Frieze Fair New York 2015: Images, Reports and reviews + Satellites



Frieze Art Fair in New York City
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Welcome To Frieze, The Art Fair That Drives The Rich Insane
The wealthy and well-dressed flock to Frieze, New York’s most glamorous contemporary art fair. But do they know, or care, what they are buying?

The annual Frieze New York art fair is generously stocked with women in their 50s and 60s, shouting out three figure prices and authoritatively mispronouncing artists’ names.

They mill around the tent on opening day, buzzing and squawking at the thrill of spending their husbands’ money.

Dressed in their finest, their faces nipped and stretched taut like a snare drum, they look more labored over than most of the art on display.

“I love this. How much? Around $60K?” one woman shrilly asks a gallery attendant, eyeing an aluminum sculpture by a Danish art collective. The attendant quietly and politely corrects her: $100K.

“In New York people steal everything,” the prospective buyer remarks half-heartedly, seeking reassurance about her purchase. “They’re not going to steal this,” the attendant promises, securing a sale.

It’s a Kobuki dance I’ll witness again and again at Frieze. Indeed, there’s an amusing tension between the unbearably pretentious art world natives and the Real Housewives, who don’t speak the language of art.

They point at works on display like children in a toy store, referring to artists’ methods and materials as “this” and “that.” These clueless collectors have democratized art fairs, where there are fewer snobby intellectuals and pseudo-intellectuals.

But then they would never be allowed in without oversized Birkin bags.

In a clear indication that Frieze knows its audience, the fair is distributing free copies of the Financial Times. The booths themselves are prohibitively pricey: $815 per square meter.

At the Parisian gallery Mon Charpentier, installed in one of the fair’s smaller, peripheral booths, a young foreign woman is assured that she’s looking at a “very, very important piece.”

The buyer cares less about its cultural significance than she does about how it will look in her living room. “Can it be built on site?” she asks.

But she cares less about its cultural significance than she does about how it will look in her living room. “Can it be built on site?” she asks.

Meanwhile, at Gavin Brown’s Enterprise—one of the larger booths and more well-known galleries—artist Jonathan Horowitz was commissioning Frieze visitors to participate in his work, 700 Dots.

Fair attendees are asked to paint a black circle eight inches in diameter on a 12-by-12 inch white canvas, instructed on their technique and told to spend at least 30 minutes on their masterpiece. Each square is then mounted on the wall in groupings of 100, priced at $100,000.

Participants are paid a $20 profit, but their black dot is worth $10,000.

When I pressed Brown about the artist’s vision, he mumbled that Horowitz was “exploring a way to make a painting,” and that each dot is a “self-portrait.”

“High art is labor,” he adds, begrudgingly. “And here he has distilled a painting down to its elemental particles. Despite the very straightforward, reductive template, each one is unique. “Inevitably, when you ask someone to make a perfect geometric circle, it’s not going to be perfect.”

By Thursday afternoon, they had already sold three or four groupings, Brown told me.

Collectors are quite literally paying for the Frieze 2015 experience. But in contemporary art, the concept is never as impressive as the Gavin Browns of the world make it out to be.

It’s the interactive art that draws the most attention at Frieze, along with the most shocking, the largest in scale, and the most of-its-time. Gagosian reserved its entire booth for Richard Prince’s uninspiring, $90,000-a-piece New Portraits—blown-up ink on paper screenshots of other people’s Instagram posts that he has commented on.

Gallery owners like Gavin Brown, aloof and enigmatic, are sought after by both artists and collectors.

In the contemporary art world, there is no benchmark for what’s “good.” There is only a social structure, an attitude, that determines which works and names are most valuable. And, of course, all that taut skin, decoratively clothed, pointing at “this” and “that”—the women knowing not what they want, but that they want something. They’re shopping, after all.



  • GIUSEPPE PENONE, Verde del bosco, 1986

    Picture: Marian Goodman

Frieze New York 2015: old, new and some participation too

Frieze New York has come of age with some heavy-hitting, historical art; without losing its contemporary and participative roots, says Louisa Buck

By Louisa Buck

May 15, 2015 18:01
Richard Prince instagram picturesRichard Prince instagram pictures
Giuseppe Penone, Albero di 10 m, 1989 and Verde del bosco, 1986Giuseppe Penone, Albero di 10 m, 1989 and Verde del bosco, 1986
Emily Mortimer and the staff of Madrid gallery Travesia CuatroEmily Mortimer and the staff of Madrid gallery Travesia Cuatro
American artist Jonathan Horowitz asks Freize attendees to paint a freehand, eight-inch circleAmerican artist Jonathan Horowitz asks Freize attendees to paint a freehand, eight-inch circle

It is only in its fourth year but Frieze New York has already become a Big Apple fixture. Even the notoriously bridge-averse Manhattanites have stopped moaning about its rather remote (for them) location on Randalls Island between Harlem, the Bronx and Queens and everyone now agrees that the fair’s trademark long, curving, naturally lit tent is a triumph, showing off the 190 participating galleries to their best advantage. The fact that visitors are also serviced by pop-up versions of some of the city’s favourite eateries – from Dimes in Chinatown to Frankies Spuntino from Brooklyn – also helps.

And then there’s the art. Proof positive that the Frieze NY has come of age is the fact that, for the first time, New York heavy-hitters Pace Gallery, Matthew Marks and Acquavella have all deigned to take part, with the latter presenting a booth bedecked with top-notch Picassos. Overall, the fair feels lucid, elegant and considered, with more galleries putting on solo artist shows as well as an increasing tendency to enrich the mix by combining the contemporary with the historical. This can take the form of a clutch of Philip Guston paintings on the McKee Gallery stand, or Alison Jacques from London showing vintage feminist works by Lygia Clark, Hannah Wilke and the little-known Czech artist Maria Bartuszova alongside a pair of show-stopping surrealist paintings by Dorothea Tanning, the last wife of Max Ernst.

Embracing the past with the present has been actively encouraged by the fair itself. Harnessing the popularity of London’s Frieze Masters, Frieze NY has cannily inserted one of its mature sister fair’s most popular sections, Spotlight; in which galleries present a significant 20th century artist who is ripe for a new airing. Notable inclusions in this category are the octogenarian Sudanese artist Ibrahim El-Salahi – the first African artist to be given a retrospective at Tate Modern – showing his distinctive fusions of modernist abstraction and Arabic calligraphy on Vigo’s stand, and Carolee Schneemann: influential pioneer of bodily performances who has a classic New York action of 1966 documented in photos, drawings and film on the booth of Hales Gallery.

Another stand-out historical highlight is David Zwirner’s inspired pairing of recently-deceased sculptural maverick Franz West with Minimalist John McCracken. Also extraordinary is a solo show by Italian Arte Povera giant Giuseppe Penone, whose wall of fragrant dried bay leaves, along with tree-bark rubbings, tree trunk carvings and an astonishing billboard-sized graphite work based on his own wrinkled skin, all combine to transform Marian Goodman’s stand into an uncanny glade that is worth the trip to New York alone.

But Frieze New York is first and foremost a fair devoted to the contemporary, and this year finds even the most high-end galleries prepared to let their hair down and take some risks. Hauser & Wirth is hanging its costly wares on walls vividly roller-painted by Martin Creed in green, red and blue crosses and stripes; while Gagosian has an entire booth devoted to a procession of Richard Prince’s giant, vacuous prints of Instagram portraits, against which a constant stream of fair visitors are in turn busily Instagramming themselves.

Audience participation seems to be all the rage this year. In one of the fair’s bespoke art projects, Mexican artist Pia Camil persuades visitors to parade through the tent in her specially designed ponchos (which they can take home afterwards). A more restful site-specific project comes in the form of Bangkok-born artist Korakrit Arunanondchai’s massage chairs, upholstered in his trademark tie-dyed denim, which are dotted throughout the fair, doling out gentle pummellings to prone and weary visitors. On the opening night even the celebs were put to work, with actress Emily Mortimer on the stand of Madrid gallery Travesia Cuatro handing out flowers from the exuberant sculptural ceramic containers of Mexican artist Melana Muzquiz.

But Gavin Brown took visitor involvement to a new level with all the art on his booth created in situ by the visiting public. Over the first two days of Frieze an eager throng of fairgoers were given a 12-inch square canvas and some black paint to carry out the task set by the American artist Jonathan Horowitz: painting a freehand, eight-inch circle (not as easy as it sounds) in return for a $20 cheque signed by the artist. Each piece then formed part of a collective grid of 700 black circles lining the booth; but what each batch of 100 was ultimately selling for the gallery would not disclose. It was certainly more than the $2,000 labour charge; although the individual cheques are already likely to be worth more uncashed as artworks in their own right.

This participatory tendency has been given official endorsement with the best booth prize for Frieze New York 2015 being awarded to Galeria Jaqueline Martins, a young gallery from Sao Paulo for its solo project by Martha Araujo entitled “Para un corpo nas suas impossibilidates” (For a body in its impossibilities). This involves intrepid Frieze visitors donning special jumpsuits patched with Velcro and then launching themselves onto a Velcro-covered skateboard ramp and attempting (but often unsuccessfully) to adhere. And who said that the art world was stuck up?

Frieze New York runs until Sunday 17 May

Frieze New York

by Andrew Stefan Weiner

May 15, 2015

Frieze New York

FRIEZE ART FAIRNew YorkMay 14–17, 2015

Far above the North Atlantic, a plane is flying from Venice to New York. Most of the passengers in business class sleep comfortably in their lie-flat seats, but one stays awake sipping complimentary champagne. His voice barely audible above the jets’ white noise, he muses: “Is there even any difference between biennials and contemporary art fairs?” The knee-jerk answer to his question would be, Of course. Biennials are typically organized by curatorial teams who engage in protracted research to stage thematic arguments. Whereas they ask their visitors to look and think, art fairs tell them to buy, or at least window-shop. Venice notwithstanding, most biennials exist in relatively peripheral locations and often target non-art audiences, while fairs are built to serve the needs of the global 1 percent who comprise their clientele. But another, more pertinent answer might be, Less and less, or even, Was there ever? As the sociologist Olav Velthuis has shown, aesthetic and commercial modes of exhibition have been indissociable throughout the history of the Venice Biennale. For its first 70 years, the Biennale had a sales office that worked on commission. Following the protests of 1968, it adopted new practices that spawned what Velthuis has called “the Venice effect,”(1) wherein the putative independence of the Biennale comes to serve the needs of the market. The pretense of purity is often a smokescreen for covert business arrangements, even as it is belied by many artists’ dependence on dealers to finance their production costs. In a perverse but perfectly logical twist, the symbolic capital accrued by a biennial’s “autonomous” validation of an artist can readily be converted into increased exchange value.

More recently, the inverse of this dynamic has taken hold as prominent art fairs strive to resemble biennials. In what might be called “the Frieze effect,” fairs have increasingly incorporated discursive or participatory elements; they have also emphasized site-specific commissions and educational programs. The most obvious explanation for this shift is that it functions as a fig leaf, politely disguising the shameless promiscuity of the ever-tumescent contemporary art market. Yet as with biennials, the semblance of autonomy is a potent means of value production. Biennial-icity adds a veneer of intellectual sophistication, allowing work to be marketed as “critical.” It also allows a fair and its exhibitors to align their brands more strongly with the global contemporary, a now-ubiquitous category that invokes an abstract, near-empty universality. Given that this universality is in many ways indistinguishable from that of neoliberal capital, we might conceive of the global contemporary as a potent aesthetic ideology. Within this fantasmatic structure, the fair assuages its patrons’ fear of missing out even as it indulges their desire to discover (then flip) the next Oscar Murillo. The links between these imagined affinities and the conventions of pricing are at once indirect and indisputably real.

While the commercial success of Frieze New York is sometimes ascribed to the moribundity of its competition, it likely also derives from its canny application of the biennial formula. Though New York still fancies itself the center of the global art world, its connections to the biennial and fair circuit have been rather belated and indirect. Such conditions have surely increased the appeal of the Frieze brand, with its cosmopolitan, sophisticated connotations. The 2015 edition traded on this cachet by convening a team of international curators, a number of them with biennial experience. Not surprisingly, the majority of the fair’s more impressive offerings were in the stalls that had effectively been pre-curated. Shanghai’s Antenna Space exhibited a sharp suite of works by Liu Ding, “Karl Marx in 2013” (2014), one of which turned on the artist’s confrontation with Chinese tourists at Marx’s grave in London. Warsaw’s Le Guern Gallery showed compelling selections from C.T. Jasper’s photomontage series “In the Dust of the Stars” (2011). The Spotlight section, advised by Adriano Pedrosa, was a quiet revelation amidst the overweening vulgarity of the fair. Some of the artists shown there, like the marvelous Sudanese modernist Ibrahim El-Salahi, presented in London’s VIGO booth, have received major shows in Europe but remain largely unknown in the U.S. Others, like Geta Brătescu, whose drawings and collages were on view at Bucharest’s Ivan Gallery space, spoke to the formidable, largely uncharted range and depth of Eastern European conceptualisms. Such practices are still often treated as isolated curiosities despite their exposure to (and transformation of) Western models; one fascinating example of such an encounter was Natalia LL’s series of performance photos from 1977, “Natalia LL at LGBT Demonstration in New York,” shown by Warsaw’s lokal­_30.

Elsewhere, and despite its more high-minded aspirations, Frieze New York is largely a crass spectacle of predictably conspicuous consumption. Finance bros in Gucci loafers rubbed shoulders with fashionistas, fashion victims, and the occasional celebrity; walking through the fair was a numbing, enervating experience rather like speed-reading the ads in Artforum. It became clear that “the global,” at least in this context, is a site of massive structural imbalance, even if exhibitors tended to revert to a much more superficial conception of global contemporary art: oversized photos of airport runways; displays of time-zone clocks; countless map collages and globe sculptures. Prominent displays were given to veterans of the biennial circuit, like Isaac Julien and Yinka Shonibare MBE; the most affecting was Allora & Calzadilla’s Intervals (2014) at Paris’s Galerie Chantal Crousel, which refashioned transparent plastic lecterns into odd plinths for dinosaur bones. Numerous galleries seemed intent on selling NYC-themed art to international buyers; the most diligent of these was New York’s Skarstedt, with iconic works by Warhol, Sherman, Holzer, and Haring, any of them perfect for your new luxury Tribeca pied-à-terre. With a fittingly gargantuan display of Richard Prince’s obnoxious Instagram paintings, Gagosian ventured the depressing proposition that global is just a fancy word for “lowest common denominator.” In fact the overwhelming majority of exhibitors were from the North, with hardly any from the MENASA region, Africa, or the Pacific. Those from the center could choose, though few did, to showcase their cosmopolitanism, as with Berlin’s Kraupa-Tuskany Zeidler, which brought works by Slavs and Tatars, Guan Xiao, and Katja Novitskova. In contrast, it was as if the galleries from the periphery were expected to showcase their own difference in a kind of compulsory self-exoticization. Athens’s The Breeder was outfitted with carpets, columns, and Byzantine-esque icons for Andreas Angelidakis’s Crash Pad (2015). Madrid- and Guadalajara-based Travesia Cuatro set itself up as a kind of tropicalist flower shop by Milena Muzquiz, complete with gallerinas in matching floral dresses. The one exception to this tendency was Mumbai’s Project 88, with Sarnath Banerjee’s “Liquid History of Vasco da Gama,” a group of 36 drawings by that incisively satirized Western stereotypes of postcolonial provincialism.

The few exhibitors who tried to resist this pervasive tendency did so by combining historically and geographically specific work with analogous contemporary practices. Paris’s Galerie Frank Elbaz assembled a stellar showcase of art from the former Yugoslavia, with memorable contributions from Josip Vanista, Mladen Stilinović, and Julije Knifer. Bogota-based Casas Riegner showed subtle, thoughtful contributions by Carlos Rojas, Bernardo Ortiz, and Johanna Calle. Berlin’s Galerija Gregor Podnar paired terrific, seldom-seen 1970s work from Ion Grigorescu, Irma Blank, and Goran Petercol, with strong recent pieces by Tobias Putrih and Anne Neukamp.

I left the fair with the impression of a massive embarrassment of riches, in both senses. On the one hand, it was possible to see more good art in a few hours than in a typical season in Chelsea. On the other, it was impossible to ignore the glaring contradictions of its very existence. These were perfectly encapsulated in the fair’s site: a multimillion-dollar bespoke tent with multiple VIP sanctums, located next to Icahn Stadium (named after the 1980s pioneer of corporate raiding, leveraged buyouts, and “asset stripping”) and just across the river from the South Bronx, home to the poorest congressional district in the U.S., where over 250,000 live in poverty. Inside this stylish white bubble, members of the global elite could be entertained by Amalia Pica, John Bock, and Geoffrey Hendricks’s reconstruction of George Maciunas’s Flux-Labyrinth (1976/2015), originally an attempt to develop an anti-capitalist aesthetics. Many eagerly lined up to participate in Wearing-watching (2015), a commissioned project by Pia Camil, in which they could don smocks modeled after Hélio Oiticica’s Parangolés from the 1960s (first designed in conjunction with residents of Rio de Janeiro’s Mangueira favela). Upon leaving the bubble, visitors were whisked back to lower Manhattan by a private water taxi. With the South Bronx quietly receding from view, they were free to ask themselves whether they had just been to a fair or a biennial, when and where the next big event might be, and whether such questions were even worth worrying about.

(1) Olav Velthuis, “The Venice Effect,” The Art Newspaper Magazine (June 2011): 21-24.

Andrew Weiner is Assistant Professor of Art Theory and Criticism in the Department of Art and Art Professions at NYU-Steinhardt.

View of Frieze New York, 2015.

1View of Frieze New York, 2015.

View of Antenna, Shanghai, at Frieze New York, 2015, with Liu Ding's “Karl Marx in 2013,” 2014.

2View of Antenna, Shanghai, at Frieze New York, 2015, with Liu Ding’s “Karl Marx in 2013,” 2014.

View of Galeria Le Guern, Warsaw at Frieze New York, 2015, with C.T. Jasper's "In the Dust of the Stars," 2011.

3View of Galeria Le Guern, Warsaw at Frieze New York, 2015, with C.T. Jasper’s “In the Dust of the Stars,” 2011.

View of Vigo Gallery, London at Frieze New York, 2015, with work by Ibrahim el-Salahi.

4View of Vigo Gallery, London at Frieze New York, 2015, with work by Ibrahim el-Salahi.

View Ivan Gallery, Bucharest at Frieze New York, 2015, with work by Geta Brătescu.

5View Ivan Gallery, Bucharest at Frieze New York, 2015, with work by Geta Brătescu.

Natalia LL, "Consumer Art" series, 1974.

6Natalia LL, “Consumer Art” series, 1974.

View Gagosian Gallery at Frieze New York, 2015, with work by Richard Prince.

7View Gagosian Gallery at Frieze New York, 2015, with work by Richard Prince.

View of Kraupa-Tuskany Zeidler, Berlin at Frieze New York, 2015.

8View of Kraupa-Tuskany Zeidler, Berlin at Frieze New York, 2015.

Andreas Angelidakis,  Crash Pad, 2015.

9Andreas Angelidakis, Crash Pad, 2015.

View of Travesía Cuatro at Frieze New York, 2015 with Milena Muzquiz's, Untitled, 2015.

