Miami: art capital of the Americas? - The Art Newspaper

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ART BASEL/MIAMI BEACH DAILY EDITION SATURDAY/SUNDAY 9/10 DECEMBER 2006 

Miami: art 

capital of the 

Americas? 

Latin Americans are collecting 

internationally, while US buyers 

are looking south 

MIMAI BEACH. As Art Basel/ 

Miami Beach segues into a 

weekend packed with parties and 

enthusiastic crowds, the first impressions 

of insiders have proved 

accurate: it’s not just the usual 

suspects fuelling the orgy of buying 

that started at noon on 

Wednesday. The number of buyers 

from Latin America and the 

Wilhelm Sasnal, Untitled, 

2006 (Kurimanzutto, C19) 

degree of interest in Latin America 

artists reflects Miami’s 

emerging status as the de facto 

art capital of Latin America on 

US soil. 

At the stand shared by Warsaw’s 

Foksal Gallery and Mexico 

City’s Kurimanzutto (C19), 

for example, the two new paintings 

by Wilhelm Sasnal, priced 

at $60,000 and $30,000, went to 

Latin American collections. Jose 

Kuri of Kurimanzutto says: 

“Latin American collectors had 

been coming since the beginning, 

but now they’re starting to 

expand their horizons.” 

Natalia Mager Sacasa of 

gallery Luhring Augustine (F6) 

agrees, saying: “Latin American 

buyers came running through the 

door to buy works, whereas in the 

past it seemed they mostly 

looked, and took stock.” The 

gallery brought four paintings to 

the fair by Josh Smith, its newest 

roster addition, priced at $16,000 

each, and one went to a new 

Puerto Rican buyer. (It doubtless 

helped that the current hanging of 

the De La Cruz collection features 

Smith prominently.) One of 

its George Condos—selling at 

$35,000 to $170,000—also went 

to a Columbian collector. At 

Chicago and New York’s Richard 

Gray gallery (J10) the most 

surprising sale destination involved 

Jaume Plensa’s Sitting 

Tattoo, IV, 2006, a massive 

colour-shifting nude figure made 

of polyester and resin, now 

headed to an Armenian museum. 

Such globalised buying is going 

both ways. “In the past, we sold to 

Latin Americans and Spanish 

clients,” says Ricardo Trevisan of 

São Paulo’s Casa Triangulo 

(N27). “Now sales are to Americans 

with important collections.” 

Those included a 2006 Albano Alfonso 

vitrine featuring sequined 

skeletons sold at around $40,000 

to Steve Wilson and Laura Lee 

Brown’s Louisville-based 21 C 

Foundation. At Lehmann Maupin 

(D12), two sculptures by Japanese 

artist “Mr.” sold rapidly, as did all 

of Brazilian Adriana Varejão’s 

paintings, priced at $75,000- 

AUCTION 14 DECEMBER 2006 NEW YORK 2pm 

MARC NEWSON Unique set of floor tiles, 1992 

CONTINUES ON P4 

Phillips de Pury & Company 450 West 15th Street New York 

www.phillipsdepury.com +1 212 940 1200 

Getting too big for their booths 

Size still matters when it comes to making an impact 

with painting 

MIMAI BEACH. While the history 

of modern art is punctuated by 

big paintings—Manet’s Le Déjeuner 

sur l’Herbe, Picasso’s Guernica 

and Jackson Pollock’s One: 

Number 31 for example—it 

seems that monumentalism is 

back in painting and, more importantly 

for the fairs, is selling. 

This year’s fair is littered with 

large paintings, many of them almost 

too big for the booths: an 

untitled Jim Myserson on Emmanuel 

Perrotin (C1) juts over 

the top of the stand wall, while 

two enormous paintings by 

Jonathan Meese and Daniel 

Richter led Contemporary Fine 

Arts (A9) to seek permission 

Best in show: the experts’ choice 

Steve Wilson, co-founder 

of 21 C Museum 

Foundation in Louisville, 

selected Septemberists, 

2006, by Thom Browne 

and Anthony Goicolea 

with Postmasters at 

Scope. “It’s a beautiful, 

luscious film. The boys 

are shown hiking, 

shearing sheep and 

gathering cotton, yet 

there are references to the persecution of Jews during the Nazi 

era. Portions of the film are very ritualistic. The way it has been 

shot makes it feel as if it is from World War I, World War II or 

during the Revolution. ” For more expert choices see p8 

Mine’s bigger (but not necessarily more expensive) than yours 

Some of the biggest works on show (by living artists), with prices, that were on view 

during the first two days of the fair included: 

1.8m x 2.8m: Sean 

Scully, ‘One Yellow’, 

1985 at Jamileh Weber 

$1,350,000 

2.8m x 3.6m: Daniel Richter, 

‘Your night doesn’t need 

moonlight’, 2001 

at CFA Fine Arts, $550,000 

= $54,564 

=$267,857 

from the Art Basel management 

to extend the height of its walls 

over the regulation 3.5 metres. 

Meese’s 3.6m x 6m painting, The 

Dictatorship of Art, is characteristic 

of the German artist’s 

grandiose performance-based 

practice, while on the other side 

of CFA’s outsized wall, Your 

Night Doesn’t Need Moonlight is 

also typical of Richter’s output, 

although rare to the open market 

and so quickly sold for $550,000. 

“I don’t know if bigger automatically 

means better,” says Phillip 

Haverkampf of CFA, “It wasn’t a 

strategic decision, but a practical 

one, because these paintings 

won’t fit in our gallery and we 

can’t lift the ceiling off. Luckily, 

we are moving to a space with 

higher ceilings.” 

