Issue 2 - The Art Newspaper
Issue 2 - The Art Newspaper
Issue 2 - The Art Newspaper
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MILIBAND: PHOTO: DAVID OWENS<br />
FIND US AT<br />
FRIEZE<br />
London: stand M1<br />
Masters: stand M14<br />
UMBERTO ALLEMANDI & CO. PUBLISHING LONDON NEW YORK TURIN MOSCOW PARIS ATHENS<br />
FRIEZE ART FAIR WEDNESDAY 10 OCTOBER 2012<br />
Galleries stake their claims<br />
Competition for the top artists is hotting up as the art market goes global and galleries’ empires expand<br />
REPRESENTATION<br />
London. <strong>The</strong> rules of artists’ representation<br />
are being rewritten as the market<br />
expands. As dealers open more spaces<br />
abroad, artists have to decide who to<br />
show with, and where. Anselm Kiefer<br />
has created new works for both Larry<br />
Gagosian (FL, D7; FM, C5) and Thaddaeus<br />
Ropac (FL, F4) to launch their<br />
vast new venues in Paris next week.<br />
<strong>The</strong> New York gallerist Michael Werner<br />
(FL, F8) opened his Mayfair space last<br />
month with a show of paintings by<br />
Peter Doig, who until this point was<br />
represented in Britain only by Victoria<br />
Miro (FL, D2; FM, C10). It remains to<br />
be seen how artists’ territories will be<br />
divided in emerging cities such as<br />
Hong Kong—fresh ground for most<br />
Western dealers.<br />
Traditionally, artists worked on the<br />
primary market with dealers in different<br />
regions, who respected each other’s<br />
turf. Unspoken codes meant that American<br />
dealers did not encroach on the<br />
territory of their European counterparts,<br />
and vice versa. But “the art world is<br />
changing. It seems that anything goes,<br />
and there’s no such thing as exclusivity<br />
any more,” says Victoria Miro, who<br />
adds that Peter Doig is “only with<br />
Michael Werner, for now”. She is philosophical,<br />
however. “You can just do<br />
your best for the artist; you can’t be<br />
rigid. Maybe it’s a good thing, as long<br />
as everyone is bettering the artist’s career,”<br />
she says.<br />
Previously, “local galleries showed<br />
local artists, but it doesn’t work like<br />
that any more. It’s become really corporate,”<br />
says Pilar Corrias (FL, H5). “Galleries<br />
don’t work with artists in one<br />
country any longer.” Collectors are less<br />
dependent on their local dealers, too.<br />
<strong>The</strong> proliferation of art fairs means<br />
that buyers can access works by one<br />
artist at several galleries.<br />
<strong>The</strong> empire-building of megagalleries<br />
like Gagosian has also changed<br />
EVENING SALE<br />
CONTEMPORARY ART PHILLIPS<br />
TONIGHT 7PM LONDON<br />
Peter Doig puts the finishing touches to his work just before his show at Michael Werner Gallery<br />
the natural order. Gagosian’s unprecedented<br />
business model has led to 12<br />
permanent galleries in eight cities.<br />
White Cube (FL, F7), which has spaces<br />
in London and Hong Kong, will expand<br />
to São Paulo in December, while the<br />
New Yorkers David Zwirner (FL, G9;<br />
FM, F6) and Pace Gallery (FL, G8; FM,<br />
D1) are flocking to Mayfair.<br />
“Nothing fundamentally has<br />
changed, except that budgets got bigger<br />
and there is more competition for the<br />
best artists out there,” says Iwan Wirth<br />
of Hauser & Wirth (FL, C8; FM, B5),<br />
which has spaces in London, Zurich<br />
and New York. “<strong>The</strong> market forces<br />
galleries to expand their business models<br />
and their expertise. Galleries are<br />
no longer just a ‘shop’ but must be<br />
highly professional in many ways, while<br />
at the same time keeping a dialogue<br />
with the artist and the public.”<br />
This is a consequence of the boom<br />
between 2000 and 2008, according to<br />
the adviser Todd Levin, the director of<br />
the Levin <strong>Art</strong> Group. “<strong>The</strong>re was so<br />
much money flowing into the system<br />
that many larger galleries would look<br />
at their more remunerative artists and<br />
not feel as complacent about giving<br />
up that kind of control and monetary<br />
return,” he says.<br />
Two fairs, one nation: Miliband visits<br />
London. Just as the select throng began to thin at Frieze Masters yesterday<br />
evening, dealers were enlivened by the arrival of Ed Miliband, the Labour<br />
Party leader, who found time to pop down from his nearby Dartmouth Park<br />
home. <strong>The</strong> galleries Miliband visited included Pace (D1), Lisson (E4, left) and<br />
Gmurzynska (B11). Other visitors included the mayor of New York, Michael<br />
Bloomberg. Among the contemporary art collectors at the fair were David<br />
Roberts from London, Fusun Eczacibasi from Istanbul and Nicoletta Fiorucci<br />
from Rome, plus the antiquities collector Christian Levett. “I really welcome<br />
the opportunity to present in a modern way,” said the Oriental antiquities<br />
dealer Ben Janssens (C3), who is also the chairman of what is now seen as a<br />
rival fair, Tefaf Maastricht. His gallery is selling the oldest work at Frieze<br />
Masters—a Neolithic-period red pottery vessel, priced at £3,500. M.G.<br />
<strong>The</strong> art world is based on gentlemen’s<br />
agreements, rather than contracts.<br />
Most of the galleries we spoke<br />
to do not have formal arrangements<br />
with their artists. “<strong>The</strong> art world is<br />
like the diamond trade because it’s totally<br />
based on trust. If you abuse that<br />
trust, then you’re out, but this does<br />
mean there is an enormous amount of<br />
flexibility,” says the artist Luc Tuymans,<br />
the subject of David Zwirner’s opening<br />
show in London. He has worked with<br />
Zwirner for 18 years, and with the Belgian<br />
gallery Zeno X (FL, A1) for more<br />
than 20. “I trust these people. We have<br />
grown together,” Tuymans says. “As an<br />
Frankfurt. Germany and France are in<br />
talks to swap pavilions at the 2013<br />
Venice Biennale. <strong>The</strong> move would celebrate<br />
the 50th anniversary of the Élysée<br />
Treaty, which sealed their post-war reconciliation.<br />
Susanne Gaensheimer, the<br />
director of Frankfurt’s Museum für Moderne<br />
Kunst and the curator of the German<br />
pavilion, says: “<strong>The</strong> foreign-affairs<br />
offices of France and Germany have<br />
discussed this idea time and again in<br />
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artist, you have to be taken care of,<br />
and they will, for instance, buy back<br />
my works at auction to protect me.”<br />
So who is in the driving seat? Like<br />
any relationship, it depends on where<br />
the power lies. Dealers are under pressure<br />
to keep up with their rivals, and a<br />
new space in a major centre enables<br />
them to be more competitive, although<br />
this puts pressure on their artists; certain<br />
artists, such as Damien Hirst, can<br />
set their own agendas, but emerging<br />
artists are less likely to be in control.<br />
It also depends on the kind of work<br />
“<strong>The</strong> art world is like<br />
the diamond trade<br />
because it’s based on<br />
trust. If you abuse that<br />
trust, then you’re out”<br />
being created. “It is very different for<br />
painters, who tend to be more exclusively<br />
represented than sculptors, where<br />
huge production budgets might force<br />
an artist to work with more galleries,”<br />
Iwan Wirth says.<br />
<strong>The</strong>re are other changes afoot. Smaller<br />
galleries may need to team up. “You<br />
have to have alliances so you have<br />
strength in numbers and can share<br />
costs,” Pilar Corrias says. “I wouldn’t<br />
be surprised to see more artists hire<br />
managers who represent their interests<br />
among their various galleries, keeping<br />
the artist focused on their work and<br />
letting their managers handle any tense<br />
negotiations,” says the New York dealer<br />
Edward Winkleman, the co-founder of<br />
the Moving Image fair in London<br />
(October 11-14).<br />
<strong>The</strong> consensus is that every arrangement<br />
between artists and dealers is<br />
unique. But until new codes of behaviour<br />
are agreed on, “there are no rules”,<br />
says Rachel Lehmann of Lehmann<br />
Maupin Gallery (FL, F12).<br />
Charlotte Burns and Gareth Harris<br />
My pavilion is your pavilion<br />
the past 20 years… this time, Christine<br />
Macel, the curator of the French pavilion…<br />
and I are in a dialogue about possibilities<br />
and we will publicise these in<br />
the next couple of weeks.” Both countries<br />
have chosen international artists for<br />
their exhibitions. Germany’s artists will<br />
include Ai Weiwei (China) and Santu<br />
Mofokeng (South Africa). France will<br />
present a display by the Berlin-based,<br />
Albanian video artist Anri Sala. C.R.
2<br />
NEWS<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
Pavilion is calm, but will there be a storm?<br />
Dealers are optimistic but closely watching the fair’s shared future with Frieze Masters<br />
DESIGN<br />
London. As the sixth edition of the<br />
Pavilion of <strong>Art</strong> and Design (PAD) fair in<br />
London opened to VIPs on Monday,<br />
one question was politely being avoided:<br />
how would it fare against the new contender,<br />
Frieze Masters? While many<br />
appeared to be embracing the market’s<br />
current “the more the merrier” attitude,<br />
others were waiting to see how the situation<br />
unfolds.<br />
“I think we’re all just speculating<br />
about the impact Frieze Masters will<br />
have,” says Bethanie Brady of the New<br />
York-based Paul Kasmin Gallery (also<br />
showing at Frieze London). “<strong>The</strong> fairs<br />
present works in different contexts,<br />
so there’s a chance to show the same<br />
artists in different ways.”<br />
Only two of the event’s regular exhibitors,<br />
the Sladmore Gallery and Faggionato<br />
Fine <strong>Art</strong> gallery, decided to<br />
show at Frieze Masters instead. Meanwhile,<br />
the US galleries L&M <strong>Art</strong>s, Paul<br />
Kasmin Gallery, Castelli and Skarstedt<br />
Gallery were among those joining PAD<br />
for the first time this year. China’s Pearl<br />
Lam Design has returned for the first<br />
time since 2007.<br />
<strong>The</strong> fairs share a vision of mixing<br />
objects from different periods and genres.<br />
At PAD, this has consistently resulted<br />
in elegant stands, often evoking<br />
luxurious interiors, and this year proves<br />
no different. With a nod to the vogue<br />
for “cross-collecting” (a catch-all phrase<br />
for collecting across periods, and across<br />
<strong>The</strong> designer Danful Yang with her piece Angels or Devils, 2012, at Pearl Lam Design<br />
fine and decorative art), the Luxembourg<br />
& Dayan gallery has mounted<br />
an eye-catching stand of glittering “Panda”<br />
paintings by the US artist Rob<br />
Pruitt alongside Chinese archaeological<br />
objects. “It doesn’t matter when something<br />
was made—it’s about the quality<br />
of the piece,” Daniella Luxembourg<br />
says. <strong>The</strong> gallery had sold “more than<br />
one” of the paintings, priced at around<br />
$120,000, by the end of the VIP evening.<br />
A key attraction of the fair is its<br />
inclusion of design. Frieze Masters focuses<br />
on “fine art”, which, for many of<br />
PAD’s exhibitors, is less appealing. “We<br />
like the way you can mix up art with<br />
design; we’re hoping it may introduce<br />
us to designers we don’t normally<br />
meet,” says Barbara Bertozzi Castelli<br />
of the New York-based Castelli Gallery.<br />
“Frieze London has always been ‘cutting<br />
edge’, which we’re not, and Masters<br />
sounds a bit older than what we show—<br />
so this seemed right for us.” <strong>The</strong> gallery<br />
Relaunch of journal that made history<br />
Paris. Sam Keller, the director of the Fondation Beyeler in Basel and the former<br />
director of <strong>Art</strong> Basel, and Hans Ulrich Obrist, of the Serpentine Gallery<br />
in London, have teamed up to relaunch the influential art historical journal<br />
Cahiers d’<strong>Art</strong>. Keller and Obrist are part of an editorial team hired by the<br />
Swedish collector and entrepreneur Staffan Ahrenberg (left), who last year<br />
bought the company with the rights to the magazine (the firm also includes<br />
a gallery and a publishing house). Founded in 1926 in Paris in the Rue du<br />
Dragon, the journal was instrumental in the development of key Modern<br />
art movements such as Bauhaus and Dada. It provided a platform for artists<br />
such as Giacometti, Calder and Léger from 1930 until the outbreak of the<br />
Second World War. Original works by artists such as Duchamp and Miró<br />
were commissioned for the journal, including Duchamp’s Fluttering Heart,<br />
1936, which appeared on the cover. Cahiers d’<strong>Art</strong> has been published intermittently<br />
since 1926. <strong>The</strong> new edition, which is due to be published on 18<br />
October and is priced at €60, includes 70 pages devoted to the US abstract<br />
artist Ellsworth Kelly, a homage to the Brazilian architect Oscar Niemeyer<br />
by the Japanese architect Tadao Ando and portfolios devoted to the US artist<br />
Sarah Morris and the French artist Cyprien Gaillard. It will be published in<br />
French and in English for the first time. An exhibition at the Rue du<br />
Dragon of three works by Kelly, as well as ancient artefacts from the artist’s<br />
collection, will coincide with the launch of the new publication. <strong>The</strong> show<br />
will run until 30 January 2013. G.H.<br />
is showing works priced from $100,000<br />
to $1.5m, including Roy Lichtenstein’s<br />
“Brushstroke Chair and Ottoman”, 1988.<br />
Korea’s Gallery Seomi also joins the<br />
fair this year, displaying an edition of<br />
Kang Myungsun’s “Mermaid Bench”<br />
(number two of six), 2011.<br />
Nevertheless, others are more direct<br />
about the impact Frieze Masters could<br />
have. “It is competition; there’s no point<br />
mincing words about it,” says Mitchell<br />
Anderson of the Zurich-based Galerie<br />
Paris. Next year’s annual “Monumenta”<br />
installation at Paris’s Grand Palais could<br />
be cancelled because of French budget<br />
cuts. <strong>The</strong> Russian-born, US-based artists<br />
Ilya and Emilia Kabakov were pencilled<br />
in to create the large-scale work for the<br />
palace, but a spokesman for the French<br />
culture ministry, which partly funds<br />
the series, says that the project “is not<br />
yet confirmed because of cost issues”.<br />
One of the Kabakovs’ representatives<br />
in Paris, the dealer Thaddaeus Ropac<br />
(FL, F4), declined to comment.<br />
<strong>The</strong> culture minister, Aurélie Filippetti,<br />
has introduced a series of drastic<br />
cost-cutting measures as part of an austerity<br />
package, including the cancellation<br />
of the former president Nicolas Sarkozy’s<br />
grand projet, La Maison de l’histoire de<br />
Stand numbers<br />
• Frieze London = FL<br />
• Frieze Masters = FM<br />
Gmurzynska (also showing at Masters).<br />
<strong>The</strong> pace of sales had certainly changed,<br />
with dealers reporting that people were<br />
waiting to see what was at Frieze Masters<br />
before committing. “People want to survey<br />
all the material available first,” says<br />
Anderson, who, nevertheless, says there<br />
“I think we’re all<br />
speculating what<br />
impact Frieze Masters<br />
will have [on PAD]”<br />
was “serious interest” in a pair of paintings<br />
by Kurt Schwitters, priced at<br />
“around £1m”. <strong>The</strong> stand belonging to<br />
Paris’s Galerie du Passage also proved<br />
popular, with “a few” of its seven tapestries<br />
designed by Alexander Calder in<br />
the 1970s selling for £12,000 each.<br />
“It’s early days, but I’d say it’s the<br />
same collectors who are normally<br />
here,” Lucy Mitchell-Innes says. <strong>The</strong><br />
Israeli art collector Jose Mugrabi signed<br />
an autograph for Rob Pruitt, the collector<br />
