Issue 45 £5.

00

‘It’s this very dangerous thing that these people are playing with… This list, it’s almost like the Nobel Prize’
Glenn Beck on the Power 100
Donald Judd with his work, Untitled, 1975, at La Mansana de Chinati/The Block, Marfa, 1982

Photo by Jamie Dearing. Judd Art © Judd Foundation. Licensed by VAGA, New York, NY
Courtesy Judd Foundation Archive and David Zwirner
 Judd Foundation
is now represented by David Zwirner

David Zwirner
525 West 19th Street
New York, NY 10011
212 517 8677 telephone
212 517 8959 fax
www.davidzwirner.com
 JOHN GIORNO
EATING THE SKY
29.10.10 – 18.12.10

Almine rech GAllerY

AbdijstrAAt 20 rue de l’AbbAye, brussels 1050 bruxelles
t +32 (0)2 648 56 84 • contAct.brussels@Alminerech.com
www.Alminerech.com
 CORYARCANGEL
IMAGE IS EVERYTHING
CORY ARCANGEL 24 NOVEMBER – 24 DECEMBER 2010
HERE COMES EVERYBODY
NATIONALGALERIE BERLIN, HAMBURGER BAHNHOF
30 NOVEMBER 2010 – 1 MAY 2011

PA R I S FRANCE 7 RUE DEBELLEYME TEL 331 4272 9900 FA X 3 3 1 4 2 7 2 6 1 6 6 W W W. R O PA C . N E T

Juergen Teller ·Texte und Bilder
17 Nov 2010 – 15 Jan 2011, Christine König Galerie, Vienna
www.christinekoeniggalerie.com
 h a u s e R & W iR t h

Jason Rhoades
1 : 12 PeRfect WoRld
24 sePtembeR – 18 decembeR
london

subodh GuPta
25 sePtembeR – 13 novembeR
ZüRich

louise bouRGeois
the fabRic WoRks
15 octobeR – 18 decembeR
london

monika sosnoWska
5 novembeR – 18 decembeR
neW YoRk

chRistoPheR oRR
20 novembeR – 21 JanuaRY
ZüRich

WWW.hauseRWiRth.com
 JASON DODGE

O C TO B E R 3 0 - D E C E M B E R 2 3

VENEKLASEN / WERNER RUDI-DUTSCHKE-STRASSE 26 10969 BERLIN GERMANY T+49/30/81 61 60 418

WWW.VWBERLIN.COM
 Michaël Borremans
Eating the Beard
21 October - 27 November 2010

Zeno X Gallery
Leopold De Waelplaats 16 2000 Antwerp Belgium +32 3 216 38 88 info@zeno-x.com www.zeno-x.com
Gavin TURK EN FACE
30.10.10 – 18.12.10

Almine rech GAllerY

19 rue de saintonge, F - 75003 Paris • t + 33 (0)1 45 83 71 90
contact.Paris@alminerech.com • www.alminerech.com
 PAOLA PIVI
KAWS
JIN MEYERSON
6 NOVEMBER - 23 DECEMBER 2010

WWW.PERROTIN.COM
Peter Land
The Road home
12 NovembeR - 15 JaNuaRy

Joachim
Koester
to n av i g at e , i n a g en u i n e way, i n t h e u n K n ow n
n e c e s s i tat e s a n at t i t u d e o f da r i n g , b u t n ot o n e
o f r e c K l e s s n e s s ( m ov e m e n t s g e n e r at e d f r o m
t h e m ag i c a l Pa s s e s o f c a r lo s c a s ta n e da )

1 2 N ov e m b e r - 1 5 Ja N ua ry
Yayoi Kusama Solo Presentation · New Works Narcissus Garden, 1966 -
Stand B12 · Grand Palais Jardin des Tuileries

21 - 24 October 2010 Victoria Miro | FIAC 2010

 Contents
november 2010
DISPATCHES 31
Snapshot: Lucas Blalock Now
See This: Rebecca Warren, Mark
Grotjahn, Roe Ethridge, Hans Op
de Beeck, Song Dong, Cosima von
Bonin, Manifesta, São Paulo
Bienal, Artissima, The Last
Newspaper Columns: Paul Gravett
on John Russell post-BANK
collective; Joshua Mack on
Vogue-ology; Raimar Stange
worries Berlin has forgotten its
artists; Marie Darrieussecq
writes on reading The Free
Lance: Christian Viveros-Fauné
asks if change is an unobtainable
goal London Calling: Save the
Arts misses the bigger political
picture, J.J. Charlesworth
argues The Painted Word: Nigel
Cooke takes on Toy Story 3’s Big
Baby The Shape of Things: Pop
goes the Popemobile, says Sam
Jacob Hong Kong Diary: Mark
Rappolt meets Baz Luhrmann
Design: Decorative doesn’t have
to be an insult, postulates
Hettie Judah Top Five: The pick
of shows to see this month as
selected by Chris Dercon A New
Concise Refererence Dictionary:
Camp to cuts, defined by Neal
Brown Consumed: Studio Voltaire
presents the House of Voltaire,
plus Tom Common, Ben Mclaughlin
and Theo Simpson’s Dead-Ends,
Marc Newson’s speedboat, Li
Xiaofeng’s polo shirt and
Harmony Korine’s Trash Humpers,
out now on VHS Digested: X’ed
Out, David Batchelor, Super Sad
True Love Story, Atlas of Remote
Islands, Marian Bantjes, Fanzines
On View: Louise Bourgeois’s
‘fabric drawings’, as curated by
Germano Celant; Mark Rappolt on
the Arte Povera of Mario Ceroli
20 ArtReview
on the cover:
artwork by Alexandre Singh, 2010
New on
ArtReview.com
News
International art, design and
architecture news, updated every
day, as it happens
Video
John Russell creates a new work,
Vermillion Vortex, specially for
artreview.com; Mona Hatoum talks
maps and her latest installation
in our Close Encounters video
series; we attend the
announcement of the Jarman Award
32 winner; and it’s off to the
Frieze Art Fair, camera in tow
Text
Stewart Campbell on Centotto and
Bushwick’s apartment show scene;
Joshua Mack reviews Demetrius
Oliver’s Jupiter installation on
42 New York’s High Line; Laura
McLean-Ferris heads to Ruth
Proctor’s solo show at Hollybush
Gardens; Oliver Basciano sees
David Adamo inaugurate Ibid
Projects’s new gallery space;
and we blog ourselves to
tuberculosis during Frieze week
54
64
H I rosHI sUGImoto

t H e DAY A F t e r

November 6 – December 24, 2010

5 4 5 W e s t 2 2 ND s t r e e t, N e W Y o r k , N Y

NoW represeNteD bY

8 8 85 ) & 1" $ & ( " - - & 3: $ 0 .

 Contents
November 2010

FEATURES
The Power 100 93
ArtReview’s expert ranking
of the most powerful
people in contemporary
art starts here. Find out
who’s running the show
and how they’re doing it.
With commissioned portraits
by Miles Aldridge and
Nick Haymes, and new
artwork from Anne Collier
and Alexandre Singh

REAR VIEW
2010, again 176
A timeline of the year in art
106

we will survive 182

Gallery Grrrl’s six-step plan
for riding out tough times and
climbing the Power 100 140

The Strip 186

John Russell’s work in this
month’s Strip doubles as a
trailer for his ‘drawn film’
Vermillion Vortex (2010), made
specially for artreview.com

ON THE TOWN 188

Aaron Curry at Michael Werner
Gallery at 20 Hoxton Square,
London; Nathaniel Rackowe
at Bischoff/Weiss, London;
and Thomas Scheibitz
at Sprüth Magers, London

OFF THE RECORD 190

Gallery Girl, pissed
off with power, gets pissed
for the powerless

132

188

22 ArtReview
ALL DESIGNS © THEO FENNELL

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24 ArtReview
THE HUGO BOSS PRIZE 2010
Guggenheim Museum
Award Ceremony in November 2010 at the Solomon R. Guggenheim Museum, New York

The Nominees

Cao Fei
Hans-Peter Feldmann
Roman Ondák
Walid Raad
Natascha Sadr Haghighian
Apichatpong Weerasethakul

www.hugoboss-prize.com
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26 ArtReview
 ConTRIBUTORS
November 2010
Miles Aldridge
A regular photographer
for Vogue Italia, American
Vogue, Numéro, The New York
Times and The New Yorker,
Miles Aldridge is one of two
photographers on this edition
of the Power 100. Other
projects this year include
a collaboration with artist
Chantal Joffe at Reflex Art
Gallery in Amsterdam. His
works are in the permanent
collections of the National
Portrait Gallery and the
V&A in London, and of the
International Center of
Photography, New York.
Pictures for Photographs, a
monograph of his photographic
work, was published in
2009 by Karl Lagerfeld’s
7L imprint at Steidl.
Alexandre Singh
Creator of this year’s
Power 100 cover, Alexandre
Singh is known for his
depictions of obscure and
occult knowledge and power
systems, and for employing
archaic forms of display to
do so. He recently gave a
performance lecture at the
Serpentine Gallery, London,
and is exhibiting as part of
Manifesta 8 in Murcia, Spain.
He has upcoming exhibitions
at Harris Lieberman, New
York, Monitor Gallery, Rome,
and Art:Concept, Paris,
and is currently in group
show Free, at New York’s
New Museum.
Nick Haymes
Hailing from Stratford,
England, photographer Nick
Haymes moved to the US in
1999, where he began his
career as a photographer.
He has worked for I-D,
Another, Index, Interview,
Spin and Vogue, among others.
His first book, Between Dog
and Wolf (2007), documented
the fragile relationships and
emotions visible in teenage
groups. This autumn sees his
second book published. He
currently resides in New York
with his wife and two sons.
28 ArtReview
Anne Collier
The New York-based artist
Anne Collier has repeatedly
returned, throughout her
career, to photographing
magazine and record covers
as still life studies.
In Artnews (2005), for
example, she photographed
the five issues of Artnews
magazine to feature female
cover stars during the 1980s.
She has taken this approach
to reviewing ArtReview’s past
Power 100 covers in her
photographs for this issue.
Collier had a solo exhibition
at Anton Kern gallery in
New York this year and has
an upcoming solo show at
Nottingham Contemporary.
Her work is included in the
group show Fresh Hell, at
Palais de Tokyo, Paris, from
19 October.
Raimar Stange
Curator and critic Raimar
Stange, who writes a column
from Berlin for this month’s
ArtReview, is also (if not
better) known as the bass
player in the band Art
Critics Orchestra. He has
published monographic texts
on the work of Franz
Ackermann, Pierre Bismuth,
Allora & Calzadilla and Olaf
Nicolai, and he is also
editor of The Evil (2007),
a book considering artists’
responses to the media.
He is a regular contributor
to Kunst-Bulletin and Spike.
GARY
SIMMONS
DOUBLE
FEATURE
17.09
06.11

SAKS
BEIJING 04.09.10 – 31.10.10
SHAN FAN HOMELAND: PAINTING THE MOMENT
– PAINTING SLOWNESS

BEIJING 13.11.10 – 16.01.11

LIU DING

LUCERNE 02.10.10 – 04.12.10

AI WEIWEI

Ai Weiwei “Porcelain Cube” 2009, detail, porcelain, 115 x 115 x 115 cm

ART BASEL MIAMI BEACH 02.12.10 – 05.12.10

HALL C, BOOTH A16

ARTISTS
AI WEIWEI - CHEN HUI - DING YI - DU JIE - HE YUNCHANG (A CHANG)
L/B - LI DAFANG - LI ZHANYANG - LIU DING - MENG HUANG
NIE MU - QIU SHIHUA - SHAN FAN - ANATOLY SHURAVLEV
TRACEY SNELLING - JULIA STEINER - NOT VITAL - WANG QINGSONG
WANG XINGWEI - XIA XIAOWAN - XIA XING - XIE NANXING

Beijing: 104, Caochangdi Cun, Cui Gezhuang Xiang, Chaoyang District, PRC-100015 Beijing/China
Lucerne: Rosenberghöhe 4, 6004 Lucerne/Switzerland
galerie@galerieursmeile.com, www.galerieursmeile.com
DISPATCHES
november
Snapshot 31
Now See This 32
The Free Lance 38
London Calling 40
The Painted Word 42
The Shape of Things 44
Design 48
Top 5 54
A New Concise
Reference Dictionary 56
Hong Kong Diary 58
Consumed 62
Digested 68

snapshot lucas blalock

‘For me, snapshots are a form of note-taking. A way to fix
a visual idea so that I can return to it later.’

ArtReview 31
 DISPATCHES

now see this

clockwise from left: Rebecca Warren, Cube, 2003, bronze on MDF on wheels, 51 x 35 x 38 cm, courtesy Maureen Paley, London, and Matthew Marks Gallery, New York; Mark Grotjahn, Untitled (Scarlet Lake and
Martin herbert

Indigo Blue Butterfly 826), 2008, coloured pencil on paper, 51 x 41 cm, courtesy the artist; Roe Ethridge, Mop Bucket, 2010, ink jet pigment print, 178 x 137 cm, courtesy Greengrassi, London
words

Rebecca Warren
Over the last few years,

(Renaissance Society, Chicago, to 12

December, www.renaissancesociety.
org) has gone from possessing a definite style –
bulbous but assured unfired-clay figures of zaftig
women, with art-historical overtones – to being
a relatively unpredictable proposition. And,
implausibly, she’s done this while becoming more
successful. The English artist’s recent sculptures
span painstaking arrangements of neon and detritus

and spins to Richard Prince’s Nurse paintings:

they’re must-have baubles. Takashi Murakami, who
opened this gallery two years ago, evidently
recognises a kindred spirit.

And then there’s a third option: convert diversity

Roe Ethridge
into a singularity. That’s how

(Greengrassi, London, 23 October –

22 December, www.greengrassi.com)
operates. The Floridian, like Wolfgang Tillmans or
Juergen Teller, acts as though the divides between
editorial and art photography no longer pertain
(because, thanks to these artists, they barely do):
a model’s taut body or a white-stone graveyard, a

in vitrines to distended bronzes and an almost

abstract cycle of clay busts, We Are Dead (2008),
which come to life amid the viewer’s agitated
attempts at reading them; what she’s arrived at
since is anyone’s guess. Spotlighting a half-dozen
new floor sculptures and nine unseen wall pieces,
her first American institutional show embodies
the answer.

Mark Grotjahn (Kaikai Kiki Gallery,

Tokyo, to 21 November, www.
kaikaikiki.co.jp), by contrast, makes it easy
to predict what you’re going to get – and to be
comfortable with that. Grotjahn’s kaleidoscopic
abstract paintings - and, here, drawings - whose
outwardly radiating ‘butterfly’ pattern he has
subjected to innumerable variations, read as
meditations on the very idea of the artist’s
signature (which often plays a graphic role in
his compositions). At the same time, the American gas station or a bird are all equalised on the plane
is evidently a smart cookie; because that very of his art’s remote panache, a consistent tightening
recognisability has slotted Grotjahn’s paintings and sharpening of reality’s contours that flips a
into a line leading from Warhol to Hirst’s spots horizontal line of prints into a story waiting to
unfurl in the spaces between them.

32 ArtReview

John Russell
John Russell was a cofounder and proactive member of BANK
between 1991 and 2000, throughout assorted incarnations,
group shows and publishing of a tabloid-style satirical magazine.
Much of what Matthew Collings described in Art Crazy Nation
(2001) as BANK’s ‘surly, self-destructive, self-conscious,
from top: Hans Op de Beeck, Extension (2), 2007, sculptural installation, mixed media, 550 x 350 x 190 cm; Song Dong, Jump, 1999, video, © the artist, courtesy Pace Beijing
Hans Op de Beeck (Ron Mandos,
Amsterdam, to 20 November, www.
ronmandos.nl) has similarly cast his net
wide, formally so: moving confidently between
sculpture, video, drawing and animation over the
past decade, he locates unity in an overwhelming
tenor of melancholia and profound attention to the
uses of artifice. When ArtReview ran into Op de
Beeck in Basel recently, he was in the midst of a
video project set on a cruise ship, for which the

introspective attitude – combined… with critical intelligence artist had even written the jazz music played by the
and a flair for spotting weaknesses in the art system’ persists
in Russell’s wide-ranging post-BANK solo works, from his
intellectually intense writings to grand hallucinogenic vistas
in backlit digital prints on vinyl.
In now addressing the visual-verbal interplays of
comics, Russell has developed them into an arresting short
‘drawn film’ for ArtReview entitled Vermillion Vortex (2010),
viewable at tinyurl.com/vermillionvortex. He largely shuns
animation effects, aside from a few pans, zooms or sequences
such as water in motion, in favour of a flow of dissolving,
sometimes overlapping drawings, mainly kept raw and vivid,
some laced with sinister Psycho-style subliminal flashes. He
intersperses this image stream with bursts of narrative texts
in bold capitals, some balloonish, graffiti-style or aggressively
hand-drawn in marker-pen. “I was interested in the potential
of drawing and the phrasing of comics”, says Russell. “More
specifically, in a kind of cinematic phrasing and the way that onboard band. He is not, in other words, a slacker:
a still image can stand in for a scene. Most of the scenes are in here he shows a video, Staging Silence (2009), which
reconstructs memories of generic public places, and
fact a kind of minimally animated still. Anime plays on this, as
a new series of sculpted still lifes.
do comics, in the gap between frames.” Neither a comic nor an
animation in their conventional senses, and perhaps closer to
the halfway hybrid of ‘motion comics’, Russell’s film demands Song Dong (Pace Beijing, 30 October
to be read as much as to be watched – as well as listened to,
with the soundtrack similarly dissolving music and voiceovers.
– 18 December, www.pacebeijing.com)
builds his work on a version of the butterfly
The result can be experienced as a time-based audiovisual effect: the hope that an individual’s small acts
piece like most animated films, but equally the pause and mute might affect society. An artist who skews closer to
buttons let the viewer/reader/listener control it as in a comic. the spacious poetics of Felix Gonzalez-Torres than
Russell suggests that his Strip for this issue serves to many of his Western art-translating
as “a kind of trailer for the film”, but unravelling in reverse, contemporaries, he has built miniature cities out of
biscuits which viewers were invited to eat, videoed
starting with the ending. As the title implies, Vermillion Vortex
himself jumping in front of audiences and – perhaps
‘climaxes’ in a blood-red maelstrom, contrasting the antiseptic most symbolic of transience of all – written in
soullessness of the main setting nearby with expanses of
multiple, rotting Golgothas. “The ending is a kind of ecstatic,
holocaust-event and has nothing to do with the narrative as
such. It ends the narrative and therefore renders the flow of
events up to this point as establishing scenes, only more or less
interesting in as much as they set up the situation where they
can be ended”, says the artist. “And therefore, in the end is the
beginning, as the narrative is retro-coded backwards by the
end, from the end, to allow for the end… in the end… Amen. So
‘the end’ is the monster in this story.”

words paul gravett

 DISPATCHES

New York
water. (No word yet if you should eat before
visiting this show.) If Song makes something out of

Cosima von Bonin (Witte

almost nothing,

de With, Rotterdam, to 9 January,

A brief look at this month’s list of the 100 most powerful www.wdw.nl) turns something into nothing.
people in the artworld reveals a lot about what’s required to In partly titling her show Cosima von Bonin’s Far
participate in influential circles. While not everyone on our Niente, referencing the Italian phrase dolce far

Cosima von Bonin, Blue St Bernard with Box, 2008 (installation view, Le Printemps de Septembre, Les Abbatoirs, Toulouse, 2009), courtesy Galerie Daniel Buchholz, Cologne & Berlin
list is absolutely loaded, most have access to cash through niente, or sweet idleness, she puts an ironic
spin on what is a seriously labour-intensive show.
fortune or funding; most are white; and most are schooled in
Occupying the entire institution with her
the Western tradition. These commonalities underlie a society characteristic stuffed animals, droll takeoffs of
bound by rituals of association – art fairs, exhibition dinners, Minimalism, fabrics and other presciently postmedium
auctions, committee memberships – which in turn reflect and
reinforce shared assumptions of criticism and class.
Of course you know all this, and most critiques of such
closed cultural circuits – mine included – are really just cases
of the children of privilege gazing at their own entitlement. So
let’s look at something happening this month that concerns
people excluded from the social mainstream by virtue of
all the above criteria: Vogue-ology, an exhibition at Parsons
the New School for Design organised by members of the
sound collective Ultra-red in conjunction with members of
the house/ballroom community. The latter (see the 1990
documentary Paris Is Burning for a slanted intro) are mostly
male-to-female transgender people of colour – many rejected
by their own families – who create kinship associations known
as ‘houses’ ruled by mentoring ‘mothers’ or ‘fathers’. The
community’s ritual glue is walking in balls: highly scripted
drag performances that mimic fantasies of privileged desire,
eg, high-fashion spreads in Vogue. More than a cakewalk, this
finds voguers subsuming a canon of beauty unreachable for all
but the richest and most ‘perfect’ of women, and transforming
it into a higher art. Voguers beat Vogue at its own game by
becoming even more beautiful than its readers can.
As a ball participant has written: ‘Beauty begets control.
Artifice equals power.’ What these words mean to the speaker,
however, are not necessarily what they mean to our Power 100,
and the challenge for Ultra-red is how to reveal that significance.
Thus the exhibition is conceived as part of an ongoing
process of discussion and listening; its ultimate goal is the
establishment of a house/ballroom archive organised around
terms defined by members of the community. Situating these
analytical criteria within the house mindset not only respects
and reveals the community’s voice, but also – if successful
– transcends the power relationships and social prejudices shenanigans that underwrite wild ambiguities of
inherent in most mainstream analysis. These are the very tone, van Bonin’s first major show in the
assumptions of inclusion, entitlement and form which underlie Netherlands promises to do anything but underwhelm.
the marginalisation of the house/ballroom community, among
others, and which its participants, in turn, subvert and exploit
in creating their own structures of aesthetics and power. Along
Manifesta (various venues, Murcia
the way, ‘we’ become the outsiders: a refreshing and thought- and Cartagena, to 9 January, www.
provoking turn of events.
manifesta.org) has always positioned itself at
interstitial points: sometimes disastrously so, as
Vogue-ology, Parsons the New School for Design, New York, when the 2006 edition of the itinerant biennial
17–30 November imploded amid conflicts between the curators and the
government in Nicosia, Cyprus. The last Manifesta,
words JOSHUA MACK in 2008, on the Italian/Austrian border, was an
understandably cautious affair. This one sees them
back in Spain (where Manifesta 5 transpired),
looking at the dialogue between Europe and North
Africa. There’s a tripartite and hydra-headed
curatorial team, a fairly hip/under-familiar list

34 ArtReview
 of artists and the sort of structural interest in

Berlin
translocalism and nomadism which suggests that
Nicolas Bourriaud’s The Radicant (2009) is popular
among the thick-geometric-spectacles set. And if
that leaves one feeling footloose, it’s time once

Now that summer is over, the Berlin art scene is starting the new
season with an ending. The Temporäre Kunsthalle, a feature of
from top: Jean-Marc Superville Sovak, It Can’t Last: No Rush, 2010, curated by ACAF for Manifesta 8, photo: © the artist; Leya Mira Brander, Untitled, 1997–2008, photo: Amilcar Packer

Schlossplatz for the past two years, has closed its doors for the
last time. But our distress is tempered – no more than mediocre,
its exhibitions programme ultimately seemed bereft of any
real concept. And the closing exhibition – John Bock’s silly
adventure-playground and group show FischGrätenMelkStand
(Herringbone Milking Parlour) – did nothing to change that
impression. And other Berlin institutions, Haus am Waldsee
and the Nationalgalerie, for instance, are ailing again – the
Bruce Nauman show at Hamburger Bahnhof, as unsurprising
as you’d expect, is one of the few highlights at the moment. Nor
do the galleries seem to have recharged their batteries during
the short, much too hot summer – or have we had a surfeit of
success lately? Too many collectors, too many art fairs, too
many ‘gallery weekends’, but too few studio visits?
Koch Oberhuber Wolff, for instance, is showing
paintings by Chris Martin in which abstract ornament and
colour patterns combine with photographs and fragments of
text that mostly reference African-American music, playing
down sensual-aesthetic purism in the hope of entering into
dialogue with black pop culture. But to no avail: text and
São Paulo Bienal (various
again for the

abstraction have long since come to an accommodation in venues, São Paulo, to 12 December,
painting, and the result here is not the hoped-for ‘rousing’
aesthetic enquiry. Nor is Neugerriemschneider, with its ever-
www.fbsp.org.br), which also totes a
hypertrophic guest list (some 160 artists),
so-respectable Pawel Althamer exhibition, putting its best foot a heaving curatorial coven (two main curators,
forward. In something of a doll’s-house scenario, Althamer Moacir dos Anjos and Agnaldo Farias, and several
has recreated places from his own life: the apartment block guest curators) and the wonderful title There
is always a cup of sea to sail in. National
he lives in now, the study he works in, a river landscape from
pavilions, a former hallmark of the show, have
his childhood. But where does this installation actually get us? been abolished; emphasis has been placed on South
Meanwhile, a similarly unexciting event is under way at Esther American artists and rationales for showing, say,
Schipper, which is presenting the ambitious project 80*81. North American ones; and there’s an overriding
With its multimedia setup, the show looks back to 1980 and concern with politics – from which, reckon the
organisers, art is inseparable. (And if you’re in
1981. Unfortunately the various media – a bank of monitors,
São Paulo, the extraordinary Inhotim Contemporary
slide projection, book and wall text, to name but a few – are the Art Center – brainchild of collector Bernardo Paz,
familiar accoutrements invariably used when art is pretending featuring installations by Matthew Barney, Chris
not to be art. Burden, Doug Aitken and more – is a convenient
It is probably not by chance that one shining beacon in helicopter ride away. You do own a helicopter,
right?)
the present array of Berlin exhibition spaces is wholly not-for-
profit: at DAAD Galerie Tim Lee is showing Streichquartett
Op. 1 (2010). This four-channel video installation shows Lee
playing Glenn Gould’s String Quartet Op. 1 (1956), note by
note, on all four instruments. Lee cut together minishots of his
playing so that the four instruments of the ‘string quartet’ are
finally heard together in the installation in a performance that
judders more than it flows. In this piece Lee presents a detailed
picture of the relationship between technology and virtuosity,
a picture – where the instruments all scrape by with each other
somehow – that also pretty much reflects the Berlin art scene
at the moment.

words Raimar Stange

translated from the German by Fiona Elliott
 DISPATCHES
One more rebooted perennial: this column tends not
Artissima (Lingotto
to cover art fairs, but
Fiere, Turin, 5–7 November, www.
artissima.it), under the steerage of Italian
curator Francesco Manacorda, is converting itself
into more than a fair. Besides a new venue, it’s
adorning itself with art projects: a literary salon,
a dance programme, lectures – hello, Hans Ulrich –
and ‘an imaginary travelling university’. Also
permeating the fair will be a typographical project
by Dexter Sinister, and text-as-art is clearly in
the ozone right now.
The Last Newspaper (New Museum,
New York, to 9 January, www.
newmuseum.org) muses on news, but less
apocalyptically than proactively: alongside artworks
themed on how artists use and respond to broadsheet
reports – by, among others, Andrea Bowers, Mike
Kelley, Hans Haacke and Emily Jacir – there’s an
actual newsgathering and free-weekly-newspaper-
producing process going on here. But will there
be an iPad version?
36 ArtReview
Paris
When Nietzsche Wept (1992) by Irvin D. Yalom, The Notebooks
of Malte Laurids Brigge (1910) by Rilke and La Carte et le
Territoire (2010) by Michel Houellebecq are the last books
I’ve read, proof of my higgledy-piggledy curiosity. It’s obviously
rather unfair to read a certified masterpiece, Malte, sandwiched
between two less-known writers who have the disadvantage of
being alive. In France, a good writer is a dead writer. And it’s only
in France that you hear people swear that Houellebecq doesn’t
write literature.
Take When Nietzsche Wept, a bestselling novel in France
(as elsewhere) that sets an intelligent stage for the ‘invention’
of psychoanalysis. Here the reader has to put up with sentences
such as: ‘Freud threw up his arms’ or ‘Breuer sighed deeply’. In
short, if the ideas are audacious, the writing is conventional. You
race through the pages, all the more so because you are never
surprised by the words. Their substance seems to be ignored,
and if not, it has to become as transparent as possible – so as not
to disturb the language’s apparent function: to tell a tale.
Houellebecq’s style is also very fluid; and yet the strange
white calm of his narration doesn’t incite the reader the turn the
page, but to linger over it. The temporal construction is bizarre,
and certain images have to be read twice: ‘On the surface of the
Aleksandra Mir, Let’s Go Get ‘Em! (19 October 1996), 2007, marker, paper, courtesy Mary Boone Gallery, New York
ground, irregularly disposed, from place to place, blocks of text
in black letters form a design in slight relief…’ The hero dreams
he’s in a book, and one is reminded of Rilke’s gripping description
of a library: ‘Many people are in the room, but you don’t feel it.
They are in the books. Sometimes they move about the pages,
like sleeping men, and turn over between two dreams.’
I believe that words are not there to be read but to be
heard, even when written. It’s not only about their consistency
in sound – rhythm, alliterations, musical harmony, etc: the
material of poetry. Words are perceived by all the senses, just
as in art we are entirely in the presence of a work. Words are
seen, heard, felt, breathed, absorbed, memorised and echoed in
a complete virtual world by the organ of vision alone.
Irvin Yalom is an excellent storyteller who writes page-
turners (these expressions don’t exist in French). The great
misunderstanding with the novel is that there are two publics:
one for books of leisure and another for literary art. It’s rare
(but possible) that a book meets with both, and when it does,
literature sneaks in through the eyes.
words marie darrieussecq
translated from the French by Emmelene Landon
 POP HYMNS
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 freelance

A Change Is
The phrase ‘Change we can believe in’ is a slogan,
a book and presently a laughingstock. Nearly two full years into
the Obama presidency, Newsweek recently published an article
titled, archly, ‘We’re No. 11!’ The piece went on to razz its

Gonna Come…
already enervated readers: ‘Has the United States lost its
oomph as a superpower? Even President Obama isn’t immune
to the gloom. “Americans won’t settle for No. 2!” Obama
shouted at one political rally. How about No. 11? That’s where
the U.S.A. ranks in Newsweek’s list of the 100 best countries in
the world, not even in the top 10.’

