Professional Documents
Culture Documents
00
‘Before m aking the list, I m ade fun of it; now that I a m on it, I dread being taken off.’ – Jerry Saltz (No. 73)
Paul McCarthy
SNOW WHITE
4 NOVEMBER — 24 DECEMBER 2009
SNOW WHITE, GINGER THEN, 2009, CHARCOAL, OIL STICK, COLLAGE ON PAPER, 261.6 x 203.2 CM / 103 x 80 INCHES, PHOTO: ANN-MARIE ROUNKLE
CORYARCANGEL
DREI KLAVIERSTÜCKE, OP. 11
NOVEMBER 2009 – JANUARY 2010
Ellery’s Theory of
Neo-conservative Creationism
Accompanied by a limited
edition publication available
from Browns Editions
www.brownseditions.com
Matthew Day Jackson “Dynamic maximum Tension” oct 10 - nov 21, 2009
Keizersgracht 82, 1015 CT Amsterdam, The Netherlands , www.grimmfineart.com, Tel +31 (0) 20 4227 227, Fax +31 (0) 20 3301 965.
K a n ta K i m u r a
Pat r i c K Fa b i a n Pa n e t ta
04.02 – 03.03.2010
Pa i n t i n g & S c u l P t u r e
in timeS
oF criSiS
Ludmila Bereznitsky & Partner Gallery, 2b Andriivsky Euviz, 04070 Kiew, Ukraine
www.bereznitsky-gallery.com
BART STOLLE
low fixed media show
December - January
ZENO X GALLERY
MICHAËL BORREMANS - DIRK BRAECKMAN - MIRIAM CAHN - RAOUL DE KEYSER - JAN DE MAESSCHALCK - STAN DOUGLAS
MARLENE DUMAS - KEES GOUDZWAARD - NORITOSHI HIRAKAWA - YUN-FEI JI - KIM JONES - JOHANNES KAHRS
NAOTO KAWAHARA - JOHN KÖRMELING - MARK MANDERS - JOCKUM NORDSTRÖM - AVERY PREESMAN - JENNY SCOBEL
MARIA SEREBRIAKOVA - LUC TUYMANS - PATRICK VAN CAECKENBERGH - ANNE-MIE VAN KERCKHOVEN - CRISTOF YVORÉ
November 2009
DISPATCHES 31
Snapshot: Reka Reisinger
Now See This: Lynda Benglis;
Gordon Matta-Clark; Performa;
Tony Conrad; Ugo Rondinone;
Tatsuo Miyajima; Man Ray;
Anne Truitt; 1989: End of
History or Beginning of
the Future?; Marc Camille
Chaimowicz. Columns: Paul
Gravett discusses the work of
Janek Koza; Joshua Mack frets
about the implications of the
First Annual Art Awards at the
Guggenheim in New York; Marie
Darrieussecq sizes up France’s 32
new minister of culture;
Axel Lapp is excited by the
Hamburger Bahnhof rehang. The
42
Free Lance: Christian Viveros-
Fauné investigates Bruce High
Quality Foundation’s venture
into higher education. London
Calling: J.J. Charlesworth
looks at the UK’s increasingly
panicked attitude towards
the taking and publishing of
imagery. Top Five: The pick
of art to see this month, as
selected by Polly Staple.
Design: Hettie Judah wonders
at the future of consumer
46
design. Consumed: Index cards
by Peter Suchin; limited-
edition book by Dennis 36
Hopper; Ron Arad designs
at MoMA; Visionaire’s 2010
electronic calendar; Rosalind
Nashashibi limited-edition
print; print editions from
IMMA; Marilyn Minter tote bag;
short shorts from Creative
Time and American Apparel An
Oral History of Western Art:
Matthew Collings catches up
with Jean-Antoine Watteau.
Manifesto: Nigel Cooke
52
40
18 ArtReview
Untitled (Bench), 2009, oil on canvas, 11 x 10" © 2009 Tim Eitel/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
www.pacewildenstein.com
Invisible Forces
www.pacewildenstein.com
Contents
November 2009
FEATURES
THE POWER 100
in association
with ruinart 73 rear view
The most powerful people
131
means, in a language everyone
can understand
Martin Creed, Assume Vivid
Astro Focus and Wilfredo A timeline of
significant art events
Prieto respond to the idea
of power
in the Past year 164
A lot can happen in 12 months,
not all of it forgettable –
here the highlights and low
moments of a tumultuous year
in the artworld (and beyond)
Strip 170
By Janek Koza
73
20 ArtReview
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22 ArtReview
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Top Five 42
Design 44
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ArtReview 31
DISPATCHES
This month marks 35 years since the most infamous A more concerted take on the performative occupies
advertisement ever to appear in an art magazine New York in November: once again, it’s time for
was published: a photograph, in the November 1974
Artforum, of a short-haired woman wearing nothing Performa (various venues, New York,
but sunglasses and holding a latex dildo as an
ersatz erection. At once an advertisement for an
1–22 November, www.performa-
arts.org), whose third edition, Performa 09
VAGA, New York; William Kentridge, I Am Not Me, the Horse Is Not Mine, 2008, performance still, courtesy the artist and Performa, New York; Tony Conrad, Re-Framing
Lynda
clockwise from left: Lynda Benglis, still from Female Sensibility, 1973, videotape loop, 13 min 5 sec, courtesy Cheim & Read, New York, © the artist/licensed by
exhibition at Paula Cooper Gallery by
– organised, as ever, by tireless live-arts
Benglis (Irish Museum of Modern Art, maven RoseLee Goldberg – doubles as a celebration
of the centenary of Futurism, a cornerstone of
Dublin, 4 November – 24 January,
www.modernart.ie) and the culmination
of a series of ads-as-art, that image is what
the Louisiana-born artist is best known for.
She’s done far more, as this survey reaffirms.
From floor-based ‘fallen paintings’ in poured
latex and polyurethane made during the late 1960s
(decades before Polly Apfelbaum commandeered the
epithet) to her complex pleated sculptures in metal
of recent decades, Benglis has built on Minimalism
as vitally and variously as any of her coevals.
Her determined sensualising of its aesthetic was
barely understood until the 1980s; if she’s still
not sufficiently lionised, it’s probably mostly
because a) she’s female, and b) she’s still alive.
Creatures, 2009, film still, courtesy Galerie Daniel Buchholz, Cologne & Berlin
this slippery Zelig of the American avant-garde
– microtonal drone violinist, former acolyte of
La Monte Young, performance artist, manufacturer
of electrified sound sculptures – as his career
continues its recent upswing, in a solo show in
32 ArtReview
Ugo
Stripped Bare
If anyone is performing in the art of
frozen foods cools rapidly as her job chills her body and her My Endless Numbered Days, 2006, shown in his last
emotions; an elderly cobbler turns to arson when he loses all his Sadie Coles exhibit) asks one, not without dry
wit, to accustom oneself to the succours of aimless
customers to a supermarket which sells such cheap shoes that
drift, lack of resolution and the potential absence
nobody bothers to repair their worn ones any more. of any logic to life. And one might counterpoint
Comics and animation still don’t pay enough to make Rondinone’s evocation of stasis and circularity
Koza’s living, but he’s staying productive and provocative. His
latest animation, for the song Parzydełko (Sting, 2008), by
Tatsuo
with the temporal obsessions of
Polish band Pustki, subtly insinuates a gay romance into the Miyajima (Lisson Gallery, London,
story of a fireman ‘burning with love’, who rescues another
fireman from an accident. Koza is also embarking on his first
25 November – 9 January, www.
full-length graphic novel. “I’m thinking about the roots of hate. lissongallery.com), who’s lately passed his
I want to write a story about the Jews’ genocide in Poland, but quarter-century of artmaking and whose signature
from the civilian side. I think rather about situations, not about
dates and names. I’m still not sure if I can manage this.”
Koza’s strip in this issue addresses a chilling scandal in
Poland from a few years ago. He created this for ArtReview as
part of Ctrl.Alt.Shift Unmasks Corruption, a compilation and
exhibition of political-reportage comics from as far afield as
Serbia, South Africa, China, India and New Zealand, organised
by campaigning charity Ctrl.Alt.Shift.
The First
formulated the first substantively original, forward-looking
idea of the Great Recession. That they have done so while
also querying the sustainability of a tired DIY gallery model
demonstrates only part of the genius of the Bruces’ critical
Next
tack. Rather than snivelling about the market (New York critics
take note), they’ve preferred to identify artworld ‘problems’
and ‘solutions’ in a wholly coeval arena, in which legions of
collateral artworld vices reside: arts education.
A project that lives and breathes precisely at the much
heralded but rarely transited intersection of art and life,
Great Idea
BHQF prefigured BHQFU in a typically dynamic July lecture/
performance titled ‘Explaining Pictures to a Dead Bull’.
Invoking both St Joseph (Beuys) and the dead bull market, the
Bruces impertinently connected the broken lines among art, the
market and MFA programmes in what they called ‘a polemic
against rote learning’ that was also, necessarily, a broadside
against rote artmaking and – even more importantly – a bitch
A New York artist collective gives slap struck at received postmodern pap.
Not quite an old-style manifesto nor the ‘institutional
recession malaise the finger – critique’ that the formidable Roberta Smith of The New York
by opening a free university Times cosily thought she witnessed, the Bruces’ performative
pedagogy proves a significant departure from business as usual in
several key respects. Firstly, these fellows trade in contemporary
analysis trenchant enough to humble most curators and critics
(your modest interlocutor included). Secondly, they are artists.
Third, they are artists. In the fourth place, the Bruces have
bundled a set of related, heretofore unconnected ideas into what
may be the next $64,000 art question: ‘How can we imagine a
sustainable alternative to professionalised art education?’ To
continue in gameshow-speak, they have exposed arts education
for what it is: the system’s weakest link.
What BHQFU has already accomplished is a gift. The
fact that the Bruces – with the help of Creative Time – have
established a functioning free university in New York today is
miraculous. So, too, is the fact that BHQFU currently carries
a full roster of classes on topics such as ‘Art History With
34 ArtReview
D E U T S C H E B A N K & T H E S O LO M O N R . G U G G E N H E I M F O U N D AT I O N
Grey Area
Julie Mehretu
28.10.09
Julie Mehretu, Berliner Plätze, 2008 /2009 © Julie Mehretu
– 6.1.10
Experience
Contemporary Art at the Royal Academy
Gain
Exclusive Access
Join
the Contemporary Circle 26 September – 11 December 2009
Tickets 0844 209 1919
www.royalacademy.org.uk
RA FRIENDS GO FREE
Green Park, Piccadilly Circus
Supported by Richard Chang
Richard & Victoria Sharp and
Media Partner
Contact Sarah on +44(0)207 300 5703 Anish Kapoor, Shooting into the Corner (detail), 2008–09, installed at MAK, Vienna, 2009.
Photo Nic Tenwiggenhorn. Courtesy the artist and MAK, Vienna
or sarah.schuster@royalacademy.org.uk
DISPATCHES
Paris
Turn back the clocks:
from top: Man Ray, Le violon d’Ingres, 1924, vintage gelatin silver print, Rosalind and Melvin Jacobs Collection, © 2009 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris;
org) tracks back to the 1920s and moves forward,
Anne Truitt, Valley Forge, 1963, acrylic on wood, 153 x 153 x 30 cm, the Rachofsky Collection, © Estate of Anne Truitt/Bridgeman Art Library, New York, courtesy Danese Gallery, New York
Christine Albanel, who fell into disgrace after the government’s
failure to pass a law against digital piracy, has been replaced using 200 works (photographs, paintings, films,
by Frédéric Mitterrand: yes, from the family of the former sculpture, etc) by the fabled dadaist/surrealist
president. His nephew. I have a hard time imagining him as to consider how his art was shaped, as the man
born Emmanuel Radnitzky became an expatriate in
a minister. This deliciously old-fashioned being, who seems
Paris, by attempts to leave behind his cultural
to have been born in a pastel singlet, spent his youth at the
Palace, the Parisian nightclub, disguised as a dragonfly or a
bumblebee. His voice marked my entire generation: he used
to read languid commentaries on documentaries about royal
families, in the evening, on the third channel of state-owned
television. He made a lyrical gesture of them, detached from
class struggle and other inconveniences of living on this planet.
At school we would imitate his elegant tone and his kilometre-
long sentences.
Frédéric Mitterrand directed a pretty Madame Butterfly
(1995), broadcast radio shows on France Culture and wrote
books. In La Mauvaise Vie (2005) he describes the difficulties
of being an ageing homosexual, and the melancholic resort to
prostitutes. This is a man with style, a kind manner, anything
but haughty, and rather whimsical. He was briefly on TF1, the
first private channel, and this apparently reinforced his love of
‘public service’, which is just about the only reason I can find
to explain his strange desire to be minister. Minister: the work
of a slave, the life of a dog, just about no room to manoeuvre,
meetings beginning at an hour when others are leaving the
nightclubs, endless worries and criticism.
This dragonfly of a man had just been named director of
the Villa Medici, in Rome: why didn’t he peacefully stay there
to watch dusk fall over the gardens? And what will become of
this luxurious residency for French artists now that he is gone?
Will the painters lie about in the fountains instead of working
for the Republic? One of his first blunders was to organise a
heritage. Meanwhile, it’s been 35 years since there
big party for his departure; back in Paris, Sarkozy hadn’t yet was a major retrospective of the work of American
informed the minister whom Mitterrand was to replace.
And his name, of course, is a problem in a right-wing Anne Truitt (Hirshhorn
painter/sculptor
government that invented the Ministry for Immigration and
National Identity, a title that evokes the dark hours of Pétain’s
Museum, Washington, DC, 8 October
wartime fascism rather than the few enlightened moments of – 3 January, www.hirshhorn.si.edu).
the Mitterrand era. I’ll ignore caustic comments to the effect
that Sarkozy is taking the mickey out of Mitterrand and persist
in asking this question: what is a man who has lived in the Villa
Medici doing messing around in the ministerial slog?
36 ArtReview
DISPATCHES
New York
While artists like Donald Judd were ostensibly
expunging personal references from their work,
Truitt – who died in 2004 – spent decades
intermingling Minimalism and the autobiographical
in her colouristic abstract paintings and columnar
geometric sculptures (not least in references
to the architecture of her childhood), in a
For all the hopes that this past year would bring us change we way that anticipates recent art’s programmatic
could believe in, events suggest that America is not a nation
ready for the drastically new. Take healthcare reform: the corruption of minimalist purities. And1989:
President came into office promising national coverage but
delegated the nitty-gritty to the House and Senate. Oops. Over
End of History or Beginning of the
the summer the Republicans floated horror stories of death Future? (Kunsthalle Wien, 9 October
panels and mandated euthanasia, and independent voters, on
whom Obama’s victory last November hinged, bought the bull.
– 7 February, www.kunsthallewien.
