to São Paulo in December, while the 

New Yorkers David Zwirner (FL, G9; 

FM, F6) and Pace Gallery (FL, G8; FM, 

D1) are flocking to Mayfair. 

“Nothing fundamentally has 

changed, except that budgets got bigger 

and there is more competition for the 

best artists out there,” says Iwan Wirth 

of Hauser & Wirth (FL, C8; FM, B5), 

which has spaces in London, Zurich 

and New York. “The market forces 

galleries to expand their business models 

and their expertise. Galleries are 

no longer just a ‘shop’ but must be 

highly professional in many ways, while 

at the same time keeping a dialogue 

with the artist and the public.” 

This is a consequence of the boom 

between 2000 and 2008, according to 

the adviser Todd Levin, the director of 

the Levin Art Group. “There was so 

much money flowing into the system 

that many larger galleries would look 

at their more remunerative artists and 

not feel as complacent about giving 

up that kind of control and monetary 

return,” he says. 

Two fairs, one nation: Miliband visits 

London. Just as the select throng began to thin at Frieze Masters yesterday 

evening, dealers were enlivened by the arrival of Ed Miliband, the Labour 

Party leader, who found time to pop down from his nearby Dartmouth Park 

home. The galleries Miliband visited included Pace (D1), Lisson (E4, left) and 

Gmurzynska (B11). Other visitors included the mayor of New York, Michael 

Bloomberg. Among the contemporary art collectors at the fair were David 

Roberts from London, Fusun Eczacibasi from Istanbul and Nicoletta Fiorucci 

from Rome, plus the antiquities collector Christian Levett. “I really welcome 

the opportunity to present in a modern way,” said the Oriental antiquities 

dealer Ben Janssens (C3), who is also the chairman of what is now seen as a 

rival fair, Tefaf Maastricht. His gallery is selling the oldest work at Frieze 

Masters—a Neolithic-period red pottery vessel, priced at £3,500. M.G. 

The art world is based on gentlemen’s 

agreements, rather than contracts. 

Most of the galleries we spoke 

to do not have formal arrangements 

with their artists. “The art world is 

like the diamond trade because it’s totally 

based on trust. If you abuse that 

trust, then you’re out, but this does 

mean there is an enormous amount of 

flexibility,” says the artist Luc Tuymans, 

the subject of David Zwirner’s opening 

show in London. He has worked with 

Zwirner for 18 years, and with the Belgian 

gallery Zeno X (FL, A1) for more 

than 20. “I trust these people. We have 

grown together,” Tuymans says. “As an 

Frankfurt. Germany and France are in 

talks to swap pavilions at the 2013 

Venice Biennale. The move would celebrate 

the 50th anniversary of the Élysée 

Treaty, which sealed their post-war reconciliation. 

Susanne Gaensheimer, the 

director of Frankfurt’s Museum für Moderne 

Kunst and the curator of the German 

pavilion, says: “The foreign-affairs 

offices of France and Germany have 

discussed this idea time and again in 

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artist, you have to be taken care of, 

and they will, for instance, buy back 

my works at auction to protect me.” 

So who is in the driving seat? Like 

any relationship, it depends on where 

the power lies. Dealers are under pressure 

to keep up with their rivals, and a 

new space in a major centre enables 

them to be more competitive, although 

this puts pressure on their artists; certain 

artists, such as Damien Hirst, can 

set their own agendas, but emerging 

artists are less likely to be in control. 

It also depends on the kind of work 

“The art world is like 

the diamond trade 

because it’s based on 

trust. If you abuse that 

trust, then you’re out” 

being created. “It is very different for 

painters, who tend to be more exclusively 

represented than sculptors, where 

huge production budgets might force 

an artist to work with more galleries,” 

Iwan Wirth says. 

There are other changes afoot. Smaller 

galleries may need to team up. “You 

have to have alliances so you have 

strength in numbers and can share 

costs,” Pilar Corrias says. “I wouldn’t 

be surprised to see more artists hire 

managers who represent their interests 

among their various galleries, keeping 

the artist focused on their work and 

letting their managers handle any tense 

negotiations,” says the New York dealer 

Edward Winkleman, the co-founder of 

the Moving Image fair in London 

(October 11-14). 

The consensus is that every arrangement 

between artists and dealers is 

unique. But until new codes of behaviour 

are agreed on, “there are no rules”, 

says Rachel Lehmann of Lehmann 

Maupin Gallery (FL, F12). 

Charlotte Burns and Gareth Harris 

My pavilion is your pavilion 

the past 20 years… this time, Christine 

Macel, the curator of the French pavilion… 

and I are in a dialogue about possibilities 

and we will publicise these in 

the next couple of weeks.” Both countries 

have chosen international artists for 

their exhibitions. Germany’s artists will 

include Ai Weiwei (China) and Santu 

Mofokeng (South Africa). France will 

present a display by the Berlin-based, 

Albanian video artist Anri Sala. C.R.

2 

NEWS 

THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 

Pavilion is calm, but will there be a storm? 

Dealers are optimistic but closely watching the fair’s shared future with Frieze Masters 

DESIGN 

London. As the sixth edition of the 

Pavilion of Art and Design (PAD) fair in 

London opened to VIPs on Monday, 

one question was politely being avoided: 

how would it fare against the new contender, 

Frieze Masters? While many 

appeared to be embracing the market’s 

current “the more the merrier” attitude, 

others were waiting to see how the situation 

unfolds. 

“I think we’re all just speculating 

about the impact Frieze Masters will 

have,” says Bethanie Brady of the New 

York-based Paul Kasmin Gallery (also 

showing at Frieze London). “The fairs 

present works in different contexts, 

so there’s a chance to show the same 

artists in different ways.” 

Only two of the event’s regular exhibitors, 

the Sladmore Gallery and Faggionato 

Fine Art gallery, decided to 

show at Frieze Masters instead. Meanwhile, 

the US galleries L&M Arts, Paul 

Kasmin Gallery, Castelli and Skarstedt 

Gallery were among those joining PAD 

for the first time this year. China’s Pearl 

Lam Design has returned for the first 

time since 2007. 

The fairs share a vision of mixing 

objects from different periods and genres. 

At PAD, this has consistently resulted 

in elegant stands, often evoking 

luxurious interiors, and this year proves 

no different. With a nod to the vogue 

for “cross-collecting” (a catch-all phrase 

for collecting across periods, and across 

The designer Danful Yang with her piece Angels or Devils, 2012, at Pearl Lam Design 

fine and decorative art), the Luxembourg 

& Dayan gallery has mounted 

an eye-catching stand of glittering “Panda” 

paintings by the US artist Rob 

Pruitt alongside Chinese archaeological 

objects. “It doesn’t matter when something 

was made—it’s about the quality 

of the piece,” Daniella Luxembourg 

says. The gallery had sold “more than 

one” of the paintings, priced at around 

$120,000, by the end of the VIP evening. 

A key attraction of the fair is its 

inclusion of design. Frieze Masters focuses 

on “fine art”, which, for many of 

PAD’s exhibitors, is less appealing. “We 

like the way you can mix up art with 

design; we’re hoping it may introduce 

us to designers we don’t normally 

meet,” says Barbara Bertozzi Castelli 

of the New York-based Castelli Gallery. 

“Frieze London has always been ‘cutting 

edge’, which we’re not, and Masters 

sounds a bit older than what we show— 

so this seemed right for us.” The gallery 

Relaunch of journal that made history 

Paris. Sam Keller, the director of the Fondation Beyeler in Basel and the former 

director of Art Basel, and Hans Ulrich Obrist, of the Serpentine Gallery 

in London, have teamed up to relaunch the influential art historical journal 

Cahiers d’Art. Keller and Obrist are part of an editorial team hired by the 

Swedish collector and entrepreneur Staffan Ahrenberg (left), who last year 

bought the company with the rights to the magazine (the firm also includes 

a gallery and a publishing house). Founded in 1926 in Paris in the Rue du 

Dragon, the journal was instrumental in the development of key Modern 

art movements such as Bauhaus and Dada. It provided a platform for artists 

such as Giacometti, Calder and Léger from 1930 until the outbreak of the 

Second World War. Original works by artists such as Duchamp and Miró 

were commissioned for the journal, including Duchamp’s Fluttering Heart, 

1936, which appeared on the cover. Cahiers d’Art has been published intermittently 

since 1926. The new edition, which is due to be published on 18 

October and is priced at €60, includes 70 pages devoted to the US abstract 

artist Ellsworth Kelly, a homage to the Brazilian architect Oscar Niemeyer 

by the Japanese architect Tadao Ando and portfolios devoted to the US artist 

Sarah Morris and the French artist Cyprien Gaillard. It will be published in 

French and in English for the first time. An exhibition at the Rue du 

Dragon of three works by Kelly, as well as ancient artefacts from the artist’s 

collection, will coincide with the launch of the new publication. The show 

will run until 30 January 2013. G.H. 

is showing works priced from $100,000 

to $1.5m, including Roy Lichtenstein’s 

“Brushstroke Chair and Ottoman”, 1988. 

Korea’s Gallery Seomi also joins the 

fair this year, displaying an edition of 

Kang Myungsun’s “Mermaid Bench” 

(number two of six), 2011. 

Nevertheless, others are more direct 

about the impact Frieze Masters could 

have. “It is competition; there’s no point 

mincing words about it,” says Mitchell 

Anderson of the Zurich-based Galerie 

Paris. Next year’s annual “Monumenta” 

installation at Paris’s Grand Palais could 

be cancelled because of French budget 

cuts. The Russian-born, US-based artists 

Ilya and Emilia Kabakov were pencilled 

in to create the large-scale work for the 

palace, but a spokesman for the French 

culture ministry, which partly funds 

the series, says that the project “is not 

yet confirmed because of cost issues”. 

One of the Kabakovs’ representatives 

in Paris, the dealer Thaddaeus Ropac 

(FL, F4), declined to comment. 

The culture minister, Aurélie Filippetti, 

has introduced a series of drastic 

cost-cutting measures as part of an austerity 

package, including the cancellation 

of the former president Nicolas Sarkozy’s 

grand projet, La Maison de l’histoire de 

Stand numbers 

• Frieze London = FL 

• Frieze Masters = FM 

Gmurzynska (also showing at Masters). 

The pace of sales had certainly changed, 

with dealers reporting that people were 

waiting to see what was at Frieze Masters 

before committing. “People want to survey 

all the material available first,” says 

Anderson, who, nevertheless, says there 

“I think we’re all 

speculating what 

impact Frieze Masters 

will have [on PAD]” 

was “serious interest” in a pair of paintings 

by Kurt Schwitters, priced at 

“around £1m”. The stand belonging to 

Paris’s Galerie du Passage also proved 

popular, with “a few” of its seven tapestries 

designed by Alexander Calder in 

the 1970s selling for £12,000 each. 

“It’s early days, but I’d say it’s the 

same collectors who are normally 

here,” Lucy Mitchell-Innes says. The 

Israeli art collector Jose Mugrabi signed 

an autograph for Rob Pruitt, the collector 

and jeweller Laurence Graff was 

spotted eyeing up a table and Lady 

Victoria de Rothschild, Anish Kapoor 

and Kay Saatchi were among those at 

the VIP evening. “The opening was as 

steady and relaxed as always,” Luxembourg 

says. 

Whether this is a temporary calm 

remains to be seen. But during its 

opening days, at least, the fair seems 

to be confident in what it does best. 

Riah Pryor 

Monumenta project in jeopardy 

Kabakovs could be victims of French budget cuts 

France (French History Museum). The 

government recently announced a 4.5% 

cut in the state culture budget for 2013. 

According to the French newspaper 

Le Figaro, the Kabakovs’ piece was 

budgeted at €5m. The “Monumenta” 

commission in 2011 was awarded to 

Anish Kapoor, who created Leviathan, a 

gigantic installation made from 18 tons 

of PVC; the sculpture cost €3m to manufacture. 

The work was seen by 277,687 

visitors during its six-week run. 

This year, the fifth edition was 

handed over to the French artist Daniel 

Buren, who installed his work, Excentrique(s), 

travail in situ, in the Grand 

Palais last spring. His piece is reported 

to have cost €1.5m. 