10View of Travesía Cuatro at Frieze New York, 2015 with Milena Muzquiz’s, Untitled, 2015.

Sarnath Banerjee, “Liquid History of Vasco da Gama,” 2014.

11Sarnath Banerjee, “Liquid History of Vasco da Gama,” 2014.

Josip Vanista, "Déposition," 1986.

12Josip Vanista, “Déposition,” 1986.

Anne Neukamp, Untitled (Transfer #3), 2015.

13Anne Neukamp, Untitled (Transfer #3), 2015.

Geoffrey Hendricks, Upside Down Forest, 1975/2015.

14Geoffrey Hendricks, Upside Down Forest, 1975/2015.

Pia Camil, Wearing-watching, 2015.

15Pia Camil, Wearing-watching, 2015.

  • 1View of Frieze New York, 2015. Photo by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze.
  • 2View of Antenna, Shanghai, at Frieze New York, 2015, with Liu Ding’s “Karl Marx in 2013,” 2014. Photo by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze.
  • 3View of Galeria Le Guern, Warsaw at Frieze New York, 2015, with C.T. Jasper’s “In the Dust of the Stars,” 2011. 26 pairs of framed magazines, 80 x 56 cm each. Courtesy Galeria Le Guern, Warsaw.
  • 4View of Vigo Gallery, London at Frieze New York, 2015, with work by Ibrahim el-Salahi. Courtesy of Vigo Gallery, London.
  • 5View Ivan Gallery, Bucharest at Frieze New York, 2015, with work by Geta Brătescu. Courtesy of Ivan Gallery, Bucharest and the artist. Photo by Matt Grubb.
  • 6Natalia LL, “Consumer Art” series, 1974. Original color print, unique piece, 51 cm x 61.5 cm each. Courtesy of lokal_30, Warsaw.
  • 7View Gagosian Gallery at Frieze New York, 2015, with work by Richard Prince. © Richard Prince. Photography by Robert McKeever. Courtesy Gagosian Gallery.
  • 8View of Kraupa-Tuskany Zeidler, Berlin at Frieze New York, 2015. Left to right: Slavs and Tatars, Guan Xiao, and Katja Novitskova. Image courtesy of the artists and Kraupa-Tuskany Zeidler, Berlin. Photo by Matthew Boot.
  • 9Andreas Angelidakis, Crash Pad, 2015. Mixed media, dimensions variable. Courtesy of The Breeder, Athens.
  • 10View of Travesía Cuatro at Frieze New York, 2015, with Milena Muzquiz’s, Untitled, 2015. Mixed media, dimensions variable. Courtesy of Travesia Cuatro, Madrid and Guadalajara.
  • 11Sarnath Banerjee, “Liquid History of Vasco da Gama,” 2014. Series of 36 drawings. Charcoal and pastel on A4 sheets, 8 x 11 inches each. Courtesy of Project 88, Mumbai.
  • 12Josip Vanista, “Déposition,” 1986. 12 black and white photographs on archival paper, 24 x 24 cm each. Edition of 3. Courtesy of galerie frank elbaz, Paris. Photo by Zarko Vijatovic.
  • 13Anne Neukamp, Untitled (Transfer #3), 2015. Acetone transfer on paper, 100 x 70 cm. Courtesy of Galerija Gregor Podnar, Berlin.
  • 14Geoffrey Hendricks, Upside Down Forest, 1975/2015. Tribute to George Maciunas’s Flux-Labyrinth (1976/2015), Frieze Projects, Frieze New York 2015. Mixed media, dimensions variable. Photo by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze.
  • 15Pia Camil, Wearing-watching, 2015. 800 pieces assembled and sown by hand, made from leftover fabrics or discards from local factories in Mexico City and distributed freely to fair visitors. Frieze Projects, Frieze New York 2015. Photo by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze.


At NADA, a Fresh Crop of Young Talent

  • The Los Angeles-based M+B Gallery is among the spaces exhibiting at this year’s NADA fair, featuring photographic works by Mariah Robertson (left wall) and Phil Chang. Courtesy of M+B
  • “Salton Sea,” 2015, is one of several new photographic works by the artist Matthew Porter at the Invisible-Exports booth. Courtesy of Invisible-Exports
  • In conjunction with NADA’s opening, Daata Editions launched its web-based platform dedicated to the promotion of artists who work specifically with sound, video and the Internet. In addition, limited-edition works, such as Ilit Azoulay’s photographic still “Object #1,” pictured here, will be for sale. Courtesy of Daata Editions
  • For his space, the Cologne-based gallerist Berthold Pott chose to exhibit works by two artists, including Max Frintrop’s “Untitled (‘Seeworld’),” 2015. Courtesy of Berthold Pott
  • The triptych of paintings that make up Josh Reames’s installation at the Johannes Vogt Gallery booth.
  • The Berlin-based gallery Duve is exhibiting works by Maximilian Arnold, Vera Kox and Roman Liska.

With all the commotion of Frieze New York playing out uptown on Randall’s Island, it might be easy to overlook the action unfolding at the decidedly downtown New Art Dealers Alliance (NADA) fair. Now in its fifth year, the New York arm of NADA (the other fair takes place in Miami) once again returns to Pier 36, exhibiting 100 galleries in a cavernous warehouse space bordered by the Lower East Side and the East River. Billed as a nonprofit arts organization with the aim of promoting new and emerging artists, NADA has gained a reputation as a go-to destination for art world insiders and collectors looking to take the pulse of the next generation of artists.

Fair highlights include the exhibition mounted by the New York-based Johannes Vogt Gallery, a series of three paintings by Josh Reames. With images of cigarettes, an erotically tinged neon light and a grinning skeleton, Reames’s choice of imagery channels the über-cool aesthetic of the fair’s attendees. “Introducing new artists is what the spirit of NADA stands for,” Vogt, a longtime veteran of the fair, says. A similar sentiment was expressed by his fellow NADA alum Risa Needleman, the co-founder, along with Benjamin Tischer, of the Lower East Side gallery Invisible-Exports, which is exhibiting works including vibrant photomontages by Matthew Porter — sure to please NADA visitors who, as Needleman is keenly aware, “expect young and exciting work.”

For first-timers, the fair is a unique opportunity to gain exposure — and importantly, access — to an often-exclusive segment of the art world. “The best way for young European galleries to enter into the U.S. market is through NADA,” Berthold Pott, owner of his namesake Cologne-based gallery, says. Among Pott’s exhibited pieces, large-scale ink-based gestural works by Max Frintrop call to mind the likes of the Abstract Expressionist Helen Frankenthaler and her watery fields of color. Meanwhile, another first-time gallery, the New York-based Queer Thoughts, looked to be in for the ultimate NADA experience. Having just arrived at the fair, the megawatt curator and writer Hans Ulrich Obrist and the Stedelijk Museum director Beatrix Ruf were overheard declaring the gallery’s exhibition of Darja Bajagic’s “Ex Axes – Larissa Riquelme (2015),” an ax bearing the photograph of a despairing young woman, to be the highlight of NADA. Talk about making the cut.

NADA New York is on view through May 17 at Basketball City, 299 South Street,


Opening day of Frieze New York 2015 – in pictures

Now in its third year, the art fair has arrived at Randall’s Island in New York City, with the world’s most eminent artists showing their wares in a giant tent

Frieze New York review – navigating the maze of art fair’s eccentric fun
Just how well dressed are New York’s art lovers?





Painting According to Frieze New York

Wilhelm Sasnal, “Untitled (car)” (2015), oil on canvas, 40x40 cm at Foksal Gallery Foundation

It’s been about a hundred years since Kazimir Malevich supplanted all imagery in painting with iconic shapes that point not to this world but to one he thought would come. It was around the same time Marcel Duchamp put a handlebar mustache on the Mona Lisa and titled the work “L.H.O.O.Q.” — or “She is hot in the arse.” It was a time of agitation that proved critical to painting’s history as methods of filling up the canvas split, for the most part, in two directions: one of abstraction or non-objectivity; and another that held ground representing “things of the world,” however absurd or beautiful. This year’s Frieze New York art fair on Randall’s Island shows artists using both methods in collision or collusion in a struggle to find firmer artistic footing.

The need for footing comes from a growing restlessness with riffing on 20th century abstraction and the inability to sustain irony, a once-dominant theme in recent representational painting, since it is more of a pretense of not caring rather than a risk of vulnerability. These methods may be losing their effectiveness, and, since painting never dies, new ways of pushing forward emerge.

Patricia Treib, “As-of-yet-untitled” (2015), oil on canvas, 66 x 50 inches at Wallspace Gallery

Patricia Treib’s “As-of-yet-untitled” (2015) in Wallspace Gallery‘s booth either is abstractly figurative or figuratively abstract — complete and without tension. The relaxed, abled gestures and colors of Matisse suggest a sense of place and life of leisure, without giving us the goods or robbing us of their pleasure. Paul Heyer’s “Burnout,” an acrylic and oil on silk painting tucked around the corner of Night Gallery‘s booth, presses ordered black splotches against a facile rendering of flowers painted in watery pastel colors. The bold and abstract interruptions provide both a tension between types of picture-making and compositional stability, a structure holding all elements into place.

The multiple ways in which artists at Frieze mine the languages of both the abstract and representational traditions, in their multiple iterations however broadly conceived, remind us that every mode of working has a time, place, and specific motivation. From sublime geometries and Freudian dreams to fits of anxiety seeking universal expression and commercially-produced homogenous batches, all artistic fabrications have a context. So when today’s artists seek stability, erasure, or obfuscation by combining image-based content with abstract impulses, these visual inheritances and borrowings are transparent enough to put in high relief the strengths — and weaknesses — of artists’ imaginations.

Johannes Kahrs, “OT (green fingernails)” (2015), oil on canvas, 44.4 x 48.2 cm at Zeno X Gallery

Johannes Kahrs’s “OT (green fingernails)” (2015), in the booth of Antwerp’s Zeno X Gallery, is sexy without substance. The reproduced image, sourced from a photograph or video, uses seediness in the lives of others to convey a sense of raw experience, like a short-cut search for authenticity. Figuration or “the real” is here depleted through cropping and blurring, a splicing effect that flirts with obliteration. George Shaw’s painting “She Had an Horror of Rooms” (2014–15) in the Wilkinson Gallery booth, of wood scraps resting in leaves, could be the remains of a discarded project or hobby, or a realist painter’s examination of failed Bauhaus ideals.

George Shaw, “She Had an Horror of Rooms” (2014–15), Humbrol enamel on board, 56 x 74.5 cm at Wilkinson Gallery

In the Taro Nasu booth, Simon Fujiwara’s “Fabulous Beasts” brings “the real” into abstraction, sewing and stretching together swaths of shaved fur coats for a result that’s close enough to painting for me. Possible associations include Dadaist sculpture and linear abstract painting. Jens Fänge’s assemblage on panel in Galleri Magnus Karlsson‘s booth recalls early Cubism and mid-century photomontage.

Portia Zvavahera, “I Can Feel It in My Eyes [16]” (2015), oil-based print ink and oil bar on canvas, 209.5 x 163.5 cm at Stevenson

The most accomplished paintings at this year’s Frieze are by Zimbabwean artist Portia Zvavahera. Her “I Can Feel It in My Eyes [16]” (2015) is one of several beatific visions of corporeal entanglement nearly lifting themselves off Stevenson gallery’s booth walls. With the strength of Marc Chagall’s spiritual interiority, she envisions a world of romantic longing hardly seen since Gustav Klimt.Anna Bjerger, “Halo” (2015), oil on aluminum, 50 x 40 cm at Galleri Magnus Karlsson

Anna Bjerger’s “Halo,” also hanging in Galleri Magnus Karlsson’s booth, features luscious, buttery paint that in its own right commands attention. But in the painting’s facile slips and turns, a remarkable articulation of a woman, lit from the back, appears with the same sense of seduction. More cold in feeling, but likewise straddling the abstract-representational divide, is Wilhelm Sasnal’s “Untitled (car)” in the Foksal Gallery Foundation booth.

Kon Trubkovich, “A heart with an iron lining” (2015), oil on canvas, 72 x 60 in at Marianne Boesky Gallery

The most prominent example of strategic collision is Kon Trubkovich’s “A heart with an iron lining” (2015) at Marianne Boesky‘s booth. Rather like video and paint in conflict, the work, all in oil, is more cerebral than enticing. Zhang Hui’s “Pearl 2” (2015) at Long March Space is more tactile, inviting touch and wondrous questions. Like the modernist method of “all-over painting,” whereby the entire canvas is covered and never lets the viewers’ eyes rest, Mircea Suciu‘s “Iron Curtain” (2015) at Zeno X Gallery covers the “subject,” all over, in suffocating plastic.

Peter Davies, “Come Hither” (2015), acrylic on canvas, 59 13/16 x 48 in at The Approach

Peter Davies’s “Come Hither” (2015) at The Approach‘s booth is geometric abstraction waving its hand or growing from the ground and reaching into the air. The black masses, all joined, fill the canvas plane to create a sense of activity within the flattened space. In the Modern Institute‘s booth, Urs Fischer channels Willem de Kooning to confront an aged photograph of a stool and magazine rack, setting a replica of mass produced images and articles — light fare — against the self-serious ethos of Abstract Expressionism. A comparatively older work at the fair, yet one that is resolutely contemporary, is Larry Bell’s “Big Mirage Painting #53” from 1991. By introducing to a reductive abstract composition various reflected lights, kaleidoscopic and variant in intensities, Bell gives represented “materials” a sense of non-objectivity, a kind of constructed non-space. That White Cube chose to show the piece here highlights the singularity of Bell’s work.

Exceptions prove the rule at Frieze, even though there are no rules in what artists here are doing. That openness to potential, space, and means ready for invention — or possible lapses into pastiched mimicking — makes the fair exciting and gives reason to believe that painting around the world is turning a corner.

Larry Bell, “Big Mirage Painting #53” (1991), mixed media on canvas 89 9/16 x 70 3/8 in at White Cube

Urs Fischer, “Free advice is usually worth what you paid for it” (2015), aluminum panel, aramid honeycomb, two-component polyurethane adhesive, two-component epoxy primer, galvanized steel rivet nuts, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint, 96x72 inches at The Modern Institute/Toby Webster Ltd

Mircea Suciu, “Iron Curtain” (2015), oil, acrylic, and mono print on linen, 156 x 121.8 cm at Zeno X Gallery

Zhang Hui, “Pearl 2” (2015), acrylic on canvas, 180 x 116 cm at Long March Space

Jens Fänge, “The Inner Wedding” (2015), assemblage on panel, 112 x 75 cm at Galleri Magnus Karlsson

Simon Fujiwara, “Fabulous Beasts” (2015), shaved fur coat, 115 x 65 cm at Taro Nasu

Frieze New York continues in Randall’s Island Park (Randall’s Island) through May 17.



Photo Essays

Close Readings from a Cozy Art Fair


As part of the frenzy of Frieze Week, Zürcher Gallery is hosting Salon Zürcher, a more intimate fair featuring both emerging and established artists. In its tenth edition, the Salon once again positions itself in opposition to the other large–scale, superstore–style fairs and offers a two–room gallery filled with unique and thoughtfully curated pieces. Six galleries are present: Galerie L’Inlassable, Galerie Mathias Coullaud, and Galerie Isabelle Gounod from Paris; Cathouse FUNeral from Brooklyn; Amsterdam outfit The Merchant House; and hosts Zürcher Gallery. Below, I’ve collected some of the highlights.


French artist Éric Rondepierre has been using movies as his medium of choice for many years, and recently made the transition from working with traditional celluloid film to digital film. These four images are video screenshots from classic movies that Rondepierre streams on his computer; he stops and captures moments where the file is buffering due to poor connections, freezing the image as it struggles to resolve, sometimes caught between two different frames. In Rondepierre’s screenshots, the pixels and eerie colors become reminiscent of painterly strokes, recalling the gas–lit figures of Degas’s interior scenes.


Marcella Barcèlo, a 22–year–old artist, creates “embedded collages” by layering Japanese paper; she covers up her drawings with successive sheets, sometimes sandwiching other elements like printed paper, until the pieces become thick and sculptural. Ghostly drawings of mythological characters, like the devil, a drowning woman, and religious icons, are trapped under paper. Behind swathes of watery colors, the barely perceptible lines of her underdrawings add dimension and depth, and, on the outermost layer of paper, disembodied arms grasp and gesticulate as if tenderly and anxiously holding the paper sheets together.


Farideh Sakhaeifar who had a solo show at Cathouse FUNeral earlier this year had two series on display in the gallery. In “ISIS/NASA” she culls images from ISIS bombings and NASA spaceship launches, using Photoshop to conflate the two, and thus explores the dual themes of spectatorship and nationalism (and of course the similar formal appearance) present in the two types of images. The postcard–sized images are seemingly arrayed as tourist souvenirs.

In her other series, “Workers are taking photographs,” Sakhaeifar had 200 Iranian, male, working class laborers take their own photos. She stood directly behind them, holding up white backgrounds that framed their heads and upper bodies. The white background decontextualizes their bodies, catapulting them into the space of the sterile, white gallery.


For each of her pieces in “The Folds Series,” André De Jong spends years building the thickness of the paper through successive applications of ink, gesso, and charcoal. When the paper is ready, he shapes it, folding it to produce cracks and reveal the white paper underneath the color. The folds read as expressive, white chalky lines, producing sculptural drawings, and as De Jong told The Parool, “The destructive act [of the fold] is necessary to infuse life into these works. A remarkable thing about this type of object is that it retains the traces of this act, and that they are in fact decisive in determining its beauty.”

Form, as articulated through the handling of paper, is essential to De Jong’s cracked paper just as it is to Barcelo’s translucent drawings, while Rondepierre and Sakhaeifar grapple with the production and dissemination of the digital image. With these pieces, the ones that stood out to me at Salon Zürcher, the viewer can leave an art fair having contemplated the act of artistic creation.




Salon Zürcher continues at Zürcher Gallery (33 Bleecker Street, SoHo, Manhattan) through May 17.



New York City is Frieze-ing! What’s Happening at This Year’s Fair

While half the art world is still coming down from the magnificent high of the Venice Biennale, the other half is reveling in the first billion-dollar week of sales at Christie’s. And right on the heels of both high points comes Frieze New York, which has better food, better lighting, and better ponchos (more on that later) than any other annual fair in this city. Here, a rundown of the interesting things happening out on Randall’s Island this weekend.

Frieze New York Art Fair
Solo booths are looking good
Bringing one artist’s work to a fair usually makes for a more compelling booth than a random assortment. Showings from David Kordansky and Pace Gallery are evidence enough, but Gladstone Gallery’s T. J. Wilcox takeover is the best example. In addition to a reworking of “In the Air,” Wilcox’s 2013 Whitney show, Gladstone is showing his specially commissioned video for the Metropolitan Opera’s The Tales of Hoffmann. A combination of stop-motion animation and more traditional cartoons—think an operatic version of Space Jam—it is a total delight.
Photo: Courtesy of Gladstone Gallery



A Contemporary African Art Fair Arrives in New York

The entrance to 1:54 Contemporary African Art Fair (all photos by the author for Hyperallergic)

It may at first thought seem odd that the newest addition to Frieze Week in New York is a fair devoted to contemporary African art. How could one expect to cover the ground of a whole continent in a single art fair, and an exceptionally small one at that? Is “African art” a useful category?