Barack’s poll numbers plunged while the Republicans’ rose. at) at once rewinds two decades to reconsider
Things are so screwy that many suspected Obama’s pep talk ‘the metaphors connected with the collapse of the
bipolar division of the world into East and
to schoolchildren on the first day of term was a veiled socialist West and the political upheaval, metaphors that are
plot. Health reform may still succeed, but how much can really
change when many don’t recall that the socialist threat crumbled
with the Berlin Wall? On the economic front, unemployment
may be over 10 percent, unofficially, but Wall Street indexes
have been on the rise, and compensation in the financial sector
remains strong, led by the $100 million or so Citibank (in which
taxpayers have a large stake) owe its trader Andy Hall. That’s a
bit of a political hot potato, but as for meaningful change, seems
governments on both sides of the Atlantic have joined banks in
Sophie Calle, Neue Wache, from Die Entfernung - The Detachment, 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009
pressuring the accounting industry to back off efforts to mandate
stricter financial oversight. As for the green shoots predicted for
an artworld suddenly freed from the corrupting influence of
cash, the last year proved that downsizing is just the flip side of
what we’ve been through; an obsession with money’s presence
has become a fixation on its lack. As most smaller dealers
struggled to stay open, flush players made acquisitions, much as
stronger banks picked off weaker competitors. Larry Gagosian,
for example, opened a new space in Athens and a street-level
store on tony Madison Avenue. Matthew Marks inaugurated
the season with a show of Vincent Fecteau, who used to show
at Feature, a vibrant if laissez-faire gallery that shuttered last
spring. What can we expect when the Guggenheim – which
should know better after years of expansion for expansion’s sake
– hosts Rob Pruitt’s First Annual Art Awards (modelled on the
Oscars) as a fundraising dinner? At best this stunt, which turns
the popularity contest that is the market into a moneymaking
performance, is an inside joke that says, ‘We know better, but
since we do, why not do it anyway?’ It’s the usual wink and nod
that still, it seems, calls the shots.
Fear of
Photographs
Paranoia about who’s out there looking at
our pictures is changing how we’re looking
at them, too
In September, clothing company American Apparel was The notion that there are malevolent spectators out there,
censured by the UK’s Advertising Standards Authority (ASA) looking to exploit the images the rest of us make and exhibit,
for an advertisement it ran in the urban style magazine Vice. The has started to feed back into the everyday uses of photography,
photo sequence, of a twenty-three-year-old model in a fleece especially photography in public. A new report by UK think
hooded top, followed the brand’s current taste for styling its tank the Manifesto Club (of which I’m a member), Policing the
shoots with the kind of eroticised, private-camera informality Public Gaze: The Assault on Citizen Photography, details the
that exists somewhere between ‘arty’ photographers such as absurd expansion of petty regulations, codes of conduct and the
Corinne Day and Ryan McGinley, and the more straightforward police’s regular misuse of antiterrorist legislation to restrict and
raunch of erotica or ‘soft porn’. The ASA banned the ad. control the use of public photography by us, the public. What
The ban was issued on the grounds that ‘the ad could be is striking about the many instances cited is their common
seen to sexualise a model who appeared to be a child’, in a ruling mistrust of the intentions of the photographer: if you’re taking
issued in response to a single complaint. Although its ruling a picture of kids (even your own), you must be a paedophile;
admitted that the target readership of Vice was unlikely to be if you’re taking pictures of official buildings, or commercial
offended by the ad, the ASA concluded that the ad contravened premises, you must be a terrorist. In the fevered imaginings
its code prohibiting anything that would be ‘likely to cause of official culture, the public has ulterior motives, and those
serious or widespread offence’. Assuming that many thousands motives must always be suspicious in some way. In other words,
of Vice readers were not offended enough to complain, we can museums, curators, artists, art-college academics, journalists,
only wonder how the ASA came to its decision. the general public and, yes, purveyors of brightly coloured
The issue of images that ‘sexualise’ children is fraught in spandex leggings, now exist in a culture in which the worst
today’s paedophile-panic culture. But rather than responding motives are assumed of everybody. Some people are fighting
to any genuinely public concern, the ASA’s ruling seems to be back: the campaign group I’m a Photographer, Not a Terrorist!
in thrall to the more general and poisonous hysteria that now has started organising flashmobs in which people turn up at a
affects the taking and publishing of photographs. It’s as if, in public location and start, well, taking pictures of everything.
today’s nervous climate, there are types of images that cannot This widespread paranoia exists at a time when the
be ‘let out’, not because of their content or what we make of production and circulation of images, through the proliferation
words J.J. Charlesworth
them, but because of a pervasive anxiety about an unspecified of camera phones and the Internet, have created a technological
malevolent spectator, out there, who might be looking. alternative to the traditional public sphere; through its lack of
Over the summer, it was announced that three French regulation, the ‘digital commons’ causes further panic among
curators, Stéphanie Moisdon, Marie-Laure Bernadac and those authorities whose impulse is to monitor and surveil. If
Henry-Claude Cousseau, would be prosecuted for an exhibition nothing else, the Internet has become the perfect embodiment
they organised back in 2000. In August, it was reported that a of the shady, faceless world of the terrorist and the abuser. Both
photography student at East Surrey College made a complaint the real and the virtual public sphere are now redefined by the
against a lecturer who had recommended that she look at images cultural institutionalisation of mistrust – mistrust of the public
of work by the well-known transgender artist Del LaGrace by the authorities, but more corrosively, mistrust of other
Volcano. The lecturer now faces misconduct proceedings. In all people, and even of ourselves. Unless we start to challenge this
of these, the default assumption seems to be that we are either culture of mistrust, the cultural, artistic and democratic value of
vulnerable to the abusive intentions of others, or potential photography, and our freedom to circulate them, will succumb
abusers ourselves. to a new culture built solely on the fear of images…
40 ArtReview
ART. DESIGN. EDITIONS.
left (above): LUMAS Limited Edition by Larry Yust, 41.9 x 180 cm / 16.5 x 70.9 inch, signed, £380 / $930 (mounting optional)
left (below): LUMAS Limited Edition by Larry Yust, 36.4 x 180 cm / 14.3 x 70.9 inch, signed, £360 / $890 (mounting optional)
right: LUMAS Limited Edition by Joerg Maxzin, 100 x 67 cm / 39.4 x 26.4 inch, signed, £270 / $660 (mounting optional)
Objects by MOROSO. Swivel armchair and foot stool "Fjord", Design by Patricia Urquiola.
Created by art collectors, brought to life by 120 renowned artists and promising talents from major academies,
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STAPLE
25 September – 29 November)
www.camdenartscentre.org Studio Voltaire are running
a great programme under
Camden’s artist-curated shows tight circumstances. Nairy
are among the best things they Baghramian is on a residency
do. Paulina Olowska is a great there at the moment: I
choice, and her show sounds first saw her work in Berlin
elegant and bonkers at about three years ago,
the same time, an interesting some peculiar photos and
Director, Chisenhale Gallery, London mix of well-known and not concrete objects, then a
so well known artists: piece at Munster Sculpture
Mathilde Rosier, Cathy Wilkes, Project that I really liked
Jakub Julian Ziółkowski, for its bluntness. It was a
Cindy Sherman, Catherine screen placed in a car park,
Sullivan. The common theme suggesting some kind of
is ‘perceptual ambiguity’: division between public and
if you know Olowska’s work, private space, and questioning
the show makes sense through the significances we project
that context. When you’re onto objects. A writer might
from left: John Baldessari, God Nose, 1965, oil on canvas, 173 x 145 cm, © the artist, private collection; Nairy Baghramian, Butcher,
curating a group show with be described as having an odd
a big institution, you’re turn of phrase; Baghramian has
often asked to be very clear the equivalent in sculpture.
about your reasons for making
the show, whereas when artists
curate, particularly at
Camden, they’re given licence.
If regular curators could work
that way, I think you’d see
some more interesting shows.
3 Bonnie Camplin
SAS
Michael Benevento, Los Angeles
Barber & Angler, 2009, sketch for upcoming installation at Studio Voltaire, London
5 November – 23 December
www.beneventolosangeles.com
42 ArtReview
Ronald Versloot
PAINTINGS 14. NOVEMBER - 20. DECEMBER 09
g a l l e r i s e
Kalfarveien 74 B, 5018 Bergen, Norway
+ 47 55 31 57 55 / + 47 958 53 680
admin@galleri-se.no / www.galleri-se.no
design
The Swede
sex toys, he makes a striking point about the role design can
play in a market. Seven years ago the British designer was
approached by the founders of the Myla boudoir shops. They
dumped a crate of nasty plastic vibrators on his Habitat desk
and asked him to come up with an alternative. His input
brought extraordinary added value – the average vibrator in the
Hereafter
box retailed at £20; Dixon’s design, Bone, goes for about £200.
To Dixon the message is clear: if you’re looking for the next big
thing, don’t design chairs; fulfil a desire that is not yet satisfied.
Today the market for designer vibrators is so well served
that it’s only a matter of time before IKEA starts knocking
out a budget version (cue jokes about products that need to
be erected at home); so where can design add value now?
The industry is structured in a way that hardly encourages
independent designers to search for new needs. Most of the
producers dominating the domestic sector commission a A Scandinavian design studio
repetitive range of objects – chairs, tables, sofas – for a market
so saturated that the only way to add value is through celebrity,
second-guesses the future
luxury or editions.
What would be required for a freelance design studio
to investigate coming consumer needs in an informed way?
“Trendspotting and future forecasting are tools for economics
and marketing”, laments Ramia Mazé of the Interactive
Institute. “The idea of designing with statistics is relatively
new.” Mazé explains that at the more progressive end of the
electrical and electronics industries, design departments are
already engaged in contemplating the social impact of their
work and developing future strategies as well as aesthetics.
But for small independent studios, the advantage of accessing
economic data and thinking futuristically will not be evident
until the producers they serve demand and support it.
The Interactive Institute is a research facility, based
(of course) in Sweden, which for the last decade has brought
Interactive Institute’s Ramia Mazé demonstrates the Energy Curtain. Photo: Carl Dahlstedt.
together designers, artists and the IT industry to work out how
to kick-start this demand. They produce visions of the future design-world-darlings Front worked with the institute in 2004;
and thought-provoking exhibits for an audience of consumers, their Flower Lamp blooms for a well-behaved household but
government agencies, industry, city planners and institutions. I closes as consumption increases. There was an electric cable
saw their touring show, Visual Voltage (which, following stops that glows as use augments, and photosensitive blinds that only
in Shanghai, Washington, DC, and Brussels, is now in Berlin), in collect energy if closed during daylight. I tsk-ed delightedly
a less-than-receptive state of mind; the ubiquity of the Swedish at the absence of any product that might have offered a more
vision as code for all things wholesome and progressive was practical solution to energy reduction than merely making
starting to grate. After a visit to London, in which the whole city consumers feel guilty.
seemed to be IKEA-branded, right down to the tube maps, I Chatting with Mazé and her colleague Magnus Jonsson
had greeted news that the flat-packers might become the only ten days later, I felt chastised at my churlish response to the
company to take on Russian corruption and win with a huffy show: precisely because the institute doesn’t work towards
shrug; IKEA vs. the Bratva had a certain Alien vs. Predator products, its employees have an astonishingly free remit. Using
quality to it, I felt. a combination of creative, technical, scientific, political and
Visual Voltage is a group of objects from research projects economic thought, they investigate subjects with no idea of what
exploring energy consumption, designed to provoke more they might end up with: one research strand has studied how
considered behaviour. In my Swede-sensitised state, my radar changing the balance of sounds in a truck cab can influence road
was up for any hint of smug didacticism, and it didn’t disappoint; safety, another uses pervasive gaming to encourage teenagers
to think about the environment. Forget Alien vs. Predator – for
a glimpse of sparks flying, try design vs. economics; even in the
future, it seems, we’ll still desire the Swedish vision.
44 ArtReview
New Art Dealers Alliance AUStrALiA USA
Neon Parc Melbourne Altman Siegel Gallery
San Francisco
CANAdA AMBACH & RICE Seattle
Parisian Laundry Montreal ATM Gallery New York
Baer Ridgway Exhibitions
FrANCe San Francisco
Galerie Carlos Cardenas Paris Nicelle Beauchene Gallery
Galerie Laurent Godin Paris New York
Galerie Hussenot Paris Josée Bienvenu Gallery New York
Blackston Gallery New York
GerMANY Collette Blanchard Gallery
ANDREAS GRIMM MUNCHEN New York
Munich The Box Los Angeles
Galerie Christian Lethert Shane Campbell Gallery Chicago
Cologne David Castillo Gallery Miami
Galerie Rupert Pfab dusseldorf Cerealart Philadelphia
Pool Gallery Berlin Charest-Weinberg Miami
Jacky Strenz Frankfurt John Connelly Presents
New York
ireLANd Lisa Cooley New York
Mother’s Tankstation dublin Country Club Cincinnati
Eleven Rivington New York
itALY Derek Eller Gallery New York
1/9 Unosunove Arte Thomas Erben Gallery New York
Contemporanea rome Forever & Today, Inc. New York
Francois Ghebaly Los Angeles
JAPAN Thierry Goldberg New York
ARATANIURANO tokyo Kavi Gupta Chicago
MISAKO & ROSEN tokyo Jack Hanley Gallery
Take Ninagawa tokyo San Francisco
Invisible-Exports New York
MexiCo Johansson Projects
Charro Negro Guadalajara San Francisco
The Journal Gallery Brooklyn
PUerto riCo Klaus Von Nichtssagend Gallery
OPENING PREVIEW 356 San Juan Brooklyn
thursday december 3, 10am – 2pm Leo Koenig Inc. New York
SPAiN Kim Light/Light Box
daily admission is free and open to the public Galeria Marta Cervera Madrid Los Angeles
Karyn Lovegrove Gallery
SwitzerLANd Los Angeles
Evergreene Geneva La MaMa La Galleria New York
Faye Fleming/Arquebuse LaMontagne/Zevitas Gallery
Geneva Boston
Claudia Groeflin Galerie zurich moniquemeloche Chicago
Anne Mosseri-Marlio Galerie On Stellar Rays New York
zurich Rental New York
Rotwand zurich Renwick Gallery New York
Silverman Gallery San Francisco
the NetherLANdS Simon Preston New York
Galerie West the hague Small A Projects New York
Mart House Gallery Amsterdam Thomas Solomon Gallery
Los Angeles
UNited KiNGdoM Stephan Stoyanov Gallery
Josh Lilley London New York
Museum 52 London/New York SUNDAY LES New York
Workplace Gateshead Twenty Twenty Projects Miami
Kate Werble Gallery New York
Western Exhibitions Chicago
White Columns New York
Y Gallery Queens
ZieherSmith New York
Consumed
The pick of this month’s offerings from shops, 02
galleries and museums. Words Laura Allsop,
£450–£1,000
Claire Alliot-Soto, Alexander Springer
01
£25
04
$295
03
$85
01 02 03 04
Critic and artist Peter Photographs by actor, Coinciding with Ron Arad’s Visionaire’s 2010 calendar
Suchin has produced, for collector and artist late-summer/early-autumn is electronic and coincides
new London editions shop Dennis Hopper have been show No Discipline at with Smart’s first
Kaleid, a limited-edition collated for a new MoMA, the museum’s gift electric car, celebrating
boxset containing ten publication from Taschen. shop has stocked some the beginning of what
printed reproductions of Entitled Dennis Hopper: signature pieces by the Visionaire posits is
index cards he has doodled Photographs 1961–1967, it prolific designer. Whether the ‘decade of electric
and scribbled on. As part includes photographs of it’s smart kitchenware mobility’. High hopes
of an ongoing interest contemporaries ranging at affordable prices or aside, the calendar is a
in recording incidental from Andy Warhol to Paul classic furniture designs phenomenal repository of
thoughts and perceptions, Newman and documents the such as the curvilinear contemporary art, with 52
Suchin has been making easy freedom of West moulded polyethylene Little curators (ranging from
meticulous notes for more Coast living during the Albert Chair, a miniature Klaus Biesenbach to Hans
than 20 years. Peter 1960s. The book comes in version of the designer’s Ulrich Obrist) choosing
Suchin: Index, Scribble, two editions, one limited temperature-sensitive Well seven artists each to fill
Snapshot, Tract contains to 100 and including a Tempered Chair or even a the days. It’s a who’s who
reproductions of the cards signed print of Hopper’s wearable accessory in the of contemporary art: Bruce
along with essays by photograph Biker Couple form of the designer’s Nauman, Marina Abramovic,
Michael Hampton and Suchin (1961-9). signature Cappello hat Keren Cytter, Glenn Ligon
himself. (pictured), MoMA’s got it. and 361 others.