A number of galleries are 

2.1m x 6.3m: Damien Hirst, ‘Between the Wars’, 2006 

at White Cube, $1,250,000 

2.8m x 3.3m: Jorg 

Immendorf, ‘Untitled’, 2006 

at Michael Werner, $370,000 

= $40,043 

= $94,482 

2.7m x 3.4m: Lisa Ruyter, 

‘Not yet titled’, 2006 at 

Thaddeus Ropac, $90,000 

= $9,804 

showing nothing but painting, including 

Bruk from Miami (N43), 

Jablonka from Cologne (F5) and 

Lehmann Maupin from New 

York (D12), who sold out a suite 

of swimming pool-inspired pictures 

by Adriana Varejão. 

Mariska Nietzman from the 

gallery notes that “the larger 

work attracts attention quicker.” 

Ulrich Gebauer of Carlier 

Gebauer (A1) sold his stand’s 

dazzling two-panelled Erik 

Schmidt canvas (Die im Dunkeln, 

die Sieht man Nicht, 2006, 2.6m 

x 3.6m, above) for $48,000. “We 

have to be aware that the fair is 

about quick judgements,” adds 

Gebauer, “So it is important to 

hang something that has impact 

and energy.” 

Ironically for a key purveyor of 

CONTINUES ON P4

2 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 9/10 DECEMBER 2006 

Gossip 

■ Showing some 

hip-hop love 

The biggest posse to bless Art 

Basel/Miami Beach was the rapper 

and music mogul Jay-Z with 

his R’n’B belle, Ms Beyonce 

Knowles, who were seen perusing 

the art yesterday. The 

world’s most famous hip-hop 

artist, also known as the Jigga 

man, Hova or just plain Shawn 

Carter, was considering buying 

a pair of stills of Royal Ballet 

dancers from Yinka Shonibare’s 

film, Odile and Odette, at 

Stephen Friedman (B9). 

Although he was happy to shake 

hands and say hello, Jay-Z 

wouldn’t be drawn into a 

detailed conversation about 

what else had taken his fancy on 

the floor, and a swift movement 

by his two enormous bodyguards 

(at least seven-foot tall, 

judging by their comparative 

height to the highest hung works 

at the booth) quickly ended The 

Art Newspaper’s interview. 

■ Oh! My! God! 

Is it really you? 

Further news of the former 

Destiny’s Child Beyonce 

Knowles. Allegedly. A fair visitor 

was on his way into the UBS 

Lounge when he was stopped by 

an attendant at the door and 

asked to show his VIP pass. 

When the card-less gentleman 

was told that he could not enter, 

he suggested to the attendant 

that he call Beyonce on his 

mobile and let the guard speak 

to her. He proceeded to dial the 

“Irreplaceable” singer (yeah, 

sure, we believe you) and 

passed the phone to the attendant, 

who squealed with delight 

and let the man through. 

ART BASEL/MIAMI BEACH 2006 EDITION 

■ Fake IDs for 

non-VIPs 

Another illicit way to gain entry 

to the exclusive lounge comes 

from transgressive artist Eric 

Doeringer. He has printed an 

edition of 15 fake Art 

Basel/Miami Beach VIP cards 

and is selling the contraband for 

$500 a pop. The very convincing 

replicas are available through 

Jack the Pelican at Scope Miami, 

and are bound to be coveted by 

collectors and artists that did not 

make the cut. Doeringer is also 

known for his fake museum ID 

cards and small-scale reproductions, 

called “Bootlegs”, of 

works by Christopher Wool, 

Richard Prince, and John Currin 

among others, which range from 

$120 to $200. 

■ Gratuitous tipping 

Currency of all kinds circulated 

at Art Basel/Miami Beach this 

year, and in such quantities that 

it seemed to be pouring onto the 

floor. At the Rubell Collection, a 

motley assemblage of banknotes 

appeared at the feet of the 

remarkably life-like Frank 

Benson Human Statue. Well 

meaning visitors must have erroneously 

assumed that the sculpture 

was in fact a human street 

performer diligently enacting a 

classical nude pose and left tips 

for him. Or perhaps those 

who left the cash did so in 

an effort to gain favour 

with grandee collectors 

Don and Mera? 

■ Theft of 

eggs-ibit 

A loyal fan of cocka-doodle-dooconceptualism, 

The Art 

News paper’s own 

Patrick Kelly was 

chatting with the 

Belgian artist Koen 

Vanmechelen at his gallery 

party last night, when he 

spied out of the corner of 

his eye a guest make off 

with the symbolic egg that 

graced the foyer of the 

chicken-themed exhibition. 

When the artist 

collared the scoundrel 

and demanded a reason 

for his crime the eggpoacher 

insouciantly 

replied: “Because I 

was hungry.” 

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A swell party. But it’s all a bit of a blur 

Word artist Lawrence 

Wiener was less 

than loquacious 

when quizzed about the meaning 

of his installation unveiled 

last night at the Wolfsonian. 

“Lo and behold. Mira y ve,” 

he declared. “An installation 

sufficient to look at.” And 

that’s just what he has given 

the Wolfsonian. This Anglo- 

Spanish epithet and other 

phrases by Wiener appear on 

the façade and the walls of the 

■ Do blondes have 

more fun? 

The Rubells did not let a chilly 

wind or the occasional rain drop 

ruin the LA pool party to 

schedule last night to celebrate 

their “Red Eye” 

exhibition of LA artists. 