Or Is It?
Settling is what many Americans appear to be doing
today, and they are increasingly accepting a decline. Make what
one might of Newsweek’s frontrunners in the ‘best country’

Dan Colen, Meet Me Around the Corner, 2007, enamel on board, two panels, each 142 x 107 cm (142 x 214 cm overall). Courtesy Peres Projects, Los Angeles & Berlin
stakes – just the boredom, racial homogeneity and psycho
suicide rates (much higher than America’s and Britain’s) of
Finland (No. 1) and Switzerland (No. 2) should plonk them
back into their incestuous, wrist-cutting aquavit-and-schnapps-
pickled bogs – deep pessimism has set in throughout the
heartland. Whether it be fact or fiction, Americans feel their
If America now believes itself to be in
fortunes sliding southwards. More important, the land of ‘We’re decline, it’s going to take more than speeches
No. 1’ believes itself powerless to change or improve its course.
As anthropologist Arjun Appadurai puts it, the capacity
and seminars to get the country – and its
to aspire to a different future is crucial for the underprivileged artworld – back on an upswing
to overcome their conditions. It stands to reason, then, that the
same should be true for developed societies – and by extension,
their own microsocieties or – ahem – in our case, miniclubs.
With this thought in mind, and following some Friday night
carousing amid chummy Chelsea galleries, I dragged my sorry
carcass out one morning (on a Saturday!) to the New School’s
Vera List Center for a mysterious programme titled ‘It
Happened Tomorrow: Probabilities, Predictions and
Prophecies’. Even after a Bloody Mary and a double Excedrin,
there was literally no way I could forecast what I was in for.

words Christian Viveros-Faune

Presented by an ephebic two-woman artist collaborative
called Lin + Lam, the event promised panels and the launch of
an interactive website featuring nothing less than ‘an
interdisciplinary array of cultural and historical predictive
devices, appropriations from popular culture, historical sources,
and academic scholarship, including original interviews with
professionals from diverse backgrounds’. What it wound up
delivering was a jargon-clogged, academically torpid, but
nonetheless enlightening reflection on the kind of change few
folks in any discipline seem capable of imagining at present. In
such a blinkered scenario, extra credit goes to the people asking
the right questions.
Does change mean emergence or a Nietzsche-like
eternal return? Can speculating on change be learned or
transmitted? (The second part of this question is settled every
time we open our email.) Will thinking about change lead to
radical politics or aesthetics? And finally, what in the world
enables future thinking? Part of a larger New School
symposium titled ‘Speculating on Change’, Lin + Lam’s
presentation (which can be accessed at www.change-
encounters.com) invited evil thoughts about the artworld’s
ingrained reluctance to push beyond its narrowly constituted
self-interests. Arguably, that ingrained reluctance is today
looking very much like a stye.
While Lin + Lam’s website definition of change as ‘an
encounter with difference that requires opening oneself to the
unknown’ is overly simplistic – it recalls, among other wince-
worthy fads, the victimhood of 1980s-style multiculturalism –
it does suggest an unexplored mountain of problems that both
the country and its art scene have yet to face squarely. That is,
namely, a values breakdown – a national epidemic of get-rich-
quickism and something-for-nothingism that locusted
everything from the real-estate market to auction house sales,
leaving shuttered homes and empty galleries standing.
The recession is its turd-blossom. But tell that to young
artists who still expect to make fortunes on the back of Jean-
Michel Basquiat dreams and Larry Gagosian hype. Despite
wishful thinking, these young Turks in hand-me-down duds
embody conventionality like Williamsburg, Brooklyn, sports
ass tattoos and backwards trucker hats – as if in mirrored
rehearsal. Today the pursuit of tabloid success represents
neither change nor novelty, but its systemic opposite: the
bankruptcy of business as usual. That’s right, I’m talking to you,
Dan Colen.

38 ArtReview
 london calling
Save our
Quangos!
In the scramble for cash, art gets ugly
Another month, another desperate campaign to stop
cuts in government spending on the arts. Three months into the
UK’s wacky Conservative–Liberal Democrat coalition, and
with ministers threatening 25–30 percent cuts to the state-
funded cultural sector, one group of visual-arts movers and
shakers has weighed in with a petition under the banner Save
the Arts. To kick off the campaign, artist David Shrigley has
dreamed up a blackly comic animation in which a farmer and
his son have a conversation about how brilliant the arts are, and
how spending on the arts brings in money to the wider
economy. Cheerfully, the farmer rounds off with the insight that
we might as well support the arts, because, “let’s face it, we’re
crap at most things these days, but we’re brilliant at the arts”.
Big cuts are looming in the current Comprehensive
Spending Review (reporting to Parliament on 20 October), and
everyone seems to accept that such measures have to be taken.
As long as they affect someone else. So those threatened are
cranking up the apocalyptic rhetoric: Save the Arts declares
that ‘25–30 percent cuts… would result in the closure of many
smaller arts organisations and would also have a crippling effect
on the functioning of the country’s leading arts venues’.
Spending cuts on such a scale would indeed be rough. In
September it was reported that Arts Council England (ACE)
was considering cutting its £38m of funding to Creativity,
Culture and Education (CCE), a quasi-nongovernmental
organisation (quango) charged with developing educational
collaborations between creative professionals and schools.
Denying CCE’s claims that the decision had already been made,
ACE stated that it would wait until after the Spending Review
40 ArtReview
to decide whether to go ahead with the cuts. Yet as the risk to
CCE makes clear, ACE has for many years been doing a lot
more than just funding art galleries and dishing out grants to
artists. CCE’s slice of ACE’s government grant works out at 8.5
percent. CCE likes to think that it is terrifically good value for
money, but the fact remains that its mission to raise educational
attainment should really be the responsibility of the department
for education. Yet under New Labour, culturecrats endlessly
bigged-up the idea the arts could do everything: provide a new
economic model, cut crime, raise educational standards…
So what happened to ACE’s previously fondly held
beliefs – has it suddenly discovered that its priority should be to
fund artists and art institutions? Perhaps, but in the hysteria
over a likely cut in ACE’s grant, it’s easy to miss the fact that
almost 40 percent of ACE’s revenue comes from the National
Lottery (£172m in 2009/10); and that ACE has been forfeiting
some of its Lottery cash to the Olympic fund (an arrangement
which will expire once the Games are over). But Lottery money
is not part of the public finances, and ACE’s Lottery grant is a
small fraction of the £1.24bn the Lottery generates, of which
half goes to the Big Lottery Fund, a community-philanthropy
organisation that is all about ‘community learning and creating
opportunity, promoting community cohesion and safety,
promoting well-being’. All very worthy, but again these are
political objectives that should already be the responsibility of
government rather than of yet another unaccountable quango.
In other words, everybody’s promoting community and
advancing education and opportunity – a sort of endless policy
‘mission creep’. What the proposed cutting of CCE
demonstrates is how many quangos now crisscross and overlap
in their policy objectives, and how a body like the Big Lottery
Fund has survived on the basis of fuzzy sentiment – that it
supports ‘good causes’ – rather than any realistic idea of
whether it actually does any good. Redistribute the Lottery
money, and funding to the arts could in fact increase, something
words J.J. Charlesworth
which the DCMS is now tentatively initiating, proposing a
reduction in the Big Lottery Fund’s share to 40 percent.
But while it’s clearly time for some serious thinking
about what culture quangos actually do, no one wants to give
the government ammunition for further spending cuts. Yet
that’s where some real political radicalism is needed, and where
campaigns like Save the Arts are passively accepting rather
© David Shrigley. Courtesy Save the Arts, London
than confronting the status quo: as Shrigley’s farmer
fatalistically declares, “Because of those jokers in charge of the
banks, the government is going to have to make some cuts. We
all have to accept that.” But do we? The new coalition is
happiest when presenting itself as solemnly, responsibly making
cuts, yet it is silent – and largely unchallenged – on how it will
kickstart the economy to bring greater growth and prosperity.
While the various quangocrats jostle and manoeuvre over
which slice of the policy cake they get left with, there is still little
debate on what kind of funded arts culture is really worth the
money, and even less on how we recreate the economic
dynamism on which – in the end – all art and culture relies.
 the painted word

Poor Big
At last – during the summer’s art hiatus and after 11
years in the making, Pixar’s hugely anticipated Toy Story 3
(2010) was finally released. With an incubation that long, it
promised to be at least as ripe for allegorical interpretation
as the other two; the artistically minded will no doubt start

Baby
reading all kinds of nonsense into the plotline (‘it’s really all
about God/Marx/Auschwitz’ – delete as interpreted). But not
this ‘viewer’ – I was heavily prepared to go with it, swearing off
subtexts and metanarratives for the time being – at least until
the Frieze Art Fair.
All that went out the window upon encountering one
of the all-new characters in the film – the disturbing, moon-
gazing baddie Big Baby, an infant doll with emotional issues.
Originally of the Tiny Tears variety, he is here transformed into
Toy Story’s newest character treads
a traumatised and edgy outsider with a short fuse, thanks to where artists dare not go
having been left by the roadside by his previous owner. Now one
of a gang of brainwashed, heartbroken and vengeful rejects, he
spends his days swigging from his bottle and staggering in a way
that lets you know it isn’t filled with milk.
Thinking about this character in terms of art is
unavoidable: his abjection immediately recalls the legion
of artworks that use grubby dolls and the like ‘to make the
viewer uncomfortable’. And I’m not talking about Hans
Bellmer’s libidinous, sadistic corpse-dolls, or the later hybrids
and amalgams of Paul McCarthy, Tetsumi Kudo and Cindy
Sherman. Apart from such stellar exceptions, most art made
with children’s toys has the same problem. The ‘sadness’ of the
discarded teddy or doll remains, for some reason, unquestioned.
Assumed to be a hotline to troubling content – omnipresent
evil, domestic abuse, paedophilia, etc – a kids’ toy allows artists
to lazily bootleg a back catalogue of unease, the supposedly
innate suggestiveness of the thing requiring little intervention
to complete the picture of foul play. As any art-school tutor

words Nigel Cooke

will tell you, it’s for this reason that dolls and teddies go on the
as-yet-unwritten list of dead-end art materials, stuff so loaded
with symbolism and references that it would take nothing
short of mass pop-cultural amnesia for anyone to reuse them
in any thought-provoking way. Dolls in art aptly illustrate the
Here, the animism of the Toy Story concept functions on
two distinct levels, corresponding to the respective experience
levels of the two principal audiences addressed in the cinema:
children and adults. With this simple move the film’s creators
have put together a succinct portrait of abuse. Big Baby is the

movement of kitsch – the bathetic slide from the genuinely
affecting to the hopelessly and endlessly repeated.
Although he connects with this cliché, Big Baby also goes
way beyond it; Pixar has managed to turn this hackneyed visual
trope on its head and achieve what art could not – an enduringly
unsettling portrait of abuse and psychic anguish through the
medium of the neglected baby doll.
They do this by doubling up on the signifiers of neglect.
Each mark and fault on the doll has a role as a sign both of
entropic wear and tear, and of a troubled interior consciousness
that’s prey to self-loathing and addiction. Witness the scribble
marks – they leap out as tattoos, simply because of where they
are placed. The smudges of dirt scan as bruises. The broken
eye calls to mind the aftermath of a barroom brawl. And
most unnervingly, Big Baby’s henchmanlike strong-arming of
the other toys is accompanied by a babyish gurgling and the
occasional “Mama”: by virtue of his size relative to the other
toys, his is a child’s mind in an adult body.
Big Baby, from Toy Story 3, 2010, dir Lee Unkrich. © Disney/Pixar
antithesis to the other characters’ honest playability, as every
action and bodily inscription can be read in two ways. And even
where the other toys are schizophrenically inseparable from
their own merchandising, this uncanny sufferer maintains a
more unsavoury relationship with his commercial identity.
He becomes like the living dead, a toy hauled from the bin
and put back on the shelf to be consumed all over again. The
indifference of this market context to the anguish of the doll/
child may even lend the character some extra power here, in
ways that would seem unbearably corny in the rarefied context
of art. If anything, the successful doll art of McCarthy and
others depends on indifference too, but directed towards the
cloying sentimentality and faux meanings that come with doll
imagery, which are surprisingly absent in Toy Story’s Big Baby.
In the end, the film may well be about God, Marx or the
Holocaust. But don’t miss the biting subtext of domestic abuse
and psychic trauma, delivered by a grimy baby doll you wouldn’t
want to take home with you.

42 ArtReview
 Jimmie Durham
arts, media and sports
SPROVIERI
7 October – 27 November 2010

Cinthia Marcelle
Ilya & Emilia Kabakov
Jimmie Durham
Matheus Rocha Pitta
Nan Goldin

29th São Paulo Biennial 2010

25 September – 12 December 2010

“Há sempre um copo de mar

para um homem navegar”
“There is always a cup of sea
to sail in”
Jimmie Durham, second life (detail), 2010

SPROVIERI
27 heddon street
london w1b 4bj
+44 20 7734 2066
tue – sat 10 – 6

new website
sprovieri.com
 the shape of things

Pimped
I was more than a little disappointed by the Pope’s UK
visit in September. Not because of the well-logged issues that
currently plague the organisation he runs, nor because the
expense of his visit was borne by the British taxpayer. It’s worse
than that: someone’s screwed with the Popemobile.

no more
When Pope John Paul II visited the UK in 1982, he used
two Popemobiles. One was a converted 24-tonne British
Leyland ‘Constructor’ truck designed by Tom Karen. It brought
with it stylistic tics recognisable from some of his other projects,
the super-groovy Bond Bug car, the Raleigh Chopper and the
Kiddicraft marble run among them. Karen’s Popemobile looked
part Star Wars Stormtrooper carrier and part refuse truck, and
had the kind of massiveness that made you think it could do
some damage. John Paul’s other car was a Range Rover – one of
Why the Pope’s new ride will fail
those boxy early-1980s models (also, of course, in white) that to procure him many new fans
Princess Margaret might have driven. Except the Pope’s
transport had a large hump of extra Range Rover on its back, as
though two Rovers were mating.
Last month, Pope Benedict XVI flew over a pair of
armoured Mercedes-Benz 4x4s from Vatican City. These, and
more of the same model located around the world, now form a
fleet of standardised Popemobiles in use since 2002. Based on
the ML430 SUV, each has a viewing box fitted to the rear, and
bulletproof windows, frames and undercarriage. The Pope’s
central seat can be raised hydraulically.
The standardisation of the Popemobile may well be neat
and convenient, but its previous incarnation as a one-off, locally
interpreted design seemed somehow to demonstrate ingenuity
and originality wherever the Pope went.

words sam jacob

The Polish really knew how to do it. One of their versions
looks like a military golf cart with a bright yellow flash down its
side and sprays of flowers around its radiator grille. The Pope
would stand in a kind of raised balcony (decorated by more
flowers) framed by a tapestry held over him on thin rods.
Another, even stranger incarnation looks like a bus stop or
perhaps an office-partitioning glazing system. Above this floats
a petrol-station canopy. And the whole apparatus sits on a
rectangular plinth that has what appear to be very tiny wheels
poking out from beneath it.
There are, naturally, more sensible-looking variations –
a flatbed with a large aquarium attached, or the cool jeep that
looks like it should be driven by a hot archaeologist.
Vehicle customisation, or ‘ride pimping’, as many now
know it, is something that normally occurs as an instance of
subculture vernacular – one thinks of Chicano lowriders, hippy
convoy buses, even carnival floats. While today the Vatican may
well represent just another one of these subcultures, it’s hard
There is a tension in those old versions: a struggle
between the symbolic and iconographic traditions of
Catholicism and the generic world of vehicle design. They
display an attempt to invent a solution to the problem of how an
object of the modern world might exist within the object realm
of the Pope, in which every detail is part of a vast and complex
choreography of ancient symbolism that adds up to a total
universe of meaning. The Council of Trent had little to say
about vehicle design.
The problem of the Popemobile is that contemporary
design can’t – or isn’t willing – to operate in that symbolic,
iconographic way any more. The Pope’s current SUV sports the
number plates SCV and SCV 1 – for ‘Stato della Città del
Vaticano’. That doesn’t really cut it in the symbolism stakes –
more boy racer than Holy See. It is this lack of exceptionality,
this ordinariness, that is disappointing.
It is not as though vehicle design is a semiologically
barren activity. One only has to glance at a car advertisement to
© Mazur/www.thepapalvisit.org.uk

not to link all its aesthetic production to the exceptional quality
of high Baroque Bernini and Michelangelo.
In those old Popemobiles, you can still glimpse fragments
– an embroidered canopy, a piece of iconographic livery –
suggestive of the symbolism and iconography present, for
example, in the papal robes; not so the current model, which
feels part of the secular, modern world.
see how the deformations and inflections of metalwork, the play
of chrome against panel and the lustrous sheen of paintwork
are aesthetic manipulations that stir fundamental reactions. In
fact, it is in the bodywork of cars – the rising waistline from
front to back that gives a feeling of dynamic forwardness, the
bowed reflection that sprawls over the bonnet or the starburst-
plastics of a brake light – and their direct appeal to our senses
that we might find the only living inheritance of Rome’s
seventeenth-century Baroque design tradition.

44 ArtReview
fragrance takes to the wing
 design

Pattern
I recently left a bowl of sloes out on the table.
A friend shoved a handful into his mouth, thinking that they
were blueberries. The expression on his face after five seconds
of chewing reminded me uncannily of the look I got from an
industrial designer once when I referred to his limited-edition

Recognition
works as ‘decorative art’. Decorative art is to the visual arts
world what mime is to the performing arts: a long, important
heritage that has translated in contemporary life into something
naff and embarrassing. The very word ‘decorative’ has become
a kind of insult, like ‘inoffensive’ or ‘pleasant’.
The works that we now think of as decorative art – from
Sèvres porcelain to inlaid cabinets to carved stone objects – are
rarely decorative for their own sake. Decoration – whether
military or domestic – is a sign of status, and where there’s
Long the art that dare not speak its name,
status, there’s usually politics, intrigue, alliances and bloody decorative art is becoming hip
struggle. Stories of poisoning, magic and sacrifice have
peppered the BBC’s History of the World in 100 Objects radio
series (2010), produced with the British Museum, and no doubt
contributed to its allure.
When I spoke with the Dutch designer Carole Baijings
(of the studio Scholten & Baijings), she told me that she was a
huge fan of the series: I’d be interested (surprised, even) to hear
whether any British designers have been similarly inspired by
it. Baijings was probably predisposed towards museum-y
subject matter; her studio has been working closely with the
Zuiderzee Museum in Enkhuizen and over the last three years
has produced works, ranging from willow baskets to glassware
to decorative storage boxes, that relate to the practices and
historical stories told by the collection.
There is nothing obscure or retro or even kitsch about
these pieces – they are gorgeous and exciting and wonderfully
modern looking. (In the UK they are produced by Established
& Sons, and you can buy them at Moss in New York.) Yet the
Zuiderzee Museum, until a few years ago, was the kind of place
to which children got dragged screaming on wet holidays – a

words Hettie Judah

museum of folk craft and history that commemorated the
traditions of people who worked on the Netherlands’ vast
North Sea inlet before the dykes and polders of the 1930s.
Unlike that of the British Museum, its collection doesn’t reflect
a history of kings and conquest (although the Zuiderzee itself
was the source of much of the Netherlands’ wealth) but of hard
work and simple lives.
Over the last three years, however, the museum has
collaborated with some of the best contemporary designers in
the country to transform itself into an institution dedicated as
much to the future as it is to the past. Next year Jurgen Bey will
create a show about production; Joris Laarman has been
commissioned to design a new machine inspired by the sea for
the year after. Maarten Baas’s Zuiderzee clock, on display for
the first half of 2010, arrived at the museum fresh from Design
Miami, where Baas had just been named designer of the year.
“Most of the visitors don’t know who Maarten Baas is”, admits
director Michael Huyser. “But they love the clock.”
The invigoration process at Zuiderzee has worked in two
directions – the designers have been inspired by having intimate
access to the collections, and their enthusiastic response has, in
turn, brought a new audience into the museum. It also seems to
be making decorative arts cool again – back in Milan this year,
Scholten & Baijings presented a collection of hand-stitched
© Scholten & Baijings, Amsterdam

fabric vegetables just, y’know, for the sake of it.

The British Museum is riding high at the moment – the
radio series, the planned extension and the £25m in bequests
from two Sainsbury-related foundations. Could it take
inspiration from the little Zuiderzee Museum, and invite some
contemporary designers to get properly involved in the
collection? It would put the museum in a perfect position to
change the status of – cough – decorative arts in Britain.

48 ArtReview
ANSELM ON TOUR WITH THE

KIEFER
8 October 2010 – 16 January 2011

Anselm Kiefer Palette, 1981. © Anselm Kiefer. ARTIST ROOMS Tate and
National Galleries of Scotland. Acquired jointly through The d’Offay Donation with
assistance from the National Heritage Memorial Fund and the Art Fund 2008

BAL351
 RECENT BRITISH SCULPTURE

RUPERT ACKROYD

ATHANASIOS ARGIANAS

CHARLES AVERY

VANESSA BILLY

MATTHEW DARBYSHIRE

JESS FLOOD-PADDOCK

BRIAN GRIFFITHS

MICK PETER

SAM PORRITT

KEITH WILSON

27 NOVEMBER, 2010 - 6 JANUARY, 2011

Keizersgracht 82, 1015 CT Amsterdam, The Netherlands , Eerste Jacob van Campenstraat 23-25, 1072 BR Amsterdam, The Netherlands
www.grimmfineart.com, Tel +31 (0) 20 4227 227, Fax +31 (0) 20 3301 965.
 flavio de marco
VEDUTE

21.11.2010 - 27.02.2011

via fratelli cervi 66 — reggio emilia — italy

tel. +39 0522 382484
info@collezionemaramotti.org
www.collezionemaramotti.org
 Norman Catherine totem pole 200cm
THEN : NOW
9 November - 4 December 2010

work by:
TAKASHI MURAKAMI
MARLENE DUMAS
WILLIAM KENTRIDGE
ESTHER MAHLANGU
ASHA ZERO
ROELOF LOUW
and others

GROUP EXHIBITION featuring work by International and South African artists

34FineArt.com
 top five

Reliquaries, wax, paint, leather, metal, wood, resin, Plexiglas, 24 x 99 x 24 cm, collection Carnegie Museum of Art, Pittsburgh, photo: Jason Mandella, © Estate of George Paul Thek, courtesy Alexander and Bonin, New York
from left: Gabriel von Max, Female Martyr on the Cross (St Julia), c. 1867, oil on canvas, Charles and Emma Frye Collection, Frye Art Museum, Seattle; Paul Thek, Warrior’s Arm, 1967, from the series Technological
What to see this month by 2 Small Scale,

Chris
Big Change: New
Architectures
of Social

Dercon
Director designate, Tate Modern, London
Engagement
Museum of Modern Art, New York
To 3 January
www.moma.org
4 Paul Thek: Diver,
A Retrospective
As the venue says, ‘This show
presents eleven architectural Whitney Museum of American
projects on five continents Art, New York
that respond to localized 21 October – 9 January

1  Gabriel von Max needs in underserved www.whitney.org

Kunstbau at the Lenbachhaus, Munich
23 October – 30 January
www.lenbachhaus.de
Showing in my hometown, Gabriel von Max (1840–1915)
was a star painter, a Spiritist and a Darwinist.
His wicked 1889 painting Affen als Kunstrichter
(Monkeys as Critics) is a true icon of late-
nineteenth-century German painting, mocking a
conservative, bourgeois take on art. Von Max’s
interest in the natural sciences, ethnology and
esoterics is a true example of a romantic, dark
conceptualism and a warning for those of us who
communities’. One is a primary
school in Gando, Burkina Faso,
by architect Diébédo Francis
Kéré; in 2004 he was awarded
the Aga Khan prize for it.
Kéré was also the architect-
collaborator on Remdoogo, the
so-called opera village near
Ouagadougou, conceived by the
late German artist-provocateur
Christoph Schlingensief.
And he recently redesigned
the grounds of the amazing
National Museum in Bamako,
Mali: an architect to keep
‘Small scale, big change’
could also have been a perfect
title for my absolute
favourite upcoming show, this
retrospective of the late
American artist. It’s never
too late. (Can it be too
early? When we showed Paul’s
first retrospective at Witte
de With in Rotterdam in 1995,
nobody came.)

5 Marburg!
believe in, say, biogenetics. in mind.

The Early Bird

3 Rene Daniels: Marburger Kunstverein
22 October – 9 December
Painting on www.marburger-kunstverein.de

Unknown Ydessa Hendeles, the only

child of Jewish survivors of

Languages the Holocaust, founded the

Camden Arts Centre, London
To 28 November
www.camdenartscentre.org
The work produced by Dutch
painter René Daniëls between
1977 and 1987 remains as
intriguing now as it was at
the time. Since his stroke at
the end of 1987, the René
Daniëls Foundation has been
responsible for making known
his highly personal, painterly
interpretation of the legacy
of Duchamp, Picabia, Polke and
Broodthaers. His art functions
like a manifesto on the many
ends – and new beginnings –
of painting. Young painters
must see this show: very good
bad painting!
legendary Ydessa Gallery in
Toronto in 1980 before setting
up the Ydessa Hendeles Art
Foundation, curating
exceptionally precise as well
as highly autobiographical
exhibitions. She and her
mother ‘commissioned’ Maurizio
Cattelan’s child-size Hitler,
Him (2001), and curated the
legendary 2003 exhibition
Partners (The Teddy Bear
Project) at Munich’s Haus der
Kunst, formerly Hitler’s
private kunsthalle. Admired by
curators such as Massimiliano
Gioni and Jens Hoffmann,
Hendeles – who curated this
show, named after her hometown
– keeps returning in her
purchases, commissions and
exhibitions to her unusual
life and familial past.

54 ArtReview
 A New Concise Reference Dictionary
Cc
camp to cuts
camp. See connoisseurship.
cannibalism The most prevalent of the cannibalisms in
contemporary art is autoconsumption by artists of their
own blood, penis, faeces or other bodily materiality. The
literal killing and eating of others is less common, although
the blood, faeces or other bodily materiality of an artist may
be offered to others to share. The radical transformations
of the strategies of documentation are thus engaged in the
reconstruction of a continuum: an operation in narrative
time which is physically affected by memory and history,
and where past and future are reconstituted as present.
catalogue Publication with essay, illustrations, etc, published
by a public or private gallery, the text written by a drudge.
See madness. Because catalogues are an advertisement,
they have a compromised critical independence. Where the
artist is still alive, they have zero critical independence. This
is compensated for by the universal truth that such essays
are never read. See advertising.
celebrity See buttocks.
children’s and youth art Cheeky ‘East End Cockney’
gallery stallholders and young artists, many little more than
children, may be seen dancing, selling art, eating winkles and
sniffing cocaine powder from colourful baskets as they cry
their wares in London streets. See Lionel Bart, Malcolm
McLaren, Poor Law Amendment Act of 1834.
chimpanzee See also baboon. Humans share 98 percent of
their DNA with the chimpanzee, but dealers will only share
50 percent plus framing costs.
chora See ciborium.
ciborium Liturgical vessel used to hold the Eucharist.
cinema a) A cultural locus accorded reverence by theorists,
in which the radical transformations of the strategies of
documentation are engaged in the reconstruction of a
continuum: an operation in narrative time which is physically
affected by memory and history, and where past and future
are reconstituted as present. b) A socialised architectural
space showing a dull film in which wealthy celebrities mime
having sex, in front of which audiences (sitting in dirt and
darkness) consume fatty foodstuffs and expel foul fartage.
classicism Certain formulas have been devised so as to
attempt definition of this term whose normative value
usage is a variable depending on historical and descriptive
context. The radical transformations of the strategies of
56 ArtReview
documentation are thus engaged in the reconstruction of a
continuum: an operation in narrative time which is physically
affected by memory and history, and where past and future
are reconstituted as present.
cliché Clichés tend to be ‘classical’ clichés, and are therefore
important vocabulary modes. Without clichés there is
no comprehension, and arts professionals would have
no common language or ability to function. The radical
transformations of the strategies of documentation are thus
engaged in the reconstruction of a continuum: an operation
in narrative time which is physically affected by memory
and history, and where past and future are reconstituted as
present.
cluster fuck US military slang term for intractable disarray
(often involving multiple deaths) now appropriated by
practitioners of the hey dude style of art writing. In
this way the radical transformations of the strategies of
documentation are engaged in the reconstruction of a
continuum: an operation in narrative time which is physically
affected by memory and history, and where past and future
are reconstituted as present. Note: there is a corresponding
tendency for the military to borrow art-critical terms in
return, such as ‘visual discourse’ – used to describe the aerial
bombing of peasant villages.
cock See connoisseurship.
cocaine Benzoylmethylecgonine – a crystalline tropane
alkaloid. An artist’s material unusually characterised by a
transversality of disciplinarity specialisations. See toilet
(Duchamp urinal).
coda See absurd counterpoint.
code See hidden key.
colour A universal positive in visual art. With the exception,
certain authorities claim, of most 1970s practice.
conceptual art The relationship of the determined commodity
object, or thought locus, within the statement terms of a
directive authorial imprecation strategy.
confessional art See vagina, anus, penis, drunk, snot.
connoisseurship See cluster fuck, Lady Gaga, cocaine.
craquelure See anus.
critic See critical theory.
critical theory The commonly accepted theory that art critics
should write favourably about an exhibition on the basis of
the written instructions of a press release.
critique See hidden key.
culture See cuts.
cunt See chora.
cuts A nonjocular political expediency locus term especially
related to the arts in which the letter ‘n’ may be removed
from the slang pejorative ‘cunt’ (see feminism), the word
‘cut’ itself then becoming a cut word (see pun, Derrida) as
part of a fiscal transformation strategy terminology process
in which the letter ‘n’ is removed by econometricians from
certain words in order to save money. Such vigorously
contested centrality purposes are not usually regarded as
playful, except as seen in Orcinus orca (commonly referred
to as killer whale), which will toy with a lacerated infant seal
prior to killing and eating it. See banker, cannibalism,
scream. Listen also to Cut by the Slits (1979).
words Neal Brown
 HONG KONG diary
It’s the final day of Art Hong Kong. And after the studio
marathon, I’m meeting the fair’s celebrity turn: painter Vincent
Fantauzzo and movie director (among other things) Baz
Luhrmann. They’re in Hong Kong to display a multimedia
collaboration titled The Creek, 1977 (2010), which has been put
on by local gallery 10 Chancery Lane. The meeting itself is
something of a marathon experience, with several false starts
and a few phone calls of the ‘Can you be at the stand right now?’
ilk. Aussies Vince and Baz were wheeled out at the fair’s
opening press conference to add a little Hollywood stardust to
proceedings. I haven’t seen them since. But I have passed a
number of dealers who’ve whispered that ‘Baz just came by’ or
‘Did you see Baz Luhrmann? – he’s here’. While those same
dealers attempt to make it clear that they’re absolutely
unimpressed by his presence, they resent the fact that a
celebrity from another creative field is trying to muscle in on
their (or more properly their artists’) territory. They don’t say it
(except when they’re drunk, when they do), but you can see it in
their eyes, which roll like fruit machine counters when you ask
if they’ve seen The Creek, 1977.
The installation is a collaboration in a real sense. Not
because it’s a seamless and inseparable fusion of two minds
working together (which tends to be the art critic’s default
requirement for collaborative success). Rather because there’s
no disputing that two people made this work. Fantauzzo’s
Caravaggio-esque photoreal painting of the aftermath of a car
crash (a scene evolved from Luhrmann’s childhood in Australia,
and incorporating portraits of both the painter and the
filmmaker) stands at the end of a long dark corridor lit by
parallel rows of tea-candle-like lights regularly interspersed
with the kind of photographs you’d expect to find in the
Luhrmann family archive (which is where they’re from). The
installation is the complete opposite of the brightly lit white
booths it’s almost invisibly sandwiched between. Indeed, The
58 ArtReview
Wizards
of Oz
In our third and final report from
Hong Kong, we pick up some
tips on improving next year’s art fair
words Mark Rappolt
Creek, 1977 seems designed almost to prevent or distract you
from looking at the painting – suggesting that a kind of
photographic evidence is required to prove the truth of the
painted image. And there’s a certain discomfort in the obvious
theatricality of the scene, and in knowing that you’re being
manipulated in this way. Particularly when Vince points out
that one of the photographs is in fact a painting. “All art lies to
tell a truth”, Baz explains. He’s right. If the painting itself is
photoreal, the installation as a whole renders it hyperreal.
More than that, the installation is an intriguing mirror to
the theatricality of the art fair as a whole, of the big shiny
sculptures designed to draw you in, the posturing dealers and
The Creek, 1977 (detail), 2010. Courtesy 10 Chancery Lane Gallery, Hong Kong
the collectors wandering around establishing their credentials
as part of a cultural aristocracy. On the way to meet Baz and
Vince, I pass a dealer who’s busy explaining to a prospective
purchaser that “this painting is really special to the artist – it’s
his absolute favourite”. I wonder how the dealer’s going to
explain the paintings the artist doesn’t like so much, or if he’s
ever tried the opposite tack: “This painting’s really special – the
artist absolutely hates it”. But more than that, I’m thinking
about how similar the narratives being spun into the fair to
make the artworks (and more precisely the purchase of them)
more real are to the performance of Fantauzzo and Luhrmann’s
collaboration.
We end up meeting in the fair’s café, which means that a
few fans and well-wishers pass through our conversation, too.
But Baz is relaxed about that, so Vincent and I are as well. In
fact, he thinks art fairs could do with a more chilled-out
attitude: “In Hong Kong you’ve got the wine fair, happening at
the same time, and that’s great. You’ve got the auctions. But why
not have the party fairs and the porn fairs, a real mix of high and
low? A tribal blowing-out is a legitimate and thrilling part of the
ceremony.” I know I’m looking forward to the Christy Canyon
and Rocco Siffredi booths at Art Hong Kong 2011.
CHINA
POWER STATION
elyron.it
CHINESE CONTEMPORARY ART
FROM THE ASTRUP FEARNLEY COLLECTION
PINACOTECA AGNELLI
LINGOTTO VIA NIZZA 230 TORINO
7 NOVEMBRE 2010 27 FEBBRAIO 2011
CON IL PATROCINIO DI LA MOSTRA FA PARTE
DEL CALENDARIO

SPONSOR TECNICO MEDIA PARTNER

Walid Raad Sweet Talk: Commissions (Beirut) (detail), 1987-present.
Courtesy Anthony Reynolds Gallery, London; Paula Cooper
Gallery, New York; and Galerie Sfeir-Semler, Hamburg and Beirut.