But the bigger problem may be that it doesn’t seem all that strange, accustomed as we are, in the US, to seeing the many countries of Africa stereotyped and lumped together as one big, general place. That contradiction is in fact built into the name of the art fair: 1:54, whose numbers stand, respectively, for the one continent of Africa and the 54 countries it contains. “To share and give visibility to the diversity of the African art scene,” is how 1:54 founder Touria El Glaoui described the goal of the fair to Hyperallergic — “to be a player in the international scene.”

The fair seen from above (click to enlarge)

El Glaoui, the daughter of Moroccan artist Hassan El Glaoui, founded 1:54 two years ago in London, timing the first edition to Frieze Week there. She is now testing the waters of New York, though it sounds like it was something of a last-minute decision: El Glaoui told me she had six months to plan the fair’s trans-Atlantic voyage. 1:54 landed on the shores of Red Hook and is moored for the weekend at the multipurpose arts center Pioneer Works.

The fair features only 16 galleries, half of them from Africa and half from other countries but showing work that falls under the admittedly vague rubric of “African.” The layout is standard, as far as fairs go: big, tall white walls carve up the cavernous industrial space into pristine booths. These mini-showrooms are quite big, a decision that gives the art plenty of room to breathe but also has the unfortunate effect of eating up any potential free space on the building’s ground floor — so that you may end up feeling (as I did, at times) like you are little more than a murine aesthete lost in an art market maze.

Happily, the art you’re trapped with is largely very good and largely by people whose names are not yet well worn in the art world. “It’s also about where the artists are in their career,” El Glaoui told me. El Anatsui, for instance, isn’t at 1:54 because he “doesn’t need to be here.” William Kentridge is, his work greeting you immediately upon arrival (at the booth of David Krut Projects), but along with Malick Sidibé and Seydou Keïta (two of the most famous photographers in African history, both at Magnin-A gallery), Kentridge is an exception. 1:54 is mostly focused on bringing new artists to the attention of New York audiences.

Peter Clarke, "Black Cowboy" (1982), gouache collage on paper, 50.5 x 65 cm

New doesn’t necessarily mean young, though, and one of my favorite discoveries of the fair was the work of Peter Clarke, a towering South African artist who died last year at the age of 85. Clarke, who was forcibly uprooted from his home when he was young because of apartheid, made art his whole life but only received recognition “later, due to the political situation,” explained Marelize van Zyle, associate director of SMAC Gallery. “He depicted Cape Colored life, life in that community.” Zyle brought two pieces of Clarke’s work that she thought would resonate with American audiences: one, a gentle gouache showing a branch of KFC in a poor Cape Town neighborhood in the 1980s (the company was one of the only international chains that did not pull out of the country during the economic boycott), the other a brighter imaginary scene inspired by Spaghetti Westerns. Featuring a stylish black cowboy painted in gouache, the work also contains a collaged Jack Daniels label at the center, on which Clarke hand-wrote a text that ends: “Only, the westerns never show that in real life the cowboy hero was sometimes a Black Man … ”

Wall of photos from Bobson Sukhdeo Mohanlall's studio at Axis Gallery's booth (click to enlarge)

Perhaps predictably, questions about identity ripple through the fair, connecting much of the work on view and coloring many of the conversations I had when I visited. Axis Gallery‘s wall of dazzling photographic portraits by Bobson Sukhdeo Mohanlall — who established what Axis curator Gary van Wyk called “the first color photography studio in Africa” in 1961 in Durban, South Africa — resonates with a number of more contemporary works at the booth of Mariane Ibrahim Gallery, among them Fabrice Monteiro‘s sumptuous photograph of a woman dressed as a signare, as the lawful wives of colonizers in the 18th and 19th centuries were called. These little-remembered women were “covered with fashion and jewelry” and “extremely emancipated,” said Mariane Ibrahim-Lenhardt, the gallery’s director. Hanging catty-corner in her booth is an arresting black-and-white, composite self-portrait by Ayana V. Jackson that features six versions of the artist dressed in different Victorian outfits and posed together as in a family photo. “If, at the time of slavery, it were egalitarian and equal — if there were no slavery, what sorts of costumes would the black body be wearing?” Ibrahim-Lenhardt asked, by way of explaining the impetus for the work.

Work by Fabrice Monteiro at Mariane Ibrahim Gallery's booth, showing a signore

Work by Ayana V. Jackson at Mariane Ibrahim Gallery

Billie Zangewa, "Ma vie en rose" and "Homecoming" (both 2015), silk tapestries, at Afronova's booth (click to enlarge)

Both of these pieces, in turn, seem to be distant cousins of a couple of beautifully assured silk self-portrait tapestries by Billie Zangewa, at Afronova’s booth, and more closely related to a series of costumed self-portraits by Omar Victor Diop at Magnin-A. For the project, Diop researched “Africans sent to various parts of the world, either as slaves or as representatives of their kingdoms,” many of them since “left out of the history books.” He then found images of them and photographed himself modeled after them, adding the occasional contemporary touch like a soccer ball or a whistle. The series is indebted in equal parts to Kehinde Wiley and to Keïta, but the results possess a potent agency that the works of Diop’s predecessors lack.

Omar Victor Diop's series at Magnin-A's booth (click to enlarge)

“As African artists, of course we don’t want to be locked in an African ghetto,” Diop said when I asked him about the idea of an African art fair. “But if you don’t speak, you let others define what an African artist is. You’ll always be from somewhere. You can’t change your Africanness, but you can change the perception.”

Those remarks contrasted sharply with the words of Lavar Munroe, an artist showing disturbing and surreal collaged renderings of animal and human figures with NOMAD Gallery. “I’ve always resisted the label” of African artist, he said, explaining that he initially refused to participate in the fair but was persuaded by his dealer. “Why the fascination [with African art]?” Munroe asked. “I think it has to do with the notion of the other, exhibiting the other.”

Work by Lavar Munroe at NOMAD Gallery

Most of the gallerists I spoke with (who were almost exclusively white) seemed far more at ease with the label, probably because they know that successful selling generally requires successful branding. But perhaps one of benefits of using such a broad term as “African” to describe a category of art is that it can be widely applied, so that Voice Gallery founder Rocco Orlacchio — who told me, “I don’t like very much labels” — could show work made in Kenya by a Japanese artist living in Morocco (a country that itself raises more questions of identity because of its location in the north of the continent and its uniquely hybrid identity).

“In the most ideal world, you would have no 1:54,” El Glaoui acknowledged, “but the truth is 0.05% of African artists are represented anywhere at any given moment.

“The best death of 1:54 will be that you don’t need it anymore.”

A sculpture by Nidhal Chamekh at Primo Marella Gallery

Lawrence Lemaoana, "I didn't join the struggle to be poor" (2015), fabric and embroidery, 155 x 110 cm, at Afronova's booth

Conrad Botes drawing his installation at Bennett Contemporary

Olu Amoda, "Medium Sunflower iii" (2014), blind revert, steel belt, mild still pipe, 52 x 52 in, at the booth of Art Twenty One

Work by Eric van Hove and Younes Baba-Ali at VOICE Gallery

Work by Edson Chagas at A Palazzo Gallery's booth

Looking down on one of the booths

Sammy Baloji, "Raccord #5," at Axis Gallery's booth (click to enlarge)

The entrance to 1:54 art fair

1:54 Contemporary African Art Fair continues at Pioneer Works (159 Pioneer Street, Red Hook, Brooklyn) through May 17.



The Art Market: big spenders in the Big Apple

  •   New York ‘Auction-tigue’; Frieze looks to the past; Giacometti show for Shanghai
‘Swamped’ (1990) by Peter Doig©Christie’s

‘Swamped’ (1990) by Peter Doig

“Fair-tigue” gave way to “auction-tigue” this week in New York, with a logjam of evening sales triggered by the changes in Venice Biennale dates this year. Crammed into the week were four evening sales plus a swathe of day sales: as we went to press, nearly $2bn had been splurged on the art of the 20th and 21st century in a seemingly unstoppable paroxysm of spending. Records tumbled across the categories: Peter Doig’s Swamped (1990) sold for $25.9m at Christie’s; Polke ($27.1m at Sotheby’s); Christopher Wool ($29.9m at Sotheby’s) or Soutine ($28.2m at Christie’s).

Christie’s emerged the clear winner, having clocked up an eye-popping $1.36bn by Wednesday night in two evening sessions alone. In a knockout blow to the opposition, its curtain-raising Monday sale scored $705.9m for “Looking Forward to the Past”, a “curated” sale of 34 lots which mixed categories, from early 20th century to contemporary art. Picasso’s “Les femmes d’Alger (Version O)” (1955) sold for an estimate-pulverising $179.4m (presale expectations were $140m; estimates don’t include fees: results do), while Giacometti’s “L’homme au doigt” (1947) made $141.3m — setting auction records for a painting and a sculpture.


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However, the sale was heavily guaranteed with half of the lots backed by Christie’s or third parties — which was the case for the Picasso but not for the Giacometti. As a result, the auction was curiously unexciting, with most bidding on the telephone and little action from the room — except to applaud the prices. “It was like watching a piece of theatre because ultimately so much was presold,” said one dealer. Guarantees also littered the catalogue at Sotheby’s the following night, but to a lesser extent, with 19 of the 65 lots so covered. Six of them were irrevocable bids announced during the sale, presumably because guarantors were encouraged by Christie’s results. That Sotheby’s sale made $379.7m with a Rothko taking the top spot at $46.4m; one disappointing result was for Lichtenstein’s “The Ring” (1962), which made just $41.7m, going to a private Asian buyer. It was estimated at about $50m and guaranteed, meaning a possible loss for the auction house. Sotheby’s Impressionist and Modern Art evening sale had been held the previous week, raising $368.3m.

Then Christie’s blasted back on Wednesday night with a sale of contemporary art that racked up another total of $658.5m, led by a Rothko which made a stunning $81.9m. And a record was set for Lucian Freud, when his fleshy “Benefits Supervisor Resting” (1994) just topped its high target at $56.2m.

. . .

‘L’homme au doigt’ (1947) by Alberto Giacometti©Christie’s/Alberto Giacometti Estate

‘L’homme au doigt’ (1947) by Alberto Giacometti

The interest in mixing modern with contemporary art, as exemplified by Christie’s Monday night sale, was also evident at the Frieze New York fair, which opened this week on Randall’s Island. The organisers had sought out “blue-chip” dealers and encouraged them to bring more traditional art — “contextualising”, as this is called. So among the newcomers this year are a clutch of blue-chip galleries. They include Skarstedt, McKee, Pace, Matthew Marks and Acquavella — with some showing more established names alongside their contemporary artists. Pace is holding a solo show of Richard Tuttle, while Acquavella has a couple of million-dollar Picassos along with Brice Marden and Ed Ruscha. “I have clients who started with contemporary art, and now their attention is being taken by earlier works,” says Michael Findlay of Acquavella, “and the prices are so high for contemporary now.”

Among the successes of the fair was Vigo gallery, with Sudanese artist Ibrahim el-Salahi: New York museums bought a number of his works (priced between £250,000 and £650,000) and the collector Beth DeWoody another two. Frieze finishes on Sunday.

. . .

The $141.3m paid for Giacometti’s “L’homme au doigt” is a just reflection of the significance of the Swiss sculptor. And now that peace has broken out between the previously warring Giacometti foundation and association, the foundation’s new director Catherine Grenier is pressing ahead with a number of projects.

This week she and the Chinese/Indonesian collector and museum owner Budi Tek announced that they will stage the biggest exhibition yet of Giacometti’s work, from March next year in Tek’s Yuz Museum in Shanghai. It will comprise 240 works, including drawings, original plasters, sculptures and paintings, all from the foundation and displayed in a 2,000-sq metre gallery. “Giacometti has influenced Chinese artists for a long time,” says Tek. “And yet this is the first exhibition of his work in China.” Grenier says she has known Tek for some years, and that the project “was born very quickly after my nomination”. Tek is supporting the Institut Giacometti, an outpost of the foundation to be used for research and exhibitions, due to open next year. This Friday, “Beyond East and West”, a talk between Tek and Alexandre Colliex, development director of the Giacometti Foundation, will be held at Art15; the fair opens on Thursday in London’s Olympia.

. . .

‘Untitled’ (1982) by Jean-Michel Basquiat©Christie’s

‘Untitled’ (1982) by Jean-Michel Basquiat, which realised $13.6m at Christie’s on Monday

“Filthy Lucre” is the title of an immersive new work by contemporary artist Darren Waterston which goes on show in Washington’s Freer Gallery of Art from Saturday. The installation is a reinterpretation of Whistler’s Peacock Room, originally designed in 1876 for the London home of the shipping magnate Frederick Leyland.

The commission proved poisonous: Whistler and his patron had a bitter falling out, both because the artist gave full rein to his creativity while Leyland was away and because he demanded the vast sum of 2,000 guineas for the work. Leyland paid just half that, and Whistler finished the room by painting battling peacocks on one wall — with a poor artist/bird being attacked by the patron/bird. Whistler exacted further revenge by painting vindictive portraits of Leyland — one entitled “The Gold Scab — Eruption in Filthy Lucre”.

Waterson’s work recreates the room in a state of disrepair, its porcelains cracked and broken, shelves sagging, its central female portrait decaying and disfigured.

Georgina Adam is art market editor-at-large of The Art Newspaper

Photographs: Christie’s; Christie’s/©2015 Alberto Giacometti Estate/Vaga and ARS, New York




Josh Faught, Issues, 2015. Photo courtesy of the artist and Lisa Cooley Gallery.

Faught’s large-scale quilt is not the kind you’d receive from your grandmother. Although it might seem haphazard in construction, there is a method to his madness: Faught references themes that touch upon domesticity and sexuality, resulting in charged works that are, ironically, very much home-spun.


Jonathan Horowitz, 700 Dots, 2015. Photo: Marco Scozzaro, courtesy of the artist, Gavin Brown’s Enterprise, and Frieze.

Audience participation is one prevalent theme throughout this year’s fair. For his installation, Horowitz paid visitors 20 dollars each to paint black circles on white canvases. A clever inversion of the fair business model or a fantastic advertisement to draw in new collectors? Your choice.

Dashiell Manley, It and Another Other, 2015. Photo courtesy of the artist and Jessica Silverman Gallery.

Manley’s minimalist works first caught my eye at the 2014 Whitney Biennial. The young Los Angeles-based artist engages with the environments in which his works are staged, referencing the movement of the viewer while also playing with light and reflection.


Tom Sachs, Big Tits, 2014. Photo courtesy of the artist and Salon 94.

Ever since Sachs took over the Park Avenue Armory in 2012 for his mega-installation Space Program: Mission to Mars, a staged DIY NASA-inspired expedition to the titular planet, we’ve been a huge fan. A common characteristic of Sachs’ creations, as with this boom box, is his use of bricolage- the incorporation of found objects and everyday materials in the construction of works. Fully functioning, it also happens to play the intro sample from Dre and Snoop’s hit “The Next Episode.”

Jordan Wolfson, Untitled, 2015. Photo courtesy of the artist and Sadie Coles HQ.

Wolfson’s masked dancing anamatronic stripper that was exhibited last year at David Zwirner freaked us out, but in the best way possible. Living up to his reputation as an artist who shocks his audience, Wolfson’s work this year somehow reminds us of the once ubiquitous tabloid fixture, Bat Boy.

Giuseppe Penone, Albero di 8 m, 2000 and Albero di 10 m, 1989. Photo: Marco Scozzaro. Courtesy of the artist, Marian Goodman Gallery, and Frieze.

If we’re going for sheer size, nothing seems to rival Italian artist Giuseppe Penone’s installation. Works include a wall of mesh-encased panels containing laurel leaves, as well as denuded tree trunks. The monumentality of Penone’s works beg the viewer to pause and marvel amidst the madness of the fair.

Richard Prince, New Portraits, 2014. Photo: Robert McKeever, courtesy of the artist and Gagosian Gallery.

One of the biggest names from one of the biggest galleries, Prince’s appropriation of Instagram posts belonging to other users is representative of several high-profile artists at the fair this year. Many works on view engage with issues surrounding social media and the Internet. Make sure that selfie looks its best; your feed may be next.






Frieze New York review – navigating the maze of art fair’s eccentric fun

There are massage chairs and the opportunity to stick to the wall in a Velcro suit – but the real thrill is discovering great artists beyond the blue-chip names

An artwork at Frieze New York made with hundreds of crushed beer cans.
Kader Attia’s Halam Tawaaf, an artwork at Frieze New York made with hundreds of crushed beer cans. Photograph: ddp USA/REX Shutterstock/ddp USA/REX Shutterstock

There was a new ingredient on the first day of this year’s Frieze New York: the sun came out. Three years in a row it rained at the opening of the American cousin of Britain’s most important art fair, and I’d grown used to the very English grey sky over the art fair’s custom tent, a cunningly sinuous thing designed by the Brooklyn firm SO-IL. It looked better than ever this year with light streaming through, and still affords better sightlines than any fair this side of Paris’s FIAC, which has the unfair advantage of being housed in an Art Nouveau masterpiece.

Frieze New York is ticking along – the fair that once seemed a British invasion is now a major Big Apple event, as much a pleasure palace as an art fair. The ferry up the East River to Randall’s Island, the fair’s unlikely home, is an indulgence for locals and foreigners alike. The aisles are clogged as ever with dealers, curators, hangers-on. The food is still a major draw – chia pudding from a popup version of Chinatown hangout Dimes seems to be the big ticket, to be washed down with a $7 latte with a Brooklyn pedigree. Real art fair pros, though, bring their own granola bars.

In its first edition, in May 2012, galleries went out of their way to establish Frieze New York’s commercial bona fides. It’s not that blue-chip trophies are not in short supply this year: multiple Anish Kapoor discs are yours for the taking. But even the largest galleries are playing a little faster and looser than before. Hauser and Wirth has mounted a winningly anarchic booth whose walls have been painted by Martin Creed in various patterns of blue and black stripes – against which paintings by Rita Ackermann, sculptures by the late Juan Muñoz, and photographs by Roni Horn look positively groovy.

Art therapy at the Gavin Brown stall.

Art therapy at the Gavin Brown stall. Photograph: Courtesy of Marco Scozzaro/Frieze

Over on Gavin Brown’s booth has the look of an art therapy class: long folding tables, which fairgoers are hunched over in uncommon silence. Have a seat and someone will offer you a canvas, some brushes, and black paint. Your task, as set by the American artist Jonathan Horowitz: paint an eight-inch circle at the centre of your canvas. For your effort you’ll be paid $20 (a handsome price, if your technical skill is as pathetic as mine), and your black dot will take pride of place in a collaborative grid whose irregularities surpass any coloured circles from the Hirst factory.

Then there is the stand of uber-gallery Gagosian, given over, I’m afraid, to Richard Prince’s ho-hum prints of Instagram screenshots. Prince is a great artist when he wants to be, but lately he’s been leaving comments on cute girls’ selfies, then reproducing the image and the comment at wall-holding scale. (When they first appeared last year, the New Yorker critic Peter Schjeldahl heroically described his response as “something like a wish to be dead”.) How dull are they? So dull that they are outshone by the floor that Team Gagosian has custom installed: a plywood deck that proves even the cheapest materials can turn luxe with the right framing.