www.taschen.com
www.kaleideditions.com www.moma.org www.visionaireworld.com
46 ArtReview
ga rdar eide einarsson_
tom burr_mircea cantor_ s gordon_shilpa gupta_
icini_ ougla y_
monica bonv _simon evans_cao fei_d -hemmer_elliott hundle _
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natascha sad tthew day jackson_mich on dybbroe møller_adr
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museu
r 2009
5 septembe 2010
10 january
Sponsor for Louisiana Museum of Modern Art 2009 Sponsor of architectural exhibitions at Louisiana supports Louisiana Live
Adrian Paci. Per Speculum, 2006 (film still). Color Film, 6:45 minutes. Courtesy Peter Blum Gallery, New York; Galleria Francesca Kaufmann, Milan; Galerie Peter Kilchmann, Zürich. www.louisiana.dk
Consumed
06
€900
05
£100
07
$48
05
08
$19.95
05 06 07 08
Artist Rosalind Nashashibi The Irish Museum of Modern Tote bags are increasingly New York art agency
has created a limited- Art (IMMA) is launching a the carrier of choice for Creative Time – responsible
edition print to accompany series of limited-edition heavy catalogues at art for projecting Doug
her solo show at the ICA, prints to coincide with fairs and biennials. Artist Aitken’s Sleepwalkers
London. The print, entitled its exhibition Traces, a Marilyn Minter has teamed (2007) on MoMA’s walls and,
8 O’Clock Metamorphosis, is celebration of its… limited up with boutique designers this past summer, turning
a silkscreen reproduction editions. Isaac Julien (his Intermix to create a former army base Governors
of an image from her work pictured), Michael limited-edition variety Island into a contemporary-
installation In Rehearsal Craig-Martin, Alex Katz, to benefit breast cancer art trove – have teamed
(2009), collaged onto Elizabeth Peyton and many charity Bright Pink. A up with sportswear brand
the replica of a page others have contributed, still from Minter’s Green American Apparel to create
from a book on African art. while recent additions to Pink Caviar (an eight- a pair of limited-edition
Via numerous images and the series include works by minute film-riot of female short shorts with ‘Creative
a soundtrack, 8 O’Clock Louis le Brocquy, Patrick mouths devouring cakes, Time’ emblazoned on the
Metamorphosis documents Scott and Camille Souter. released earlier this year rear. All proceeds will
the preparation of an The 31 screenprints, and featured in Madonna’s go towards supporting
opera, and the edition etchings, lithographs and recent tour, no less) will Creative Time’s future
features what look like cibachromes were donated to feature on the bag. public art projects.
studious stage technicians benefit IMMA’s exhibition
hard at work. and education programmes. www.foryourart.com http://creativetime.org
www.ica.org.uk www.imma.ie
48 ArtReview
Tonight Nothing oil on canvas 180 x 250 cm 2009
MORGAN BETZ
8 - 22 november 2009
PROJECTS
www.baarsprojects.com
info@baarsprojects.com
Art|Basel|Miami Beach
3–6|Dec|09
u
Evgeny Yufit, Transparent Grove, 1992
NO 12:
WATTEAU
Jean-Antoine Watteau, L’Enseigne de Gersaint, 1721, oil on canvas, 163 x 306 cm. Photo: Jörg P. Anders. bpk / Schloss Charlottenburg, Stiftung Preußische Schlösser und Gärten
Jean-Antoine Watteau (1684–1721) was a French painter who invented
the genre of the fête galante: scenes of beautiful light-filled bucolic charm,
suffused with an air of theatricality.
interview by matthew collings
52 ArtReview
ArtReview How are you? and you can get lost in that. But then you might come in
somewhere else and it’s a different trip. These metaphors
Watteau Very ill. of being lost in a pleasurable rather than alarming way, and
of going on a journey, are important both to the subject and
AR Ah yes, the consumption. You died from it when you were the content.
only thirty-seven. But you did a good painting before you
went: Gersaint’s Shopsign (1721). Tell me about that work. AR Gosh, that’s a lovely way of putting it. How do you feel
about Damien Hirst having his paintings at London’s
W Well, as the title says, it’s a sign. This guy Gersaint had a shop Wallace Collection, where a lot of your stuff is kept? He
selling pictures on a bridge in Paris and he commissioned did the paintings himself, without assistants.
the sign from me. It’s oil on wood and very big – two panels
joined together to make one six-foot-wide expanse. The W I think there’s something clever about him installing the
picture is a double illusion: a view onto a scene that leads work in a place where everything revolves around patronage
onto another scene. You’re standing outside on the bridge; (the power-people who commissioned masterpieces in
you can see the cobbles at the bottom of the picture. the Titian era, and then, from my time onwards, the new-
But it’s as if the facade is removed and there’s the whole money people who took over the task of nurturing great
interior exposed. What you see in there is a metaphor art). Having done the sale of the century on the night of
for the artworld, which is revealed to be full of vanity and the big world-market crash, in 2008, the proposal that he
commercialism. The scenes and objects in the shop spell is now painting his own paintings makes sense, because it
out a story of shallowness. A woman looks in a mirror tells us that he’s still telling a story about money. He shows
instead of looking at art. An ignorant man has his face right us that having understood conspicuous consumption he
up against a canvas in order to see some sexy nudes at the now also understands reining in: even though it has changed
bottom of the picture; he doesn’t know you should look at dramatically, he continues to understand the sensibility of
the picture as a whole, not just the sensational stuff. You the moment.
should take in the composition, the relationship of figures
to landscape and so on. The gallery guys encourage these AR Those pictures look like they were fun to do, but not much
people, because they want to flatter them into parting with effort went into them, as opposed to calculation about
their cash. A portrait of the king lies in a packing crate on what buttons to press to sell an idea. Laughable signs of
the floor: nobility brought low. A dog yaps: pointless noise. greatness include pseudoscientific diagrams à la Leonardo
and an all-blue palette à la Picasso c. 1903. Altogether they
AR Fantastic, you’ve really got an imagination. It’s beautifully make up a sort of joke on profundity, like the Tories in the
painted, I notice. The lovely silvery colour and the masterful 1980s enacting a joke on poshness.
touch: I pity the poor readers of ArtReview, who’ve only got
the reproduction to go on, with all its crudeness.
W Yes, you get a very one-dimensional sense of art with How do you feel about Damien
reproductions, the literal narrative, not the subtlety of
the painting – which is actually very important with this
Hirst having his paintings at
particular work, because beauty redeems squalor. The
scene is one thing, the brushstrokes and composition
London’s Wallace Collection,
another.
where a lot of your stuff is kept?
AR What about all your other stuff ? Aristocrats going off
on escapist trips to pleasure islands for love and music
He did the paintings himself,
– what’s all that about?
without assistants
W They are scenes painted for the newly wealthy who want
a vision of aristocracy to hang on their walls, so they can
fantasise deliciously about what it must be like to be born W They do in fact fit very well with the vibe of the Wallace
noble, to live a life of refined happiness. Music and love, Collection. It’s not the gallery’s awesome art that they
picnics with beautiful people in beautiful surroundings, a complement but its creepy heritage-site ambience. He
moment of pleasure suspended forever – that’s the subject uses the Wallace Collection environment as a background
matter. The class aspect is of a certain interest in your for his new products, as if he’s designing a display event in
time, but then there’s the beauty of the paintings. This a 1980s shop window.
aspect, the true interior life of art, is not so much separated
from the subject as intertwined with it, so it’s possible AR The PR for the show quotes his own words, that the
to experience the painting as a set of echoes or rhymes, pictures are ‘deeply connected to the past’. It goes on to
with the structure constantly changing. You come in at say that he has ‘opted to present these works in a classical
one point and feel the correspondences in a certain way, context, surrounded by Old Master paintings in the great
AN ORAL HISTORY OF WESTERN ART
W From a painting like Pollock’s Lavender Mist (1950) to a W Exactly, Matthew – so, between the late 1980s and early
painting like, say, Warhol’s Mustard Race Riot (1963), it 90s Hirst’s imagery was even more literalist than Warhol’s.
might seem there’s a big jump, and to Hirst’s current ‘blue His dead shark more emphatically embodies the concept
period’ concoctions, that’s a jump again. And in between are ‘death’ than a photo of dead people under a crashed car
all the Untitleds by Judd, variously mono- and multichrome. that is silk-screened repeatedly over a field of flat colour.
I do think it’s worth considering this mad rainbow alliance, That would be a small achievement except that, because
however. Pollock is the odd man out, because although of its minimalist presentation, Hirst’s shark has an infinite
he simplifies, he isn’t really a minimalist, whereas the capacity for metaphor. The glassy tank, the flatness, the
others pretty much are. Pollock is a refined sensualist who feel of a sort of ritzy glow surrounding death, the very
is misunderstood as a shock-tactics sensationalist. His reflections in the glass, not to mention the fascination of
paintings depend on a quivering sort of life that the canvas the physical being of the shark, its jaws and eyes and flaking
has, the way the paint soaks in, the way each mark hits that pale grey hide: all contribute to a compelling visual event.
surface in a particular way, the way the surface breathes. We want to stare, and our thoughts race.
He makes touch crucial. What is important with the other
three is not a sensitive surface but a concept worked out in AR But as art goes a bit more popular, Hirst goes kitsch to fit
advance and executed remotely. (With the new paintings, with the alteration in art’s mood.
Hirst does the work himself, but he’s really just being his
own assistant for strategic reasons.) W You can see the Hirst story as depressing or exhilarating,
depending on the perspective you take. Warhol’s sense of
AR Warhol certainly has a good design sense. But ultimately it the philosophy of the object, even if the philosophy doesn’t
is a sort of pseudophilosophy that counts with him, and his translate into anything impressive once you remove the
visual sense is not really any more marvellous than that of framework of the object, and Judd’s sense of the thing not
any other designer. being the thing, but the combination of the thing and the
space around it being the real thing: they both resonate in
W Yes. Warhol is good at all sorts of things, but willing to Hirst. But at the same time he is independent. His influence
be a bit average too, if it pays, just as Judd often was (the is society. His art of the late 1980s and early 90s was a
problem of appreciating Judd is more complicated than brilliant crystallisation (in the form of art) of the way in
just the inaccessibility of Judd exhibitions in which the which consumer objects were sold in the 80s. Display was
appropriate conditions prevail: in the last years of his life, everything in that decade, and with these early works he is
as he rode the 1980s art boom, he churned out a lot of the king of display. By the time of his Gagosian New York
below-average stuff, just for money). shows, Hirst had reached a high point: a great giddiness of
surfaces. But even though the objects and narratives have
AR Hmm. A look of blankness links Warhol, Judd and Hirst. been on a steady slide downhill ever since, the essential
But it is a misconception to think of Minimalism’s blankness creative originality is still there. To see this involves seeing
as actually blank. When art has great proportions, colour, him as most of society actually does see him, as the artist of
shape, delineation and impact, etc, to see it is to be what really counts in your times: money.
emotionally lifted.
Next month: Hogarth revs up art with stimulating scenes of
raddled tarts
54 ArtReview
Marcel Odenbach, Still from: Niemand ist mehr dort, wo er anfing, 1989/90 Courtesy of the Artist and Galerie Crone, Berlin
1989
End of History or
Beginning of the Future?
Comments on a Paradigm Shift
10|09|09 – 07|02|10
JÜRGENSSEN
VERBUND
VERBUND
sammlung
BIRGIT JÜRGENSSEN
First Monograph & Exhibition
Austrian artist Birgit Jürgenssen (1949–2003) was one of the most outstanding feminist avant-garde artists.
Initiated by the Sammlung Verbund, the first monograph of the artist will be published in November 2009 by Hatje Cantz.
www.sammlung.verbund.at
British Council Collection
My Yard
Whitechapel Gallery
whitechapelgallery.org
CM
MY
CY
CMY
K
PANDORA’S SOUND BOX
Curated by Lara Pan
MICHAEL AERTS, DAVIDE BERTOCCHI, PIERRE BISMUTH, OLAF BREUNING,
DIANGO HERNANDEZ, AGNIESZKA KURANT, MATTHIEU LAURETTE,
ROBERT LAZZARINI, OSWALDO MACIA, TANJA OSTOJIC,
VADIM VOSTERS, CARLO ZANNI
Federico Luger
http://www.performa-arts.org/ http://www.whiteboxny.org/ Special thanks to: Coma Gallery
MADDER139
NESSIE STONEBRIDGE
Postures of Delirium
Paolo Piscitelli
Work
23 October – 28 November
nicholas nixon
Vincenzo castella
About Town
25 or 30 years Gallery
Part I
CONVERSATIONS
WITH THE OTHER SIDE
BEN JUDD & SIDSEL CHRISTENSEN
foAm, Amsterdam
4 September – 22 November 2009 “Today we’re going to go further!”
charlotte dumas
Paradis 7 pm Thursday 29th October
The David Roberts Art Foundation
111 Gt Titchfield St, London W1
Tel: 020 7637 0868 www.davidrobertsartfoundation.com
Galerie
Paul andriesse
Withoedenveem 8 [Detroit Building] NL-1019 HE Amsterdam
T +31 20 623 62 37 info@paulandriesse.nl www.galeries.nl/andriesse
aaron young — SEMPEr IDEM
october 20, december 17, 2009
ArtReview 73
the power 100
Introduction
The usual tactic when introducing a list such as this one is to offer your excuses (for any perceived
errors or slights caused by the ranking process) in a statement pointing out that all such rankings
are to a certain degree subjective. With the Power 100, however, this (the subjectivity of it) is
especially true. Unlike other art ranking lists, we do not attempt to judge artists by their market
worth, dealers by their total sales or curators by the number and quality of reviews they get
or the volume of people who visit their shows. Instead, for the last four years, the selection
of the Power 100 has been based on four basic categories: having an influence on the kind of
art that’s being produced today; having influence on a global rather than a local scale; having
actually done something during the past 12 months; and having some influence over the market
for art. This year, reflecting more general trends and the fact that art that can survive without
wheelbarrows of cash is probably going to be the most enduring right now, this last factor was
given less weighting than the others.
Excuses aside, the Power 100 is an attempt to map out the general trends and forces that
shape the world of contemporary art, and importantly, to give them a degree of transparency
that they would not normally have.
The Power 100 is decided by a panel of international experts comprising ArtReview’s
editors and contributors, and an increasingly large number of artworld insiders who prefer,
for obvious professional and social reasons, to remain anonymous. Without any doubt, this
year saw the most disagreements as to the composition of the top ten, and to the identity of
the number one in particular. The general consensus was that, while museums rather than
commercial galleries are in a better position to show new and challenging work today, there
was no one individual who could be said to be shaping the face of the artworld right now. After
much debate, it was decided that perhaps it’s an approach rather than a person that’s shaping the
postrecession artworld. In general the list reflects the rise of flexible networks and freewheeling
curators with definite agendas to set in play over individuals or static large-scale institutions.
There are two important groups who, as in previous years, are excluded from the list:
art advisors and art magazines. The first are omitted because of the difficulty of distinguishing
whether power lies with a collector or with the network that influences the collector, the
second because we would have to work out where we stand on or off the list. There are some
administrative changes, too – museums are represented by their directors only. Where the panel
felt that other people in large institutions should be acknowledged, they are listed in side panels.