Miraculous Beginnings
–
Walid Raad

2 January 2011
14 October 2010
Whitechapel Gallery

whitechapelgallery.org
 dispatches

62 ArtReview
Consumed
The pick of things you didn’t know you
really needed. Words Oliver Basciano

My first job was on the pen counter at WH Smith.

ArtReview’s editor-at-large discreetly slipped
porn mags inside the Sunday papers for the shadier
customers of a local newsagent. And our editor
just about wins in the cool stakes, having sneered
repeatedly at the CD choices made by customers of
a West London Music and Video Exchange. So we’re
all well versed in shopkeeping. Which is just as
well, as you may find some of us – along with the
likes of International Herald Tribune design critic
Alice Rawsthorn, Frieze Projects curator Sarah
McCrory and gallerists Stuart Shave and Nicky Verber
– behind the counter at the House of Voltaire pop-up
shop this month, a project for which ArtReview is
the media partner. It’s the idea of Joe Scotland,
artistic director of nonprofit space Studio Voltaire
(pictured here with, from left, artists Dawn
Mellor, Anthea Hamilton and Julie Verhoeven, all
dressing collector Valeria Napoleone, centre). The
concept is a boutique of serene tradition, trading
in stock specially commissioned from a roster of
artists, all profits in support of the gallery’s
programme. From its temporary base above Rupert
Sanderson’s shoe shop on Bruton Place in London’s
Mayfair, kitted out by gallery-architect favourite
6a (who was behind the refit of Raven Row and the
South London Gallery’s extension), visitors can
browse and buy a ready-to-wear range from Hamilton,
T-shirts by Mellor or tissue boxes by Verhoeven.
Stocked alongside these will be a whole heap of
contributions by other artists, including prints by
Donald Urquhart and David Noonan, block-printed tea
towels by Mark Titchner, tops by Clunie Reid, bags
by Matthew Darbyshire and wine from Marc Camille
Chaimowicz. And while it’s not clear that the
‘personal services’ pictured here will be available
to everyone, I think we can all agree it promises
to be a step up from the Bic pens, smutty mags and
scratched, secondhand copies of Whitesnake’s 1979
Lovehunter album of our respective youths. Although
the editor would be first in line were the House of
Voltaire to stock the last of those things.

Studio Voltaire’s House of Voltaire is at 19 Bruton

Place, London, from 11 November to 4 December.
Photography: Stephanie Sian Smith. Postproduction:
Andy D’Cruze, Darkest Star. Concept and styling:
Dawn Mellor and Joe Scotland. Valeria Napoleone:
dress by Erdem and shoes by Rupert Sanderson.
Anthea Hamilton, Dawn Mellor, Joe Scotland and
Julie Verhoeven: models’ own outfits, shoes by
Rupert Sanderson
 Consumed
The pick of things you didn’t know you
really needed. Words Oliver Basciano
01
£6
01
Titled Dead-Ends, this
small low-fi book, in
an edition of 400, is
the result of a yearlong
scavenging project by Tom
Common, Ben Mclaughlin
and Theo Simpson, who
gathered job-vacancy slips
littered around the local
vicinity of three Sheffield
unemployment offices.
For many the unsuitable
vacancy adverts are
unwanted souvenirs of their
fortnightly trip to sign on
for the dole – Jobseeker’s
Allowance. Documented here,
creased and torn in their
original found state, they
are a poignant, political
testament to frustration
and purposelessness.
www.deadends.info
64 ArtReview
£1.5M
02
It’s a boat that fulfils
all those 1970s James Bond
(wet) dreams. I mean, this
is sexy stuff, so sexy that
even Kanye West wants one
(it was on Twitter). It’s
designed by Marc Newson
for Riva and retailed by
Larry Gagosian as a limited
edition; and you’ll be
looking pretty foolish
speeding around the waters
off the Maldives or Miami
if you’re not one of the
22 people in the world to
have laid his hands on
this turquoise-and-mahogany
little number.
www.marc-newson.com
03
£150
02
03
When looking for an artist
to collaborate with on
a new clothing line,
approaching a sculptor who
works with broken fragments
of ancient porcelain is
an unexpected choice.
Lacoste’s partnering with
Chinese artist Li Xiaofeng
has resulted in a surreal
sculptural rendering of the
classic polo shirt made
out of china, which, though
not the most wearable of
items, we think is quite
fantastic. Luckily Li
(and Lacoste) will also be
running off 20,000 cotton
editions for men and women
– all based on the textures
and colourings of his
original sculpture.
www.lacoste.com
04
£5005
04
It watches like some
terrible happy-slap caught
on degraded videotape;
one in which the depraved
protagonists aren’t the
youths of tabloid fervour,
but a gang of latex-
clad elderly Peeping Toms
terrorising suburban
Tennessee. Harmony Korine
(Kids, 1995) writes and
directs Trash Humpers
(2009), an unsettling film
in which the director
references William
Eggleston’s 1974 Stranded
in Canton. Released on DVD,
as a limited-edition VHS
(pictured) and as a very-
limited-edition 35mm film
print, it will cost you
between £15.99 and £7,500.
www.trashhumpers.com
10 November–9 December 2010

MARCUS HARVEY
Tattoo

The Fine Art Society Est. 1876

FAS
148 New Bond Street London W1S 2JT
+44(0)20 7629 5116 +44(0)20 7318 1895
tc@faslondon.com fascontemporary.com
 dispatches
digested
It’s what we think you should swallow, or spit out
X’ed Out
By Charles Burns
Formatted (and in large part
executed) in the classic Hergé
style – Tintin’s Shooting Star
adventure (1941), in particular,
lurches to mind (as do some of
the rhythms of Alan Moore and
Dave Gibbons’s Watchmen, 1986–7) –
Charles Burns’s comic book is a
bizarre cocktail of black cats,
dreams, drugs, eggs, foetuses,
aliens, filial relations, Pop-
Tarts, adolescent art, lust and
William S. Burroughs. Burns,
whose graphic style is instantly
recognisable to anyone who reads
The Believer magazine (for which
he is the official cover artist)
or who picked up copies of his
award-winning comic series Black
Hole (1995–2005), also illustrated
the cover of the UK edition of
Burroughs’s My Education, A Book
of Dreams (1995). And in many
ways – including a number of
scenes reminiscent of The Naked
Lunch (1959) – the half-man, half-
alien that decorated My
Education… is necropsied in the
present volume, which describes
its hero’s struggle to deal with
the freakish waves of images that
flood his mind in both its
conscious and unconscious states.
So far, so good. There is however
a catch: while it may make sense
in terms of marketing and
nostalgia to issue Burns’s tale
as a series of slim volumes (of
which X’ed is the first), a side
effect of this is that the
publication feels as substantial
as a movie trailer – by the time
you’ve reached the end, you feel
that you’ve had nothing more than
a taste of something that may or
may not be to come. Mark Rappolt
Jonathan Cape, £12.99 (hardcover)
68 ArtReview
Found Monochromes,
Vol.1, 1–250
By David Batchelor
Corralling hundreds of colourful objects as
sculpture – plastics, fluorescent toys, bottles – is
the work for which David Batchelor is best known.
In these sculptures Batchelor treats colour as
though it were the most important physical
element, weightier than the object that carries the
colour. This colourful work, however, has been
accompanied by a long-term photographic study
into what the English artist has termed Found
Monochromes, which he has been documenting
since 1997. These are rectangles of white found
around the city – empty billboards, signs that have
been bleached by the sun and A4 paper notes
posted inside pub windows, their messages
invisible to passersby. In this collection of 250
Found Monochromes, these white rectangles begin
to seem like strange blanks or voids. Portals, even,
to another dimension, tears in the real.
As Batchelor puts it in an accompanying interview
with Jonathan Rée, they uncannily suggest ‘errors
in the visual fabric that have to be corrected’.
It’s an inherent truism of the urban landscape that
these white spots never stay clean for long.
Laura McLean-Ferris
Ridinghouse, £28/$50 (hardcover)
Super Sad True Love Story
By Gary Shteyngart
Set in the New York of the too-near
future, Super Sad True Love Story
depicts a world in which the
‘iPhone-ification’ of society has
been stretched to its logical
conclusion. The majority of people
in this new urban landscape own
a device known as an äppärät (the
cutesy-chic of this product name is
pitch-perfect), on which they stream
words and images at one another,
and are able to scan objects and
each other for data. Books are
obscene, archaic and smelly, and
having a traditional, physical
conversation (known as
‘verballing’) is uncommon and seen
as almost rude. America is broke
and angry, a violent one-party
police state in an age of decline.
Here we find Lenny Abramov, an old-
fashioned, needy book-lover and
verbose diarist, and the object
of his love – the young, insecure,
shallow Eunice Park, a beautiful
Korean girl caught in the
headlights of constant images and
commerce. The pornification of
Eunice and her friends’ fashions
(transparent jeans, nippleless
bras, pop-off panties called
TotalSurrender) and their constant
use of acronyms and jargon are
believable, but also satirical
of the present day, along with
the jarring selloff of everything
to the highest bidder and the
relentless will-to-power of the
media. It seems a shame, then, that
at the halfway point a much-feared
apocalyptic event does indeed
occur, whereupon we embark upon an
action-packed narrative squeezed
into a novel already bursting at
the seams. There’s so much clever,
funny, deeply worrying stuff to
deal with here already, and some
finely drawn characters to explore
it with, that this feels like a
missed opportunity, but I’ve yet
to read a more convincing set of
fears about the world we’re headed
for and a paean to the one – full
of smells, books, carb-heavy pasta
and long attention spans – that
could one day be lost to us. LMF
Granta, £12.99 (softcover)

Atlas of Remote Islands
By Judith Schalansky
Subtitled Fifty Islands I Have Not Visited and Never
Will, Judith Schalansky’s beautiful gazette (designed
and typeset by the author) is essentially her argument
that cartography should be taken seriously as a form
of literature.
Schalansky sets the scene by telling the reader
how, having grown up in East Germany, she could
only ‘travel’ through the pages of her atlas. For her
the world was a series of outlines, place names and
mathematical measurements; and she left the DDR
to visit these faraway places by booking trips with
the travel agency of her imagination. So far, so
clichéd. But don’t let that put you off. Schalansky
is merely setting the stage (albeit in an almost
incredibly clunky way) to posit an atlas as a
‘theatrum orbis terrarum, or theatre of the world’.
The meat of the book is the gazette of (actual)
remote islands, each accompanied by a short history
or plain story, often relating to an episode of
discovery, that Schalansky claims to be based on
research in various ancient books but may, for all we
know, simply be her (as opposed to someone else’s)
inventions. However, that’s not important here.
Following Schalansky’s argument, remote islands are
no more than a stage for exaggerated, claustrophobic
drama – rape, murder, cannibalism and various
delusional activities – where ‘fact is fictonalised
and fiction is turned into fact’. As evidence, she can
cite everything from Robinson Crusoe to Marlon
Brando’s musings on island life while playing Mutiny
on the Bounty’s Fletcher Christian.
But while the author is quick to invoke the
work of Robert Louis Stevenson, her conceit is part
of a much broader literary and graphic tradition that
runs from the seventeenth-century Carte du Pays
de Tendre (a map setting out the territory of love) via
Antoine de Saint-Exupéry’s The Little Prince (1943),
to the twentieth-century French literary group the
Oulipo’s second collection, Atlas de Littérature
Potentielle (1981), the title of which was suggested
by group member Italo Calvino, whose novel Invisible
Cities (1972) is another obvious precursor. Under
scrutiny in all of these works are the relationships
between mapping, storytelling and possessing a
territory (both physical and psychological). It’s an
investigation to which Schalansky’s attempt to
animate (and perhaps elevate) cartography is a very
welcome addition. MR
I Wonder
By Marian Bantjes
In her introductory essay,
Canadian graphic designer Marian
Bantjes notes that she has ‘never
claimed to be a paragon of good
taste’. On the evidence of I
Wonder, a peculiar book of
subjective personal musings
structured through a wide variety
of graphic and typological design
styles, this is perhaps an
understatement. It lacks the
restraint that a Modernism-versed
reader might expect, but the
author tackles any objection on
this front by likening the book
(emphatically not a monograph,
she insists) to a wunderkammer.
The result is a visual dictionary
of bizarre graphic possibilities
in which everything from pasta
shapes and ‘ugly’ vernacular
Fanzines
signage to jewellery and kitsch
By Teal Triggs
Christmas cards are juxtaposed.
Favouring form over function,
this seemingly purposeful
There used to be an ezine called
The Brain Farm (1998–2002) that
shortage of cohesion extends
concentrated on the latest
to the texts, which, though
releases from any number of white
covering interesting subjects
(the shape of stars, found
guys playing guitars. It was
photography), occasionally
written by kids obsessed with
indie music – and I was one of
descend into rambling. Best kept
them. Widespread Internet usage
as flip-through mood board, then.
was a new thing at The Brain
Oliver Basciano
Farm’s inception – and it seemed
Thames & Hudson, £19.95
an obvious choice to use it in
the aid of blagging free CDs and
(hardcover)
gig tickets. This – and not,
I’m sorry to say, an engagement
in the vast, rebellious, history
of DIY publishing – was my
primary concern. Teal Triggs,
a professor of graphic design at
the University of Arts, London,
is a woman who thankfully does
know her history, and has
produced this loving, subjective
and much-illustrated history of
fanzines and their contemporary
offshoot, the ezine. So the zines
that made it big are all here:
Sniffin’ Glue (1976–7), When
Saturday Comes (1986–ongoing),
Shoreditch Twat (1996–2004)
and Butt (2001–ongoing); together
with a selection of the millions
internationally that have
popped up for a few issues with
tiny print runs and promptly
disappeared forever. Teen Fag
Magazine (1993) and The Complete
Soapmaker (1997) probably fit
this category. OB
Thames & Hudson, £19.95
(softcover)
 Ben Turnbull Rick Giles
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 Future
Generation
Art Prize
Shortlisted Artists
Ziad Antar / Fikret Atay / Fei Cao / Keren Cytter
Nathalie Djurberg / Simon Fujiwara / Nicholas Hlobo
Clemens Hollerer / Runo Lagomarsino / Cinthia Marcelle
Gareth Moore / Nicolae Mircea / Ruben Ochoa
Wilfredo Prieto Garcia / Katerina Seda / Guido van der Werve
Nico Vascellari / Jorinde Voigt
Artem Volokytin / Emily Wardill / Hector Zamora
www.futuregenerationartprize.org

30 October 2010 – 9 January 2011

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Partner of PinchukArtCentre
C A P E TOW N J O H A N N E S B U R G

David Goldblatt, The ruins of Shareworld and Soccer City, Johannesburg, 6 June 2009

TJ
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and Some much The Same
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 on view

Germano
ArtReview This is the last exhibition of the artist’s work
that Bourgeois was actively involved in. Can you describe the
curating process, and what it was like working with her on the
show?

Celant
Germano Celant As a curator and historian of
contemporary art I always pose myself the problem of making a
new contribution to the interpretation of a period or an artist,
so that the exhibition and its related publication add something
to research. In Bourgeois’s case, we discussed with Louise and
her assistant Jerry Gorovoy what part of her work was
‘unknown’, in the sense of not having been examined or
presented on other occasions or in other studies. And so her The curator of Louise Bourgeois:
‘fabric drawings’ became the theme of the exhibition in Venice
[where Fabric Works was on view over the summer, before The Fabric Works speaks with
travelling to London in October], surprising everyone with ArtReview about bringing the
their freshness and intensity.
artist’s abstract visual diary to light
AR What were her, and your, aims for the exhibition?
Louise Bourgeois, Untitled, 2005, fabric, 30 x 43 cm. Photo: Christopher Burke. © Louise Bourgeois Trust. Courtesy Hauser & Wirth, London

GC The interaction between people creates a meld of energies

that finds expression first in a project and then in an event. The
components are different, ranging from the works of art
produced and selected with Bourgeois, to the venue, the
Magazzino del Sale in Venice, redesigned by Renzo Piano, or
Hauser & Wirth’s new exhibition space in London. These two
elements have to find a ‘striking’ and communicative balance,
one that enhances the effect of the work on the plane of the
exhibition as well as that of the catalogue. In this sense, in the
great cavity of the sixteenth-century Venetian structure, we
worked on strengthening in parallel the sculptures and
showcases on the one hand, and the imposing gallery of a
hundred fabric drawings on the other.

interview by ARTREVIEW

AR Bourgeois grew up surrounded by fabric in her family’s
tapestry restoration workshop, and the fabrics she used in these
artworks often came from her own or her family’s clothing: it
clearly had autobiographical resonance for her. What do you
feel were her aims – both for herself and for her audience – in
working with this material?
GC The force of memory and of the suffering that she went
through in her adolescence have been a stimulus to her
creativity. In the fabric drawings she carried out a sublimation,
where the pieces of clothing and fabric are transformed,
turning into an almost ‘abstract’ language, where the human
traces of their use are present but everything is translated
into images that speak of the course of her life, all the way up to
its approaching end.
AR Why do you think that Bourgeois turned to abstraction in
making the fabric drawings, when her work had previously been
predominantly figurative?
GC At the end of an adventure of life and research, an artist
tends to play down the tragic nature of his or her contribution.
This translates into a vision of the absolute and the void, and
one that is always connected with a ‘metaphysical’ condition. In
Bourgeois this always remains sensual and tactile, but takes a
less figural and narrative form. The account tends to dissolve
into an iconography made up of simple and geometric shapes,
even though in many of the fabric drawings the terrifying image
of the spider returns in the form of a centrifugal expansion, and
thus an osmosis between nightmare and nirvana.
AR Much of this work has remained unseen and unknown until
this show: why was it not exhibited before?
GC The history of art is filled with ‘discoveries’ of unknown
periods in an artist’s work. In the case of Louise Bourgeois,
the fabric drawings can be taken as a visual diary of the last
ten years of her life: something intimate and personal, but at
the same time a ‘shroud’ of the last stage of her existence and
her feelings.
Louise Bourgeois: The Fabric Works is at Hauser & Wirth
Savile Row, London, through 18 December

ArtReview 73
 on view

Don’t box
You can never escape your past, they say, but over
the past 40 years or so, Mario Ceroli has given it a pretty good
go. The Rome-based artist is best known for his association
with Italy’s most famous postwar art movement, Arte Povera,
and for a series of works produced during the 1960s, among
them Cassa Sistina (1966), a wooden shed for which he was

me in
awarded the sculpture prize at that year’s Venice Biennale, La
Cina (also 1966), a squadron of wooden silhouette figures, and
a playful 1966 homage to Giorgio de Chirico’s painting Mobili
Nella Valle (1927) in which the Surrealist’s slightly sinister
interior scene is reproduced (with a few modifications) as a
wooden set that looks at once incredibly ordinary (because of
the everyday untreated wood in which it is produced, something
of a Ceroli signature) and like it should be the setting (two Mario Ceroli, star of Arte Povera, looks to the
chairs, one high-backed, one short, drawn close together in
front of an armoire) for some terrible inquisition, not least a
future by refusing to confront his past
metaphysical investigation of de Chirico’s work. Indeed, in
many ways it’s the big metaphysical questions that Ceroli’s work
attempts to tackle: what’s out there and what’s it like?
These investigations into people and objects, and into
their surroundings, led the sculptor to produce sets for theatre,
television and cinema, most notably in collaboration with
directors such as Luca Ronconi (a 1968 production of Richard
III) and Pier Paolo Pasolini (Orgia, 1968), and on a production
of Bellini’s opera Norma (1831) at Milan’s Scala in 1972. Then
furniture, such as La Bocca della Verità, a pine bed produced by
Poltronova in 1974. And more recently still, a series of public
sculptures featuring those silhouette figures, such as Silenzio:
Ascoltate! (2007), which depicts a series of Florentine heroes
(among them Dante, Leonardo, Brunelleschi and Giotto)
rendered in terracotta and marble, and located in the city’s
Piazza Bambine e Bambini di Beslan. Other works use glass or
sand, and range in style from Pop-inspired word sculptures to
equestrian monuments, in a way that would be both baffling
and annoying to those attempting to conveniently place the
Italian within an easy art-historical bracket.

words mark rappolt

Ceroli’s studio, located just outside Rome, is more like a he’s also working on a commission for the Vatican. But ask him
Wave, 1992, wood, 175 x 390 x 200 cm. Courtesy Tornabuoni Art, Paris

complex – a cluster of buildings housing an archive of his work
(including almost all those mentioned above), attended by a
long-serving, chain-smoking assistant whose sand-filled
buckets cum ashtrays decorate the studio like fire extinguishers
might a major museum. It’s part Name of the Rose and part
stage set for a Columbo mystery, with the silhouette sculptures
huddled together like characters from a ghost ride or victims on
a firing range.
But despite that, Ceroli has not simply retreated into a
remote landscape populated by his own creations. With a
typically restless energy and no little sense of mischief, he
boasts of closing the studio at eight in the evening and going out
dancing “every night”. And despite the fact that he works in
something not far removed from a museum, he says that he’s
still more interested in the work he’s doing today than in the
past productions on which his fame rests. “I don’t want to die”,
he finally confesses as we switch to a more personal
metaphysics, “and what I do tomorrow will live on in a new
generation”. Perhaps it’s to hedge his bets in this afterlife that
about young artists today, and he replies that there’s a “big, big
crisis”. “The new generation”, he says, “doesn’t know how to
break free. They may have the talent, but they don’t have the
creativity to do it. I get the impression that collectors function
as art critics and they suggest what artists should do.” For
Ceroli, art must always have a forward momentum – a
modernist attitude that seems so quaint and old-fashioned
these days that it’s become inspiring to hear anyone say it. The
exception to this assessment of the new generation of artists?
Maurizio Cattelan – “He’s incredibly interesting, the only one
with great talent and creativity”. For Ceroli, it seems, great art
is as much about attitude as it is about objects, which presents
an intriguing situation for an established artist at the end of his
career.
Work by Mario Ceroli is on view at Tornabuoni Art, Paris, until
11 December

ArtReview 75
 Chris Berens

leeuwenhart
at roq la rue - seattle
oCtoBer 22 - deCemBer 4 2010

amsterdam
www.roqlarue.Com www.jaski.Com
 Zabludowicz
Collection
Curatorial
Open
Call for Proposals

An opportunity for independent curators

to work with the Zabludowicz Collection

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Zabludowicz Collection
176 Prince of Wales Road
London NW5 3PT

Deadline for submissions: 1 December 2010

For further information visit
www.zabludowiczcollection.com

In association with:
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 LARISSA EXALTO
The Colours of Life

3 BEDFORDBURY GALLERY
Covent Garden, London WC2N 4BP

Tuesday 26th October - Monday 1st November 2010

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Tuesday 26th October - 6pm to 9.30pm

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 12 NOVEMBER | 22 DECEMBER 2010

ANTON HENNING
APOTHEOSIZED ABSTRACTIONS

Via Farini 32 . 20159 Milano . Italia

t.+39 02 89053083 . +39 02 89053167
info@brandnew-gallery.com . www.brandnew-gallery.com
 Sigmar Polke. Untitled. 1993. Mixed media on textile, 144 x 120 cm. Sale 3 Dec.

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A n d y Wa r h o l © / ® / TM T h e A n d y Wa r h o l F o u n d a t i o n f o r t h e V i s u a l A r t s , I n c .

A N DY WA R H O L

First solo gallery exhibition.

Po p A r t i s b o r n .

N E V E R S TO P R E A C H I N G F O R T H E S TA R S

w w w. d o m p e r i g n o n . c o m
 the power 100

i n a ssociati o n with

ArtReview 93
the power 100

ARTWORK by
Anne collier
2 010

94 ArtReview
 the power 100

This is the ninth time that ArtReview has had to introduce its annual artworld Power 100 list,
and it has to admit that it’s running out of exciting new things to say. In fact, it’s got to the point
where it’s tempted to introduce the theme of power by cobbling together various bits from
past introductions, altering some dates and pressing ‘autosummarise’ until its Frankenstein text
reaches the correct length. Because ArtReview watched Cleopatra recently, and knows that
being powerful means not having to do everything for yourself. But ArtReview doesn’t want the
competition (or its writers) to know the secrets of this magical ‘editing technique’.
So, why does ArtReview do it? (the power list, not the editing – Microsoft Word does
that). The primary motivation is to acknowledge the fact that the art we are exposed to doesn’t
just hang, stack, dance or press play itself: someone – more often a group of people – is pushing
the buttons (influencing which artist gets a museum show, which artist’s work ends up in which
collection that’s then endorsed by or donated to a museum, etc). And at a time when the arts
are facing major funding cuts around the globe (well, perhaps not in the Gulf states), knowing
who those button-pushers are is perhaps more important than it has been before, both in the
interests of transparency and so that you know who to call.
ArtReview’s panellists (comprising 12 people spread across four continents, who remain
anonymous to avoid social awkwardness and to save the postman from being herniated by
all the begging letters) spent a long time worrying about money. Not just because ArtReview
doesn’t give them any for their ‘services’ and they were seeking to punish it by rubbing its
face into its power deadline; but also because the thumb-twiddlers couldn’t decide whether a
recession made money more or less important in deciding who has the power: less, because
more people didn’t have any money? Or more, for exactly the same reason? Ultimately the
panel decided that money wasn’t a factor at all – they’d leave that to Forbes and The Sunday
Times. What matters on this list is simply the consequences of people’s actions. And the Power
100 certainly isn’t all about being the biggest: Carlos Slim, the world’s richest man, has a 66,000-
work art collection and doesn’t make the list; Eli Broad, with some 2,000 works of art, is No. 8.

So, what factors does ArtReview take into account when compiling this list? Listed below are
the main three:

1. How active you have been in the artworld over the last 12 months
2. Your influence over the type and kind of art that’s been produced during that period
3. And the extent to which that influence has been wielded on an international rather
than local scale

The only other rule is that museums and institutions are only allowed to be represented by one
individual, in order to allow variety in the list.

This year’s cover artwork – a pyramid of power featuring 100 elements and the relationships
between them – was created by Alexandre Singh.

ArtReview 97
the power 100

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 5
Stop us if you’ve heard this one before: Gagosian
has opened a new gallery. The space, a made-
over hôtel particulier in Paris’s 8th arrondissement,
opening in October with a Jean Prouvé show, makes
nine Gagosian outposts in total – plus an office in
Hong Kong and a shop on Madison Avenue. That’s
compared to Hauser & Wirth’s five and David
Zwirner’s three (soon to be four). Right now, 31
years into Gagosian’s dealing career, this isn’t about
competition. It’s about outright demoralisation,
and a business empire that’s the perfect example
of how the contemporary artworld is a microcosm
of capitalism itself: at a certain level, expansion is
L a r ry G agosi a n

mandatory. And it’s about something else, too – a

quality that only enters the equation when you are
the world’s most successful contemporary art dealer.
That is, swagger.
Gagosian wants it all. He wants all the viable
rungs of the market: at one point this spring, one of summer, Picasso: The Mediterranean Years was a
his New York galleries was showing Monet, a second ridiculous affair. Put together (like Gogo’s previous
had Roy Lichtenstein, a third featured Richard Prince show of the Spaniard’s work) by world-beating
and a fourth showcased Tatiana Trouvé. He wants Picasso expert John Richardson, flashily lit and waist-
to dictate terms to museums when his artists show deep in lesser-known but major work, it was partly
in them, and to make them look cheap when they about Pablo, but also about Larry: look what I can do,
don’t. At the London gallery on Britannia Street this it said, and in this respect it was surprisingly close in
tenor to the Dan Colen show that Gagosian opened

(1) 2009 Nick Harvey/WireImage, courtesy Gagosian Gallery, New York

recently in New York. Jerry Saltz, writing in New York
Magazine, savaged the Colen show as vacuous but
pointed out that, because it’s at Gagosian, it matters.
(If this was a snow-to-Eskimos confidence trick, it
worked: the show reputedly sold out.)

