2 NEWS THE ART NEWSPAPER FRIEZE ART FAIR Wednesday 10 October 2012 Pavilion is calm, but will there be a storm? Dealers are optimistic but closely watching the fair’s shared future with Frieze Masters DESIGN London. As the sixth edition of the Pavilion of <strong>Art</strong> and Design (PAD) fair in London opened to VIPs on Monday, one question was politely being avoided: how would it fare against the new contender, Frieze Masters? While many appeared to be embracing the market’s current “the more the merrier” attitude, others were waiting to see how the situation unfolds. “I think we’re all just speculating about the impact Frieze Masters will have,” says Bethanie Brady of the New York-based Paul Kasmin Gallery (also showing at Frieze London). “<strong>The</strong> fairs present works in different contexts, so there’s a chance to show the same artists in different ways.” Only two of the event’s regular exhibitors, the Sladmore Gallery and Faggionato Fine <strong>Art</strong> gallery, decided to show at Frieze Masters instead. Meanwhile, the US galleries L&M <strong>Art</strong>s, Paul Kasmin Gallery, Castelli and Skarstedt Gallery were among those joining PAD for the first time this year. China’s Pearl Lam Design has returned for the first time since 2007. <strong>The</strong> fairs share a vision of mixing objects from different periods and genres. At PAD, this has consistently resulted in elegant stands, often evoking luxurious interiors, and this year proves no different. With a nod to the vogue for “cross-collecting” (a catch-all phrase for collecting across periods, and across <strong>The</strong> designer Danful Yang with her piece Angels or Devils, 2012, at Pearl Lam Design fine and decorative art), the Luxembourg & Dayan gallery has mounted an eye-catching stand of glittering “Panda” paintings by the US artist Rob Pruitt alongside Chinese archaeological objects. “It doesn’t matter when something was made—it’s about the quality of the piece,” Daniella Luxembourg says. <strong>The</strong> gallery had sold “more than one” of the paintings, priced at around $120,000, by the end of the VIP evening. A key attraction of the fair is its inclusion of design. Frieze Masters focuses on “fine art”, which, for many of PAD’s exhibitors, is less appealing. “We like the way you can mix up art with design; we’re hoping it may introduce us to designers we don’t normally meet,” says Barbara Bertozzi Castelli of the New York-based Castelli Gallery. “Frieze London has always been ‘cutting edge’, which we’re not, and Masters sounds a bit older than what we show— so this seemed right for us.” <strong>The</strong> gallery Relaunch of journal that made history Paris. Sam Keller, the director of the Fondation Beyeler in Basel and the former director of <strong>Art</strong> Basel, and Hans Ulrich Obrist, of the Serpentine Gallery in London, have teamed up to relaunch the influential art historical journal Cahiers d’<strong>Art</strong>. Keller and Obrist are part of an editorial team hired by the Swedish collector and entrepreneur Staffan Ahrenberg (left), who last year bought the company with the rights to the magazine (the firm also includes a gallery and a publishing house). Founded in 1926 in Paris in the Rue du Dragon, the journal was instrumental in the development of key Modern art movements such as Bauhaus and Dada. It provided a platform for artists such as Giacometti, Calder and Léger from 1930 until the outbreak of the Second World War. Original works by artists such as Duchamp and Miró were commissioned for the journal, including Duchamp’s Fluttering Heart, 1936, which appeared on the cover. Cahiers d’<strong>Art</strong> has been published intermittently since 1926. <strong>The</strong> new edition, which is due to be published on 18 October and is priced at €60, includes 70 pages devoted to the US abstract artist Ellsworth Kelly, a homage to the Brazilian architect Oscar Niemeyer by the Japanese architect Tadao Ando and portfolios devoted to the US artist Sarah Morris and the French artist Cyprien Gaillard. It will be published in French and in English for the first time. An exhibition at the Rue du Dragon of three works by Kelly, as well as ancient artefacts from the artist’s collection, will coincide with the launch of the new publication. <strong>The</strong> show will run until 30 January 2013. G.H. is showing works priced from $100,000 to $1.5m, including Roy Lichtenstein’s “Brushstroke Chair and Ottoman”, 1988. Korea’s Gallery Seomi also joins the fair this year, displaying an edition of Kang Myungsun’s “Mermaid Bench” (number two of six), 2011. Nevertheless, others are more direct about the impact Frieze Masters could have. “It is competition; there’s no point mincing words about it,” says Mitchell Anderson of the Zurich-based Galerie Paris. Next year’s annual “Monumenta” installation at Paris’s Grand Palais could be cancelled because of French budget cuts. <strong>The</strong> Russian-born, US-based artists Ilya and Emilia Kabakov were pencilled in to create the large-scale work for the palace, but a spokesman for the French culture ministry, which partly funds the series, says that the project “is not yet confirmed because of cost issues”. One of the Kabakovs’ representatives in Paris, the dealer Thaddaeus Ropac (FL, F4), declined to comment. <strong>The</strong> culture minister, Aurélie Filippetti, has introduced a series of drastic cost-cutting measures as part of an austerity package, including the cancellation of the former president Nicolas Sarkozy’s grand projet, La Maison de l’histoire de Stand numbers • Frieze London = FL • Frieze Masters = FM Gmurzynska (also showing at Masters). <strong>The</strong> pace of sales had certainly changed, with dealers reporting that people were waiting to see what was at Frieze Masters before committing. “People want to survey all the material available first,” says Anderson, who, nevertheless, says there “I think we’re all speculating what impact Frieze Masters will have [on PAD]” was “serious interest” in a pair of paintings by Kurt Schwitters, priced at “around £1m”. <strong>The</strong> stand belonging to Paris’s Galerie du Passage also proved popular, with “a few” of its seven tapestries designed by Alexander Calder in the 1970s selling for £12,000 each. “It’s early days, but I’d say it’s the same collectors who are normally here,” Lucy Mitchell-Innes says. <strong>The</strong> Israeli art collector Jose Mugrabi signed an autograph for Rob Pruitt, the collector and jeweller Laurence Graff was spotted eyeing up a table and Lady Victoria de Rothschild, Anish Kapoor and Kay Saatchi were among those at the VIP evening. “<strong>The</strong> opening was as steady and relaxed as always,” Luxembourg says. Whether this is a temporary calm remains to be seen. But during its opening days, at least, the fair seems to be confident in what it does best. Riah Pryor Monumenta project in jeopardy Kabakovs could be victims of French budget cuts France (French History Museum). <strong>The</strong> government recently announced a 4.5% cut in the state culture budget for 2013. According to the French newspaper Le Figaro, the Kabakovs’ piece was budgeted at €5m. <strong>The</strong> “Monumenta” commission in 2011 was awarded to Anish Kapoor, who created Leviathan, a gigantic installation made from 18 tons of PVC; the sculpture cost €3m to manufacture. <strong>The</strong> work was seen by 277,687 visitors during its six-week run. This year, the fifth edition was handed over to the French artist Daniel Buren, who installed his work, Excentrique(s), travail in situ, in the Grand Palais last spring. His piece is reported to have cost €1.5m. Gareth Harris PAD: PHOTO: DAVID OWENS, CAHIERS D’ART: PHOTO DR
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