Gareth Harris 

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4 

NEWS ANALYSIS 


Let the examination begin 

Frieze Masters joins the controversial world of vetting committees 

PROVENANCE 

London. The fair is only just opening, 

but the exhibitors at Frieze Masters 

may already be breathing a sigh of relief. 

On Monday, all 99 booths went 

under the scrutiny of a 20-strong vetting 

committee, tasked with checking 

the attribution, quality and condition 

of works. 

“Obviously for Frieze, vetting is a 

new challenge, but it became clear very 

quickly that it would play an important 

role,” says Victoria Siddall, the director 

of Frieze Masters. “Partly because we 

want to be seen as a serious art historical 

event, but also because we’re asking 

collectors to buy items outside of their 

normal area of expertise. Buyers in contemporary 

art may be unfamiliar with 

Old Masters, so we needed to be sure 

they could buy with confidence.” 

Replicating the stringent vetting 

committees at Tefaf Maastricht, which 

involves more than 170 specialists, 

Frieze has brought together experts 

[see box] on all of the periods of art displayed. 

A significant exclusion from 

the line-up, however, is fellow exhibitors. 

“We decided early on that dealers would 

not vet other dealers—we wanted that 

layer of objectivity,” Siddall says. 

For many years, Maastricht readily 

allowed dealers to act on vetting committees, 

but this has gradually been re- 

duced. Occasionally it still happens: for 

example, Peter Finer is on Tefaf’s arms 

and armour committee and James Hennessy 

vets early Asian art for the Dutch 

fair. The Pavilion of Art and Design 

fair, which opens in London this week, 

also allows it. “They’re often the most 

experienced specialists,” says Patrick 

Perrin, a co-director of the fair, adding 

that dealers cannot vet their own stands. 

Although decisions are guided by 

evidence provided by dealers and a set 

criteria, it is the expert eye that dominates. 

“Everyone has their own Tefaf 

“[Vetting provides] 

reassurance that 

you’ll be showing 

among the best” 

vetting story,” says Robert Bowman, 

the director of two galleries in London 

who has worked on Tefaf’s vetting 

committee for around 20 years. “In my 

first year as an exhibitor, four marble 

sculptures I had designed my booth 

around were removed. They were labelled 

as 19th-century, but [the sculpture 

vetting committee] was concerned that 

they looked [like they were] 17th-century 

and could mislead visitors.” Committees 

can change their minds on works that 

were accepted in previous editions and 

entire booths have been rejected, says 

Henk Van Os, the chairman of Tefaf’s 

Antiquities committee. 

While art scholars are increasingly 

concerned about being sued over authenticity 

issues, vetting members can 

voice opinions in confidence as the organisers 

of both Tefaf and Frieze Masters 

require the members to sign confidentiality 

agreements. “The fact that no 

one knows what has happened is the 

reason why the process is so frustrating 

but, at the same time, so effective,” 

Bowman says. Nevertheless, gossip over 

rejected works is rife. 

At most vetted fairs, dealers can 

appeal decisions, but this risks attracting 

greater attention (one dealer describes 

“20 vetting experts piling into a booth, 

leaving the exhibitor outnumbered”). 

It is up to the committee to “prove”, 

or rather justify, its opinion and if 

there is any uncertainty the dealer is 

generally given the benefit of the doubt. 

If an item is rejected, it is returned 

to the dealer. “They basically say ‘do 

what you want with it, just don’t show 

it here’,” says Otto Naumann, the New 

York-based Old Master dealer who previously 

worked on Tefaf’s vetting team. 

“We’re not the art police. People get 

carried away with the idea of vetting. 

We’re deciding what should be 

in a fair, not the general art market,” 

Bowman says. 

Modern and contemporary art fairs 

avoid these headaches as they rarely 

Better to be 

certain than sorry 

Expert eyes 

have vetting committees. Art Basel 

and Fiac, for example, say there is no 

need to check works on the primary 

market. Living artists can verify authenticity 

and the condition of works 

is confirmed during the selection 

process. The Art Loss Register also 

works with numerous fairs. 

With Modern art increasingly included 

at historical art fairs though, 

more vetting can be expected. “Rules 

and regulations expand with the fairs,” 

says Christian Vrouyr, the director of 

the Brussels Antiques and Fine Art 

Fair. “Contemporary art offers more 

precise vetting possibilities and Modern 

art has documented foundations and 

catalogues raisonnés,” he says. Others 

Charles Avery, previously the deputy keeper of sculpture at the 

Victoria & Albert Museum, London 

Mattie Boom, a curator at the Rijksmuseum, Amsterdam 

Xavier Bray, the chief curator of London’s Dulwich Picture Gallery 

Andrew Butterfield, a specialist in European art 

Taco Dibbits, the director of collections at the Rijksmuseum, 

Amsterdam 

Ann Dumas, a curator at the Royal Academy of Arts, London 

David Ekserdjian, a professor of the history of art at the 

University of Leicester 

Richard Falkiner, an independent consultant 

Gaudenz Freuler, a professor of the history of art at 

Kunsthistorisches Institut, Zurich 

Jonathan King, formerly in the ethnographic 

department at Christie’s. Previously a curator of 

ethnography at the British Museum, London 

Gregory Martin, a Flemish scholar 

Susie Nash, a professor at London’s 

Courtauld Institute of Art 

Scott Schaefer, a curator of paintings at 

The Getty Trust, Los Angeles 

MaryAnne Stevens, the director of academic 

affairs at the Royal Academy of Arts 

Richard de Unger, a collector of Islamic art 

Tim Teuten, the former head of Christie’s 

department of African and Oceanic art 

Oliver Wick, an independent curator 

Hermione Waterfield, a tribal art expert who was 

previously at Christie’s 

Chantelle Rountree, the former head of antiquities at Bonhams 

Simon Howell, the managing director of Shepherd Conservation 

argue that contemporary art should 

be more tightly checked. “All secondary 

[market] art should be vetted,” says 

Edward Horswell, a director at London’s 

Sladmore Gallery (G8). 

“They’re meant to be checking for 

condition and quality, as well as 

authenticity.” 

Challenges aside, there is a consensus 

that Frieze Masters made the right 

decision and that vetting produces fairs 

with higher-quality works. “It’s a guarantee 

for exhibitors, as well as collectors,” 

says Mira Dimitrova, the director 

of the Robilant and Voena gallery (A4). 

“It [provides] reassurance that you’ll 

be showing among the best.” 

Riah Pryor 

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INTERVIEW 

Chris Dercon 

Director, Tate Modern 

Chris Dercon, the director 

of Tate Modern 

since 2011, compares 

his job with running a 

public broadcasting 

company. The day 

before we met, he had held a brainstorming 

session with the Tate’s curators 

about its programme. “You start 

with set ideas and you come up with 

a completely different idea thanks to 

serendipity,” he says. “Everything is 

interconnected.” It all sounds democratic—Nick 

Serota, Dercon’s boss, 

came too—collegiate and unbureaucratic 

for a big museum. “It’s not ‘The 

Sopranos’ or ‘Mad Men’,” he says, 

referring to TV series with a named 

creative producer in charge. “It’s ‘The 

Wire’ or ‘Homeland’, with each 

episode directed by someone else.” 

Dercon was born in Belgium and 

studied art history, theatre and film 

theory in Amsterdam. An arts journalist 

before he became a curator, he was 

the founding director of the Witte de 

With contemporary art centre in 

Rotterdam. He then became the director 

of the city’s Museum Boijmans Van 

Beuningen, overseeing its expansion 

and renovation. Before Tate Modern, 

THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 7 

‘An old work will be 

incredibly angry…’ 

…if you marry it with a contemporary work in a superficial way. By Javier Pes 

he ran Munich’s Haus der Kunst. We 

met a fortnight before Frieze, when 

Dercon had just returned from the 

opening of “The Ancients Stole All Our 

Great Ideas”, Ed Ruscha’s exhibition at 

the Kunsthistoriches Museum, Vienna 

(until 2 December), the first in the historic 

art museum’s new series of contemporary 

installations. 

The Art Newspaper: Frieze London 

has added Frieze Masters this 

year. What do you think of the 

trend to link historic and contemporary 

art? 

Chris Dercon: I hope people will be 

aware that these things that were produced 

a very long time ago have a 

complex life in terms of reception and 

transmission, and these complexities 

are very important to deal with. It will 

be very sad if people do it in a superficial 

way. An old work will be incredibly 

angry with you if you do that. 

When you start getting into what 

Ed Ruscha has done, it’s fantastic. I 

think it’s important that we start to 

question the contemporaneity of contemporary 

art. Maybe we need to stop 

talking about the newest new art, and 

start talking about new techniques 

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and definitely new audiences. 

What was the attraction of working 

in London? 

There was the personal contact with 

Nick Serota. I got to know him when I 

was at the Witte. We were the first to 

do retrospectives of artists such as 

Hélio Oiticica and Paul Thek. And in 

Munich, I was the first to do a retrospective 

of Amrita Sher-Gil. Nick 

Serota was more aware than most 

“The only thing Nick 

Serota and I disagree 

about is that I did so 

many fashion shows” 

people of the importance of these 

artists. I decided I have to go to places 

I was envious of. I was envious of 

what the Tate has been doing since 

2003 with Latin American art, since 

2008 with Middle Eastern art, more 

recently with African art, and soon 

with South Asian art. 

Every move you make as Tate 

Modern’s director is scrutinised. 

How do you cope with that? 

I got scrutinised at the Boijmans 

© SOTHEBY’S, INC. 2012 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #9588677 © 2012 ESTATE OF PABLO PICASSO / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 

The director has moved 

around Europe “like a 

soccer player” 

because of the situation in the city of 

Rotterdam—the city of Pim Fortuyn [a 

critic of multiculturalism]—and in 

Munich because I became the director 

of the “private kunsthalle of Mr 

Hitler”. It was about elitism and wanting 

to become a multicultural society 

in Rotterdam, and history and the 

way you deal with history in Munich. 

So to be scrutinised is normal. 

I imagine Nick Serota is a tough 

boss. 

We have a long-standing dialogue 

about the future of museums because 

of what I did with architects and 

what he did. We have a long-standing 

discussion about the multicultural 

society. He knew I was interested in 

other media, and he knew the shows 

I did. So the dialogue was not new. 

The only thing we didn’t agree about 

was that I did so many fashion shows 

in Rotterdam and Munich. That’s still 

a joke—a long-standing joke. 

Were you concerned that most of 

your time would be spent raising 

the funds to build Tate Modern’s 

extension? 

I’ve been addicted to [fundraising] 

since [working at] PS1. Alanna Heiss 

[the founder] and I had to lay off 

The hole at Cullinan Diamond Mine, Gauteng, South Africa, where in 1905 

F. Wells unearthed what is known as the Cullinan Diamond, or the Star of Africa. 

Photo credit: Petra Diamonds Ltd. 

people during the summer because we 

couldn’t pay them. Once the shows 

were in place, it was much easier to 

get people enthusiastic. That’s how I 

worked in PS1; that’s how I work here. 

Because I’ve been working almost like 

a soccer player, going from Brussels to 

New York to F.C. Rotterdam to Bayern 

Munich, you get to meet so many 

enthusiastic and generous people. 

There’s always a fear that public 

institutions will become a plutocrat’s 

vanity project. 

I like to concentrate on those collectors 

who share our beliefs. There are 

many who want to work with new 

forms of public-private partnership: 

the Falckenbergs, the Goetzs, Dimitris 

Daskalopoulos, Bernardo Paz and 

Anthony d’Offay, to name a few. There 

are many examples of mega-rich private 

collectors who see the benefits of 

working with public museums. 

And where do art fairs fit into 

your schedule these days? 

I can’t go to them all. It’s very important 

to be in Basel, and in Miami, 

given my Latin American connections. 

I’m not hopping in and out of 

airports. I did that. Now the curators 

have to do it.

8 

FEATURE 

Two leading collectors of 

contemporary art in 

London have revealed 

their desire for their art 

to remain on public display 

in perpetuity. 

David Roberts, the Scottish property 

developer who last month inaugurated 

a new home for his collection 

in Camden Town, and Anita 

Zabludowicz, the wife of a Finnish 

financier and property investor who 

has shown her collection in a former 

Methodist chapel in Chalk Farm since 

2007, both say they hope their collections 

will continue to exist as discrete 

entities long into the future. 

“I do want the collection itself and 

the foundation [that runs it] to continue. 