1
Gagosian’s status, then? It’s complicated.
Some of what he shows is extraordinary, but it’s
increasingly served up with a side dish of arrogance.
This is not appealing, but it’s the behaviour of power
in excelsis, when all competition has vanished from
the rearview.

98 ArtReview
 C a t e g o r y : C u r a t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 1 Given the pressure that cash-strapped institutions
are putting on their curatorial departments, 2010 was
never going to be ‘the year of the curator’ (as 2009
was, when our current No. 2 was No. 1 ). Hans Ulrich
Obrist, though, can rest easy – or he could, if he ever
did. This year, the Swiss dynamo kept up his main
curatorial gig, together with director Julia Peyton-
Jones, at London’s Serpentine Gallery. If perhaps the
most Obristian project is October’s Map Marathon:
Maps for the 21st Century, the fifth marathon he’s
staged there (according to the Süddeutsche Zeitung,
these events are ‘as famous as pop concerts’; we
think they must be confusing the curator with Art
Garfunkel again, unless it’s the Huo with the Hoff),
then the Christian Boltanski show had his fingerprints
on it, too; and as the Serpentine looks set (according

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 11
to rumours circulating at the time of going to press)
to expand by 2012 into the Magazine, a former
Now that Wirth has reached forty, he clearly
munitions warehouse being converted by Zaha
feels it’s time to get a move on when it comes to
Hadid, there’ll be more opportunity for him to spread
consolidating Hauser & Wirth’s position as one of
his curatorial wings. In spare moments, meanwhile,
the world’s leading galleries. Last September saw
he deepened his role as the artworld’s Studs Terkel
the opening of the gallery’s first New York space (he
– its default oral historian – with his interviews taking
had operated previously out of New York, until June
forms ranging from a video exhibition at the Venice
2009, with the gallery Zwirner & Wirth, in partnership
H a ns Ul r ic h Obr is t

Architecture Biennale to Volume Two of his mammoth

with David Zwirner). A year later the gallery launched
Hans Ulrich Obrist: Interviews book series. (This year,
a new space in Zurich (a move necessitated by the
too, saw a book about HUO: Obrist/O-Brist, a kind
refurbishment of the gallery’s former home at the
of visual portrait by none other than Gerhard Richter
Löwenbräu building on Limmatstrasse) with a show by
– beat that, other curators.) How does he do it all?
Subodh Gupta. And as we go to press, it is expanding
Simple. As Christian Boltanski said recently, ‘He has
into 1,800 sq m of space on Savile Row, in London’s
no other life. I can’t imagine Hans watching TV or
Mayfair. The new gallery opens with the last show
playing golf.’ Strangely enough, neither can we.
that Louise Bourgeois worked on prior to her death
earlier this year: an exhibition of fabric works curated
by Germano Celant (and reflecting once again – see
No. 1 – that the bigger commercial galleries are now
presenting the kind of curated shows that were once
the preserve of museums). Almost incredibly, the
(2) © Wolfgang Tillmans, 2010; (3) Felix Clay, courtesy Hauser & Wirth, London

gallery will retain its existing premises on Piccadilly

as a ‘project space’ and continue to put on two
contemporary shows per year at its shared space on
I wa n Wirt h

Old Bond Street. Obviously you need art to fill all this
territory, and accordingly the gallery has continued to
expand its roster of artists, adding Monika Sosnowska
(in the US), Phyllida Barlow and the estate of Dieter

2
Roth (exclusively, worldwide). Meanwhile, as gallery
artist Christoph Büchel was controversially installing
a local swingers club in Vienna’s Secession, Paul
McCarthy, who inaugurated Hauser & Wirth’s first
London space with an installation titled Piccadilly
Circus back in 2003, has also moved on to bigger
things this year with his massive Pig Island installation
for the Fondazione Nicola Trussardi in Milan.

3
 Three million people visited MoMA’s exhibitions
this year, and many of them were going to see
contemporary art, from the populist Tim Burton
exhibition to Marina Abramovic’s retrospective
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 1 2

The Artist Is Present, which had a frenzy of visitors

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2
queuing to ‘sit’ with the artist. Director Lowry has said
recently that he has been pushing MoMA away from
being a ‘treasure trove’ towards becoming a ‘social
space’, a move that is driving up visitor numbers
but that has drawn some criticism. MoMA PS1 now
has a new director, Klaus Biesenbach (founder of
the KW Institute in Berlin and the Berlin Biennale,
and a curator at MoMA for some time, formerly
as chief curator of media & performance art, and
now with the title chief curator at large), who has
also been spearheading edgy programming that is
performance- and event-based. As Lowry says: ‘If
you’re going to follow the flow of contemporary art,
you have to constantly tweak and adjust. You can’t
lock it down and say this is what it should be for the
next 10 years. Artists are moving much faster than
that.’ Brave words. It’s likely that others will follow
MoMA’s example.

Three New York gallery spaces might seem excessive,

but it’s clearly not enough for the relentlessly
expansionist Zwirner. This year he purchased a fourth:
Dav i d Z w ir ner

an $8m three-storey building on Chelsea’s West 20th

Street for the secondary-market wing he formerly ran
with Hauser & Wirth, due to open in 2012. Zwirner
has other reasons to smile, too. While he got sued
Gl enn D. L ow ry

in March – a Miami collector alleged that Zwirner

landed him on Marlene Dumas’s buyers’ blacklist
– the case collapsed; and sweetest of all, the gallerist
just picked up the Donald Judd estate. With Zwirner
already representing On Kawara, John McCracken
and the estates of Fred Sandback and Dan Flavin,
his gallery is starting to look like the new home of all
things minimal – except, of course, commercial and
creative achievement.

(4) Jason Schmidt, 2010; (5) Timothy Greenfield-Sanders

4
5
 the power 100

Last year we wrote that Sir Nick would have to spend

much of this year chasing funding for the Tate Modern

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 3
extension – and has he ever. Working doggedly with
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donors and campaigning for the museum and against

funding cuts absorbs his days, but still, it seems likely
that Serota will have to make some tough decisions in
the year ahead. Additionally, it’s perhaps a marker of
Tate’s powerful position in the public consciousness
that the organisation has attracted a stream of
criticism this year: over its associations with BP, over
offering to host Tony Blair’s book signing. And when
Tate Modern marked its tenth birthday, even its
celebratory No Soul for Sale event in the Turbine Hall
was complained about. Meanwhile, the institution has
set up the post of Daskalopoulos Curator this year,
funded by the Greek magnate and collector Dimitris
Daskalopoulos (a post promptly filled by curator
Jessica Morgan); it remains to be seen precisely what
the ‘pro quo’ will be for that. But Tate keeps renewing
itself: Penelope Curtis took on the directorship of Tate
Britain this year, and Chris Dercon will do the same
at Tate Modern in early 2011. The latter museum in
particular deserves some celebrating. If it weren’t for
Tate Modern, London wouldn’t be the art centre it
has become. There would be no Frieze Art Fair, nor
a culture showing signs of taking visual art seriously
indeed. Chin up.
Bice Cur iger

SIR Nic hol a s Serota

In order to keep the No. 1 spot open, this list has never
attempted to take the measure of magazines, so up
until now we haven’t had the chance to honour the
longstanding influence of the assiduous Bice Curiger.
One of Parkett magazine’s founders (in 1984) and
its editor in chief, as well as the publishing director

6
of Tate Etc, she has also been curator at Zurich
Kunsthaus since 1993. However, she finds herself
(6) © Mischa Scherrer; (7) © Hugo Glendinning

on – and near the top of – this year’s list as recently

named curator of the 2011 Venice Biennale. Not for
Curiger the overheated nownownow of what’s hot in
contemporary art. She has developed a rather calm,
distilled, long view of what is important, reflected in

7
her articles and curatorial selections, which should be
just about right for the current climate.

ArtReview 101
the power 100

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RoseLee Goldberg started commissioning

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performance because she felt that the scene was
narrow and ‘stuck’. Six years after she founded
Performa, a New York-based nonprofit ‘dedicated to
exploring the critical role of live performance in the
history of twentieth-century art and to encouraging
new directions in performance for the twenty-first
century’, the 2009 edition of the organisation’s
flagship biennial, featuring work from Tacita Dean,
Candice Breitz, Omer Fast, Dominique Gonzalez-
Foerster and Mike Kelley, proved that it is anything
but stuck. It’s difficult to overstate the impact of
the performance festival on the international art
landscape. Museums the world over have united in
the cry of ‘we’ll have some of that’. If further evidence
of Performa’s influence is needed, consider that New
York’s biggest institutions put on blockbuster shows
of performance artists this year: Tino Sehgal at the
El i Broa d

(8) artwork Andy Warhol, Self-Portrait, 1966, © Andy Warhol Foundation for the Visual Arts, Inc, New York; (9) Julie Beers
Guggenheim and Marina Abramovic at MoMA.
Broad is indefatigably involved in LA’s art museums.
An art collection worth more than $1b, a wing in
LACMA, a $30 million investment in LA MOCA
and his own museum aren’t enough. Broad (together
with wife Edythe) wants to be the art angel in the City
of Angels, creating press and fanfare whenever he
gives. And give he undeniably does. There are fears
being voiced from LA’s art community that Broad is
having a significant homogenising influence on the
city’s museums. Press coverage of Broad is filled
RoseL ee Gol dberg

with sideswipes and barely concealed irritation on

8
the part of patrons, curators and museum directors
(except those he supports or those waiting for a
cheque). The truth is, however, that museums need
Broad like never before: California has a 12 percent
unemployment rate and a $20b deficit, and financial
cuts are being made left, right and centre. Broad,
with a fortune valued at $5.7b, has pledged to give
75 percent of it away. And the building of the Broad
collection museum on Grand Avenue, designed
by architects Diller Scofidio + Renfro, which is now
getting under way in earnest, should keep him busy
for the time being.

9
102 ArtReview

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A previous No. 1 on this list (in 2006 and
2007), François Pinault is the contemporary-art
supercollector who took the game into a new
F r a ncois Pinault
league. Having made his money in fashion and luxury
goods, he invested passionately in contemporary art,
purchasing, along the way, Christie’s auction house
and, via Christie’s, London’s Haunch of Venison
gallery. With his collection, estimated to be worth
$1.4 billion and featuring major works by Jeff Koons,
Takashi Murakami, Cindy Sherman, Richard Prince,
Robert Gober and every other major figure of the
past 25 years, now on view in two Venice museums,
the Palazzo Grassi and the recently opened Punta
della Dogana, Pinault’s influence extends far beyond
the commercial. In its first year alone, the Dogana
had 375,000 visitors; combined numbers for the two
sites were 1.3 million. Venice is now a contemporary
art city permanently, not just when the biennales are
on, and this is, for the greatest part, down to Pinault.
10
(10) Luc Castel
power
facts
G e n d e r 2010 20 09
Male 72.2 75.7
Female 27.8 24.3
N ati o n a l it y 2010 20 09
American 29.3 41.3
British 16.8 16.5
German 15.8 12
Swiss 6.5 4.5
French 5 5
Italian 5 6
Austrian 2 1
Greek 2 1
Chinese 1.5 2
Mexican 1.3 1.3
Russian 1.3 0.3
Danish 1 1
Japanese 1 1
Lebanese 1 -
Luxembourgian 1 -
Serbian 1 1
Slovenian 1 -
South African 1 1
Swedish 1 2
Thai 1 -
Ukrainian 1 1
Venezuelan 1 1
Canadian 0.5 -
Emirati 0.5 -
Finnish 0.5 -
Palestinian 0.5 -
Indian 0.3 -
the power 100

Few museum appointments

can have produced as
much debate as the hiring

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : R e e n t r y (5 4 i n 2 0 0 7 )
Despite a recent survey
A critically acclaimed of longtime New York
by ArtTactic predictably
biennial, solid programming gallerist and art impresario
naming Ai Weiwei as the
and a smart new website, Deitch to the top position
Chinese artist with the
yes – but the big Whitney at LA MOCA. Why the
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likeliest market longevity, ‘Her importance to the

Museum news is that surprise? If your entire art contemporary art world
the spotlight this year has
director Adam Weinberg’s career has been about has been enormous’, no
centred on his activist work,
plans to expand the New serving the interests of a less a figure than Jasper
which is reanimating the
York institution beyond its particular group of artists Johns told W magazine
relationship between artist
beloved, Marcel Breuer- and a particular group of in a feature on New York’s
and audience. Ai remains
designed building are finally collectors, can you really

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 6
a thorn in the side of the most ubiquitous arts
under way. Although the acquire overnight the philanthropist. President
Chinese authorities. Having

(11) photo © Dawoud Bey, artwork © Sol LeWitt/Artists Rights Society (ARS), New York; (12) Tyler Coburn; (13) courtesy Ai Weiwei; (14) Timothy Greenfield-Sanders
disinterest that most people

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poor economic climate emerita of the Museum
alerted the world to his
has reportedly made expect a museum director of Modern Art (she was
brutal assault at the hands
fundraising difficult, it has to pretend to have? But president from 1991 to
of the police via Twitter
also reduced the cost of as those groups include 2002) and chairman of
last year, the artist suffered
construction; at any rate, the kind of people he’ll be its International Council,
a similar run-in in August.
the museum committed asking to donate money to Agnes Gund, whether
These attacks seem only
to breaking ground at its his new institution, there’s through her occasional blog
to have galvanised Ai,
new downtown site, in a certain logic to it all. at The Huffington Post, her
who in March gave a rare
the Meatpacking District, Deitch’s energetic presence continued support of the
lecture in the US on the
earlier this year. Building and savvy (an attention- Studio in a School (which
subject of censorship and
is expected to begin in grabbing collaboration she founded in 1977 and
installed a monument to
2011, though $215m must with actor James Franco, which brings artists into
the victims of the 2008
still be raised to meet a for example) are probably New York public schools),
Sichuan earthquake on an
fundraising goal of $590m what the ailing MOCA her financial, emotional and
Austrian mountainside, an
(construction costs alone needs right now: near- moral support of various of
act that must be viewed in
are estimated at about bankrupt after financial New York’s art institutions,
light of the artist’s ongoing
$200m). This expansion, mismanagement and the or her continued collecting
efforts to investigate and
the latest in a long line of credit-crunch caught up of both emerging and
publicise the possibility that
unrealised projects, is under with it, MOCA was bailed established artists, remains
poor construction standards
intense pressure from every out by a $30m donation a central figure for art in
increased the earthquake’s
angle, and architect Renzo plan from billionaire New York.
death toll. Whether this
Piano has been shifting MOCA trustee Eli Broad.
commendable political bent
A da m D. W einberg

his designs continually Deitch’s appointment

will continue in Ai’s Tate
to adapt to changing probably won’t appease
Turbine Hall commission
financial conditions. The those who worry that Broad
(opening as we go to press)
Whitney received a huge is too dominant on the LA
Ag nes Gund
Jef f rey Dei tc h

A i W ei w ei

remains to be seen, while

gift this year, however, from art scene, or the artists who
another question hangs
longtime trustee Emily wonder why this museum
over his seeming ubiquity
Fisher Landau – several director is hanging out with
on the gallery circuit: can he
hundred works, including actors instead of seeing
maintain viewers’ interest,
major pieces by, well, you what’s happening in their
or is he in danger of
name ’em: Warhol, Johns, studios, but when you’re on
overexposure?
Rauschenberg, Andre, your knees, it’s hard to be
Eggleston, Ruscha… too demanding. If Deitch
makes a success of this, it
may become a model other
museums will want to follow.

13 14
11 12
104 ArtReview
El iz a bet h dee

portfolio by
NICK HAYMES
Ph otog r a ph ed i n n e w yo r k
Septem b er 10 –17, 2 010
RIC H A RD C H A NG
k l aus biesenbach
ROSEL EE GOLDBERG
S tefan K a l ma r
A nne Pas ter nak
 the power 100

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 5
The artworld’s inbox would

C a t e g o r y : A r t i s t – N a t o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 0
be a lot emptier without
It’s been a momentous
New York’s e-flux. For
year for Marc Glimcher,
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a decade this artist-run

president of Pace: not only
After ten years at the project, headed by the There are few artists is the gallery celebrating
Pompidou’s helm, director tiny collaborative team who genuinely earn the its 50th birthday, but it’s
Alfred Pacquement realised of Vidokle, Aranda and title ‘iconic’ during their doing so all on its lonesome,
a longstanding dream Kuan Wood, has been lifetime. Nauman is one. having demerged
this year with the opening putting museums, public Even before last year’s the PaceWildenstein
of Pompidou-Metz, an
outpost of France’s great
A n ton V idok l e , Jul ieta A r a n da & Br i a n Ku a n Wood galleries and nonprofits in
touch with e-flux’s 50,000
Golden Lion-winning
suite of exhibitions at the
partnership Glimcher’s
father, Arne, forged 17 years
modern and contemporary subscribers, for a fee. And Venice Biennale (and ago with Old Master and
art museum. Many hopes that revenue has formed Nauman already had a Impressionist specialists
are pinned on such regional the basis for e-flux’s various gilt paperweight from the Wildenstein & Company.
branches, and the distinctive art projects, which each 1999 edition), the New The split was seemingly
building – notably near the take a critical view on the Mexico-based artist was amicable; Arne explained
German border, designed ideologies and economies consistently one of the it simply as ‘We are not
by Shigeru Ban and Jean that shape the artworld, top-ranked practitioners on exchanging clients in
de Gastines, with a roof most recently Time/Bank. this list. Why? Because he the way we once were’
resembling a fallen net – is But as the volume of was a pioneering explorer (although hundreds of
meant to beckon tourists artworld communication of many of the media and millions of dollars are said
on looks alone. It duly increases, e-flux is having techniques (he’s pretty to have exchanged hands
attracted 100,000 visitors to expand to keep ahead of much probed them all) that by way of buyouts and
in the first four days it was the curve – developing its result in what we’ve come to inventory division). Marc
open. As well as an ongoing own journal, and pushing call contemporary art. And
(15) Georges Méguerditchian; (16) courtesy e-flux; (17) Courtesy and © Jason Schmidt; (18) © Timothy Greenfield-Sanders, 2010

(whose wife Andrea has

scheme to use vacant space into art-criticism territory just in case anyone forgot, also long been involved
at the Palais de Tokyo to with its own show reviews,
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he popped out a massive

BRUCE NAUM A N

Ma rc Gl i mc h er
in the familiy business)
show work by midcareer on Art-Agenda. exhibition, Dream Passage, has used this period of
artists, Pacquement has at Berlin’s Hamburger transition to investigate
announced plans for a Bahnhof, which was on show new ways of operating
‘pop-up’ mobile Pompidou for almost five months over – see revamped website
centre that will further the
A l f red Pacque m en t

the spring, summer and and artist-developed apps

brand’s expansion. Oh, yes, early autumn. A man for all – mentioning that ‘the idea
and bring more art to the seasons. of (gallery) networks is just
people. When it comes to
now taking root’. That said,
world domination, it seems
bricks and mortar are still
funding (currently holding
important: Pace added a
up Pompidou Mobile) is
fourth New York gallery
the only thing standing in
space to its holdings in
Pacquement’s way. That
September, maintains a
and the strikes which
fairly autonomous operation
recently closed several of
in Beijing, has a newly
France’s leading museums
appointed representative
for several days.

17
in the Middle East and

18
is developing plans to
expand to Shanghai and
Hong Kong.

15
16
ArtReview 111
the power 100

Beatrix Ruf has earned

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the position of anointer:
if she takes an artist Thanks to the fanfare
seriously, the rest of the surrounding the reopening
world shortly will too. At of London’s Whitechapel
Kunsthalle Zurich (normally Gallery in 2009 – following

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located in the Löwenbräu an expansion programme
that almost doubled its It can’t be so bad being
building but showing work
floorspace – director Marian Goodman. This
out of Zurich’s Museum Jeffrey Deitch isn’t the Iwona Blazwick shot up a year alone you could watch
Bärengasse during the only New Yorker making dizzying 67 places in last your gilded inventory of
complex’s refurbishment a move on LA’s art scene. year’s Power 100. While the artists dominate the world’s
and expansion this year and In September L&M Arts

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Whitechapel’s extensive institutions (via touring
next) Ruf has overseen a launched a new gallery at publishing programme and retrospectives by Gabriel
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tight, critically acclaimed a former power plant in Blazwick’s ongoing support Orozco, William Kentridge
programme for nine years Venice, with local hero Paul of prizes for filmmaking and Thomas Struth, plus
now as director/curator, McCarthy’s first gallery (the Jarman Award) and Tino Sehgal’s much-praised
including, this year, shows exhibition in his hometown women artists (Max Mara stint at the Guggenheim),
by Elad Lassry, Rosemarie in more than a decade. Prize) continue to make her and you’d have the
Trockel and Christodoulos Speaking of the move, Lévy a dominant force on the satisfaction of premiering
Panayiotou. She works very recently stated that she London scene, and while Marcel Broodthaers’s
closely with the two Swiss ‘felt that the old, postwar

(19) © Mathias Braschler; (20) Richard A. Smith; (21) courtesy Whitechapel Gallery, London; (22) courtesy Marian Goodman Gallery, New York
the institution has promoted installation Section Cinéma
collectors on this list, Maja pole of Paris–New York female artists (this year (1972) in the US, 33 years
Hoffmann and Michael had become Berlin–Los shows for admittedly after opening your New
Ringier, and continues to Angeles’. Like many of the established names such as York gallery with a show
keep a hand in writing and galleries that have been Elizabeth Peyton, Sophie by the Belgian artist.
editing projects (she has able to expand through Calle and Alice Neel), Goodman, who has also
recently published texts the recent economic other areas are filled out successfully run a gallery
on the work of Seth Price, chaos, Lévy and Mnuchin
Dom inique L ev y & Robert M nuc h in

by budget-friendly British in Paris since 1995 – no

Ugo Rondinone and John (a former equities trader Council collaborations or, small thing in itself – may
Baldessari). Her expertise and director of the New more awkwardly, private be the most elegantly
is frequently called upon York Stock Exchange) split collections – currently that Europeanised of American
by others: this year alone their operation between of Dimitris Daskalopoulos. dealers, as well as one of
she was a judge for the the secondary and primary the best. Her USP? As the
Prix Lafayette, and the markets, with the LA space aforementioned Struth has
Iwona Bl a z w ick

Enel Contemporanea and their biggest statement yet said, ‘It is simply fun to work
LUMA prizes, and she is on of an intention to dominate with her’.
the panel that will decide the latter in the way they
the fate of the Grand already dominate the
Ma r i a n Goodm a n

Palais in Paris. But it’s her former.

Be at r i x Ruf

curatorial acumen that’s

decisive here: where she
goes, others follow.

19 21
20 22
112 ArtReview
 Art Basel scores Spiegler Although many people like
and Schönholzer’s place to think that Jay Jopling’s

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on the list because, frankly, White Cube has not really
it knocks the world’s other evolved its programme
fairs into a cocked hat. Ask beyond the YBAs for Turning his hand to
any collector, curator or which it became famous whatever medium he
gallery to name the most With a stellar list of artists, (Hirst, Hume, Emin, the likes – over the past 12
important art fair in terms and galleries in New York Chapmans) and art’s months he’s mounted a
of sales, contacts and and Brussels, Gladstone established heavy-hitters painting show at Gagosian
artworks, and the answer is is already a busy woman, (Gormley, Gursky, Kiefer, and delivered a noisy

C a t e g o r y : A r t i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 0
always the same. Though but she’s about to get Baselitz), there’s no hiding performance at Performa,
journalist Spiegler and busier still. After executive- the fact that it remains a for example – Mike Kelley
the fair’s long-term show producing Shirin Neshat’s dominant force in London, continues to make his
manager, Schönholzer, award-winning movie with a suitably big exhibition punkish presence felt,
took the reins at a tricky Women Without Men in space (at Mason’s Yard) revealing America’s creepy

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 1 4
moment for global finances 2009, she’s seen Rosemarie to keep those big names underbelly in a way that
(in 2007), they have proved Trockel get retrospectives in happy. Look down the list looks as easy as pumpkin
a success, in no small part Basel and Zurich this year, of the 50 or so artists the pie. This year Kelley had
due to their efforts to keep and Matthew Barney get gallery represents and not his first major exhibition on
improving both Art Basel his Schaulager retrospective only is it far more diverse home turf in LA for nearly
Ma rc Spiegl er & A nnet te S c hon hol zer

and Art Basel Miami Beach, and carry forward his than people imagine, but ten years, when A Voyage
in terms of architecture, ongoing Norman Mailer- almost every single one of of Growth and Discovery,
reshaping the fairs, inspired Ancient Evenings them has had or been part his collaborative exhibition
emphasising projects such project in Detroit. Up of a major museum show with Michael Smith, toured
as the continually bold Art next year, she has Allora & during the last 12 months. to public space West of
Statements and events such Calzadilla’s American and And for the gallery’s Rome. Mobile Homestead
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as this year’s Art Parcours Thomas Hirschhorn’s Swiss doubters, it’s presenting (2010), an ambitious public
around the city of Basel, pavilions for the 2011 Venice its first exhibition with project that will see a replica
curated by CCA Wattis’s Biennale to look forward LA-based Mark Bradford of his childhood home make
Ba r ba r a Gl a ds tone

Jens Hoffmann. to, plus construction work during Frieze a journey from midtown
on Anish Kapoor’s £19m Detroit to the suburbs
Olympic sculpture in where Kelley grew up, is the
London and much else artist’s first public project
besides. anywhere in the world
to result in a permanent
M ik e K el l ey installation. It’s proof of his
continuing ability to remain
on the perceived fringes
while creating work that is
undeniably significant, and
which has a wide and lasting
Jay Jopl ing

influence.
(23) Courtesy Art Basel; (25) Johnnie Shand Kydd

24 26
25
23
the power 100

Whatever the pitfalls of The New York Observer

staging a large survey show recently suggested that
that showcases the vast Gavin Brown might fill the
private collection of one Jeffrey Deitch-shaped
Is it just us, or was this the
of your own trustees and hole in the New York art
year that Cindy Sherman
is curated by one of said scene. The comparison is
settled into her position as
trustee’s favoured artists, While the Los Angeles rather pointless; suffice it
one of the most important
this spring’s Skin Fruit: Times’s Christopher Knight to say that Gavin Brown’s
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female artists in recent
Selections from the Dakis may affectionately portray Enterprise already has a big
history? Having previously

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Joannou Collection – picked Franz West as ‘Benny Hill presence in the city. The
C a t e g o r y : A r t i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 4 2

kept her rather private

by Jeff Koons and hosted with brains’, he remains gallery has doubled in size
persona hidden behind
by the New Museum in one of the most influential since Brown extended into
her many prosthetics and
New York – confirmed artists of our times. For critic the butcher’s next door,
disguises, she has engaged
that the Greek Cypriot Peter Schjeldahl, West’s the gallery’s major painters,
this year in collaborations

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 3 2
billionaire’s major-player exploration of audience figures such as Peter Doig
with the likes of fashion
status is not just based on interaction in his work of the and Elizabeth Peyton, are
label Balenciaga, who are
money. Joannou’s DESTE 1970s and 80s ‘anticipated – critical successes and big
long-term admirers of the
Foundation, its associated and considerably outshines sellers, and Brown’s gang
artist, and who lent clothes
prize for a Greek artist – the recent vogue for contains more than a few
for her most recent series
and the Hydra project “relational aesthetics”’, cool kids: Rob Pruitt, Rirkrit
of works – none-too-kind,
space (which this year while artists such as Rachel Tiravanija, Mark Leckey
discomfiting images of
displayed work by another Harrison, Sarah Lucas and and Martin Creed, among
ageing rich women. While
of Joannou’s artist friends, Paul McCarthy are quick to others. Brown’s name
that series wowed New
Maurizio Cattelan) likewise acknowledge the Austrian’s was dragged into talk of
York’s ironic fashionistas,
stretch his influence beyond influence. At the beginning favouritism at the New
Sherman also won the Man
his considerable spending of the year, West’s first Museum this year (four
Ray award at the end of last
power and into the upper European retrospective of his artists have shown
year, awarded by the Jewish
echelons of institutional and opened at the Museum there in two years; he has

(27) Mark Seliger, courtesy the artist and Metro Pictures, New York; (28) Ilias Anagnostopoulos; (29) Markus Rössle
Museum for artists who
curatorial sway. Ludwig in Cologne, before strong connections with
investigate identity through
going on to Naples and its curators). But for the
photographic means – just
Graz. By the end of it he’d dealer, who views himself
about made for her, then.
also racked up solo shows at as a ‘lobbyist’ as much as a
However, the encomiums
Almine Rech in Brussels and gallerist, this may just be a
will surely crescendo in
Gagosian in Rome as well job well done.
Da k is Joa nnou

2012, when she will have a

as producing a new work for
major exhibition at MoMA.
the Liverpool Biennial and
Cindy S h er m a n

the Hayward Gallery’s New

Décor summer show.
G AV IN BROW N
F r a nz W es t

28
27
29 30
114 ArtReview
(31) Philippe Pavans de Ceccatty, © Peter Fischli & David Weiss, courtesy Matthew Marks Gallery, New York; (33) Tim Blum photo: Margarete Jakschik, courtesy Blum & Poe, Los Angeles; (34) Timothy Greenfield-Sanders

Creative Time produces the

kinds of public projects that
have the ability to utterly
C a t e g o r y : A r t i s t s – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 1 9

transform the relationship

This year, when Fischli/ Sales of Takashi Murakami’s New Yorkers have to their
Weiss were awarded the LA-friendly art no doubt city. Key to the City, a
prestigious Wolfgang had a major part to play project by Paul Ramírez

C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 3 1
Hahn Prize at the Museum in financing Blum & Poe’s Jonas earlier this year,

Categor y: Collec tor – Nationalit y: American – L ast year: 2 2

Ludwig, the jury identified move to a sleek gigantic involved the ceremonial
them as ‘among the new space a year ago. Such handing out of keys to
most influential and is the perceived power of members of the public,
perhaps ingenious artists Cohen is one of the world’s the gallery, housed in a each of which opened
in Switzerland’. Try ‘the richest men, responsible on 1,950 sq m space in LA’s locks at sites across the
world’. The pair’s 30-year, some days, at the height Culver City, that the city’s five boroughs. Creative
dazzlingly diverse enquiry other commercial galleries Time also partnered on the

Categor y: Curator – Nationalit y: American – L ast year: 35

of his trading (through
into how we interpret hedge fund SAC Capital), have flocked to its side for first two commissions for
reality has spawned for up to 3 percent of security. Murakami himself the city’s new High Line
countless direct and indirect everything bought and sold has been busy taking over park, by artists Spencer
imitations internationally, on the New York Stock the Château de Versailles Finch and Stephen Vitiello.
though few can match Exchange. He is also one this year, of course, while And the organisation has
Fischli/Weiss’s knife-edge of the world’s most active the rest of the gallery artists, provided support for groups
balance of humour and art collectors. And he was among them Slater Bradley, such as antiestablishment
seriousness. Institutions briefly a significant owner Lee Ufan and Yoshitomo cool-kids Bruce High
worldwide love them, of Sotheby’s stock, during Nara, bring in a steady Quality Foundation
too: at the time of writing which time 20 works from stream of collectors, even and their antiuniversity,
they have overlapping his collection were shown in straitened times. Blum BHQFU. Though New
retrospectives in Munich by the auction house & Poe considered opening York-based, Creative Time,
and Kanazawa. Meanwhile, (whatever the agreement an additional new space in headed up by Pasternak
Peter F is c h l i & Dav i d W eiss

a new work made for the there, when the stock rose Berlin or New York instead since 1994, makes waves
Ludwig – excerpts from sharply a short time later, of expanding, but decided beyond the city – most
live radio edited into a Cohen promptly dumped to stick with LA. ‘We like recently commissioning
single faux-broadcast that it). This year, among LA’, they say. LA clearly Danish-Icelandic artist
steadily baffles its listeners other purchases, Cohen likes them back. Jakob Boeskov to create
– suggests they’ve hardly acquired a 1958 Jasper a short ‘art-action’ video
lost their touch vis-à-vis
T i m Blu m & Jeff Poe

Johns Flag painting for a with Nigerian director

S tev en A . Coh en

marvellously absurdist reported $110m. Still, it’s Teco Benson in Lagos and
hermeneutics. a shame when you’re so producing Pae White’s
busy you can’t enjoy your luminous Self Roaming
own collection. He recently (2009) installation on
mentioned retiring to ‘just Miami Beach. The annual
watch a fucking movie, or Creative Time Summit, the
A nne Pa s ter na k

hang with my kids’. OK, he first of which took place

forgot to mention ‘and stare last year, is establishing
at the fucking Flag’, but itself as a fountainhead for
we’re pretty sure he meant debate about participatory
that, too. practice, and Creative
Time has established the
Leonore Annenberg Prize
for Art and Social Change,
which acknowledges
achievements in that field.