Martin Creed’s wall paintings at the Hauser & Wirth

Martin Creed’s wall paintings at the Hauser & Wirth. Photograph: Courtesy of Marco Scozzaro/Frieze

As always, the best reason to come to the fair is to see art from galleries outside New York, and ideally from outside the big-ticket western consensus. The Zimbabwean painter Portia Zvavahera has been given a solo presentation by Cape Town gallery Stevenson, and her churning, disquieting paintings of couples embracing or asleep seem haunted by public history as much as private nightmares. Galerie Frank Elbaz, from Paris, has put together the most impressive group presentation under the big top: a showcase of Croatian avant-garde artists pushing the boundaries of fine arts in the midst of the cold war. The painter Julije Knifer embraced stark abstraction in the form of meandering fat lines; the trickster Mladen Stilinović took white out to a dictionary page, then added in, over and over, the word “pain”.

Galeria Jaqueline Martins, a young gallery from São Paulo, deservedly netted the fair’s best booth prize for a solo presentation of Martha Araújo, whose 1985 project Para um corpo nas suas impossibilidades (For a body in its impossibilities) consists of a quarter-pipe, the sort of thing you see in skateboarding parks, covered in black Velcro. The gallery proves jumpsuits covered in Velcro straps, allowing participants to clamber to the top or hang upside down. For you, reader, I suited up. I bounced to the top of the quarter-pipe, smushing the front of my body against the wall. Naturally I came crashing down. Someone took a photo. I jumped up again, this time in the other direction, but instead of sticking all I did was hurt my back. More photos. The dealers were laughing at me, but I got the hang of it on my third go, and clung to the wall like a not very ambulatory spider.

The funhouse atmosphere continues in the noncommercial section of Frieze New York, for which half a dozen invited artists have created new works. Korakrit Arunanondchai, best known for belting out Thai rap music while sucking on light-up e-cigarettes, has installed a bunch of massage chairs upholstered in bleached denim and speckled with paint; an easy gesture, and a forgettable one. Rather better is a choose-your-own-adventure maze created by the young Japanese artist Aki Sasamoto, an absurdist personality test in three dimensions. Hanging from two white doors are baskets full of coffee or tea – pick your preference. I’m American; it was coffee for me, and walked through that door to a chamber with another pairing, and then another, until at last I had to choose between two toilet rolls, one unspooled from above, the other from below. I picked the first one, and a kind young man was waiting for me behind the door, proffering a pin with my personality type on it: “Into Big”. And this before they asked any questions about my sex life.


Our Mega Guide to all the Fun at Frieze New York
We hope you’re well rested, because this is one incredible week for art fans in New York City.  The FRIEZE art fairhas been building momentum for the past three years, and this year’s edition on Randall’s Island won’t disappoint.  Plus there are tons of satellite fairs — including an “invasion” of our turf by the folks from Art Miami — and gallery openings, auctions, pop-ups and much more.10168c4eddbc0ae503e4dc07366af2ee4c92e650.jpgFRIEZE New York opens for “invite only” VIPs and collectors on Wednesday, May 13th, and then it’s open to the public for four days starting on the 14th.  Over 190 galleries are exhibiting in 2015 and, as usual, there are cool side-projects including a “Tribute to Flux-Labyrinth 1976/2015” where contemporary artists will construct a maze of narrow corridors and obstructed spaces for you to explore.  Elsewhere, look for several “clandestine rooms” by Aki Sasamoto and “underground environments” by Samara Golden.  If you need to chill after these mysterious challenges, look for one of the free massage chairs placed around the venue by Korakit Arunanondchai.  There are also daily talks including one called “Ask Jerry” with New York Magazine’s art critic Jerry Saltz on Saturday at noon and a talk-show panel hosted by the artist/comedian and 2015 Paper Beautiful Person Casey Jane Ellison on Friday at noon.  A single day ticket is $44 and the hours are 11 a.m. to 7 p.m. daily, except Sunday, when things shut down at 6 p.m. The full schedule is HERE.

Screen Shot 2015-05-11 at 4.18.21 PM.pngMaripola X

For the first time, the folks behind Art Miami – that city’s longest running art fair — will host a New York spin-off on Pier 94 (12th Avenue at 55th Street) with over 100 galleries showing works from May 14th (VIP Preview) to May 17th.  FRIEZE VIP cardholders get in free and there’s also a courtesy shuttle service from the FRIEZE ferry dock on East 35th Street.  It’s open from noon to 8 p.m. daily, except Sunday until 6 p.m. A single day ticket is $25.  On Saturday, May 16th, 3 to 6 p.m., photographer and designer, Maripol, will sign copies of her limited-edition book MARIPOLA X  in booth #B19.  The book includes unreleased photos and poems chronicling the early-80s NY underground. Also: NYC’s Keszler Gallery is showing several works by UK artist Banksy and The New York Academy of Art has a special exhibition of alumni work curated by Natalie Frank.

Gerard-Quenum-La-Cour-du-Roi-2013-acrylic-on-canvas-130-x-170-cm.jpgGérard Quenum, ‘La Cour du Roi’, 2013, Acrylic on canvas, 130 x 170 cm, Courtesy of the artist and Art Twenty One

Another fair making it’s NYC debut this year is the “1:54 Contemporary African Art Fair
happening out in Red Hook at Pioneer Works (159 Pioneer Street, Brooklyn) from May 15th through May 17th.  The fair was founded in London in 2013 by Touria El Glaoui to showcase emerging contemporary African art. Sixteen galleries will be on hand with works by over 60 artists.  The award-winning London architecture and design studio RA Projects will do the lobby and exhibition spaces for the fair.  A single day ticket is $10 and it’s open Friday, Saturday and Sunday from noon to 8 p.m. (6 on Sunday).

Screen Shot 2015-05-11 at 4.42.08 PM.png

NADA returns to Pier 36, Basketball City (299 South Street), for the fourth edition of their New York fair. The not-for-profit collective offers a great mix of global galleries and special projects including a fashion show on Thursday, May 14, 7 p.m., featuring limited-edition clothing designed by artists including Cheryl Donegan, Amy Yao, Sarah Braman, Bjorn Copeland and Daniel Heidkamp.  Richard Haines will be on-hand to document the show with his drawings.  This is a collab between NADA and Print All Over Me and was curated by Sam Gordon.  Admission to this fair is free and it’s open to everybody, so check it out on Thursday from 6 to 8 p.m., or Friday thru Sunday from 11 a.m. to 7 p.m. (5 on Sunday).

The fifth LIC Arts Open runs from May 13th to May 17th with tons of open studios, exhibits, music etc. happening throughout Long Island City.  The complete list is HERE. Flux Factory (39-31 29th Street, LIC) is participating with a BBQ, artist talks and an exhibition by Roopa Vasudevan on Thursday at 7 p.m.

Sixty-one exhibitors are showing at the Spring Masters New York art and design fair at the Park Avenue Armory (643 Park Avenue).  This fair opened last week, but you still have a chance to check it out before it closes at 6:30 p.m. on Tuesday, May 12th.  Tickets are $25.  Acclaimed architect Rafael Vinoly did the booth layout.

4928h.jpgBerndnaut Smilde,”Nimbus”

NeueHouse (110 East 25th Street) is once again the official VIP partner for FRIEZE and will host the VIP lounge with music, food and cocktails; plus artist talks including David Salle in the fair lounge on Sunday, May 17, 11 a.m., and Stephen Posen and his son, Zac, on Tuesday, May 12, 7 p.m., in their 25th Street location.  Also at 25th Street, on Wednesday and Thursday, from 11 a.m. to 4 p.m., the Dutch artist Berndnaut Smilde will present “Nimbus,” creating artificial indoor clouds.

Screen Shot 2015-05-11 at 4.51.08 PM.pngThe local auction houses are hosting their contemporary art auctions this week with Bonhams on May 11, Sotheby’s on the 12th & 13th,  Doyle on May 12, Christie’s on May 13 and Phillips on May 14th & 15th.  Swann Auction Galleries (104 East 25th Street) hosts theirs at 1:30 p.m. on May 12th and it includes several items in what we like to call the “never throw anything away” category.  There’s a 1984 invitation to Keith Haring and Larry Levan’s “Party of Life” at the Paradise Garage that’s estimated to go for between $1,000 and $1,500.  Haring printed the invite on a cloth handkerchief.  Also up for bidding is a leather jacket from the collection of a “door girl for the Danceteria VIP room Congo Bill” that includes tags by Jean-Michel Basquiat, Keith Haring, Futura 2000, Fab Five Freddy, Ad-Rock and many other downtown notables.  It’s estimate is $5,000 to $8,000.  You can check out all the cool items in this auction HERE.

FRIEZE week also overlaps with NYC X DESIGN, New York City’s official celebration of everything design related, featuring hundreds of showcases, fairs and events all over town from May 8 to 19.  These include the Collective Design Fair which runs from May 13th to the 17th at Skylight Clarkson Square (550 Washington Street); WantedDesign in Brooklyn at Industry City (274 36th Street, Brooklyn, from the 9th to the 19th and also in Manhattan at 269 11th Avenue from the 15th to the 18th; plus ICFF, the “luxury/high end” furniture fair at Javits Center from May 16th to 19th.  Check out the massive list of events HERE.

If you’re looking for an alt-fair experience, we suggest the FRIDGE Art Fair running May 14th through the 17th in the Retro Bar & Grill in the Holiday Inn (150 Delancey Street).  Their opening on Thursday, 6 to 9 p.m., benefits BARC (Brooklyn Animal Rescue Coalition) and is sponsored by Heineken, Zevia, Perrier and Sugar Sweet Sunshine Bakery with a raffle, performances, surprise guests and more. Tix are $20. And would you like a portrait of your fave pet?  Bring him/her by on Sunday from 2 to 5 p.m. to be photographed and then painted by the fair’s founder Eric Ginsburg. Prices start at $1200. A portion of the proceeds go to BARC.

Picture 97.pngphoto from FLUX by Shahram Entekhabi

Harlem’s first contemporary art fair, FLUX, runs from Thursday through Sunday in The Corn Exchange Building (81-85 East 125th Street @ Park Avenue). Works by over 50 international artists will be on view, and the fair’s curator’s have tried to focus on the theme of “the 21st Century artist as a nomad.”  It’s open daily from 11 a.m. to 8 p.m., except Sunday when things close down at 6 p.m.  Tickets are $20.  If you’re going to stop by FLUX, you should also check out THIS list of events during the inaugural edition of Harlem EatUp! — “A celebration of food, culture and spirit” — put together by Marcus Samuelsson and Herb Kalitz.

RISD hosts a private reception on Sunday evening at the WantedDesign fair in Industry City, Brooklyn, with RISD President Rosanne Somerson.  RSVP only.

8921d146-a290-4486-b24a-cf39fcbc48e4.jpgAby Rosen and Vito Schnabel are hosting a pop-up exhibition called “First Show/ Last Show” on Saturday, May 16, 5 to 8 p.m., in the old Germania Bank (190 Bowery).  That’s the former home of photographer Jay Meisel, recently purchased by Rosen’s RFR Realty for a reported $55 million.  Schnabel curated the show featuring artists including Harmony Korine, Julian Schnabel, Mark Grotjahn, Ron Gorchov, Jeff Elrod, Joe Bradley and Dan Cohen.

main.gifMoMA PopRally (11 West 53rd Street) presents “Serendipity,” featuring the films and photography of Awol Erizku on Sunday, May 17, 7 to 10 p.m.  This includes the premiere of the LA artist’s new film; plus a sound performance by MeLo-X, a DJ set by Kitty Cash, open bar and access to the museum’s latest contemporary art exhibition: “Scenes for a New Heritage.”  $25 tickets are HERE.

W Magazine and Stefano Tonchi celebrate their May art issue at the “premiere” of Ian Schrager’s newest hotel, The New York Edition (5 Madison Avenue) on Tuesday night with Q-Tip spinning the tunes.  Invite only.

Maiyet, Conscious Commerce and Milkmade host a cocktail party on Wednesday — also at The NY Edition — with Alexandra Richards on the decks.  Again, it’s invite only.

Screen Shot 2015-05-14 at 1.50.19 PM.pngSunglass Hut (496 Broadway) and Mr. Brainwash launch their new collab collection on May 14th.

mccarrenrachel.jpgRachel Libeskind and Swaai Boys present “Ancient Baggage: Recent Discoveries in Ritualistc Objects” on Thursday, May 14th, 8 p.m., in the Sheltering Sky lounge at the McCarren Hotel & Pool (160 N. 12th Street, Brooklyn). This is Libeskind’s performance piece that deals with “the rituals imposed by the suitcase” in a colab with experimental music from Swaii Boys.

aligleighbowery.jpgLeigh Bowery by Michael Alig.

The SELECT Art Fair (548 West 22nd Street) runs from May 13th to the 17th in the old DIA building in Chelsea. Several floors of galleries — including “one entire floor of Brooklyn-based galleries” — will be on hand; plus there’s an exhibition of Michael Alig’s prison artwork. Check out the daily rooftop parties in a maze structure called “You Are Here” designed by the art duo TROUBLE, featuring DJs, bands, performances etc. including Blondes on May 13, Jungle Pussy on the 14th and James Chance on the 15th.  A day-ticket is $20.

Peter Brant, Interview Magazine, Paul Kasmin Gallery and 1stDibs celebrate FRIEZE with a private cocktail party on Thursday evening.

TUMBLR hosts a private “unveiling” of Richard Phillips’ new studio in LIC on May 14th, 7 to 10 p.m. Invite and RSVP only.

The Standard High Line (848 Washington Street) and High Line Art host a private cocktail party on Tuesday for Rashid Johnson’s “Blocks” commission on the High Line.  Invite only.

Denis Gardarin Gallery  has a pop-up exhibit by French artist Mathieu Mercier from May 13th to the 16th, 10 a.m. to 6 p.m. daily, at Skylight at Moynihan Station on West 33rd Street.

DM-FLYER3 copy.jpgCanadian artist Daniel Mazzone has a pop-up called “Torn Apart” on Thursday, May 14th, 7 to 11 p.m., at Carriage House Center (149 East 38th Street).  Mazzone’s “collage portraits” of historic figures often incorporate personalized elements relating to the subject.

SAVETHEDATE_HP.jpgR & Company (82 Franklin Street) has a solo exhibition by LA-based designer David Wiseman called “Wilderness & Ornament” featuring cast bronze works and porcelain decorative walls.  Check it out during their normal business hours all week.


The Van Alen Institute hosts their “Celebrate Spring” benefit party and their on-going auction on Wednesday, May 13, 6:45 to 11:30 p.m., at the Surrogate’s Courthouse (31 Chambers Street) with a seated dinner and performance by My Midnight Heart; plus DJ David Pacho and the “dystopian funk super group” LA-BAS.  You can get tickets HERE and bid on auction items now through May 20th via Paddle8. There are lots interesting things up for bidding including a “hot tub roundtable” with architect Charles Renfro at his fab Fire Island beach house and a private fitting with menswear designer Patrik Ervell in his NYC studio.

Several art jewelers and street artists have hooked-up to create some unique works that will be on view starting Saturday, May 16th, 6 to 8 p.m., at The Gallery at Reinstein Ross (30 Gansevoort Street) in a show called PLACEMENT.  Some of the artists participating are Skullphone, Logan Hicks, CYRCLE, ASVP, Arthur Nash and Tara Locklear.  Have a look before the end of June.

No Longer Empty will present a big multi-media group show called “Bring in the Reality” at the Nathan Cummings Foundation (475 10th Avenue, 14th floor). The exhibition features works that “speak candidly, freely and boldly…works that speak truth to power.”  Participating artists include John Ahearn, Mel Chin, Tim Collins and K.O.S., Dread Scott, Nari Ward and many more.  The opening is May 12th, 6 to 8 p.m. and you should rsvp to if you plan to attend.  It’s on view through the summer, but, again, you should make an appointment via the same email address.

And check out some recs from our friends over at the Mirror Cube, a new events site where artists suggest their favorite happenings in NYC and LA.:

Nathan Hoho of the band, Walking Shapes, recommends checking out the Garth Greenan Gallery at Frieze, which is focused on giving established artists greater visibility: this year, they will be showing minimalist ’70s color studies from Howardena Pindell, which she painted during her years as a MoMA curator. “I’ve only recently been exposed to the gallery but was blown away by the last show I saw there,” Hoho says.

Lyz Olko, the designer behind clothing label Obesity + Speed, suggests stopping by the 303 Gallery, which is known for championing contemporary artists like Stephen Shore, who got his start documenting the goings-on at Andy Warhol’s Factory at the tender age of 17. This year at Frieze, they will be showing 3D mixed media works from Israeli artist Elad Lassry.

Both photographer Natalie Neal and artist/PAPER Beautiful Person Chloe Wise recommend Foxy Production, a NYC-based gallery that’s new to the fair and will be showing manipulated photography from Sara Cwynar and a video installation from Petra Cortright. “Petra’s unique vision mixes technology, ready-mades, and femininity in an unforgettable way,” Neal says. “Every piece she shows is a piece you don’t want to miss seeing in person.”



Your Concise Guide to Frieze Week 2015

Inside the Frieze Tent at Frieze New York 2014 (photo by Jillian Steinhauer for Hyperallergic)

Have you finally recovered from Armory Week? Are you ready to do it all again? Too bad, because it’s Frieze Week in New York City! This year’s lineup features one exhibition and eight fairs — three of which are making their New York debuts — spread between Manhattan, Brooklyn, and Randall’s Island, where Frieze New York and its 200 exhibitors await. For those trying to make sense of it all, here is our primer on all the fairs, including notable special projects, talks, performances, and panels.

Also, don’t forget to follow Hyperallergic on Instagram for pics from the fairs all week.


 1:54 Contemporary African Art Fair

When: May 15–17 / Friday, Saturday: 12–8pm; Sunday: 12–6pm ($10)
Where: Pioneer Works (159 Pioneer Street, Red Hook, Brooklyn)

Far and away the most interesting addition to this year’s Frieze Week lineup, the 1:54 Contemporary African Art Fair is bringing 15 galleries either based in Africa or that specialize in African contemporary art to Pioneer Works. Among the former will be Art Twenty One from Lagos, Afronova from Johannesburg, and Marrakech’s VOICE Gallery.

The London-based fair’s first New York outing also includes an impressive schedule of panels and talks, among them a discussion between artists Hank Willis Thomas and Lyle Ashton Harris on the importance of the term “diaspora” to their practices (May 15, 4:15pm) and a panel on the importance of “cultural specific curating” at major institutions that will feature Christa Clarke from the Newark Museum, Thomas J. Lax from the Museum of Modern Art (MoMA), and Franklin Sirmans from Los Angeles County Museum of Art (LACMA) (May 16, 1:15pm).

Art Miami New York

When: May 14–17 / Thursday: 5–9pm; Friday, Saturday: 12–8pm; Sunday: 12–6pm ($25)
Where: Pier 94 (55th Street and West Side Highway, Hell’s Kitchen, Manhattan)

If you’re experiencing Armory Week withdrawal and looking for an excuse to trek back to the Hudson River piers, Art Miami New York — which boasts the most geographically confusing art fair name since Paris Photo Los Angeles — is the fair for you. It is bringing 100 galleriesto Pier 94, most of them from Europe and North America, as well as a handful of outliers from Uruguay (Piero Atchugarry), Bogota (Galería Casa Cuadrada), Hong Kong (AP Contemporary), and elsewhere.