The museum entries on the list, however, represent the achievements of the institution as a
whole rather then the person named on the list.
ArtReview has partnered with Ruinart, a key supporter of the contemporary artworld,
on the 2009 Power 100 list. Ruinart’s other partnerships include Maarten Baas, India Mahdavi
and Patricia Urquiola.
Nigel Cooke The Inventory, 2009. Courtesy Stuart Shave/Modern Art, London
74 ArtReview
the power 100
Anyone can do a lot; not everyone can do a lot and consistently do it well. Even fewer can keep doing it well, year upon
year; and of those who can, nobody does more, better, than Hans Ulrich Obrist. When the Swiss dynamo issued a six-
point curatorial statement relating to his Beijing Mini-Marathon in December 2008, the first point was: ‘Don’t stop. We
never stop’. It’s clearly the ubiquitous curator’s axiom, and Obrist’s third year of juggling a full quota of freelance work with
his job as co-director of exhibitions (to abbreviate his extensive title) at the Serpentine Gallery found him continuing at
full, burnout-defying speed. In the London institution, working alongside Julia Peyton-Jones, he helped shape a diverse
programme of solo shows ranging from glossy (Jeff Koons) to oblique (Rebecca Warren), from old (Gustav Metzger, b.
1926) to young (Luke Fowler, b. 1978), and continued his mission to introduce the West to the East via December’s lively
group show, Indian Highway – mounted shortly after Obrist jetted back from the East himself, having cocurated the 3rd
Yokohama Triennial. Then, from highways to Unbuilt Roads, this being the title of his springtime exhibition dedicated to
107 artists’ unfinished projects (an Obrist obsession) at e-flux’s project space in New York. Enough? No. Add the publication
of Obrist’s illuminating interviews books, A Brief History of Curating and On Curating; the acclaimed restaging of his and
Philippe Parreno’s ‘time-based exhibition’, Il Tempo del Postino (2007), at Art Basel. Factor in Daniel Birnbaum’s Venice
Biennale, whose concerns with networks and globalism strongly reflected an ongoing dialogue with Obrist. Add the lectures,
the predawn Starbucks seminars (aka the Brutally Early Club), the panel discussions, the – wait, can I have another 250
words, please?
Nigel Cooke The Reflection, 2009. Courtesy Stuart Shave/Modern Art, London
ArtReview 77
the power 100
Museum of
Modern Art
Kathy Halbreich
2
Associate Director
Ann Temkin
Glenn D. Lowry Chief Curator of Painting and Sculpture
78 ArtReview
the power 100
Tate Modern
Sheena Wagstaff
3
Chief Curator
Nigel Cooke The Spiral, 2009. Courtesy Stuart Shave/Modern Art, London
ArtReview 81
the power 100
4
‘Biennales’, Daniel Birnbaum told Art+Auction in June, ‘are not
there to be loved. They are there to be discussed.’ Certainly the
Swedish curator’s turn as artistic director of the Venice Biennale
wasn’t universally adored. Some found Fare Mondi/Making
Worlds muted, cerebral, overly reflexive (Diedrich Diederichsen,
in Artforum, discerned riddling ‘Mr Spock art’); Marcus Verhagen,
for ArtReview, conversely praised Birnbaum’s ‘cool and wary
vision of modernity’. Commonly asserted, however, was that the
biennial model as a whole needs overhauling, leaving Birnbaum
– at forty-five, Venice’s youngest-ever director – looking relatively
blameless. And an intellectual regime might have been expected
from Birnbaum, who this year republished his 1992 work of Daniel Birnbaum
gastronomic-melancholic theory, As a Weasel Sucks Eggs: An Essay
on Melancholy and Cannibalism (coauthored with Anders Olsson). Category: Curator
In the run-up to Venice, he’d also curated the Turin Triennial and Nationality: Swedish
cocurated the 3rd Yokohama Triennial, and remains director of Last Year: 13
the Städelschule in Frankfurt, curator of the institution’s Portikus
photos: Giorgio Zucchiatti, courtesy Fondazione la Biennale di Venezia (4), Billy Farrell © Patrick McMullan, courtesy Gagosian Gallery, London (5)
gallery and a prolific critic. What Birnbaum knows about eggs,
clearly, is that they’re best divided among several baskets.
Ah, Gogo. The man with the one true global brand-name in luxury
contemporary art has become so acclimated to the higher altitudes
5
of this list that it seems he’s begun eschewing the oxygen of pure
commerce for the kind of free climbing once reserved for those
who trained in the rarified air of the world’s top museums. What
the hell are we talking about? Why, Picasso, of course. For a little
over two months last spring, at his no-longer-that-new 21st Street
space in Chelsea, Gagosian mounted a museum-quality show of
works centred on the Spanish master’s late mosqueteros, complete
with holdings from the collection of Bernard Ruiz-Picasso, the
Museo Picasso in Málaga, Spain (Picasso’s birthplace), and, of
course, the Museum of Modern Art in New York. What’s more, the
exhibition was curated by John Richardson, whose four-volume
Larry Gagosian biography of the artist (the third volume was brought out in 2007,
which means the Gagosian exhibition could only be fodder for the
Category: Gallerist fourth) promises to be the last word on the artist’s life and art, at
Nationality: American least for a little while. The catalogue featured original research
Last Year: 2 by younger Picasso scholars and newly translated texts related
to the ageing minotaur’s later years. Oh, and Annabelle Selldorf
– crafter of Ronald Lauder’s Neue Galerie, David Zwirner’s house
architect, literally – did the exhibition design. Lest art get in the
way of commerce (this is Gogo, remember), the gallery opened up
a storefront retail operation on Madison Avenue, which will sell
books, prints, limited editions, multiples and other items designed
and authored by all those who bask in the light of Gagosian’s star (or
shiver in his shadow).
82 ArtReview
This is Pinault’s eighth straight year at the top end of the Power
100, and in each of these, the soft-spoken, self-made tycoon has
managed, in one way or another, to have a colossal impact on
the arc of contemporary art. Whether buying and opening the
Palazzo Grassi in Venice in 2006, upsetting the artworld with the
purchase (through his auction house, Christie’s) and subsequent
expansion from London and Zurich to Berlin and New York of the
6
gallery Haunch of Venison in 2007 or partially bankrolling Koons’s
occupation of the Château de Versailles in 2008, Pinault’s big-fish
movements in the little pond of contemporary art are impossible
to ignore. This last year was no exception, beginning with the
Palazzo Grassi’s hosting of Italics, an unorthodox survey of Italian
art from 1968 to 2008 curated by Francesco Bonami and featuring
more than a hundred artists. The polemical exhibition sparked its
fair share of controversy (for instance, Jannis Kounellis refused to
photos: © Luc Castel (6), visible behind Eli Broad: Andy Warhol, Self-Portrait, 1966, © The Andy Warhol Foundation for the Visual Arts, Inc, New York (7)
7
‘All too often, museum directors and curators are more interested in
what their peers think or collectors like myself think than educating
a diverse public’, Eli Broad told the Wall Street Journal earlier
this year. But his activities of the last 12 months might give a few
clues as to why museum directors and curators all too often think
the way they do. Together with his wife, Edythe, Broad operates
a foundation worth around $2.1 billion. The extension to the Los
Angeles County Museum of Art (LACMA) opened in February
2008 bearing Broad’s name and funded by $60 million from the
foundation. Later in the year he pledged $30 million to bail out LA’s
near-bankrupt Museum of Contemporary Art. ‘This is not a one-
philanthropist town’, Broad wrote in an LA Times opinion piece, Eli Broad
although you could be forgiven for thinking it is. Broad describes
his activities as ‘venture philanthropy’, which might translate Category: Collector
as ‘you don’t get something for nothing’. LACMA thought they Nationality: American
were getting Broad’s very significant (although not particularly Last Year: 10
diverse: the Guerilla Girls point out that the foundation collection
– as opposed to Broad’s personal collection – contains work by 194
artists, 96 percent of them white and 83 percent male) art collection
when they built the extension. A month before LACMA’s extension
(which shows works from the collection) was inaugurated, Broad
made it clear, in an interview in The New York Times, that this would
not be the case. Some called it the worst PR disaster in LACMA’s
history, others claimed that LACMA ‘got screwed’, but perhaps
Christopher Knight got it right in the LA Times when he described
Broad as ‘a hugely successful businessman who exchanges project
involvement for near-absolute control’. Whatever you think about
his motives and motivations, there’s no doubt that museums and
curators in LA in particular (though there are a number of other
museums bearing his name dotted around the US) will probably be
most interested in what Broad thinks for some time to come.
the power 100
8
it had become economically self-sustaining. From this platform,
artist Anton Vidokle and various collaborators, in particular
artist Julieta Aranda and writer Brian Kuan Wood, began a set of
projects related to their interests; now a decade on, and not exactly
art collective (e-flux itself), nor school (unitednationsplaza;
Night School), nor archive (e-flux video rental; Martha Rosler
Library), nor activist group (The Next Documenta Should Be
Curated By an Artist), but all of these things and none of them
at once, Vidokle’s organisation has become the centre of a body
of work – real work and artwork – at once avant-garde and
possibly instrumental to the renewal of artistic practice as such.
‘Artists’ initiatives these days from the start mimic existing
Anton Vidokle/e-flux, institutional and commercial structures: incorporate, establish
Julieta Aranda & a board of directors, sell memberships, produce benefit auctions
and market editions, sell artworks, etc’, Vidokle told Hans Ulrich
Brian Kuan Wood Obrist a couple of years ago. ‘To think that this has no effect on
their programming or the content they generate would be naive.
Category: Website There is virtually no period of experimentation before this type
Nationality: Russian, Mexican, American of “normalised” behaviour sets in.’ The only cloud on the e-flux
Last Year: Reentry (99 in 2004) horizon is that for coming generations their behaviour, no matter
how random and unpredictable, is now a kind of institution in its
own right, and might, therefore, become the new norm.
9
of festivals, events and education programmes, the gallery launched
in September the inaugural London Art Book Fair (featuring 80
publishers). It continues to host the MaxMara Art Prize for women
artists and, in an age when many similar galleries are courting
publicity and popularity, to push an agenda promoting established
and emerging female talent (the next round of exhibitions features
leading French artist Sophie Calle and the considerably lesser
known Inci Eviner). Onetime ICA director of exhibitions, then
head of exhibitions and displays at the Tate, Blazwick is a shrewd
power operator – she gave Damien Hirst his first major show and
once declared that the Tate Modern Turbine Hall ‘was in fact
just a rehearsal’ for her plans for the Whitechapel; last year she
was appointed chair of the Mayor of London’s cultural strategy
Iwona Blazwick
group. She also found time to be a juror for this year’s Carnegie
Art Award and to lure curator Achim Borchardt-Hume from Tate. Category: Museum Director
Meanwhile, and unsurprisingly, gossips tip her to succeed a previous Nationality: British
Last Year: 76
Whitechapel director for the top job at Tate – when (or if) Sir Nick
decides to step down.
84 ArtReview
Pompidou Centre
Christine Macel
10
Chief Curator
Camille Morineau
Bruce Nauman Curator
The most important artist in the world? Who’s arguing? Not, one would imagine, many
people who saw Topological Gardens, Bruce Nauman’s stellar solo presentation in
Laurent Le Bon
the American Pavilion and two off-site locations at Venice this year. Not the Biennale Curator
jury that consequently awarded him a Golden Lion to match the one he received in
Part of the curatorial team for Voids, this
1999. And, obviously, not us. You can take Nauman historically: he’s a pioneer of
year’s challenging investigation into the art
postmedium practice and expanded forms of sculpture; while exploring issues of
of nothing. Le Bon directs planning team for
communication and how meaning is conveyed, he’s displayed a haunting sensitivity
Pompidou’s first regional museum, Centre
to life’s dead ends, circularities and cruelties; he’s a longstanding ironist and wit
Pompidou-Metz, opening early next year.
whose classic 1967 neon text piece, The True Artist Helps the World By Revealing
Mystic Truths, balances brilliantly on a knife-edge between sincerity and sarcasm.
The list of people he’s influenced ranges from Mike Kelley to Rachel Whiteread to
Tim Hawkinson. Yet his own art uncannily resists dating, and as he heads towards Bernard Blistène
seventy, the man who lit out for the seclusion of a New Mexico ranch in the mid- Director of Cultural Development
1980s is clearly not ready to be a historical figure. This year found Nauman marking
the 40th anniversary of the moon landings by skywriting the phrase ‘Leave the Currently overseeing the Pompidou’s first
earth alone’ above Pasadena: a statement that could refer to ecological concerns, the five-week new festival, responsible for taking
loneliness of an astronaut’s voyage into the ether or mortality, and whose ambiguity, the museum into new territories of
performance, theatre, interaction and music,
subtlety and sadness are classic Nauman. ‘Check any of the top 100 or top 10 lists in
with contributions from Carsten Höller,
the art glossies that track the ups and downs of artists’ popularity among collectors
Jorge Pardo, Elmgreen & Dragset, Tobias
photo: Carlos Basulado
and institutions and you will find that name firmly positioned at or near the summit’,
Rehberger and Ulla von Brandenburg.
wrote Robert Storr this year. Well, this is the list, Mr Storr; but it’s wholly true about
Nauman, and deservedly so.
the power 100
11
Iwan Wirth
12
David Zwirner
Category: Gallerist Category: Gallerist
Nationality: Swiss Nationality: German
Last Year: 5 Last Year: 7
Still in his late thirties, Europe’s leading dealer can boast an ‘I am a good salesman because I peddle good stuff.’ So said
international gallery empire: this September, he opened his David Zwirner back in March. One can’t fault the man
first New York venue. Bad timing? Hauser & Wirth began for straight talking. This past year saw Zwirner closing
in recession-struck 1992. As Wirth told Art+Auction in sales on $2 million paintings by Martin Kippenberger,
February: ‘Now is also a fantastic moment to expand.’ The $1m paintings by Neo Rauch (to Brad Pitt, no less) and
Manhattan venue launched by remaking Allan Kaprow’s nearly entire shows by Lisa Yuskavage. (One thing he
seminal 1961 environment Yard; simultaneously, Wirth supposedly couldn’t sell was a portrait of Bernie Madoff
keeps diversifying, signing up New Delhi-based Bharti by Yan Pei-Ming; but we think he’s got balls for even trying.)
Kher while representing both ninety-eight-year-old In addition to the estates of Sandback, Taylor and Matta-
Louise Bourgeois and twenty-eight-year-old Jakub Clark, Zwirner picked up those of Alice Neel and Dan
Julian Ziolkowski. ‘I am not Flavin. And to show all this ‘good
photos: Felix Clay, courtesy Hauser & Wirth, Zurich, London & New York (11), Grant Delin (12), Martin Schoeller (13), Johnnie Shand Kydd (14)
afraid of the current difficult stuff’? This autumn a new space,
climate and actually think we which will pick up Zwirner’s side
are in a great position’, Wirth of his now-closed partnership
recently told ARTINFO. It’s hard with Iwan Wirth (the new space
to disagree. is appropriately branded just
Zwirner), opens across the street
from the current gallery, on what
we might as well call Zwirner St.