32
31 33
34
the power 100

As public purses tighten

all over Europe, many an
art institution is coming
to rely on the generosity
of its richest patron –
Bernard Arnault, the man
Victor Pinchuk only started

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 4 9
C a t e g o r y : A r t i s t – N a t i o n a l i t y : S e r b i a n – L a s t Ye a r : 5 5

at the top of luxury goods

collecting art five years ago,
conglomerate LVMH.
but his spending power is
Louis Vuitton did much
Hard work can pay enormous – he was valued
during the boom years

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : M e x i c a n – L a s t Ye a r : 4 1
dividends in the power at $3.1 billion by Forbes

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : U k r a i n i a n – L a s t Ye a r : 5 3
to matchmake fashion
game, and Marina in December, and this
and art, a relationship
Abramovic’s 700 hours during a rocky period in
that now runs far deeper Soft-drinks tycoon Eugenio
of motionless staring the fortunes of Interpipe,
than Murakami-designed López’s Mexico-based
seems to have raised her his pipe manufacturing
handbags. Louis Vuitton Colección Jumex has
already elevated status business – with his interest
initiatives such as the YArts long been held to be the
considerably. The Artist Is traditionally concentrated
Project in London, in which most significant holding of
Present, which found her on blue-chip artists bought
five major institutions contemporary art (ranging
facing members of her in bulk. (Pinchuk reputedly
work together with young from Warhol to Orozco)
public one by one across owned half the work shown
adults, and countless in Latin America. In the
a table in MoMA, was the in last year’s Damien Hirst
sponsored exhibitions past 12 months, however,
eponymous centrepiece in show at London’s Wallace
have suggested a new López has decided to make
this year’s crowd-pulling, Collection, for example.)
commitment to art. Arnault, it ‘bigger’ and send it on
much-written-about tour This year he has widened
whose own collection tour around the rest of the
de force of a retrospective. his influence by joining the
includes major installations world: at the end of last
Visitor numbers are a great board of MOCA in Los
by Olafur Eliasson and year, Where Do We Go
guarantor of museum Angeles and establishing
Vanessa Beecroft, will not from Here? went on show at
funding and with 500,000 the Future Generation
be outdone by No. 10 Miami’s Bass Museum, and
visitors and a further million Art Prize, an international
François Pinault and his by the time you read this,
watching the performance prize based on the one for
Venice museums for long. it’ll be at the Contemporary
online, the exhibition can young Ukrainian artists the
The former is finally set to

(35) Reto Guntli; (37) Sergei Illin, © Victor Pinchuk Foundation, Kiev; (38) Colección Jumex, Mexico City
claim dramatic success collector already operates Arts Centre in Cincinnati;
M a r ina Abr a mov ic

achieve one of Pinault’s another selection,

– despite, that is, curator through his Pinchuk Art
Ber na r d A r nault

dreams by opening a major Interstices, was on view at

Klaus Biesenbach’s odd Centre gallery in Kiev.
collection space in Paris, Vienna’s MUMOK earlier
insinuation that Abramovic’s Attracting a jury that
Frank Gehry’s 8,900 sq m, this year. And while he was
eyesight is too poor for her includes Daniel Birnbaum,
$127m ‘floating glass cloud’ doing all that, López also
Eugenio L opez
to look at anyone properly, Robert Storr and Ai Weiwei,
situated on a site within sponsored June’s Francis
V ic tor Pinc h uk

and a couple of instances of the biennial prize will see

the Jardin d’Acclimatation Alÿs exhibition at Tate
visitors getting a little too an artist under thirty-five
adjacent to Paris’s Bois Modern, which travels on to
excited over Imponderabilia, (from an already published
de Boulogne. WIELS in Brussels and then
the doorway occupied shortlist) awarded $100,000
by nude models that this December. MoMA, New York.
one was encouraged to
squeeze through.

35 36 38
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 C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : Ve n e z u e l a n – L a s t y e a r : 4 4
(39) Florian Kleinefenn, Château de Versailles, courtesy Galerie Emmanuel Perrotin, Paris; (40) Mauricio Donelli; (41) Linda Nylind, courtesy Frieze, London; (42) Flora Hanitijo/Arise Magazine, London

C a t e g o r y : A r t i s t – N a t i o n a l i t y : J a p a n e s e – L a s t Ye a r : 1 7

The Frieze Art Fair has

The French may not pretty much wiped out

C a t e g o r y : C u r a t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 6 7
love Takashi Murakami As well as masterminding any competition it may
– his current 15-room the Colección Patricia have faced in previous
installation at the Château Phelps de Cisneros years – if the satellite fairs
de Versailles has drawn (CPPC), generally surrounding London’s
flak from rightwing groups, acknowledged as one of October jamboree could
even though he’d edited the world’s outstanding be called competition in
out the ejaculating anime collections of Latin the first place. There was a
figures – but the Japanese definite lack of Supermarket Okwui Enwezor’s big-
American art, Cisneros,
artist doesn’t care. (He is, Sweep-style shopping show curation, critical
who sits on MoMA’s

M att h ew Sl otov er & Am a n da S h a r p

he says, used to ‘Murakami- apparent at last year’s fair, writing and teaching have
board of trustees and the
bashing’.) Also this year, but sales remained steady been a potent mix since
Tate’s Latin American
while his art factory, Geisai and the big names seem 2002’s Documenta 11,
Acquisitions Committee,
art fair and Kaikai Kiki committed to their annual and the Nigerian-born
has during the past 12
gallery and art production trip to Regent’s Park. curator has become a key
months endowed a
company rolled relentlessly Meanwhile Slotover has figure in discussions on
$1m professorship in
on, Murakami unfurled become an increasingly contemporary African art,
Latin American art at
his latest collaborative influential voice in the and on how the dynamics
Manhattan’s Hunter

C a t e g o r y : A r t Fa i r D i r e c t o r s – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 5 1
collection with Louis London art scene, keeping of globalisation have
College, supported and
Vuitton, Cosmic Blossom, his fingers in various other transformed the art of
coproduced an ongoing
and also styled the Richard pies, mostly political ones the developing world.
seminar series at Bard
Prince-photographed – be it the Save the Arts The last 12 months have
College, further up the
seen the publication of
Pat r ici a Ph el ps de Cisneros

Britney Spears cover of Pop Hudson, published A campaign or lobbying the

magazine. ‘He is a genius!’ London mayor’s office his Contemporary African
Constructive Vision, a
squealed Spears. His market and old school-chum Art Since 1980 (with
catalogue documenting
Ta k a s h i Mur a k a m i

may not be what it was, and new arts minister Ed Chika Okeke-Agulu), and
her collection, and
but certainly the mass- ‘Lazy’ Vaizey (at whom, Enwezor is now working
underwritten the catalogue
cultural mainstream is a confusingly, Save the Arts on an ambitious exhibition

Ok w ui En w ezor
for Guillermo Kuitca’s
more interesting place is partly directed). project, Meeting Points 6,
recent touring retrospective.
with Murakami kicking which will take place in nine
down its walls. Next stop, Middle East, North African
New York: look out for 12- and European cities,
metre-high, fang-sporting from Ramallah to Tangier
Murakami inflatables to Berlin, starting in
in November’s Macy’s Beirut in April 2011.
Thanksgiving Day Parade.

39 41 42
40
the power 100

‘The real power game –

which is at the high price
A collector and level’, Monika Sprüth told
Curator, artist, critic, philanthropist, Hoffmann is The Art Newspaper in June
publisher… auctioneer? founder of the Swiss-based this year, ‘is generally played
In April, Matthew Higgs LUMA Foundation, which by men’. In partnership with
took on the last of these supports and promotes Philomene Magers and via

C a t e g o r y : A r t i s t – N a t i o n a l i t y : B r i t i s h / G e r m a n/ I n d i a n – L a s t Ye a r : N e w
a museum-size space in
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 2 9

roles in the latest of White cultural and arts projects

Columns’s benefit auctions, If performance is the Berlin, together with a more
worldwide (notably New
whose artworks – by names artistic medium of recent conventionally sized gallery
York’s New Museum, for
such as Tomma Abts, times, its cynosure is surely in London, she’s spent the
which Hoffmann is also
Maurizio Cattelan and Tino Sehgal. Here’s what last 12 years trying to prove
a board member, and

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : N e w
David Byrne – are a marker you can do with no art herself wrong. Home to
Bard College’s Center
of the New York nonprofit objects whatsoever: at European giants such as
for Curatorial Studies).
space’s indestructible cred. New York’s Guggenheim Fischli/Weiss and Andreas
Hoffmann is also vice
Higgs focused on his day this year – with the help of Gursky, Sprüth Magers is
president of the Council
job this year, downplaying a relay-race arrangement also the European gallery
of the Emanuel Hoffmann
his main sideline as a maker of progressively older of choice for a selection of

Monik a Sprut h & Ph il om ene M ager s

Foundation in Basel (of
of wry text-based art, but volunteers (kids to top-drawer Americans: Ed
which cousin Maja Oeri is
he remains a bastion of grandpas) quizzing viewers Ruscha, John Baldessari,
president) and president
engaged, skewed, extra- sincerely about ‘progress’ Cindy Sherman, Barbara
of the Kunsthalle Zurich
artistic curating – as witness as they ascended the Kruger, Richard Prince
Foundation. In connection
White Columns’s recent spiralling architecture and Stephen Shore, who
with that institution, she’s
exhibitions dedicated – Sehgal turned Frank sit alongside the younger
currently working on
to Sonic Youth kingpin Lloyd Wright’s building into talents of Cyprien Gaillard,
the completion of Bau
Thurston Moore’s Ecstatic a free-floating metaphor Thea Djordjadze and
West, a new wing within
Peace Poetry Journal and for the life cycle, for Sterling Ruby. Major
Zurich’s Löwenbräu

C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 2
AIDS-related activism in Modernism, for the human exhibitions of work by
complex (home of the
the late 1980s and early drive towards advancement. Baldessari and Rosemarie
Kunsthalle and a number
1990s. Coming up for a He also created a model Trockel are currently and
of private foundations and
decade since he moved of open-ended human persuasively touring the
commercial galleries). As if
from the UK to America, engagement in the art that, world’s kunsthalles and
that wasn’t enough, this year

(45) courtesy Todd Eberle, Arles, 2009; (46) Dagmar Schwelle, courtesy Sprüth Magers, Berlin & London
Higgs continues to justify gratifyingly, was spun by major museums, while
she became a Tate trustee,
M at t h ew H iggs

the existence, since 2006, us, the visitors. Plus, Sehgal Cindy Sherman goes to
produced the documentary
of Harlem gallery Triple manages to sell works like MoMA in 2012. It seems
film Jean-Michel Basquiat:
Candie’s honorary Matthew this and get praised for not likely that the many stars in
The Radiant Child (2010)
Higgs Society. Name us being naively antimarket; their stable will rise higher
and, at the Venice
another curator who has and when the market and shine brighter, as
Architecture Biennale,
T ino Se hg a l

M a ja Hof f m a nn

one of those. spirals down, his austere behind the scenes Sprüth
unveiled the Frank Gehry-
yet generous procedures and Magers lightly and
designed plans for LUMA’s
look like a perfect response. unobtrusively pull a
Parc des Ateliers, a utopian
Can you be inimitable and few necessary strings.
arts campus to be located
paradigmatic at the same
in Arles, France, due to be
time? Sehgal’s whip-smart
commenced next year.
art says yes.

43 46
44
45
120 ArtReview

Jeff Koons became a
grandfather this year, and
2010 saw the artist slip into
elder-statesman mode,
cherry-picking pet projects:
curating friend and patron
Dakis Joannou’s collection
at New York’s New
Museum, accepting the
BMW Art Car commission
and doing charity work:
brightening up various
C a t e g o r y : A r t i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 3
children’s hospital wards and
via his continued support of
the Koons Family Institute
on International Law &
Policy (set up following
the loss of his son to the
child’s Italian mother). This
mellowing has proved
problematic, however. The
Joannou show, Skin Fruit,
(47) courtesy BMW, Munich; (48) courtesy Lisson Gallery, London; (49) Juergen Teller; (50) Christie’s Images Ltd, London, 2010
was labelled ‘puerile and
old hat’ by ArtReview’s
Joshua Mack, ‘rudderless’
by ArtReview’s Christian
Viveros-Fauné (writing
in The Village Voice) and
‘shapeless’ by Jerry Saltz
in New York Magazine; the
car took on an unsubtle
theme of orgasmic creation;
and the charity works seem
incongruous next to Koons’s
Nic hol a s Logs da il
increasingly worn-out shtick
of subversion within a
consumerist aesthetic.
JEF F KOONS
47
48
C a t e g o r y : A u c t i o n H o u s e – N a t i o n a l i t y : B r i t i s h /A m e r i c a n – L a s t Ye a r : 2 6
For a time there it looked
like Nicholas Logsdail’s
Lisson was treading
water, but the addition of
members of a younger
generation of artists is Between them, the artists
starting to give the gallery a Sadie Coles represents
new vigour. Cory Arcangel have given her a busy year
and Ryan Gander (who in terms of London museum
currently has a Public Art shows: Elizabeth Peyton at The contemporary art
Fund commission in Central the Whitechapel, Florian auction market took
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 9 6 Hecker at the Chisenhale a big hit over the past
Park) joined last year, and
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 8 4
the gallery took on Haroon and John Bock at the two years, with Western
Mirza – included in this Barbican. When you factor Contemporary dropping
year’s British Art Show in the major international an estimated 20–30
and up for the Northern museum shows Coles has percent (according to
Art Prize – this year. Of had to deal with – among research conducted by
course, these relative them Urs Fischer at New Clare McAndrew of Arts
young’uns are all very well York’s New Museum and Economics). Although
and good, but Logsdail’s Matthew Barney at the things seem to be on the
power still primarily lies Schaulager, Basel – it’s up this year, the market
in his relationship with an easy to see why her gallery hasn’t yet recovered. The
older generation – and in programme is one of the first six months of 2010 saw
particular this year, Marina most impressive in town. Christie’s rake in $461m
In September, Fischer dollars from its Post-War
Abramovic (who’s also
recently joined the gallery) inaugurated Coles’s new & Contemporary sales, an
and Anish Kapoor. With a London space – a 450 sq m increase of 140 percent
new gallery in Milan and gallery off Savile Row, next on last year. Sales in new
Bret t Gorv y & A m y Ca ppel l a zzo
an office opening in New door to fellow heavyweights markets such as Dubai and
York shortly, expect to see Hauser & Wirth – which will Hong Kong are also on
Logsdail nudge himself operate in tandem with the the rise, pointing towards a
further up the list in 2011. gallery she already operates more healthy 2011.
at Mayfair’s South Audley
Street. Also representing
artists such as Carl Andre,
Matthew Barney, John
Currin, Richard Prince and
Ugo Rondinone, Coles has
Sa die Col es
become one of the main
players on the London
scene.
49
50
 portfolio by
Miles Aldridge
Ph otog r a ph ed i n LO n do n
a n d ro m e
Septem b er 11 –24 , 2 010
Ca ndida gertl er
Po ju & A ni ta Z a bludow icz
 M a r ina A br amov ic

Photographed at the Hotel Majestic, Rome. Makeup: Pierre Orlando at Face to Face Agency. Thanks to Umberto Cicci
M a rgot H el l er
nic hol a s l ogs da il
A nis h K apoor
the power 100

In the sense that there’ve

This has been the year been no newspaper-
that Ann Philbin and the hogging auctions or He may have put one of his
In February this year Hammer Museum were switches of direction, gallery spaces – the Miami
Walking Man I, a rare rewarded for their canny Damien Hirst has had a outpost – up for sale this
sculpture by Alberto financial management and relatively unassuming year. year, but as many a snide
Giacometti, sold for steady growth. Throughout Which means numerous critic has noted, Emmanuel

(51) Dominik Gigler, courtesy Sotheby’s, New York & London; (52) courtesy Hammer Museum, Los Angeles (53) David Bailey; (54) Guillaume Ziccarelli, courtsey Galerie Emmanuel Perrotin, Paris
£65,001,250 (including

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 6 4
turbulent financial times, exhibitions: at L&M Arts in Perrotin seems to have
buyer’s premium) at and as its LA neighbours New York, Gagosian in New gained the Château de
Sotheby’s in London, peaked and troughed, York, Galería Hilario Versailles in its stead. Two
making it the most
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 8
the Hammer has stayed Galguera in New Mexico of the three contemporary
expensive work of art ever solvent. The big news and Monaco’s art exhibitions held at
sold at auction. ‘I’m afraid this year, however, is Oceanographic Museum. the French palace have
the Giacometti price will the Hammer’s recently This last retrospective not been from Perrotin’s
tip the balance back again announced founding, in only found Hirst partying stable: Xavier Veilhan in
in favour of the auction partnership with LAXART, with Albert II, the September last year and
houses’, gallerist Iwan Wirth of a Los Angeles Biennial, principality’s crown prince; Takashi Murakami this year.
commented. ‘We had a which will begin in 2012 Reports from the Murakami

C a t e g o r y : A r t i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 4 8
it also included spot, spin
buyer’s market, but it didn’t and feature artists from and butterfly paintings, all opening noted François
feel like a buyer’s market the city and surrounding series which, he announced Pinault, Eli Broad and
any more at the Sotheby’s areas in institutional and at the Gagosian show Adam Lindemann as all in
sale.’ In its first-half results, found spaces. (Given this (entitled End of an Era), attendance (with Pharrell
Sotheby’s reported that supportive emphasis, it’s he would no longer be Williams performing)
Tobi a s M ey er & C h ey enne W es t ph a l

revenue from Impressionist unsurprising that Philbin producing. This may to and placed Perrotin at
and Contemporary sales describes the Hammer’s some extent slow the the centre of attention.
increased 154 percent primary audience as artists.) shrinking of Hirst’s market Whatever the truth of the
on last year. Much of Though region-based – down by 93 percent last relationship, the Murakami
that was due to the first selections may have their year and bound to be lower show at Versailles (which
rather than the second problems, in a period in this annum – and allay the will move on to Qatar)
category – less than which there are fears about artist’s detractors, who in has topped Perrotin’s
half the lots in London’s the homogenisation of the stellar year, in which he
C a t e g o r y : A u c t i o n H o u s e – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 2 7

August reiterated and

June Contemporary sale LA museums (due to the expanded on accusations also opened a 300 sq m
exceeded their estimates. growing powers of Eli Broad of plagiarism. A charge extension to one of his

Emm a nuel Per rot in

So, are the auction houses and MOCA), the Hammer Hirst branded ‘gibberish’. Paris galleries, and
back? It’s too early to say. and LAXART will help to Still, Hirst isn’t one for cemented his position as
guarantee a strong home- cooling his heels. His the leading French gallerist
city scene. Murderme art collection
grows apace, his Other
Criteria publishing wing
and retail outlets continue
A nn Ph il bin

to turn out books, sell

multiples and support
Da m ien H ir s t

exhibitions – and he’s

rumoured to have a long-
term gig booked in:
a retrospective across
both Tate’s London
galleries, coinciding with
the Olympics.

52 54
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134 ArtReview
 A year has passed since Udo Kittelmann’s arrival
Nicolas Bourriaud curated as the director of Berlin’s
the Tate Triennial and, with Nationalgalerie, in which
it, introduced his catchall capacity he holds the reins
title for forward-thinking to five separate museums,
contemporary art; so far, was remarkably well timed
Gerhard Richter doesn’t

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 5 4
When it comes to chips,
though, ‘altermodern’ for this former apprentice
rest on his laurels. As if they don’t get any bluer
hasn’t caught the collective optician. Berlin’s growing

C a t e g o r y : C u r a t o r – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 6 8
being massively influential

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 3 0
than Matthew Marks’s.
imagination in the way status as a commercial art
and constantly exhibiting There’s a section on the
C a t e g o r y : A r t i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 5 7

that Bourriaud’s meme capital, as well as being a

and working were not gallery website that lists
for the sociable art of the site of production, has only
enough, he also has the all the museum shows the
1990s, ‘relational aesthetics’, increased his influence.
most extensively detailed gallery’s artists are currently
(55) Hubert Becker; (56) Mikael Olsson; (57) © Inez van Lamsweerde and Vinoodh Matadin, courtesy Matthew Marks Gallery, New York; (58) Sandra Steins, © Bundesregierung

did. Admittedly, the The Neue Nationalgalerie

website we’ve ever come participating in, and with
French curator slightly is garnering critical
across – on which you can Charles Ray, Robert Adams,
muddied the waters by respect with a show for
see the entire provenance Ellsworth Kelly, Jasper
swiftly minting a second Willem de Rooij, while
of every single work, Johns and Andreas Gursky
neologism for the same the Hamburger Bahnhof
cross-referenced with any among the artists he looks
type of nomadic, hybridist, staged the first Bruce
relationship to his vast Atlas after, you can guess it’s a
fusionist art – ‘radicant Nauman retrospective in
collection of photographs, pretty big one. This year
aesthetics’ – with his the German capital – a sure
and a selection of microsites Marks added the estate of
theory book The Radicant crowd-pleaser, albeit one
for series such as 4900 Anne Truitt to the list. That
(2009). Nomenclature that relied heavily on the
Colours and Sinbad. That’s said, the gallery isn’t averse
aside, though, in that book collection of controversial
not all: his team are very to occasionally stepping
in particular the French long-term patron Friedrich
active on Twitter, on hand beyond such safe territory:
curator convincingly Christian Flick.
with characteristic efficiency Inez van Lamsweerde
articulates an immediate
to keep you up to date on and Vinoodh Matadin,
future for the globalised
Richter’s progress, and even better known as fashion
artworld: modernist in
offering a ‘work of the week’ photographers, and product
energy and curiosity, and
for your perusal. Richter designer Roy McMakin are
characterised by rampant
turns eighty in 2012, and will given a home by Marks,
back-and-forth aesthetic
have a major exhibition at together with new additions
exchanges and interfusions
Tate Modern to coincide Paul Sietsema and Vincent
across the globe. When
with this big birthday, which Fecteau; and the dealer,
Nicol a s Bour r i aud

the dust settles, it may well

is to be cocurated by none who has operated out of
appear that Bourriaud was
Ger h a r d R ic h ter

M at t h ew M a r k s

other than Sir Nicholas New York since founding

Serota.
right (again).
the gallery in 1991 (and Udo K i t tel m a nn
where he currently has three
outlets), plans a new space
next year in Los Angeles.

55 56 57 58
the power 100

Kasper König doesn’t

have a CV so much as It is hard to believe that
a catalogue of bragging the committee in charge of
rights. He worked with commissioning an ‘iconic’
Warhol in the Factory, Ask curators which gallerists landmark for the 2012
was curating museum they admire and Daniel Olympic site in London
Owner and chairman exhibitions at the age of Buchholz’s name will come were ever going to go for

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 0
of international media twenty-three, cofounded up pretty quickly. No a submission that did not

C a t e g o r y : Artist – N a t i o n a l i t y : British – L a s t Ye a r : Reentry (96 in 2006)

company Ringier AG, Skulptur Projekte Münster, wonder: Buchholz, who primarily use the material of
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 5 6

Michael Ringier also mounted the landmark dealt contemporary art out the project’s main patron,

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 8 5
holds one of the most German Pop show of Cologne for two decades steel magnate Lakshmi
important contemporary art Westkunst in Cologne in before opening a second Mittal. And it’s really hard to
collections in Switzerland, 1981 (introducing Franz space, in Berlin, in 2008, imagine that they could not
curated by Kunsthalle West to the world), traffics in an elegant blend have expected the pasting
Zurich’s Beatrix Ruf (who in cofounded Portikus gallery of cerebral and commercial, the design got from public
turn curates Ringier AG’s and has sired a dynasty European and American and critics alike. However,
annual reports, a hybrid of gallerists in the shape – a hard-to-emulate there’s no doubting
of accountancy and artist of sons Leo and Johann. approach that his galleries’ Kapoor’s popularity or his
project, executed this year Having directed Cologne’s recent and forthcoming prolific output: in addition
by John Baldessari). Six Museum Ludwig since showcases for Michael to a solo show at the
years ago, Ringier bought 2000, König recently Krebber, Reena Spaulings, Guggenheim Bilbao, his
into Verlag JRP (‘just ready renewed his contract Danh Vo and Wolfgang Royal Academy exhibition
to be published’), which – which had been due to Tillmans might effectively (the first granted to a living
has gone on to become end this year – until 2012. sum up. A good number of British artist) got 277,473
one of Europe’s premier art If the description ‘curator’ kunsthalle directors, it would visitors, making it into

(59) Christian Lanz; (60) Roman Mensing, courtesy Museum Ludwig, Cologne; (61) Albrecht Fuchs; (62) Johnny Shand Kydd, 2003
publishers. He also owns no longer does him justice, appear, are simply donning the top three of London
the German-language ‘force of nature’ might. blindfolds and throwing contemporary art shows last
art magazine Monopol, darts at Buchholz’s list of year. He is now preparing
and is a regular attendee artists. Are we complaining? for his first major exhibition
of the Bilderberg Group Hardly. in India, the country of his
conference for people of birth, across two venues:
great influence. the National Gallery of
Modern Art in New Delhi
and a Bollywood film studio
M ic h a el R ingier

in Mumbai. And he’s got

Paris’s Grand Palais to fill in
K a sper Konig

Da niel Buc h hol z

2011. He’s one of only a few

A nis h K a poor

artists who can pull off so

many major commissions,
and with such precision.

59 60 62
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136 ArtReview
 Given the calibre of the Christian Boros’s roles as
artists that Toby Webster’s art collector (together
Modern Institute works with partner and adviser

C a t e g o r y : C u r a t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 8 0
with (Eva Rothschild, Karen) – with their 3,000
Martin Boyce and Luke sq m private foundation
Fowler, to name just three), in a former Berlin S&M
As far as big-reputation
the Glasgow gallery in club – and media magnate
international exhibitions
the flesh was disarmingly collided this year with the
After curating the Venice go, few are bigger
lo-fi and tucked away. cofounding of the Distanz
Biennale to record-breaking than Documenta, the
This year, befitting an Verlag, an enterprise in
attendance in 2009, megasurvey of world art
outfit that boasts the most which the pair are joined
Daniel Birnbaum has had a that takes over the German
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 9 4

recent Turner Prize-winner, by Uta Grosenick, former

C a t e g o r y : C u r a t o r – N a t i o n a l i t y : S w e d i s h – L a s t Ye a r : 4

homecoming year: in 2010 town of Kassel every five

Richard Wright, on its editor of Taschen’s Art
he took up the directorship years. Documenta 13 will
roster, the Modern Institute Now book series. No vanity
of the Moderna Museet open its doors in June
has moved to a pristine project, the start-up has
in Stockholm and its 2012, and curator Christov-
street-level space sited Angelika Taschen herself
orange-clad new outpost Bakargiev, almost two years
within a former bath house, coming onboard next year
in Malmö. The move has into her post (she was
the inaugural Jim Lambie – leaving the company
seen Birnbaum shedding his appointed in December
solo show coinciding with that bears her ex-husband’s
previous commitments left, 2008), has already unveiled

C h r is t i a n Boros & K a ren L oh m a nn

Glasgow International. family name – and has
right and centre, resigning the exhibition’s first artwork,
As if to demonstrate his already issued a catalogue
as rector of the influential Giuseppe Penone’s bronze
dominance in the UK of assiduously designed
Städelschule in Frankfurt and stone sculpture Idee
art scene’s second city, and manufactured survey
am Main and as director di Pietra (2004/10), and
Webster threw not one but and monograph hardcovers.
of the exhibition space launched the first of a
two parties in celebration Meanwhile, Lohmann has
Portikus in the same city series of publications, an
– a cooling for the former joined Art Basel as its VIP
(63) Julia Ziegler; (64) Porter Hovey; (65) Ryszard Kasiewicz, © Documenta Archiv; (66) courtesy Boros Collection, Berlin

this April, both of which artist’s book by Guillermo

space and a warming for the coordinator in Germany,
positions he’d held since Faivovich and Nicolás
new – the queues for which and the brutal environs of

C a t e g o r y : C o l l e c t o r s – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 9
2001, as well as making Goldberg. A former curator
stretched down the street. the Berlin gallery, which
an exit from the board of of Turin’s Castello di Rivoli
showcases just some of
Ca roly n C h r is tov-Ba k a rgiev

Manifesta, on which he’d Museum of Contemporary

the couple’s sculpture
sat since 2002. That said, Art, onetime curator
collection, continues to
he found time between at New York’s PS1 and
attract a steady stream
CV-building to sit on artistic director of the
of prebooked visitors.
various juries, including 2008 Biennale of Sydney,
Victor Pinchuk’s Future Christov-Bakargiev has
Generation Art Prize and continued her globetrotting
Toby W ebs ter

the inaugural Absolut Art ways when presenting her

Da niel Bir nbaum

Award, which he chaired plans for Documenta, with

– and which was won by lectures in Kabul, Sydney,
Keren Cytter, a favourite New York and New Delhi.
of Birnbaum’s. And he
remains one of the most
erudite philosophers to
tackle aesthetics and
contemporary art practice.