Art Miami New York’s schedule of talks and panels will be particularly compelling for those interested in the art world’s commercial side. It includes a talk by collector and art financier Asher Edelman on the use of art in real estate developments (May 15, 3pm) and a panel on art collector faux pas (May 16, 3pm).

Collective Design

When: May 13–17 / Wednesday, Thursday, Saturday: 11am–8pm; Friday: 11am–9pm; Sunday: 11am–5pm ($25)
Where: Skylight Clarkson Sq (550 Washington Street, West Village, Manhattan)

A presentation at the 2014 Collective Design fair (photo by Sarah Archer for Hyperallergic)

Frieze Week’s lone design fair — whose “design council” features designers, architects, and Oscar-winner Julianne Moore — Collective Design boasts 29 galleries specializing in everything from 20th century modern furniture (New York’s BAC and Stockholm’s Modernity), jewelry (New Jersey’s Gallery Loupe and Hudson’s Ornamentum), Mexican modernism (ADN Galería), silver (Madrid’s Garrido Gallery), and modern and contemporary children’s design (New York’s kinder MODERN).

The fair’s special programming includes an exhibition by the lighting designer Ingo Maurer, a special section devoted to Italian design and its global impact on the field, and a site-specific installation curated by Noguchi Museum Senior Curator Dakin Hart. Notable talks and tours include a walkthrough of the fair with Museum of Arts and Design director Glenn Adamson (May 14, 2pm), a talk on the function of nostalgia in contemporary jewelry design (May 16, 11:30am), and a panel on the intersections of craft and digital design (May 16, 4pm).

 Flux Art Fair

When: May 14–17 / Thursday–Saturday: 11am–8pm; Sunday: 11am–6pm ($20)
Where: Corn Exchange Building (81 East 125th Street, East Harlem, Manhattan)

Another one of this year’s Frieze Week newcomers, the Flux Art Fair foregoes galleries to match up artists and curators. Its inaugural lineup features 57 artists including Willie Cole, Lina Puerta, Sol Sax, Ai Campbell, Ivan Forde, and others. The curators include New York Foundation for the Arts’s David C. Terry, No Longer Empty founder and chief curator Manon Slome, and RaúI Zamudio, one of the co-curators of the 2013 El Museo del Barrio biennial.

 Frieze New York

When: May 14–17 / Thursday–Saturday: 11am–7pm; Sunday: 11am–6pm ($44)
Where: Randall’s Island Park (Randall’s Island)

With just under 200 galleries split into four sectors — the main fair, the Spotlight section for solo booths, the Frame section for galleries established since 2007 showing one artist’s work, and the Focus section for galleries founded in or since 2003 — Frieze New York is a monster fair. Luckily it is also sited on a verdant stretch of Randall’s Island inside an airy and bright tent and boasts the best food and drink options of any art fair this side of the Atlantic.

This year’s Projects program of site-specific interventions includes a recreation of the “Flux-Labyrinth,” a 200-foot-long labyrinth originally conceived by George Maciunas and other Fluxus artists in 1975, a subterranean environment by Samara Golden, and secret interrogation rooms peppered throughout the fair in which Aki Sasamoto will conduct personality tests on visitors. The highlight of the program of talks and panels is a discussion between Studio Museum in Harlem director Thelma Golden and outgoing Brooklyn Museum director Arnold Lehman (May 15, 4pm) in which they’ll attempt to answer the question: “Whom do museums serve?”

NADA New York

When: May 14–17 / Thursday: 6–8pm; Friday, Saturday: 11am–7pm; Sunday: 11–5pm (free)
Where: Pier 36, Basketball City (299 South Street, Lower East Side, Manhattan)

Looking down on NADA New York 2014 (photo by Hrag Vartanian for Hyperallergic)

The week’s second-biggest fair, NADA New York‘s 2015 edition features 106 exhibitors —76 of them with traditional booths, 30 of them presenting solo projects. In addition to the usual set of Lower East Side galleries (Nicelle Beauchene, Callicoon Fine Arts, Regina Rex, Essex Flowers, etc.) there will be plenty of out-of-towners, including Detroit’s What Pipeline, Rome’s UNOSUNOVE, Dubai’s Carbon 12, and Springsteen from Baltimore.

The fair’s lineup of talks and performances includes a lecture and slideshow by artist Joshua Smith titled “You inspire me with Your determination And I Love You, Tracey Emin!” (May 15, 2pm) and the intriguingly titled panel “Cloud Based Institutional Critique” with Orit Gat , Zachary Kaplan, and Mike Pepi (May 16, 12pm). Perhaps most intriguing, however, is Melissa Brown and Where’s project “Eyes in the Sky Hold ‘Em,” a high-stakes poker game to be held off-site and streamed live at the fair in which artists will wager their own works in a winner-takes-all Texas Hold ‘Em tournament.

Salon Zürcher

When: May 11–17 / Monday 5–8pm; Tuesday, Thursday, Friday, Saturday: 12–8pm; Wednesday: 12–4pm; Sunday: 12–5pm (free)
Where: Zürcher Gallery (33 Bleecker Street, SoHo, Manhattan)

The 10th edition of the little fair that could, Salon Zürcher, features six galleries: Galerie L’Inlassable, Mathias Coullaud, and Isabelle Gounod from Paris; Cathouse FUNeral from Brooklyn; Amsterdam outfit The Merchant House; and hosts Zürcher Gallery. Expect a range of works and media, from an installation by Tim Simonds (courtesy Cathouse FUNeral) to paintings by Regina Bogat (from Zürcher Gallery), and drawings by Anne Deleporte (shown byGalerie L’Inlassable).

 Select Art Fair

When: May 14–17 / Thursday, Friday: 2–10pm; Saturday: 12–10pm; Sunday: 12–6pm ($20)
Where: Center 548 (548 West 22nd Street, Chelsea, Manhattan)

The entrance to the 2014 Select Art Fair (photo via Hyperallergic/Instagram)

The Select Art Fair has come a long way and seems poised to make the jump to a major satellite fair this year with its impressive lineup of 44 galleries — 19 of which hail from Brooklyn and will occupy their own floor of the fair — extensive schedules of rooftop musical performances, talks, and performance art. And if that doesn’t tickle your fancy, Rebecca Goyette’s “Dentata Umbrella Lounge” definitely will — metaphorically and actually.


When: May 13–17 / Wednesday–Sunday: 12–6pm (free)
Where: The Boiler (191 North 14th Street, Williamsburg, Brooklyn)

Don’t call it a fair, Seven is a collaborative exhibition organized by seven New York City galleries — bitforms, Metro Pictures, Momenta Art, Pierogi, Postmasters, PPOW, and Ronald Feldman — under the title Anonymity, no longer an option. Surveillance-themed works on view include pieces by Addie Wagenknecht, Trevor Paglen, Suzanne Treister, and Katarzyna Kozyra, though the main attraction is undoubtedly “The Prison Ship Martyr’s Monument 2.0, AKA The Snowden Statue” (2015), the sculpture bust of Edward Snowden that was illegally installed in Brooklyn’s Fort Greene Park last month.

Art Basel 2015 Highlights



The results are in: The third edition of Art Basel Hong Kong featured a new, moved-up date and reported strong sales and attendance.

This was the first year the fair took place in March instead of May. The new dates translated to the strongest lineup of galleries to date, with 29 galleries exhibiting at Art Basel in Hong Kong for the first time. The timing also coincided with the city’s “Art Month.” Throughout March, a wide range of arts and culture events are took place in Hong Kong, such as satellite art fairs and public arts and exhibitions.

“Over the last three years Art Basel’s Hong Kong show has gone from strength to strength, with the quality of the art, and of the collectors’ attending, improving each year and proving that Hong Kong truly is the art hub of Asia,” says Pascal de Sarthe, director of de Sarthe Gallery in Hong Kong. “I am very happy about the date change to March.”

The fair featured 233 galleries with exhibition spaces in 37 countries and territories. Half of the participating galleries had exhibition spaces in Asia and Asia-Pacific. Nearly 60,000 people attended the show—and unlike past years, many of were local residents. ‘This is our fourth year in Hong Kong and there was undeniable new momentum at the fair this year with sales in the seven figures to clients in the United States, Mainland China, the United Kingdom and Europe in general,” says Glenn Scott Wright, co-director of London’s Victoria Miro Gallery.

Couldn’t make it? Below are the top five reported sales from Art Basel Hong Kong. (Some galleries do not disclose sales figures.)

Courtesy of David Zwirner Gallery

1. David Zwirner Gallery, New York and London

Chris Ofili

Dead Monkey -­‐ Sex, Money and Drugs, 2000

Acrylic, oil, polyester resin, pencil, glitter, map pins, and elephant dung on linen

The price: Sold for $2 million within the first hour of the fair.

Courtesy of Liang Gallery
2. Liang Gallery, Taipei

Chen Cheng-po 陳澄波 Foliage 綠蔭, 1934

Oil on canvas

The price: Sold for $1.95 million.

Courtesy of Liang Gallery

3. Liang Gallery, Taipei

Chen Cheng-po 陳澄波 Footbridge in Shanghai上海路橋, 1930

Oil on canvas

The price: Sold for $1.95 million.

Courtesy of David Zwirner

4.David Zwirner Gallery, New York and London

Neo Rauch

Die Fremde, 2015 Oil on canvas

The price: Sold for $1 million to a new client from mainland China in the last minutes of opening day.

Courtesy of David Zwiner Gallery

5. David Zwirner Gallery, New York and London

Neo Rauch

Marina, 2014 Oil on canvas

The price: Sold for $1 million to a collector from Shanghai.


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Art Basel Hong Kong: 2015 highlights

Surreal artwork has captivated crowds at this year’s Art Basel Hong Kong. This remarkably life-like sculpture, “Untitled (Kneeling Woman)”, was created by Australian artist Sam Jinks.

Art Basel stages contemporary shows in Basel, Switzerland, Miami Beach, and Hong Kong each year.

Here, a man peers into US artist John Baldessari’s “Beethoven’s Trumpet (With Ear) Opus # 133”.

Picture: ANTHONY WALLACE/AFP/Getty Images

Jake and Dinos Chapman's 'Isn't this great? The salty sea air! The wind blowing in your face! *sigh* Perfect day to be at sea!'

This year’s Hong Kong fair brought together 233 galleries from 37 countries.

British artists Jake and Dinos Chapman’s created this, entitled: “Isn’t this great? The salty sea air! The wind blowing in your face! *sigh* Perfect day to be at sea!”.

Picture: ANTHONY WALLACE/AFP/Getty Images

Skull by Philippe Pasqua

Pilippe Pasqua’s “Skull” is shown here.

Picture: Lucas Schifres/Getty Images


'Emotion in Motion' by Nezaket Ekici

Turkish performance artist, Nezaket Ekici, created the artwork “Emotion in Motion” by kissing a white blank canvas with red lipstick throughout the launch.

Read more: the best hotels in Hong Kong

Picture: Imaginechina/REX

South Korean artist Myeongbeom Kim made this deer with wood branches as antlers, seeking to create a balance between reality and fantasy.

Picture: Imaginechina/REX


Art Basel HK 2014 Discoveries. Courtesy of Art Basel


Visitors in front of works by the Australian artist Tomislav Nikolic at Art Basel in Hong Kong. Credit Vincent Yu/Associated Press

HONG KONG — The busiest week on Hong Kong’s contemporary art calendar drew to a close on Tuesday with the conclusion of the third edition of Art Basel Hong Kong, Asia’s most prominent contemporary art fair. Any lingering concerns about the change in the fair’s dates — moved up from May to March, and starting on Friday instead of Wednesday — were addressed during the brief, three-hour V.I.P. preview on the first day, with what many veteran attendees said were larger-than-usual crowds of wealthy collectors and delegations from major art institutions around the world.

About 60,000 visitors swarmed through the white-walled booths, slightly less than the 65,000 who attended last year, in part because the fair was open to the public for one less day. Adding a bit of star power to the event were celebrities like Susan Sarandon, Gwyneth Paltrow, Wendi Deng and Dita Von Teese.

“This year especially we’ve seen a lot more action, a lot more interaction, and a lot more interest from local and regional collectors in less-established names,” said Larkin Erdmann, director at the Massimo de Carlo Gallery of Milan and London.


A visitor taking a photograph of Andy Warhol’s “Dollar Sign” (1981) at the Hong Kong fair. Credit Vincent Yu/Associated Press

Buyers at the fair appeared to be enthusiastic from the start. Within the first hour of the show, David Zwirner of New York sold a work by the British artist Chris Ofili, who was the subject of a 2014 survey exhibition at the New Museum. The large-scale piece, “Dead Monkey — Sex, Money and Drugs,” from 2000, was bought by a new client for $2 million.

By the end of the second day of the invitation-only preview, Hauser & Wirth had sold two paintings by Atsuko Tanaka to the Karuizawa New Art Museum in Japan for between $400,000 and $600,000 each, and eight paintings by the Chinese artist Zhang Enli for between $250,000 and $350,000 each, among others.


The South Korean artists Hyung Koo Kang’s “Monroe” (2015), at left, and Ahn Chang Hong’s “Rude Dog” (2010) at Art Basel in Hong Kong. Credit Vincent Yu/Associated Press

White Cube, which has an outpost in Hong Kong, sold one of Damien Hirst’s Black Scalpel Blade cityscapes of Shanghai for about $1.2 million, while White Space of Beijing reported that 70 percent of its works sold within the first two days, including several works by the young Chinese conceptual artist He Xiangyu.

But despite the early sales, many galleries noted the tendency of Asian buyers to warm up to the works before buying, a sharp contrast to the fair’s sister editions in Switzerland and Miami, where collectors often come in knowing exactly what they want.


The artist Samson Young presenting a visual and sound installation at the Art Basel event. Credit Art Basel

“We’ve always found Hong Kong to be a fair where we expect things to happen until the end,” said Ellie Harrison-Read of Lisson Gallery. “It’s good because it keeps the momentum going.”

Many galleries expressed surprised at the especially strong showing of mainland Chinese collectors. At David Zwirner, two Chinese collectors spent $1 million each on two separate works by the German artist Neo Rauch, who was on hand at the booth.


Susan Sarandon speaking recently in Hong Kong about her career. Credit Kin Cheung/Associated Press

Eslite Gallery in Taipei reported that several works by the Chinese artist Xu Bing sold to Asian collectors for unspecified amounts.

David Chau, a young collector in Shanghai, said the overall quality of work at the fair improved this year. Western galleries in particular, he said, are responding to the increasingly sophisticated taste of Asian collectors by bringing better works, compared with past years when the work was often “secondary or not very good.”


A visitor walking past David Hockney’s “The Arrival of Spring in Woldgate, East Yorkshire.” Credit Vincent Yu/Associated Press

At the end of the fair, A.M. Space, a local gallery, had one last available work, which was on reserve for M+, the Hong Kong museum set to open in 2018. For its inaugural Art Basel Hong Kong booth, the gallery presented a solo exhibition by Samson Young, a local artist.

In one piece, “Pastoral Music,” Mr. Young drew on his background in music composition to present a visual and sound installation exploring the history of Hong Kong’s involvement in World War II and the concept of the role of the artist in warfare, more generally.

This year’s fair helped further cement Art Basel Hong Kong’s reputation as a convener of East and West, juxtaposing emerging Asian artists with established Western artists and drawing buyers from both regions.

The scene at the Galerie Gmurzynska booth one afternoon gave a sense of that blended identity. Perusing the booth at once were Joan Punyet Miró, a grandson of the Catalan painter Joan Miró; the Hong Kong style icon Bonnie Gokson; and Melissa Chiu, the director of the Hirshhorn Museum in Washington. By the end of the fair, the gallery had sold a number of works, including paintings by Wifredo Lam for between $150,000 and $300,000 and a work by Fernando Botero, which sold for $1.2 million in the minutes before closing.

“It’s an extraordinary moment,” said Ms. Chiu, who once was the director of the Asia Society Museum in New York. “Whereas contemporary art was once exclusive to a small coterie of collectors that were really centered in places like New York or London, now it’s very much a global phenomenon.” Art Basel Hong Kong and its auxiliary events, she added, have helped bring that about.

Correction: March 26, 2015
An earlier version of a picture caption with this article, using information from The Associated Press, overstated what was known about the location of Ms. Sarandon’s speech. The AP could not confirm whether her speech was part of the Art Basel Fair or was given at another event.

Art Basel Hong Kong 2015 Reviews + Images + Articles

March 16, 2015

Oriental Blossom

Text by Huzan Tata.
Photos courtesy: Art Basel

Head to the Art Basel Hong Kong to satiate your artistic cravings

Ever wanted to see art from all around the globe but didn’t know where to start from? The Art Basel is here to make your life easy. The Art Basel Hong Kong, now in its 45th edition, presents at one place stunning artworks from the world over – paintings, installations, works in mixed media, sculptures and photographs from Asia, Africa, Europe, North America and Latin America all form a part of the show. That’s not all…to get a complete fix of the arts, one can also attend the salon conversations, talks and films that will be exhibited at the event. So, if you thought Hong Kong was just about Disneyland, the art fanatics will surely tell you otherwise.

Art Basel Hong Kong will take place at various locations in Hong Kong until March 17, 2015.




Art Basel opens its doors in Hong Kong with thousands to visit

March 14, 2015 2:43pm

A man checks his mobile phone next to an artwork by US conceptual artist John Anthony Baldessari during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. Hong Kong’s biggest art fair, Art Basel, opened its doors with thousands of visitors expected over the next five days. AFP PHOTO/Philippe Lopez

HONG KONG – Hong Kong’s biggest art fair, Art Basel, opened its doors Friday with thousands of visitors expected over the next five days for a city-wide canvas of creativity and commerce.

The sprawling display of artworks took over the city’s waterfront convention centre, as artists, gallerists and celebrities gathered to talk, buy and sell art.

“The Hong Kong art scene is growing so rapidly and robustly… the galleries seem to grow stronger every year,” said Art Basel director Marc Spiegler just ahead of the launch of the show on Friday evening.

The first two days are invite-only, with the fair open to the general public from Sunday.

The whitewashed walls of the convention center display space were crammed with everything from traditional ink paintings to film installations and giant sculptures.

A taxidermy reindeer with sprawling tree branches for antlers greeted visitors to the first floor, with a giant ear and trumpet protruding from a wall nearby.

The Hong Kong edition’s new director, Adeline Ooi, told AFP that the strong showing of Asian artists would be taking a “more daring” approach this year.

“There will be a strong representation of local artists at the show,” she added.

Also central to the display are large-scale “Encounters” pieces, including a suspended forest of olive trees by Irish artist Siobhan Hapaska, a mausoleum made from styrofoam boxes by Hong Kong-based Portuguese artist Joao Vasco Paiva and a giant see-sawing log propped up by Indian Buddhist statues by Indian artist Tallur L.N.

Smaller shows pop up all around town to coincide with the show—many of them throwing the spotlight back on grassroots talent.

Art Basel Hong Kong kicked off three years ago and is the newest addition to the international art show, which started in Switzerland in 1970 and also has a Miami Beach edition.