and jeweller Laurence Graff was<br />
spotted eyeing up a table and Lady<br />
Victoria de Rothschild, Anish Kapoor<br />
and Kay Saatchi were among those at<br />
the VIP evening. “<strong>The</strong> opening was as<br />
steady and relaxed as always,” Luxembourg<br />
says.<br />
Whether this is a temporary calm<br />
remains to be seen. But during its<br />
opening days, at least, the fair seems<br />
to be confident in what it does best.<br />
Riah Pryor<br />
Monumenta project in jeopardy<br />
Kabakovs could be victims of French budget cuts<br />
France (French History Museum). <strong>The</strong><br />
government recently announced a 4.5%<br />
cut in the state culture budget for 2013.<br />
According to the French newspaper<br />
Le Figaro, the Kabakovs’ piece was<br />
budgeted at €5m. <strong>The</strong> “Monumenta”<br />
commission in 2011 was awarded to<br />
Anish Kapoor, who created Leviathan, a<br />
gigantic installation made from 18 tons<br />
of PVC; the sculpture cost €3m to manufacture.<br />
<strong>The</strong> work was seen by 277,687<br />
visitors during its six-week run.<br />
This year, the fifth edition was<br />
handed over to the French artist Daniel<br />
Buren, who installed his work, Excentrique(s),<br />
travail in situ, in the Grand<br />
Palais last spring. His piece is reported<br />
to have cost €1.5m.<br />
Gareth Harris<br />
PAD: PHOTO: DAVID OWENS, CAHIERS D’ART: PHOTO DR
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4<br />
NEWS ANALYSIS<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
Let the examination begin<br />
Frieze Masters joins the controversial world of vetting committees<br />
PROVENANCE<br />
London. <strong>The</strong> fair is only just opening,<br />
but the exhibitors at Frieze Masters<br />
may already be breathing a sigh of relief.<br />
On Monday, all 99 booths went<br />
under the scrutiny of a 20-strong vetting<br />
committee, tasked with checking<br />
the attribution, quality and condition<br />
of works.<br />
“Obviously for Frieze, vetting is a<br />
new challenge, but it became clear very<br />
quickly that it would play an important<br />
role,” says Victoria Siddall, the director<br />
of Frieze Masters. “Partly because we<br />
want to be seen as a serious art historical<br />
event, but also because we’re asking<br />
collectors to buy items outside of their<br />
normal area of expertise. Buyers in contemporary<br />
art may be unfamiliar with<br />
Old Masters, so we needed to be sure<br />
they could buy with confidence.”<br />
Replicating the stringent vetting<br />
committees at Tefaf Maastricht, which<br />
involves more than 170 specialists,<br />
Frieze has brought together experts<br />
[see box] on all of the periods of art displayed.<br />
A significant exclusion from<br />
the line-up, however, is fellow exhibitors.<br />
“We decided early on that dealers would<br />
not vet other dealers—we wanted that<br />
layer of objectivity,” Siddall says.<br />
For many years, Maastricht readily<br />
allowed dealers to act on vetting committees,<br />
but this has gradually been re-<br />
duced. Occasionally it still happens: for<br />
example, Peter Finer is on Tefaf’s arms<br />
and armour committee and James Hennessy<br />
vets early Asian art for the Dutch<br />
fair. <strong>The</strong> Pavilion of <strong>Art</strong> and Design<br />
fair, which opens in London this week,<br />
also allows it. “<strong>The</strong>y’re often the most<br />
experienced specialists,” says Patrick<br />
Perrin, a co-director of the fair, adding<br />
that dealers cannot vet their own stands.<br />
Although decisions are guided by<br />
evidence provided by dealers and a set<br />
criteria, it is the expert eye that dominates.<br />
“Everyone has their own Tefaf<br />
“[Vetting provides]<br />
reassurance that<br />
you’ll be showing<br />
among the best”<br />
vetting story,” says Robert Bowman,<br />
the director of two galleries in London<br />
who has worked on Tefaf’s vetting<br />
committee for around 20 years. “In my<br />
first year as an exhibitor, four marble<br />
sculptures I had designed my booth<br />
around were removed. <strong>The</strong>y were labelled<br />
as 19th-century, but [the sculpture<br />
vetting committee] was concerned that<br />
they looked [like they were] 17th-century<br />
and could mislead visitors.” Committees<br />
can change their minds on works that<br />
were accepted in previous editions and<br />
entire booths have been rejected, says<br />
Henk Van Os, the chairman of Tefaf’s<br />
Antiquities committee.<br />
While art scholars are increasingly<br />
concerned about being sued over authenticity<br />
issues, vetting members can<br />
voice opinions in confidence as the organisers<br />
of both Tefaf and Frieze Masters<br />
require the members to sign confidentiality<br />
agreements. “<strong>The</strong> fact that no<br />
one knows what has happened is the<br />
reason why the process is so frustrating<br />
but, at the same time, so effective,”<br />
Bowman says. Nevertheless, gossip over<br />
rejected works is rife.<br />
At most vetted fairs, dealers can<br />
appeal decisions, but this risks attracting<br />
greater attention (one dealer describes<br />
“20 vetting experts piling into a booth,<br />
leaving the exhibitor outnumbered”).<br />
It is up to the committee to “prove”,<br />
or rather justify, its opinion and if<br />
there is any uncertainty the dealer is<br />
generally given the benefit of the doubt.<br />
If an item is rejected, it is returned<br />
to the dealer. “<strong>The</strong>y basically say ‘do<br />
what you want with it, just don’t show<br />
it here’,” says Otto Naumann, the New<br />
York-based Old Master dealer who previously<br />
worked on Tefaf’s vetting team.<br />
“We’re not the art police. People get<br />
carried away with the idea of vetting.<br />
We’re deciding what should be<br />
in a fair, not the general art market,”<br />
Bowman says.<br />
Modern and contemporary art fairs<br />
avoid these headaches as they rarely<br />
Better to be<br />
certain than sorry<br />
Expert eyes<br />
have vetting committees. <strong>Art</strong> Basel<br />
and Fiac, for example, say there is no<br />
need to check works on the primary<br />
market. Living artists can verify authenticity<br />
and the condition of works<br />
is confirmed during the selection<br />
process. <strong>The</strong> <strong>Art</strong> Loss Register also<br />
works with numerous fairs.<br />
With Modern art increasingly included<br />
at historical art fairs though,<br />
more vetting can be expected. “Rules<br />
and regulations expand with the fairs,”<br />
says Christian Vrouyr, the director of<br />
the Brussels Antiques and Fine <strong>Art</strong><br />
Fair. “Contemporary art offers more<br />
precise vetting possibilities and Modern<br />
art has documented foundations and<br />
catalogues raisonnés,” he says. Others<br />
Charles Avery, previously the deputy keeper of sculpture at the<br />
Victoria & Albert Museum, London<br />
Mattie Boom, a curator at the Rijksmuseum, Amsterdam<br />
Xavier Bray, the chief curator of London’s Dulwich Picture Gallery<br />
Andrew Butterfield, a specialist in European art<br />
Taco Dibbits, the director of collections at the Rijksmuseum,<br />
Amsterdam<br />
Ann Dumas, a curator at the Royal Academy of <strong>Art</strong>s, London<br />
David Ekserdjian, a professor of the history of art at the<br />
University of Leicester<br />
Richard Falkiner, an independent consultant<br />
Gaudenz Freuler, a professor of the history of art at<br />
Kunsthistorisches Institut, Zurich<br />
Jonathan King, formerly in the ethnographic<br />
department at Christie’s. Previously a curator of<br />
ethnography at the British Museum, London<br />
Gregory Martin, a Flemish scholar<br />
Susie Nash, a professor at London’s<br />
Courtauld Institute of <strong>Art</strong><br />
Scott Schaefer, a curator of paintings at<br />
<strong>The</strong> Getty Trust, Los Angeles<br />
MaryAnne Stevens, the director of academic<br />
affairs at the Royal Academy of <strong>Art</strong>s<br />
Richard de Unger, a collector of Islamic art<br />
Tim Teuten, the former head of Christie’s<br />
department of African and Oceanic art<br />
Oliver Wick, an independent curator<br />
Hermione Waterfield, a tribal art expert who was<br />
previously at Christie’s<br />
Chantelle Rountree, the former head of antiquities at Bonhams<br />
Simon Howell, the managing director of Shepherd Conservation<br />
argue that contemporary art should<br />
be more tightly checked. “All secondary<br />
[market] art should be vetted,” says<br />
Edward Horswell, a director at London’s<br />
Sladmore Gallery (G8).<br />
“<strong>The</strong>y’re meant to be checking for<br />
condition and quality, as well as<br />
authenticity.”<br />
Challenges aside, there is a consensus<br />
that Frieze Masters made the right<br />
decision and that vetting produces fairs<br />
with higher-quality works. “It’s a guarantee<br />
for exhibitors, as well as collectors,”<br />
says Mira Dimitrova, the director<br />
of the Robilant and Voena gallery (A4).<br />
“It [provides] reassurance that you’ll<br />
be showing among the best.”<br />
Riah Pryor<br />
© ISABEL POUSSET
JOSEPHBEUYS<br />
AT FRIEZE<br />
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INTERVIEW<br />
Chris Dercon<br />
Director, Tate Modern<br />
Chris Dercon, the director<br />
of Tate Modern<br />
since 2011, compares<br />
his job with running a<br />
public broadcasting<br />
company. <strong>The</strong> day<br />
before we met, he had held a brainstorming<br />
session with the Tate’s curators<br />
about its programme. “You start<br />
with set ideas and you come up with<br />
a completely different idea thanks to<br />
serendipity,” he says. “Everything is<br />
interconnected.” It all sounds democratic—Nick<br />
Serota, Dercon’s boss,<br />
came too—collegiate and unbureaucratic<br />
for a big museum. “It’s not ‘<strong>The</strong><br />
Sopranos’ or ‘Mad Men’,” he says,<br />
referring to TV series with a named<br />
creative producer in charge. “It’s ‘<strong>The</strong><br />
Wire’ or ‘Homeland’, with each<br />
episode directed by someone else.”<br />
Dercon was born in Belgium and<br />
studied art history, theatre and film<br />
theory in Amsterdam. An arts journalist<br />
before he became a curator, he was<br />
the founding director of the Witte de<br />
With contemporary art centre in<br />
Rotterdam. He then became the director<br />
of the city’s Museum Boijmans Van<br />
Beuningen, overseeing its expansion<br />
and renovation. Before Tate Modern,<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 7<br />
‘An old work will be<br />
incredibly angry…’<br />
…if you marry it with a contemporary work in a superficial way. By Javier Pes<br />
he ran Munich’s Haus der Kunst. We<br />
met a fortnight before Frieze, when<br />
Dercon had just returned from the<br />
opening of “<strong>The</strong> Ancients Stole All Our<br />
Great Ideas”, Ed Ruscha’s exhibition at<br />
the Kunsthistoriches Museum, Vienna<br />
(until 2 December), the first in the historic<br />
art museum’s new series of contemporary<br />
installations.<br />
<strong>The</strong> <strong>Art</strong> <strong>Newspaper</strong>: Frieze London<br />
has added Frieze Masters this<br />
year. What do you think of the<br />
trend to link historic and contemporary<br />
art?<br />
Chris Dercon: I hope people will be<br />
aware that these things that were produced<br />
a very long time ago have a<br />
complex life in terms of reception and<br />
transmission, and these complexities<br />
are very important to deal with. It will<br />
be very sad if people do it in a superficial<br />
way. An old work will be incredibly<br />
angry with you if you do that.<br />
When you start getting into what<br />
Ed Ruscha has done, it’s fantastic. I<br />
think it’s important that we start to<br />
question the contemporaneity of contemporary<br />
art. Maybe we need to stop<br />
talking about the newest new art, and<br />
start talking about new techniques<br />
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and definitely new audiences.<br />
What was the attraction of working<br />
in London?<br />
<strong>The</strong>re was the personal contact with<br />
Nick Serota. I got to know him when I<br />
was at the Witte. We were the first to<br />
do retrospectives of artists such as<br />
Hélio Oiticica and Paul <strong>The</strong>k. And in<br />
Munich, I was the first to do a retrospective<br />
of Amrita Sher-Gil. Nick<br />
Serota was more aware than most<br />
“<strong>The</strong> only thing Nick<br />
Serota and I disagree<br />
about is that I did so<br />
many fashion shows”<br />
people of the importance of these<br />
artists. I decided I have to go to places<br />
I was envious of. I was envious of<br />
what the Tate has been doing since<br />
2003 with Latin American art, since<br />
2008 with Middle Eastern art, more<br />
recently with African art, and soon<br />
with South Asian art.<br />
Every move you make as Tate<br />
Modern’s director is scrutinised.<br />
How do you cope with that?<br />
I got scrutinised at the Boijmans<br />
© SOTHEBY’S, INC. 2012 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #9588677 © 2012 ESTATE OF PABLO PICASSO / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK<br />
<strong>The</strong> director has moved<br />
around Europe “like a<br />
soccer player”<br />
because of the situation in the city of<br />
Rotterdam—the city of Pim Fortuyn [a<br />
critic of multiculturalism]—and in<br />
Munich because I became the director<br />
of the “private kunsthalle of Mr<br />
Hitler”. It was about elitism and wanting<br />
to become a multicultural society<br />
in Rotterdam, and history and the<br />
way you deal with history in Munich.<br />
So to be scrutinised is normal.<br />
I imagine Nick Serota is a tough<br />
boss.<br />
We have a long-standing dialogue<br />
about the future of museums because<br />
of what I did with architects and<br />
what he did. We have a long-standing<br />
discussion about the multicultural<br />
society. He knew I was interested in<br />
other media, and he knew the shows<br />
I did. So the dialogue was not new.<br />
<strong>The</strong> only thing we didn’t agree about<br />
was that I did so many fashion shows<br />
in Rotterdam and Munich. That’s still<br />
a joke—a long-standing joke.<br />
Were you concerned that most of<br />
your time would be spent raising<br />
the funds to build Tate Modern’s<br />
extension?<br />
I’ve been addicted to [fundraising]<br />
since [working at] PS1. Alanna Heiss<br />
[the founder] and I had to lay off<br />
<strong>The</strong> hole at Cullinan Diamond Mine, Gauteng, South Africa, where in 1905<br />
F. Wells unearthed what is known as the Cullinan Diamond, or the Star of Africa.<br />
Photo credit: Petra Diamonds Ltd.<br />
people during the summer because we<br />
couldn’t pay them. Once the shows<br />
were in place, it was much easier to<br />
get people enthusiastic. That’s how I<br />
worked in PS1; that’s how I work here.<br />
Because I’ve been working almost like<br />
a soccer player, going from Brussels to<br />
New York to F.C. Rotterdam to Bayern<br />
Munich, you get to meet so many<br />
enthusiastic and generous people.<br />
<strong>The</strong>re’s always a fear that public<br />
institutions will become a plutocrat’s<br />
vanity project.<br />
I like to concentrate on those collectors<br />
who share our beliefs. <strong>The</strong>re are<br />
many who want to work with new<br />
forms of public-private partnership:<br />
the Falckenbergs, the Goetzs, Dimitris<br />
Daskalopoulos, Bernardo Paz and<br />
Anthony d’Offay, to name a few. <strong>The</strong>re<br />
are many examples of mega-rich private<br />
collectors who see the benefits of<br />
working with public museums.<br />
And where do art fairs fit into<br />
your schedule these days?<br />
I can’t go to them all. It’s very important<br />
to be in Basel, and in Miami,<br />
given my Latin American connections.<br />
I’m not hopping in and out of<br />
airports. I did that. Now the curators<br />
have to do it.