I don’t want a situation where I 

die and the whole thing gets sold off 

and disappears,” Roberts says. 

Zabludowicz says she has set up a 

“structure” which involves her children 

and includes trustees to shepherd 

the collection she has assembled 

with her husband, Poju, into the 

future. “Our intentions are [for it] to 

continue in the same direction, while 

at the same time, also [give to] institutions 

such as the Tate. It would not be 

our wish for our collection to be sold 

entirely or given entirely unless 

absolutely necessary.” 

The collectors, both of whom own 

around 2,000 works of international 

contemporary art and who organise 

regular, curated shows in the art 

spaces they run, are two of a growing 

number of art buyers around the 

world who are opening private 

spaces to show their purchases. It 

remains to be seen whether many of 

these galleries or the collections that 

fill them will survive past the lifetime 

of their founders. 

One art world insider who asked 

not to be named is sceptical. “Forever 

is a very long time,” he says. The longterm 

costs of displaying art, with all 

its ancillary expenses such as conservation, 

storage and insurance, are 

likely to deter all but the most committed 

from attempting to create a 

permanent display intended to survive 

after they are gone, he adds. 

These costs make it difficult to 

even give art away for free. More 

than two years ago Charles Saatchi 

offered around 200 works, including 

pieces by Tracey Emin, Grayson Perry 

and the Chapman Brothers, as a gift 

to the nation with enough funds to 


Forever is a very 

long time 

Building a great collection is one thing, but securing its long-term future is 

another matter. Leading collectors ponder the price of posterity. By Cristina Ruiz 

provide for the future cost of maintaining 

the art. But discussions with 

the government appear to have 

reached a stalemate. 

Crucially, Saatchi has no building 

of his own that could display his collection 

in the long term. Unlike 

Roberts and Zabludowicz, who both 

own the buildings they use to display 

their art, he has instead leased a succession 

of spaces for the various 

incarnations of his gallery, which is 

currently based in Chelsea. 

Despite the government’s failure 

to reach an agreement with Saatchi, 

sources say the collector remains 

committed to putting a large part of 

his collection into a foundation 

whose trustees will manage it, protect 

its future and ensure it is publicly 

displayed. 

Collectors seeking governmentfunded 

homes for their art have 

rarely been successful. In 1992, the 

Iranian-born Nasser David Khalili 

offered his Islamic collection, considered 

one of the world’s finest, to the 

British government on a 15-year loan 

on the understanding that the loan 

“Private collectors can move quickly, they have more 

money… it would be irresponsible for national 

museums to commit [to young artists] so early” 

would become a gift if a suitable 

building were provided. 

These conditions were not 

accepted and Khalili withdrew his 

offer. Twelve years later he announced 

his intention to cover all the costs of 

setting up a museum in London himself 

“within five years” and to provide 

a multi-million pound endowment to 

cover the running costs. The museum 

never materialised. 

Museum partnerships 

Public collections have been built 

with the art bought by private individuals 

and today’s contemporary art 

collectors have a distinct advantage 

over museums such as the Tate when 

it comes to securing important works 

of our time. Private galleries complement 

public institutions, says Andrew 

Renton, the director of Marlborough 

Contemporary, who previously 

worked with the London collectors 

Freddy and Muriel Salem for 12 years, 

helping them to assemble the 

Cranford Collection. 

“Private collectors can move more 

quickly. They have more money for 

acquisitions and they’re more ambitious 

in their purchases, often buying 

artists who are young and assembling 

large groups of their work. By 

definition it would be irresponsible 

for a national museum like the Tate 

to commit [to artists] so early; in a 

way these public and private spaces 

need each other,” Renton says. 

But today everyone is a collector 

and there is the 

thorny issue, rarely 

discussed in public, of 

whether museums 

actually want the art 

assembled by the 

plethora of contemporary 

art collectors 

active in today’s market. 

Speaking at a 

panel on private galleries 

at the Art Basel 

fair last year, the director 

of Tate Modern, 

Chris Dercon, noted 

that many buyers purchase 

and display 

works by the same trendy artists in 

spaces that all resemble one another. 

Private galleries are now everywhere, 

said Dercon. “They have the 

same architects, the same white 

walls, the same works of art,” he 

said, adding that collectors need to 

be more discerning when buying art. 

He also noted that the programming 

in private galleries lacks the depth of 

museum displays. Public institutions 

can give art a context, he said, which 

is impossible for private collectors. 

“At the Tate we can show something 

contemporary from Brazil alongside 

a Mondrian. A private collection 

can’t do that because they don’t have 

a Mondrian.” 

Museums are also wary of collectors 

wishing to impose conditions on 

gifts or remaining involved in the 

management of their art once it has 

been transferred to a public collection. 

The part gift/part acquisition 

deal brokered by the dealer Anthony 

d’Offay with the Tate and the 

National Galleries of Scotland in 2008 

for a large collection of contemporary 

art divided into “artist rooms” which 

tour regional museums around the 

country is a rare exception. 

The ambivalence works both ways. 

Collectors who have tasted the thrill of 

running their own curatorial programme 

don’t want to see their art 

subsumed into a larger museum collection. 

“There’s a possibility we’ll 

donate work to museums,” Roberts 

says, “but I don’t think I’d want to say: 

‘Here’s the collection’, and give it to 

the Museum of Modern Art or the 

Tate. I wouldn’t want it to disappear in 

the vaults of some vast museum.” 

Instead, says Roberts, “I like the 

idea of doing things with regional 

museums which often don’t have the 

resources to buy contemporary art… 

there are a lot of great spaces outside 

London,” he says, 

noting that he has 

loaned works for an 

exhibition opening 

later this month at 

the Hepworth 

Wakefield in Yorkshire 

which has “a very good collection 

of works by Hepworth 

and Henry Moore but very few contemporary 

pieces”. 

Frank Cohen, the DIY magnate 

who has shown his collection of international 

contemporary art in an 

industrial estate outside 

Wolverhampton for nearly six years, 

once had plans to open a gallery in 

Manchester called the Frank Cohen 

Museum of Contemporary Art. 

Speaking to a journalist from the 

Independent in 2004, Cohen said: “I 

want to put right the situation that, 

outside London and people like 

Saatchi with his gallery, there are no 

privately run art galleries and collections.” 

The museum never opened 

due to disagreements with the developers 

who owned the building. “It 

would have been a great thing,” 

Cohen says. “It’s Manchester’s loss.” 

Now the collector says he “ha[s]n’t 

got a clue” what will happen to his 

collection in the long term although 

he hopes it will remain “intact” and 

that his children will “take it over and 

continue where I left off.” Meanwhile, 

Cohen is opening a London display 

space in a former milk depot in 

Bloomsbury with the art adviser 

Nicolai Frahm to host loan exhibitions 

and show art from both their holdings. 

The gallery should open within 

the next two months. 

Zabludowicz shares the desire for 

her collection, which focuses particularly 

on emerging artists, to be seen 

in multiple venues and she has 

recently started staging shows in the 

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APPLICATIONS NOW ONLINE AT EXPOCHICAGO.COM 

Private collectors put on a 

show: “The Summer Sessions” 

at the Zabludowicz Collection 

(above), “A House of Leaves” 

at the David Roberts Art 

Foundation (left) and 

Saatchi’s leased 

space in Chelsea 

New York offices of 

her husband’s private 

investment 

group, Tamares. She 

has also launched an 

artist residency programme 

at Sarvisalo in 

Finland where she and her husband 

have a home. When asked to 

consider where she wanted her collection 

to be in 20 years’ time, she 

said: “I hope that it will be on display 

in many places and my current ambition 

is to loan even more works from 

the collection to public institutions so 

that as many people as possible get to 

see art that is being made right now.” 

Ultimately, the proliferation of private 

galleries has made more art 

accessible to more people, usually for 

free. Many of these spaces run education 

and outreach programmes and 

welcome students. Roberts, for example, 

is planning a research library in 

the Camden Town headquarters of 

his collection. However, only time 

will tell which galleries and collections 

are here to stay. 

• “A House of Leaves: First Movement”, 

which includes work by Louise Bourgeois, 

Thomas Houseago, Martin Kippenberger and 

Rebecca Warren, is on display at the David 

Roberts Art Foundation (until 10 November), 

Symes Mews, NW1 7JE. The foundation will 

stage performances of works by Nina Beier, 

Chosil Kil, Alvin Lucier, Eddie Peake and 

Steve Reich on 11 October at 7pm 

• “To Hope, to Tremble, to Live: Modern 

and Contemporary Works from the David 

Roberts Collection” is at the Hepworth 

Wakefield in Yorkshire from 27 October to 

3 February 2013 

• “Matthew Darbyshire: T Rooms” (until 

2 December) and “Zabludowicz Collection 

Invites: Richard Sides” (until 21 October) are 

on show at the Zabludowicz Collection, 176 

Prince of Wales Road, NW5 3PT 

NAVY PIER 

19—22 

SEPTEMBER 

2013 

ZABLUDOWICZ: PHOTO BY STEPHEN WHITE, DAVID ROBERTS ART FOUNDATION: © 2012 MARK BLOWER, SAATCHI GALLERY: © 2009 MATTHEW BOOTH, ALL RIGHTS RESERVED

Illustrated above: The Emperor Galba Enthroned, one of 20 large illuminations in Philip the Good’s copy of the Mystère de la Vengeance by Eustache Marcadé, 

illuminated manuscript on vellum, southern Netherlands (Hesdin and Bruges), c. 1465 ESTIMATE £4,000,000–6,000,000 

TO BE OFFERED IN THE OLD MASTER & BRITISH PAINTINGS EVENING SALE, LONDON 5 DECEMBER 2012 

ALONGSIDE ANOTHER IMPORTANT ILLUMINATED MANUSCRIPT (£3-5M) AND A DRAWING BY RAPHAEL (£10-15M) ALSO FROM THE DEVONSHIRE COLLECTION 

TRAVELLING EXHIBITION 

LONDON 7-12 OCTOBER | PARIS 19-24 OCTOBER | NEW YORK 1-5 NOVEMBER | CHICAGO 7-8 NOVEMBER (DRAWING ONLY) 

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SALE ENQUIRIES: +44 (0)20 7293 6100 | REGISTER NOW AT SOTHEBYS.COM

ph Vitaliano Lopez - art Francesco Giuliani

12 

IN PICTURES 

1 


Meeting of the masters 

From Minimalism to Madonnas and monumental gargoyles: the first Frieze Masters tested visitors’ connoisseurship 

1 

Giandomenico Tiepolo, Head of a 

Turbaned Philosopher, undated 

(around mid-18th century), £550,000, 

Jean-Luc Baroni, A5 

2 

Richard Wentworth, Now, 1997, 

£20,000, Lisson Gallery, E4 

3 

One of three monumental gargoyles, 

oeuvre of the Cathedral of Notre-Dame 

in Strasbourg, Saint-George, 

Haguenau, Alsace, around 1275-83, 

price undisclosed, Sam Fogg, B6 

4 

Alexander Calder, Rouge triomphant 

(triumphant red, detail), 1959-63, 

$20m, Helly Nahmad Gallery, F7 

5 

Romano Alberti da San Sepolcro, 

wooden candle stands, around 1540- 

50, £44,000, Bacarelli Botticelli, E1 

2 

ALL PHOTOS: DAIVD OWENS

3 

4 


5

14 

INTERVIEW 

Cécile B. Evans 

Artist 

The Belgian-American 

artist Cécile B. Evans, 29, 

is the winner of the 2012 

Emdash Award for 

emerging artists living 

outside the UK. Her 

proposal—an audio guide to Frieze— 

was selected from more than 700 

applications, and the work forms part 

of Frieze Projects (P3). 

For This Is Your Audio Guide, which 

is hosted by the historian Simon 

Schama, Evans asked well-known 

people from other fields, such as the 

model-turned-cook Sophie Dahl and 

the astronomer Patrick Moore, to 

respond to the works on show. The 

artist’s prize includes a £10,000 

production budget and a three-month 

residency at the Gasworks studios in 

south London, where, last month, she 

showed a series of rejection letters 

from celebrities who declined to take 

part in the project. She is not 

currently represented by a gallery. 