The Hong Kong edition is attracting celebrities this year such as Victoria Beckham and Hollywood star Susan Sarandon.

Greater China, grouping the mainland, Hong Kong and Taiwan, maintained its market leader status in 2014, accounting for $5.6 billion in global art sales—closely followed by the United States—according to data firm Artprice. — Agence France-Presse

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Collectors China

Seeking out Southeast Asia

As curatorial interest grows, will collectors follow?

One of Jakarta-born Bagus Pandega’s “portraits” at the fair, with ROH Projects (1B34)

There is an extraordinary diversity of art by Southeast Asian artists at Art Basel Hong Kong this year, reflecting the rich cultural heritage of the countries that make up the Association of Southeast Asian Nations (Asean). While artists and dealers proclaim their cultural individuality, they also feel a strong affinity to their regional identity.

The fair features 22 galleries from Singapore, the Philippines, Indonesia and Malaysia or with outlets in Singapore, with artists of the region also available on other stands. A Salon event at the fair on Sunday, 15 March, seeks to deepen collectors’ understanding of art from the region.

Institutions in the West are looking eastwards towards the region. Richard Armstrong, the director of the New York-based Solomon R. Guggenheim Foundation, who was at the fair to announce the shortlist for the BMW Art Journey award, visited Bangkok last September. London’s Tate Museum launched its South Asian Acquisitions Committee in 2012, and the Istanbul-based Arter Foundation brought contemporary art from Southeast Asia to the Turkish city this January.

Meanwhile, Hong Kong’s M+ museum is planning to collect in this area, and the National Gallery Singapore, due to open in November, will display historical Southeast Asian art.

One of the most unusual offerings at the fair is in the Discoveries section, where Jakarta’s ROH Projects (1B34) has four “portraits” by Bagus Pandega made up of mirrors, guitars or spinning LPs combined with found objects (US$6,000-$7,500 each).

Portraits of another kind feature at Manila’s 1335Mabini (1C26,) where Poklong Anading’s lightboxes feature people photographed in different settings holding up mirrors against their faces to reflect the sun (US$3,500-$35,000). “Initiatives such as the Guggenheim exhibition ‘No Country’ or regional biennales have had a huge share in terms of providing platforms to exhibit Southeast Asian artists in institutional contexts,” says Birgit Zimmermann of the gallery.

Indonesian artists are among the best known in the region. Singapore- and Berlin-based Arndt (3C30) sold Eko Nugroho’s embroidery Anarki Moral, 2014, (priced at US$38,000), as well as his large “Encounters” work, Lot Lost, 2015, bought by an Australian museum at the fair for US$330,000. At Gajah Gallery (1C38), three editions of sculptures by Yunizar sold for US$62,000 each. “We saw extraordinary growth in this market four to five years ago, then it slowed a bit, but prices are still very reasonable,” says Jasdeep Sandhu of the gallery.

The Jakarta-based Nadi Gallery’s stand (3C26) features detailed and delicate works by Handiwirman Saputra (US$150,000 and US$250,000) and a large abstract by Arin Dwihartanto Sunaryo. The well-known collector Deddi Kusuma is a fan of both artists, and he is expected at the fair, along with other prominent VIPs from the region such as Petch Osathanugrah, Jean-Michel Beurdeley, Dr Oei and Rudy Akili.

Philippines-based Silverlens (1D43) features a “scarf” with shoes as a motif— a reference to the Marcos era—by Pio Abad (Every Tool is a Weapon if you hold it right, 2015, US$7,000) as well as Yee I-Lann’s installation, Tabled, 2013, US$29,000, consisting of plates, fired in Indonesia with photographs from across Asia. It was shown in the Museum Van Loon in Amsterdam and sold in a Manila and Singapore gallery—a fitting example of the diverse nature of the art on show



An eye on Asia

By Liao Danlin in Hong Kong Source:Global Times Published: 2015-3-17 20:23:01

Art Basel sweeps into Hong Kong showing off latest trends in art

An artwork by South Korean artist MyeongBeom Kim at Art Basel in Hongkong on March 16 Photo: Liao Danlin/GTWalking around I saw people walking and pushing baby carriages, children running around and tourists taking photos right next to businessmen in suits and well-dress ladies standing in front of a huge oil painting, examining its every detail and discussing if they should spend the million dollars needed to buy this masterpiece.

This was the scene at Hong Kong’s Art Basel, the city’s biggest international art show for modern and contemporary works of art.

Over 200 galleries from 37 countries contributed to make this year’s artistic feast the biggest ever in the past three years. From Sunday to Tuesday, Art Basel was opened to the public generating a huge number of visitors. Becoming as crowded as a supermarket, galleries were filled with professional curators, artists and collectors as well as travelers that just happened to be in Hong Kong.

Asian Focus

While the original Art Basel (1970) and Art Basel Miami Beach (2002) have been around longer, what makes the Art Basel Hong Kong special is its large number of Asian participants. Half of the galleries this year came from Asia-Pacific regions.

Insights, for instance, was a section developed specifically for galleries based in Asia. One of these galleries, the Michael Ku Gallery from Taiwan, brought Taiwanese artist Luo Jr-Shin’s solo exhibition to the event. His work An Afternoon, an installation made from ready-made items featuring a “yolk” on a pair of broken glasses hanging upon a carpet, caused quite a few visitors to stop and take notice.

The gallery told the Global Times that to better tailor An Afternoon, which was first created in 2013, for audiences in Hong Kong, Luo went to several stores in the city to replace the tissue boxes used in the art work with the most commonly used tissue brand in Hong Kong. “He wanted this work to be able to connect with everyone.”

Other galleries brought works from more than one artist to better represent the wide range of their collections. The Mizuma Art Gallery for example offered works from Japan, Indonesia and China.

Discussions on Asian art went further with salons and other relevant events inviting artists and scholars to discuss certain phenomena or trends happening in Asia at the moment.

During a salon titled Social Engagement Artists/South Asia and Beyond, artist Shooshie Sulaiman from Kuala Lumpur, Malaysia, and artist Mohamad Yusuf from Yogyakarta, Indonesia, discussed how artists have actively become involved in social change or expressing political views through art in their countries.

Venice Biennale/ Focus Pakistan and India was a conversation between independent curator Natasha Ginwala and Indian artist Jitish Kallat about the 56th Venice Biennale Gujral Foundation project “My East is Your West,” and the art scenes in the two countries.

A window to the world

While you could see works by famous names such as Chen Yifei, Zhao Wuji and popular artists like Nara Yoshitomo at Art Basel Hong Kong, emerging young artists also had their chance to shine.

Born in 1988, Lu Chao was the chosen artist for the Hadrien de Montferrand gallery this year. Lu’s works, mostly sketch-like portrayals of a massive number of different faces, quickly attracted a large number of visitors.

The owner of the gallery, Hadrien de Montferrand has lived in China for more than seven years and has worked at various art institutions and auction houses. He described Lu’s works as sensitive, powerful and beautiful, while visitors’ opinions ranged from scary, interesting and eye-catching.

Montferrand told the Global Times that the rapid economic and environmental changes and social pressures that Chinese artists have experienced over the past few decades have made their art work particularly interesting, as they often use their work to express what it’s like to live in this changing environment.

“Older artists are very different from younger ones,” he added, explaining that since the market in China is still young it is mainly dominated by a few well-known artists and as such there is little space for young artists.

However, in the wider market, young artists can take advantage of Western museums, curators, galleries and so on to be seen by international audiences as well as the Chinese crowd.

For Montferrand, whose galleries have held exhibitions for established artists like Liu Xiaodong and young artists like Lu, while the younger generation is more influenced by Western art in terms of creativity and more ideas and concepts are emerging, artists have also managed to keep a Chinese feeling in their works.

“You have very traditional trends going on, but at the same time you have a lot of people going into very different ways, people looking deeply into themselves,” said Montferrand.

Although Lu thinks of himself more as a young man who loves painting rather than a qualified artist, he feels that young artists in Asia seem to have more opportunities than in the West.

“If Chinese go to the West we like to buy famous artworks, whereas most Western collectors coming to Asia seem to be more interested in buying works from talented young artists,” said Lu.

A market with growing potential

Since the artists and works coming to Art Basel change every year, Li Zhenhua, curator for the Film section of Art Basel Hong Kong, finds the art fair a great way to get a feel for mainstream trends. And he feels it is able to fill people in on which artists or galleries they need to know about much faster than museums and or other sources.

As Li sees things, if someone studies the art fair and does solid research, they would be able to gain a deeper understanding of why some galleries make the choices they do and why artists decide to present certain works over others. Art Basel can also help insiders discover trade market trends and see how collectors have changed.

For example, the prominence of Southeast Asian artists seen at the art fair this year is a reflection of international trends. The Tate Museum in London created a South Asia Acquisitions Committee three years ago and the Art Paris held in February also showed a growing trend towards art from these regions.

In the past, Asian artists received most of their attention at biennials. However, usually only artists that have already established themselves are able to make it into these biennials. However, today, with art fairs such as the Art Basel Hong Kong, talented young artists that have yet to make a name for themselves have a way to take part in the international art scene and market.





Art Basel Hong Kong strikes the right notes, Singapore galleries report strong sales

Published on Mar 19, 2015 6:38 PM
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Visitors standing next to an artwork by Korean artist Hyung Koo Kang (left) during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. — PHOTO: AFP

In the surest sign of the evolution of Singapore’s gallery scene, the island’s largest contingent of galleries participated in Asia’s premier contemporary art fair in Hong Kong and netted handsome sales.

More than 10 Singapore galleries participated in the packed third edition of Art Basel Hong Kong, up from three in the inaugural fair two years ago.

The fair, which saw 233 galleries from both the East and the West taking up two floors of the cavernous Hong Kong Convention and Exhibition Centre, ended on Tuesday with happy faces among gallerists and collectors from around the world, and the Singapore contingent was no exception.

German gallerist Matthias Arndt, who also has a base in Gillman Barracks, had to do a second hanging when all the works he presented in the first hanging sold out by Sunday, just two days after the fair opened with a three-hour private view for invited collectors.

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Visitors take photos of the hyper-realist sculpture 'Untitled (Kneeling Woman)' created by Australian artist Sam Jinks during the VIP preview of the Art Basel art fair in Hong Kong on Friday, March 13, 2015. Art Basel stages modern and contemporary art shows and is held annually in Basel, Switzerland, Miami Beach and Hong Kong.
Visitors take photos of the hyper-realist sculpture ‘Untitled (Kneeling Woman)’ created by Australian artist Sam Jinks during the VIP preview of the Art Basel art fair in Hong Kong on Friday, March 13, 2015. Art Basel stages modern and contemporary art shows and is held annually in Basel, Switzerland, Miami Beach and Hong Kong. Kin Cheung
Art Central 2015, Hong Kong. This was its first year as a satellite fair to Art Basel on the island city.
Art Central 2015, Hong Kong. This was its first year as a satellite fair to Art Basel on the island city. supplied
Hiromi Tango, 'Now', 2014, neon and mixed media, 93.5 x 98.5 x 27 cm, Detail_2 From Art Central: Hong Kong 's first international standard satellite art fair, held alongside the island city's much-larger Art Basel.
Hiromi Tango, ‘Now’, 2014, neon and mixed media, 93.5 x 98.5 x 27 cm, Detail_2 From Art Central: Hong Kong ‘s first international standard satellite art fair, held alongside the island city’s much-larger Art Basel. Greg Piper
German performance artist of Turkish origin, Nezaket Ekici creates an artwork during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. Hong Kong's biggest art fair, Art Basel, opened its doors to an expected  thousands of visitors over five days.
German performance artist of Turkish origin, Nezaket Ekici creates an artwork during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. Hong Kong’s biggest art fair, Art Basel, opened its doors to an expected thousands of visitors over five days. Philippe Lopez
Arts & Entertainment
ArtMar 21 2015 at 12:15 AM
Updated Mar 19 2015 at 12:50 PM

Hong Kong’s Art Basel: tussle between money and culture

International art fairs are multiplying like billionaires – and the gallery owners showing at Hong Kong’s Art Basel were hoping for rich buyers, writes Katrina Strickland.
Visitors take photos of the hyper-realist sculpture ‘Untitled (Kneeling Woman)’ created by Australian artist Sam Jinks during the VIP preview of the Art Basel art fair in Hong Kong on Friday, March 13, 2015. Art Basel stages modern and contemporary art shows and is held annually in Basel, Switzerland, Miami Beach and Hong Kong. Visitors take photos of the hyper-realist sculpture ‘Untitled (Kneeling Woman)’ created by Australian artist Sam Jinks during the VIP preview of the Art Basel art fair in Hong Kong on Friday, March 13, 2015. Art Basel stages modern and contemporary art shows and is held annually in Basel, Switzerland, Miami Beach and Hong Kong. Kin Cheung
by Katrina Strickland

At every art fair there’s the party to be at, and at Art Basel Hong Kong this year, that party was staged by the Swiss cigar company Davidoff.

Held at the pool house and grill on the roof of the Grand Hyatt, the party celebrated excess in, well, excess. Hundreds of guests sipped on free-flowing French, grazed on food ranging from paella to sashimi and prawn cocktails, and watched Dita Von Teese strut her glamorous, risque stuff.

But what made it really feel like a scene from The Wolf of Wall Street were the cigars; most of the male guests were smoking them, along with a good swag of the female guests – all with a look of “I can’t believe we are able to do this” glee on their faces. The cigar bar on the way into the party was a heady place, manned by staff who were cutting and lighting the fat brown imports as quickly as guests were stepping up to take them off their hands. It was surprising not to see Leonardo diCaprio standing by the pool, surrounded by a bevy of topless women.

It was galling, nerve-racking and thrilling. Galling, because it felt so starkly at odds with the breadline life of so many artists, and such a counterpoint to last year’s Occupy Central protest movement.
Art Central 2015, Hong Kong. This was its first year as a satellite fair to Art Basel on the island city. Art Central 2015, Hong Kong. This was its first year as a satellite fair to Art Basel on the island city. supplied

Nerve-racking, because with so many cigars, so many people and so much excitement in the air, the very act of pushing through the crowd came with the risk – thankfully avoided – of having a lit cigar accidentally shoved in one’s face.

And thrilling, because who doesn’t get a voyeuristic charge from stepping into that kind of hedonistic world every now and again? It doesn’t happen too often in Sydney.

Davidoff was one of a host of international brands massaging the thousands of collectors, gallerists, journalists and – yes, artists – who flew in to the Chinese outpost just over a week ago for Art Basel Hong Kong. The fair opened on Friday the 13th with a VIP preview and wrapped up on Tuesday night, when the weary staff who had manned stalls for 233 galleries from 37 countries and territories got to pack up and have a quiet champagne of their own.
Mood-only works
Hiromi Tango, ‘Now’, 2014, neon and mixed media, 93.5 x 98.5 x 27 cm, Detail_2 From Art Central: Hong Kong ‘s first international standard satellite art fair, held alongside the island city’s much-larger Art Basel. Hiromi Tango, ‘Now’, 2014, neon and mixed media, 93.5 x 98.5 x 27 cm, Detail_2 From Art Central: Hong Kong ‘s first international standard satellite art fair, held alongside the island city’s much-larger Art Basel. Greg Piper

Among the highlights were some of the works designed not to be sold but to create a mood. These included 20 large-scale installations scattered through the fair by Australian curator Alexie Glass-Kantor, and a 10-minute light work projected nightly onto West Kowloon’s International Commerce Centre by the Chinese artist Cao Fei. Standing on a balcony at the Hong Kong Convention and Exhibition Centre where the fair is held, looking across the water to the ICC building and glittering lights of Kowloon, viewers were instantly taken back to the Pac-Man games played in greasy fish and chip shops and arcades through the 1980s. Those who were old enough to remember greasy fish and chip shops, anyway.

The iPhone was ubiquitous. Sydney gallery Sullivan + Strumpf almost needed security guards, such was the crowd gathered each day at its stand, most taking pictures of its hyper-realist sculptures by Melbourne-based artist Sam Jinks. Another Sydney-based art dealer, Andrew Jensen, was bowled over by the way many people look at art in 2015. In his case, sculptures by artist Sam Harrison attracted the most iPhone clicks.

“If we took a levy on photographs we could have retired,” he says with a wry laugh. “It is extraordinary how mediated through a lens experiences have become.”

Most of those taking photos were what those in the trade derisively refer to as “tyre kickers”; that is, lookers not buyers. Art fairs are curious beasts in that they need the hordes to create an atmosphere and to appear successful, but the sales that make or break the participating galleries come from only a tiny percentage of visitors.
German performance artist of Turkish origin, Nezaket Ekici creates an artwork during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. Hong Kong’s biggest art fair, Art Basel, opened its doors to an expected thousands of visitors over five days. German performance artist of Turkish origin, Nezaket Ekici creates an artwork during the opening of the Art Basel art fair for a VIP preview in Hong Kong on March 13, 2015. Hong Kong’s biggest art fair, Art Basel, opened its doors to an expected thousands of visitors over five days. Philippe Lopez

Thus while gallery staff watch nervously to ensure the iPhone brigade don’t knock any artworks off their plinths or walls, they are also eagle-eyed for visitors there not to take pictures but to spend thousands of dollars. And desperately hoping they stop by their stand.

This was the third iteration of the Hong Kong fair since it was sold to one of the globe’s most successful art brands, Art Basel, which has run fairs in the Swiss city of its name since 1970 and in Miami in the US since 2002. Art Basel now has a firm foot in Asia, one of the growth regions for a global trade in art and antiques that, according to the TEFAF Art Market Report 2015, topped €51 billion ($70.7 billion) in 2014. China equalled the United Kingdom in accounting for the second-biggest slice of this record turnover, at 22 per cent, behind only the US at 39 per cent.
May better place on fair calendar

European ownership has brought with it a decision to move the fair from May, when it has been held every year since its founding in 2008, to March, when it was held for the first time this year. A welcome upshot for visitors was a cooler climate; for organisers and participants it was a better place on an annual calendar crammed with 180 big art fairs.
At Art Central, Hong Kong, the fair held alongside this year’s Art Basel, watchers and buyers crowded around Sam Jinks and Hiromi sculptures. At Art Central, Hong Kong, the fair held alongside this year’s Art Basel, watchers and buyers crowded around Sam Jinks and Hiromi sculptures. Sullivan+Strumpf

In May, Hong Kong butted up against the Frieze Art Fair in New York, the Venice Biennale this year and Gallery Weekend in Berlin, plus the main, mega Art Basel fair, which rolls around each June. In March, Art Basel Hong Kong competes only with the relatively new Art Dubai and the very old Maastricht fair, the latter not such a problem because it focuses on historical artworks in contrast to Art Basel, which is all about the contemporary. The shift in dates resulted in 29 more galleries participating, of which 20 came from Europe and the US, with more collectors coming from the northern hemisphere too.

That the fair is helping to transform Hong Kong from a city obsessed with money into one with a cultural as well as financial scene is not in doubt, although some query how deep the change is outside of what has now been dubbed Art Week, and whether it isn’t still all about money – namely, the sale rather than the appreciation of art.

Michael Lynch, the Australian who is outgoing chief executive of the giant West Kowloon Cultural District, hopes that when the multiple arts venues in that $HK22 billion ($3.7 billion) complex start opening over the coming years, it will change the balance.