Although the pool was 

covered at their private 

residence adjoining the 

collection, everything 

else went full speed 

ahead in true old-fashioned 

American barbeque 

style, from the 

cans of Bud and Coca 

Cola in buckets of ice to 

the bandanas and cut off 

jeans worn by the serving 

staff—and most 

splendidly, the peroxide 

blonde wig worn by the 

hostess, the normally 

raven-haired Mera 

Rubell. As the 

assembled masses, 

including top collectors 

such as Ingvild 

Goetz (at Art 

Basel/Miami 

Beach for the 

PO 3000, Denville, NJ 07834 9776 

Tel: 1 800 783 4903 Fax: 1 973 627 5872 

email: orders_tan@fulcoinc.com 

The Art Newspaper 

Art Basel/Miami Beach daily edition 

Group Editorial Director: 

Anna Somers Cocks 

Managing Director: James Knox 

Editor: Jane Morris 

Art Market Editor: Georgina Adam 

Senior Copy Editor: Iain Millar 

atrium. The wispy-bearded 

artist, sporting a gold doublehoop 

earring, said he designed 

the installation pro bono as a 

public service. “Artists are citizens, 

too,” he asserted. 

“We’re not race horses.” On 

hand to record the distinctly 

upper-crust soirée was 

Belgian fashion photographer 

Serge Leblon. A former photojournalist 

who covered the 

civil war in Lebanon, Leblon 

abandoned reportage in 

first time) tucked into chilli hot 

dogs and hamburgers, bopping 

to a soundtrack of raunchy rock 

and roll, everyone agreed that 

this was infinitely more fun than 

champagne and sushi. 

■ How much is that 

puppy in the window? 

Take a plain Keith Haring-style 

plastic puppy and throw it at 36 

of the world’s best-known 

designers—Ron Arad, Konstan - 

tin Grcic and Philippe Starck, 

among others—and then sell the 

transformed results at auction to 

benefit a children’s cancer charity. 

This was the winning formula 

at the Luminaire showroom in 

the design district last night, 

Production Manager: Eyal Lavi 

Picture Editor: William Oliver 

Photographer: Katherine Hardy 

Reporters: Louisa Buck, Mark Clintberg, Jason 

Edward Kaufman, Brook Mason, Emily Sharpe, 

Marc Spiegler, Helen Stoilas, Ossian Ward 

Project Manager: Patrick Kelly 

Head of Sales (US): Caitlin Miller 

Advertising Executive (US): Sara Bissen 

Head of Sales (UK): Louise Hamlin 

Advertising Executive (UK): Ben Tomlinson 

favour of work involving “formalisation 

and incommunicability”. 

Whatever. Micky 

Wolfson’s personality and 

taste guaranteed that the 

assembled ranks of the haute 

bourgeoisie had a wonderful 

time. He, however, in the spirit 

of Jay Gatsby had no compunction 

in disappearing with 

a handful of connoisseurs to 

savour some his finest treasures 

in the privacy of the 

museum’s store room. 

where over 100 guests chomped 

on duck spring rolls and tandoori 

lamb under mini chandeliers of 

silver leaves. Once the Veuve 

Cliquot had suitably mellowed 

the diners, Christie’s auctioneer 

George McNeely swung into 

action and was soon raking in 

bids like a skilful croupier. Even 

before he started, all the puppies—which 

varied from a bootlace 

encrusted shaggy mutt by 

Frederico Uribe to a 24-carat 

gold canine by Jeffrey Bernett— 

had received bids of over their 

$5,000 reserve. The nine 

pooches in the live auction made 

$219,000; one puppy in a canary 

yellow kennel by Herzog & de 

Meuron, made $23,000. The others 

are still on offer, in a sealed 

bid auction, until tomorrow. For 

info: www.luminaire.com. 

Printed by South East Offset, Miami 

©2006 The Art Newspaper Ltd. All rights 

reserved. No part of this newspaper may be 

reproduced without written consent of 

copyright proprietor. 

The Art Newspaper is not responsible for 

statements expressed in the signed articles and 

interviews. While every care is taken by the 

publishers, the contents of advertisements are 

the responsibility of the individual advertisers.


Sudden Armory move to new pier 

NEW YORK. In a last-minute 

change, the Armory Show will be 

held in pier 94 next year (from 23 

to 26 February), in a space that is 

twice as large as piers 90 and 92, 

where it was previously held. 

“Collectors have always wanted 

the fair under one roof, which 

makes it much more userfriendly, 

and it will allow us to 

have just one restaurant, just one 

VIP lounge and so on,” said Paul 

Morris, one of the founders of the 

Miami: art capital of the Americas 

CONTINUES FROM P1 

$125,000 and installed in a special 

tile-floored room. As co-director 

David Maupin explained: “Curators, 

collectors, and journalists 

come less to the gallery, so fairs 

are very important. We are under 

pressure to provide a ‘museum’ 

experience for the artists.” 

Regardless of which international 

borders the works of art 

cross, relatively few will be 

headed back to gallery storage. 