Evans was born to Belgian parents 

in Cleveland, Ohio, and grew up in 

Jacksonville, Florida. She began to act 

at the age of five, and spent four 


years at New York University’s Tisch 

School of the Arts from 11 September 

2001 (“it was my first day as an 

adult—the plane flew over our 

heads”). After working in film and 

television in Paris, Evans moved to 

Berlin to pursue a career in art. Her 

work often refers to both high and 

low culture; the video Countdown, 

2012, updates Anne Teresa De 

Keersmaeker’s performance Rosas 

danst Rosas, 1983, with the novel 

addition of animated asparagus. 

The Art Newspaper: This Is Your Audio 

Guide counters art-world jargon by 

asking non-experts to respond 

emotionally to the works at 

Frieze. How did the project begin? 

Cécile B. Evans: I took a group of 

teenagers to this year’s Berlin 

Biennale, which was notoriously 

dense, and asked them the questions 

I was working with. “Does this 

remind you of anything? How do you 

relate to an object in here?” You strip 

away all the things you’re supposed 

to say about art and then you go for 

the emotional value. 

Why did you ask Simon Schama to 

host the audio guide? 

Simon Schama is art history. He lives 

it, breathes it, walks with it every day 

to work. He’d say: “I’m concerned—is 

this what we want people to think 

about art?” My reaction is that I’m 

not telling people how to look at art. 

Simon is very good at explaining art 

in a way that people understand, and 

it’s been amazing to see how some of 

[the contributors] hit the mark. It 

gives me chills. 

Why did you create a hologram of 

Schama to introduce the work? 

It’s a way of connecting the ears with 

what you’re seeing, and also playing 

on the dynamics of subjectivity and 

reality—anything to [increase] the 

suspension of disbelief. There are also 

small hologram boxes [throughout 

the fair], which use the Pepper’s 

ghost technique, a 19th-century 

theatre trick. One of them looks as 

though Simon has been kidnapped 

and put in the box. 

Who were your favourite 

contributors? 

Rabbi Lionel Blue and Sophie Dahl 

Big in Germany: Evans’s 

Paula Abdul-influenced 

video Straight Up, 2011 

With a little help from 

her (celebrity) friends 

This year’s Emdash Award winner has created the first ever audio guide to Frieze— 

starring Simon Schama, Sophie Dahl and Patrick Moore. By Ria Hopkinson 

were fantastic. 

With Rabbi Blue, 

I just turned on the 

dictaphone and got everything 

from what he thinks heaven is 

going to look like to how he thinks 

a piece by Ryan Gander looks like 

perfume bottles. I’m still adding 

people. I’m exhausted. 

Many of your works attempt to 

measure emotions, including the 

“Schirmer Collages”, 2011, which 

juxtapose film stills with tearmeasurement 

strips. 

I took screenshots from movies starring 

Meryl Streep, which are the ultimate 

cryfest, and named [the works] 

after the tearjerker line—You May 

Keep One Of Your Children is [from] 

“Sophie’s Choice”. This is my year of 

tears. I set out to say that it’s the 

clearest representation of emotion, 

and I think it’s something I’ll always 

work with. But I don’t want to look 

back and say: “That was my crying 

period.” I’m starting to do research 

into ghosts, and the idea of loss. 

Are you interested in displays of 

collective emotion, such as the 

Come and visit us at 

FRIEZE MASTERS 

Stand M14 

FRIEZE LONDON 

Stand M1 

The judges’ verdict 

Members of the selection panel on 

Evans’s work 

Sarah McCrory 

Curator, Frieze Projects 

“We realised that Cécile had a really good 

understanding of the Frieze audience. 

Her background as an actor shows her 

interest in understanding the world 

around her, and the work couldn’t have 

been made without that aspect of her 

personality; it helped convince wellknown 

people to be involved. Until the 

project happens, we don’t know what 

the outcome will be, and that was part of 

the reason for choosing it.” 

Andrea Dibelius 

Founder, Emdash Foundation 

“Frieze has never had an audio guide 

before, so this is totally new territory for 

the fair. The work is conceptual but 

accessible, and this is one of the main 

messages of the project—to give visitors 

a different and possibly more inclusive 

way of understanding and questioning 

works at the fair. I also hope that industry 

people will be challenged by being 

confronted with a radically different way 

of talking about art.” R.H. 

to receive a discount of up to 30% on a one-year 

subscription to THE ART NEWSPAPER 

STRAIGHT UP: © CÉCILE B. EVANS

EVANS (BIOGRAPHY BOX): © STUDIO DE JOODE. RAZMI: COURTESY OF THE ARTIST/FRIEZE. FUJIWARA: PHOTO: LINDA NYLIND. © FRIEZE LONDON. 

WOLFSON, GARCIA TORRES AND ROTTENBERG: PHOTOS: POLLY BRADEN. © FRIEZE LONDON. PRIETO: PHOTO: DOMINICK TYLER. © FRIEZE LONDON 

The crying game… You 

May Keep One Of Your 

Children, 2011 

outpouring of grief in Britain 

after Princess Diana’s death? 

Absolutely. I want to study and eventually 

visit North Korea—the videos 

of collective mourning for Kim Jong Il 

were so unfettered and direct. How 

they express themselves in society 

must be radically different from anything 

I know. I don’t think I would 

tell them I was an artist; it would 

become political, and tying politics to 

emotions is a whole different thing. 

You studied experimental theatre 

before moving to Paris to work in 

film and television. When did you 

start to move towards art? 

I nearly got sued for copyright by 

J.D. Salinger when I tried to do a play 

of [his book] Franny and Zooey. So I 

built a bathroom in Times Square and 

told the story through the eyes of the 

bathroom, because there’s always a 

bathroom in Salinger’s stories and 

you can’t copyright space. That was 

my first experience of not depending 

so much on other people. 

In your video Straight Up, 2011, 

inspired by Pina Bausch’s Nelken, 

1982, you perform a Paula Abdul 

song in sign language while 

drunk. Why did you show it in a 

Berlin sex shop? 

I got so excited that I couldn’t wait 

for someone to ask me to show it. 

I lived above a sex shop in Mitte for 

almost two years, so I said: “Hey, 

guys, can I use your movie theatre 

one night? I’ll hire a cleaner. It’s 

nothing to do with porn.” They were 

both named Mario, and they were 

like: “Ja, we love Paula Abdul.” I put 

all these references, from high to low, 

in the same place, and then you 

attach whatever you bring to it. 


Which contemporary artists do 

you admire? 

Aleksandra Domanovic and her 

boyfriend, Oliver Laric. My boyfriend, 

Yuri Pattison, and [his collective] 

LuckyPDF. [The 2009 Cartier Award 

winner] Jordan Wolfson was one of 

the first people I met in Berlin who 

took a look at my work and said: “OK, 

I know what you’re thinking, but you 

need to do more.” 

You’ve lived in cities all over the 

world. Has your residency in 

London inspired you? 

I really love Peckham: the scene, the 

African families, the hair salons that 

are slamming on Saturdays at 

12.30pm. You know they have nail 

art? I got a bunch of rhinestones and 

spelled out, in Braille, a quote from 

“Who’s Afraid of Virginia Woolf ?” 

about tears. Everyone is making art— 

I’ve never seen so much work. 

• Frieze Projects includes This Is Your Audio 

Guide (P3) and new work by Thomas Bayrle 

(P2), Joanna Rajkowska (P1) and Aslı 

Cavusoglu (P4) 

Biography 

Cécile B. Evans 

Born: Cleveland, Ohio, 1983 

Education: Tisch School of 

the Arts, New York 

University, 2001-05 

Lives and works: Berlin, 

Germany 

Future projects: 2012 

Lecture (performance), Fiac, Paris; residency, 

CCA Andratx, Majorca 

Selected solo exhibitions: 2012 “Trilogy”, 

Peckham Artist Moving Image festival, 

London 2011 “Straight Up”, MSV Sex Kino, 

Berlin 2010 “From Five To Seven”, Galerie 

Gavriel, Bremen, Germany 2008 “What Are 

You Doing After the Dance?”, 0fr Galerie, 

Paris 2007 “Jack and Margot”, Reykjavik 

International Film Festival, Iceland 

Selected group exhibitions: 2012 “E-Vapor- 

8”, 319 Scholes, New York 2011 “Gaze & Lust: 

Sexuality in Contemporary Art”, Bergen 

Kunstmuseum, Norway; “A Skeleton In the 

Closet 2”, ReMap 3, Athens, Greece 2010 “Art 

By Telephone” (with the curator Rebecca 

Lamarche-Vadel), Art Basel Miami Beach; 

Berlin Kreuzberg Biennale, Galerie im 

Regierungsviertel, Berlin 2009 “Renegades: 

25 Years of Performance at Exit Art”, Galeria 

de la Raza, San Francisco 

Winning works 

2011 Anahita Razmi Trisha Brown’s 1971 performance Roof Piece was the 

starting point for Razmi’s video installation, which referred to the rooftop 

protests in Tehran in 2009. The German-born artist showed Roof Piece Tehran, 

which featured 12 dancers wearing red, on 12 screens around the fair. 

2010 Simon Fujiwara After dreaming up a lost civilisation buried beneath 

Frieze, the British-Japanese artist created Frozen, a site-specific installation piecing 

together the fragments of his fictional city. Visitors to the fair saw descriptions of 

the ancient settlement, recovered artefacts and archaeological digs. 

2009 Jordan Wolfson String theory was the unlikely subject of Your 

Napoleon, the conceptual US artist’s walking tour of Frieze. Theoretical physicists 

explained the concept to one visitor at a time, and transcripts of the tours formed 

a script that was directed by Wolfson and performed by actors in Regent’s Park. 

2008 Wilfredo Prieto In the Cuban artist’s site-specific installation, Ascended 

Line, the red carpet commonly associated with celebrities snaked around the 

galleries’ booths before joining the top of a flag-pole outside the fair—a comment 

on how the global fascination with fame can displace a sense of national identity. 

2007 Mario Garcia Torres For many years, “Allen Smithee” was a pseudonym 

used by film directors who had lost creative control of their work. In the Mexican 

conceptual artist’s I Am Not a Flopper Or…, the actor Stephen Campbell Moore 

played the fictional Smithee, performing a monologue about his many films. 

2006 Mika Rottenberg The New York-based artist’s work, Chasing Waterfalls: 

the Rise and Fall of the Amazing Seven Sutherland Sisters, Part 1, was inspired by 

siblings who sold hair-growth tonic near Niagara Falls in the late 19th century 

before joining P.T. Barnum’s circus to display their floor-length locks. R.H. 

• The Emdash Award replaced the Cartier Award in 2011 

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The Scream (After Munch) (detail) 

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©2012 The Andy Warhol Foundation for the Visual Arts, Inc. / 

Artists Rights Society (ARS), New York

16 

BOOKS 

CONTEMPORARY ART 

The relationship between 

the commissioner of a 

work of art and the 

artist charged with delivering 

it is, writes Louisa 

Buck, “almost analogous 

to a marriage”. Which goes some way 

to explaining why commissioned 

works are on some occasions so lifeaffirming 

and on others so deeply 

regrettable. This well-conceived and 

eminently practical book is required 

reading for anyone intending to enter 

into this precarious union. 

Commissioning Contemporary 

Art is an introduction to, and a stepby-step 

guide through, the process of 

inviting an artist to fulfil an assignment. 

Buck, who is the contemporary 

art correspondent for The Art 

Newspaper, identifies the challenges 

that this collaborative activity presents. 

The most predictable being that 

artists are defensive of their ideas, 

the patrons of their budgets, and each 

resents the disruption of one by the 

other. This self-styled handbook is 

useful to all parties as a means of 

avoiding the mistakes that can derail 

a project. 

It begins with a potted history of 

commissioning, reminding the reader 

that so many of the paintings and 

sculptures we revere today were 

made to satisfy a rich patron rather 

than an inner necessity. We are 

reminded, too, that while the treatment 

of artists as artisans might now 

seem demeaning, it in no way diminishes 

the quality of a work undertaken 

under contract. One need only 

visit a church in Rome to see that 

many of the greatest works of art 

were custom-made to fulfil a preordained 

purpose, in a specific location, 

under the aegis of a powerful institu- 

tion. This opening chapter also serves 

to deliver the point that the most fundamental 

principle to commissioning 

remains unchanged through the ages: 

pick good artists in whose talents you 

trust, and back them to the hilt. 