8<br />
FEATURE<br />
Two leading collectors of<br />
contemporary art in<br />
London have revealed<br />
their desire for their art<br />
to remain on public display<br />
in perpetuity.<br />
David Roberts, the Scottish property<br />
developer who last month inaugurated<br />
a new home for his collection<br />
in Camden Town, and Anita<br />
Zabludowicz, the wife of a Finnish<br />
financier and property investor who<br />
has shown her collection in a former<br />
Methodist chapel in Chalk Farm since<br />
2007, both say they hope their collections<br />
will continue to exist as discrete<br />
entities long into the future.<br />
“I do want the collection itself and<br />
the foundation [that runs it] to continue.<br />
I don’t want a situation where I<br />
die and the whole thing gets sold off<br />
and disappears,” Roberts says.<br />
Zabludowicz says she has set up a<br />
“structure” which involves her children<br />
and includes trustees to shepherd<br />
the collection she has assembled<br />
with her husband, Poju, into the<br />
future. “Our intentions are [for it] to<br />
continue in the same direction, while<br />
at the same time, also [give to] institutions<br />
such as the Tate. It would not be<br />
our wish for our collection to be sold<br />
entirely or given entirely unless<br />
absolutely necessary.”<br />
<strong>The</strong> collectors, both of whom own<br />
around 2,000 works of international<br />
contemporary art and who organise<br />
regular, curated shows in the art<br />
spaces they run, are two of a growing<br />
number of art buyers around the<br />
world who are opening private<br />
spaces to show their purchases. It<br />
remains to be seen whether many of<br />
these galleries or the collections that<br />
fill them will survive past the lifetime<br />
of their founders.<br />
One art world insider who asked<br />
not to be named is sceptical. “Forever<br />
is a very long time,” he says. <strong>The</strong> longterm<br />
costs of displaying art, with all<br />
its ancillary expenses such as conservation,<br />
storage and insurance, are<br />
likely to deter all but the most committed<br />
from attempting to create a<br />
permanent display intended to survive<br />
after they are gone, he adds.<br />
<strong>The</strong>se costs make it difficult to<br />
even give art away for free. More<br />
than two years ago Charles Saatchi<br />
offered around 200 works, including<br />
pieces by Tracey Emin, Grayson Perry<br />
and the Chapman Brothers, as a gift<br />
to the nation with enough funds to<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
Forever is a very<br />
long time<br />
Building a great collection is one thing, but securing its long-term future is<br />
another matter. Leading collectors ponder the price of posterity. By Cristina Ruiz<br />
provide for the future cost of maintaining<br />
the art. But discussions with<br />
the government appear to have<br />
reached a stalemate.<br />
Crucially, Saatchi has no building<br />
of his own that could display his collection<br />
in the long term. Unlike<br />
Roberts and Zabludowicz, who both<br />
own the buildings they use to display<br />
their art, he has instead leased a succession<br />
of spaces for the various<br />
incarnations of his gallery, which is<br />
currently based in Chelsea.<br />
Despite the government’s failure<br />
to reach an agreement with Saatchi,<br />
sources say the collector remains<br />
committed to putting a large part of<br />
his collection into a foundation<br />
whose trustees will manage it, protect<br />
its future and ensure it is publicly<br />
displayed.<br />
Collectors seeking governmentfunded<br />
homes for their art have<br />
rarely been successful. In 1992, the<br />
Iranian-born Nasser David Khalili<br />
offered his Islamic collection, considered<br />
one of the world’s finest, to the<br />
British government on a 15-year loan<br />
on the understanding that the loan<br />
“Private collectors can move quickly, they have more<br />
money… it would be irresponsible for national<br />
museums to commit [to young artists] so early”<br />
would become a gift if a suitable<br />
building were provided.<br />
<strong>The</strong>se conditions were not<br />
accepted and Khalili withdrew his<br />
offer. Twelve years later he announced<br />
his intention to cover all the costs of<br />
setting up a museum in London himself<br />
“within five years” and to provide<br />
a multi-million pound endowment to<br />
cover the running costs. <strong>The</strong> museum<br />
never materialised.<br />
Museum partnerships<br />
Public collections have been built<br />
with the art bought by private individuals<br />
and today’s contemporary art<br />
collectors have a distinct advantage<br />
over museums such as the Tate when<br />
it comes to securing important works<br />
of our time. Private galleries complement<br />
public institutions, says Andrew<br />
Renton, the director of Marlborough<br />
Contemporary, who previously<br />
worked with the London collectors<br />
Freddy and Muriel Salem for 12 years,<br />
helping them to assemble the<br />
Cranford Collection.<br />
“Private collectors can move more<br />
quickly. <strong>The</strong>y have more money for<br />
acquisitions and they’re more ambitious<br />
in their purchases, often buying<br />
artists who are young and assembling<br />
large groups of their work. By<br />
definition it would be irresponsible<br />
for a national museum like the Tate<br />
to commit [to artists] so early; in a<br />
way these public and private spaces<br />
need each other,” Renton says.<br />
But today everyone is a collector<br />
and there is the<br />
thorny issue, rarely<br />
discussed in public, of<br />
whether museums<br />
actually want the art<br />
assembled by the<br />
plethora of contemporary<br />
art collectors<br />
active in today’s market.<br />
Speaking at a<br />
panel on private galleries<br />
at the <strong>Art</strong> Basel<br />
fair last year, the director<br />
of Tate Modern,<br />
Chris Dercon, noted<br />
that many buyers purchase<br />
and display<br />
works by the same trendy artists in<br />
spaces that all resemble one another.<br />
Private galleries are now everywhere,<br />
said Dercon. “<strong>The</strong>y have the<br />
same architects, the same white<br />
walls, the same works of art,” he<br />
said, adding that collectors need to<br />
be more discerning when buying art.<br />
He also noted that the programming<br />
in private galleries lacks the depth of<br />
museum displays. Public institutions<br />
can give art a context, he said, which<br />
is impossible for private collectors.<br />
“At the Tate we can show something<br />
contemporary from Brazil alongside<br />
a Mondrian. A private collection<br />
can’t do that because they don’t have<br />
a Mondrian.”<br />
Museums are also wary of collectors<br />
wishing to impose conditions on<br />
gifts or remaining involved in the<br />
management of their art once it has<br />
been transferred to a public collection.<br />
<strong>The</strong> part gift/part acquisition<br />
deal brokered by the dealer Anthony<br />
d’Offay with the Tate and the<br />
National Galleries of Scotland in 2008<br />
for a large collection of contemporary<br />
art divided into “artist rooms” which<br />
tour regional museums around the<br />
country is a rare exception.<br />
<strong>The</strong> ambivalence works both ways.<br />
Collectors who have tasted the thrill of<br />
running their own curatorial programme<br />
don’t want to see their art<br />
subsumed into a larger museum collection.<br />
“<strong>The</strong>re’s a possibility we’ll<br />
donate work to museums,” Roberts<br />
says, “but I don’t think I’d want to say:<br />
‘Here’s the collection’, and give it to<br />
the Museum of Modern <strong>Art</strong> or the<br />
Tate. I wouldn’t want it to disappear in<br />
the vaults of some vast museum.”<br />
Instead, says Roberts, “I like the<br />
idea of doing things with regional<br />
museums which often don’t have the<br />
resources to buy contemporary art…<br />
there are a lot of great spaces outside<br />
London,” he says,<br />
noting that he has<br />
loaned works for an<br />
exhibition opening<br />
later this month at<br />
the Hepworth<br />
Wakefield in Yorkshire<br />
which has “a very good collection<br />
of works by Hepworth<br />
and Henry Moore but very few contemporary<br />
pieces”.<br />
Frank Cohen, the DIY magnate<br />
who has shown his collection of international<br />
contemporary art in an<br />
industrial estate outside<br />
Wolverhampton for nearly six years,<br />
once had plans to open a gallery in<br />
Manchester called the Frank Cohen<br />
Museum of Contemporary <strong>Art</strong>.<br />
Speaking to a journalist from the<br />
Independent in 2004, Cohen said: “I<br />
want to put right the situation that,<br />
outside London and people like<br />
Saatchi with his gallery, there are no<br />
privately run art galleries and collections.”<br />
<strong>The</strong> museum never opened<br />
due to disagreements with the developers<br />
who owned the building. “It<br />
would have been a great thing,”<br />
Cohen says. “It’s Manchester’s loss.”<br />
Now the collector says he “ha[s]n’t<br />
got a clue” what will happen to his<br />
collection in the long term although<br />
he hopes it will remain “intact” and<br />
that his children will “take it over and<br />
continue where I left off.” Meanwhile,<br />
Cohen is opening a London display<br />
space in a former milk depot in<br />
Bloomsbury with the art adviser<br />
Nicolai Frahm to host loan exhibitions<br />
and show art from both their holdings.<br />
<strong>The</strong> gallery should open within<br />
the next two months.<br />
Zabludowicz shares the desire for<br />
her collection, which focuses particularly<br />
on emerging artists, to be seen<br />
in multiple venues and she has<br />
recently started staging shows in the<br />
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART<br />
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Private collectors put on a<br />
show: “<strong>The</strong> Summer Sessions”<br />
at the Zabludowicz Collection<br />
(above), “A House of Leaves”<br />
at the David Roberts <strong>Art</strong><br />
Foundation (left) and<br />
Saatchi’s leased<br />
space in Chelsea<br />
New York offices of<br />
her husband’s private<br />
investment<br />
group, Tamares. She<br />
has also launched an<br />
artist residency programme<br />
at Sarvisalo in<br />
Finland where she and her husband<br />
have a home. When asked to<br />
consider where she wanted her collection<br />
to be in 20 years’ time, she<br />
said: “I hope that it will be on display<br />
in many places and my current ambition<br />
is to loan even more works from<br />
the collection to public institutions so<br />
that as many people as possible get to<br />
see art that is being made right now.”<br />
Ultimately, the proliferation of private<br />
galleries has made more art<br />
accessible to more people, usually for<br />
free. Many of these spaces run education<br />
and outreach programmes and<br />
welcome students. Roberts, for example,<br />
is planning a research library in<br />
the Camden Town headquarters of<br />
his collection. However, only time<br />
will tell which galleries and collections<br />
are here to stay.<br />
• “A House of Leaves: First Movement”,<br />
which includes work by Louise Bourgeois,<br />
Thomas Houseago, Martin Kippenberger and<br />
Rebecca Warren, is on display at the David<br />
Roberts <strong>Art</strong> Foundation (until 10 November),<br />
Symes Mews, NW1 7JE. <strong>The</strong> foundation will<br />
stage performances of works by Nina Beier,<br />
Chosil Kil, Alvin Lucier, Eddie Peake and<br />
Steve Reich on 11 October at 7pm<br />
• “To Hope, to Tremble, to Live: Modern<br />
and Contemporary Works from the David<br />
Roberts Collection” is at the Hepworth<br />
Wakefield in Yorkshire from 27 October to<br />
3 February 2013<br />
• “Matthew Darbyshire: T Rooms” (until<br />
2 December) and “Zabludowicz Collection<br />