13
Jeff Koons
14
Jay Jopling
Category: Artist Category: Gallerist
Nationality: American Nationality: British
Last Year: 11 Last Year: 6
Who could fail to be surprised Just a short fall for Jay Jopling
when watching Gus Van Sant’s this year. Given the numbers of
tear-jerker Milk last year to find galleries closing down or moving
Jeff Koons sagely offering Sean to cheaper digs, Jopling’s
Penn (as Harvey Milk) a bit of White Cube has weathered the
advice towards the beginning of recession pretty well, with the
his political career? What rendered the scene surreal was gallery represented at most major art fairs, and a string of
not so much the incongruity of artistic intentions (Gus solo shows over the last year by heavy-hitters and media-
Van Sant and Koons?) as the hitherto unconsidered friendly artists (Georg Baselitz, Tracey Emin, Gilbert &
possibility of one of the most photographed faces in George) as well as others by more recent additions to his
contemporary art successfully playing someone else. stable (Rosson Crow, Zhang Huan). Being papped with
I say ‘successfully’ because any lingering doubts could singer Lily Allen after separating from artist wife Sam
only be dispelled by end credits. Did he do it... for the Taylor-Wood caused a bit of a media storm in the new
money? If one were to judge by his ‘performance at year, but it’s since been business as usual for London’s
auction’, Koons is doing alright. His Moustache (2003), premier blue-chipper.
which this year featured in his first-ever institutional
show in London, at the Serpentine, sold for £1.1 million
at Christie’s in June. One doubts that a turn to the silver
screen has anything to do with issues of cash flow.
86 ArtReview
15
Marian Goodman Agnes Gund
16
Category: Gallerist Category: Collector
Nationality: American Nationality: American
Last Year: 17 Last Year: 29
The always understated, ever-present and much- Glance over the list of donors to New York cultural
respected keeper of contemporary art’s precinct of high- organisations, major and minor, or follow the faces
seriousness, Marian Goodman weathered the economic appearing in the society pages (at art events), and
tumult by watching her gallery’s artists rack up accolades one name appears consistently. But Agnes Gund’s
photos: Michael Goodman (15), Timothy Greenfield-Sanders (16), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Paris (17), Pierre-Jean de San Bartolomé (18)
for major institutional exhibitions. Steve McQueen’s support, and her presence, reflect a commitment to
Giardini reigned at the Venice Biennale: Jerry Saltz the nation’s increasingly stressed institutions that goes
called the film ‘haunting’ and a ‘real Venetian death beyond cheque writing and hobnobbing. She makes
trip’. John Baldessari, whom Goodman scooped up only the connections that get things done, whether it’s the
recently, is being honoured with a major exhibition at establishment of a programme to instruct museum
Tate Modern. Dan Graham got one that travelled from directors in the increasingly critical business aspects of
MOCA to the Whitney to the their jobs or the ongoing Studio
Walker, and Thomas Struth’s in a School, founded by Gund in
Old Master photographs found 1977, to bring artists into New
welcome walls at the Pulitzer in York’s public schools. Her efforts
St Louis. to keep art in the public dialogue
continue to set the standard for
committed engagement.
17
Takashi Murakami
18
Alfred Pacquement
Category: Artist Category: Museum Director
Nationality: Japanese Nationality: French
Last Year: 28 Last Year: 24
19
Peter Fischli &
20
David Weiss Mike Kelley
Category: Artists Category: Artist
Nationality: Swiss Nationality: American
Last Year: New Last Year: 61
Opinion is remarkably undivided on Fischli/Weiss. They’re Three decades into a career known for dense multimedia
recognised masters of deadpan enquiry into the everyday, installations articulating the anxieties deep within
increasingly obviously so thanks to their retrospective American culture, and with a profound pedagogical
Flowers & Questions, which toured institutions from 2006 influence on recent art, Mike Kelley nevertheless
to 2008. To follow, and mindful of a 2009 exhibition at remains a rogue, outsiderish presence. Projects like
Madrid’s Reina Sofía museum collating their ‘Rat and A Voyage of Growth and Discovery (2009), currently
Bear’ works, the Swiss pair showing at Long Island’s
reanimated their tragicomic SculptureCenter, don’t hurt:
animal phenomenologists – who, it’s a six-channel, two-and-a-
in Part of a Film with Rat and half-hour video collaboration
Bear (2008), float hilariously with artist Michael Smith,
and plaintively around Milan’s narrating an oversize baby’s
Palazzo Litta. If their animal traumatic life. Kelley, as his
avatars are lost in space, Fischli/ work has long attested, was
Weiss – who this year celebrate once a punk from Ann Arbor,
30 years of working together – Michigan; he still is, somehow,
are as surefooted as ever. as a fiftysomething represented
by Gagosian. Quite a feat.
21
Barbara Gladstone
22
Steven A. Cohen
Category: Gallerist Category: Collector
Nationality: American Nationality: American
Last Year: 26 Last Year: 12
24 Shamim M. Momin
Adjunct Curator
25 26
Amy Cappellazzo
Marc Glimcher
& Brett Gorvy
Category: Gallerist Category: Auction House
Nationality: American Nationality: British/American
Last Year: 22 Last Year: 15
No one was immune to the economic crisis, and Gone are the guarantees. Well, not exactly. Some just
PaceWildenstein, one of the largest, most professional won’t go away; like the one of $40 million for a Francis
and oft-envied galleries in New York, had to lay off Bacon painting, on which Christie’s allegedly reneged
12 percent of its staff. Things are not all bad, though. when markets turned south last autumn (according to
Glimcher brokered what must be one of the artworld’s reports, Gorvy was one of the ‘big guns’ dispatched to
largest private sales: $310 million in Rothkos from the secure the work in the first place). Nevertheless, last
Merkin collection to an anonymous buyer. Sterling Ruby May’s Evening Sale for contemporary art reached close
and David Hockney joined the gallery. Lucas Samaras to $94 million. Though this was paltry compared to the
represented Greece at the $348.2 million pulled in the
Venice Biennale. And Glimcher previous year, 50 of the 54 lots
launched Artifex Press, a first- sold, which is something of a
of-its-kind digital publishing triumph in itself, and included
platform for the production records for David Hockney,
and distribution of catalogues Claes Oldenburg and Kerry
raisonnés (Sol LeWitt, Agnes James Marshall.
Martin and Chuck Close are
in the lineup); oh, and Pace
celebrates its 50th anniversary
this spring.
27
Cheyenne Westphal
28
Ann Philbin
& Tobias Meyer
Category: Auction House Category: Museum Director
photos: Kerry Ryan McFate, courtesy PaceWildenstein, New York (25), Alia (28)
Nationality: German Nationality: American
Last Year: 16 Last Year: 39
98 ArtReview
29
Matthew Higgs
30
Matthew Marks
Category: Curator Category: Gallerist
Nationality: British Nationality: American
Last Year: Reentry (81 in 2006) Last Year: 27
When White Columns turned 40 this year, David Byrne Some called it a response to the downward-
and Cindy Sherman were among the birthday-party spiralling economy, the fact that Matthew Marks was
guests; an auction raised $300,000 for Manhattan’s conspicuously absent from this year’s Armory Show
oldest alternative art space. Matthew Higgs, director (which, we seem destined to remind you in these pages,
and chief curator, deserves credit: everyone respects the dealer had a hand in beginning back in 1994, when
him, and given the prodigious number of variously punk- it was the Gramercy International Contemporary Art
spirited and cross-generational shows the English ex- Fair). But if you were paying attention, you would have
pat has put on since 2004, there’ve been opportunities noticed that in addition to impressive booths at Art
aplenty to fail. Meanwhile, Basel Miami Beach and the
somehow, Higgs maintains well-heeled Art Show, Marks
a parallel career as an artist, did a turn at Design Miami.
exhibiting his droll, language- With a spare booth dedicated to
based conceptualism this year the ‘domestic furniture’ of Roy
at New York’s Murray Guy and McMakin, Marks demonstrated
in 2008 at London’s Wilkinson. a flexibility that few gallerists
We’ll have what he’s having. would, or could, risk.
31
Tim Blum &
32
Gavin Brown
Jeff Poe
Category: Gallerists Category: Gallerist
Nationality: American Nationality: British
Last Year: 48 Last Year: 57
being the first gallery to settle in the consequently didn’t disappoint either: with Mark Leckey scooping
booming Culver City area, in 2003. What’s collateralising up the Turner Prize and Elizabeth Peyton doing weird
the trade-up is their stellar list of artists, from blue- collaborations with Matthew Barney, Brown appears to
chip names like Keith Tyson and Takashi Murakami to have his finger in the right pies and on the pulse.
current golden boy Mark Grotjahn and the increasingly
ubiquitous Sharon Lockhart. Coming up on 15 years,
theirs is a dealing team that knows about happy returns.
the power 100
33 34
Ralph Rugoff Liam Gillick
Category: Museum Director Category: Artist
Nationality: American Nationality: British
Last Year: 74 Last Year: 86
When Ralph Rugoff assumed the directorship of the Having pulled off the tricky feat of being a British artist
Hayward Gallery in 2006, The Guardian – noting based in New York representing Germany at the Venice
his playful experimentation during six years at CCA Biennale with a talking cat, Liam Gillick continues to be
Wattis, in San Francisco – wagered that people would be a reference point for critically complex, intellectually
queuing up ‘to be dangled upside down by their ankles’. ambitious art. With his yearlong ‘retrospective’
Kinesthetic antics have, indeed, become the Hayward’s concluding at the Museum of Contemporary Art,
speciality. Last summer’s Walking in My Mind offered Chicago, an MIT book of essays by leading theorists
hallucinatory environments and a vast pornographic devoted to his work, a solo show at the MAK in Vienna
workshop. ‘Smart populism’ has remained the watch- and architectural collaborations in Vancouver and
word this year, via Andy Warhol Mexico, you’d think Gillick
and Ed Ruscha shows. With an wouldn’t have any time to teach
upstairs Project Space deliver- at Columbia, Bard College and
ing the speedy counterpoint Harvard. But he does.
to weighty institutional shows,
and presuming Rugoff and his
cocurators can keep pleasing
tourists and insiders, the
Hayward’s future looks rosy.
35
Anne Pasternak
36
Dakis Joannou
photos: Ari Marcopoulos (33), Timothy Greenfield-Sanders (35), Nicholas Samartis (36)
Category: Curator Category: Collector
Nationality: American Nationality: Greek
Last Year: New Last Year: 31
100 ArtReview
37 38
photos: © 2007 Sidney B. Felsen (37), Wolfgang Tillmans, courtesy Galerie Daniel Buchholz, Cologne & Berlin (38), Mara McCarthy, courtesy the artist and Hauser & Wirth, Zurich, London & New York (39)
It’s Baldessari Time: a Golden Lion for Lifetime Two years after representing Germany at the Venice
Achievement at Venice, followed by John Baldessari: Biennale with the exhibition Oil, Genzken received her
Pure Beauty, a generous retrospective opening at first retrospective at London’s Whitechapel Gallery, a
Tate Modern this month. Wholly deserved (if belated; mammoth show that is currently touring to Museum
he’s seventy-eight), given that the Californian’s slyly Ludwig in Cologne. It is a timely look at the work of an
comic conceptual strategies and legendary tutoring artist whose influence is being found in many younger
have inspired generations of artists. Baldessari’s last artists’ work, particularly those who share her interest
exhibition at Marian Goodman, in winter 2008, featured in the ruins of material culture. With a four-decade
a lot of furrowed eyebrows that, the artist suggested, said: career under her belt, as well as the International Art
‘Aren’t we all worried?’ His own prize and Wolfgang-Hahn-
frown is, assumedly, now turned Prize, Genzken’s place in the art
upside down. firmament is secure.
39
Paul McCarthy
40
Michael Govan
Category: Artist Category: Museum Director
Nationality: American Nationality: American
Last Year: 62 Last Year: 21
It’s been another good year for A stormy year for Govan,
LA artist Paul McCarthy. Fresh beginning as he waded in with
from curating Part 2 of his Low an unsuccessful merger offer
Life Slow Life show at the CCA for struggling MOCA. His own
Wattis, in San Francisco, which institution, the Los Angeles
closed in May, he is due to open L&M Arts’s new LA County Museum of Art, was also straining financially, and
gallery space with a show next September, currently has thunder descended when Govan scrapped the museum’s
a solo show at New York’s Hauser & Wirth following one long-running weekend film programme. Protests began,
at the gallery’s Zurich space in the summer, and will have letters from luminaries such as Martin Scorsese flew in,
a sculpture sit in Regent’s Park for six months following urging that film be treated as an art; the programme has
Frieze Art Fair. Not bad going. Oh, and he somehow been temporarily reinstated. Some canny deaccessoning
manages to fit in being professor emeritus in UCLA’s art has given way to collection-strengthening acquisitions,
department as well. however, and a clement spell may lie ahead, with a new
sparky contemporary art curator in the shape of the
Menil Collection’s Franklin Sirmans, and an injection
of cash from the Getty Foundation to consider postwar
LA art.
the power 100
41
Eugenio López
42
Cindy Sherman
Category: Collector Category: Artist
Nationality: Mexican Nationality: American
Last Year: Reentry (47 in 2007) Last Year: 82
Eugenio López, sole heir to Jumex, one of the world’s Cindy Sherman’s year has been a good one. Her most
largest drinks companies, has spent the last 20 years recent series of photographs, large-scale portraits of
putting contemporary Mexican art on the map. Among ageing society dames, opened to rave reviews in New York
his achievements: a collection of nearly 2,000 works, last November, and then later in Berlin and London. Her
soon to move to a David Chipperfield-designed building continued presence in every top collector’s stores (not
in the centre of Mexico City; early and consistent to mention in the inaugural show at François Pinault’s
support for artists such Gabriel Orozco and galleries new Punta della Dogana space in Venice) ensures she is
such as Kurimanzutto; and a one of the most bankable as well
curatorial programme which as critically acclaimed artists
has brought Tate’s Jessica working today.
Morgan and Philippe Vergne
(now director of Dia), among
others, to his private museum.
And as anyone who’s been to
his openings can attest, he does
it all with supreme panache. If
you haven’t been, a selection of
works from the collection are on
show at Vienna’s MUMOK.
43 44
photos: Mark Seliger, courtesy the artist and Metro Pictures, New York (42), Mauricio Donelli (44)
Patricia Phelps
Ai Weiwei
de Cisneros
Category: Artist Category: Collector
Nationality: Chinese Nationality: Venezuelan
Last Year: 47 Last Year: 41
It’s not every artist who’s taken A vital champion and collector
seriously enough to get beaten of Latin American art, Patricia
up by the police for asking too Phelps de Cisneros is known for
many questions, but then Ai an impressive collection and for
Weiwei is not every artist. The the Fundación Cisneros, a private
fifty-two-year-old Chinese art philanthropic organisation
star is also one of his country’s tasked, among other things,
leading activists and dissidents. with increasing awareness of
Having spent much of 2009 Latin America’s contributions
compiling a list of all the children to world culture. The Colección
who died in the Sichuan earthquake of May 2008, Ai Patricia Phelps de Cisneros (CPPC) is thought to be the
was assaulted by police in August while trying to testify best ever assembled collection of Latin American art, and
in defence of another activist. He needed emergency institutions across the US are waiting with bated breath
surgery a month later for a brain haemorrhage, while to find out if they will benefit from donations now that its
preparing for a big show at the HDK in Munich. Never period of itinerancy is officially over. Phelps de Cisneros
one for the easy way out, Ai shows that art isn’t all empty also sits on the board of trustees at MoMA and the Tate’s
glitz and celebrity. International Council.