Yet while the commissioning 

process is nearly as old as art itself, 

Buck points out that its scope “has 

not so much expanded as exploded”. 

The proliferation of contemporary 

artistic modes such as film, installation 

and performance have expanded 

vastly the range of possibilities open 

to both artist and commissioner, and 

by extension the capacity for misconstruction. 

This book advises on how 

to best ensure that all parties are 

working towards the same ends by 

instituting procedural safeguards, 

both formal and informal, into the 

delivery programme. 

It is clear that working under commission 

can bring extraordinary benefits 

for both the artist and curator. By 

providing “the facilities or funds (or 

both) to develop aspects of an artist’s 

work that would hitherto have been 

impossible to achieve”, commissions 

have enabled the creation of breakthrough 

works by innumerable 

artists, from Rachel Whiteread to 

Jeremy Deller. The process also offers 

collectors and curators a greater personal 

involvement in the creation of a 

work than is allowed by the acquisition 

of pieces created without consideration 

for their ultimate placement, 

one reason that “direct patronage has 

traditionally had a status that extends 

beyond mere acquisition”. 

There is an illicit thrill to be 

gained in intervening in the creative 

process which, according to several 

examples listed here, should in most 

cases be thoroughly suppressed. 

Among the book’s most enlightening 

quotations is a wonderful anecdote in 

which the collector Dennis Scholl 

describes his excitement at working 

on a commission with the British 

Marc Quinn’s commission for 

the Fourth Plinth: Alison 

Lapper Pregnant, 2005 

Commissioning laid bare 

An instruction manual for curators, collectors and artists 

Bertozzi & Casoni, Plate with Flamingo, Polychrome ceramic, 68 × 75 × 75cm 

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“The relationship 

between the artist and 

the commissioner is 

akin to a marriage” 

artist Liam 

Gillick. After the 

Miami-based collector’s 

second enthusiastic 

revision to the proposal, 

suggesting that blue be 

substituted for orange, Scholl 

received an email from the artist. It 

read: “Do you want the fucking piece 

or not?” Since then, Scholl concedes 

ruefully, “I’ve never ‘helped’ again.” 

By providing a near-comprehensive 

survey of the most important 

contemporary art commissions 

undertaken in the past 40 years, the 

book allows the reader to identify elements 

common to best practice. 

While these exemplar are interesting 

and informative, it is frustrating that 

the publication has no place for illustrative 

photographs to which the 

reader can refer. With that proviso, 

Commissioning Contemporary Art 

is pleasingly designed, with quotes 

from influential artists, curators, 

patrons and gallerists scattered across 

the pages, and surprisingly readable 

for a book the primary function of 

which is as instruction manual. 

Curators, collectors and artists will 

also be indebted to the co-author, 

Daniel McClean, a specialist in art 

law, for his mercifully jargon-free 

guidance on such potentially divisive 

(and costly) practicalities as maintenance, 

copyright and contractual 

negotiations. 

The second 

half of this 

book provides a 

thorough appraisal of 

how best to address every 

applied issue that arises in any commission, 

be it for a private foundation 

or a public institution. 

Together, the art critic and legal 

expert successfully demythologise the 

process of commissioning a contemporary 

work of art. The book drums 

in the simple fact there is no substitute 

for a close association between 

the artist and patron, while simultaneously 

providing all the information 

required to ensure that this relationship 

is not disturbed by avoidable 

conflicts. This book should only 

encourage the increasing popularity, 

and ambition, of contemporary art 

commissions. 

Benjamin Eastham 

The author is a freelance writer on the arts 

and the co-founder and editor of the White 

Review. He is also the co-editor of Mythos 

Berlin: a London Perspective, which is due to 

be published today with the support of the 

German Embassy, London 

METAMORPHOSIS 

the transformation of being 

9 ‒12 october 2012 10am ‒ 8pm 

ALL VISUAL ARTS 

the crypt one marylebone london nw1 4qa 

ALL VISUAL ARTS WWW.ALLVISUALARTS.ORG T.+44 (0)20 7843 0410 INFO@ALLVISUALARTS.ORG 

Francis Picabia, La Chienne de Baskerville, 1932–33 (detail), oil on wood. Courtesy Gallerie Haas 

Commissioning Contemporary 

Art: a Handbook for Curators, 

Collectors and Artists 

Louisa Buck and Daniel McClean 

Thames & Hudson, 320pp, £18.95 (hb) 

LOZ FLOWERS

www.pad-fairs.com 

88-Gallery UK 

Adrian Sassoon UK 

Ben Brown Fine Arts UK / Hong Kong 

Blairman & Sons Ltd UK 

Caroline Van Hoek Belgium 

Carpenters Workshop Gallery UK / France 

Castelli Gallery USA 

Chahan Gallery France 

Cristina Grajales USA 

Dansk Møbelkunst Denmark / France 

David Gill UK 

Dickinson UK / USA 

Didier Limited UK 

Elisabetta Cipriani UK 

Entwistle UK / France 

Friedman Benda USA 

Gabrielle Ammann // Gallery Germany 

Galerie Diane de Polignac France 

Galerie Downtown – F. Laffanour France 

Galerie Gmurzynska Switzerland 

OFFICIAL PARTNERS 

Patron of the Prize 

Galerie Hopkins France 

Galerie Jacques de la Béraudière Switzerland 

Galerie Jacques Lacoste France 

Galerie Maria Wettergren France 

Galerie Mermoz France 

Galerie Pascal Lansberg France 

Galerie du Passage France 

Galerie Thomas Germany 

Galerie Vedovi Belgium 

Galerie Willy Huybrechts France 

Galleria Rossella Colombari Italy 

Gallery Fumi UK 

Gallery Seomi Korea 

Hamiltons Gallery UK 

Hazlitt Holland-Hibbert UK 

Hervé Van der Straeten France 

Jean-David Botella France 

Jousse Entreprise France 

Karry Berreby France 

L&M Arts USA 

10-14 

OCTOBER 

2012 

BERKELEY SQ 

LONDON W1 

11AM - 8PM 

MEDIA PARTNERS 

Lefevre Fine Art UK 

Louisa Guinness Gallery UK 

Luxembourg & Dayan UK / USA 

The Mayor Gallery UK 

Mayoral Galeria d’Art Spain 

Michael Hoppen Gallery UK 

Mitchell-Innes & Nash USA 

Modernity Sweden 

Offer Waterman & Co UK 

Olyvia Fine Art UK / Korea 

Paul Kasmin Gallery USA 

Pearl Lam Design China 

Priveekollektie Netherlands 

Richard Nagy Ltd. UK 

Robin Katz Fine Art UK 

Skarstedt Gallery USA 

Stellan Holm Gallery USA 

Tega Italy 

Van de Weghe Fine Art USA 

Waddington Custot Galleries UK

ALL VISUAL ARTS: COURTESY ALL VISUAL ARTS, PHOTO IAN STUART, TIMOTHY TAYLOR: © KIKI SMITH; COURTESY PACE GALLERY, NEW YORK; TIMOTHY TAYLOR GALLERY, LONDON, CARPENTERS: COURTESY CARPENTERS WORKSHOP GALLERY 

CENTRAL 

Austrian Cultural Forum 

28 Rutland Gate, SW7 1PQ 

• Hugo “Puck” Dachinger 

UNTIL 11/1/13 

www.acflondon.org 

�Alan Cristea Gallery 

31 and 34 Cork Street, W1S 3NU 

• Edmund de Waal 

UNTIL 10/11/12 

www.alancristea.com 

�Alison Jacques Gallery 

16-18 Berners Street, W1T 3LN 

• Ian Kiaer 

12/10/12-10/11/12 

www.alisonjacquesgallery.com 

�Annely Juda Fine Art 

23 Dering Street, W1S 1AW 

• Sigrid Holmwood 

09/10/12-21/12/12 

www.annelyjudafineart.co.uk 

�Anthony Reynolds Gallery 

60 Great Marlborough Street, 

W1F 7BG 

• Peter Gallo 

UNTIL 27/10/12 

www.anthonyreynolds.com 

Barbican Art Gallery 

Level 3, Silk Street, Barbican 

Centre, EC2Y 8DS 

• Everything Was Moving: 

Photography from the 60s 

and 70s 

UNTIL 13/01/13 

• Random International: 

Rain Room 

UNTIL 03/03/13 

www.barbican.org.uk/artgallery 

�Ben Brown Fine Arts 

21 Cork Street, W1S 3LZ 

• From De Chirico to Cattelan 

UNTIL 30/11/12 

www.benbrownfinearts.com 

�Ben Janssens Oriental Art 

91c Jermyn Street, SW1Y 6JB 

• Damian Taylor and Japanese 

20th-century Bronze Design 

09/10/12-26/10/12 

www.benjanssens.com 

�Bernard Jacobson Gallery 

6 Cork Street, W1S 3NX 

• Bruce McLean: Shapes of Sculpture 

10/10/12-03/11/12 

www.jacobsongallery.com 

�Blain Southern 

4 Hanover Square, W1 

• Tim Noble and Sue Webster 

10/10/12-24/11/12 

www.blainsouthern.com 

British Library 

96 Euston Road, NW1 2DB 

• On the Road: Jack Kerouac 

UNTIL 27/12/12 

www.bl.uk 

British Museum 

Great Russell Street, WC1B 3DG 

• Shakespeare: Staging the World 

UNTIL 25/11/12 

• Renaissance to Goya 

UNTIL 06/01/13 

www.britishmuseum.org 

�Cabinet Gallery 

20a Northburgh St, EC1V 0EA 

• John Knight: Quiet Quality, 1974 

10/10/12-17/11/12 

Apt 6, 49-59 Old Street, EC1V 9HX 

• On the Correct Handling of 

Contradictions Among the People 

10/10/12-14/10/12 

www.cabinet.uk.com 


CALENDAR 

Frieze week 9-14 October 2012 Galleries showing at London’s fairs this week 

1 2 3 

1 “Metamorphosis: the Transformation of Being”, All Visual Arts, Kate MccGwire, FINE: Fucked-up, Insecure, Neurotic and Emotional, 2012 2 “Kiki Smith: Behold”, Timothy Taylor Gallery, Blue Moon I, 2011 

3 “Atelier Van Lieshout: Blastfurnace”, Carpenters Workshop Gallery 

Exhibitions 

�Carpenters Workshop 

Gallery 

3 Albemarle Street, W1S 4HE 

• Atelier Van Lieshout: Blastfurnace 

UNTIL 21/12/12 

www.cwgdesign.com 

�Carroll/Fletcher Gallery 

56-57 Eastcastle Street, W1W 8EQ 

• John Akomfrah: Hauntologies 

UNTIL 08/11/12 

www.carrollfletcher.com 

�Cass Sculpture 

Foundation 

Exhibition Road, SW7 

• Tony Cragg at Exhibition Road 

UNTIL 25/11/12 

www.sculpture.org.uk 

Courtauld Gallery 

Somerset House, Strand, 

WC2R 0RN 

• Lucian Freud: Etchings 

UNTIL 13/01/13 

• Peter Lely: a Lyrical Vision 

11/10/12-13/01/13 

www.courtauld.ac.uk 

�David Gill Galleries 

2-4 King Street, SW1Y 6QP 

• Gaetano Pesce: Six Tables on Water 

UNTIL 22/12/12 

www.davidgillgalleries.com 

�David Zwirner 

24 Grafton Street, W1S 4EZ 

• Luc Tuymans: Allo 

UNTIL 17/11/12 

www.davidzwirner.com 

Transparencies 

FURTHER 

LISTINGS 

www.theartnewspaper. 