How hot is the market? “It feels 

like a sunny Saturday in Soho in 

May 1988—on steroids,” said 

the beaming Mary Boone (F13), 

who for her first-ever fair de- 

Boone’s Eric Fischls proved a 

huge success 

large-scale German painters such 

as Neo Rauch, Gerd Harry Lybke 

of Eigen+Art (H20) counters the 

assertion that size matters: “It is 

still about the quality of the art, 

not the size. I think smaller things 

are easier to sell.” Although bringing 

sizeable, high-end pictures can 

be risky, New York gallerist Mary 

Boone (F13) is showing for the 

first time ever at an art fair, so impact 

was high on the list of factors 

when planning the stand. Gallery 

director Jim Oliver says: “We 

wanted to bring the best works we 

could get from our artists,” but 

Boone’s daily rotating solo shows 

evenwhen you’resleeping 

you’re 

cided to rehang every day. The 

Barbara Krugers on the opening 

day were gone by 1pm. On Friday, 

Boone hung four Eric Fischls 

inside the stand. By early 

afternoon, only the one reserved 

for a museum remained. 

In general, prices were greeted 

with shock although less by collectors 

than by fellow dealers. 

“People are paying $150,000 for 

young artists, but often it has nothing 

to do with quality, just the 

label,” says Zurich dealer Eva 

Presenhuber (D11). “More and 

more collectors are not very educated 

about art. ” At her stand, attention 

has focused on two 

sculptures: Ugo Rondinone’s Wintering 

Out, a 2006 mirrored arch 

sold at $140,000 to an Asian collection 

and Blue Ribbon Star, by 

Miami’s own Mark Handforth, off 

to France for $28,000. 

“There are serious collectors 

here buying on every level between 

$10,000 and $1m,” says 

London dealer Sadie Coles. “The 

depth among buyers is here. For 

the first time, Miami Beach really 

does feel like a grand fair. We’re 

even selling high-priced pieces 

from transparencies.” Manhat- 

Getting too big for their booths? 

CONTINUES FROM P1 

event. “We had sent out the old 

floor plans, but now exhibitors 

have until January to revise their 

plans. It’ll be a scramble but 

they’ll manage,” he said. The 

new space will accommodate the 

same number of dealers as in the 

past, around 160. 

Meanwhile a number of rumours 

are swirling around the fair. 

One is that LTB Media, which belongs 

to publisher Louise 

MacBain, has bought it but this is 

of major 1980s artists such as Eric 

Fischl, Ross Bleckner and David 

Salle meant shipping 50 largescale 

pieces. “Artists have been 

painting big for centuries,” says 

Oliver, “So it is also about creating 

a dialogue with art history and 

not just about ego.” 

The need for great expanses of 

canvas may be because new museums 

and purpose-built art venues 

can accommodate ever-larger 

works, or it could be that the 

boom in art is only commensurate 

to the boom in economy, and 

bigger apartments also mean bigger 

paintings for rich collectors. 

Size certainly is not everything, 

denied by Matthew Marks, the cofounder 

of the event (with Paul 

Morris, the late Colin de Land and 

the late Pat Hearn). In addition, 

the firm which owns Chicago’s 

Merchandise Mart—and which 

bought Art Chicago earlier this 

year—is rumoured to be taking 

over the operation of the piers, 

which belong to New York City. 

A spokeswoman for Merchandise 

Mart, Shawn Kahle, said: “We 

have responded to a NYC Eco- 

tan’s Marianne Boesky seconds 

Coles, saying: “The crowds are 

bigger, better and deeper. Seventy 

per cent of the sales went to new 

clients, including Americans, 

Dutch, Japanese and Belgians.” 

Her sales ran from a Jay Heikes 

conceptual piece made of bronze 

and copper at $7,500 to a Takashi 

Murakami painting at $450,000. 

With sales so strong, it seems 

reserve times have shrunk yet 

again. “We can’t give people two 

to three hours to decide under 

these conditions,” says Cologne 

dealer Karsten Greve. “I’ll give 

because a 2m x 2m canvas by an 

established artist such as Christopher 

Wool might cost around 

$300,000 at Luhring Augustine 

(F6), wheareas a similar sized 

work by the lesser-known painter 

Stefan Hirsig at Klosterfelde (E1) 

only goes for $18,000. But the 

combination of a big work by a 

big name can be truly explosive: 

behold the 2.1m x 6.3m butterfly 

triptych by Damien Hirst selling 

for $1.25m at White Cube (C13) 

and, even more expensive by dimension, 

the 1.8m x 2.8m Sean 

Scully at Jamilah Weber (F12) 

selling for $1.3m. 

Ossian Ward 

supporting the arts. 

Experience the MOCA at Goldman Warehouse presentation of Artificial Light sponsored by 

Millennium On View Visual Arts Program. Find out more at millenniumhotels.com/onview 

nomic Development Commission 

proposal to operate the piers and 

book the trade shows. We won’t 

comment on particulars,” she said, 

while Armory fair director 

Kateliyne de Backer said: “All I 

know is that over the past year 

there have been negotiations but 

there have always been confidentiality 

agreements and the negotiations 

do not involve buying, in 

some cases they involve merchandising 

opportunities.” G.A. 

Adriana Varejao, The Perverse, 2006, with Lehmann Maupin (D12) 

them 15 minutes if they want to 

have an espresso and think it 

over. But no more.” Perhaps that 

seems harsh. But as long as the 

market holds, remorseful buyers 

can always turn seller. One major 

work Greve sold last year at 

ABMB to a private collector 

popped up on another dealer’s 

stand this year. In a mere 52 

weeks, the price had doubled. 