Invites: Richard Sides” (until 21 October) are<br />
on show at the Zabludowicz Collection, 176<br />
Prince of Wales Road, NW5 3PT<br />
NAVY PIER<br />
19—22<br />
SEPTEMBER<br />
2013<br />
ZABLUDOWICZ: PHOTO BY STEPHEN WHITE, DAVID ROBERTS ART FOUNDATION: © 2012 MARK BLOWER, SAATCHI GALLERY: © 2009 MATTHEW BOOTH, ALL RIGHTS RESERVED
Illustrated above: <strong>The</strong> Emperor Galba Enthroned, one of 20 large illuminations in Philip the Good’s copy of the Mystère de la Vengeance by Eustache Marcadé,<br />
illuminated manuscript on vellum, southern Netherlands (Hesdin and Bruges), c. 1465 ESTIMATE £4,000,000–6,000,000<br />
TO BE OFFERED IN THE OLD MASTER & BRITISH PAINTINGS EVENING SALE, LONDON 5 DECEMBER 2012<br />
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ph Vitaliano Lopez - art Francesco Giuliani
12<br />
IN PICTURES<br />
1<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
Meeting of the masters<br />
From Minimalism to Madonnas and monumental gargoyles: the first Frieze Masters tested visitors’ connoisseurship<br />
1<br />
Giandomenico Tiepolo, Head of a<br />
Turbaned Philosopher, undated<br />
(around mid-18th century), £550,000,<br />
Jean-Luc Baroni, A5<br />
2<br />
Richard Wentworth, Now, 1997,<br />
£20,000, Lisson Gallery, E4<br />
3<br />
One of three monumental gargoyles,<br />
oeuvre of the Cathedral of Notre-Dame<br />
in Strasbourg, Saint-George,<br />
Haguenau, Alsace, around 1275-83,<br />
price undisclosed, Sam Fogg, B6<br />
4<br />
Alexander Calder, Rouge triomphant<br />
(triumphant red, detail), 1959-63,<br />
$20m, Helly Nahmad Gallery, F7<br />
5<br />
Romano Alberti da San Sepolcro,<br />
wooden candle stands, around 1540-<br />
50, £44,000, Bacarelli Botticelli, E1<br />
2<br />
ALL PHOTOS: DAIVD OWENS
3<br />
4<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 13<br />
5
14<br />
INTERVIEW<br />
Cécile B. Evans<br />
<strong>Art</strong>ist<br />
<strong>The</strong> Belgian-American<br />
artist Cécile B. Evans, 29,<br />
is the winner of the 2012<br />
Emdash Award for<br />
emerging artists living<br />
outside the UK. Her<br />
proposal—an audio guide to Frieze—<br />
was selected from more than 700<br />
applications, and the work forms part<br />
of Frieze Projects (P3).<br />
For This Is Your Audio Guide, which<br />
is hosted by the historian Simon<br />
Schama, Evans asked well-known<br />
people from other fields, such as the<br />
model-turned-cook Sophie Dahl and<br />
the astronomer Patrick Moore, to<br />
respond to the works on show. <strong>The</strong><br />
artist’s prize includes a £10,000<br />
production budget and a three-month<br />
residency at the Gasworks studios in<br />
south London, where, last month, she<br />
showed a series of rejection letters<br />
from celebrities who declined to take<br />
part in the project. She is not<br />
currently represented by a gallery.<br />
Evans was born to Belgian parents<br />
in Cleveland, Ohio, and grew up in<br />
Jacksonville, Florida. She began to act<br />
at the age of five, and spent four<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
years at New York University’s Tisch<br />
School of the <strong>Art</strong>s from 11 September<br />
2001 (“it was my first day as an<br />
adult—the plane flew over our<br />
heads”). After working in film and<br />
television in Paris, Evans moved to<br />
Berlin to pursue a career in art. Her<br />
work often refers to both high and<br />
low culture; the video Countdown,<br />
2012, updates Anne Teresa De<br />
Keersmaeker’s performance Rosas<br />
danst Rosas, 1983, with the novel<br />
addition of animated asparagus.<br />
<strong>The</strong> <strong>Art</strong> <strong>Newspaper</strong>: This Is Your Audio<br />
Guide counters art-world jargon by<br />
asking non-experts to respond<br />
emotionally to the works at<br />
Frieze. How did the project begin?<br />
Cécile B. Evans: I took a group of<br />
teenagers to this year’s Berlin<br />
Biennale, which was notoriously<br />
dense, and asked them the questions<br />
I was working with. “Does this<br />
remind you of anything? How do you<br />
relate to an object in here?” You strip<br />
away all the things you’re supposed<br />
to say about art and then you go for<br />
the emotional value.<br />
Why did you ask Simon Schama to<br />
host the audio guide?<br />
Simon Schama is art history. He lives<br />
it, breathes it, walks with it every day<br />
to work. He’d say: “I’m concerned—is<br />
this what we want people to think<br />
about art?” My reaction is that I’m<br />
not telling people how to look at art.<br />
Simon is very good at explaining art<br />
in a way that people understand, and<br />
it’s been amazing to see how some of<br />
[the contributors] hit the mark. It<br />
gives me chills.<br />
Why did you create a hologram of<br />
Schama to introduce the work?<br />
It’s a way of connecting the ears with<br />
what you’re seeing, and also playing<br />
on the dynamics of subjectivity and<br />
reality—anything to [increase] the<br />
suspension of disbelief. <strong>The</strong>re are also<br />
small hologram boxes [throughout<br />
the fair], which use the Pepper’s<br />
ghost technique, a 19th-century<br />
theatre trick. One of them looks as<br />
though Simon has been kidnapped<br />
and put in the box.<br />
Who were your favourite<br />
contributors?<br />
Rabbi Lionel Blue and Sophie Dahl<br />
Big in Germany: Evans’s<br />
Paula Abdul-influenced<br />
video Straight Up, 2011<br />
With a little help from<br />
her (celebrity) friends<br />
This year’s Emdash Award winner has created the first ever audio guide to Frieze—<br />
starring Simon Schama, Sophie Dahl and Patrick Moore. By Ria Hopkinson<br />
were fantastic.<br />
With Rabbi Blue,<br />
I just turned on the<br />
dictaphone and got everything<br />
from what he thinks heaven is<br />
going to look like to how he thinks<br />
a piece by Ryan Gander looks like<br />
perfume bottles. I’m still adding<br />
people. I’m exhausted.<br />
Many of your works attempt to<br />
measure emotions, including the<br />
“Schirmer Collages”, 2011, which<br />
juxtapose film stills with tearmeasurement<br />
strips.<br />
I took screenshots from movies starring<br />
Meryl Streep, which are the ultimate<br />
cryfest, and named [the works]<br />
after the tearjerker line—You May<br />
Keep One Of Your Children is [from]<br />
“Sophie’s Choice”. This is my year of<br />
tears. I set out to say that it’s the<br />
clearest representation of emotion,<br />
and I think it’s something I’ll always<br />
work with. But I don’t want to look<br />
back and say: “That was my crying<br />
period.” I’m starting to do research<br />
into ghosts, and the idea of loss.<br />
Are you interested in displays of<br />
collective emotion, such as the<br />
Come and visit us at<br />
FRIEZE MASTERS<br />
Stand M14<br />
FRIEZE LONDON<br />
Stand M1<br />
<strong>The</strong> judges’ verdict<br />
Members of the selection panel on<br />
Evans’s work<br />
Sarah McCrory<br />
Curator, Frieze Projects<br />
“We realised that Cécile had a really good<br />
understanding of the Frieze audience.<br />
Her background as an actor shows her<br />
interest in understanding the world<br />
around her, and the work couldn’t have<br />
been made without that aspect of her<br />
personality; it helped convince wellknown<br />
people to be involved. Until the<br />
project happens, we don’t know what<br />
the outcome will be, and that was part of<br />
the reason for choosing it.”<br />
Andrea Dibelius<br />
Founder, Emdash Foundation<br />
“Frieze has never had an audio guide<br />
before, so this is totally new territory for<br />
the fair. <strong>The</strong> work is conceptual but<br />
accessible, and this is one of the main<br />
messages of the project—to give visitors<br />
a different and possibly more inclusive<br />
way of understanding and questioning<br />
works at the fair. I also hope that industry<br />
people will be challenged by being<br />
confronted with a radically different way<br />
of talking about art.” R.H.<br />
to receive a discount of up to 30% on a one-year<br />
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STRAIGHT UP: © CÉCILE B. EVANS
EVANS (BIOGRAPHY BOX): © STUDIO DE JOODE. RAZMI: COURTESY OF THE ARTIST/FRIEZE. FUJIWARA: PHOTO: LINDA NYLIND. © FRIEZE LONDON.<br />
WOLFSON, GARCIA TORRES AND ROTTENBERG: PHOTOS: POLLY BRADEN. © FRIEZE LONDON. PRIETO: PHOTO: DOMINICK TYLER. © FRIEZE LONDON<br />
<strong>The</strong> crying game… You<br />
May Keep One Of Your<br />
Children, 2011<br />
outpouring of grief in Britain<br />
after Princess Diana’s death?<br />
Absolutely. I want to study and eventually<br />
visit North Korea—the videos<br />
of collective mourning for Kim Jong Il<br />
were so unfettered and direct. How<br />
they express themselves in society<br />
must be radically different from anything<br />
I know. I don’t think I would<br />
tell them I was an artist; it would<br />
become political, and tying politics to<br />
emotions is a whole different thing.<br />
You studied experimental theatre<br />
before moving to Paris to work in<br />
film and television. When did you<br />
start to move towards art?<br />
I nearly got sued for copyright by<br />
J.D. Salinger when I tried to do a play<br />
of [his book] Franny and Zooey. So I<br />
built a bathroom in Times Square and<br />
told the story through the eyes of the<br />
bathroom, because there’s always a<br />
bathroom in Salinger’s stories and<br />
you can’t copyright space. That was<br />
my first experience of not depending<br />
so much on other people.<br />
In your video Straight Up, 2011,<br />
inspired by Pina Bausch’s Nelken,<br />
1982, you perform a Paula Abdul<br />
song in sign language while<br />
drunk. Why did you show it in a<br />
Berlin sex shop?<br />
I got so excited that I couldn’t wait<br />
for someone to ask me to show it.<br />
I lived above a sex shop in Mitte for<br />
almost two years, so I said: “Hey,<br />
guys, can I use your movie theatre<br />
one night? I’ll hire a cleaner. It’s<br />
nothing to do with porn.” <strong>The</strong>y were<br />
both named Mario, and they were<br />
like: “Ja, we love Paula Abdul.” I put<br />
all these references, from high to low,<br />
in the same place, and then you<br />
attach whatever you bring to it.<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 15<br />
Which contemporary artists do<br />
you admire?<br />
Aleksandra Domanovic and her<br />
boyfriend, Oliver Laric. My boyfriend,<br />
Yuri Pattison, and [his collective]<br />
LuckyPDF. [<strong>The</strong> 2009 Cartier Award<br />
winner] Jordan Wolfson was one of<br />
the first people I met in Berlin who<br />
took a look at my work and said: “OK,<br />
I know what you’re thinking, but you<br />
need to do more.”<br />
You’ve lived in cities all over the<br />
world. Has your residency in<br />
London inspired you?<br />
I really love Peckham: the scene, the<br />
African families, the hair salons that<br />
are slamming on Saturdays at<br />
12.30pm. You know they have nail<br />
art? I got a bunch of rhinestones and<br />
spelled out, in Braille, a quote from<br />
“Who’s Afraid of Virginia Woolf ?”<br />
about tears. Everyone is making art—<br />
I’ve never seen so much work.<br />
• Frieze Projects includes This Is Your Audio<br />
Guide (P3) and new work by Thomas Bayrle<br />
(P2), Joanna Rajkowska (P1) and Aslı<br />
Cavusoglu (P4)<br />
Biography<br />
Cécile B. Evans<br />
Born: Cleveland, Ohio, 1983<br />
Education: Tisch School of<br />
the <strong>Art</strong>s, New York<br />
University, 2001-05<br />
Lives and works: Berlin,<br />
Germany<br />
Future projects: 2012<br />
Lecture (performance), Fiac, Paris; residency,<br />
CCA Andratx, Majorca<br />
Selected solo exhibitions: 2012 “Trilogy”,<br />
Peckham <strong>Art</strong>ist Moving Image festival,<br />
London 2011 “Straight Up”, MSV Sex Kino,<br />
Berlin 2010 “From Five To Seven”, Galerie<br />
Gavriel, Bremen, Germany 2008 “What Are<br />
You Doing After the Dance?”, 0fr Galerie,<br />
Paris 2007 “Jack and Margot”, Reykjavik<br />
International Film Festival, Iceland<br />
Selected group exhibitions: 2012 “E-Vapor-<br />