“Progress has been pretty extraordinary over the last four years, [but] the thing that concerns me is too much of it is fundamentally market driven,” he says. “The importance of building new cultural institutions, as we are doing, is that you will get some restoring of the balance between the public and the private.”

Swiss art dealer Dominique Perregaux, who first opened a gallery in Hong Kong a decade ago, also strikes a word of caution about extrapolating too much from fairs. “The city’s cultural scene has not changed much; Hong Kong has just become an art trading hub,” he says. “Once a year, Art Basel brings in the names you would never otherwise get to see. It’s very important to see those works in Hong Kong, but in terms of intrinsic culture, nothing much has changed.”
Permanent spaces in Hong Kong

That said, a lot of big international galleries have opened permanent spaces in Hong Kong in recent years, including White Cube, Gagosian, Pace, Galerie Perrotin and Simon Lee. There are new developments every year – last year’s included PMQ, a joint venture between the government and some philanthropists in which the old “police married quarters” building has been transformed into a hub for local designers, who pay subsidised rent for studios and small shops.

A satellite fair, Art Central, made its debut this year, a 10-minute walk from Art Basel Hong Kong. If anything speaks of the pace of change in Hong Kong it is the walk between the two fairs, alongside a giant construction site full of cranes.

The founders of Art Central started Art Hong Kong back in 2008 before selling it to the Swiss, among them Tim Etchells, who also founded the one-year-old Sydney Contemporary and has the contract to manage the Melbourne Art Fair. Etchells sees the establishment of Art Central, which sits above an affordable art fair but below the Art Basel stratosphere, as another step in Hong Kong’s cultural evolution.

Rebecca Hossack, a London-based, Australian-born art dealer who showed this year in Art Central, is all for it. “These mega fairs are monstrosities, half way through the first floor you’re thinking ‘get me to the VIP lounge and champagne, I can’t go on’,” she says with a flourish. “At Art Central it’s a much more human experience and you can look at art in a non-commodified way.”

The establishment of a satellite fair is good news for Australian galleries, not all of which are accepted by Art Basel. Those hosting stands at Art Central this year included M Contemporary, Metro Gallery and Connie Dietzschold.

As someone who spent 18 years living in Asia before moving to Australia and opening her Sydney gallery in 2013, M Contemporary owner Michelle Paterson sees attending such fairs as mandatory. “We need to make our artists internationally known, Australia is too small a market,” she says.

Art Basel Hong Kong was attended by about 60,000 people this year, 5000 fewer than last year, partly accounted for by running for a day less this year and in a new month, while Art Central notched up about 30,000 attendees. Sales are never independently verifiable and are without fail promoted as fabulous.
Foot traffic brisk

With those riders in mind, foot traffic at both fairs was brisk, particularly at Art Basel, and the atmosphere upbeat in both places. Art Basel’s PR team put out a daily summary of who’d sold what, some of the highlights including an Andreas Gursky photograph at Spruth Magers for €400,000 ($560,000), a Sean Skully painting at ShanghART for $US850,000 ($1.1 million) and a Chen Cheng-po painting at Liang gallery for $US1.3 million.

The benefits of returning year in, year out are paying off for Australian galleries Sullivan + Strumpf and Anna Schwartz – the latter had her property developer/publisher husband Morry on hand to help sell works by the likes of Daniel Crooks, Rose Nolan and Shaun Gladwell.

“This year we noticed a lot more Europeans, a lot of French collectors – Swiss and German,” Sullivan + Strumpf co-director Ursula Sullivan says. “At the moment we price in Australian, US and Hong Kong dollars, but next year we’ll have to add euros.”

Davidoff is one of a handful of sponsors lured to Hong Kong by the Art Basel juggernaut, others include UBS and BMW, all of which leverage their art relationships in ways the Australian arts sector can only dream of. Aside from hosting parties par excellence, Davidoff has art programs ranging from residencies and grants for artists from the Caribbean and the Dominican Republic, to putting artworks on limited edition cigar boxes.

UBS funds a Junior Art Hub offering children free art sessions (while mum and dad are presumably off spending thousands in the fair), an app that collates art news from global media and a menu at the Mandarin Oriental’s Pierre restaurant inspired by works from the UBS Collection.

This year BMW selected three artists from the emerging art section of Art Basel Hong Kong to lodge proposals for a BMW Art Journey. The winner will get to go on “the journey of their dreams” – presumably in a Beamer – which will be documented online, in print and on social media.

If this all sounds like a co-opting of art by commercial interests – well, it is. But it has arguably ever been thus, just to a much lesser extreme. The creation of art has always depended on the patronage of someone.

Katrina Strickland visited Hong Kong courtesy of the Hong Kong Economic and Trade Office.

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Hong Kong’s Art Basel Lures Collectors Chasing Warhol

4:00 PM PDT
March 12, 2015

Polychromed Wood Sculpture
Polychromed wood sculpture by Jeff Koons of Buster Keaton. Source: Courtesy of David Zwirner Gallery via Bloomberg


Hong Kong’s Art Basel Lures Collectors Chasing Warhol

4:00 PM PDT
March 12, 2015
(Bloomberg) — Celebrities, billionaires and art moguls have descended on Hong Kong, lured by the chance to buy works by Andy Warhol, Pablo Picasso and Jean-Michel Basquiat at Asia’s biggest art fair.

Art Basel Hong Kong, an edition of the fair that started in Switzerland, is selling as much as $3 billion worth of art displayed by 233 galleries from 37 countries, according to insurer AXA Art.

The Hong Kong version has become a major stop on the global art fair circuit of one-stop shopping malls for the mega-wealthy seeking to diversify their stock portfolios with paintings and sculptures by brand names and hot young artists.

First night sales, in a truncated VIP preview that lasted only three hours because the fair format was revamped from previous years, indicated that the economic slowdown in China hasn’t dampened sales.

“We were in China before this for two weeks and it certainly wasn’t palpable to me,” said dealer Sean Kelly, who sold a work by Sun Xun for $145,000, as well as works by James White and by Hugo McCloud.
‘Very Happy’

White Cube dealer Jay Joplin echoed Kelly’s sentiments. “It’s been excellent, I’m very happy,” he said, adding that his gallery sold works by Damien Hirst, Andreas Gursky and Theaster Gates.

Rachel Lehmann, of Lehmann Maupin was more cautious. “You cannot judge the success of an art fair in three hours,” she said. Still, by the end of the evening she had sold two Alex Prager photographs, a work by Tracey Emin, a Hernan Bas painting and several works by Korean artist Do Ho Suh.

It’s common for galleries to pre-sell works to preferred clients ahead of fairs, and dealers expected a flurry of purchases when the doors opened to select guests Friday at 6 p.m.

Art Basel anchors what is informally called art week in Hong Kong, a time when luxury goods companies, private banks and Michelin-starred restaurants are pulling out the stops in their pursuit of the vast amount of wealth pouring into the city as art and commerce converge in Hong Kong.

Tate Modern director Nicholas Serota, Swiss collector and auctioneer Simon de Pury and New World Development Co. scion Adrian Cheng are among the expected fair visitors. Gwyneth Paltrow, Victoria Beckham, Kate Moss and Robin Thicke have been invited to browse the booths since they’re in town for a charity benefit to raise money for amfAR, the Foundation for AIDS Research, on March 14. Actress Michelle Yeoh is being honored at the fundraiser.
Fair Rebranded

The fair, which began as Art HK in 2008, was rebranded Art Basel Hong Kong two years ago after the owners of Art Basel and Art Basel Miami Beach took over.

Mainland collectors are on the prowl for trophy works to adorn the walls of their homes in Hong Kong, Los Angeles and Sydney, or to fill private museums in China.

Billionaire Liu Yiqian and his wife Wang Wei are in town for the handover of a 15th century Tibetan embroidered thangka they purchased at Christie’s Hong Kong for $45 million in November for their private museum in Shanghai.

Wang Zhongjun, chairman of Beijing-based film company Huayi Brothers International, keeps a Vincent van Gogh still life he bought for $62 million at Sotheby’s New York last fall in his Hong Kong pied-a-terre.
Depth, Experience

Asia has 492 billionaires, according to the Knight Frank Wealth Report 2015, 53 of whom live in Hong Kong.

Still, dealers said the market lacks the depth and experience of the U.S. and Europe, where collectors have amassed works for decades. China accounted for 22.4 percent of global sales in the art and antiques market, ranking it second behind the U.S., according to an annual report published March 11 by the European Fine Art Foundation. Yet that’s a decline from 24 percent in 2013, according to the report.

“There is a vibe around Art Basel and lots of clients want to be part of it,” said Edie Hu, art advisory specialst at Citi private bank in Hong Kong. “Though a lot of the cutting edge art might not be to their taste, when they come across something like a Picasso or Warhol they have seen before it’s like comfort food, for them.”
Expanded Offerings

While dealers are expanding their offerings of abstract and conceptual works, blue chip contemporary artists such as Damien Hirst and Jeff Koons have a captive audience in the region.

“I show Picasso, Basquiat, Henry Moore; they are attracted to this kind of art,” said dealer Christophe Van de Weghe, who is bringing two of Warhol’s works, and a Gerhard Richter with an asking price of about $8.5 million.

London’s Victoria Miro gallery is offering $2 million pumpkin sculptures by Japanese artist Yayoi Kusama and $225,000 tapestry works by Britain’s Grayson Perry.

Gajah Gallery is returning to the fair with Bali, Indonesia-based American painter Ashley Bickerton’s works, which provide a contemporary take on the fascination that 20th century painters had with Southeast Asian exoticism. The most expensive, “Party Time” is priced at $270,000.

Fair partner UBS Group AG said it expects several hundred high-net-worth private banking clients to fly in from around the region, and the bank expects as many as 8,000 visitors at its fair VIP lounge that displays works from its permanent collection including David Hockney, Hong Kong ink painter Wilson Hsieh and Wayne Thiebaud.
Satellite Fair

Those with more modest budgets can head to a new satellite fair, Art Central, which opens to the public March 14 in a tent on Hong Kong island’s waterfront. With 75 galleries from 21 countries, most works will be priced from $1,000 to $100,000, said managing director Charles Ross, who describes the fair as a “fun, fresh and edgy complement to Art Basel.”

While Art Basel has become increasingly dominated by international dealers, 65 percent of the contemporary galleries are from greater Asia, with 18 from Hong Kong alone.

Each year at this time Hong Kong’s social life goes into overdrive with gallery openings, charity auctions and champagne parties on rooftops, at poolsides and in parking garages.

New World’s Cheng, who hosted a dinner for 90 people Thursday, said he had invitations to 14 other events the same evening.

“That doesn’t even include the private bank requests,” said Cheng, who will try to squeeze in time to look at a dozen works he’s thinking of buying.

Elsewhere on Thursday, guests removed their Christian Louboutin heels to get into the party hosted by Zurich-based Bank Vontobel AG aboard the 27-meter-long (87 feet) Ferretti yacht organized by My Yacht Group founder Nicholas Frankl, who enforced a no-shoes policy.

Armory Art Fair Week New York 2015 articles


Art Attack: L.A. Galleries are Invading New York

The city has a stronger showing at this week’s major East Coast art shows than ever before

March 5, 2015 Art Add a comment

New York City is gearing up for the arrival of thousands of pieces of modern and contemporary art (and perhaps just as many gallerists and art collectors) from around the globe, as the city on the Hudson will be playing host to several major art fairs all at once over the next several days. Although west coast dealers have always been willing to brave Manhattan’s freezing temperatures in order to place their artists’ work in front of new eyes during “Armory Week,” Los Angeles gallery representation at the city’s annual March shows is more extensive than ever this year.

The biggest of the Armory Week fairs is the The Armory Show (March 5-8) itself, with 199 total participating art galleries, including 15 from Los Angeles, showing work at Piers 92 and 94 on the west side. “The L.A. art community is really having a moment right now,” suggests the Armory Show’s Executive Director, Noah Horowitz, “from a flourishing gallery and institutional scene to a huge number of artists who have recently taken up residence throughout the city. [Our] exhibitor list this year absolutely reflects that trajectory.”

Although the Anat Ebgi gallery, situated on La Cienega Boulevard’s gallery row, has participated in other New York art fairs before, gallery director Paolo Di Stefano says the “much broader scope” of the Armory Show, where it will be exhibiting for the first time, “opens us up to be seen by a lot more people. It’s not just for young, emerging galleries and young, emerging artists.” Ebgi, Hollywood’s Various Small Fires, and M+B of West Hollywood are among 21 international galleries less than ten years old that are showing work by one or two represented artists in the Armory Presents section of the fair.

Several prominent Los Angeles galleries are bringing work to the Armory Show’s main Contemporary venue. “New York brings a lot of collectors from all over the world,” Cherry and Martin gallery director Michelle Pobar affirms,“ and a lot of them are excited to see what’s coming from Los Angeles these days.” Even OHWOW, which has generally eschewed art fair participation in the past, will be showing up for the first time. “Face time with collectors in New York is important,” acknowledges OHWOW partner Al Moran. Otherwise, “some people don’t even see the work [they buy] until it gets to their homes.”

Marc Selwyn Fine Art and Louis Stern Fine Arts are representing L.A. in the Armory Show’s Modern section, showcasing twentieth century art. A veteran Armory exhibitor, Louis Stern says “it’s always been a positive experience. We’ve always left the fair with a lot of optimism.”

Just a few blocks south of the Armory Show, the SCOPE New York art fair’s 55 exhibitors will include six Los Angeles galleries. Described by co-founder Alexis Hubshman as “the X-Games of the art world,” the SCOPE franchise, which includes fairs in different cities throughout the year, defines its mission as “tapping into the cultural psyche to present only the most pioneering work across multiple creative disciplines.”

Soze Gallery director Toowee Kao describes this weekend at SCOPE as a “sneak peek” at the seven or eight artists who will be having solo shows in Soze’s West Hollywood space in the coming year, though all of the pieces she’s bringing to New York “were made specifically for this fair.” Gallerist Lawrence Cantor, based on West Adams, describes his participation at SCOPE as an opportunity “not so much to make money as to meet people. It gives me a voice in a cutting edge, young market.”

Further downtown, in the Chelsea art gallery district, Independent New York is “a little funkier” than some of the city’s other fairs this weekend, suggests Kurt Muller of the David Kordansky Gallery on South La Brea. “It’s a great way for us to show something more atypical or radical” to the New York art world, “something unexpected.” The Hannah Hoffman Gallery and The Box will also be there.

Four L.A. galleries will be showing work at Volta NY on Pier 90, right next to the Armory Show. Distinguished in part by its emphasis on one- and two-artist exhibitions, the Volta event is not quite as slick, not quite as polished as other fairs in town, according to participating Santa Monica gallerist Richard Heller. “The people there are super cool, and it’s all a bit more collaborative.”

Other Armory Week art fairs with a Los Angeles presence this year include PULSE New York, where Venice’s De Soto Gallery will be in attendance; Art on Paper, with Edward Cella representing L.A.; and the tony Art Dealers Association of America event at the original Park Avenue Armory site, where the Kohn Gallery is showing work by California artists.


Armory Week 2015 News

Bad Weather Be Damned! Cold Collectors Raid Chelsea’s Independent Art Fair

Work by Timur Si-Qin at Société Presents.

Another snowy, terrible New York City afternoon (a people-watching game to play with younger fairgoers is “snot bubble or tiny septum piercing?”) was no deterrent for a flock of art enthusiasts descending on today’s Independent art fair in Chelsea. Some of them were even too eager to speak: “There’s a time to look and a time to talk, and I’m looking right now,” collector Mera Rubell said in the fair’s opening hour. At least at Independent, there is a relatively (compared to the harrowing Armory) manageable amount of stuff to see.

Hanging out at the booth of Berlin’s Société gallery is a giant lightbox photograph by the German-Mongolian artist Timur Si-Qin approximating the aesthetics of an Abercrombie & Fitch ad campaign. In the photo, two absurdly hunky young white male models share a draped American flag around their oh-so-broad shoulders.

Si-Qin has in the past worked with materials as disparate as swords and Axe Body Spray (side note: we look forward to that inevitable moment when Axe Body spray sponsors an art fair), so for him to take on the aesthetics of an Abercrombie campaign fits nicely in line with his style as an artist, which for now is represented by a Yin-Yang crest with the words PEACE in all-caps below it, a signature that can be seen in the corner of his work on display at the Independent and on most of his works.

Sculpture by Stefan Tcherepnin, presented by Real Fine Arts.

New York’s Real Fine Arts brought to the fair a giant Cookie Monster-esque sculpture by the artist Stefan Tcherepnin, originally made for a movie included in the artist’s recent exhibition at the gallery. “It had a Buckminster Fuller geodesic dome in it as a setting,” said RFA cofounder Tyler Dobson, explaining the video, “so they were walking around in this atmosphere, and a few sculptures came out of that film.” Dobson described the flick as having a “dystopian, abstract narrative,” and although actual actors donned the suit in the movie, at the Independent the monster was merely stuffed.

In order to reach the piece, one has to navigate a series of very small sculptures by Sam Anderson (on display at Tanya Leighton), a perilous path guarded in part by Dobson and a very attentive security guard. The guard stationed in front of Anderson’s miniatures is probably in for a very long shift. “I’m gonna have a heart attack myself,” she said after seeing a visitor nearly stomp a small sculpture of a dog wrapped in some sort of sheet. (Canada Gallery’s Phil Grauer, perhaps noticing a reporter’s slack-jawed fascination with Tcherepnin’s monster, offered a pithy explanation of the work his gallery had on display: “This booth is very serious art, it might not work for you, move along.” The art in question was from the deceased first generation conceptual artist Gerald Ferguson, hailing from—incidentally—Nova Scotia.)

Martos Gallery's installation. (Photo by Katherine McMahon)

A less stressful installation came from Karma, tucked in a corner by a window, showing photographs by the sculptor Robert Grosvenor—sexy cars, large-scale toy ships, a gorgeous pair of green doughnuts floating, Ophelia-like, on water. Another piece, not on view, unfortunately: a rat surfing on a life preserver. The works are a kind of preview for a show opening Friday at the gallery, “LADIES AND GENTLEMEN, WE ARE FLOATING IN SPACE,” which features Grosvenor and some of his contemporaries, like John McCracken, Brice Marden, Charlotte Posenenske, Robert Smithson, Ken Price, and Anne Truitt.

Speaking of floating around up in space somewhere, there was Jose Martos, owner of Martos Gallery, displaying Jory Rabinovitz’s copper installation, EEB. Trimmed in oxidized-green fabric tubes, copper squares missing penny-sized holes are mounted as a sort of conceptual shrine to the lowest denomination of the American dollar. The missing copper, like indulgence change, is scattered just below the Ur-plates of metal. Martos was quick to summarize the history of the American penny to a willing listener—how it was once made of pure copper, until the government switched to a bronze alloy of copper and zinc and the actual material worth of the coin dropped. He compared a set of white steps scattered with pennies to Fascist architecture, and his eyes lit up.

Tyson Reeder, "Untitled."

“I love Fascist architecture,” Martos declared. “And Futurism.” We also learned that he admires Alfred Hitchcock’s fastidious eye for design, particularly the cavernous theaters in Spellbound; periodically, he goes through and rewatches Hitchcock’s entire filmography. The James Bond series receives equal attention. He asked if we’d like to meet his assistant, claiming she was much better at talking than him. That’s doubtful.