102 ArtReview
45
Annette Schönholzer &
46
Diedrich Diederichsen
Marc Spiegler
Category: Art Fair Directors Category: Critic
Nationality: Swiss/American Nationality: German
Last Year: 23 Last Year: New
Annette Schönholzer and Marc Spiegler run Art Basel Academic, writer, curator, this former editor of German
and its sister fair at Miami Beach, among the biggest music magazines Sounds and Spex, and current professor
events on the art market calendar. This summer’s Art at Vienna’s Academy of Fine Arts is that rare individual
Basel went much better than many people had expected who can marry criticism of art and music without
(attendance was up on the previous year), but the Miami coming across as a fool. He produces an avalanche of
edition (like most art fairs) looks a little more shaky: fiercely analytical yet occasionally breezy writing to wide
a reported 60 galleries (including big names such as admiration, and this year curated Rock – Paper – Scissors,
Maureen Paley and Arndt & an exhibition at Kunsthaus
Partner) will not be returning in Graz on art’s relationship to
December. Perhaps that’s why pop music. His 2008 book On
this winter’s fair promises some (Surplus) Value in Art employs
interesting improvements and a Marxist approach to the
additions that should keep its dematerialisation of the art
influence up, with larger booths object in the face of filesharing
for dealers, emerging artists and download culture in a
occupying the central space and weakened economy, revealing a
an installation by Pae White rare voice willing to step up and
taking up the waterfront space. face some of art’s most pressing
concerns.
47 48
Richard Prince Damien Hirst
Category: Artist Category: Artist
Nationality: American Nationality: British
Last Year: 19 Last Year: 1
prices for his work have plummeted, and he’s being sued bicycle for Lance Armstrong were PR low-points. But a
for alleged copyright infringements, but Prince has been massive retrospective at the PinchukArtCentre in Kiev
on display where it matters most: at the Met, in The shows that artworld still loves the old-bad-boy of Britart,
Pictures Generation; Gagosian Madison Avenue, in a and his current show of macabre blue paintings at
solo show; and not least Pinault’s new Dogana space in London’s Wallace Collection may signal the emergence
Venice. of a calmer, more contemplative Hirst.
the power 100
49 50
Bernard Arnault Massimiliano Gioni
Category: Collector Category: Curator
Nationality: France Nationality: Italian
Last Year: 32 Last Year: 78
Last year we paraded French multibillionaire Bernard This year Massimiliano Gioni outdid previous
Arnault as proof that money alone can’t get you to the achievements (cocurating Manifesta in 2004 and the
top of this list, pointing out that, despite his staggering Berlin Biennale in 2006, for instance) by helping define
wealth, he still lagged behind Pinault in our ranks (who a generation. At New York’s New Museum, where he’s
is comparatively less rich). But it was speculated that director of special exhibitions, the debonair Italian
this order could change with the opening of Arnault’s co-organised The Generational: Younger than Jesus,
Gehry-designed museum to house a not inconsiderable featuring 50 artists from 25 countries. Under thirty-three,
private collection. Well, the museum still isn’t open, and making art and not included? Consider yourself out. And
Arnault, along with everyone else in the world, got a bit while Gioni himself – who in spare moments is artistic
poorer (according to Forbes). director of Milan’s Trussardi
No cause for panic: he’s still the Foundation – is, at thirty-five,
15th richest man in the world, comparatively wizened, he’ll still
and the richest in France. And be the youngest ever director of
his group continues to host the Gwangju Biennale when he
exhibitions and sponsor art- organises the 2010 edition.
related events. So we’ll keep our
eye on him in the year to come.
51
Amanda Sharp &
52
Matthew Slotover Joel Wachs
Category: Art Fair Directors Category: Arts Administrator
Nationality: British Nationality: American
Last Year: 25 Last Year: New
catalysing event at its centre? Last year’s Frieze Art and under-the-radar artists in places as varied as
Fair opened shortly after the markets crashed; it wasn’t Beirut and Alabama. A tireless advocate, Wachs travels
a washout, but the fair founded by Frieze magazine’s constantly, working a vast network in support of the
Sharp and Slotover still looks a bit fragile, despite institutions, projects and artists he believes in, thereby
its usual fizzy distractions: the number of New York setting the standard for targeted, effective engagement.
galleries attending has halved since 2007, and while He promised his private collection, assembled with a
demand for booths has apparently been strong, Frieze discerning, independent eye, to MOCA (he was formerly
is clearly profiting from the sinking satellite fairs. A new an LA politician), and he does not sit on the controversial
section, Frame, featuring solo shows and modelled on Art Authentication Board.
Basel’s Art Statements, was allegedly so inundated with
applications that it has doubled its expected size. Still,
the operative adage here is ‘wait and see’.
104 ArtReview
Matthew Higgs photographed by Heinz Peter Knes, 14 September, New York
Gavin Brown photographed by Juergen Teller, 14 September, New York
Ralph Rugoff photographed by Ari Marcopoulos, 13 September, London
Anton Vidokle photographed by Heinz Peter Knes, 19 September, New York
Peter Schjeldahl photographed by Juergen Teller, 14 September, New York
Liam Gillick photographed by Heinz Peter Knes, 17 September, New York
53 54
Udo Kittelmann
Victor Pinchuk
Category: Collector Category: Museum Director
Nationality: Ukrainian Nationality: German
Last Year: 67 Last Year: Reentry (55 in 2003)
Ukraine’s second-wealthiest businessman, Victor The job that Udo Kittelmann took on this year, as
Pinchuk, has been busy bolstering his position as an director of Berlin’s Nationalgalerie, is no easy one. The
artworld player this year. For one, he was revealed to Nationalgalerie consists of five very different institutions,
be the fourth stakeholder in Damien Hirst’s diamond- including the Hamburger Bahnhof, Europe’s largest
encrusted £50 million skull, For the Love of God (2007). museum of contemporary art. Funding is scarce and
He also staged a major exhibition of Hirst’s work at the staffing level is alarming, yet with his opening shows
his art centre in Kiev, as well as bankrolling Ukraine’s he set a new standard and gave these museums a new
national pavilion (curated by a heavyweight boxer) at life. Combining popularity with glamour, he turned the
the Venice Biennale. While his friends include Elton Hamburger Bahnhof from a museum that was marred
John and Steven Spielberg, by its reliance on collectors and their influence into an
Pinchuk hasn’t forgotten exciting and fresh exhibition
his homeland and is keen to space. Meanwhile a large-
promote the art scene there: scale retrospective of work by
the PinchukArtCentre Prize is a Thomas Demand has reopened
new award for young Ukrainian Mies van der Rohe’s iconic
artists. Neue Nationalgalerie space to
rave reviews.
55
Marina Abramovic
56
Michael Ringier
photos: courtesy PinchukArtCentre, Kiev (53), Mathieu Malouf (54), Reto Guntli (55)
57 58
Richard Serra
Gerhard Richter
Category: Artist Category: Artist
Nationality: German Nationality: American
Last Year: 18 Last Year: 33
It’s not all work and no play for Gerhard Richter: Last year Hal Foster discerned a ‘late style’ that ‘combines
according to Stella McCartney, the seventy-seven-year- simplicity and grandeur’ in Promenade (2008), Richard
old artist attended one of the designer’s shows. Still, it’s Serra’s staggering, staggered parade of metal uprights
mostly work. According to his website, Richter kept up for Paris’s Grand Palais. This year, alongside memorable
a barrelling pace in 2009, including 11 solo exhibitions shows of disorienting new sculptures at Gagosian in
– among them an unprecedented show devoted to London and a retrospective of drawings at the Kunsthaus
portraits at London’s National Portrait Gallery; and as Bregenz, the American received an unlikely accolade:
if to showcase his legendary stylistic pluralism, Gerhard Out-of-round X (1999), a work
Richter: Abstract Paintings at on paper featuring an abyssal
Haus der Kunst, Munich – and black hole, graced the cover of
19 group shows. Phew. Well, drone-metallers Sunn O)))’s
when you’re widely considered Monoliths and Dimensions
to be Europe’s greatest living (2009). Well, who’s more
painter, people will ask. heavy metal than Serra?
Seventy this month, the ‘man
of steel’ remains indisputably
the leading sculptor of his
generation.
59
RoseLee Goldberg
60
Kasper König
Category: Curator Category: Museum Director
Nationality: South African Nationality: German
Last Year: New Last Year: Reentry (25, with his family, 2005)
112 ArtReview
61 62
Monika Sprüth &
Roberta Smith
Philomene Magers
Category: Critic
Nationality: American Category: Gallerists
Last Year: 71 Nationality: German
Last Year: Reentry (87, as Sprüth Magers Lee, in 2005)
Now in her 23rd year at The New York Times, the paper’s
chief art critic remains our clearest and rangiest day-to- Monika Sprüth and Philomene Magers have been
day critic. In two consecutive days in September alone, powerful forces in the artworld for more than 20 years.
the paper first ran Smith’s multi-interview financial First opening separate galleries in Cologne, they became
investigation of Manhattan’s art scene and then her successful promoting the work of artists such as Cindy
inventively lyrical piece on Monet (one panel of Water Sherman, Barbara Kruger and Jenny Holzer, and later
Lilies conversing with others like ‘a glissando of violins’). John Baldessari and Andreas Gursky. After combining
If dilettantism is easy, mastering the big picture and the forces in the late 1990s, their business has expanded,
glimmering detail isn’t; Smith taking in a gallery in London
simply makes it look that way. and a museum-scale space in
Berlin. Successful recent shows
include the European debut of
Sherman’s latest series and a
Fischli /Weiss show before that,
while gallery artists Baldessari
and Thomas Demand are
currently enjoying solo shows
at Tate Modern and the Neue
Nationalgalerie, respectively.
photos: Julia Stoschek (62), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Miami & Paris (64)
63
Germano Celant
64
Emmanuel Perrotin
Category: Curator Category: Gallerist
Nationality: Italian Nationality: French
Last Year: Reentry (63 in 2002) Last Year: 64
65 66
Beatrix Ruf
Peter Schjeldahl
Category: Critic Category: Curator
Nationality: American Nationality: German
Last Year: 72 Last Year: New
A relatively quiet year for the New Yorker’s virtuosic Beatrix Ruf sports a many-feathered cap. Alongside
chief art critic, though it should be allowed that a) we’re numerous independent curatorial projects (2006 Tate
still digesting his dazzling 2008 collection of columns, Triennial, 2008 Yokohama Triennial…), she curates the
Let’s See; and b) he did have an online spat with Geoff Ringier collection, holds an editorial post at publishers
Dyer which ended with Schjeldahl calling the English JRP Ringier and writes prolifically. But it’s her eight
novelist a ‘motherfucker’. Flame wars aside, he continues years as director/curator of the Kunsthalle Zurich that
to look, think and write on a level several leagues above have gilded her rep: via shows by General Idea, Trisha
his peers. On the New Museum’s Younger than Jesus, to Donnelly, Tris Vonna-Michell and many more, she’s
select a random example: ‘Novelty keeps us spry, and presided over a programme that’s hip but never shallow,
it cleans up after itself by being gone in a minute.’ This and almost certainly the sharpest on the kunsthalle
year, once again, the author circuit: if you’re an artist at
of that worldly-wise slap was midcareer or before, under Ruf’s
pretty much unassailable. roof is where you want to be.
67 68
Okwui Enwezor Nicolas Bourriaud
Category: Curator Category: Curator
Nationality: American Nationality: French
Last Year: 83 Last Year: New
photos: Sigrid Rothe (65), Jeff Weiner (67), © Mikael Olsson (68)
Okwui Enwezor has been an Not content with coining the
admirable multitasker for years term ‘relational aesthetics’ for
– helming expos (Documenta a generation of art students,
11, and biennials in Seville, Nicolas Bourriaud spent last
Johannesburg and, in 2008, year coming up with a new buzz-
Gwangju), curating museum concept, the ‘altermodern’,
shows, theorising (he’s currently completing two books) which he applied to curating and reinvigorating the
and lecturing. In April, Bard College honoured Enwezor latest edition of Tate Britain’s slightly fading triennial
with its annual Award for Curatorial Excellence. Perhaps format. Breaking with convention, Bourriaud staged
this encomium focused his attentions, because in a yearlong programme of ‘prologues’ leading up to the
September he resigned as dean of San Francisco School exhibition itself, which was loved by visitors and loathed
of Art, promising to devote himself to exhibitions and by Britain’s dim-witted newspaper art critics, proving
writing. Expect curatorial excellence in the near future. that Bourriaud still has the knack for polarising opinion
and provoking debate. Lately he’s been publishing The
Radicant, his book-length essay on twenty-first-century
modernity, in several European languages and advising
on the Ile Seguin ‘island of culture’ being masterplanned
by Jean Nouvel in Paris.
114 ArtReview
69 70
Karen & Christian Boros Isabelle Graw
Category: Collectors Category: Critic
Nationality: German Nationality: German
Last Year: 90 Last Year: New
It has now been just over a year since Christian Boros Two years ago Isabelle Graw gave a lecture entitled
and wife Karen opened the Berlin air-raid shelter ‘Long Live Criticism!’, as if we were in any doubt of
that houses their collection and provides the (literal) her enthusiasm and commitment. The Berlin-based
foundation for their penthouse flat to the public. magazine Texte zur Kunst, edited and cofounded (in
Breathtaking location and spectacular installation of 1990) by Graw, has continually nailed its colours to
the works immediately turned it into one of the major the mast of serious, often philosophically grounded
art attractions of the German capital, and the demand criticism, enthusiastically supported by artists’ editions.
for tickets continues to be accordingly high. It has With an increasing number of English-language and
also propelled the Boroses into a different league, online articles, the magazine is gaining ground as a
because even though the ‘bunker’ and its contents serious publication of choice for aspiring academics and
remain technically private, the curators. Graw, alongside Daniel
collection now has a very public Birnbaum, set up the Institut für
face. Kunstkritik at the Städelschule,
and recently began publishing a
series of considered books based
on the lectures given there.
71 72
Maurizio Cattelan Charles Saatchi
Category: Artist Category: Collector
Nationality: Italian Nationality: British
Last Year: 68 Last Year: 14
73 74
Jasper Johns
Jerry Saltz
Category: Critic Category: Artist
Nationality: American Nationality: American
Last Year: 79 Last Year: 9
This year Jerry Saltz has set out to prove that art ‘We worked for years to get rid of all that’, Rothko
critics still matter by turning criticism into something notoriously said of Jasper Johns’s flag and target paintings.
of a performance art. He recently challenged talk show Tough luck: approaching his eightieth birthday and
host Glenn Beck to curate a show of ‘degenerative art’ having outlived his former coeval Rauschenberg, Johns
in New York, for example, in a counter-swipe at the is apparently demonstrating no inclination to hang up
weeping TV demagogue and his frequent attacks on his brushes; museum curators show no signs of forgetting
the artworld. Saltz has promised he will secure a top- his preeminence, either. In the past year, following the
rate venue and reviews (Beck doesn’t seem impressed, Metropolitan Museum’s much-praised, tonally specific
though). Saltz meanwhile was Jasper Johns: Gray in 2008,
inundated with support for a Johns has enjoyed an 87-work
viral Facebook campaign he ‘Focus’ exhibition at MoMA,
initiated that lamented the in honour of the institution’s
underrepresentation of women purchase of a new series of
artists in major institutional works on paper. Meanwhile, in
collections. And now he turbulent market times Johns
has been nominated for a enjoys an auction value secured
writing award at Rob Pruitt’s by his living-legend status and by
performance-based artwork, collectors clinging jealously to
the First Annual Art Awards, at his works. And, really, who can
the Guggenheim. blame them?