com/whatson 

�Derek Johns 

12 Duke Street, SW1Y 6BN 

• Viceregal Colonial Paintings 

in the New World 

9/10/12-12/10/12 

www.derekjohns.co.uk 

�Elisabetta Cipriani 

23 Heddon Street, W1B 4BQ 

• Cynthia Marcelle 

11/10/12-17/11/12 

www.elisabettacipriani.com 

Embankment Galleries, 

Somerset House 

Strand, WC2R 1LA 

• Images 36: Best of British 

Illustration 

UNTIL 28/10/12 

• Night Paintings by Paul 

Benney 

UNTIL 09/12/12 

www.somersethouse.org.uk 

�Etro 

43 Old Bond Street, W1S 4QT 

• Massimo Listri: Prospettive 

12/10/12-12/11/12 

www.etro.com 

�Faggionato Fine Arts 

49 Albemarle Street, W1S 4JR 

• Serge Spitzer 

UNTIL 23/11/12 

www.faggionato.com 

�Francesca Galloway 

31 Dover Street, W1S 4ND 

• Red Stone 

UNTIL 09/11/12 

www.francescagalloway.com 

�Frith Street Gallery 

17-18 Golden Square, 

W1F 9JJ 

• Thomas Schütte: New Works 

UNTIL 15/11/12 

www.frithstreetgallery.com 

�Gagosian Gallery 

6-24 Britannia Street, 

WC1X 9JD 

• Franz West: Man with a Ball 

09/10/12-10/11/12 

17-19 Davies Street, W1K 3DE 

• Giuseppe Penone: Intersecting 

Gaze 

09/10/12-24/11/12 

www.gagosian.com 

Guildhall Art Gallery 

Guildhall Yard, EC2V 5AE 

• John Bartlett: London Sublime 

12/10/12-20/01/13 

www.guildhall-art-gallery.org.uk 

�Hamiltons 

13 Carlos Place, W1Y 2EU 

• Jedd Novatt: Chaos, Defining 

the Invisible 

UNTIL 03/11/12 

www.hamiltonsgallery.com 

�Haunch of Venison 

103 New Bond Street, W1S 1ST 

• Joana Vasconcelos 

10/10/12-17/11/12 

51 Eastcastle Street, W1W 8EB 

• Justin Mortimer 

12/10/12-24/11/12 

www.haunchofvenison.com 

�Hauser & Wirth 

196a Piccadilly, W1J 9DY 

• Rita Ackermann: 

Fire by Days 

UNTIL 03/11/12 

23 Savile Row, W1S 2ET 

• Thomas Houseago 

UNTIL 27/10/12 

www.hauserwirth.com 

�Helly Nahmad Gallery 

2 Cork Street, W1S 3LB 

• Modern Masters 

UNTIL 02/11/12 

www.hellynahmad.com 

Richard Serra Recent Drawings 

October 26 – December 15 

Catalogue available 

KEY 

Listings are arranged 

alphabetically by area 

� Commercial gallery 

Institute of Contemporary 

Arts 

12 Carlton House Terrace, 

The Mall, SW1Y 5AH 

• Bjarne Melgaard 

UNTIL 18/11/12 

• Hannah Sawtell: Osculator 

09/10/12-18/11/12 

• Trojan: Works on Paper 

09/10/12-18/11/12 

www.ica.org.uk 

�James Hyman Fine Art 

16 Savile Row, W1S 3PL 

• Baldus and the Modern Landscape 

15/10/12-09/11/12 

www.jameshymangallery.com 

�Jean-Luc Baroni 

7-8 Mason’s Yard, Duke Street, 

St James’s, SW1Y 6BU 

• Matteo Baroni 

UNTIL 19/10/12 

www.jlbaroni.com 

�Karsten Schubert 

5-8 Lower John Street, 

Golden Square, W1F 9DR 

• Mel Bochner 

UNTIL 2/11/12 

www.karstenschubert.com 

�Katrin Bellinger at 

Colnaghi 

15 Old Bond Street, W1S 4AX 

• Érik Desmazières: Cabinet 

of Rarities 

UNTIL 26/10/12 

www.bellinger-art.com 

�Laura Bartlett Gallery 

10 Northington Street, 

WC1N 2JG 

• Lydia Gifford: the Neighbour 

13/10/12-17/11/12 

www.laurabartlettgallery.com 

CONTINUED ON PAGE 20 

CRAIG F. S TARR GALLERY 

5 East 73rd Street New York 212.570.1739 Mon-Sat 11- 5:30 www.starr-art.com

20 

CALENDAR 

Frieze week 9-14 October 2012 

�Lisson Gallery 

52-54 Bell Street, NW1 5DA 

• Anish Kapoor 

10/10/12-10/11/12 

www.lissongallery.com 

�Louisa Guinness Gallery 

35 Onslow Gardens, SW7 3PY 

• Sophia Vari 

UNTIL 04/11/12 

www.louisaguinnessgallery.com 

�Luxembourg and Dayan 

2 Savile Row, London W1S 3PA 

• Rob Pruitt’s Autograph 

Collection 

11/10/12-15/12/12 

www.luxembourgdayan.com 

�Marlborough Contemporary 

6 Albemarle Street, W1S 4BY 

• Angela Ferreira: Stone Free 

12/10/12-17/11/12 

www.marlboroughcontemporary.com 

�Marlborough Fine Art 

6 Albemarle Street, W1S 4BY 

• Frank Auerbach: Next Door 

12/10/12-10/11/12 

www.marlboroughfineart.com 

�Max Wigram Gallery 

106 New Bond Street, W1S 1DN 

• FOS: Watchmaker 

10/10/12-15/12/12 

www.maxwigram.com 

�Mayor Gallery 

22a Cork Street, W1S 3NA 

• Turi Simeti: Pianissimo 

UNTIL 24/10/12 

www.mayorgallery.com 

�Michael Hoppen Gallery 

3 Jubilee Place, SW3 3TD 

• Daido Moriyama: Tights and Lips 

UNTIL 20/10/12 

www.michaelhoppengallery.com 

�Michael Werner Gallery 

22 Upper Brook Street, W1K 7PZ 

• Peter Doig: New Paintings 

UNTIL 22/12/12 

www.michaelwerner.com 

�MOT International 

First Floor, 72 New Bond Street, 

W1S 1RR 

• Laure Prouvost 

10/10/12-10/11/12 

www.motinternational.org 

Museum of London 

150 London Wall, EC2Y 5HN 

• At Home with the Queen 

UNTIL 28/10/12 

www.museumoflondon.org.uk 

National Gallery 

Trafalgar Square, WC2 5DN 

• A Masterpiece for the Nation 

UNTIL 11/11/12 

• Richard Hamilton: the 

Late Works 

10/10/12-13/01/13 

www.nationalgallery.org.uk 

National Portrait Gallery 

St Martin’s Place, WC2H 0HE 

• Marilyn Monroe: a British 

Love Affair 

UNTIL 24/03/13 

• The Queen: Art and Image 

UNTIL 21/10/12 

• Thomas Struth 

UNTIL 20/1/13 

www.npg.org.uk 

�Olyvia Fine Art 

17 Ryder Street, SW1Y 6PY 

• The Clot Collection 

UNTIL 26/10/12 

www.olyviafineart.com 

�Osborne Samuel 

23A Bruton Street, W1J 6QG 

• Mark Humphrey 

10/10/12-27/10/12 

www.osbornesamuel.com 

�Pace London 

6 Burlington Gardens, W1S 3ET 

• Mark Rothko and Hiroshi 

Sugimoto: Dark Paintings 

and Seascapes 

UNTIL 17/11/12 

6-10 Lexington Street, W1F 0LB 

• Adam Pendleton: I’ll Be Your 

UNTIL 27/10/12 

www.pacegallerylondon.com 

Photographers’ Gallery 

16-18 Ramillies Street, WC2 7HY 

• Shoot! Existential Photography 

12/10/12-06/01/13 

• Tom Wood: Men and Women 

12/10/12-06/01/13 

www.thephotographersgallery.org.uk 

�Pilar Corrias 

54 Eastcastle Street, W1W 8EF 

• Koo Jeong: a Navigation 

Without Numbers 

10/10/12-10/11/12 

www.pilarcorrias.com 


1 2 3 

�Regina Gallery 

22 Eastcastle Street, W1W 8DE 

• Deep into Russia 

9/10/12-17/11/12 

www.reginagallery.com 

�Richard Nagy 

22 Old Bond Street, W1S 4PY 

• The Benedict Silverman Collection 

UNTIL 24/11/12 

www.richardnagy.com 

FURTHER 

LISTINGS 

www.theartnewspaper. 

com/whatson 

�Robilant + Voena 

38 Dover Street, W1S 4NL 

• White: Marbles and Paintings 

from Antiquity to Now 

UNTIL 14/12/12 

www.robilantvoena.com 

Royal Academy of Arts 

Burlington House, W1J 0BD 

• Bronze 

UNTIL 09/12/12 

• RA Now 

11/10/12-11/11/12 

www.royalacademy.org.uk 

Saatchi Gallery 

Duke of York’s HQ, King’s Road, 

SW3 4RY 

• Out of Focus: Photography 

UNTIL 05/11/12 

www.saatchi-gallery.co.uk 

Victoria House, Bloomsbury 

Square, WC1B 4DA 

• New Sensations and the Future 

Can Wait 

09/10/12-14/10/12 

www.thefuturecanwait.com 

�Sadie Coles 

4 New Burlington Place, W1S 2HS 

• Laura Owens: Pavement 

Karaoke/Alphabet 

09/10/12-17/11/12 

• Sarah Lucas and Rohan 

Wealleans: White Hole 

UNTIL 02/13 

69 South Audley Street, W1K 2QZ 

• Raymond Pettibon 

UNTIL 17/11/12 

9 Balfour Mews, W1K 2BG 

• Darren Bader 

UNTIL 20/10/12 

www.sadiecoles.com 

�Sam Fogg 

15D Clifford Street, W1S 4SZ 

• Red Stone: Indian Stone 

Carving from Sultanate and 

Mughal India 

UNTIL 09/11/12 

www.samfogg.com 

�Selma Feriani Gallery 

23 Maddox Street, W1S 2QN 

• Maha Malluh: Just Des(s)erts 

UNTIL 11/11/12 

www.selmaferiani.com 

Serpentine Gallery 

Kensington Gardens, W2 3XA 

• Thomas Schütte: Faces and 

Figures 

UNTIL 18/11/12 

• Serpentine Gallery Pavilion: 

Herzog and de Meuron and 

Ai Weiwei 

UNTIL 14/10/12 

www.serpentinegallery.org 

�Simon Lee Gallery 

12 Berkeley Street, W1 8DT 

• Heimo Zobernig 

09/10/12-24/11/12 

Q-Park, 3-9 Old Burlington 

Street, W1S 3AF 

• Toby Ziegler: the Cripples 

10/10/12-20/10/12 

www.simonleegallery.com 

�Sprüth Magers 

7A Grafton Street, W1S 4EJ 

• Peter Fischli/David Weiss: Walls, 

Corners, Tubes 

10/10/12-10/11/12 

www.spruethmagers.com 

�Stair Sainty Gallery 

38 Dover Street, W1S 4NL 

• Federico Beltràn-Masses: 

Blue Nights and Libertine 

Legends 

UNTIL 16/11/12 

www.europeanpaintings.com 

�Stephen Friedman Gallery 

25-28 Old Burlington Street, 

W1S 3AN 

• Tom Friedman 

09/10/12-10/11/12 

www.stephenfriedman.com 

�Stuart Shave/Modern Art 

23/25 Eastcastle Street, 

W1W 8DF 

• David Noonan 

10/10/12-10/11/12 

www.modernart.net 

Tate Britain 

Millbank, SW1P 4RG 

• Art Now: Jess Flood-Paddock 

UNTIL 06/01/13 

• Howard Hodgkin 

UNTIL 02/12/12 

• Pre-Raphaelites: Victorian 

Avant-garde 

UNTIL 13/01/13 

• Turner Prize 2012 

UNTIL 06/01/13 

www.tate.org.uk/britain 

�Thomas Dane 

11 Duke Street, SW1Y 6BN 

• Lari Pittman: Thought-Forms 

09/10/12-17/11/12 

www.thomasdane.com 

�Timothy Taylor Gallery 

15 Carlos Place, W1K 2EX 

• Kiki Smith: Behold 

11/10/12-17/11/12 

www.timothytaylorgallery.com 

Victoria and Albert Museum 

Cromwell Road, South 

Kensington, SW7 2RL 

• Arthur Bispo do Rosário 

UNTIL 28/10/12 

• Ballgowns: British Glamour 

Since 1950 

UNTIL 06/01/13 

www.vam.ac.uk 

�Waddington Custot 

Galleries 

11 Cork Street, W1S 3LT 

• Robert Indiana Sculptures 

UNTIL 10/11/12 

www.waddingtoncustot.com 

Wallace Collection 

Hertford House, Manchester 

Square, W1M 6BN 

• Making the Renaissance 

Sword 

UNTIL 31/03/13 

www.wallacecollection.org 

Wellcome Collection 

183 Euston Road, 

NW1 2BE 

• Superhuman 

UNTIL 16/10/12 

www.wellcome.ac.uk 

�White Cube, Mason’s Yard 

25-26 Mason’s Yard, SW1Y 6BU 

• Magnus Plessen: Riding 

the Image 

UNTIL 10/11/12 

www.whitecube.com 

KEY 




1 “Thomas Schütte: Faces and Figures”, Serpentine Gallery, Memorial for Unknown Artist, 2011 2 “Marilyn Monroe: a British Love Affair”, National Portrait Gallery, Jack Cardiff, Marilyn Monroe, 1956 