Marc Spiegler 

With additional reporting by 

Georgina Adam, Louisa Buck 

and Brook Mason 

Daniel Richter, Eure Nacht 

Braucht Keinen Mond, (Your Night 

Doesn’t Need Moonlight) 2002 

Mall sheds new 

light on art 

Miami is getting a new art attraction 

in South Florida’s 

biggest shopping centre, the 

Aventura Mall. In January, a site- 

specific installation of 100 lights 

by Jorge Pardo will inaugurate a 

series of commissions and purchases 

of large-scale works by 

other international artists such as 

Louise Bourgeois, Donald 

Baechler, Gary Hume, and Julian 

Opie, to be unveiled in 2007 and 

2008. The real estate company 

behind the venture is Turnberry 

Associates. An estimated 20 million 

visitors will benefit from a 

dose of contemporary art with 

their shopping. O.W. 

Kiefer shows 

outside fair 

Anselm Kiefer, the German 

painter of massive sculptural canvases, 

strictly prohibits his work 

from appearing in stands. “Some 

artists adore fairs, while others detest 

them,” explains his dealer 

Yvon Lambert, who nonetheless 

managed to bring Kiefer to 

Miami. Faced with the eternal 

dealer dilemma of having too 

many works of art for his stand, 

the Paris and New York gallery 

has opened a temporary showroom 

(through 10 December) near 

the Nada fair. The space features 

a selection of the gallery’s artists 

including Jason Dodge, Glenn 

Ligon and Douglas Gordon. 

Dominating the main gallery’s 

back wall is Kiefer’s 9ft by 18ft 

painting, Ohne Titel, from his 

ongoing series based on the 

works of German poet Paul 

Celan. Directly behind the wall 

on which the Kiefer hangs, a projection 

room almost the size of 

Lambert’s fair booth gives Idris 

Khan’s spellbinding video A 

Memory…After Bach’s Cello 

Suites, 2006, ample room. 

Throughout the week Lambert 

has been scooting over to his 

second space during the fair to 

meet clients. “A fair booth is always 

too small and a gallery’s 

ambitions are always bigger and 

bigger,” he explains. “So having 

this extra space is a dealer’s 

dream.” M.S. 

❏ Yvon Lambert, Temporary Show Room, 

Calderon Building, 75 NW 12th Street, 

opposite the Nada carpark

40 Years of Visual Arts 

at the Americas Society 

A PRINCIPALITY OF ITS OWN 

Critical essays by an international group of art historians and curators 

explore the Americas Society’s history-making presentations of Latin 

American art, highlighting the intersection of art, economics, and politics. 

Published in winter 2006 by the Americas Society in conjunction with the 

Colección Patricia Phelps de Cisneros and the David Rockefeller Center for 

Latin American Studies. Distributed by Harvard University Press. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Horizon Black Hole Timepiece by Marc Newson, signed and limited edition of 66, in titanium pvd with black gold dial. Phone: + 1 305 572 9201 www.ikepod.com


Artists 

Candice Breitz: getting snippy with Sharon 

■ “Giving Visibility”, showing 

at the Miami Beach 

Cinematheque, is a series of 

unrelated yet compelling short 

films from artists Michael 

Auder, Candice Breitz, Gabriel 

Lester, Jonas Mekas and 

Francesco Vezzoli. 

Though the videos have few 

Union of 

Modern 

Artists: stylish 

■ Crisp lines, decisive contours, 

and a penchant for black—like a 

good dealer’s wardrobe, the 

furniture and design objects 

from the Centre Pompidou’s 

collection, on view in Miami for 

the show “French Modern 

Sources” (until 10 December), 

are painfully stylish. 

A cornerstone of Design 

Miami, the exhibition is curated 

by Frédéric Migayrou, the head 

of architecture and design at the 

Centre Pompidou in Paris, and is 

organised by the French muse- 

Daniel Buren: 

candy-striped 

sidewalk 

■ Looking more like a colourful, 

Plexiglas covered arcade than 

one of the fair’s eight specially 

commissioned public sculptures, 

Daniel Buren’s Pergola (above) 

is a site-specific steel walkway 

connecting the Jackie Gleason 

Theater and Washington Avenue, 

mirroring another path through 

the small grass verge on the 

opposite side. 

The telltale stripes that have 

defined Buren’s work since the 

mid-1960s are this time in rainbow 

hues, not in his usual redand-white 

or blue-and-white 

candy-stripes, lending his colon- 

similarities in theme and subject 

matter, a common thread is 

artists’ manipulation of borrowed 

materials. Auder’s film, 

made up of “stolen” Super8 

footage of friends on a beach, 

combines a sense of innocence 

with a healthy dose of 

voyeurism. Gabriel Lester 

um’s American art and cultural 

foundation. 

Migayrou’s missive was to 

“tell his department’s story in 50 

objects or less”. The globetrotting 

curator made a 24-hour 

research journey around Miami 

and drew signification inspiration 

from the city’s Art Deco district. 

Migayrou then returned to 

Paris and selected 45 pieces in 

an attempt to strike up a dialogue 

with the South Beach 

design aesthetic. The majority of 

the works are made by members 

of the French Union of Modern 

Artists, founded in the late 

1920s, including modern design 

giants Le Corbusier, Jean Prouvé 

and Charlotte Perriand. 

According to the show’s press 

agent, Susan Martin, several 

pieces on show are prototypes 

nade an atmosphere of holiday 

huts and beachside promenades. 

The French artist is experiencing 

something of a latecareer 

resurgence, with recent 

outdoor commissions for the 

Venice architecture biennale and 

Turin’s Christmas lights. 

Buren’s public work is not universally 

liked and was once 

rejected by the residents of 

Weimar in Germany, who 

objected to his plans to mark the 

1999 City of Culture festival. 

Miami being the colourful place 

it is, this piece might not find so 

many enemies. O.W. 