8”, 319 Scholes, New York 2011 “Gaze & Lust:<br />
Sexuality in Contemporary <strong>Art</strong>”, Bergen<br />
Kunstmuseum, Norway; “A Skeleton In the<br />
Closet 2”, ReMap 3, Athens, Greece 2010 “<strong>Art</strong><br />
By Telephone” (with the curator Rebecca<br />
Lamarche-Vadel), <strong>Art</strong> Basel Miami Beach;<br />
Berlin Kreuzberg Biennale, Galerie im<br />
Regierungsviertel, Berlin 2009 “Renegades:<br />
25 Years of Performance at Exit <strong>Art</strong>”, Galeria<br />
de la Raza, San Francisco<br />
Winning works<br />
2011 Anahita Razmi Trisha Brown’s 1971 performance Roof Piece was the<br />
starting point for Razmi’s video installation, which referred to the rooftop<br />
protests in Tehran in 2009. <strong>The</strong> German-born artist showed Roof Piece Tehran,<br />
which featured 12 dancers wearing red, on 12 screens around the fair.<br />
2010 Simon Fujiwara After dreaming up a lost civilisation buried beneath<br />
Frieze, the British-Japanese artist created Frozen, a site-specific installation piecing<br />
together the fragments of his fictional city. Visitors to the fair saw descriptions of<br />
the ancient settlement, recovered artefacts and archaeological digs.<br />
2009 Jordan Wolfson String theory was the unlikely subject of Your<br />
Napoleon, the conceptual US artist’s walking tour of Frieze. <strong>The</strong>oretical physicists<br />
explained the concept to one visitor at a time, and transcripts of the tours formed<br />
a script that was directed by Wolfson and performed by actors in Regent’s Park.<br />
2008 Wilfredo Prieto In the Cuban artist’s site-specific installation, Ascended<br />
Line, the red carpet commonly associated with celebrities snaked around the<br />
galleries’ booths before joining the top of a flag-pole outside the fair—a comment<br />
on how the global fascination with fame can displace a sense of national identity.<br />
2007 Mario Garcia Torres For many years, “Allen Smithee” was a pseudonym<br />
used by film directors who had lost creative control of their work. In the Mexican<br />
conceptual artist’s I Am Not a Flopper Or…, the actor Stephen Campbell Moore<br />
played the fictional Smithee, performing a monologue about his many films.<br />
2006 Mika Rottenberg <strong>The</strong> New York-based artist’s work, Chasing Waterfalls:<br />
the Rise and Fall of the Amazing Seven Sutherland Sisters, Part 1, was inspired by<br />
siblings who sold hair-growth tonic near Niagara Falls in the late 19th century<br />
before joining P.T. Barnum’s circus to display their floor-length locks. R.H.<br />
• <strong>The</strong> Emdash Award replaced the Cartier Award in 2011<br />
Visit the Private Sales Online Gallery<br />
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ANDY WARHOL (1928-1987)<br />
<strong>The</strong> Scream (After Munch) (detail)<br />
screenprint in colors on Lenox Museum Board<br />
40 x 28 in. (101.6 x 71.1 cm.)<br />
Executed in 1984. This work is a unique color variant.<br />
©2012 <strong>The</strong> Andy Warhol Foundation for the Visual <strong>Art</strong>s, Inc. /<br />
<strong>Art</strong>ists Rights Society (ARS), New York
16<br />
BOOKS<br />
CONTEMPORARY ART<br />
<strong>The</strong> relationship between<br />
the commissioner of a<br />
work of art and the<br />
artist charged with delivering<br />
it is, writes Louisa<br />
Buck, “almost analogous<br />
to a marriage”. Which goes some way<br />
to explaining why commissioned<br />
works are on some occasions so lifeaffirming<br />
and on others so deeply<br />
regrettable. This well-conceived and<br />
eminently practical book is required<br />
reading for anyone intending to enter<br />
into this precarious union.<br />
Commissioning Contemporary<br />
<strong>Art</strong> is an introduction to, and a stepby-step<br />
guide through, the process of<br />
inviting an artist to fulfil an assignment.<br />
Buck, who is the contemporary<br />
art correspondent for <strong>The</strong> <strong>Art</strong><br />
<strong>Newspaper</strong>, identifies the challenges<br />
that this collaborative activity presents.<br />
<strong>The</strong> most predictable being that<br />
artists are defensive of their ideas,<br />
the patrons of their budgets, and each<br />
resents the disruption of one by the<br />
other. This self-styled handbook is<br />
useful to all parties as a means of<br />
avoiding the mistakes that can derail<br />
a project.<br />
It begins with a potted history of<br />
commissioning, reminding the reader<br />
that so many of the paintings and<br />
sculptures we revere today were<br />
made to satisfy a rich patron rather<br />
than an inner necessity. We are<br />
reminded, too, that while the treatment<br />
of artists as artisans might now<br />
seem demeaning, it in no way diminishes<br />
the quality of a work undertaken<br />
under contract. One need only<br />
visit a church in Rome to see that<br />
many of the greatest works of art<br />
were custom-made to fulfil a preordained<br />
purpose, in a specific location,<br />
under the aegis of a powerful institu-<br />
tion. This opening chapter also serves<br />
to deliver the point that the most fundamental<br />
principle to commissioning<br />
remains unchanged through the ages:<br />
pick good artists in whose talents you<br />
trust, and back them to the hilt.<br />
Yet while the commissioning<br />
process is nearly as old as art itself,<br />
Buck points out that its scope “has<br />
not so much expanded as exploded”.<br />
<strong>The</strong> proliferation of contemporary<br />
artistic modes such as film, installation<br />
and performance have expanded<br />
vastly the range of possibilities open<br />
to both artist and commissioner, and<br />
by extension the capacity for misconstruction.<br />
This book advises on how<br />
to best ensure that all parties are<br />
working towards the same ends by<br />
instituting procedural safeguards,<br />
both formal and informal, into the<br />
delivery programme.<br />
It is clear that working under commission<br />
can bring extraordinary benefits<br />
for both the artist and curator. By<br />
providing “the facilities or funds (or<br />
both) to develop aspects of an artist’s<br />
work that would hitherto have been<br />
impossible to achieve”, commissions<br />
have enabled the creation of breakthrough<br />
works by innumerable<br />
artists, from Rachel Whiteread to<br />
Jeremy Deller. <strong>The</strong> process also offers<br />
collectors and curators a greater personal<br />
involvement in the creation of a<br />
work than is allowed by the acquisition<br />
of pieces created without consideration<br />
for their ultimate placement,<br />
one reason that “direct patronage has<br />
traditionally had a status that extends<br />
beyond mere acquisition”.<br />
<strong>The</strong>re is an illicit thrill to be<br />
gained in intervening in the creative<br />
process which, according to several<br />
examples listed here, should in most<br />
cases be thoroughly suppressed.<br />
Among the book’s most enlightening<br />
quotations is a wonderful anecdote in<br />
which the collector Dennis Scholl<br />
describes his excitement at working<br />
on a commission with the British<br />
Marc Quinn’s commission for<br />
the Fourth Plinth: Alison<br />
Lapper Pregnant, 2005<br />
Commissioning laid bare<br />
An instruction manual for curators, collectors and artists<br />
Bertozzi & Casoni, Plate with Flamingo, Polychrome ceramic, 68 × 75 × 75cm<br />
BERTOZZI & CASONI<br />
regeneration<br />
13 october ‒ 10 november 2012 10am ‒ 6pm<br />
private view 12 october 7 ‒ 9pm<br />
ALL VISUAL ARTS<br />
2 omega place london n1 9dr<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
“<strong>The</strong> relationship<br />
between the artist and<br />
the commissioner is<br />
akin to a marriage”<br />
artist Liam<br />
Gillick. After the<br />
Miami-based collector’s<br />
second enthusiastic<br />
revision to the proposal,<br />
suggesting that blue be<br />
substituted for orange, Scholl<br />
received an email from the artist. It<br />
read: “Do you want the fucking piece<br />
or not?” Since then, Scholl concedes<br />
ruefully, “I’ve never ‘helped’ again.”<br />
By providing a near-comprehensive<br />
survey of the most important<br />
contemporary art commissions<br />
undertaken in the past 40 years, the<br />
book allows the reader to identify elements<br />
common to best practice.<br />
While these exemplar are interesting<br />
and informative, it is frustrating that<br />
the publication has no place for illustrative<br />
photographs to which the<br />
reader can refer. With that proviso,<br />
Commissioning Contemporary <strong>Art</strong><br />
is pleasingly designed, with quotes<br />
from influential artists, curators,<br />
patrons and gallerists scattered across<br />
the pages, and surprisingly readable<br />
for a book the primary function of<br />
which is as instruction manual.<br />
Curators, collectors and artists will<br />
also be indebted to the co-author,<br />
Daniel McClean, a specialist in art<br />
law, for his mercifully jargon-free<br />
guidance on such potentially divisive<br />
(and costly) practicalities as maintenance,<br />
copyright and contractual<br />
negotiations.<br />
<strong>The</strong> second<br />
half of this<br />
book provides a<br />
thorough appraisal of<br />
how best to address every<br />
applied issue that arises in any commission,<br />
be it for a private foundation<br />
or a public institution.<br />
Together, the art critic and legal<br />
expert successfully demythologise the<br />
process of commissioning a contemporary<br />
work of art. <strong>The</strong> book drums<br />
in the simple fact there is no substitute<br />
for a close association between<br />
the artist and patron, while simultaneously<br />
providing all the information<br />
required to ensure that this relationship<br />
is not disturbed by avoidable<br />
conflicts. This book should only<br />
encourage the increasing popularity,<br />
and ambition, of contemporary art<br />
commissions.<br />
Benjamin Eastham<br />
<strong>The</strong> author is a freelance writer on the arts<br />
and the co-founder and editor of the White<br />
Review. He is also the co-editor of Mythos<br />
Berlin: a London Perspective, which is due to<br />
be published today with the support of the<br />
German Embassy, London<br />
METAMORPHOSIS<br />
the transformation of being<br />
9 ‒12 october 2012 10am ‒ 8pm<br />
ALL VISUAL ARTS<br />
the crypt one marylebone london nw1 4qa<br />
ALL VISUAL ARTS WWW.ALLVISUALARTS.ORG T.+44 (0)20 7843 0410 INFO@ALLVISUALARTS.ORG<br />
Francis Picabia, La Chienne de Baskerville, 1932–33 (detail), oil on wood. Courtesy Gallerie Haas<br />
Commissioning Contemporary<br />
<strong>Art</strong>: a Handbook for Curators,<br />
Collectors and <strong>Art</strong>ists<br />
Louisa Buck and Daniel McClean<br />
Thames & Hudson, 320pp, £18.95 (hb)<br />
LOZ FLOWERS
www.pad-fairs.com<br />
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Skarstedt Gallery USA<br />
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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<br />
CENTRAL<br />
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28 Rutland Gate, SW7 1PQ<br />
• Hugo “Puck” Dachinger<br />
UNTIL 11/1/13<br />
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�Alan Cristea Gallery<br />
31 and 34 Cork Street, W1S 3NU<br />
• Edmund de Waal<br />
UNTIL 10/11/12<br />
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16-18 Berners Street, W1T 3LN<br />
• Ian Kiaer<br />
12/10/12-10/11/12<br />
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�Annely Juda Fine <strong>Art</strong><br />
23 Dering Street, W1S 1AW<br />
• Sigrid Holmwood<br />
09/10/12-21/12/12<br />
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W1F 7BG<br />
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Level 3, Silk Street, Barbican<br />
Centre, EC2Y 8DS<br />
• Everything Was Moving:<br />
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and 70s<br />
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Rain Room<br />
UNTIL 03/03/13<br />