3 “Goshka Macuga”, Kate MacGarry, I’m a Rebel, 2011 (detail) 

CONTINUED FROM PAGE 19 

Auctions 

Phillips de Pury 

Howick Place, SW1P 1BB 

• Contemporary art evening 

auction 

WEDNESDAY 10 OCTOBER, 7PM 

• Contemporary art 

day auction 

THURSDAY 11 OCTOBER, 2PM 

www.phillipsdepury.com 

Christie’s (King Street) 

8 King Street, SW1Y 6QT 

• Post-war and contemporary 

Art… 

• followed by: the Italian Sale 


• Post-war and contemporary 

day auction 

FRIDAY 12 OCTOBER, 12PM 

www.christies.com 

Bonhams 

101 New Bond Street,W1S 1SR 

• Contemporary art and design 


www.bonhams.com 

Sotheby’s 

34-35 Bond Street, W1A 2AA 

• 20th-century Italian Art 


• Contemporary art evening 

auction 


• Contemporary art day auction 

SATURDAY 13 OCTOBER, 11AM & 2PM 

www.sothebys.com 

LONDON 

EAST 

MACGARRY KATE 

�Ancient & Modern 

AND 

201 Whitecross Street, 

ARTIST 

EC1Y 8QP 

THE OF 

• Brian Chalkley: Female Trouble 

13/10/12-10/11/12 

COURTESY 

www.ancientandmodern.org 

MACUGA: 

�Arcade 

CARDIFF. 

87 Lever Street, EC1V 3RA 

JACK © 

• Can Altay: Distributed 

UNTIL 03/11/12 

MONROE: 

www.arcadefinearts.com 

DEBLONDE. 

Bloomberg Space 

50 Finsbury Square, EC2A 1HD 

GAUTIER 

• Hannah Sawtell: Vendor 

2012 © 

UNTIL 12/01/13 

www.bloombergspace.com SCHUTTE:

GILLICK: IMAGE COURTESY OF MAUREEN PALEY 

“Collection Sandretto Re Rebaudengo: Maurizio Cattelan”, Whitechapel Gallery, Bidibidobidiboo, 

1996 (detail) 

�Campoli Presti 

223 Cambridge Heath Road, E2 0EL 

• Blake Rayne: Wild Country 

13/10/12-16/12/12 

www.campolipresti.com 

�Carlos/Ishikawa 

Unit 4, 88 Mile End Road, E1 4UN 

• Net Narrative 

UNTIL 20/10/12 

www.carlosishikawa.com 

�Carl Freedman Gallery 

29 Charlotte Road, EC2A 3PB 

• David Brian Smith 

UNTIL 03/11/12 

www.carlfreedman.com 

Chisenhale Gallery 

64 Chisenhale Road, E3 5QZ 

• Ed Atkins: Us Dead Talk Love 

UNTIL 11/11/12 

www.chisenhale.org.uk 

�Galerie Daniel Blau 

51 Hoxton Square, N1 6PB 

• David Bailey: Papua Polaroids 

UNTIL 03/11/12 

www.danielblau.com 

�Herald Street 

2 Herald Street, E2 6JT 

• Klaus Weber 

UNTIL 04/11/12 

www.heraldst.com 

�Hollybush Gardens 

Unit 2, BJ House, 10-14 Hollybush 

Gardens, E2 9QP 

• Falke Pisano 

UNTIL 21/10/12 

www.hollybushgardens.co.uk 

Institute of International 

Visual Arts 

Rivington Place, off Rivington 

Street, EC2A 3BA 

• Kimathi Donkor: Queens 

of the Undead 

UNTIL 24/11/12 

www.iniva.org 

�Kate MacGarry 

27 Old Nichol Street, E2 7HR 

• Goshka Macuga 

UNTIL 27/10/12 

www.katemacgarry.com 

�Limoncello 

15a Cremer Street, E2 8HD 

• Jesse Wine 

UNTIL 17/11/12 

www.limoncellogallery.co.uk 

�Matt’s Gallery 

42-44 Copperfield Road, E3 4RR 

• Revolver Part II: Richard Grayson 

and Robin Klassnik 

UNTIL 21/10/12 

• Roy Voss: Cast 

12/10/12-14/10/12 

www.mattsgallery.org 

�Maureen Paley 

21 Herald Street, E2 6JT 

• Liam Gillick: Margin Time 

UNTIL 18/11/12 

www.maureenpaley.com 

Parasol Unit 

14 Wharf Road, N1 7RW 

• Bharti Kher 

UNTIL 11/11/12 

www.parasol-unit.org 

�Seventeen 

17 Kingsland Road, E2 8AA 

• Susan Collis: That Way and This 

UNTIL 10/11/12 

• Sound Spill: Haroon Mirza, Thom 

O’Nions and Richard Sides 

UNTIL 10/11/12 

www.seventeengallery.com 

�The Approach 

47 Approach Road, E2 9LY 

• Evan Holloway 

UNTIL 11/11/12 

www.theapproach.co.uk 

�Victoria Miro Gallery 

16 Wharf Road, N1 7RW 

• Elmgreen & Dragset: Harvest 

UNTIL 10/11/12 

www.victoria-miro.com 

�Vilma Gold 

6 Minerva Street, E2 9EH 

• Karthik Pandian 

UNTIL 27/10/12 

www.vilmagold.com 

Wapping Project 

Wapping Hydraulic Power 

Station, Wapping Wall, E1W 3ST 

• Mitra Tabrizian: 

Another Country 

UNTIL 02/11/12 

• Kris Ruhns: Landing on Earth 

UNTIL 14/11/12 

www.thewappingproject.com 

�White Cube 

48 Hoxton Square, N1 6PB 

• Runa Islam 

UNTIL 03/11/12 


Vienna . Munich . London . Zurich . Singapore 


Whitechapel Gallery 

77-82 Whitechapel High Street, 

E1 7QX 

• Collection Sandretto Re 

Rebaudengo: Maurizio Cattelan 

UNTIL 02/12/12 

• Matt Stokes 

UNTIL 2/12/2012 

• Mel Bochner 

UNTIL 20/12/12 

• The Bloomberg Commission: 

Giuseppe Penone 

UNTIL 01/09/2013 

www.whitechapel.org 

�Wilkinson Gallery 

50-58 Vyner Street, E2 9DQ 

• Mark Alexander 

12/10/12-11/11/12 

• Sung Hwan Kim 

12/10/12-11/11/12 

www.wilkinsongallery.com 

NORTH 

�All Visual Arts 

2 Omega Place, N1 9DR 

• Bertozzi and Casoni: Regeneration 

13/10/12-10/11/12 

The Crypt, 1 Marylebone, NW1 4AQ 

• Metamorphosis 

09/10/12-14/10/12 

www.allvisualarts.org 

Ben Uri Gallery: The London 

Jewish Museum of Art 

108a Boundary Road, NW8 0RH 

• Chaim Soutine and His 

Contemporaries 

UNTIL 28/10/12 

www.benuri.org.uk 

Camden Arts Centre 

Arkwright Road, NW3 6DG 

• Eric Bainbridge: Steel Sculptures 

UNTIL 02/12/12 

• Simon Martin: UR Feeling 

UNTIL 02/12/12 

www.camdenartscentre.org 

“Peter Lely”, Courtauld, Two 

Children Singing, around 1650 

David Roberts Art 

Foundation 

Symes Mews, NW1 7JE 

• A House of Leaves 

UNTIL 10/11/12 

www.davidrobertsartfoundation.com 

Estorick Collection 

39a Canonbury Square, N1 2AN• 

Bruno Munari: My Futurist Past 

UNTIL 23/12/12 

www.estorickcollection.com 

Freud Museum 

20 Maresfield Gardens, NW3 5SX 

• Saying It 

UNTIL 18/11/12 

www.freud.org.uk 

Jewish Museum 

Raymond Burton House, 129-131 

Albert Street, NW1 7NB 

• Adi Nes: the Village 

11/10/12-03/02/13 

www.jewishmuseum.org.uk 

Zabludowicz Collection 

176 Prince of Wales Road, 

NW5 3PT 

•Zabludowicz Collection Invites: 

Richard Sides 

UNTIL 21/10/12 

• Matthew Darbyshire: T Rooms 

UNTIL 02/12/12 

www.zabludowiczcollection.com 

SOUTH 

Alma Enterprises Gallery 

38-40 Glasshill Street, SE1 0QR 

• Neil Hedger: Scary Monsters 

UNTIL 04/11/12 

www.almaenterprises.com 

Dulwich Picture Gallery 

Gallery Road, SE21 7AD 

• Cotman in Normandy 

10/10/12-13/01/13 

www.dulwichpicturegallery.org.uk 

�Corvi-Mora 

1a Kempsford Road, SE11 4NU 

• Pierpaolo Campanini 

UNTIL 20/10/12 

www.corvi-mora.com 

�Greengrassi 

1a Kempsford Road, SE11 4NU 

• David Musgrave 

UNTIL 20/10/12 

www.greengrassi.com 

Hayward Gallery 

Southbank Centre, Belvedere 

Road, SE1 8XX 

• Art of Change: New Directions 

from China 

UNTIL 09/12/12 

• Someday All the Adults Will Die: 

Punk Graphics 1971-84 

UNTIL 04/11/12 

www.hayward.org.uk 

Imperial War Museum 

Lambeth Road, SE1 6HZ 

• Cecil Beaton: Theatre of War 

UNTIL 01/01/13 

�Jerwood Space 

171 Union Street, SE1 OLN 

• Jerwood Drawing Price 2012 

UNTIL 28/10/12 

• Johann Arens 

UNTIL 15/12/12 

www.jerwoodspace.co.uk 

SPECIALISED SP E C I A L ISED 

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Fairs 

Frieze Art Fair 

Regent’s Park, NW1 

11-13 OCTOBER, 12PM-7PM 

14 OCTOBER, 12PM-6PM 

www.friezeartfair.com 

Frieze Masters 

Regent’s Park, NW1 



www.friezemasters.com 

Moniker 

54 Holywell Lane, EC2A 3PQ 


12-13 OCTOBER, 11AM-7PM 

14 OCTOBER, 11AM-5PM 

www.monikerartfair.com 

Moving Image 

Oxo Tower Wharf, Bargehouse 

Street, South Bank, SE1 9PH 



www.moving-image.info 

Multiplied 

Christie’s, 85 Old Brompton 

Road, SW7 3LD 

12 OCTOBER, 9AM-7.30PM 

13 OCTOBER, 11AM-7.30PM 



www.multipliedartfair.com 

Pavilion of Art & Design 

London 

Berkeley Square, W1 


www.pad-fairs.com 

Sunday 

35 Marylebone Road, NW1 5LS 



www.sunday-fair.com 

South London Gallery 

65 Peckham Road, SE5 8UH 

• Rashid Johnson: Shelter 

UNTIL 25/11/12 

• Drip, Drape, Draft 

UNTIL 25/11/12 

www.southlondongallery.org 

Tate Modern 

Bankside Power Station, 

25 Sumner Street, SE1 9TG 

• Edvard Munch: the Modern Eye 

UNTIL 14/10/12 

• Aldo Tambellini: Retracing Black 

at The Tanks 

UNTIL 14/10/12 

• The Unilever Series: 

Tino Sehgal 

UNTIL 28/10/12 

• William Klein and Daido 

Moriyama 

10/10/12-20/01/13 

www.tate.org.uk/modern 

�White Cube 

144-152 Bermondsey Street, 

SE1 3TQ 

• Theaster Gates: My Labour 

Is My Protest 

UNTIL 11/11/12 


• Listings edited by Belinda Seppings 

with additional research by 

Ermanno Rivetti 

FFor 

or 

inquiries 

please pleas 

e contact conta 

a ct 

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Schwarz Schh 

w warz 

at: 

Tel. 