Visit our booth 

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THE ART NEWSPAPER 

snips scenes from various 

British 1940s Arabian romantic 

stories to relate an atmosphere 

of emotion rather than a 

straight narrative. 

The strongest film in the collection 

is Candice Breitz’s 

Soliloquy (Sharon) which cuts 

down Sharon Stone’s perform- 

from the homes of designers 

such as Eileen Gray (1878-1976) 

(above, bathroom cabinet, 1927- 

29) and have never before been 

exhibited publicly. Martin 

describes the works as “jewels in 

terms of their rarity and depth”. 

Mark Clintberg 

Carlos 

Betancourt: 

cut it out 

■ Miami-based, Puerto Ricanborn 

Carlos Betancourt’s kitsch- 

Caribbean works are well known 

for their glitzy bravado, and the 

artist’s installation at La 

Communidad Warehouses is no 

exception. The Cut-Out Army 

(right) features 101 eight-foottall 

photographic portraits of 

Miami personalities in various 

states of undress, drag, and 

compro mising positions. 

The sprawling army of cutout 

foam-core mounted portraits 

that populates the space resembles 

a field of ancient Chinese 

terracotta warriors, an inspira- 

ance from “Basic Instinct” into 

a ten-minute view of the 

strength and manipulation of 

femininity. The work uses only 

footage of Stone speaking and 

is edited so that she asks and 

answers her own questions, 

leaving Michael Douglas’s 

character nearly redundant. 

Erwin Wurm: 

more flat 

than fat 

■ The Austrian artist Erwin 

Wurm’s contribution to the Art 

Projects out on the streets of 

Miami Beach is UFO—a sleek, 

squat sculpture of a car that 

seems to have been either partburied 

or squashed like a 

pancake (below). 

Wurm is well known for his 

amusing series of aggrandized 

objects such as his flabby 

Fat House that 

oozes out from 

under its own 

roof and his 

tion cited by the artist. “When I 

was young I was very moved by 

these pictures that my grandmother 

showed me of the 

[ceramic army]. It’s a recurring 

theme in my work,” he says. 

Included in the suite of figures 

are a newscaster, local collectors 

and artists who were 

invited to pose with a broad 

assortment of suggestive props. 

WWW.THEARTNEWSPAPER.COM 

Screenings are at 7pm and 

11pm today and tomorrow. As 

well as the compilation of 

shorts, the Cinematheque is also 

showing a retrospective of the 

work of Jonas Mekas and a photographic 

exhibition by Michael 

Auder, both until 28 December. 

William Oliver 

corpulent Fat Car, which looks 

as though a Porsche has been 

given reverse liposuction. Wurm 

has said of this series: “I don’t 

want to make the whole world 

fat”, but this work is more of a 

flat car than a fat car. 

If this does represent the 

future of automobility, then 

Wurm’s representation of the 

space age vehicle is all the 

more ironic for being resolutely 

grounded, sat forlornly in 

Collins Park in front of the 

Bass Museum. 

Ossian Ward 

In order to encourage a “rule of 

spontaneity”, the photographer 

shot the portraits in the models’ 

homes. Betancourt explains that 

some models appear twice in the 

exhibition since “some people 

have multiple personalities”. 

There’s a bird’s eye view of 

the installation from a platform 

in the warehouse. The show 

opens on Saturday at 7pm. M.C.


Best in show: the experts’ choice 

CHRISSIE ILES 

Curator at the Whitney 

Museum of American Art, 

New York 

JERRY SALTZ 

Art critic 

for the Village Voice 

Cinnabar I-IV, 2005 by 

Sigmar Polke at Michael 

Werner (F9) sold as a set 

for around $2m to the 

trustee of a US museum. 

“This group of four paintings 

by Polke are made 

with red cinnabar distilled 

from mercury sulphide. 

They have a luminous 

warmth that is both organic 

and alchemical. 

American collectors have 

not paid so much attention 

to Polke’s more abstract 

works in the past. These 

paintings are visually stunning 

and have a strong visceral 

impact. They are 

incredibly beautiful.” 

Nature Morte au Grand 

Vase, 1955-60, by 

Georges Braques at Jan 

Krugier (H7) 

“I think it shows that, to 

the end, Braques had a 

great idea about scale, surface 

colour and structure, 

even though everyone says 

that by then his work had 

run out of gas.” 

 

 

 

 

RICHARD FLOOD 

Chief curator of the New 

Museum, New York 

GLENN SCOTT WRIGHT 

Dealer with Victoria Miro 

Gallery (B12) 

Marriage II, 2006 and 

Marriage XV, 2006 by 

John Stezaker at the 

Approach (N14) 

“I was really pleased to 

see the response of young 

artists and curators to the 

world of John Stezaker on 

the Approach stand. He’s 

someone who has been 

around for so long but in 

the States he’s not so well 

known—it’s really good 

to see him getting proper 

recognition.” 

Elastic Division Fete, 

2006, by Kristin Baker at 

Deitch Projects (A7) 

“What’s exceptional about 

Kristin Baker’s work is 

that it’s so difficult with 

abstract painting to find 

someone with their own 

voice. I’ve been following 

her work for some time: it 

really holds its own.” 