64 66
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the power 100

The fact that there was so

little comment on Maurizio Having come to attention
Cattelan’s carte blanche to for his incisive rewriting of
juxtapose works by an older the history of late-Soviet
generation of artists with This year Neo Rauch art, the Russian art historian
Most people would be
his own during the Italian celebrated his 50th Boris Groys has become
happy to take credit
artist’s Menil Collection birthday with not one, but one of the most influential

C a t e g o r y : A r t i s t – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 7 1
for exhibitions at either
retrospective in Houston two simultaneous large- theorists of the post-Cold
New York’s Guggenheim
this year – Warhol and scale retrospectives. One War artworld, bringing fresh
museum or Milan’s Prada

C a t e g o r y : A r t i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : R e e n t r y (6 6 i n 2 0 0 6)
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 6 3

Rauschenberg included – is was at the Museum der and controversial attention

Foundation: Germano
telling. It suggests that Bildenden Künste in his to the way in which images,
Celant, senior curator at
Cattelan will enjoy a similar hometown of Leipzig – a technology, politics and
the former and director
durability to these artists, city now as famous for the power interweave. A prolific
of the latter, can do both.
and this implicit esteeming school of painting Rauch

C a t e g o r y : C r i t i c – N a t i o n a l i t y : R u s s i a n – L a s t Ye a r : N e w
This year he curated Louise essayist and lecturer, Groys
may have influenced the pioneered as it is for being is happy to embrace the
Bourgeois’s final exhibition
decision by Milan’s city the final resting place of media he critiques, taking
(she died in May, the show
authorities to green-light J.S. Bach ­– the other at the over the art gallery to
opened in Venice in June);
Against Ideology (2010), Pinakothek der Moderne in present video lectures
next year the forward-
a sculptural one-finger Munich. Commenting on about the power of video,
thinking seventy-year old
salute in the direction of the honour, news service for example. How he takes
will be burnishing his legacy,
the Italian Stock Exchange, Deutsche Welle barked, ‘He to his new role as curator of
as he looks back to the
sited outside Cattelan’s is one of the country’s most the Russian Pavilion at next
movement whose name
four-work show at the important living painters, year’s Venice Biennale will
he coined in 1967. 2011:
Palazzo Reale Museum this and a de facto ambassador definitely be one to look
Arte Povera in Italia, which
September. All of which for modern German out for.
involves five museums
demonstrates that the art’. On the commercial
across the country, is a
artist is of such a standing side, with Rauch’s work
massive undertaking – even
that he gets whatever he breaking its record price at
though Celant directed the
wants: dangerous territory auction (his 1999 painting
Venice Biennale in 1997, this
for a notorious prankster. Stellwerk sold for £892,450
show looks like it could be
in December), the artist
his magnum opus.
M aur izio Cat tel a n

is busy giving it away:

donating 40 works on paper
­­with a value of $130,000
to Aschersleben, the city
Ger m a no Cel a n t

of his grandparents. Rauch

has promised to follow this
initial bundle by giving away
all subsequent work in the
Bor is Groys

same medium to the city,

with a view to a permanent
Neo R auc h

exhibition opening there in

(67) © Nanda Lanfranco; (68) Pierpaolo Ferrari; (69) Gregor Hohenberg

spring 2012.

67 68 70
69
138 ArtReview
 It’s been a busy 12 months
for this onetime intern
to Joseph Beuys, and
we’re not just referring to Victoria Miro’s successes
Ropac’s time spent shuttling this year have been largely
A collector with pockets between his galleries in
deep enough to keep artists, This onetime LA Weekly away from her expansive
Paris and Salzburg. Last London space. Ironic given
dealers and even, it has art critic and director of San
November he donated that it was the gallery’s 25th
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A u s t r i a n – L a s t Ye a r : 76
Francisco’s CCA Wattis

C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 3 3
been said, the occasional 25 works from his own
art fair afloat, German-born is now into his fifth year at birthday in July. Chris Ofili
extensive collection to the had his much-applauded
de Alvear is also Spain’s London’s Hayward Gallery,
Museum der Moderne in Tate Britain solo show; the
most prominent gallerist. and has done much to

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 8 6
Salzburg, while in March of late Alice Neel bagged
And she’s just endowed a revive the gallery as one
this year he opened Halle, new fans through a touring
foundation in her adopted of London’s most popular
a 2,600 sq m space on the retrospective; Elmgreen &
country’s Cáceres with a venues for contemporary
city’s outskirts, featuring a Dragset are up for London’s
2,500-strong collection of, art. Enormous installation-
400 sq m exhibition space Fourth Plinth commission;
well, you name it: Flavin, based group shows are now
to supplement his existing Isaac Julien’s epic Ten
Judd, Smithson and a raft its stock-in-trade, overseen
Salzburg gallery spaces (a Thousand Waves (2010)
of international and Spanish by Rugoff and chief curator
main gallery, project space is currently at London’s
artists working today. She’s Stephanie Rosenthal. The
and editions showroom). Hayward; and Phil Collins’s
as likely to buy works off sprawling tableaux and
Too big, you say? Actually, Marxism Today (Prologue)
a neighbouring Art Basel ‘artists do the craziest things’
perhaps not big enough (2010) was a standout
stand as to crow about her exhibitions are starting to
for a gallery that represents success at this year’s Berlin
gallery’s own significant wear a little thin, however.
more than 50 major artists Biennale. Back at the
successes, and she has The gallery has been
ranging from Rosenquist, gallery, there were shows
a fiercely loyal following refurbished recently, and
(71) Luis Asín; (72) W. Schweinöster, © Galerie Thaddaeus Ropac, Paris & Salzburg; (73) Kieron McCarron; (74) © Suki Dhanda

Baselitz, Kiefer and the for William Eggleston and

among artists – witness the now Project Space curator
Kabakovs to Fleury, Yayoi Kusama, and a group
roll call of contemporary Tom Morton has his own
Gormley, Violette and show demonstrating the
stars who showed up for a spruced-up space upstairs,
Slominski. No surprise then worth of Alice Neel (just as
weekend of celebrations too. Along with the rest of
that Ropac is rumoured her retrospective pulled up
at her foundation’s England’s public spaces,
to be planning further at London’s Whitechapel).
opening in June, led by the however, the Hayward
expansions. After all, he When Miro introduced new
Serpentine’s Hans Ulrich hangs on the tenterhooks of
also represents Erwin talent, it was the easy-on-
Obrist and shadowed by the government’s financial
Wurm, the artist who the-eye work of Brazilian
the Beyeler Foundation’s decisions, and it’s too
T h a dda eus Ropac

swallowed the world.

H el g a de A lv e a r

Sam Keller. But behind all early to say whether the Maria Nepomuceno
this love and fellow-feeling public’s recent affection that got its first London
for the shows there will showcase.
V ictor i a M iro
lies an unshakeable belief in
R a l ph Rugof f

her own taste: ‘I collect with be a supportive long-term

my eyes, not my ears’. And love affair that can
she’s no pushover: Cáceres’s sustain the gallery through
city fathers won’t be getting meagre times.
the bulk of her collection
until they commit to a new
Mansilla & Tuñon-designed
home for it. Just give her
the building, we say.

71 72 73 74
the power 100

Ask any emerging or

(75) Jerry Saltz in Work of Art: The Next Great Artist, courtesy NBC Universal, New York; (76) © David Bebber, courtesy the Zabludowicz Collection, London; (77) Alessandro Zambianchi; (78) Armin Weisheit
midcareer artist in London, Maureen Paley has been

C a t e g o r y : C o l l e c t o r s – N a t i o n a l i t y : B r i t i s h / Fi n n i s h – L a s t Ye a r : 8 1
Jerry Saltz loves this list.
It’s the New York Magazine and it’s this pair’s collection busy expanding her roster
art critic’s favourite they have their eye on this year, the most notable
moment of the year, he getting into – in part coup being getting Liam
says. So here you are, because the Zabludowiczes Gillick onboard. She also
A well-known photograph welcomed Romanian twins
Jerry, comfortably nestled have been unwaveringly
of Italian dealer Massimo Gert and Uwe Tobias,
between Victoria Miro supportive of emerging
De Carlo shows him signing them as they were

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 9 1
and the Zabludowiczes. art, through good times
gaffer-taped to a gallery given their first UK solo
C a t e g o r y : C r i t i c – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 7 3

and bad. Exhibiting both

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 8 7
Saltz’s artworld power is wall for the sake of a work
a slippery thing this year, works from their collection show (at Nottingham
by Maurizio Cattelan Contemporary). Wolfgang
given that he’s spent much and independently curated
(Dealer, 1999). His gallery Tillmans, whom she has
of it cultivating mass shows, the couple’s 176
is a particular kind of worked with since 1993,
appeal – both through his space has had a bumper
powerhouse: one replete had an extensive solo show
appearances as a judge on year; and judging by
with contemporary art’s at the Serpentine Gallery
the Bravo reality contest Anita’s increasingly widely
biggest names (Cattelan, (and makes his own debut
Work of Art (2010) and read blog, it seems a
Höller, Elmgreen & on the Power 100); while
in the slow buildup of his natural extension of her
Dragset), but also artists the critically lauded Lars
Facebook and Twitter marathon appetite for
who are inclined towards Laumann, a rising star
tribes. Whether this populist studio visits and private
extremes, to pushing a signed by Paley in 2008,
approach has diluted his views. Her schedule makes
project or a work to its was given a whole gallery
critical standing within the for exhausting reading,
very limits. De Carlo’s not at the Liverpool Biennial.
industry is not yet clear: and that’s before you’ve
relaxing on the spoils of Aside from the gallery itself,
he’s certainly picked some considered the support the
his strong past decisions, Paley sits on the selection
fights in his postings – with couple give to the Frieze
however, and has been committee at the Frieze Art
Robert Storr (over the Art Fair’s new satellite,
quick to support and Fair and supports various
Guggenheim’s YouTube Sunday, to the RCA and
represent younger talents London institutions along
biennial) and Klaus Goldsmiths curating
such as Elad Lassry and the way.
Biesenbach (calling the courses, to Tate (on whose
Roberto Cuoghi. Slow
latter ‘a dick’ for his ‘pretty Foundation Committee
and steady international
A ni ta & Po ju Z a bludow icz

boring program’) – but Anita sits), to the 176 /

expansion is coming, too:
made a lot more friends Zabludowicz Collection
De Carlo’s year-old London
in doing so: 3,963 at last Future Map Prize and to
space, while small,
Facebook count. the Zabludowicz Curatorial
M a ssi mo De Ca rl o

is getting off the ground

Open, aimed at young
Jer ry Sa ltz

in its own right.

curators, which is launching
M aureen Pa l ey
as we go to press.

75
77 78
76
142 ArtReview

(79) Courtesy Montblanc, Hamburg; (80) courtesy The New York Times; (82) Pawel Althamer, dla tima i burkharda, 2004, clay, wire, paper, paint, thread, fabric, 47 x 27 x 19 cm, photo: Jens Ziehe, Berlin,
When Yana Peel and
Candida Gertler set up the
Outset Contemporary Art
Fund in 2003, they injected
a largely missing element
into the hitherto dusty
activity of arts patronage:
a bit of fun. Originally set
up to acquire work from
the Frieze Art Fair for
Tate Modern, the group
(whose membership and
funding comprises a diverse
collection of individuals)
takes donors on studio
tours, private receptions
and international trips.
Outset has since expanded
its influence, incorporating
production funds, part
bankrolling the British
Venice Biennale pavilion,
setting up branches in
Munich and Israel, and
N a t i o n a l i t y : C a n a d i a n/ G e r m a n – C a t e g o r y : C o l l e c t o r s – L a s t Ye a r : N e w E n t r y
donating to pretty much
every London institution,
Ya na Peel & Ca ndi da Gertl er
notably funding to the
South London Gallery’s new
extension this year. Gertler
sits on the Tate International
Council, as does Peel, who
also advises St Petersburg’s
Hermitage Museum, is a
trustee for the Moscow
Biennale and Hong Kong’s
Roberta Sm i t h
Para/Site space, and
cofounded Intelligence
Squared Asia.
courtesy Neugerriemschneider, Berlin
80
79
For the New York Times’s If the German commercial
senior art critic, 2010 has art scene has shifted to
been about staying abreast Berlin in the past decade,
of the gallery and museum this is in no small part down
scene’s postcrunch vagaries to Neugerriemschneider,
while keeping a calm eye a high-end gallery whose
Whatever your opinion
on the latest developments roster of artists seems
of Charles Saatchi, his
in art itself. Smith has like it should buckle
approach to the artworld
taken a pragmatic, under the pressure of
is never boring. While
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 7 2
hopeful approach to so many heavyweights:
his relaunched Saatchi
recession trends – giving Franz Ackermann, Simon
C a t e g o r y : C r i t i c – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 6 1 Gallery has been cranking
a cautious welcome to the Starling, Pawel Althamer,
out voluminous attention-
appointment of New York Olafur Eliasson and
grabbing shows from the
gallerist Jeffrey Deitch Jorge Pardo, to name
collection, the former ad
as the new director of a few. Tim Neuger and
man has found time to
crisis-ridden MOCA LA, Burkhard Riemschneider,
author an art-school reality-
for example. In terms of who founded the gallery in
show contest, knock out
art criticism, among her 1994 (Neuger previously
a second book of quite-
T i m Neuger & Bur k h a r d R ie ms c h neider
standout commentaries worked for Galerie Max
funny answers to interview
was the assertion that Hetzler, Riemschneider
questions and once more
painting isn’t dead; she has for publishers Taschen),
ruffle the official art
also been taking to task the have long set the pace in
establishment’s feathers, this
‘squeaky-clean, well-made, Berlin, and continue to
time with an offer to donate
intellectually decorous’ do so. When they began
his collection to the nation.
products of fashionable representing Billy Childish,
In July, Saatchi announced
postminimalism and Euro- for example, institutions
plans to turn his gallery
kunst ‘relational aesthetics’. that had long ignored him
into ‘MoCA London’,
Mildly conservative, were forced to sit up and
gifting £25m of work to the
pluralist and suspicious take note. The gallery has
UK, but the Arts Council
of hotheaded extremes, weathered the financial
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
has reportedly baulked
Smith remains the storms, which now appear
at the condition that the
Big Apple’s bastion of to be abating. ‘Believing
gallery be able to sell from
responsible art criticism. in idealistic gestures’,
the collection to fund
Neuger recently said
acquisitions. As we await
opaquely, discussing
C h a rl es Sa atc h i
the next chapter, Saatchi is
the market, ‘is once
still, entertainingly, throwing
again becoming reality’.
his weight around.
81
82
 Hsu and Chang Tsong-
zung founded the Hong
Kong-based Asia Art
Galleria Continua’s rather Archive (AAA) back in
eccentric portfolio of 2000. The former is director
locations includes Beijing, The New York/Berlin and the latter sits on the
Boissy-le-Châtel, near publishing house Sternberg board. Their shared entry
Paris; and San Gimignano, Press was set up out of the reflects their combined

C a t e g o r y : P u b l i s h e r – N a t i o n a l i t y : L u x e m b o u r g i a n – L a s t Ye a r : N e w
near Florence, where the publishing house Lukas importance to the Asian art
three friends set up their & Sternberg – founded scene rather than reflecting
Johann König is the kind of
M a r io Cr is t i a ni , L orenzo F i a s c h i & M aur izio R igil l o

first venue in 1990. Since in 1999 by Caroline their working relationship.

gallery that gets included in Schneider – with the aim
then Continua has taken A critic, curator, art adviser

C a t e g o r y : C u r a t o r s – N a t i o n a l i t y : C h i n e s e/ B r i t i s h – L a s t Ye a r : 9 8 ( H s u)/ R e e n t r y (C h a n g Ts o n g - z u n g – 7 1 i n 2 0 0 3)
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 8 8

trendier fair projects such of addressing ‘blind spots’

on several major artists (to many collectors, among
as New York’s Independent within contemporary
(Daniel Buren, Kendell them David Tang) and
while showing up the road art publishing. It has
Geers, Anish Kapoor, director of the Hanart TZ
at the Armory at the same maintained a small, tight
Hans Op de Beeck) while gallery (which he founded
time. The power of the operation since. In a sea
consistently adapting and in 1983), Chang Tsong-zung
Berlin-based dealership is to of monographs, exhibition
changing as an organisation. has acted as a mentor to

Joh ns on C h a ng Ts ong-zung & Cl a ire Hsu

consistently straddle various catalogues and academic
Pioneering contemporary a new generation (among
worlds – high-end museum theory writings that find
art in unusual spaces (Sol them Hsu) who are now
shows, highly covetable and a narrow readership,
LeWitt or a group show building on his work to
sellable work, clever artists Sternberg’s particular niche
of Chinese artists in San introduce the Southeast
with critical punch and sleek, in recent years has come
Gimignano, for example) as Asian art scene to a global
almost chic wares. The

(83) Ela Bialkowska; (84) Juergen Teller; (85) Belaid le Mharchi, courtesy Sternberg Press, Berlin & New York; (86) © Asia Art Archive
well as forging relationships to be an important home audience. Boasting more
gallery’s artists, including for well-chosen artist book
between artists, countries than 22,000 items, the AAA
Tatiana Trouvé, Jeppe Hein projects, long-form essays
and markets: these are the maintains one of the most
and Kris Martin, have had a and creative, readable
feats that mark this trio out comprehensive collections
generous serving of major writing that one can’t
as relentlessly inventive. It of documentary material
institutional shows this year, imagine being published
is their passion and interest relating to contemporary
and the gallery continues elsewhere, such as Nicolas
in artist-focused projects, art from the region – from
to stake out a secure Bourriaud’s The Radicant
however, which have magazines and catalogues
place for itself, influencing (2009), Bettina Funcke’s
garnered them such a fine to video interviews and
commercial and critical Pop and Populous (2009),
reputation among artists. archival material from
agendas internationally. Isabelle Graw’s High Price
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 9 2

artists’ studios.
(2010), Céline Condorelli’s
Support Structures (2009),
Keren Cytter’s film scripts
(2010) and Dexter Sinister’s
Ca rol ine S c h neider
Joh a nn Konig

Portable Document Format

(2009).

84
86
83 85
 the power 100

Once the poster boy

for ‘relational aesthetics’,
Rirkrit Tiravanija is these Tillmans used this summer’s
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : G r e e k – L a s t Ye a r : N e w

Although he’s a trustee

C a t e g o r y : A r t i s t – N a t i o n a l i t y : T h a i – L a s t Ye a r : 9 3
of the Solomon R. days an artist uncommonly expansive solo show at
Guggenheim Foundation, unconstrained by the Serpentine Gallery
on the Leadership Council categorisations. While he in London to foreground
of the New Museum continues to make sociable, his abstract works, taken Founded in 1993, the

C a t e g o r y : A r t i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
and a member of Tate’s topical exhibitions – this without a camera but Sharjah Biennial has
International Council, year, the Argentina-born incorporating photographic become one of the defining
until this year very few Thai artist’s first exhibition materials, to a UK audience. events in the Arab cultural
people were familiar in China offered visitors (Close to 200,000 people calendar. Hoor Al-Qasimi

H. H. S h eik h a Hoor A l-Qa si m i & Jack Per sek i a n

with Greek entrepreneur tofu soup, brick-making turned up to see the show has been director of the

C a t e g o r y : C u r a t o r s – N a t i o n a l i t y : E m i r a t i/ P a l e s t i n i a n – L a s t Ye a r : R e e n t r y ( H o o r A l - Q a s i m i – 9 9 i n 2 0 0 3)
Dimitris Daskalopoulos. equipment for home- during its 12-week stint, a biennial since 2002 and
(Having made his fortune building (in reference to record for the Serpentine.) is largely responsible
(87) Trevor Leighton; (88) courtesy the artist and Pilar Corrias Gallery, London; (89) courtesy Maureen Paley, London; (90) courtesy Sharjah Art Foundation

in the food industry, ‘DD’ the country’s hyperactive It’s a direction he’s been for shifting its focus
is currently chairman of growth) and bamboo pursuing for a while now, a from traditional arts to
the board of the Hellenic models of highrises filled conscious effort, perhaps, contemporary productions.
Federation of Enterprises with birds (‘It’s about to move his reputation Persekian, artistic director
and on the board of choices’, he said at the beyond the nudity and of the 7th Biennial in 2005,
directors of the National time) – it’s Tiravanija’s biographical subject matter is currently director of the
Bank of Greece.) Now extramural activities that of the photography which Sharjah Art Foundation,
his name is everywhere increasingly fascinate. so titillated the reviewers of which seeks to expand and
– in London’s Stephen Alongside the Land, the his 2003 Tate Modern solo build on the cultural legacy
Friedman Gallery, for whom alternative-energy-powered show. That said, Tillmans of the biennial through
Daskalopoulos curated a rice farm and art project – who has held a seat on residencies, production and
room in its summer show; he cofounded outside the Tate’s board of trustees education programmes.
in the Whitechapel Gallery, Chiang Mai in 1998, his since last year – remains The Sheikha is also a patron
R ir k r i t T ir ava ni ja

which is currently hosting publishing company Plan committed to his medium, of Art Dubai, and between
the second in a quartet of B and his text-free O Ver exhibiting 65 prints in a them they are establishing
Di m i t r is Da sk a l opoul os

exhibitions drawn from his magazine, he’s lately helped packed show at New York’s a position as gatekeepers
collection (which includes relaunch Bangkok’s Gallery Andrea Rosen in January to the riches (both
around 400 works ranging VER: Tiravanija’s energetic and keeping his German intellectual and financial)
gallery Daniel Buchholz of the Arab art scene.
Wol fg a ng T il l m a ns

from what is believed to be generosity clearly isn’t

the last Marcel Duchamp restricted to his art. happy with a show there in
urinal in private hands the same month.
to Christoph Büchel’s
450 sq m installation
Unplugged (Simply Botiful),
2006–7); on Tate Modern
curator Jessica Morgan’s
business card (she’s now
Daskalopoulos Curator,
International Art); and
ultimately on this list.
Meanwhile he’s planning
to open a foundation in
Greece.

88
87 89 90
ArtReview 145
the power 100

‘Lots of people have their

eye on Hong Kong, it is the
best-performing market and
China’s bonded warehouse’, Expectation met Stefan
Iwan Wirth told The Art Kalmár at the door
Newspaper earlier this year. when he took over New
Magnus Renfrew, director York institution Artists

C a t e g o r y : A r t Fa i r D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : N e w
of Art Hong Kong, is rapidly Space, an underachieving
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 5 0

Hyperactive Italian Gioni establishing himself as one potential melting pot of

C a t e g o r y : C u r a t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
might not have enough of the gatekeepers of this independent curatorial
time to be pleased with haven for tax-free art sales. activity and artmaking

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : D a n i s h – L a s t Ye a r : 8 9
himself, but it’s been a While it’s still very much in that escapes the worst of
pretty good year for the the process of bedding in, It’s been business as commercial interest. After
curator. This spring saw the fair – now in its third usual at Nicolai Wallner’s overseeing a few years
Gioni engineer the epic edition – attracted 46,000 800 sq metre space in of strong programming
Paul McCarthy project visitors this year (up 60 Copenhagen, albeit with a at Kunstverein Munich,
Pig Island for Fondazione percent on last year), major recent programme that has however, the confident
Nicola Trussardi (where galleries (Gagosian, White erred on the side of caution, Kalmár (who has published
he is artistic director), Cube, Hauser & Wirth, giving not unwelcome turns a large book project
while September saw him Arario, Pace, Perrotin, to local boy Jeppe Hein documenting his curatorial
curate the 2010 Gwangju Boesky, Lisson, Cohan, and American Richard approach in Munich) took
Biennale, putting him up Castelli, etc) and most Tuttle, for instance. Outside the whole thing in his stride.
there with alumni such important, sales. Whether the industrial environs of the In the name of transparency,
as Harald Szeemann and the fair can maintain its gallery (a former Carlsberg he is opening up the loft
Okwui Enwezor. And his position as the meeting warehouse), Wallner has space where the staff work,
role at New York’s New point for East and West is been busy engineering a and he has already brought
Museum has just been one of the challenges facing renaissance in the Danish a decidedly European style
expanded from that of Renfrew in the years ahead. capital’s art scene, with of curating to New York
curator of special projects plans for a second kunsthal with his first exhibitions
to associate director of the – offering an alternative to there – the first institutional
museum and director of the grandiose architecture Marc Camille Chaimowicz
exhibitions. His reputation of Charlottenborg – slowly show in the US, for
as a consummate artworld maturing. example, and a Charlotte
networker, it seems safe to
M a ssi m il i a no Gioni

Posenenske exhibition
say, is assured. that is reconfigured every
S tefa n K a l m a r
few weeks by gallery staff
M ag nus Renf rew

or other artists. Kalmár’s

Nicol a i Wa l l ner

(91) Selva Barni; (92) courtesy Hong Kong International Art Fair; (93) Ariel Wallner
fascination with the 1970s
suggests an interest in the
underground cultures that
flocked to Artists Space
around that time. It’s more
than likely that he will try
to place the organisation
back at the heart of
the New York scene.

91 94
92 93
146 ArtReview
 Gregor Podnar started out
as a curator in the early
As director of the Lebanese 1990s, founded his gallery Tate Modern’s Frances
Association for Plastic Arts in Slovenia in 2003 as part Morris was there, so
(Ashkal Alwan), the arts of the cultural production too the Guggenheim’s
nonprofit she cofounded organisation Association Richard Armstrong and
in 1994, Christine Tohme There are certainly galleries
DUM and eventually businessman David Tang.
is the the driving force in New York that turn
opened a second and more A quick look through
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : L e b a n e s e – L a s t Ye a r : N e w

behind Beirut’s Home over more money than

C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : N e w
conventionally commercial the guest list for the VIP

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : S l o v e n i a n – L a s t Ye a r : N e w
Works Forum. Ashkal Elizabeth Dee – ones that
space in Berlin, now his opening of Roundtrip:

C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : N e w
Alwan staged Home have bigger artists and
primary base, in 2007. In Beijing–New York Now, a
Works I in 2002, gathering can guarantee themselves
moving to a commercial selection of works (among
artists, cultural activists a presence at Art Basel
gallery, Podnar wanted to them commissioned
and writers for ten days of – but Dee has nevertheless
provide Eastern European pieces by Terence Koh and
exhibitions, performances, had a busy year wielding
artists who had institutional Matthew Day Jackson)
lectures, video screenings, influence in an altogether
success with commercial from Richard Chang’s
artists’ talks, workshops less establishment manner.
support that was then Domus Collection, which
and publication launches. The X Initiative in the old
lacking. His programme was at the Ullens Centre
Since then, five editions Dia building wrapped up
remains focused on artists for Contemporary Art in
of the forum have run at the end of 2009, having
from Eastern Europe, Beijing last May, is enough
‘about every other year’ provided a temporary
among them Attila Csörgö, to tell you that this Chinese-
– unexpected wars and creative hub for New York’s
Vadim Fiškin, Alexander American collector is one
such can throw a spanner art scene to gather round:
Gutke, the Slovenian to watch. Chang, who
into scheduled international a positive project during a
collective IRWIN, Dan splits his time between
arts events – making it the pessimistic year. In 2010,
Perjovschi, Goran Petercol New York and Beijing,
Beirut Biennial in all but Dee and Darren Flook,
and Tobias Putrih, but sees his collection, which
name. In 2006, Tohme was of London’s Hotel gallery,
also includes young features a mix of leading
awarded the Prince Claus used the same space to
international artists such as Western and Chinese
Award in recognition of her offer an alternative to the
Magnus Larsson and Ariel artists, as helping to foster a
contributions to Lebanese Armory in the hybrid form
Schlesinger. two-way dialogue between
culture. In addition to of Independent, an art fair
artists and audiences in
staging Home Works 5, that aped an exhibition
both regions. A MoMA
Tohme’s 2010 has been and attracted participation
trustee for PS1, he also
devoted to mobilising from an international array
cosponsored this year’s
financial and professional of commercial galleries.
C h r is t ine Toh m e

edition of Greater New York

resources for the Home Back at her Chelsea space,
R ic h a r d C h a ng at the museum. Chang
meanwhile – and talking of
Gregor Podna r

Works Academy, her sits on the International

El iz a bet h Dee

latest Beirut project. hipsters – OMG it has been

Council and Asia Pacific
This multipurpose space all about Ryan Trecartin this
Acquisitions Committee
devoted to artistic practices year. Like, literally.
at the Tate, and made his
and interdisciplinary arts presence in London further
education is scheduled to felt when he acted as lead
open in spring 2011. sponsor for Anish Kapoor’s
popular Royal Academy
exhibition.
(95) courtesy Christine Tohme; (96) © Jane Stravs, 2009

95 96 97 98
 The irony of Bruce High
Quality Foundation’s
inclusion on a list such as
this has not escaped us.
The Power 100 operates
as a hierarchy and as a
mechanism for promoting

power
personalities – and even,
perhaps, celebrity. Forming The South London Gallery,
with its Victorian picture-

facts
BHQF in 2003, the
collective of five to eight gallery proportions, has
long been one of the best
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : N e w

core artist members – most

of them graduates of architectural spaces in
New York’s Cooper Union London for contemporary
School of Art (though art, and a favourite with
many others are involved) artists. Its programme,
– remains assiduously recently including Omer
leaderless and anonymous. Fast, Ryan Gander, Tatiana
Their activities have ranged Trouvé and Alfredo Jaar,
from exhibitions and a has been consistently
C a t e g o r y : A r t i s t – N a t i o n a l i t y : U n k n o w n (A m e r i c a n - b a s e d ) – L a s t Ye a r : N e w

‘Brucennial’ to publicity strong, and now, following

Bruce H ig h Qu a l i t y F oun dat ion

stunts, filming a zombie a major extension and

flick and staging a musical. refurbishment by 6a,
This plurality within practice the London art scene’s C AT EG O RY S PL IT 2010 20 09
offers a model away architectural practice of
from the market and the the moment, it has added Gallerist 28 27
several new strings to
assumed mechanisms of Curator 26 26
production, a method that its bow. With a major
Artist 19 21
BHQF seemingly wishes residency programme that
Collector 17 15
to disseminate, recently will involve artists living in
Art Fair 3 2
collaborating with Creative an artist’s flat above the
gallery, and new domestic-
Critic 3 5
Time to set up a university. Auction 2 2
scale gallery spaces, this
is sure to cement up-and- Publisher 1 -
coming Peckham as a Website 1 1
locus for contemporary Talkshow Host - 1
art production and energy.
You might argue that South
London Gallery is equal to top tr u m ps
any number of European
New Entries 2010 New Entries 2009