+44 + 4 4 207 2 207 

816 8 1 16 

5979 

. Fax 

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207 

816 81 

6 5900 590 

9 0 

or Philip 

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achat 

aat: 

t: 

TTel. 

el. 

+ +43 43 

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008 

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0 . 

FFax 

ax x + +43 43 

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art@bartaart.com art@bartaart. 

com 

. www.bartaart.com 

www. 

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com 

In October’s 

main paper 

Our current edition has 120 

pages packed with the latest art 

world news, events and business 

reporting, plus high-profile 

interviews (and a 

smattering of 

gossip) 

News 

Steve 

McQueen 

(right) gets a 

catalogue raisonné 

Museums 

Two huge state-run museums 

open in Shanghai, the Michael 

Heizer effect on Los Angeles 

Exhibitions 

Photography gets institutional 

stamp of approval as an art form, 

Vermeer’s renaissance 

Conservation 

Klimt’s studio opens its doors, 

De Sade’s gambling den restored 

Comment & Analysis 

Why Berlin’s Old Masters should 

move to the Museum Island 

Features 

Documentary photographers 

and artists celebrate the drama 

of the race to the White House 

Books & Media 

How Hitler destroyed Berlin’s 

art world, preview of the 

London Film Festival 

The Art Newspaper 2 

Special focus 

When ancient meets modern: 

the rise of crossover collecting 

Art Market 

LA gallery Blum & Poe expands in 

Japan, Christie’s looks for buyers 

in Baku, why LA is tricky for commercial 

galleries, the apparent 

boom in using art to raise a loan 

Get your free copy 

from stands M1 

(Frieze) and M14 

(Frieze Masters) 

On our website 

Breaking news, reports from 

Frieze, worldwide shows and 

more than 20 years of The Art 

Newspaper in our digital archive 

www.theartnewspaper.com 

On Twitter 

Gareth Harris and Charlotte 

Burns will be tweeting from the 

fair. Sign up and follow us 

@TheArtNewspaper 

Coming in November 

Special focus Russia’s leading 

collectors Museum news The 

opening of the Broad, Michigan 

Previews Including Tate 

Modern’s “A Bigger Splash” 

What sold at London’s Italian 

and contemporary sales and at 

Fiac, Paris 

Second Secc 

on d to 

none n no 

n ne 

insuring insur 

ri 

n ng 

art artt

22 


DIARY 

A message to Putin 

Last year, the top spot in Art Review 

magazine’s “Power 100” was held by 

Ai Weiwei, and, although this year’s 

parade of art-world movers and shakers 

will not be announced until 18 

October, we can reveal that political 

activism has yet again been recognised 

with the inclusion of the Russian feminist 

punk band Pussy Riot in the lineup. 

According to the editor of Art 

Review, Mark Rappolt, the anti-Putin 

collective—three of whom were sentenced 

to two years’ imprisonment in 

August on charges of hooliganism and 

religious hatred—are positioned 

“somewhere in the middle” of the list. 

“They have made a powerful contribution 

to the issues of free speech and 

art, and this persuaded the panel to 

include them, even though they are 

not strictly speaking artists,” he 

reveals. Ai’s selection for the 2011 list 

was greeted by a furious outburst 

from the Chinese government, which 

condemned the magazine’s “political 

bias and perspective”. Let’s see if Pussy 

Riot’s presence in the “Power” pantheon 

provokes any comment from 

President Putin, who has stated that 

the imprisoned trio, who are appealing, 

“got what they asked for”. 

Artoon by Pablo Helguera 

Memory Marathon 

12, 13 , 14 October 

‘ At culture’s bleeding 

edge…non-stop marathon 

of art, talks, music and 

performance…’ 

The Guardian 

Tickets 

£25/£20 (two day), £15/£10 (one day) 

Ticketweb 08444 711 000 

www.ticketweb.co.uk 


Why the chef saw red 

Calling all Titian-haired art titans: 

there are still a few places left at the 

26-strong Ginger Curators’ Dinner, 

cooked and presided over by Margot 

Henderson, the art world’s favourite 

flame-haired chef, who is also doing 

the catering for Frieze London’s VIP 

room. The invitation is part of a foodthemed 

Frieze Projects programme 

called Colosseum of the Consumed, hosted 

by Grizedale Arts/Yangjiang Group. 

The dinner is open to “any ginger/redhaired 

curators, assistant curators, editorial 

assistants or general art types”, 

and takes place at the groups’ stand 

(FL, P5, Friday, 5pm-8pm). Scoring high 

on the Ginge-o-meter is the Tate, 

which has already bagged three places 

with a red-headed triumvirate consisting 

of Nick Cullinan from Tate 

Modern, Martin Clark from Tate St 

Ives and Tate Liverpool’s Gavin 

Delahunty. Carrot soup, anyone? 

It’s the way you tell it 

Visitors to These associations, Tino 

Sehgal’s commission for Tate 

Modern’s Turbine Hall, may spot a 

surprisingly familiar face this week 

among the 50 volunteers who have 

been choreographed by the artist to 

engage members of the public in various 

encounters. For among those 

intermittently jogging, chanting and 

regaling strangers with often highly 

personal stories is the writer, curator 

and design historian Emily King, who 

also happens to be married to the codirector 

of Frieze, Matthew Slotover. 

Modern life is rubbish 

Prolific punkish artists Tim Noble and Sue Webster are all over town this week. 

Last night, they inaugurated Blain Southern’s new Caruso St John-designed 

space in Hanover Square with a characteristically gritty series of trademark 

works. The show features self-portraits, which obliquely chart the vicissitudes of 

their relationship and are created by the shadows cast by artfully arranged piles 

of rubbish. These include the teetering two-storey structure fashioned from 

stacked debris entitled My Beautiful Mistake, 2012, of which the artists boast: 

“We made it all ourselves and it cost nothing!” A few streets away, in All Visual 

Arts’ hastily relocated “Metamorphosis” show (now in the crypt of 1 Marylebone 

Road), their joint image emerges out of a macabre tangle of dead cats and birds, 

while on Friday, they will perform their “Nihilistic Optimistic” album at the 

Vinyl Factory in Chelsea against a backdrop of specially commissioned portraits 

by Dennis Morris, the immortaliser of the likes of David Bowie, Bob Marley and 

the Sex Pistols. Just say N[ihilistic]O[ptimistic]… 

“I don’t mug people; I talk to those 

who want to talk,” King says. “Most of 

my life I have to initiate things, but 

here, it’s like a job—you go in and 

you do what you are told, but there’s 

also room for skill, craft and the honing 

of my storytelling. It’s got a lot in 

common with being a corporate wife.” 

To boldly go 

A wilder and more hedonistic hinterland 

was revisited by many artworld 

players, including the 

painter Peter Doig and the 

film-maker John 

Maybury, who reunited 

for a show at the 

Institute of 

Contemporary Arts 

devoted to the work of 

Trojan, the artist, 

designer and 1980s clubscene 

icon who died of a 

drug overdose in the late 

1980s at the age of 21. Arranged 

against a backdrop of the artist’s 

friend Leigh Bowery’s “Star Trek” 

wallpaper—found and reproduced by 

Gregor Muir, the director of the ICA, 

who also happens to be a fan of the 

artist—Trojan’s many prescient 

pieces, such as his pre-Sarah Lucas 

fried-egg-and-underpants designs for 

Friday 12 October 

Tarek Atoui performs La Suite with Uriel Barthélémi, 

John Butcher, Mira Calix, Susie Ibarra, Hassan Khan, KK Null 

(Kazuyuki Kishino), Lukas Ligeti, Robert Lowe, Ikue Mori, 

Sara Parkins, Zeena Parkins, Ghassan Sahhab, Sam Shalabi 

Saturday 13 – Sunday 14 October 

Etel Adnan, Ida Applebroog, Siah Armajani, Ed Atkins, Tarek Atoui, 

Lutz Bacher, John Berger, Dara Birnbaum, Tim Bliss, Geta Bratescu, 

Gavin Bryars, Daniel Buren, Evan Calder Williams, Olivier Castel, 

Mariana Castillo Deball, Ed Cooke, Dennis Cooper, Winnie Cott, 

Douglas Coupland, Michael Craig-Martin, Alison Crawshaw, Adam 

Curtis, Pierre de Meuron, Brian Dillon, Marcus du Sautoy, Brian Eno, 

Joshua Foer, Alberto Garutti, Gilbert & George, Liam Gillick, John 

Giorno, Amos Gitai, David Goldblatt, Dominique Gonzalez-Foerster, 

Douglas Gordon, Alice Herz-Sommer filmed by Ron Arad, 

Jacques Herzog, Richard Hollis, John Hull, Ragnar Kjartansson, 

Isabel Lewis, David Lynch, Fumihiko Maki, Viktor Mayer-Schönberger, 

China Miéville, Jeremy Millar, Adrian Piper, Alice Rawsthorn, 

James Richards, Israel Rosenfield, Jacques Roubaud, Dimitar 

Sasselov, Donald Sassoon, Ella Shohat, Cally Spooner, Luc Steels, 

Michael Stipe, Jan Szymczuk, Jean-Yves Tadié, Timothy Taylor, 

Sissel Tolaas, Gisèle Vienne, Marina Warner, Ai Weiwei, Eyal 

Weizman, Richard Wentworth, Jay Winter and Lynette Yiadom-Boakye 

Michael Clark’s early dance pieces and 

some prophetically Hirstean anatomical 

collages, were a stark and sobering 

reminder of what might have been… 

A bit of a shower 

An artist’s material needs can be taxing 

for galleries, but Josh Kline takes 

the cake. Oliver Newton, the coowner 

of the New York gallery 47 

Canal (FL, R6), spent yesterday morning 

running to four different Boots 

chemists to buy 40 bottles of 

Lynx men’s shower gel. 

Some of the gel is being 

used to fill bottles in the 

shape of Norman 

Foster’s “gherkin” skyscraper 

in London (for a 

piece entitled Why go 

into architecture when you 

can become a derivatives 

trader?), but others, displayed 

on shelves, resembling 

a wall in a Duane Reade pharmacy 

in New York, are altered with special 

labels. Kline’s imagined variety 

“Aspiration” claims to contain euros 

and the drug Adderall. “Trafficking” 

and “Persian Petrol” are supposed to 

contain Russian roubles and US dollars 

respectively. Speed and money: 

perfect for an art fair. 

Memory Marathon supported by 

The Annenberg Foundation 

With the generous support of the 

Memory Circle: Richard and Susan Hayden 

With kind assistance from DLD and The Kensington Hotel 

Funded by The Space 

Media Partners: The Independent, AnOther 

Tarek Atoui La Suite commissioned by 

Sharjah Art Foundation 

With the generous support of Badr Jafar 

Also showing at the Serpentine Gallery 

Thomas Schutte: Faces & Figures 

Serpentine Gallery Pavilion 2012 

by Herzog & de Meuron and Ai Weiwei 

Serpentine Gallery 

Kensington Gardens 

London W2 3XA 

T +44 (0)20 7402 6075 

information@serpentinegallery.org 


"I haven’t seen this 

many crucifixes since 

Catholic grade school" 

ADAM SHEFFER OF CHEIM & READ 

(C9) AT FRIEZE MASTERS 

FRIEZE ART FAIR DAILY EDITION 

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Ermanno Rivetti 

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BOOK LAUNCH: COURTESY OF PHILLIPS DE PURY & COMPANY/IMAGES IAN BELL

The Absolut Art Bureau is pleased 

to announce a new format for the 

Award ceremony: 

STOCKHOLM, SEPTEMBER 2013 

— 

Two categories: 

ART WORK & ART WRITING 

— 

Cash prize for winning artists and art writers: €20,000 

Funding toward the realization of a new dream project: 

up to €100,000 (art work) and €35,000 (art writing) 

Hybrid two-step selection process: five-member jury 

evaluating nominations by fifteen international experts 

2013 Jury President: Carolyn Christov-Bakargiev 

Artistic Director, dOCUMENTA(13) 

— 

www.absolutartbureau.com/absolut-art-award 

Absolut Art Bureau is a unit of The Absolut Company AB

Issue 2 - The Art Newspaper

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