75
Louise Bourgeois
76
Thaddaeus Ropac
Category: Artist Category: Gallerist
Nationality: American Nationality: Austrian
Last Year: 81 Last Year: Reentry (78 in 2005)
photos: Ravi Sawhney (73), Dimitris Yeros (75), Pierre Ira (76)
the past year being celebrated, Europe’s foremost blue-chip
via a touring retrospective gallerists. At his space in
– which closed its five- Salzburg, which he opened in
museum tour at the Hirshhorn, 1983, and one in Paris, which
Washington, DC, in May – and opened seven years later, he
the documentary movie Louise consistently mounts shows
Bourgeois: The Spider, the by a roster of high-calibre
Mistress and the Tangerine artists, including Gilbert &
(2008). At ninety-eight, the George, Georg Baselitz and
indefatigable New York-based French-born artist, one Alex Katz. He has also been instrumental in supporting
of the world’s most respected and influential sculptors the Austrian art scene, representing artists including
and an icon of feminist art in particular, might well sit Gerwald Rockenschaub and Arnulf Rainer. Described as
back. But no: last month, A Stretch of Time: 40 Jahre both dapper and discreet by France’s Le Figaro, Ropac
opened at Cologne’s Karsten Greve gallery, including maintains a standing in the artworld that is as quietly
works from this year. We don’t know how she does it, but assured as he seems to be.
we’re glad she does.
116 ArtReview
Johann König photographed by Heji Shin, 17 September, Berlin
Amanda Sharp and Matthew Slotover photographed by Robi Rodriguez, 17 September, London
Joel Wachs photographed by Heinz Peter Knes, 15 September, New York
Monika Sprüth and Philomene Magers photographed by Heji Shin, 16 September, Berlin
Richard Serra photographed by Juergen Teller, 12 September, New York
Sarah Morris photographed by Heinz Peter Knes, 17 September, New York
Alberto and David Mugrabi photographed by Juergen Teller, 11 September, New York
Massimo De Carlo photographed by Robi Rodriguez, 10 September, London
77 78
Thelma Golden
Mera & Don Rubell
Category: Collectors Category: Museum Director
Nationality: American Nationality: American
Last Year: 38 Last Year: 73
Mera and Don Rubell are Miami’s first couple of art Being associated with a new idea can last your whole
collecting, celebrated for helping put the city (where career. Thelma Golden, director and chief curator
the Rubell Family Collection, open to the public, is of New York’s Studio Museum in Harlem, made
housed) on the artworld map. They began collecting her name curating the controversial Black Male:
in the mid-1960s and now have one of the world’s Representations of Masculinity in Contemporary
premier contemporary art collections, boasting work American Art at the Whitney in 1995, and has since
by Jean-Michel Basquiat, Cindy Sherman, Charles become the leading curatorial voice of an emerging
Ray, Jeff Koons and Paul McCarthy, to name but a ‘post-black’ generation of African American artists.
fraction. Their parties during Under her directorship, the
Art Basel Miami Beach are Studio Museum has pushed
legendary, and works from confidently on, with critically
their collection are frequently well-regarded solo exhibitions
loaned to major institutions. In by Kalup Linzy and Shinique
the last year they have forged Smith in 2009. How Golden will
a partnership with the Palm navigate the cultural politics of
Springs Art Museum, which race under the first ‘post-white’
kicked off with a show of the American President will be
Rubells’ Keith Harings. worth watching.
79
Sarah Morris
80
Carolyn Christov-Bakargiev
Category: Artist Category: Curator
photos: Chi Lam (77), Timothy Greenfield-Sanders (78), Ryszard Kasiewicz (80)
81 82
Anita & Poju Zabludowicz Paul Schimmel
Category: Collectors Category: Curator
Nationality: British Nationality: American
Last Year: 97 Last Year: 40
Not everything is possible, even when you possess the Late last year, LA’s flagship Museum of Contemporary
18th-biggest fortune in the UK (according to 2009’s Art was gasping for money like a dying fish. Tragedy
Sunday Times Rich List). In February, Anita & Poju has been avoided with $30 million from Eli Broad, and
Zabludowicz suspended plans to build a museum for further support rallied since. Throughout this crisis,
their 1,000-plus collection of artworks in downtown MOCA’s world-beating exhibitions, including Martin
Las Vegas, citing a constraining city-imposed deadline. Kippenberger and Marlene Dumas retrospectives,
But 176, their London gallery in a converted chapel, is WACK! and © MURAKAMI, were touring the globe.
going strong, showcasing young artists, offering guest Now breathing a little again, MOCA and Chief Curator
curatorships and mounting sterling group shows. Paul Schimmel will be focusing on home turf, with
Judging by their continued support of the Zoo Art Fair the hugely ambitious exhibition Wasteland: Art After
and Anita recently exhibiting Earth Art (including a mega-
her photography collection and installation in the Mojave Desert
talent-spotting young snappers by Christoph Büchel – yikes),
in New York, theirs remains a a Jack Goldstein retrospective
model of restlessly committed and a bold reappraisal of 1970s
art philanthropy. California art.
83
Jose, David &
84
Sadie Coles
Alberto Mugrabi
Category: Gallerist
Category: Collectors Nationality: British
Nationality: American Last Year: 34
Last Year: 43
Sadie Coles is a mainstay on this
Although the Mugrabis – list; known for her commitment
father Jose and sons David and to her artists, and her energy
Alberto – have yet to corner in locating young, interesting
the market in Warhol (they talents, she is a gallerist with
claim to own 800 pieces), vision and international clout.
with their deep pockets and obsession with stars of the She consistently puts on impressive shows by her stable
recent bubble – Hirst, Basquiat and Wool – they are the of artists in her two spaces in Mayfair, while heavy hitters
‘market makers’ who hold up the rest of the trade. Lately continue to get the big institutional treatment: Elizabeth
this kind of business has been controversial; but the Peyton’s Live Forever toured to London’s Whitechapel
Mugrabis have been amassing their portfolio for more this summer and is now at the Bonnefantenmuseum in
than 20 years, and having bought like hell during the last Maastricht. Peyton also collaborated with gallery artist
photo: Juergen Teller (84)
downturn, they know how to play the game for the long Matthew Barney on performance-art piece Blood of Two
term. on Hydra in Greece over the summer.
126 ArtReview
85 86
Daniel Buchholz Victoria Miro
Category: Gallerist Category: Gallerist
Nationality: German Nationality: British
Last Year: Reentry (80 in 2005) Last Year: 58
Daniel Buchholz is a steady force in the artworld. Coming When the downturn struck last October, Victoria
from a family of book dealers, he opened his gallery in Miro’s exhibition programme mirrored it perfectly: Too
Cologne 20 years ago, and has worked ever since with Late, Elmgreen & Dragset’s simulacrum of an emptied
an impressive and very particular stable of artists, many nightclub, suggested terminated revelry. In the ensuing
of whom had their first shows with him: Tomma Abts, choppy waters, the dealer’s programme has steered,
Cosima von Bonin, Cerith Wyn Evans, Isa Genzken, perhaps tactically, towards established names: Tal R,
Jack Goldstein, Henrik Olesen and Wolfgang Tillmans Alice Neel, Yayoi Kusama. Lest one suspect complacency,
among them. For years he refused to expand his gallery though, in March Miro mounted The Collection, which
to Berlin, but under pressure from artists wishing for combined live dance (orchestrated by choreographer
representation in the new art capital, he finally relented, Siobhan Davies) with art devoted to movement or
opening a second space in very engagement with space: a
bourgeois Fasanenstrasse, a reminder that, while Miro may
further sign of blazing his own have an enviable roster of big
trail to the art market. names, she’s still a gambler at
heart.
87 88
photos: Thierry Bal (86), Devin Blair (87), Alexis Zavialoff, courtesy Johann König, Berlin (88)
89 90
Maria Lind
Nicolai Wallner
Category: Gallerist Category: Curator
Nationality: Danish Nationality: Swedish
Last Year: New Last Year: New
With a lineup of artists that mixes local superstars such as Maria Lind, director of the graduate program at the Center
Jeppe Hein and Elmgreen & Dragset with international for Curatorial Studies at Bard, has scads of experience to
names such as Douglas Gordon, Daniel Buren and impart to the curators of tomorrow, having been director
Richard Tuttle, Wallner (who opened his gallery in of Swedish studio programme IASPIS, director of the
1993) is a gallerist who thinks big. Bigger, indeed, Munich Kunstverein, cocurator of Manifesta 2 and
than the business of simply selling art. In September curator at Moderna Museet, Stockholm. This year
Wallner moved his gallery into a Carlsberg truck depot, she received the Walter Hopps Award for Curatorial
together with fellow gallerist Nils Stærk, an artist-run Achievement and oversaw an outstanding programme
space (initiated by Wallner) of exhibitions (and attendant
called IMO and a space for catalogues) at Bard’s Hessel
graduate students of the Royal Museum, including The
Danish Academy of Fine Arts, as Greenroom, a survey of the
part of an attempt to generate a documentary in contemporary art,
new arts district in Copenhagen and Rachel Harrison’s Consider
(and take advantage of 800 the Lobster retrospective, during
square metres of exhibition which artists including Allen
space). What’s next? He’s Ruppersberg and Andrea Zittel
working on plans to set up a were invited to collaborate
kunsthalle, of course. with Harrison in rehanging the
Marieluise Hessel Collection.
91
Massimo De Carlo
92
Mario Cristiani, Lorenzo
Fiaschi & Maurizio Rigillo
Category: Gallerist Category: Gallerists
Nationality: Italian Nationality: Italian
Last Year: New Last Year: New
128 ArtReview
93 94
Toby Webster
Rirkrit Tiravanija
Category: Artist Category: Gallerist
Nationality: Thai Nationality: British
Last Year: New Last Year: New
Rirkrit Tiravanija and the artists associated with him, This year artist Douglas Gordon described Toby Webster
Philippe Parreno, Pierre Huyghe, et al., went institutional as a modern magician with a gilded tongue. A sinister
this year, with group survey theanyspacewhatever at the image, but Webster’s Modern Institute continues to
Guggenheim, New York, and the restaging of Il Tempo del exert a miraculous gravitational pull that first attracts
Postino (2007) at Art Basel. Terms such as ‘situations’ artists to Glasgow and then gives them little reason to
and ‘relations’ have gained increasingly stable ground, leave. The art is slick, despite the fact that the premises
though it is projects such as The Land (1998–), an are a tiny, rather battered space in a highrise building:
experiment in generating a self-sustaining open space ‘of Glasgow through and through. The artists, many of whom
and for social engagement’ out don’t bother with a London
of an artistic community, that gallery, continue to dominate
reveal continually influential attention. Martin Boyce
and challenging developments represented Scotland at Venice,
in his work. In the past year Richard Wright is Turner Prize-
Tiravanija has carried these nominated, Jeremy Deller took
investigations into drawing, over Manchester in July with
seen at New York’s Drawing Procession. All of which has
Center, in which the artist made the Modern Institute a
assigned drawings of protest model for galleries around the
to Thai artists. world.
95
Long March Space
96
Nicholas Logsdail
Category: Gallerist Category: Gallerist
Nationality: Chinese Nationality: British
Last Year: 93 Last Year: 91
Frieze Art Fair last autumn, Long March’s expanding in the postcode ago was a generator for London’s East
ambitions were further signalled this year with an artist, End scene) has opened up round the corner, along with
Guo Fengyi, in Art Basel’s Art Statements section. a Serpentine Gallery project space. Now that Logsdail
can’t really make it to the mountains any more, they’re
coming to him. Along with his son, Alex, who’s crossing
the pond from New York gallery Team, and a new wave
of artists, including Ryan Gander.
the power 100
97
Harry Blain &
98
Clare Hsu
Graham Southern
Category: Gallerists Category: Curator
Nationality: British Nationality: British
Last Year: 51 Last Year: New
Haunch of Venison (the Christie’s-owned gallery that Clare Hsu is executive director and cofounder of the Hong
Blain and Southern founded and direct) announced Kong-based Asia Art Archive, a nonprofit organisation
that its Zurich branch is to close at the end of this year, dedicated to documenting the recent history of visual
and both its New York director and a number of artists art from the region within an international context.
have parted ways with the organisation. Meanwhile its An education and resource centre, the AAA boasts
enormous temporary premises at the back of London’s more than 20,000 volumes of reference material and
Royal Academy (rented at a reported £4 million- supports various research projects and public education
plus for three years) has opened. Yet with so many programmes throughout the region, designed to reinforce
new exhibitions, and ones that don’t so much open as the importance of art as an integral part of any successful
pop up out of nowhere, the society. Now that the art-market
megagallery is turning into a bulls have lost their balls, it’s
programmatically confusing easier to appreciate the fact that
space. Though an artworld endeavours like this one actually
juggernaut, it’s hard to tell if provide for a sustainable, vibrant
anyone’s behind the wheel. and innovative art scene.
Maybe that doesn’t matter: HoV
will keep on truckin’ regardless.
99 100
photos: Andrea Spotorno (97), Bharat Sikka (99), Time magazine, Europe edition, 28 September 2009 (100)
Peter Nagy Glenn Beck
Category: Gallerist Category: Talk Show Host
Nationality: American Nationality: American
Last Year: 95 Last Year: New
130 ArtReview
Three takes
on power
ArtReview invited three artists, Martin Creed, Assume Vivid Astro Focus and
Wilfredo Prieto, to contribute a work on the subject of ‘power’
In association with
Martin Creed Work No. 748, 2007, c-type print, 36 cm x 38 cm. Courtesy the artist and Hauser & Wirth, Zurich, London & New York
Assume Vivid Astro Focus Nuke Trannie, 2008. Courtesy Deitch Projects, New York
Wilfredo Prieto Politically Correct, 2009, watermelon. Courtesy Taka Ishii Gallery, Tokyo & Kyoto
the power 100
ArtReview 135
Gawel Kownacki and Magdalena Kownacka photographed by Michal Kawecki, 24 September, Krakow
Rebirth of the Dead Hero | Oil on canvas | 300 x 200 cm | 2009
Rokni Haerizadeh
15 Nov. 09 — 07 Jan. 10
BASUDEP BISWAS
www.galerieeve.com
No. 5 Tank Road Nagarathar Building Tel. (65) 6835 7882 krisstel@galerieeve.com Thursdays to Sundays 12 - 6 pm
#04-03 Singapore 238061 Fax. (65) 6235 4868 (65) 9099 3965 For Appointments
Sheer Sliver
13 November
20 December 09
Supported by
Admission free
Daily 10.00–17.30
Thursdays & Fridays until 20.30
www.britishmuseum.org
British Museum
Great Russell Street
London WC1B 3DG
Diego Rivera. Emiliano Zapata and his horse, 1932. Presented by The Art Fund.
© 2009, Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico D.F./DACS.
Natasha Akhmerova Gallery
artists websites
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Richard Mortensen “avignon i”. Fernand Léger “composition murale”.