MICKY WOLFSON 

Founder of the Wolfsonian, 

Miami Beach 

SIMON DE PURY 

Chairman 

of Phillips de Pury & Co 

 

El Descubrimiento de Si 

Mismo (The Discovery of 

Itself), 1917, by Joaquín 

Torres-Garcia at Rachel 

Adler Gallery (H8) 

“I loved this piece because 

it is my period. My 

first acquisition, aged 11, 

was a copy of the Rhyme 

of the Ancient Mariner 

illustrated by Gustave 

Doré. Since then, I have not 

stopped collecting. This 

piece by the Uruguayan 

painter is a wonderful 

evocation of time. 

Nach Jugendstiel Kam 

Roccoko, 2006 by Urs 

Fischer at Gavin 

Brown’s Enterprise (D1) 

“I am sure that masses of 

other people have chosen 

the same thing, but for me 

the stand by Gavin Brown 

with the suspended cigarette 

pack by Urs Fischer 

is the most radical stand 

I’ve ever seen in an art fair, 

and it is the most extraordinary, 

striking work.”

THE ACCIDENT 

KOEN VANMECHELEN 

CURATED BY AGNES HUSSLEIN 

“THE CHICKEN AS A METAPHOR FOR HUMAN EXISTENCE 

AND THE EGG AS A METAPHOR FOR THE WORLD AND THE LABORATORY OF THE FUTURE.” Koen Vanmechelen 

PALM COURT . 309 . 23 RD STREET 

MIAMI BEACH . FLORIDA 33139 

DECEMBER 5 . 2006 – FEBRUARY 28 . 2007 

10:00 AM – 10:00 PM . DECEMBER 5 – 10 . 2006 

12:00 – 6:00 PM . DECEMBER 11 . 2006 – FEBRUARY 28 . 2007 

VENETIAN WINE & FOOD TASTING . DECEMBER 6 – 9 . 7:00 – 9:00 PM 

BERENGOCONTEMPORARY 

FONDAMENTA VETRAI 109/A . 30141 MURANO VENICE . ITALY 

www.berengocontemporary.com . go@berengocontemporary.com 

phone . Italy +39 041 739453 . mobile . USA 646 826 9558 

Strategic Development 

BONDARDO COMUNICAZIONE . MILANO


Exhibitions in Miami Full 

■ Red Eye: LA 

Artists from the Rubell 

Family Collection 

Saturday and Sunday, 

9am-6pm. The Rubell Family 

Collection, 95 NW 29th Street, 

Miami ☎305 573 6090 

www.therubellfamilycollection.org 

■ The Sites of Latin 

American Abstraction; 

Forms of Classification: 

Alternative Knowledge 

and Contemporary Art 


10am-4pm. Cisneros Fontanals 

Art Foundation, 1018 North 

Miami Avenue, Miami 

☎305 455 3382 www.cifo.org 

■ Video: an Art, a History 

1965-2005, New Media 

Collection, Centre Pompidou 


9am-7pm. Miami Art Central, 

5960 SW 57th Avenue, Miami 

☎305 455 3333 

www.miamiartcentral.org 

■ Mark Bradford: 

the Other Side of Perfect 

Saturday, 10am-10pm; Sunday, 

10am-4pm. The Scholl 

Collection at World Class 

Boxing, 170 NW 23rd Street, 


■ Margulies Collection 

at the Warehouse 


9am-2pm. 591 NW 27th Street, 


www.margulieswarehouse.com 

■ Constructing New Berlin; 

Five Fridas 

Saturday, 10am-5pm; 

Sunday, 11am-5pm. 

The Bass Museum of Art 

2121 Park Avenue, 

Miami Beach ☎305 673 7530 

www.bassmuseum.org 

■ Zero Hero by John Bock 

Saturday, 9pm-midnight; 

Sunday, 10am-5pm. 

The Moore Space Loft, 

3627 NE 1 Court, Miami 

☎305 438 1163 

www.themoorespace.org 

■ Clamor 

by Allora & Calzadilla 


10am-5pm. The Moore Space, 

4040 NE 2nd Avenue, 

2nd Floor, Miami 

☎305 438 1163 

www.themoorespace.org 

■ Lorna Simpson; 

Mark Dion: South Florida 

Wildlife Rescue Unit 


noon-5pm. Miami Art Museum, 

101 West Flagler Street, Miami 

☎305 375 3000 

www.miamiartmuseum.org 

■ Elusive Signs: 

Bruce Nauman Works 

with Light; Pablo Cano: 

City Beneath the Sea 

From today to Monday, 

9:30am-5pm. Museum 

of Contemporary Art, 770 NE 

125th Street, North Miami 

☎305 893 6211 

www.mocanomi.org 

■ Artificial Light 

From today to Monday, 

9am-5pm. MoCA at 

Goldman Warehouse, 

404 NW 26th Street, Miami 

☎305 893 6211 

www.mocanomi.org/ 

warehouse.htm 

■ French Modern Sources 


1pm-7pm. Collins Building, 

139 NE 39th Street, Miami 

☎305 572 0866 

www.designmiami.com 

■ Modus R: Russian 

Formalism Today 

From today to Wednesday, 

11am-7pm. The New Building, 

3901 NE 2nd Avenue, Miami 

www.modus-r.com 

Kahlo’s Still-life with Parrot 

and Flag (detail) on view 

at the Bass Museum of Art 

■ Weekend events 

Breakfast at Cisneros 

Fontanals Art Foundation, 


9am-noon 

1018 North Miami Avenue, 


www.cifo.org 

With a guided tour of 

the exhibitions. 

Breakfast in the Park with 

Deborah Butterfield, Sunday, 

9:30am-noon 

11200 SW 8th Street, Miami, 

☎305 348 0401 

Informal lecture and guided tour 

of the Martin Margulies sculpture 

park with American artist, 

Deborah Butterfield. 