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09/10/12-26/10/12<br />
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• Bruce McLean: Shapes of Sculpture<br />
10/10/12-03/11/12<br />
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4 Hanover Square, W1<br />
• Tim Noble and Sue Webster<br />
10/10/12-24/11/12<br />
www.blainsouthern.com<br />
British Library<br />
96 Euston Road, NW1 2DB<br />
• On the Road: Jack Kerouac<br />
UNTIL 27/12/12<br />
www.bl.uk<br />
British Museum<br />
Great Russell Street, WC1B 3DG<br />
• Shakespeare: Staging the World<br />
UNTIL 25/11/12<br />
• Renaissance to Goya<br />
UNTIL 06/01/13<br />
www.britishmuseum.org<br />
�Cabinet Gallery<br />
20a Northburgh St, EC1V 0EA<br />
• John Knight: Quiet Quality, 1974<br />
10/10/12-17/11/12<br />
Apt 6, 49-59 Old Street, EC1V 9HX<br />
• On the Correct Handling of<br />
Contradictions Among the People<br />
10/10/12-14/10/12<br />
www.cabinet.uk.com<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 19<br />
CALENDAR<br />
Frieze week 9-14 October 2012 Galleries showing at London’s fairs this week<br />
1 2 3<br />
1 “Metamorphosis: the Transformation of Being”, All Visual <strong>Art</strong>s, Kate MccGwire, FINE: Fucked-up, Insecure, Neurotic and Emotional, 2012 2 “Kiki Smith: Behold”, Timothy Taylor Gallery, Blue Moon I, 2011<br />
3 “Atelier Van Lieshout: Blastfurnace”, Carpenters Workshop Gallery<br />
Exhibitions<br />
�Carpenters Workshop<br />
Gallery<br />
3 Albemarle Street, W1S 4HE<br />
• Atelier Van Lieshout: Blastfurnace<br />
UNTIL 21/12/12<br />
www.cwgdesign.com<br />
�Carroll/Fletcher Gallery<br />
56-57 Eastcastle Street, W1W 8EQ<br />
• John Akomfrah: Hauntologies<br />
UNTIL 08/11/12<br />
www.carrollfletcher.com<br />
�Cass Sculpture<br />
Foundation<br />
Exhibition Road, SW7<br />
• Tony Cragg at Exhibition Road<br />
UNTIL 25/11/12<br />
www.sculpture.org.uk<br />
Courtauld Gallery<br />
Somerset House, Strand,<br />
WC2R 0RN<br />
• Lucian Freud: Etchings<br />
UNTIL 13/01/13<br />
• Peter Lely: a Lyrical Vision<br />
11/10/12-13/01/13<br />
www.courtauld.ac.uk<br />
�David Gill Galleries<br />
2-4 King Street, SW1Y 6QP<br />
• Gaetano Pesce: Six Tables on Water<br />
UNTIL 22/12/12<br />
www.davidgillgalleries.com<br />
�David Zwirner<br />
24 Grafton Street, W1S 4EZ<br />
• Luc Tuymans: Allo<br />
UNTIL 17/11/12<br />
www.davidzwirner.com<br />
Transparencies<br />
FURTHER<br />
LISTINGS<br />
www.theartnewspaper.<br />
com/whatson<br />
�Derek Johns<br />
12 Duke Street, SW1Y 6BN<br />
• Viceregal Colonial Paintings<br />
in the New World<br />
9/10/12-12/10/12<br />
www.derekjohns.co.uk<br />
�Elisabetta Cipriani<br />
23 Heddon Street, W1B 4BQ<br />
• Cynthia Marcelle<br />
11/10/12-17/11/12<br />
www.elisabettacipriani.com<br />
Embankment Galleries,<br />
Somerset House<br />
Strand, WC2R 1LA<br />
• Images 36: Best of British<br />
Illustration<br />
UNTIL 28/10/12<br />
• Night Paintings by Paul<br />
Benney<br />
UNTIL 09/12/12<br />
www.somersethouse.org.uk<br />
�Etro<br />
43 Old Bond Street, W1S 4QT<br />
• Massimo Listri: Prospettive<br />
12/10/12-12/11/12<br />
www.etro.com<br />
�Faggionato Fine <strong>Art</strong>s<br />
49 Albemarle Street, W1S 4JR<br />
• Serge Spitzer<br />
UNTIL 23/11/12<br />
www.faggionato.com<br />
�Francesca Galloway<br />
31 Dover Street, W1S 4ND<br />
• Red Stone<br />
UNTIL 09/11/12<br />
www.francescagalloway.com<br />
�Frith Street Gallery<br />
17-18 Golden Square,<br />
W1F 9JJ<br />
• Thomas Schütte: New Works<br />
UNTIL 15/11/12<br />
www.frithstreetgallery.com<br />
�Gagosian Gallery<br />
6-24 Britannia Street,<br />
WC1X 9JD<br />
• Franz West: Man with a Ball<br />
09/10/12-10/11/12<br />
17-19 Davies Street, W1K 3DE<br />
• Giuseppe Penone: Intersecting<br />
Gaze<br />
09/10/12-24/11/12<br />
www.gagosian.com<br />
Guildhall <strong>Art</strong> Gallery<br />
Guildhall Yard, EC2V 5AE<br />
• John Bartlett: London Sublime<br />
12/10/12-20/01/13<br />
www.guildhall-art-gallery.org.uk<br />
�Hamiltons<br />
13 Carlos Place, W1Y 2EU<br />
• Jedd Novatt: Chaos, Defining<br />
the Invisible<br />
UNTIL 03/11/12<br />
www.hamiltonsgallery.com<br />
�Haunch of Venison<br />
103 New Bond Street, W1S 1ST<br />
• Joana Vasconcelos<br />
10/10/12-17/11/12<br />
51 Eastcastle Street, W1W 8EB<br />
• Justin Mortimer<br />
12/10/12-24/11/12<br />
www.haunchofvenison.com<br />
�Hauser & Wirth<br />
196a Piccadilly, W1J 9DY<br />
• Rita Ackermann:<br />
Fire by Days<br />
UNTIL 03/11/12<br />
23 Savile Row, W1S 2ET<br />
• Thomas Houseago<br />
UNTIL 27/10/12<br />
www.hauserwirth.com<br />
�Helly Nahmad Gallery<br />
2 Cork Street, W1S 3LB<br />
• Modern Masters<br />
UNTIL 02/11/12<br />
www.hellynahmad.com<br />
Richard Serra Recent Drawings<br />
October 26 – December 15<br />
Catalogue available<br />
KEY<br />
Listings are arranged<br />
alphabetically by area<br />
� Commercial gallery<br />
Institute of Contemporary<br />
<strong>Art</strong>s<br />
12 Carlton House Terrace,<br />
<strong>The</strong> Mall, SW1Y 5AH<br />
• Bjarne Melgaard<br />
UNTIL 18/11/12<br />
• Hannah Sawtell: Osculator<br />
09/10/12-18/11/12<br />
• Trojan: Works on Paper<br />
09/10/12-18/11/12<br />
www.ica.org.uk<br />
�James Hyman Fine <strong>Art</strong><br />
16 Savile Row, W1S 3PL<br />
• Baldus and the Modern Landscape<br />
15/10/12-09/11/12<br />
www.jameshymangallery.com<br />
�Jean-Luc Baroni<br />
7-8 Mason’s Yard, Duke Street,<br />
St James’s, SW1Y 6BU<br />
• Matteo Baroni<br />
UNTIL 19/10/12<br />
www.jlbaroni.com<br />
�Karsten Schubert<br />
5-8 Lower John Street,<br />
Golden Square, W1F 9DR<br />
• Mel Bochner<br />
UNTIL 2/11/12<br />
www.karstenschubert.com<br />
�Katrin Bellinger at<br />
Colnaghi<br />
15 Old Bond Street, W1S 4AX<br />
• Érik Desmazières: Cabinet<br />
of Rarities<br />
UNTIL 26/10/12<br />
www.bellinger-art.com<br />
�Laura Bartlett Gallery<br />
10 Northington Street,<br />
WC1N 2JG<br />
• Lydia Gifford: the Neighbour<br />
13/10/12-17/11/12<br />
www.laurabartlettgallery.com<br />
CONTINUED ON PAGE 20<br />
CRAIG F. S TARR GALLERY<br />
5 East 73rd Street New York 212.570.1739 Mon-Sat 11- 5:30 www.starr-art.com
20<br />
CALENDAR<br />
Frieze week 9-14 October 2012<br />
�Lisson Gallery<br />
52-54 Bell Street, NW1 5DA<br />
• Anish Kapoor<br />
10/10/12-10/11/12<br />
www.lissongallery.com<br />
�Louisa Guinness Gallery<br />
35 Onslow Gardens, SW7 3PY<br />
• Sophia Vari<br />
UNTIL 04/11/12<br />
www.louisaguinnessgallery.com<br />
�Luxembourg and Dayan<br />
2 Savile Row, London W1S 3PA<br />
• Rob Pruitt’s Autograph<br />
Collection<br />
11/10/12-15/12/12<br />
www.luxembourgdayan.com<br />
�Marlborough Contemporary<br />
6 Albemarle Street, W1S 4BY<br />
• Angela Ferreira: Stone Free<br />
12/10/12-17/11/12<br />
www.marlboroughcontemporary.com<br />
�Marlborough Fine <strong>Art</strong><br />
6 Albemarle Street, W1S 4BY<br />
• Frank Auerbach: Next Door<br />
12/10/12-10/11/12<br />
www.marlboroughfineart.com<br />
�Max Wigram Gallery<br />
106 New Bond Street, W1S 1DN<br />
• FOS: Watchmaker<br />
10/10/12-15/12/12<br />
www.maxwigram.com<br />
�Mayor Gallery<br />
22a Cork Street, W1S 3NA<br />
• Turi Simeti: Pianissimo<br />
UNTIL 24/10/12<br />
www.mayorgallery.com<br />
�Michael Hoppen Gallery<br />
3 Jubilee Place, SW3 3TD<br />
• Daido Moriyama: Tights and Lips<br />
UNTIL 20/10/12<br />
www.michaelhoppengallery.com<br />
�Michael Werner Gallery<br />
22 Upper Brook Street, W1K 7PZ<br />
• Peter Doig: New Paintings<br />
UNTIL 22/12/12<br />
www.michaelwerner.com<br />
�MOT International<br />
First Floor, 72 New Bond Street,<br />
W1S 1RR<br />
• Laure Prouvost<br />
10/10/12-10/11/12<br />
www.motinternational.org<br />
Museum of London<br />
150 London Wall, EC2Y 5HN<br />
• At Home with the Queen<br />
UNTIL 28/10/12<br />
www.museumoflondon.org.uk<br />
National Gallery<br />
Trafalgar Square, WC2 5DN<br />
• A Masterpiece for the Nation<br />
UNTIL 11/11/12<br />
• Richard Hamilton: the<br />
Late Works<br />
10/10/12-13/01/13<br />
www.nationalgallery.org.uk<br />
National Portrait Gallery<br />
St Martin’s Place, WC2H 0HE<br />
• Marilyn Monroe: a British<br />
Love Affair<br />
UNTIL 24/03/13<br />
• <strong>The</strong> Queen: <strong>Art</strong> and Image<br />
UNTIL 21/10/12<br />
• Thomas Struth<br />
UNTIL 20/1/13<br />
www.npg.org.uk<br />
�Olyvia Fine <strong>Art</strong><br />
17 Ryder Street, SW1Y 6PY<br />
• <strong>The</strong> Clot Collection<br />
UNTIL 26/10/12<br />
www.olyviafineart.com<br />
�Osborne Samuel<br />
23A Bruton Street, W1J 6QG<br />
• Mark Humphrey<br />
10/10/12-27/10/12<br />
www.osbornesamuel.com<br />
�Pace London<br />
6 Burlington Gardens, W1S 3ET<br />
• Mark Rothko and Hiroshi<br />
Sugimoto: Dark Paintings<br />
and Seascapes<br />
UNTIL 17/11/12<br />
6-10 Lexington Street, W1F 0LB<br />
• Adam Pendleton: I’ll Be Your<br />
UNTIL 27/10/12<br />
www.pacegallerylondon.com<br />
Photographers’ Gallery<br />
16-18 Ramillies Street, WC2 7HY<br />
• Shoot! Existential Photography<br />
12/10/12-06/01/13<br />
• Tom Wood: Men and Women<br />
12/10/12-06/01/13<br />
www.thephotographersgallery.org.uk<br />
�Pilar Corrias<br />
54 Eastcastle Street, W1W 8EF<br />
• Koo Jeong: a Navigation<br />
Without Numbers<br />
10/10/12-10/11/12<br />
www.pilarcorrias.com<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
1 2 3<br />
�Regina Gallery<br />
22 Eastcastle Street, W1W 8DE<br />
• Deep into Russia<br />
9/10/12-17/11/12<br />
www.reginagallery.com<br />
�Richard Nagy<br />
22 Old Bond Street, W1S 4PY<br />
• <strong>The</strong> Benedict Silverman Collection<br />
UNTIL 24/11/12<br />
www.richardnagy.com<br />
FURTHER<br />
LISTINGS<br />
www.theartnewspaper.<br />
com/whatson<br />
�Robilant + Voena<br />
38 Dover Street, W1S 4NL<br />
• White: Marbles and Paintings<br />
from Antiquity to Now<br />
UNTIL 14/12/12<br />
www.robilantvoena.com<br />
Royal Academy of <strong>Art</strong>s<br />
Burlington House, W1J 0BD<br />
• Bronze<br />
UNTIL 09/12/12<br />
• RA Now<br />
11/10/12-11/11/12<br />
www.royalacademy.org.uk<br />
Saatchi Gallery<br />
Duke of York’s HQ, King’s Road,<br />
SW3 4RY<br />
• Out of Focus: Photography<br />
UNTIL 05/11/12<br />
www.saatchi-gallery.co.uk<br />
Victoria House, Bloomsbury<br />
Square, WC1B 4DA<br />
• New Sensations and the Future<br />
Can Wait<br />
09/10/12-14/10/12<br />
www.thefuturecanwait.com<br />
�Sadie Coles<br />
4 New Burlington Place, W1S 2HS<br />
• Laura Owens: Pavement<br />
Karaoke/Alphabet<br />
09/10/12-17/11/12<br />
• Sarah Lucas and Rohan<br />
Wealleans: White Hole<br />
UNTIL 02/13<br />
69 South Audley Street, W1K 2QZ<br />
• Raymond Pettibon<br />
UNTIL 17/11/12<br />
9 Balfour Mews, W1K 2BG<br />
• Darren Bader<br />
UNTIL 20/10/12<br />
www.sadiecoles.com<br />
�Sam Fogg<br />
15D Clifford Street, W1S 4SZ<br />
• Red Stone: Indian Stone<br />
Carving from Sultanate and<br />
Mughal India<br />
UNTIL 09/11/12<br />
www.samfogg.com<br />
�Selma Feriani Gallery<br />
23 Maddox Street, W1S 2QN<br />
• Maha Malluh: Just Des(s)erts<br />
UNTIL 11/11/12<br />
www.selmaferiani.com<br />
Serpentine Gallery<br />
Kensington Gardens, W2 3XA<br />
• Thomas Schütte: Faces and<br />
Figures<br />
UNTIL 18/11/12<br />
• Serpentine Gallery Pavilion:<br />
Herzog and de Meuron and<br />
Ai Weiwei<br />
UNTIL 14/10/12<br />
www.serpentinegallery.org<br />
�Simon Lee Gallery<br />
12 Berkeley Street, W1 8DT<br />
• Heimo Zobernig<br />
09/10/12-24/11/12<br />
Q-Park, 3-9 Old Burlington<br />
Street, W1S 3AF<br />
• Toby Ziegler: the Cripples<br />
10/10/12-20/10/12<br />
www.simonleegallery.com<br />
�Sprüth Magers<br />
7A Grafton Street, W1S 4EJ<br />
• Peter Fischli/David Weiss: Walls,<br />
Corners, Tubes<br />
10/10/12-10/11/12<br />
www.spruethmagers.com<br />
�Stair Sainty Gallery<br />
38 Dover Street, W1S 4NL<br />
• Federico Beltràn-Masses:<br />
Blue Nights and Libertine<br />
Legends<br />
UNTIL 16/11/12<br />
www.europeanpaintings.com<br />
�Stephen Friedman Gallery<br />
25-28 Old Burlington Street,<br />
W1S 3AN<br />
• Tom Friedman<br />
09/10/12-10/11/12<br />
www.stephenfriedman.com<br />
�Stuart Shave/Modern <strong>Art</strong><br />
23/25 Eastcastle Street,<br />