(99) Courtesy Bruce High Quality Foundation, New York; (100) Simon Parris
kunsthalles, but Heller’s
28% 23.5%
M a rgot H el l er

inclusion represents a larger

paradigm shift in a scene
that has, up until now, been
dominated by the Tates
and Whitechapel in
London, towards artist-
centric activity south of
the Thames.
Highest Artist 2010 Highest Artist 2009
Ai Weiwei Bruce Nauman
Highest Gallerist 2010 Highest Gallerist 2009
Larry Gagosian Larry Gagosian
Highest Curator 2010 Highest Curator 2009
Hans Ulrich Obrist Hans Ulrich Obrist

99
Highest Museum 2010 Highest Museum 2009
MoMA MoMA

Highest Collector 2010 Highest Collector 2009

Eli Broad François Pinault

100
 the power 100

T h e top 10 0 at a glance

20 09 2010

1. Hans Ulrich Obrist 51. Amanda Sharp & 1. Larry Gagosian 51. Tobias Meyer &
2. Glenn D. Lowry Matthew Slotover 2. Hans Ulrich Obrist Cheyenne Westphal
3. Sir Nicholas Serota 52. Joel Wachs 3. Iwan Wirth 52. Ann Philbin
4. Daniel Birnbaum 53. Victor Pinchuk 4. David Zwirner 53. Damien Hirst
5. Larry Gagosian 54. Udo Kittelmann 5. Glenn D. Lowry 54. Emmanuel Perrotin
6. François Pinault 55. Marina Abramovic 6. Bice Curiger 55. Gerhard Richter
7. Eli Broad 56. Michael Ringier 7. Sir Nicholas Serota 56. Nicolas Bourriaud
8. Anton Vidokle, Julieta Aranda & 57. Gerhard Richter 8. Eli Broad 57. Matthew Marks
Brian Kuan Wood 58. Richard Serra 9. RoseLee Goldberg 58. Udo Kittelmann
9. Iwona Blazwick 59. RoseLee Goldberg 10. François Pinault 59. Michael Ringier
10. Bruce Nauman 60. Kasper König 11. Adam D. Weinberg 60. Kasper König
11. Iwan Wirth 61. Roberta Smith 12. Jeffrey Deitch 61. Daniel Buchholz
12. David Zwirner 62. Monika Sprüth & 13. Ai Weiwei 62. Anish Kapoor
13. Jeff Koons Philomene Magers 14. Agnes Gund 63. Daniel Birnbaum
14. Jay Jopling 63. Germano Celant 15. Alfred Pacquement 64. Toby Webster
15. Marian Goodman 64. Emmanuel Perrotin 16. Anton Vidokle, Julieta Aranda 65. Carolyn Christov-Bakargiev
16. Agnes Gund 65. Peter Schjeldahl & Brian Kuan Wood 66. Christian Boros & Karen Lohmann
17. Takashi Murakami 66. Beatrix Ruf 17. Bruce Nauman 67. Germano Celant
18. Alfred Pacquement 67. Okwui Enwezor 18. Marc Glimcher 68. Maurizio Cattelan
19. Peter Fischli & David Weiss 68. Nicolas Bourriaud 19. Beatrix Ruf 69. Neo Rauch
20. Mike Kelley 69. Karen & Christian Boros 20. Dominique Lévy & 70. Boris Groys
21. Barbara Gladstone 70. Isabelle Graw Robert Mnuchin 71. Helga de Alvear
22. Steven A. Cohen 71. Maurizio Cattelan 21. Iwona Blazwick 72. Thaddaeus Ropac
23. Dominique Lévy & 72. Charles Saatchi 22. Marian Goodman 73. Ralph Rugoff
Robert Mnuchin 73. Jerry Saltz 23. Marc Spiegler & 74. Victoria Miro
24. Adam D. Weinberg 74. Jasper Johns Annette Schönholzer 75. Jerry Saltz
25. Marc Glimcher 75. Louise Bourgeois 24. Barbara Gladstone 76. Anita & Poju Zabludowicz
26. Amy Cappellazzo & Brett Gorvy 76. Thaddaeus Ropac 25. Jay Jopling 77. Massimo De Carlo
27. Cheyenne Westphal & 77. Mera & Don Rubell 26. Mike Kelley 78. Maureen Paley
Tobias Meyer 78. Thelma Golden 27. Cindy Sherman 79. Yana Peel & Candida Gertler
28. Ann Philbin 79. Sarah Morris 28. Dakis Joannou 80. Roberta Smith
29. Matthew Higgs 80. Carolyn Christov-Bakargiev 29. Franz West 81. Charles Saatchi
30. Matthew Marks 81. Anita & Poju Zabludowicz 30. Gavin Brown 82. Tim Neuger &
31. Tim Blum & Jeff Poe 82. Paul Schimmel 31. Peter Fischli & David Weiss Burkhard Riemschneider
32. Gavin Brown 83. Jose, Alberto & David Mugrabi 32. Steven A. Cohen 83. Mario Cristiani, Lorenzo Fiaschi
33. Ralph Rugoff 84. Sadie Coles 33. Tim Blum & Jeff Poe & Maurizio Rigillo
34. Liam Gillick 85. Daniel Buchholz 34. Anne Pasternak 84. Johann König
35. Anne Pasternak 86. Victoria Miro 35. Marina Abramovic 85. Caroline Schneider
36. Dakis Joannou 87. Maureen Paley 36. Bernard Arnault 86. Johnson Chang Tsong-zung
37. John Baldessari 88. Johann König 37. Victor Pinchuk & Claire Hsu
38. Isa Genzken 89. Nicolai Wallner 38. Eugenio López 87. Dimitris Daskalopoulos
39. Paul McCarthy 90. Maria Lind 39. Takashi Murakami 88. Rirkrit Tiravanija
40. Michael Govan 91. Massimo De Carlo 40. Patricia Phelps de Cisneros 89. Wolfgang Tillmans
41. Eugenio López 92. Mario Cristiani, Lorenzo 41. Matthew Slotover & 90. H.H. Sheikha Hoor Al-Qasimi
42. Cindy Sherman Fiaschi & Maurizio Rigillo Amanda Sharp & Jack Persekian
43. Ai Weiwei 93. Rirkrit Tiravanija 42. Okwui Enwezor 91. Massimiliano Gioni
44. Patricia Phelps de Cisneros 94. Toby Webster 43. Matthew Higgs 92. Magnus Renfrew
45. Annette Schönholzer & 95. Long March Space 44. Tino Sehgal 93. Nicolai Wallner
Marc Spiegler 96. Nicholas Logsdail 45. Maja Hoffmann 94. Stefan Kalmár
46. Diedrich Diederichsen 97. Harry Blain & Graham Southern 46. Monika Sprüth & 95. Christine Tohme
47. Richard Prince 98. Claire Hsu Philomene Magers 96. Gregor Podnar
48. Damien Hirst 99. Peter Nagy 47. Jeff Koons 97. Elizabeth Dee
49. Bernard Arnault 100. Glenn Beck 48. Nicholas Logsdail 98. Richard Chang
50. Massimiliano Gioni 49. Sadie Coles 99. Bruce High Quality Foundation
50. Brett Gorvy & Amy Cappellazzo 100. Margot Heller

ArtReview 149
 THE POWER PRINCESS PHOTOSHOOT
Princess wears Adidas courtesy Adidas
Photographer Vincent Dolman
Love u Mama & Jess & Chloe & gk xx
Assistants Amber and Violetta
Hair Simona
Make Up Charlotte
My Boys courtesy David Bennie
Mohammed Abdoun X - Dyal - Raf Rza Fellner -
Skout Lo - Benji - Mosie - Tom - Jasper
wearing vintage Adidas courtesy Lexington Bey
love peace & dollar xx
 STVOL
ALEX BLAGOV
EGOR TATARENKO
MAXIM TKACHENKO

Curated by Ludmila Bereznitsky

20 Oktober - 20 November
Andriivsky Uzviz 2b
04070 Kiev
+380 44 425 03 20
Ukraine
28 Kollwitzstrasse
10405 Berlin
+ 49 176 612 65 960
Germany

www.bereznitsky-gallery.com

2010
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September 2011
New commissions,
exhibitions, artists
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LIMITED

varnish, Image size: 58 x 40 cm. Signed and numbered by artist, Edition of 100. Printed by Factum Arte, Madrid.
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EDITIONS

IMMA Starting from €200.00

Thursday 28—
Sunday 31 October 2010
Spinningfields,
Manchester

For 2010 the second edition of The Arcade Seventeen

Manchester Contemporary continues
its commitment to encouraging and Bureau The International 3
developing a market for critically engaged
contemporary art in the region. Ceri Hand Gallery Workplace Gallery
For the full list of participating artists David Risley Gallery WORKS|PROJECTS
and talks programme visit
themanchestercontemporary.co.uk Faye Fleming & and
Curatorial Coordinator for Partner Emin International
The Manchester Contemporary 2010:
The International 3 Man & Eve
Plus projects and partner presentations
Mermaid & Monster from Axis, Castlefield Gallery, Chinese
Arts Centre, Corridor8, Contemporary Art
Nettie Horn Society and Eastside Projects.

themanchestercontemporary.co.uk Funded by: Supported by: Sponsored by:

Marcelle Hanselaar Biting the Bullet

MILLENNIUM
Str eet an Pol, St . I v e s, C o r nw a ll, T R 2 6 2 DS
T: 01736 793121 , E: m a il@ m ille nnium g aller y.co.uk 23RD OCTOBER TO 15TH NOVEMBER
www.millenniumg a lle r y. c o. uk ILLUSTRATED CATALOGUE AVAILABLE
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 is delighted to welcoming you at the art fair
Kunst Zürich, november 11 - 14, 2010
with works by, among others,

Tina Ber ning a nd Michela ngelo di BaT TisTa

Mirte, China Ink and Crayon on Ditone Print, Unique Print, 2010

JUSTIN SIDNEY
Beautiful Decay

r oB e r T P ol i d or i
C ha mbre du Capit a i ne des G a rdes, C hat eau de Ver sa i l les, 2 0 0 7

2-7 November 2010

Tues, Wed & Fri 11am-6pm, Thurs 11am-9pm

Sat 11am-5pm, Sun 11am-4pm  



 

Vyner Street Gallery, 23 Vyner Street London E2 9DG   

 
   

 
 



 


 


www.justinsidney.com info.justinsidney@gmail.com       


 

   

    

        
Listings Museums and Galleries
UNITED KINGDOM,
LONDON
Alexia Goethe Gallery
7 Dover Street
London, W1S 4LD
T +44 (0)20 7629 0090
www.alexiagoethegallery.com
Alexander de Cadenet:
Life-Force
24 Sep –19 Nov
Albemarle Gallery
49 Albemarle Street
London W1S 4JR
T +44 (0)20 7499 1616
F +44 (0)20 7499 1717
info@albemarlegallery.com
Lee Jaehyo Solo Exhibition
The Force Of Will:
The Force Of Nature
15 Oct - 6 Nov
Edel Assanti
276 Vauxhall Bridge Road,
London, SW1V 1BB
www.edelassanti.com
SUPERUNKNOWN
6 Oct - 13 Nov
Hotel Gallery
77a Greenfield Road
London, E1 1EJ
T +44(0)20 7247 8625
mail@generalhotel.org
Alan Michael - Solo Show
19 Nov – 18 Dec
Royal Academy of Arts
Burlington House, Piccadilly
London W1J 0BD
T +44 (0)20 7300 8000
www.royalacademy.org.uk
Treasures From Budapest
25 Sep – 12 Dec
ROYAL COLLEGE OF ART
Kensington Gore
London, SW7 2EU
www.rca.ac.uk
Shi Shaoping:
The Metamorphosis Series
13 – 18 Oct, 11am – 7pm daily
Sadie Coles Gallery
69 South Audley Street,
London W1
Tues-Sat 10-6
www.sadiecoles.com
T +44 (0)20 7493 8611
ANGUS FAIRHURST
12 Oct – 27 Nov
SPROVIERI UNITED KINGDOM The Modern Institute
27 Heddon street 14—20 Osborne Street,
London, W1B 4BJ Bloomberg New Glasgow, Scotland G1 5QN
T +44(0)20 7734 2066 Contemporaries 2010 T +44 (0)141 248 3711
iinfo@sprovieri.com A Foundation F +44 (0)141 248 3280
sprovieri.com 67 Greenfield Street Dirk Bell
Jimmie Durham: “arts, media and Liverpool, L1 0BY from 28 Nov
sports” www.newcontemporaries.org.uk
7 Oct - 27 Nov to 13 Nov United States, New York
Somerset House CIRCA Contemporary Art David Zwirner
Strand, London Projects 525 West 19th Street New York,
WC2R 1LA Stephenson Works, NY 10011
www.somersethouse.org.uk Newcastle upon Tyne, NE1 3PE T +1 212-517-8677
T +44 (0)20 7845 4616 www.ccaprojects.org.uk Open Tue-Sat 10-6
F +44 (0)20 7836 7613 Everybody Knows This Is information@davidzwirner.com
Breon O’Casey Nowhere; Stuart Pearson-Wright, www.davidzwirner.com
20 Oct - 30 Jan 2011 Henry Coombes, Lu Chunsheng
20 Nov – 9 Dec
DOOSAN Gallery
SOUTH LONDON GALLERY
533 West 25th Street
65 Peckham Road CoExist Galleries &
London SE5 8UH Studios,TAP NewYork, NY 10001
newyork@doosangallery.com
www.southlondongallery.org The Old Water Works North
T +44 (0)20 7703 6120 Road, Southend, Open Tue-Sat 10-6
Insatiable Appetite, Sang-ah Choi
Tatiana Trouvé Essex, SS0 7AB
1 Oct - 28 Nov www.coexist.co.uk 18 Nov- 18 Dec
Phyllida Barlow &
The Agency Fiona Macdonald L&M ARTS
66 Evelyn Street 8th Oct – 5th Nov 45 E 78th St.New York, NY 10075
London, SE8 5DD T +1 212 861 0020
www.theagencygallery.co.uk LEAMINGTON SPA ART Open Tue – Sat 10
info@theagencygallery.co.uk GALLERY AND MUSEUM info@lmgallery.com
Dan Coopey: Position 1 Royal Pump Rooms, The Parade, lmgallery.com
29 Oct – 16 Dec Leamington Spa, CV32 4AA Damien-Hirst: Medicine Cabinets
T +44 (0)1926 742700 28 Oct – 11 Dec
The Fine Art Society www.warwickdc.gov.uk/
148 New Bond Street, royalpumprooms Michael Werner Gallery
London W1S 2JT Touch: an installation 4 East 77th Street,
T +44 (0)20 7318 1895 by Lyndall Phelps New York, NY 10075
F +44 (0)20 7491 9454 18 Sep – 28 Nov T +1 (212) 988-1623
jb@faslondon.com www.michaelwerner.com
Henry Krokatsis: Like a Gang NATIONAL MEDIA MUSEUM info@michaelwerner.com
of Virtue Bradford, BD1 1NQ Marcel Broodthaers: Major Works
13 Oct – 4 Nov www.nationalmediamuseum. to 13 Nov
Marcus Harvey: Tattoo org.uk
10 Nov – 9 Dec T +44 (0)844 856 3797 THE Pace GALLERY
Fay Godwin: Land Revisited 32 East 57th Street
Timothy Taylor Gallery 15 Oct – 27 Mar T +1 (212) 421 3292
15 Carlos Place, Tues-Frid 9:30– 6 Sat 10-6
London, Sideshow www. thepacegallery.com
W1K 2EXT 1 Thoresby Street Robert Irwin: Way Out West
T +44 (0)20 7409 3344 Nottingham 12 Nov- 24 Dec
Jessica Jackson Hutchins NG1 1AJ
13 Oct - 6 Nov www.sideshow2010.org THE PACE GALLERY
Sideshow Wunderkammer 534 West 25th Street
VICTORIA MIRO GALLERY 22 Oct - 14 Nov T+1 (212) 929-7000
16 Wharf Road Tues – Sat 10 – 6
London N1 7RW The Manchester Lucas Samaras: Poses
T +44 (0)20 7336 81090 Contemporary 9 Nov- 24 Dec
www.victoria-miro.com 28-31 October 2010
Isaac Julien Spinningfields, Manchester THE PACE GALLERY
Ten Thousand Waves Register for free tickets online at 545 West 22nd Street
7 Oct – 13 Nov themanchestercontemporary. T+1 (212) 989-4258
co.uk Tues- Sat 10 – 6
Hiroshi Sugimoto: The Day After
6 Nov- 24 Dec
ArtReview 171
United States, New York DENMARK
(continued)
LOUISIANA MUSEUM OF
THE PACE GALLERY MODERN ART
510 West 25th Street Gl. Strandvej 13, 3050 Humlebæk
Tues-Sat 10-6 Winter 2010: Anselm Kiefer
T +1 (212) 255-4044
info2@thepacegallery.com GALLERI NICOLAI WALLNER
Thomas Nozkowski: Recent Work Ny Carlsberg vej 68 OG
22 Oct – 4 Dec 1760 Copenhagen V
Peter Land
AUSTRIA Joachim Koester
12 Nov – 15 Jan 2011
Christine Koenig Galerie
Schleifmuehlgasse 1A FRANCE
1040 Vienna
Austria FIAC
www.christinekoeniggalerie.com Grand Palais & Louvre, Paris
Ai Wei Wei 21 – 24 Oct
to 6 Nov www.fiac.com
Galerie Thaddaeus Ropac Fondation Cartier
Mirabellplatz 2, 261 Boulevard Raspail
5020 Salzburg 75014 Paris
T +43 662 881 393 T +33 1 42 18 56 50
www.ropac.net www.fondation.cartier.com
Arnulf Frainer & Dieter Roth Moebius
Sturtevant (Halle space) to 13 Mar
Jack Pierson (annex space)
to Nov 20 Galerie Almine Rech
19, rue de Saintonge
GALERIE HUBERT WINTER 75003 Paris
Breite Gasse 17 Tel +33 1 45 83 71 90
A-1070 Wien www.galeriealminerech.com
T +43 (0)1524 09 76 Gavin Turk - En FAce
www.galeriewinter.at 30 Oct - 18 Dec
John Giorno - Eating the sky
MUMOK 29 Oct - 18 Dec
Museum Moderner Kunst Stiftung
Ludwig Wien Galleria Continua
Museumsplatz 1 Le Moulin (Paris)
A-1070 Wien 46, rue de la Ferté Gaucher
77169 Boissy-le-Châtel
Belgium Seine-et-Marne
T +33 1 64 20 39 50
Galerie Almine Rech www.galleriacontinua.com
20 Rue de l’Abbaye “Sphères 3”
B-1050 Brussels 23 Oct - 11 Jun 2011
T +32 26 485 684
www.alminerech.com Galerie Emmanuel
Taryn Simon/John Giorno Perrotin
Oct 29 - 18 Dec 76, rue de Turenne & 10 Impasse
St Claude , 75003 Paris
ZENO X GALLERY T +33 1 42 16 79 79
Leopold De Waelplaats 16 www.galerieperrotin.com
B-2000 Antwerp Paula Pivi/Jin Meyerson
T +32 32 161 626 11 Nov - 23 Dec
www.zeno-x.com
Michael Borremans Galerie Laurent Godin
22 Oct - 27 Nov 5, rue du Grenier St Lazare
75003 Paris
T +33 1 42 71 10 66
www.laurentgodin.com
Claude Closky/Laloli
to 16 Oct
David Kramer
21 Oct – 12 Dec
Galerie ThaddAeus VW (VENEKLASEN/WERNER)
Ropac Rudi-Dutschke-Str. 26,
7, rue Debelleyme 75003 Paris 10969 Berlin
T +33 1 42 72 99 00 T+49 30 81 61 60418
www.ropac.net info@vwberlin.com
Liza Lou www. vwberlin.com
21 Oct – 20 Nov Open Mon– Fri 10-6 , Sat 11-6
Cory Arcangel/Ali Banisadr Markus Lüpertz: New Paintings
24 Nov – 24 Dec Opening 18 November
LE GRAND CAFE Greece
Centre d’Art Contemporain
Place des Quatre z’horloges Frissiras Museum
F 44 600 Saint-Nazaire 3 Monis Asteriou
T+ + 33 (0)2 44 73 44 00 Plaka, Athens
www.grandcafe-saintnazaire.fr T +30 2103 234678 or
Hans Op de Beeck +30 2103 316027
8 Oct - 2 Jan 2011 www.frissirasmuseum.com
MYRVOLD > MYWORLD Holland
PIA MYRVOLD
15 rue Sambre et Meuse GRIMM FINE ART
75010 Paris Keizersgracht 82
T +33607968552 1015CT Amsterdam
By appointment. www.grimmfineart.com
www.pia-myrvold.com Recent British Sculpture
Exhibiting at Atelier Clot Bramsen from 27 Nov
19 Rue Veille du Temple Paris
to 23 Oct Jaski Art Gallery
Nieuwe Spiegelstraat 29
GERMANY 1017 DB Amsterdam
www.jaski.nl
CAMERA WORK AG
Kantstraße 149 ireland
10623 Berlin
www.camerawork.de IMMA (Irish Museum of
Modern Art)
DEUTSCHE GUGGENHEIM Royal Hospital, Military Road
Unter den Linden 13/15 Kilmainham, Dublin 8
10117 Berlin www.imma.ie
T +49 (0)30 20 2093 info@imma.ie
www.deutsche-guggenheim.de T +353-1-612-9922
Color Fields The Moderns
22 Oct – 10 Jan 2011 20 Oct – Apr 2011
JOHANN KÖNIG GALLERY ITALy
Dessauer Straße 6-7,
10963 Berlin Alfonso Artiaco
www.johannkoenig.de Piazza dei Martiri 58
Manfred Kuttner 80121 Naples
30 Oct - 8 Jan 2011 T+39 0814976072
alfonsoartiaco.com
me Collectors Room Ann Veronica Janssens
Berlin
me Kunst GmbH ARTISSIMA 17
Auguststraße 68 Turin
10117 Berlin www.artissima.it
www.me-berlin.com 5 – 7 Nov
Ouyang Chun –
Painting the King BRAND NEW GALLERY
2 Oct - 9 Jan 2011 Via Farini 32
20159 Milano
T +39-02-89.05.30.83
www.brandnew-gallery.com
Anton Henning
12 Nov - 22 Dec

Cardi Black Box
Corso di Porta Nuova 38
20124 Milan
T+39 0245478189
www.cardiblackbox.com
Painting Extravaganza - Group
Show, October
Francesca Anfossi - Petrified
Paper - solo project LevelOne
Collezione Maramotti
via fratelli cervi 66
Reggio Emilia
T +39 0522 382 484
www.collezionemaramotti.org
Kara Tanaka
24 Oct - 31 Jan
Fondazione Prada
Via Antonio Fogazzaro, 2
20135 Milan
T+39 02 54670515
www.fondazioneprada.org
John Baldessari
29 Oct - 31 Dec
Galleria Continua
Via del Castello, 11
53037 San Gimignano
T +39 0577 94 31 34
www.galleriacontinua.com
Kiki Smith/ Michelangelo
Pistoletto/Pascale Marthine Tayou
25 Oct – 22 Jan
GALLERIA PACK
Foro Bonaparte, 60,
20121 Milan
T +39 02 86 996 395
www.galleriapack.com
Matteo Basilé - this humanity
9 Nov - 15 Jan 2011
MAXXI- Museo nazionale
delle arti del XXI secolo
Via Guido Reni, 4A
00196 Rome
T +39 06 32101829
www.maxxi.beniculturali.it
Various, see website for details
Pinacoteca Agnelli
Via Nizza, 230
10126 Turin
T+ 39 011 0062713
www.pinacoteca-agnelli.it
China Power Station
11 Nov - 27 Feb
Riccardo Crespi
via Mellerio n° 1
20123 Milano
T +39 02 89072491
www.riccardocrespi.com
Maria Laet
11 Nov - 12 Dec
monaco BRAZIL
Monaco modern art Galeria Fortes Vilaca
27 av Princesse Grace Rua Fradique Coutinho 1500
98000 Monaco 05416-001 São Paulol
T+377.92.16.71.17 T +55 11 3032 7066
www.monacomodernart.mc www.fortesvilaca.com.br
Philippe Pastor
Galeria Luisa Strina
SPAIN Rua Oscar Freire 502, 01426-
000 São Paulo/SP
GALERIA HELGA de ALVEAR T +55 11 3088 2417
c/ Doctor Fourquet 12 www.galerialuisastrina.com.br
28012 Madrid
T +34 91 468 0506 CUBA
www.helgadealvear.com
Helena Almeida Galeria Habana
to 30 Oct Subasta Habana 2010 ed.
Katherine Grosse Cuban Art & Decorative Arts
11 Nov - 9 Jan 2011 Sala Taganana,
Hotel Nacional de Cuba
MUSAC – Museo de Calle O esq. A 21, Vedado,
Arte Contemporaneo Ciudad de La Habana
Castilla y Leon 4 Nov 2010
Avenida de los Reyes Leoneses, 24
24008 León Hong kong
T +34 987 09 00 00
www.musac.es Tang Contemporary
Art - HK
SWITZERLAND Basement, Hollywood Centre,
233 Hollywood Road,
GALERIE BERTAND & Sheung Wan
GRUNER T+ 852 2544 9918 / 9919
16, rue du Simplon, 1207 Geneva tangcontemporary.com
T+41 22 700 51 51
www.bertrand-gruner.com japan
Galerie Urs Meile KAIKAI KIKI GALLERY
Rosenberghöhe 4 Motoazabu Crest Bldg. B1F, 2-3-
6004 Lucerne, Switzerland 30 Motoazabu, Minato-ku,Tokyo
T +41 (0) 41 420 33 18 106-0046
F +41 (0) 41 420 21 69 T +81-(0) 3-6823-6039
galerie@galerieursmeile.com www.gallery.kaikaikiki.co.jp
www.galerieursmeile.com Twitter.com/G_Kaikaikiki_Jp
MIGROSMUSEUM FüR TOMIO KOYAMA GALLERY
GEGENWARTSKUNST 1-3-2-7F Kiyosumi, Koto-ku
/Hubertus Exhibitions Tokyo 135-0024
Albisriederstrasse 199a T + 813-3642-4090
CH – 8047 Zürich tomiokoyamagallery.com
www.migrosmuseum.ch Frieze Art Fair 2010
14 - 17 Oct
turkey FIAC 2010
20 - 24 Oct
SAKIP SABANCI MUSEUM
1Sakıp Sabancı Cad. No:42 korea
Emirgan 34467,
Istanbul ARARIO GALLERY
T +90 212 277 22 00 #149-2 Sokyuk-dong, Jongro-gu,
www.muze.sabanciuniv.edu Seoul, Korea
T +82 2 723 6190
info@arariogallery.com
Open Tue - Sun 11- 7
arariogallery.com
listings: museums and galleries
South africa
34FINEART
Second Floor, The Hills Building,
Buchanan Square , 160 Sir Lowry
Road, Woodstock
info@34fineart.com
T +27 21 4611863
www.34fineart.com
Lionel Smit 12 Oct - 6 Nov
Then / Now 9 Nov - 4 Dec
Goodman Gallery
JOHANNESBURG
163 Jan Smuts Avenue,
Parkwood, Johannesburg,
2193, South Africa
T +27(0)11 788 1113
jhb@goodman-gallery.com
www.goodman-gallery.com
David Goldblatt 7 Oct–6 Nov
Stefanus Rademeyer 1
3 Nov–10 Dec
United Arab Emirates
Carbon 12 Dubai
A1 Quoz 1, Street 8, Alserkal
Avenue, Warehouse D37,
Dubai UAE
info@carbon12dubai.com
carbon12dubai.com
T +971 50 46 44 392
Skype: carbon12knf
www.twitter.com/
carbon12gallery
Open Sat - Thur 11.30- 19
In Decay- New works by Ralf
Ziervogel
5 Oct - 20 Nov
SHARJAH ART FOUNDATION
PO Box 19989, Sharjah
United Arab Emirates
T+971 6 568 5050
sharjahart.org
Sharjah Biennial 10 : Plot for a
Biennial
16 Mar- 16 May 2011
TRAFFIC
#179, Umm Suqeim Road,
Al Quoz Industrial 4.
P.O Box 6716, Dubai
T +971 (4) 3418494
Open Sat – Thur 10 -6.
info@viatraffic.org
viatraffic.org
The State
10 Nov - 22 Jan
Hit Me With Your War Tune
10 Nov – 30 Dec
ArtReview 173
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2 010 , Agai n – Th e S tr i p – O n th e Town – O ff th e R eco r d

ArtReview 175
 Tate appoints Simon
Baker as its first curator
of photography

An exhibition of Tim
Burton’s work opens
at MoMA, and shortly
becomes the museum’s
third-most-visited
exhibition of all time

The Ashmolean Museum ARCO announces

in Oxford reopens electronic arts prize
after a multimillion-pound
refurbishment LA MOCA celebrates
its 30th anniversary with a
Berlin and the world celebrity fundraising ball,
commemorate 20th- raising over $4 million
Oc tober 2009

anniversary of the fall

Photographer Irving Penn
of the Berlin Wall Installation artist and
dies age ninety-two
Christo collaborator
Dia Center for the Arts Jeanne-Claude
Isa Genzken wins the
announces that it will dies age seventy-four
Yanghyun Prize
return to a space in
New York’s Chelsea Scott Rothkopf, senior
Richard Rogers wins
the RIBA Stirling Prize editor at Artforum, is
Kazuyo Sejima is appointed as a curator
for architecture
appointed director of the at the Whitney Museum
2010 Venice Architecture
A fire destroys more than
Biennale, the first woman Ceal Floyer, Eun-me Ahn,
1,000 Hélio Oiticica works
in the role Seung-taek Lee
in Rio de Janeiro
and Robert Adrian X
Agustín Pérez Rubio is awarded 2009 Nam
Groundbreaking American
appointed director of June Paik Award
feminist artist Nancy Spero
Spain’s Museo de Arte
dies age eighty-three
Contemporáneo de
Castilla y León (MUSAC)
Carol Bove wins the
inaugural Prix Lafayette in
Media spat kicks off in
partnership with the FIAC
New York over the New
art fair
Museum’s decision to
exhibit the collection of
Klaus Biesenbach named
trustee Dakis Joannou
director of MoMA PS1
and chief curator at large,
Penelope Curtis is
MoMA
appointed director
Keren Cytter is awarded of Tate Britain
Ryan Trecartin wins
the first Absolut Art
inaugural – and as it turns
Award
Nov e m ber

out, only – $150,000

Wolgin prize
Rob Pruitt’s star-studded
Art Awards takes
Nadav Kander is
place at the Guggenheim
awarded the Prix Pictet
in New York
photography prize
for environmental
Philosopher and
sustainability
anthropologist Claude
Lévi-Strauss dies, age
one hundred