The Bukowski
Modern Sale
Preview: october 17 - 25 Auction: october 27 - 30
paintings, sculpture, prints, design furniture, carpets, silver, glass, ceramics
Auction
November 21-24, 2009
Venue
Conference Center,
Beijing International Hotel
( 9 Jianguomennei St., Beijing )
Auction Items
Chinese Painting and Calligraphy
Porcelain, Jade and Works of Art
Chinese Oil Painting and Sculpture
Rare Books and Manuscripts
1 Tang Mu Li
1 FIGHTING IN THE NORTH AND SOUTH 1977
Oil on canvas 118 × 232.2cm
2 Fu Zhigui
THE CHARACTERS OF GOOD 1974
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UNITED STATES, NEW YORK UNITED KINGDOM, CYNTHIA CORBETT ROBILANT + VOENA
LONDON GALLERY 38 Dover Street
Edward Tyler An offsite exhibition at London W1
Nahem Fine Art 20 HOXTON SQUARE Sphinx Fine Art T +44 (0) 20 7409 1540
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pacewildenstein.com AFFORDABLE ART FAIR T +44 (0)20 7680 2080
Tim Eitel : New Paintings from Battersea Evolution DAVID ROBERTS thewappingproject.com
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David Hockney: Recent Paintings The place to discover and buy davidrobertsartfoundation.com UNITED KINGDOM
23 Oct–24 Dec paintings, drawings, sculpture, Conversations with the Other Side:
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David Hockney: Recent Paintings – all priced between £50 and dimension and communicate with Round Foundry Media Centre
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329 Broom Streeet Rochelle School Arnold Circus 29 Oct, 7pm The online resource for
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whitneymcveigh.co.uk London SW1 St Michael’s Studios,
White Noise III: Whitney McVeigh: New Work T +44 (0)20 7887 8888 Bridport, Dorset
Pandora’s Sound Box Solo exhibition of new work by the tate.org.uk/britain T +44 (0)1308 424582
2–22 Nov American-born artist. The bridport.org
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David Zwirner of large-scale monoprints, collages 28 Cork Street Bridport Literary Festival
525 West 19th Street and works on found paper London W1 countertext09
New York, NY 10011 to 1 Nov T +44 (0)20 7287 8408 Bridport Arts Centre
T +1 212 727 2070 galleryincorkstreet.com 13–22 Nov
davidzwirner.com Louise Blouin Jacquie Gulliver Thompson John Ragg RA
Foundation to Nov 20 Sep–8 Nov
UNITED STATES 3 Olaf Street Sally McLaren & Jacy Wall:
London W11 ALEXIA GOETHE GALLERY Prints & Paintings
Art Los Angeles ltbfoundation.org 7 Dover Street Sladers Yard
Contemporary Kandinsky Prize in London London W1 14 Nov–20 Dec
7176 W. Sunset Blvd. 17 Oct–10 Dec T +44 (0)20 7629 0090
Los Angeles, CA 90046 alexiagoethegallery.com CASS SCULPTURE
T +1 323 851 7530 BLACK RAT PRESs Blair Thurman to 13 Nov FOUNDATION
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artlosangelesfair.com London EC2 MADDOX ARTS West Sussex
Art Los Angeles Contemporary at T +44 (0)20 7613 7200 52 Brook’s Mews T +44 (0)1243 538 449
the Pacific Design Center blackratpress.co.uk London W1 sculpture.org.uk
West Hollywood 28–31 Jan Lucas Price to 13 Nov T +44 (0)20 7495 3101 Monumental contemporary
maddoxarts.com sculpture set in 26 acres of idyllic
BUSHMAN PROJECT Nick Veasey 30 Oct–5 Dec woodland to 8 Nov
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bushmanproject.co.uk London E2 Manchester
Original Bushman Art from Kuru, T+44 (0)20 7729 4112 T +44 (0) 161 228 7621
Ghanzi, Botswana from 21 Oct maureenpaley.com cornerhouse.org
Anne Hardy to 22 Nov Artur Żmijewski: The first
major UK survey of one of the
most consistently challenging,
provocative and profoundly
thoughtful artists in Europe
13 Nov–10 Jan
154 ArtReview
CERI HAND GALLERY Xavier Hufkens GERMANY Galerie Bertrand &
12 Cotton Street, Liverpool Rue Saint-Georges 6–8 Gruner
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cerihand.co.uk T +32 2 639 6730 Invalidenstraße 50–51 1207 Geneva
Bedwyr Williams to 25 Oct xavierhufkens.com D-10557 Berlin T +41 227 005 151
Samantha Donnelly: Sheer Sliver Antony Gormley to 22 Oct T +49 30 280 8123 bertrand-gruner.com
13 Nov–20 Dec Eric Wurm to 3 Dec arndt-partner.de Mustafa Maluka to 31 Oct
Khosrow Hassanzadeh Richard Kern 5 Nov–19 Dec
DUNDEE CONTEMPORARY Galerie Rodolphe to 14 Nov
ARTS Janssen Galerie Thaddaeus
152 Nethergate 35, rue de Livourne Bereznitsky Gallery Ropac
Dundee Scotland 1050 Brussels Heidestraße 73 Mirabellplatz 2
T +44 (0)1382 909 900 T +32 2 538 0818 10557 Berlin 5020 Salzburg
dca.org.uk galerierodolphejanssen.com T +49 (0)307 008 1256 T +43 662 881 393
Thomas Hirschhorn to 29 Nov Torbjorn Rodland Oct bereznitsky-gallery.com ropac.net
Lisa Sanditz Nov–Dec Gilbert & George
EDINBURGH ART FAIR CONTEMPORARY FINE to 21 Nov
The Edinburgh Corn Exchange Galerie Almine Rech ARTS GALERIE
11 Newmarket Road 20 Rue de l’Abbaye Am Kupfergraben 10 Galerie Urs Meile
Edinburgh B-1050 Brussels 10117 Berlin Beijing-Lucerne
T +44 (0)1875 819 595 T +32 26 485 684 T +49 (0)30 288 7870 Rosenberghoehe 4
artedinburgh.com alminerechgallery.com cfa-berlin.com 6004 Lucerne
Scotland’s largest art fair returns Aaron Young T +41 414 203 318
for its 5th year, selling thousands 20 Oct–17 Dec DEUTSCHE GUGGENHEIM galerieursmeile.com
of original artworks from hundreds Unter den Linden 13/15 Qiu Shihua to 24 Oct
of national and international think.21 10117 Berlin
artists 20–22 Nov rue du Mail 21 T +49 (0)30 20 2093 ITALy
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WOLVERHAMPTON ART T +32 2 537 87 03 Abstraction & Empathy to 16 Oct ARTEFIERA ART FIRST
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Wolverhampton to Oct 24 LUMAS Berlin 40127 Bologna
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T +32 32 161 626 lumas.com Alfonso Artiaco
HINTERLAND zeno-x.com Piazza dei Martiri 58
1 Thoresby Street, Nottingham Anne-Mie Van Kerckhoen WENTRUP Gallery 80121 Naples
annexinema.org 22 Oct–28 Nov Tempelhofer Ufer 22 T +39 081 496 072
hinterlandprojects.com 10963 Berlin-Kreuzberg alfonsoartiaco.com
NETHERLANDS Berlin, janwentrup.com
ISENDYOUTHIS.COM Dichte Fichten Dichten Dich Galleria Massimo De
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baronianfrancey.com Fondazione Gervasuti
Gilbert & George to Oct 31 Castello 994, 30122 Venezia
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COLLECTION
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franconoero.com 46, rue de la Ferté Gaucher Laboral Centro de Arte est-ouest.co.jp
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Via Orti d’Alibert 1e T +33 164 203 950 33394 Gijón
00165 Rome galleriacontinua.com T +34 985 133 431 10 Chancery Lane
T +39 06 68 892 980 Sphères 2009 24 Oct–30 May laboralcentrodearte.org Gallery
lorcanoneill.com G/F, 10 Chancery Lane, Central,
Galerie Laurent Godin CAC Malaga Hong Kong
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galleriapack.com Delphine Coindet City Phase 1, 60 Wing Tai Road,
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KOREA BRAZIL
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Vital Statistics
That Was Then…
The Strip
On the Town
Off the Record
ArtReview 159
Rear view: The power 100
Vital Statistics
Art lovers are, by definition, visually minded people. Bearing this in mind, we invited the pale
and obsessive nerds who work in ArtReview’s Department of Advanced Aesthetico-Statistical
Analysis to interpret this year’s Power 100, using the comprehensible form of scientific graphics
and Excel-hardened facts. What follows, we’re proud to announce, is a polymnemonic articulation
of contemporary art’s cosmophrenic and radial spectrodynamics, which may serve furthermore
as a guide to getting to the top of the charts and eating the biggest slice of pie.
160 ArtReview
Battle of the sexes
2008
2009
Rear view: The power 100
162 ArtReview
How the world eats the art pie
2008
2009
Rear view: The power 100
164 ArtReview
November December
MOCA, LA, accepts a
Mark Leckey wins the $30 million bailout from
Turner Prize Eli Broad to save the
Prospect.1, the first New
struggling institution;
Orleans art biennial,
London’s Photographers’ director Jeremy Strick
set up in the wake of
Gallery opens in new steps down after 9 years
Hurricane Katrina, opens
Soho premises
Alanna Heiss,
Two major museum
Carolyn Christov- who founded P.S.1
projects are announced
Bakargiev named artistic Contemporary Art Center
in Beijing: the expansion
director of Documenta 13 in an old schoolhouse
of the National Art
in Long Island City,
Museum into an 80,000-
Artist Keith Arnatt, Queens, in 1971, retires
square-metre site next to
best known for his after 37 years in charge
the ‘Bird’s Nest’ stadium
MOCA, LA, announces photographic work, dies
and a new museum
that the museum is in
for contemporary art
crisis, facing severe Francesco Bonami
at the Beijing Yihaodi
financial difficulties announced as curator
International Artbase
of the 2010 Whitney
Art Basel Miami Beach 2008
Art Basel Conversations / Art Salon: Public Encounters
Congolese/Western
By staging public encounters between leading cultural figures, the morning
first-hand information on important aspects of the international artworld. Taking
a retrospective at the
discussions that can range from single artists
within
exploring their
practice
to larger
panels that include the leading players
regional and
scenes fieldsof
London
“Artistic Production: Los Angeles, an Alternate Art World Model?”
Damien Hirst/Science curators, authors, and architects. The program offers an intimate experience for the
Daniel Birnbaum-curated
audience, allowing them to engage with prominent and thought-provoking guests
on a variety of current events in the visual arts, as well as to explore the challenges
Turin Triennial, 50 Moons Christine Macel, Scott Rothkopf, Dan Cameron, Olga Viso, Alanna Heiss, Richard
17 fabricating staff
Feigen, Josh Baer, Jerry Saltz and Shirin Neshat.
melancholy, opens
Chuck Close, Artist, New
York
one-year-old architect
January
February
Dan Graham’s first US
retrospective opens at
MOCA, LA
X, a one-year not-for-
profit project space
initiated by Elizabeth
Dee, opens in the former
Dia Center for the Arts
building in New York
March
Haunch of Venison
open new space at Royal
Academy building, in
the former Museum of
Mankind, London François Pinault’s
collection is exhibited
J. Paul Getty Trust at Garage Center
slashes operating budget for Contemporary
by 25 percent Culture, Moscow
B A I B A K OV
A R T P R OJ E C T S
2008/2009
PRESENTATION
166 ArtReview
April
James Turrell Museum
Tate Modern is granted opens in Colomé,
planning permission for Argentina
a £215 million extension The New Museum’s
designed by architects The Pinchuk Art Centre,
new triennial, The Kiev, opens Requiem
Herzog & de Meuron Generational: Younger – a major Damien Hirst
than Jesus, opens, retrospective
The Whitechapel featuring only
Gallery reopens to the artists under the age
public after an extension The Turner Prize 2009
of thirty-three nominees are announced:
into the neighbouring
library, which has taken Lucy Skaer, Enrico David,
Robert Adams collects Richard Wright and Roger
more than two years $61,000 along with
to complete. Opening Hiorns
Hasselblad Foundation
exhibitions include an Award for photography
Isa Genzken retrospective Auction houses Christie’s
and a yearlong and Sotheby’s both
Author J.G. Ballard dies announce job cuts and
commission from
Goshka Macuga department mergers in
A new foundation face of recession
to support the work
of Native American,
Native Hawaiian and
May
Alaska Native artists is
announced, supported by New York collectors give
$10 million from the Ford New Zealand its biggest-
Foundation ever art donation, handing
a collection of paintings by
Cézanne, Picasso, Matisse,
Gauguin and others to
Auckland Art Gallery
elles@centrepompidou
opens at the Pompidou
Centre, Paris – a year
devoted to showing solely
women artists in the
museum’s collection
June
July
Haunch of Venison
announce that they are
to close the gallery’s
Zurich space
In London Antony
Gormley’s Fourth Plinth
project, One & Other, in
Trafalgar Square, attracts
a deluge of commentary
François Pinault’s new about art for the reality-
museum for his collection, television generation
in the Punta della Dogana,
the old customs house in New York scenester artist
Venice, opens Dash Snow is found dead
from a drug overdose in
Venice Biennale and the Bowery’s Lafayette
Fare Mondi/Making House hotel
Worlds, curated by
Daniel Birnbaum, opens Nicholas Baume
announces departure
Golden Lion for Best from ICA Boston to
National Participation become director and chief
in Venice goes to the curator of New York’s It emerges that several
US for Bruce Nauman’s Public Art Fund flagship London museum
Topological Gardens projects, including
LACMA announces extensions for the BFI
Best Artist in Fare Mondi/ the closure of its film and Tate Modern, are
Making Worlds at Venice programme, news under threat due to a UK
goes to Tobias Rehberger greeted by fierce government spending
for his café decor in the criticism from deficit of £100million
Biennale pavilion film luminaries such in the Department of
as Martin Scorsese Culture, Media and Sport
Silver Lion for a
Promising Young Artist Bob and Roberta Smith
in Fare Mondi/Making and Wolfgang Tillmans
Worlds goes to Nathalie are appointed as Tate
Djurberg Trustees
German dancer
and choreographer
Pina Bausch dies
168 ArtReview
August
Theatre producer Rocco
Landesman is approved as
President Obama’s choice
to lead the National
Endowment for the Arts
170 ArtReview
on the town:
10 September
Down and out in London: West End openings
16 September
Thomas Demand, Nationalgalerie, Neue Nationalgalerie, Berlin
B
A
3
C
172 ArtReview
H
Thomas Demand
A Kunstsammlung Nordrhein-Westfalen director Marion Ackermann
and Sean Rainbird, director of the Staatsgalerie Stuttgart
b Gallerist Johann König and Art Cologne director Daniel Hug
C Artist Thomas Scheibitz
D Publisher Angelika Taschen, novelist Daniel Kehlmann,
6 7 and Nationalgalerie director Udo Kittelmann
E Artist Jordan Wolfson, 032c’s Joerg Koch and
Sprüth Magers’s Johannes Fricke-Waldthausen
F Artist Olafur Eliasson and Marion Ackermann
G Gallerist Philomene Magers, artist Andreas Gursky and
gallerist Matthew Marks
H A liveried BMW
I Artist Mark Wallinger
J Colección Jumex director Abaseh Mirvali and artist Daniel Richter
K Artist Thomas Demand
11
10
K
Tuesday, September 22, 2009 19:20
In the search for collectors, I go off to Outset’s Contemporary Art Canal Boat Tour.
Trusting in safety in numbers, the Tate’s favourite group of collectors is braving the
East End, but wisely avoiding all roads and pavements. The level of random danger is
so high that they’ve chartered a boat to sail slowly down the litter-strewn environs of
Regent’s Canal, ignoring the abuse of passing cyclists, in order to strategically leap out
into the Drawing Room, Chisenhale and Matt’s Gallery. It’s hammering with rain and
the canal is putrid with green stuff. Luckily an indefatigable culture-supremo from the
London Borough of Hackney is on hand to point out local beauty spots to the utterly
bemused but resolutely upbeat collectors. “Look”, she says, “there’s the Kingsland Road!”
as we sail under a tunnel where feral twelve-year-olds try to throw concrete on us. As we
ponder the legend that is the Russian Bar, I head inside the boat to avoid the rain and tuck
into my boxed lunch by Arnold & Henderson. Fucking quail again.
GG
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174 ArtReview
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