W1W 8DF<br />
• David Noonan<br />
10/10/12-10/11/12<br />
www.modernart.net<br />
Tate Britain<br />
Millbank, SW1P 4RG<br />
• <strong>Art</strong> Now: Jess Flood-Paddock<br />
UNTIL 06/01/13<br />
• Howard Hodgkin<br />
UNTIL 02/12/12<br />
• Pre-Raphaelites: Victorian<br />
Avant-garde<br />
UNTIL 13/01/13<br />
• Turner Prize 2012<br />
UNTIL 06/01/13<br />
www.tate.org.uk/britain<br />
�Thomas Dane<br />
11 Duke Street, SW1Y 6BN<br />
• Lari Pittman: Thought-Forms<br />
09/10/12-17/11/12<br />
www.thomasdane.com<br />
�Timothy Taylor Gallery<br />
15 Carlos Place, W1K 2EX<br />
• Kiki Smith: Behold<br />
11/10/12-17/11/12<br />
www.timothytaylorgallery.com<br />
Victoria and Albert Museum<br />
Cromwell Road, South<br />
Kensington, SW7 2RL<br />
• <strong>Art</strong>hur Bispo do Rosário<br />
UNTIL 28/10/12<br />
• Ballgowns: British Glamour<br />
Since 1950<br />
UNTIL 06/01/13<br />
www.vam.ac.uk<br />
�Waddington Custot<br />
Galleries<br />
11 Cork Street, W1S 3LT<br />
• Robert Indiana Sculptures<br />
UNTIL 10/11/12<br />
www.waddingtoncustot.com<br />
Wallace Collection<br />
Hertford House, Manchester<br />
Square, W1M 6BN<br />
• Making the Renaissance<br />
Sword<br />
UNTIL 31/03/13<br />
www.wallacecollection.org<br />
Wellcome Collection<br />
183 Euston Road,<br />
NW1 2BE<br />
• Superhuman<br />
UNTIL 16/10/12<br />
www.wellcome.ac.uk<br />
�White Cube, Mason’s Yard<br />
25-26 Mason’s Yard, SW1Y 6BU<br />
• Magnus Plessen: Riding<br />
the Image<br />
UNTIL 10/11/12<br />
www.whitecube.com<br />
KEY<br />
Listings are arranged<br />
alphabetically by area<br />
� Commercial gallery<br />
1 “Thomas Schütte: Faces and Figures”, Serpentine Gallery, Memorial for Unknown <strong>Art</strong>ist, 2011 2 “Marilyn Monroe: a British Love Affair”, National Portrait Gallery, Jack Cardiff, Marilyn Monroe, 1956<br />
3 “Goshka Macuga”, Kate MacGarry, I’m a Rebel, 2011 (detail)<br />
CONTINUED FROM PAGE 19<br />
Auctions<br />
Phillips de Pury<br />
Howick Place, SW1P 1BB<br />
• Contemporary art evening<br />
auction<br />
WEDNESDAY 10 OCTOBER, 7PM<br />
• Contemporary art<br />
day auction<br />
THURSDAY 11 OCTOBER, 2PM<br />
www.phillipsdepury.com<br />
Christie’s (King Street)<br />
8 King Street, SW1Y 6QT<br />
• Post-war and contemporary<br />
<strong>Art</strong>…<br />
• followed by: the Italian Sale<br />
THURSDAY 11 OCTOBER, 7PM<br />
• Post-war and contemporary<br />
day auction<br />
FRIDAY 12 OCTOBER, 12PM<br />
www.christies.com<br />
Bonhams<br />
101 New Bond Street,W1S 1SR<br />
• Contemporary art and design<br />
THURSDAY 11 OCTOBER, 4PM<br />
www.bonhams.com<br />
Sotheby’s<br />
34-35 Bond Street, W1A 2AA<br />
• 20th-century Italian <strong>Art</strong><br />
FRIDAY 12 OCTOBER, 6PM<br />
• Contemporary art evening<br />
auction<br />
FRIDAY 12 OCTOBER, 7PM<br />
• Contemporary art day auction<br />
SATURDAY 13 OCTOBER, 11AM & 2PM<br />
www.sothebys.com<br />
LONDON<br />
EAST<br />
MACGARRY KATE<br />
�Ancient & Modern<br />
AND<br />
201 Whitecross Street,<br />
ARTIST<br />
EC1Y 8QP<br />
THE OF<br />
• Brian Chalkley: Female Trouble<br />
13/10/12-10/11/12<br />
COURTESY<br />
www.ancientandmodern.org<br />
MACUGA:<br />
�Arcade<br />
CARDIFF.<br />
87 Lever Street, EC1V 3RA<br />
JACK ©<br />
• Can Altay: Distributed<br />
UNTIL 03/11/12<br />
MONROE:<br />
www.arcadefinearts.com<br />
DEBLONDE.<br />
Bloomberg Space<br />
50 Finsbury Square, EC2A 1HD<br />
GAUTIER<br />
• Hannah Sawtell: Vendor<br />
2012 ©<br />
UNTIL 12/01/13<br />
www.bloombergspace.com SCHUTTE:
GILLICK: IMAGE COURTESY OF MAUREEN PALEY<br />
“Collection Sandretto Re Rebaudengo: Maurizio Cattelan”, Whitechapel Gallery, Bidibidobidiboo,<br />
1996 (detail)<br />
�Campoli Presti<br />
223 Cambridge Heath Road, E2 0EL<br />
• Blake Rayne: Wild Country<br />
13/10/12-16/12/12<br />
www.campolipresti.com<br />
�Carlos/Ishikawa<br />
Unit 4, 88 Mile End Road, E1 4UN<br />
• Net Narrative<br />
UNTIL 20/10/12<br />
www.carlosishikawa.com<br />
�Carl Freedman Gallery<br />
29 Charlotte Road, EC2A 3PB<br />
• David Brian Smith<br />
UNTIL 03/11/12<br />
www.carlfreedman.com<br />
Chisenhale Gallery<br />
64 Chisenhale Road, E3 5QZ<br />
• Ed Atkins: Us Dead Talk Love<br />
UNTIL 11/11/12<br />
www.chisenhale.org.uk<br />
�Galerie Daniel Blau<br />
51 Hoxton Square, N1 6PB<br />
• David Bailey: Papua Polaroids<br />
UNTIL 03/11/12<br />
www.danielblau.com<br />
�Herald Street<br />
2 Herald Street, E2 6JT<br />
• Klaus Weber<br />
UNTIL 04/11/12<br />
www.heraldst.com<br />
�Hollybush Gardens<br />
Unit 2, BJ House, 10-14 Hollybush<br />
Gardens, E2 9QP<br />
• Falke Pisano<br />
UNTIL 21/10/12<br />
www.hollybushgardens.co.uk<br />
Institute of International<br />
Visual <strong>Art</strong>s<br />
Rivington Place, off Rivington<br />
Street, EC2A 3BA<br />
• Kimathi Donkor: Queens<br />
of the Undead<br />
UNTIL 24/11/12<br />
www.iniva.org<br />
�Kate MacGarry<br />
27 Old Nichol Street, E2 7HR<br />
• Goshka Macuga<br />
UNTIL 27/10/12<br />
www.katemacgarry.com<br />
�Limoncello<br />
15a Cremer Street, E2 8HD<br />
• Jesse Wine<br />
UNTIL 17/11/12<br />
www.limoncellogallery.co.uk<br />
�Matt’s Gallery<br />
42-44 Copperfield Road, E3 4RR<br />
• Revolver Part II: Richard Grayson<br />
and Robin Klassnik<br />
UNTIL 21/10/12<br />
• Roy Voss: Cast<br />
12/10/12-14/10/12<br />
www.mattsgallery.org<br />
�Maureen Paley<br />
21 Herald Street, E2 6JT<br />
• Liam Gillick: Margin Time<br />
UNTIL 18/11/12<br />
www.maureenpaley.com<br />
Parasol Unit<br />
14 Wharf Road, N1 7RW<br />
• Bharti Kher<br />
UNTIL 11/11/12<br />
www.parasol-unit.org<br />
�Seventeen<br />
17 Kingsland Road, E2 8AA<br />
• Susan Collis: That Way and This<br />
UNTIL 10/11/12<br />
• Sound Spill: Haroon Mirza, Thom<br />
O’Nions and Richard Sides<br />
UNTIL 10/11/12<br />
www.seventeengallery.com<br />
�<strong>The</strong> Approach<br />
47 Approach Road, E2 9LY<br />
• Evan Holloway<br />
UNTIL 11/11/12<br />
www.theapproach.co.uk<br />
�Victoria Miro Gallery<br />
16 Wharf Road, N1 7RW<br />
• Elmgreen & Dragset: Harvest<br />
UNTIL 10/11/12<br />
www.victoria-miro.com<br />
�Vilma Gold<br />
6 Minerva Street, E2 9EH<br />
• Karthik Pandian<br />
UNTIL 27/10/12<br />
www.vilmagold.com<br />
Wapping Project<br />
Wapping Hydraulic Power<br />
Station, Wapping Wall, E1W 3ST<br />
• Mitra Tabrizian:<br />
Another Country<br />
UNTIL 02/11/12<br />
• Kris Ruhns: Landing on Earth<br />
UNTIL 14/11/12<br />
www.thewappingproject.com<br />
�White Cube<br />
48 Hoxton Square, N1 6PB<br />
• Runa Islam<br />
UNTIL 03/11/12<br />
www.whitecube.com<br />
Vienna . Munich . London . Zurich . Singapore<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 21<br />
Whitechapel Gallery<br />
77-82 Whitechapel High Street,<br />
E1 7QX<br />
• Collection Sandretto Re<br />
Rebaudengo: Maurizio Cattelan<br />
UNTIL 02/12/12<br />
• Matt Stokes<br />
UNTIL 2/12/2012<br />
• Mel Bochner<br />
UNTIL 20/12/12<br />
• <strong>The</strong> Bloomberg Commission:<br />
Giuseppe Penone<br />
UNTIL 01/09/2013<br />
www.whitechapel.org<br />
�Wilkinson Gallery<br />
50-58 Vyner Street, E2 9DQ<br />
• Mark Alexander<br />
12/10/12-11/11/12<br />
• Sung Hwan Kim<br />
12/10/12-11/11/12<br />
www.wilkinsongallery.com<br />
NORTH<br />
�All Visual <strong>Art</strong>s<br />
2 Omega Place, N1 9DR<br />
• Bertozzi and Casoni: Regeneration<br />
13/10/12-10/11/12<br />
<strong>The</strong> Crypt, 1 Marylebone, NW1 4AQ<br />
• Metamorphosis<br />
09/10/12-14/10/12<br />
www.allvisualarts.org<br />
Ben Uri Gallery: <strong>The</strong> London<br />
Jewish Museum of <strong>Art</strong><br />
108a Boundary Road, NW8 0RH<br />
• Chaim Soutine and His<br />
Contemporaries<br />
UNTIL 28/10/12<br />
www.benuri.org.uk<br />
Camden <strong>Art</strong>s Centre<br />
Arkwright Road, NW3 6DG<br />
• Eric Bainbridge: Steel Sculptures<br />
UNTIL 02/12/12<br />
• Simon Martin: UR Feeling<br />
UNTIL 02/12/12<br />
www.camdenartscentre.org<br />
“Peter Lely”, Courtauld, Two<br />
Children Singing, around 1650<br />
David Roberts <strong>Art</strong><br />
Foundation<br />
Symes Mews, NW1 7JE<br />
• A House of Leaves<br />
UNTIL 10/11/12<br />
www.davidrobertsartfoundation.com<br />
Estorick Collection<br />
39a Canonbury Square, N1 2AN•<br />
Bruno Munari: My Futurist Past<br />
UNTIL 23/12/12<br />
www.estorickcollection.com<br />
Freud Museum<br />
20 Maresfield Gardens, NW3 5SX<br />
• Saying It<br />
UNTIL 18/11/12<br />
www.freud.org.uk<br />
Jewish Museum<br />
Raymond Burton House, 129-131<br />
Albert Street, NW1 7NB<br />
• Adi Nes: the Village<br />
11/10/12-03/02/13<br />
www.jewishmuseum.org.uk<br />
Zabludowicz Collection<br />
176 Prince of Wales Road,<br />
NW5 3PT<br />
•Zabludowicz Collection Invites:<br />
Richard Sides<br />
UNTIL 21/10/12<br />
• Matthew Darbyshire: T Rooms<br />
UNTIL 02/12/12<br />
www.zabludowiczcollection.com<br />
SOUTH<br />
Alma Enterprises Gallery<br />
38-40 Glasshill Street, SE1 0QR<br />
• Neil Hedger: Scary Monsters<br />
UNTIL 04/11/12<br />
www.almaenterprises.com<br />
Dulwich Picture Gallery<br />
Gallery Road, SE21 7AD<br />
• Cotman in Normandy<br />
10/10/12-13/01/13<br />
www.dulwichpicturegallery.org.uk<br />
�Corvi-Mora<br />
1a Kempsford Road, SE11 4NU<br />
• Pierpaolo Campanini<br />
UNTIL 20/10/12<br />
www.corvi-mora.com<br />
�Greengrassi<br />
1a Kempsford Road, SE11 4NU<br />
• David Musgrave<br />
UNTIL 20/10/12<br />
www.greengrassi.com<br />
Hayward Gallery<br />
Southbank Centre, Belvedere<br />
Road, SE1 8XX<br />
• <strong>Art</strong> of Change: New Directions<br />
from China<br />
UNTIL 09/12/12<br />
• Someday All the Adults Will Die:<br />
Punk Graphics 1971-84<br />
UNTIL 04/11/12<br />
www.hayward.org.uk<br />
Imperial War Museum<br />
Lambeth Road, SE1 6HZ<br />
• Cecil Beaton: <strong>The</strong>atre of War<br />
UNTIL 01/01/13<br />
�Jerwood Space<br />
171 Union Street, SE1 OLN<br />
• Jerwood Drawing Price 2012<br />
UNTIL 28/10/12<br />
• Johann Arens<br />
UNTIL 15/12/12<br />
www.jerwoodspace.co.uk<br />
SPECIALISED SP E C I A L ISED<br />
FFINE<br />
IN<br />
E AART<br />
R T I INSURANCE NS<br />
U R A N C E BROKER BRO<br />
K ER<br />
KEY<br />
Listings are arranged<br />
alphabetically by area<br />
� Commercial gallery<br />
Fairs<br />
Frieze <strong>Art</strong> Fair<br />
Regent’s Park, NW1<br />
11-13 OCTOBER, 12PM-7PM<br />
14 OCTOBER, 12PM-6PM<br />
www.friezeartfair.com<br />
Frieze Masters<br />
Regent’s Park, NW1<br />
11-13 OCTOBER, 12PM-7PM<br />
14 OCTOBER, 12PM-6PM<br />
www.friezemasters.com<br />
Moniker<br />
54 Holywell Lane, EC2A 3PQ<br />
11 OCTOBER, 7PM-9PM<br />
12-13 OCTOBER, 11AM-7PM<br />
14 OCTOBER, 11AM-5PM<br />
www.monikerartfair.com<br />
Moving Image<br />
Oxo Tower Wharf, Bargehouse<br />
Street, South Bank, SE1 9PH<br />
11-13 OCTOBER, 11AM-7PM<br />
14 OCTOBER, 11AM-6PM<br />
www.moving-image.info<br />
Multiplied<br />
Christie’s, 85 Old Brompton<br />
Road, SW7 3LD<br />
12 OCTOBER, 9AM-7.30PM<br />
13 OCTOBER, 11AM-7.30PM<br />
14 OCTOBER, 11AM-6PM<br />
15 OCTOBER, 9AM-5PM<br />
www.multipliedartfair.com<br />
Pavilion of <strong>Art</strong> & Design<br />
London<br />
Berkeley Square, W1<br />
10-14 OCTOBER, 11AM-8PM<br />
www.pad-fairs.com<br />
Sunday<br />
35 Marylebone Road, NW1 5LS<br />
11-13 OCTOBER, 12PM-8PM<br />
14 OCTOBER, 12PM-6PM<br />
www.sunday-fair.com<br />
South London Gallery<br />
65 Peckham Road, SE5 8UH<br />
• Rashid Johnson: Shelter<br />
UNTIL 25/11/12<br />
• Drip, Drape, Draft<br />
UNTIL 25/11/12<br />
www.southlondongallery.org<br />
Tate Modern<br />
Bankside Power Station,<br />
25 Sumner Street, SE1 9TG<br />
• Edvard Munch: the Modern Eye<br />
UNTIL 14/10/12<br />
• Aldo Tambellini: Retracing Black<br />
at <strong>The</strong> Tanks<br />
UNTIL 14/10/12<br />
• <strong>The</strong> Unilever Series:<br />
Tino Sehgal<br />
UNTIL 28/10/12<br />
• William Klein and Daido<br />
Moriyama<br />
10/10/12-20/01/13<br />
www.tate.org.uk/modern<br />
�White Cube<br />
144-152 Bermondsey Street,<br />
SE1 3TQ<br />
• <strong>The</strong>aster Gates: My Labour<br />
Is My Protest<br />
UNTIL 11/11/12<br />
www.whitecube.com<br />
• Listings edited by Belinda Seppings<br />