Art Basel Conversations, 


10am-11:30am 

Art Guest Lounge, Hall D, 

Miami Beach Convention Centre 

A series of panel discussions 

hosted by Bulgari and Art 

Basel. On Saturday, artists 

and museum directors consider 

the future of Latin American 

museums. On Sunday, 

international artists examine 

the role of architecture in the 

artistic process. 

Visionaire Colouring Bar, 

Saturday, 10am-9pm 

The Raleigh, 1775 Collins 

Avenue, Miami ☎212 226 2196 

Music, cotton candy and snow 

cones are on the agenda when 

you purchase a set of toys. 

All the proceeds benefit the 

Elizabeth Glaser Pediatric 

Aids Foundation. 

Readings in Classical 

American Schlock, Saturday, 

11:30am-7pm; Sunday, 

11:30am-4pm, readings 

every hour 

NADA Art Fair, Booth D11 

The Ice Palace, 400 North 

Miami Avenue, Miami 

The New Museum of 

Contemporary Art in collaboration 

with Altoids present readings 

of Diana Vreeland’s DV 

(Sat) and Dominick Dunne’s 

People Like Us (Sun). 

BushidoArcade, Mauro Ceolin 

presented by nt art gallery 

Container #E6 

Art Salon, Saturday, 1pm- 

8pm; Sunday 12pm-5pm 

Art Guest Lounge, Hall D, 

Miami Beach Convention Center 

Series of talks and events. 

Speakers include The Art 

Newspaper’s Marc Spiegler (Sat, 

6pm); Jack Persekian, director, 

and Jonathan Watkins, curator, of 

the Sharjah Biennial announcing 

participating artists (Sat, 

7:30pm); Michael Rush, director 

of the Rose Art Museum and 

John Hanhardt, curator of film at 

the Smithsonian American Art 

Museum remember the late artist 

Nam June Paik (Sun, noon); 

Alexandra Monroe, Asian curator 

at the Guggenheim Museum, 

New York and Tokyo dealer 

Tomio Koyama among others 

discuss Japanese contemporary 

art (Sun, 4pm). 

Blurred Boundaries: Design 

as Culture, Sunday, 2pm 

The Moore Building, 

4040 NE 2nd Avenue, Miami 

☎305 572 0866 

Panel discussion with the 

Cooper-Hewitt’s Barbara 

Bloemink, architect Zaha Hadid, 

sculptor Michele Oka Doner 

and designer Tom Dixon. 

Art Kids, Saturday, noon- 

8pm, Sunday, noon-6pm 

Room D231, 2nd floor, Hall D, 

Miami Beach Convention Center 

Art activities for children. 

MoCAsonic: E-Merce in 

Fashion, Saturday, 7pm-10pm 

MoCA Goldman Warehouse, 

404 NW 26th Street, Miami 

☎305 893 6211 

www.mocanomi.org 

fair listings at www.theartnewspaper.com 

Premier: Alison Chernick’s film “No Restraint: Matthew Barney” 

Fashion students create clothing 

inspired by choreographer 

Merce Cunningham. 

Performance by 

Allora & Calzadilla, Saturday, 

9pm-midnight 

The Moore Space, 4040 NE 

2nd Avenue, 2nd Floor, Miami 

☎305 438 1163 

Performance of Clamor 

accompanied by the New 

World Symphony. 

Art Loves Design Party, 

Saturday, 8:30pm-12am 

Miami Design District, NE 2nd 

Avenue between 39th and 40th 

Streets, Miami ☎305 573 8116 

A block party in the Design 

District highlighting the area’s 

exhibitions and installations. 

Film premiere 

of “No Restraint: Matthew 

Barney” and after-party, 

Saturday, 8:30pm 

The Colony Theatre, 1040 

Lincoln Road, Miami Beach 

☎305 674 8278 

A film by Alison Chernick 

documenting the creation of 

Barney’s latest project. 

Interview with Marc Newson, 

Designer of the Year 2006, 

Saturday, 9pm-10pm 

Design and Architecture Senior 

High Courtyard, 4001 NE 2nd 

Avenue, Miami ☎305 572 0866 

Art Bar, Saturday and 

Sunday, 10pm until late 

Pool Bar at the Delano Hotel, 

1685 Collins Avenue, 

Miami Beach ☎305 672 2000 

Drinks at the landmark hotel. 

Digital 

&Video 

Art Fair 

Mauro Ceolin at nt art gallery 

Thursday, December 7th • On the Beach of Lummus Park • Ocean Drive between 11th and 

12th Streets • DiVA Village entrance on 12th street • Hotel Victor entrance at 1144 Ocean Drive 

December 7–10, 2006 • 2pm–10pm Tel. (305) 921 9605 info@divafair.com www.divafair.com

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Press, 

Diane Dianee 

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Editions, 

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INDIANAPOLIS MUSEUM OF ART 

FEBRUARY 25 – JUNE 3, 2007 

BASS MUSEUM OF ART, MIAMI BEACH 

SEPTEMBER 21 – NOVEMBER 12, 2007 

Catalogue with essays by 

Lisa D. Freiman and Okwui Enwezor 

copublished by Yale University Press 

available at yalebooks.com. 

The exhibition is made possible in part by a grant 

from the Andy Warhol Foundation for the Visual Arts 

4000 Michigan Road at 38th Street Indianapolis, IN 46208-3326 T 317-923-1331 ima-art.org

Miami: art capital of the Americas? - The Art Newspaper

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