176 ArtReview
 Rear View: 2010, AgAIN

Eungie Joo appointed

curator of the New
Museum’s Generational
triennial, scheduled for
spring 2012

Ja nu a ry
Arts funding in New York
State faces a cut of $9.6
million under a proposed
2010–11 budget

Pavel Büchler is
announced as the winner
of the Northern Art Prize

Panic on the streets of

London (well, not quite),
Sixth ArtLA fair is as it’s announced that
cancelled – economy and the ICA may be forced
new competition cited to close by May due to
financial difficulties
Burj Khalifa, the world’s
Richard Wright wins
tallest building, opens Raymond Pettibon is
the 2009 Turner Prize
in Dubai awarded the 2010 Oskar
Victor Pinchuk Kokoschka Prize
Boris Johnson officially
Foundation launches
breaks ground on the Francesco Manacorda
a $100,000 Future
Tate Modern extension announced as the new
Generation Art Prize
director of the Artissima
Christian Boltanski to fair, in Turin
Christie’s records the
Dece m ber

represent France at the

highest total for an
2011 Venice Biennale Woman falls through a
Old Master auction
Picasso painting at the
Building begins on the Met, New York
Photographer Larry Sultan
Louvre’s new outpost in
dies age sixty-three
Lens, northern France Plans are announced
Pompidou workers strike
Lisa Dennison, Chairman, sotheby's north anD south ameriCa
anthony Grant, exeCutive viCe presiDent, sotheby’s
miChaeL Lynne, owner, beDeLL CeLLars for Anish Kapoor’s
reQuest the pLeasure oF your Company at noon For a

American painter Kenneth ArcelorMittal Orbit,

for 24 days in protest to LUNCH Noland dies at the age of a 400-foot tower,
job cuts Tuesday 1 December 2009
FEATURING THE ARTIST LABEL WINE COLLECTION OF BEDELL CELLARS
inCLuDinG ross bLeCkner, ChuCk CLose, eriC FisChL,
apriL Gornik anD barbara kruGer eighty-five to be built on the London
NOON TOUR OF THE YAYOI KUSAMA EXHIBITION

Five North Korean artists

FoLLoweD by LunCh prepareD by Guest CheF
MICHELLE BERNSTEIN
2012 Olympic site
Jeffrey Deitch is
FairChiLD tropiCaL botaniC GarDen
10901 old Cutler road, Coral Gables, Florida 33156

are refused visas by the

enquiries +1 212 606 7390

please reply by 25 november

appointed director David Blandy wins the

Australian government on
of LA MOCA Times/South Bank Show
the grounds that their work
is propaganda Breakthrough Award
Libia Castro & Olafur
Olafsson to represent Art on Paper announces
Douglas Gordon vows
Iceland at the 2011 closure after 40 years
never to accept a public
Venice Biennale
commission in Scotland
again after falling out with
Helen Molesworth is
Edinburgh University over
appointed chief curator
a public commission
at the ICA Boston

The V&A announces plans

to build an outpost of the
museum in Dundee

Catherine Ince appointed

curator at London’s
Barbican Art Gallery
 M a rc h
Hauser & WirtH

The Directors of Hauser & Wirth invite you

to celebrate the opening of an exhibition by

BHARTi KHeR
Private View, Friday 19 March, 6 — 8 pm
196A Piccadilly, London W1j 9Dy
Followed by a party at Home House
20 Portman Square, London W1H 6LW

RSVP
Rosa M Rego by Tuesday 16 March
rosa@hauserwirth.com
+44 (0) 207 478 1780

Hauser & Wirth announces Ai Weiwei is announced

plans to open a new as the artist of the next
gallery space in London Unilever commission for
the Tate Modern’s Turbine
Giacometti’s L’Homme Hall
Qui Marche (1961) sells
at Sotheby’s in London Suzanne Cotter and
for more than £65 million, ICA curator Mark Sladen Rasha Salti are announced
the record price for any leaves amid a storm of as curators of the 10th
artwork sold at auction controversy and rumours Sharjah Biennial
of rows with director
X Initiative closes in New Ekow Eshun and chairman Sophie Ristelhueber
York, as founder Elizabeth Alan Yentob wins the Deutsche Börse
Dee and Hotel gallerist Photography Prize
Darren Flook announce Adriano Pedrosa and
Independent, a ‘hybrid Jens Hoffmann are New York art dealer
forum’ fair to take place appointed curators of Lawrence B. Salander
during the week of the the 2011 Istanbul Biennial convicted of fraud
Armory
Southampton City Art Karola Kraus is named new
SF MOMA announces Gallery scraps plans to director of MUMOK
plans to expand sell parts of its collection
to fund a maritime Andrea Büttner wins the
Hamza Walker and centre, after protests and Max Mara Art Prize at
Artur Zmijewski win interventions from leading the Whitechapel Gallery,
Ordway Prize museums London

Ai Weiwei makes plea to Ernst Beyeler, art collector, Mike Nelson is to

Google not to self-censor dealer and founder of represent Britain at the
in China Art Basel and Fondation 2011 Venice Biennale
Beyeler, dies age
Fashion designer Lee eighty-eight
(Alexander) McQueen
F ebru a ry

commits suicide, age forty The second edition of the

New Orleans biennial,
The Rubells announce Prospect.2, is postponed
plans for a museum in for one year, until 2011
Washington, DC

Wangechi Mutu selected

as Deutsche Bank’s Artist
of the Year

GALLERY
WEEKEND
BERLIN
APRIL 30 –
MAY 2
2010
PaceWildenstein
announces plans
to demerge
Artist and impresario
Malcolm McLaren
dies age sixty-four
A plane crash in Russia kills
the Polish president and
several ministers, including
the culture minister
Michael Asher awarded
the Bucksbaum Award
at the Whitney Biennial
Karla Black is to represent
Scotland at the 2011
Venice Biennale
Claire Gilman is
announced as curator
of the Drawing Center,
New York
A pr il
A volcanic eruption in
Iceland causes flight bans
and chaos as people are
stranded the world over
M ay
Middlesex University says
it will close its world-class
philosophy department
Michael Darling is
appointed chief curator
of the Museum of
Contemporary Art,
Chicago
Michelle Kuo is named as
the new editor of Artforum
Rear View: 2010, AgAIN
Bice Curiger is named
director of the 2011 Venice
Biennale
Simon Fujiwara is named
Cartier Award artist and
commissioned to make a
work at the Frieze Art Fair
The record for the world’s
most expensive artwork Yael Bartana is awarded
is broken once again, as the fourth Artes Mundi
Picasso’s Nude, Green Prize
Leaves and Bust (1932)
sells for $106.5 at a The Whitney Museum
Christie’s auction in announces plans to
New York expand to New York’s
Meatpacking District
Daniel Birnbaum is the
new director of Sweden’s MAXXI Rome, 12 years in
Moderna Museet the making, finally opens
Marina Abramovic’s Japanese art critic Ichiro
retrospective The Artist Hariu dies age eighty-four
Is Present closes after
attracting half a million Artist Louise Bourgeois
visitors to MoMA, 1,565 dies age ninety-eight
of whom ‘sit’ with the
artist over the course
of 700 hours between
March and May
Mark Sladen is announced
as director of Kunsthal
Charlottenborg
A Conservative–Liberal
Democrat coalition
government comes to
power in the UK after the
lou is
general election results vuit ton dis cov
er the
tto n you to
in a hung parliament
Louis Vui d to invite
new
ase iso n
are ple nd Street Ma
New Bo y
th Ma
esd ay 26
bon d
We dn
5 pm do n W1
am till eet Lon
Fro m 9 w Bo nd Str
Ne
17-20 om
vuitto n.c
stre et RSVP
0207
l.myne 26
39 9 40
rs@ uk.
ArtReview 179

Harry Blain and Graham
Southern, founders of Haunch
of Venison, announce that
they are to leave the gallery,
which is now owned by
Christie’s
The British Library acquires
the J.G. Ballard archive
German artist Sigmar Polke
dies age sixty-nine
Chris Dercon is appointed the
new director of Tate Modern
At Art Basel, the Baloise prize
is awarded to Simon Fujiwara
and Claire Hooper
The Guggenheim announces
the YouTube Play biennial,
an open-call exhibition via
YouTube
Arts Council England details
the first of expected deep
cuts to come as government
funding is restricted
James Franco films General
Hospital with Jeffrey Deitch
at LA MOCA
June
Philip Glass is given lifetime
achievement award from the
US National Endowment for
July
the Arts
Victoria Noorthoorn is
appointed curator of the 2011
Lyon Biennial
Following the BP Deepwater
Horizon oil disaster in the
Gulf of Mexico, the Tate
summer party is attacked
by demonstrators throwing
molasses in protest over
Tate’s sponsorship by BP
Outset wins the
Montblanc prize for art
patronage, €15,000,
which it donates to the
South London Gallery
Charles Saatchi announces
his intention to gift his
gallery and part of his
collection to the nation
Manifesta 8 postpones
its slated opening date
to avoid clashing with a
national strike in the host
country of Spain
Villa Reykjavík, an art
festival involving 14
European galleries, takes
place in Iceland
Jean Nouvel’s pavilion
for the Serpentine Gallery
opens in Hyde Park
British cultural leaders,
including museum
directors, begin to plead
in earnest with the
government to spare
them proposed 25 percent
funding cuts
The British government
announces that the UK
Film Council and the
Museums, Libraries &
Archives Council are to
be scrapped
 Rear View: 2010, AgAIN

media invitation
Office hours: 020 7983 4070
Out of hours and weekends: 020 7983 4000
www.london.gov.uk

GLA/2010

July 2010

New proposals for the Fourth Plinth to

be unveiled at St Martin-in-the-Fields
The Mayor of London invites you to the unveiling of the six shortlisted proposals for the
new commission for the Fourth Plinth in Trafalgar Square.

The event will take place on Thursday 19 August 2010 at 9.00am in the crypt of St
Martin-in-the-Fields, London WC2N 4JJ.

The exhibiting artists are Allora & Calzadilla; Elmgreen & Dragset; Katharina Fritsch;
Brian Griffiths; Hew Locke; and Mariele Neudecker.

RSVP
Tamsin Selby, Bolton & Quinn

Sep te m ber
Notes to Editors

1. The selected artist is due to be announced by the Mayor of London next year, with the artwork being
installed after the current work, Nelson’s Ship in a Bottle by Yinka Shonibare, has been taken down.

2. The Fourth Plinth Programme is funded by the Mayor of London and Arts Council England and sees
new artworks being selected for the vacant plinth in a rolling programme of new commissions. The
first new commission for the Fourth Plinth under the auspices of the Mayor of London's Fourth Plinth
Commissioning Group was Marc Quinn's sculpture, Alison Lapper Pregnant, unveiled in a public
ceremony in September 2005. It was followed by Thomas Schütte's Model for a Hotel in 2007 and by
Antony Gormley’s One & Other in 2009. Yinka Shonibare’s sculpture Nelson’s Ship in a Bottle is
currently on the plinth and will remain there through 2011. Previous commissions have been Ecce
Homo by Mark Wallinger (1999), Regardless of History by Bill Woodrow (2000) and Monument by
Rachel Whiteread (2001). Arts Council England has been a funding partner supporting the
programme since 2003.

Follow the Mayor on:

Twitter – http://twitter.com/mayoroflondon
Youtube - http://www.youtube.com/MayorsOfficeLondon

City Hall, The Queen's Walk, London SE12AA

Enquiries: 020 7983 4100 Minicom: 020 7983 4458 www.london.gov.uk

Allora & Calzadilla to

represent the USA at the
2011 Venice Biennale

Hammer and LAXART

announce plans for an
LA biennial for 2012

Turning Point Network,

Augus t

an organisation with the

LAXART appoints Malik backing of major artists
Gaines as curator and institutions in the UK,
launches Save the Arts
Steven Shearer is to campaign, petitioning the
Tabaimo to represent
represent Canada at the government to maintain
Japan at the 2011 Venice
2011 Venice Biennale funding levels for the arts
Biennale

Japanese filmmaker and French New Wave director SAVE THE DATE
Ai Weiwei claims that Tuesday, 14th September 2010

artist Satoshi Kon dies age Claude Chabrol dies age

he has been assaulted Please join Montblanc for an evening in honour
forty-six eighty
by Chinese authorities
of a British Contemporary Legend of Music

once more Serpentine Gallery

Ekow Eshun and Alan Keith Coventry wins Kensington Gardens, London
7.30 - 9.30pm

Yentob announce the John Moores

Anne Barlow appointed Further details to follow

their departure from Painting Prize

curator of the fifth
Enquiries: 020 8332 4574

Bucharest Biennale, 2012 London’s ICA

Warner Bros donates
Bahrain wins the Golden $5m to the Smithsonian,
Sadie Coles announces
Lion for best national Washington, DC
her new space on
Burlington Place, London pavilion at the Venice
Architecture Biennale Christie’s appoints Steven
Pleshette Murphy,
The British literary critic
Photographer Corinne a businessman from
Frank Kermode dies
Day dies age forty-eight outside the artworld,
age ninety
as its new chief executive
A group of blue-chip
Thomas Hirschhorn
galleries announce the first
named as Swiss
major online art fair, the
representative to the 2011
VIP Art Fair
Venice Biennale
Christoph Schlingensief,
the German director and
artist, dies age forty-nine

ArtReview 181
the power 100

wo r ds : G A L L E RY G R R R L

To s ay it ’s b e e n a ro lle rcoas te r co u p l e of yea r s fo r t h e g a ll e ris t s ,

a r tis t s , c u rato r s , m use u m d i re c to r s a n d co ll e c to r s w h o g ra ce t h e
A r tReview Powe r 10 0 is so m et h i n g of a n u n d e r s tate m e nt .
M a r ket s a re yo - yoi n g a ll ove r t h e p la ce , g ove r n m e nt s a re cra ck i n g
d ow n o n p u b lic f u n d i n g fo r t h e a r t s a n d m a ny co m m e rcia l
ga lle ries h ave b e e n u n d e r s ta n d a b l y j it te r y a bo u t t h ei r p rosp e c t s .
To h e lp t h ese p oo r so u ls nav ig ate a n ot h e r yea r a n d su r v i ve t h e
sli n gs a n d a r rows t h e wo r l d e co n o my w ill u n d o u bte d l y h u r l t h ei r
way, we’ve p u t tog et h e r a h a n d y se r ies of six- p oi nt g u id es .

182 ArtReview
G A L L ER IS TS
Go big! Now is the time to expand – your rivals are
suffering, so put your boot on their throats and dance
the lambada. In this one swift move you can destroy
their tenuous grip on reality forever. Remortgage

1 everything, hoik all the stuff you can on the nefarious

secondary and with the cash stuffed behind the bubble
wrap in the storage room (don’t trust the banks),
prepare to go mega-statement gallery. The nerves
might hit when you get the keys to your new 1,400 sq
metre emporium, but keep calm and think of your
despairing rivals while you fumble for the light switch
through your tears.

Close. The above won’t work for you because you

have no money and the only paintings you have to

2
hoik on the secondary are Day-Glo canvases by a
recent West London graduate with a coke problem
and celebrity mates – and thus, alas, entirely worthless.
But remember, don’t say you’re closing; instead send
out an email saying that you’re concentrating on
‘private dealing’.

Decide to become a museum director – go all Jeffrey

Deitch and claim that at heart you’ve always been an

3 academic. When safely ensconced in the institute,

bring the trustees to their knees with inappropriate
exhibitions of daubings by hip-hop stars. Remember –
if you don’t know what you’re doing, how will your
opponents?

Get rid of all those artists you’ve never really liked.

Here’s your chance – you might still go bust, you might
still end up begging your only remaining couple of

4 clients to remember the good times and throw you a

crust. But at least you get the satisfaction of finally
chucking out those artists you’ve always hated on
several different levels (but mostly because they are
richer than you).

Relocate to a second-floor space in an old European

capital and insist that you are only dealing in first-
generation conceptual art. The advantage here is that

5 most of the stuff can be stored in a couple of filing

cabinets (or in the case of Art & Language, actually
takes the form of a couple of filing cabinets). Spend
the immense stretches of free time that open in front
of you by reading Ezra Pound’s Cantos (1915–62).

6 Check into a shared room at El Misti Hostel

Copacabana (€12 a night) and tell everyone back
home that you are now exclusively focusing on Brazil.
 Start painting! Put away your shaky 16mm film camera
or those bits of MDF stored for your latest lo-fi
sculptural installation and try to remember how to
paint. It was hard enough to sell installation and film in
1 the boom times, but now art fairs are almost bereft of
such media, aside from the kooky experimental sections
where young galleries jostle to look serious. If you want
to earn a living, get out Julian Schnabel’s underrated
Basquiat (1996) and lock yourself in your gallerist’s
basement, armed with oodles of chang and a couple of
large canvases.
Give up painting! Put away those dodgy oils and learn
2
how to make proper cinema films. It worked for big
Julian. And Kathryn Bigelow used to be a dauber before
working out that it would be more profitable to cast
Keanu Reeves as an FBI agent posing as a surfer.
Start selling your work to celebrity clients! As bankers get
cold feet about ploughing their bonuses into art, now’s
the time to find yourself some stars. Jay-Z and Beyoncé
3 have often been seen strolling around Art Basel Miami
Beach, Lady Gaga is hot on Francesco Vezzoli and
even Christina Aguilera is partial to a Banksy. And over
in London we’ve got Elton John and that bloke from
Razorlight.
Go political. Now that no one is selling, it’s time to
unleash the inner critique of late-capitalist culture
that has been brewing away since your early student
4
days. Make agitprop posters in unlimited editions. Or
deliver mysterious performances with no documentary
photography allowed. Join a collective with like-minded
desperate fellow artists. This is your chance to get really
angry and make regular appearances in committed art
periodicals – if things work out well, you can even make
money out of this as a biennial regular.
Move to Amsterdam – the only place left in the world
5
where the government doles out cash to artists. Meet
like-minded artists, get stoned and cycle round on old-
fashioned bicycles while wondering why the concentric
canals are driving you slowly insane.
Spend 20 years in obscurity battling against the
6
commercial gallery system before being rediscovered in
2030. Reenter the artworld with a triumphant if baffling
show before appearing on the cover of ArtReview,
preferably surrounded by buff assistants.
A RT IS TS
Curators
Competition is intense out there, the pay is lousy and
jobs are being culled. Your safest bet is to become a
1
celebrity curator – hop around the world to every
biennial, triennial and special external project going,
and eventually you will appear in Artforum’s ‘Scene and
Herd’ gossip column enough times to persuade punters
that you are in fact incredibly famous.
Give up working for your institution and become the
in-house curator of a rich collector. Not so easy these
2
days, as old-school collectors are getting twitchy – but
there are plenty of new collectors in the booming newer
economies. Again, a frequent flyer card is needed, as
is the ability to ditch the critical theory for working
out which works of art match the grand dining room’s
wallpaper.
Teach curating. Curating itself is hard work (okay, it’s not
that hard, but it’s work… just) and poorly paid, but if you
stack up a load of teaching jobs at the curating courses
3
popping up, the chances are that you won’t have to do
any actual hands-on curating. Instead immerse yourself
in books about curating and pick a handful of shows that
happened in the pre-Internet age to rhapsodise about
as if you’d really been there. On no account commit
anything to writing, as this is an easy way of being found
out.
Write a tome about curating! The books out there are
so lousy that any old dreary collection of great shows
in the past is sure to sell in bulk to the eager young
4 curating students out there. Choose a simple narrative
arc, for instance one that goes from André Malraux’s
‘museum without walls’ straight through to Manifesta 8’s
engagement with North Africa and just put down the
first thing that comes into your head.
Become an art historian. Admit it, you and your curatorial
colleagues currently haven’t got the foggiest about art
history and think that COBRA is a poisonous animal
5 with a funny hooded head. This route won’t make you
any money, but when the long recession is over in 2017
you will reemerge rich in knowledge and in the ability to
put on exhibitions that convincingly link Max Ernst’s The
Blind Swimmer (1934 – see? knowledge) to Frank Stella’s
Avicenna (1970) – marvellous!

Get a collector to ‘curate’ a show, or if that’s too queasy, ‘curate’
a collector’s private collection in your own museum. Who cares
1
about ethics and all that nonsense that Fred Wilson and the
Guerrilla Girls used to bang on about? This is the twenty-first
1
century, and more important, your institution is going down
the tubes with your pension attached. If you really want to
go hog-wild, offer said collector and his chums places on the
board.
If that’s too horrifying a prospect for your delicate curatorial
heart, why not fall back on that old warhorse of raising
2
institutional cash: the ‘gala dinner’ with accompanying auction
conducted by an auction bod doing an ironic turn with the
gavel (at least we think it’s ironic). The only problem is auction
fatigue seems to be setting in: a misfiring auction at London’s
ICA was blamed by its outgoing director as in part triggering
the institution’s economic crisis, so this might not be a total
2 paintings, those installations of MDF and a found photograph
banker.
There’s always an even older horse to be flogged: special
museum limited editions. It’s an old trick, but remember, there
3
are always new young collectors who think that a framed
photocopy signed by one of the programme’s illustrious
3
alumni is worth a few hundred quid. It’s a lowdown manoeuvre
and won’t earn you much, but it’ll pay for the staff Christmas
party.
Merge a few of the curatorial departments. Or even better, get
rid of them. Do you really need nineteenth-century specialists?
4 Or performance art experts? This stuff is readily available on
the interweb, so call in a few of those so-called experts who
look sullen at general staff meetings and set them free – they
4
can now become ‘freelance curators’ (ie, unemployed) and
your wage bill will be trimmed in no time.
Fire the finance staff. They got you into this unholy mess, so
5
let’s make these glorified accountants pay! Take control of the
budget yourself and divvy it up among your salary, the cost to
hire a couple of shows in from an obscure kunsthalle and some
petty cash to pay the security guards, cleaners and curators.
How hard can it be?
5 made it? If not, this isn’t a problem – hire a couple of young
6 Reallocate the carefully built up reserves to a new account
called ‘cash for immediate spending’. When the board
complain, attempt to fire them all. If they point out that you
can’t fire them, throw away the key to the boardroom you’ve
Museu m Directors
just locked all of you in and subjugate the fuckers to your own
6
recreation of Carolee Schneemann’s Interior Scroll. Eventually
they will do what you say.
Collectors
the power 100
Don’t listen to the doom-mongers – this is a great time to
be a collector. Swagger around the fairs demanding 30
percent discounts. Target galleries whose sectors have been
overheated – like the young contemporary folk – and then be
fist-pumpingly aggressive at their experimental booths in the
groovy bits of fairs that pretend that they’re not about filthy
lucre. Of course they’re about filthy lucre. It’s an art fair! Chuck
in a few cancelled sales at random to give these upstarts a
lesson in who’s boss.
Get angry! Basically all that stuff you’ve bought on whims at
art fairs is now worthless, as the bottom has dropped out of
the market you’ve been speculating in. Those deliberately bad
of Alain Robbe-Grillet are destined for the tip. Storm into
art fairs, find the fuckers who sold you this so-called ‘art’ and
give them a good going over. Demand your money back on
the spot, loudly and repeatedly until you are hauled out by
security.
Renounce the market and become a philanthropic sort. This is
easy – museums are desperate for cash. Sponsor a dinner or
two, chuck their curators a bit of money to go shopping at art
fairs, sort out tours of their collections with your chums – it will
earn you respect in a world where respect is the only currency
left. Let it be widely known that you welcome the correction in
the marketplace and shake your head sadly at the speculators
who did so much damage to the precious object that we call
the artworld.
Stop buying your food at Selfridges’s deli counter and survive
on gallery dinners. Granted, this is a short-term solution best
deployed at art fairs. But have some respect – when you find
yourself stuffing your holdall at a Jennifer Rubell performance,
you know it’s time to stop and head to Lidl.
Find a disused warehouse space and open a private museum
to hang all those mysterious works you’ve bought over the
years. Do you remember buying it? Any idea who might have
bucks to scour the interweb and catalogue for you, and then
allow them to ‘curate’ a few shows out of it. If you’re feeling
particularly in need of liquidity, charge an entry fee. Punters
might never return, but eventually those eight-quid tickets will
add up to, erm, around £72.
Cancel all your patron schemes and ask galleries to take you
off their mailing lists – it’s time to give up. The promise that the
artworld would give your otherwise turgid social life a bit of a
bohemian lift was simply the smoke and mirrors of those evil
dealers who were after your cash. We’re all going down. Read
Richard II and weep like the wretch you have become. Promptly
donate everything to the nation (just leave it on the steps of
the ArtReview office and we’ll sort out the technicalities) and
write a confessional warts-and-all novel about your descent
into the artworld. In the blink of an eye, return as the founder of
a charity enabling the work of community artists in inner cities
and burble about the Big Society. It’s a new dawn!
ArtReview 185
The strip: John RusselL

186 ArtReview
on the town:

19 September
Aaron Curry, Michael Werner Gallery at 20 Hoxton Square, London

16 September
Nathaniel Rackowe, Bischoff/Weiss, London

16 September
Thomas Scheibitz, Sprüth Magers, London

photography IAN PIERCE 1

5
4

188 ArtReview
Aaron Curry

1 Artist Hurvin Anderson, with 20

Hoxton Square’s Alexander Dellal
and Adam Waymouth
8
2 Aaron Curry
3 
Michael Werner’s Kaydee Robbins
and Gordon Veneklasen
4 
Artists Thomas Houseago and
Michael Craig-Martin

Nathaniel Rackowe

5 
Nathaniel Rackowe
6 
Gallerists Paola Weiss
and Raphaelle Bischoff

Thomas Scheibitz 9
7 Folkestone Triennial’s Andrea
Schlieker, Drawing Room’s Kate
Macfarlane, artist Cornelia Parker
and artist Jeff McMillan
8  Camden Art Centre’s Anne-Marie
Watson and Ancient & Modern’s
Bruce Haines
9 Camden Arts Centre’s Jenni Lomax
and journalist Louisa Buck
10 Anthony Downey of Sotheby’s
Art Institute London
11 
Hauser & Wirth’s Damian
Brenninkmeyer and James Lavender
12 Artist Maaike Schoorel and
Hayward Gallery’s Stephanie
Rosenthal with friend
13 
Drawing Room’s Mary Doyle, 10
curator Stephen McCoubrey,
Thomas Scheibitz, Drawing
Room’s Kate Macfarlane
14 
Camden Art Centre’s Jenni
Lomax, writer Sarah Thornton
and Thomas Scheibitz 12

11

13

14
 Monday, October 4, 2010 16:17

Subject: off the record

Date: Monday, October 4, 2010 16:16
From: gallerygirl@artreview.com
To: <office@artreview.com>
Conversation: off the record

Power. Everybody’s obsessed with it. ArtReview Towers has been deluged with phone calls, emails, gifts,
PowerPoint presentations, flower garlands, money in large brown envelopes, graphs (I kid you not), Book
Tokens and all sorts of bogus statistics by the good folk of the artworld desperately trying to get onto that
power list. Sitting perched on the office’s Eileen Gray Monte Carlo sofa watching the Power 100 judges
bent over the Isamu Noguchi coffee table inexplicably passing each other a rolled €500 note while laughing
manically, I felt a terrible sense of emptiness. I left the office and, zipping up my Peter Pilotto cropped
jacket against the morning chill, meandered through the streets of Clerkenwell thinking of Ezra Pound’s
Canto LXXXI: ‘Pull down thy vanity, it is not man / Made courage, or made order, or made grace / Pull
down thy vanity, I say pull down.’ For what is power? After all, as Ezra memorably noted, ‘The ant’s a
centaur in his dragon world’, and you, eager young gallerist, are merely a front-desk bitch in Daniel-Henry
Kahnweiler’s world, if you get my drift.
So as I meandered into St John for my morning sharpener of two parts Fernet-Branca and one part
crème de menthe over ice (thank you, Fergus!), I decided to pen an hommage to those in the artworld who
historically have shunned this baseless thing called power. First on the list was so totally my favourite artist,
Bas Jan Ader. With his black polo-neck sweaters, mysterious death at sea, wavy hair and intense handsome
looks, Bas has been my hero long-time. He spent his artistic life exploring failure by falling off roofs,
cycling into canals and DJ-ing hard trance in the gritty clubs of Schleswig-Holstein. Tragically he died
when his speedboat ran over Gloria Estefan while they were on a collectors’ retreat thrown by prominent
Greek collector Thokos Fokoffolios. Knocking back the first drink, I stood up and, to an empty bar, toasted
Bas aloud: “You spurned power with the same force that I spurn this ludicrous floral trend that D&G and
Erdem are pushing.”
Second on my list are all those artists who have renounced the ego of the artist’s individual identity
and merged into a collective. The Guerrilla Girls, Art & Language, Liam Gillick, BANK and then,
confusingly, Banksy. It’s like the world of pop: for years there were no Nellies, and then Nelly Furtado and
the other Nelly, who was known only as Nelly, turn up almost at the same time. I remember the good times
at Charlie Wrights in my House of Jazz lime-green playsuit; in a very real sense it was indeed ‘hot in herre’.
Anyhow, back to the egoless collectives, I raised a toast to them as well – although I was now onto the 2008
Anjou Blanc, which was certainly lifting my spirits.
Thirdly, a toast to all those international curators who have handed the reins of power over to their
supposed rivals in the spirit of collective generosity. For the 2003 Venice Biennale, Francesco Bonami
stepped aside from the solo curatorial magisterial voice and instead put together a Band Aid-type collective
of the world’s groovy international curators – Hou Hanru, Daniel Birnbaum, Bono, Catherine David and
Hans Ulrich Obrist were some of those who were metaphorically bellowing, “And there won’t be snow in
Africa this Christmas time, wooo-ah yeah”. The result was generously described as ‘multifaceted’. The toast
for this one was easy; as I raised my glass of 2007 Meursault Rouge to the chefs and bellowed: “Here’s to
them underneath that burning sun” (the Africans, that is, not the curators).
And then the whole restaurant joined me in a final toast. A small glass each of Rogomme du Quercy
to all you out there, dear readers, who never made the list, never have wanted to make the list, never will
make the damn list and who are currently tearing the list out and throwing darts at it. The damn shallowness
of so-called power! As Pound’s old buddy T.S. Eliot wrote, borrowing from Baudelaire: ‘You! hypocrite
lecteur! – mon semblable, – mon frère!’ Although obviously I’m hoping for a place in the high 70s next time
round… Book Token anybody?

GG

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