with additional research by<br />
Ermanno Rivetti<br />
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In October’s<br />
main paper<br />
Our current edition has 120<br />
pages packed with the latest art<br />
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gossip)<br />
News<br />
Steve<br />
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(right) gets a<br />
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Museums<br />
Two huge state-run museums<br />
open in Shanghai, the Michael<br />
Heizer effect on Los Angeles<br />
Exhibitions<br />
Photography gets institutional<br />
stamp of approval as an art form,<br />
Vermeer’s renaissance<br />
Conservation<br />
Klimt’s studio opens its doors,<br />
De Sade’s gambling den restored<br />
Comment & Analysis<br />
Why Berlin’s Old Masters should<br />
move to the Museum Island<br />
Features<br />
Documentary photographers<br />
and artists celebrate the drama<br />
of the race to the White House<br />
Books & Media<br />
How Hitler destroyed Berlin’s<br />
art world, preview of the<br />
London Film Festival<br />
<strong>The</strong> <strong>Art</strong> <strong>Newspaper</strong> 2<br />
Special focus<br />
When ancient meets modern:<br />
the rise of crossover collecting<br />
<strong>Art</strong> Market<br />
LA gallery Blum & Poe expands in<br />
Japan, Christie’s looks for buyers<br />
in Baku, why LA is tricky for commercial<br />
galleries, the apparent<br />
boom in using art to raise a loan<br />
Get your free copy<br />
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Coming in November<br />
Special focus Russia’s leading<br />
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22<br />
THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012<br />
DIARY<br />
A message to Putin<br />
Last year, the top spot in <strong>Art</strong> Review<br />
magazine’s “Power 100” was held by<br />
Ai Weiwei, and, although this year’s<br />
parade of art-world movers and shakers<br />
will not be announced until 18<br />
October, we can reveal that political<br />
activism has yet again been recognised<br />
with the inclusion of the Russian feminist<br />
punk band Pussy Riot in the lineup.<br />
According to the editor of <strong>Art</strong><br />
Review, Mark Rappolt, the anti-Putin<br />
collective—three of whom were sentenced<br />
to two years’ imprisonment in<br />
August on charges of hooliganism and<br />
religious hatred—are positioned<br />
“somewhere in the middle” of the list.<br />
“<strong>The</strong>y have made a powerful contribution<br />
to the issues of free speech and<br />
art, and this persuaded the panel to<br />
include them, even though they are<br />
not strictly speaking artists,” he<br />
reveals. Ai’s selection for the 2011 list<br />
was greeted by a furious outburst<br />
from the Chinese government, which<br />
condemned the magazine’s “political<br />
bias and perspective”. Let’s see if Pussy<br />
Riot’s presence in the “Power” pantheon<br />
provokes any comment from<br />
President Putin, who has stated that<br />
the imprisoned trio, who are appealing,<br />
“got what they asked for”.<br />
<strong>Art</strong>oon by Pablo Helguera<br />
Memory Marathon<br />
12, 13 , 14 October<br />
‘ At culture’s bleeding<br />
edge…non-stop marathon<br />
of art, talks, music and<br />
performance…’<br />
<strong>The</strong> Guardian<br />
Tickets<br />
£25/£20 (two day), £15/£10 (one day)<br />
Ticketweb 08444 711 000<br />
www.ticketweb.co.uk<br />
www.serpentinegallery.org<br />
Why the chef saw red<br />
Calling all Titian-haired art titans:<br />
there are still a few places left at the<br />
26-strong Ginger Curators’ Dinner,<br />
cooked and presided over by Margot<br />
Henderson, the art world’s favourite<br />
flame-haired chef, who is also doing<br />
the catering for Frieze London’s VIP<br />
room. <strong>The</strong> invitation is part of a foodthemed<br />
Frieze Projects programme<br />
called Colosseum of the Consumed, hosted<br />
by Grizedale <strong>Art</strong>s/Yangjiang Group.<br />
<strong>The</strong> dinner is open to “any ginger/redhaired<br />
curators, assistant curators, editorial<br />
assistants or general art types”,<br />
and takes place at the groups’ stand<br />
(FL, P5, Friday, 5pm-8pm). Scoring high<br />
on the Ginge-o-meter is the Tate,<br />
which has already bagged three places<br />
with a red-headed triumvirate consisting<br />
of Nick Cullinan from Tate<br />
Modern, Martin Clark from Tate St<br />
Ives and Tate Liverpool’s Gavin<br />
Delahunty. Carrot soup, anyone?<br />
It’s the way you tell it<br />
Visitors to <strong>The</strong>se associations, Tino<br />
Sehgal’s commission for Tate<br />
Modern’s Turbine Hall, may spot a<br />
surprisingly familiar face this week<br />
among the 50 volunteers who have<br />
been choreographed by the artist to<br />
engage members of the public in various<br />
encounters. For among those<br />
intermittently jogging, chanting and<br />
regaling strangers with often highly<br />
personal stories is the writer, curator<br />
and design historian Emily King, who<br />
also happens to be married to the codirector<br />
of Frieze, Matthew Slotover.<br />
Modern life is rubbish<br />
Prolific punkish artists Tim Noble and Sue Webster are all over town this week.<br />
Last night, they inaugurated Blain Southern’s new Caruso St John-designed<br />
space in Hanover Square with a characteristically gritty series of trademark<br />
works. <strong>The</strong> show features self-portraits, which obliquely chart the vicissitudes of<br />
their relationship and are created by the shadows cast by artfully arranged piles<br />
of rubbish. <strong>The</strong>se include the teetering two-storey structure fashioned from<br />
stacked debris entitled My Beautiful Mistake, 2012, of which the artists boast:<br />
“We made it all ourselves and it cost nothing!” A few streets away, in All Visual<br />
<strong>Art</strong>s’ hastily relocated “Metamorphosis” show (now in the crypt of 1 Marylebone<br />
Road), their joint image emerges out of a macabre tangle of dead cats and birds,<br />
while on Friday, they will perform their “Nihilistic Optimistic” album at the<br />
Vinyl Factory in Chelsea against a backdrop of specially commissioned portraits<br />
by Dennis Morris, the immortaliser of the likes of David Bowie, Bob Marley and<br />
the Sex Pistols. Just say N[ihilistic]O[ptimistic]…<br />
“I don’t mug people; I talk to those<br />
who want to talk,” King says. “Most of<br />
my life I have to initiate things, but<br />
here, it’s like a job—you go in and<br />
you do what you are told, but there’s<br />
also room for skill, craft and the honing<br />
of my storytelling. It’s got a lot in<br />
common with being a corporate wife.”<br />
To boldly go<br />
A wilder and more hedonistic hinterland<br />
was revisited by many artworld<br />
players, including the<br />
painter Peter Doig and the<br />
film-maker John<br />
Maybury, who reunited<br />
for a show at the<br />
Institute of<br />
Contemporary <strong>Art</strong>s<br />
devoted to the work of<br />
Trojan, the artist,<br />
designer and 1980s clubscene<br />
icon who died of a<br />
drug overdose in the late<br />
1980s at the age of 21. Arranged<br />
against a backdrop of the artist’s<br />
friend Leigh Bowery’s “Star Trek”<br />
wallpaper—found and reproduced by<br />
Gregor Muir, the director of the ICA,<br />
who also happens to be a fan of the<br />
artist—Trojan’s many prescient<br />
pieces, such as his pre-Sarah Lucas<br />
fried-egg-and-underpants designs for<br />
Friday 12 October<br />
Tarek Atoui performs La Suite with Uriel Barthélémi,<br />
John Butcher, Mira Calix, Susie Ibarra, Hassan Khan, KK Null<br />
(Kazuyuki Kishino), Lukas Ligeti, Robert Lowe, Ikue Mori,<br />
Sara Parkins, Zeena Parkins, Ghassan Sahhab, Sam Shalabi<br />
Saturday 13 – Sunday 14 October<br />
Etel Adnan, Ida Applebroog, Siah Armajani, Ed Atkins, Tarek Atoui,<br />
Lutz Bacher, John Berger, Dara Birnbaum, Tim Bliss, Geta Bratescu,<br />
Gavin Bryars, Daniel Buren, Evan Calder Williams, Olivier Castel,<br />
Mariana Castillo Deball, Ed Cooke, Dennis Cooper, Winnie Cott,<br />
Douglas Coupland, Michael Craig-Martin, Alison Crawshaw, Adam<br />
Curtis, Pierre de Meuron, Brian Dillon, Marcus du Sautoy, Brian Eno,<br />
Joshua Foer, Alberto Garutti, Gilbert & George, Liam Gillick, John<br />
Giorno, Amos Gitai, David Goldblatt, Dominique Gonzalez-Foerster,<br />
Douglas Gordon, Alice Herz-Sommer filmed by Ron Arad,<br />
Jacques Herzog, Richard Hollis, John Hull, Ragnar Kjartansson,<br />
Isabel Lewis, David Lynch, Fumihiko Maki, Viktor Mayer-Schönberger,<br />
China Miéville, Jeremy Millar, Adrian Piper, Alice Rawsthorn,<br />
James Richards, Israel Rosenfield, Jacques Roubaud, Dimitar<br />
Sasselov, Donald Sassoon, Ella Shohat, Cally Spooner, Luc Steels,<br />
Michael Stipe, Jan Szymczuk, Jean-Yves Tadié, Timothy Taylor,<br />
Sissel Tolaas, Gisèle Vienne, Marina Warner, Ai Weiwei, Eyal<br />
Weizman, Richard Wentworth, Jay Winter and Lynette Yiadom-Boakye<br />
Michael Clark’s early dance pieces and<br />
some prophetically Hirstean anatomical<br />
collages, were a stark and sobering<br />
reminder of what might have been…<br />
A bit of a shower<br />
An artist’s material needs can be taxing<br />
for galleries, but Josh Kline takes<br />
the cake. Oliver Newton, the coowner<br />
of the New York gallery 47<br />
Canal (FL, R6), spent yesterday morning<br />
running to four different Boots<br />
chemists to buy 40 bottles of<br />
Lynx men’s shower gel.<br />
Some of the gel is being<br />
used to fill bottles in the<br />
shape of Norman<br />
Foster’s “gherkin” skyscraper<br />
in London (for a<br />
piece entitled Why go<br />
into architecture when you<br />
can become a derivatives<br />
trader?), but others, displayed<br />
on shelves, resembling<br />
a wall in a Duane Reade pharmacy<br />
in New York, are altered with special<br />
labels. Kline’s imagined variety<br />
“Aspiration” claims to contain euros<br />
and the drug Adderall. “Trafficking”<br />
and “Persian Petrol” are supposed to<br />
contain Russian roubles and US dollars<br />
respectively. Speed and money:<br />
perfect for an art fair.<br />
Memory Marathon supported by<br />
<strong>The</strong> Annenberg Foundation<br />
With the generous support of the<br />
Memory Circle: Richard and Susan Hayden<br />
With kind assistance from DLD and <strong>The</strong> Kensington Hotel<br />
Funded by <strong>The</strong> Space<br />
Media Partners: <strong>The</strong> Independent, AnOther<br />
Tarek Atoui La Suite commissioned by<br />
Sharjah <strong>Art</strong> Foundation<br />
With the generous support of Badr Jafar<br />
Also showing at the Serpentine Gallery<br />
Thomas Schutte: Faces & Figures<br />
Serpentine Gallery Pavilion 2012<br />
by Herzog & de Meuron and Ai Weiwei<br />
Serpentine Gallery<br />
Kensington Gardens<br />
London W2 3XA<br />
T +44 (0)20 7402 6075<br />
information@serpentinegallery.org<br />
www.serpentinegallery.org<br />
"I haven’t seen this<br />
many crucifixes since<br />
Catholic grade school"<br />
ADAM SHEFFER OF CHEIM & READ<br />
(C9) AT FRIEZE MASTERS<br />
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Michalska, Javier Pes, Charmaine Picard, Riah<br />
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BOOK LAUNCH: COURTESY OF PHILLIPS DE PURY & COMPANY/IMAGES IAN BELL
<strong>The</strong> Absolut <strong>Art</strong> Bureau is pleased<br />
to announce a new format for the<br />
Award ceremony:<br />
STOCKHOLM, SEPTEMBER 2013<br />
—<br />
Two categories:<br />
ART WORK & ART WRITING<br />
—<br />
Cash prize for winning artists and art writers: €20,000<br />
Funding toward the realization of a new dream project:<br />
up to €100,000 (art work) and €35,000 (art writing)<br />
Hybrid two-step selection process: five-member jury<br />
evaluating nominations by fifteen international experts<br />
2013 Jury President: Carolyn Christov-Bakargiev<br />
<strong>Art</strong>istic Director, dOCUMENTA(13)<br />
—<br />
www.absolutartbureau.com/absolut-art-award<br />
Absolut <strong>Art</strong> Bureau is a unit of <strong>The</strong> Absolut Company AB