Tyson Reeder, represented by Canada Gallery, had a few paintings on view courtesy Brussels’s Office Baroque; one of them, Untitled, depicts a spirited longhaired rock band jamming out in front of an artificial brick wall. Elsewhere, Matthew Higgs, director of White Columns and one of Independent’s co-founders, was discussing a forthcoming vinyl LP produced by White Columns of the noisy and not entirely musical Piano Party—pretty much exactly what it sounds like—Reeder threw at Canada earlier this winter. (Today, however, Higgs was selling records out of his booth by Emily Sundblad and Matt Sweeney, which were, according to Higgs, “Much more conventional.”) Higgs also had a work on view by the dealer Gavin Brown. Brown was a floor above, selling watercolors by the German, L.A.-based artist Silke Otto Knapp. Brown’s piece was a rendering of his own hands, one spray-painted neon pink and the other black, each mounted on a circular mirror. Small world.


For more Armory Week coverage, go here.

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The Armory Show Contemporary Opens With a Flurry of Sales

Mickalene Thomas’s “Portrait of Qusuquzah #6,” 2015.
(Courtesy of Susanne Vielmetter Los Angeles Projects, photo by Elisabeth Bernstein)

The V.I.P. promenade of the 15th iteration of the Armory Show, taking up the bird filled halls of Pier 92 and 94 alongside the frozen Hudson River, opened today with a seasonal flurry of sales.

Leaner and meaner this year with “just” 199 galleries from 28 countries, the larger and more heavily trafficked contemporary component aptly demonstrated that art fair fatigue has been placed on hold or those still suffering from it have entered rehab. Before a line was formed for checking coats and bulky bags, sales were clicking along at Paris/Salzburg Thaddaeus Ropac.

 A handsome, woven, glass beaded and patterned abstract canvas by Liza Lou, “Ixube 3” from 2011, sold for $495,000 and Jules de Balincourt’s rather edgy and new protest scene at a posh ski resort, “US as in you me and them” in oil and acrylic on wood panel, measuring 82 by 55 inches, sold for $175,000. On a smaller scale, Robert Longo’s “Study for Chevalier” from 2013 and part of his shiny armor series, as in Medieval Armor, and scaled at 18.5 by 15.8 inches, in ink and charcoal on vellum, sold out of the back room (aka closet) for $48,000.

Nearby, at London’s Victoria Miro Gallery, a large-scale and exotic landscape by Chris Ofili, “Last Light, First Flight” from 2008, in paper collage on canvas, sold in the high six figures. “It sold right off the bat,” said director Glenn Scott Heron, noting that the recent New Museum Ofili survey “finally got people past the dung paintings of the ’90s.”

Museum exhibitions definitely stoke the market for recently featured artists as also evidenced by Kehinde Wiley’s “Portrait of Natasha Zamor” from 2015, at New York’s Sean Kelly Gallery, which sold for $125,000. It was scaled at 72 by 60 inches and features one of the street found models Wiley sources and celebrated at the current Brooklyn Museum show of 40 paintings. The gallery also sold Antony Gormley’s standing, 74 inch-high figure “State XIII” from 2012, in cast iron for £350,000 and Marina Abramovic’s horse mounted “The Hero I” from 2001, a framed color photograph for €90,000.

Still in the relatively low price point video/photography sphere, David Claerbout’s edgy “Oil workers (from the Shell company of Nigeria) returning home form work, caught in a torrential rain” from 2013, a single channel video projection, HD animation, color, silent endless (as the description goes), sold two editions at €65,000 each.

At New York’s Jack Shainman Gallery, another new gallery artist, the Iraqi painter Hayv Kahraman, currently enjoying a solo there in Chelsea, was represented at the stand with “Hapool Meshkhor,” a new painting scaled at 100 by 79 inches in oil on linen and exclusively focused on a female figure, went for $75,000. The more established and first-rate Kerry James Marshall, ”Study for Bed Man” from 2013, done in ink wash and collage and depicting a nude black man on a fur covered bed with an African flag, in a kind of brilliant reprise of the famed Goya “La Maja desnuda,” c. 1797-1800, quickly sold for $42,000. The gallery also sold Nick Cave’s spacey and post-Spock-like “Soundsuit” from 2011, in mixed media including shopping cart, buttons, upholstery, metal, and mannequin, for $125,000.

In those early V.I.P scouting hours, the general atmosphere was calm and bubble like, without much hysteria, apart from one observed moment in the wake of an upset collector who very much wanted dibs on a hard to source Mickalene Thomas painting at LA’s Suzanne Vielmetter, where Thomas’s “Portrait of Qusuquzah #6” from 2015, set in rhinestones, acrylic, oil, and silk screen on wood panel, sold to an otherwise unnamed American institution for $65,000. It was one of the standout pieces in the fair, showing the artist’s expanded use of collaging and painting on the surface in a kind of Cubist styled approach, capturing a woman in profile. The dejected suitor made a loud fuss but moved on.
The mood was lighter at New York’s 11 Rivington, which experienced a small avalanche of early sales in the comfortable price range of approximately $5,000-20,000 and ranging from unique, small scaled laser toner on paper abstractions by Marsha Cottrell, such as “Spectral Sun” from 2014, to Volker Huler’s large-scale, 74 by 52 inch etching “Lost in the Stars V,” from 2014, and Evan Nesbit’s acrylic, dye, and burlap abstraction “Untitled,” from 2015. The Lower East Side gallery also sold works by Mika Tajima in spray enamel and thermo formed acrylic in the $13,500-20,000 range.
Concentrating on more emerging artists, at least on this promenade, there was more activity at New York’s Fredericks Freiser, as recent Yale grad Mark Thomas Gibson, currently better known as Kara Walker’s ace studio assistant, had three text based paintings on view, including “Search Light” from 2015, which sold for $8,500. In stenciled-like letters and mashed up with other poached images, the painting reads “Some monsters loom large,” a great phrase for the current market. The gallery also sold photo-realist styled, faux Surreal works on canvas by Jocelyn Hobbie in the mid-$20,000 range, including the sexy “Kitten,” from 2015, at 36 by 24 inches.
Fitzrovia dealer (as in London) Josh Lilley enjoyed great success with his stand of still underknown artists, including a sassy, Louise Bourgeois-like floor sculpture by Kathleen Ryan, “Bacchante Reclining” from 2015 and aggressively potent in concrete, marble, and stainless steel. The silvery blue grouping of balloon-like forms tethered together like convicts on a chain gang sold for $18,000. Lilley also sold a group of figurative paintings by Aliza Nisenbaum, who was recently featured in a White Columns show, with works depicting Central American families the artist befriended in Queens. The evocative portraiture mix of Diego Rivera and Alice Neel, perfumed to the plight of paperless but hard-working immigrants, injected a heady gravitas to the work. “Gloria, Angelica, Jessica,” executed in oil on linen from 2014 and scaled at 51 by 33 inches, sold for under $10,000.
Amidst the low-octane hubbub, a performance artist gracefully skateboarded along the aisles on an electric contraption resembling a flying carpet, complete with fringe — the performer was decked out in a skull cap and caftan-like costume. It added a light and enjoyably Surrealist touch to the Armory Show.
The Modern section will be covered here on Thursday.


The 10 Best Contemporary Artworks At The 2015 Armory Show

Posted: 03/05/2015 1:42 pm EST Updated: 03/05/2015 1:59 pm EST

This article originally appeared on artnet News.
By Brian Boucher


El Anatsui at Jack Shainman.

The VIPs were out in force at the preview of the Armory Show on the Hudson Piers on Wednesday. We spotted Neil Patrick Harris, fresh off his Oscars hosting performance, chatting with none other than George Lucas in the aisles. REM’s Michael Stipe was seen picking up lunch with Bill Arning, director at the Contemporary Arts Museum Houston, and some other friends. Museum directors like Glenn Lowry were on the prowl.

Nearly 200 galleries from around the globe are offering their wares. We took a quick run through Pier 94, where the contemporary galleries are, and found 10 works we especially liked. (Ben Davis has this to say about the show: Less Neon, More Dead Animals at the Sprawling, Exciting Armory Show 2015.)

Aiko Hachisuka’s large sculpture Couch caught our eye at Eleven Rivington (New York). It’s a large, comfy-looking couch covered with stuffed clothes, all bought at a yard sale from a single family. It brings to mind Mike Kelley’s work with stuffed toys, as well as Yayoi Kusama’s furniture sculptures covered with soft phallus shapes. The gallery’s Augusto Arbizo (see 14 Young New York Art Dealers To Watch) points out that it’s actually more closely inspired by early works by John Chamberlain. By the time we got back to the office, it had sold to someone for $20,000. Only that person will get to sit on it, so don’t try to sit down.

An array of ceramic sculptures by William J. O’Brien, each on a custom-designed stand, makes for a dramatic presentation at Marianne Boesky’s booth. The Ohio-born artist lives in Chicago and he’s 37. These zany sculptures in all sorts of colors dominate the booth to great effect, each standing a couple of feet high. Some depict partial figures, some are angular and abstracts, some show crazy heads. In one, showing a figure from thighs to elbows, the hands sport fingernail polish.

I don’t know the work of German artist Michael Müller yet, but you can’t help but be drawn into the stand of Aanant & Zoo/Thomas Schulte, in town from Berlin. The artist has lined the floor with pink carpet and the pink wall with text of his own writing. There are sculptures throughout the booth, including a creepy one showing a man sitting in a shower stall, with nothing where his genitals should be. Another, Relaunch at the Museum Shop, has an aluminum cut-out of German artist Albrecht Dürer atop a plinth, with a Louis Vuitton–style handbag emblazoned with the artist’s own logo of a D nestled within an A.

I can’t get enough of Martin Wong. His painting Iglesia Pentecostal, 1986, shows the whitewashed façade of a church on Avenue B on New York’s Lower East Side, with the metal security gates closed. Wong, a Chinese-American artist who died from AIDS, has been deservedly in the spotlight in recent years, with the Museum of the City of New York mounting a show of his street art collection and Danh Vō devoting his Hugo Boss Prize show at the Guggenheim to a display of other items Wong collected. This painting, to me, delightfully plays with the notion of a flat picture plane and of shutting the viewer out, while depicting a bombed-out Lower East Side that’s unimaginable today. It’s showing at P.P.O.W Gallery, New York.

Edge of Arabia Projects (EOA), London, hosts an endearing project by artist Darvish Fakhr, who is dressed in a flowing garment and a fez, like a whirling dervish (yes, his name has the same root), and is riding a magic carpet around the fair. It sits atop a motorized device and, echoing the motor’s sound, is called Whirring Dervish. He won’t be hard to find. Just watch for everyone smiling and directing their iPhones his way as he cruises by. On a break at EOA’s booth in the Focus section, devoted to galleries from the Middle East, North Africa and the Mediterranean, he told me he hopes to lighten things up and deal with a troubled part of the world with some humor. When I asked if I could try it out, he said, “I don’t know, can you ride longboard?”

London’s Moving Museum, one of the nonprofits accorded a tiny booth, introduced me to a fine project by Soheila Sokhanvari, an Iranian artist who somehow managed to smuggle some crude oil out of Iran. She used the substance to create monochromatic drawings based on photographs from pre-revolutionary Iran. The works couldn’t be more timely, with Iran’s nuclear capabilities on the front page as Israel’s Benjamin Netanyahu was invited by Congressional Republicans to give a campaign speech in Congress this week, slamming Obama’s still-in-negotiations arms deal.

Ryan Gander has a fine sculpture at Berlin’s Johnen Galerie that gooses Donald Judd, which can only be a good thing. He’s arranged a series of IKEA shelves in a column, just like Judd’s iconic “stack” sculptures. Atop them rests a potted plant, as if to turn some of the most beloved exemplars of minimalism into nothing more than interior decor. (It reminded me of a fine piece by David Scanavino at Marlborough recently that similarly tweaked the famously prickly artist by treating his chairs in ways that probably wouldn’t have pleased him.)

Wael Shawky’s drawings at Lisson Gallery (London, Milan, and soon New York) are a delight. He’s shot a series of videos that use marionettes to tell the tale of the Crusades, as he puts it, from the Arabs’ perspective; they’re now on view at MoMA PS1 (see Puppet Jihad at MoMA PS1 Puts Burlesque Into Extremism), along with the marionettes. The drawings are subtler, but the fancy that infuses the puppets and the videos is also on display here.

Nara Roesler, with galleries in São Paulo and Rio de Janeiro, has a great sculpture by Julio Le Parc, with hundreds of little yellow panes of plastic hanging in a giant globe from the ceiling, making a mesmerizing avant-garde sun in the fluorescent-lit gilded trenches of the piers. The artist, born in 1928, has been showing at biennials since Venice in 1966 and São Paulo the following year, and has stood up to repressive military regimes in Brazil and participated in collective artistic acts of protest against fascist movements in Chile, El Salvador, and Nicaragua.

El Anatsui has received plaudits for institutional solo shows like the recent one at the Brooklyn Museum, which opens soon at the Museum of Contemporary Art San Diego. A giant wall hanging at Jack Shainman’s booth is tagged at $1.5 million and incorporates hundreds of aluminum remnants from liquor bottles to create a great, swirling black curtain. (See El Anatsui’s Exciting New Work Is Even More Majestic Than Ever.) Roberta Smith, in the New York Times, once wrote of his sculptures, “Their drapes and folds have a voluptuous sculptural presence, but also an undeniably glamorous bravado.” That bravado is on plentiful display here.

  • Darvish Fakhr, Whirling Dervish, 2014. Photo Brian Boucher.
  • Aiko Hachisuka, Couch (2011). Photo: Courtesy of Eleven Rivington Gallery.
  • Michael Müller. Photo: Courtesy of Galerie Thomas Schulte.
  • Julio Le Parc at Galeria Nara Roesler.
  • Martin Wong, Iglesia Pentecostal, 1986, acrylic on canvas. Courtesy of The Estate of Martin Wong and P.P.O.W Gallery, New York
  • Ryan Gander, I Am Broken, 2011. Galerie Johnen, Berlin.
  • Soheila Sokhanvari, drawings in smuggled Iranian crude oil, at the Moving Museum, London. Photo Aaron Sherman.
  • William J. O’Brien, Untitled (2014). Courtesy of the artist and Marianne Boesky Gallery, New York.
  • Wael Shawky, Dictums: drawing 15 (2014). Photo: Courtesy of Lisson Gallery.


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The NY Observer Guide
An Opinionated Guide to the Art Fair Avalanche of NY’s Armory Week
By Alexandra Peers and Ryan Steadman | 03/03/15 7:00am
An illustrated guide to the fairs of Armory Arts Week 2015. (Photo: New York Observer)

An illustrated guide to the fairs of Armory Arts Week 2015. (Photo: New York Observer)

Don your Prada and grab your sunglasses, the art world is coming. Over the next few days, you won’t be able to walk around Manhattan without stumbling into an art fair. A dozen of them showcase their wares through March 8, in neighborhoods all over town.

Here’s our guide:

Art Dealers Association of America: The Art Show
Now in its 27th year, this jewel box of a show on the Upper East Side is one of the first of the week to open, and it features a curated slate of 70 veteran powerhouse galleries like Acquavella, 303 and Brooke Alexander. There’s some fine young art here, but, at its core, this elegant fair offers blue-chip art for blue bloods.

Park Avenue Armory
Park Avenue at 67th Street
Open March 4-8; VIP preview March 3
Wednesday-Friday 12 p.m.-8 p.m.; Saturday 12 p.m.-7 p.m.; Sunday 12 p.m.-5 p.m.

The Armory Show
The largest Modern and Contemporary art fair in New York, and one of the largest in the world, this year’s edition boasts big-time galleries like David Zwirner and Victoria Miro as well as a host of hot young spaces like Various Small Fires and Bischoff Projects. You’ll spot all the big collectors (Eli Broad, David Geffen), the alleged-but-beloved art flippers (Aby Rosen, Peter Grant) and the MoMA folks (director Glenn Lowry, drawing followers like the Pied Piper), all shopping a century’s worth of paintings and sculpture—plus a conga line of art advisors.

Piers 92 & 94
12th Avenue at 55th Street
Open March 5-8; VIP preview March 4
Thursday-Saturday 12 p.m.-7 p.m.

Art on Paper
Brought to you by the team behind the popular Miami Project, the inaugural Art on Paper Fair just south of the Williamsburg Bridge provides a mix of drawings, photographs and prints, so there may be bargains. The opening night party benefits the Brooklyn Museum.

Pier 36
299 South Street on the East River
Open March 6-8; VIP party March 5
Friday-Saturday, 11 a.m.-7 p.m.; Sunday 11 a.m. -6 p.m.

Usually one of the more interesting fairs, this one for cutting-edge heavy-hitters (Gavin Brown, Balice Hertling) opens the old Dia Center space up to well-considered installations rather than sales booths (or so they say). If past is a predictor, expect big crowds and bigger sales at the Independent’s last appearance in this historic space.

548 West 22nd Street
Open March 6-8; vernissage March 5
Friday-Saturday 12 p.m.-7 p.m.; Sunday 12 p.m.-6 p.m.

New City Art Fair
And now for something completely different: New York’s only fair for Contemporary Japanese art, now in its fourth year, will bring a tight-knit group of Tokyo, Sapporo and Nagoya galleries from their island to ours.

529 West 20th Street
Open March 5-8
Thursday-Saturday 12 p.m.-7 p.m.; Sunday 12 p.m.-6 p.m.

Still lively and experimental in its 15th year, this fair bills itself as a venue for “the discovery and acquisition of cutting-edge Contemporary art.” Its preview brunch on Thursday is among the more crowded see-and-be-seen events of the week.

The Metropolitan Pavilion
125 West 18th Street
Open March 5-8; preview brunch March 5
Thursday 1 p.m.-6 p.m.; Friday-Saturday 11 a.m.-8 p.m.; Sunday 11 a.m.-5 p.m.

This well-established satellite fair, which was showcasing emerging and performance art before some of its rivals were even paying attention, moves to a new and convenient location this year not far from the blockbuster Armory Show.

Scope Pavilion
639 West 46th Street
Open March 6-8; preview March 6
Friday 6 p.m.-10 p.m.; Saturday-Sunday 11 a.m.-8 p.m.

Spring/Break Art Show
If an art fair can inspire affection, this scrappy, sometimes delightful and often inexpensive one, with a “hang it on the wall and see what sticks aesthetic,” can be said to be loved. Here, curators choose the art, not galleries, which results in some of the week’s most interesting projects.

Skylight at Moynihan Station
Northwest Corner, West 31st Street & 8th Avenue
Open March 4-8; preview March 3
Wednesday-Sunday 12 p.m.-8 p.m.

Moving Image Fair
Here, video art is taken seriously by those who know and love it. This critically acclaimed fair is back with the promise of “allowing moving image-based artworks to be understood and appreciated on their own terms.” This fair is a good, thoughtful, even restful, choice when the sales buzz of its rivals overwhelms you.

Waterfront New York Tunnel
269 11th Avenue between 27th and 28th Street
Open March 5-8; opening reception March 5
Thursday-Saturday 11 a.m.-8 p.m.; Sunday 11 a.m.-4 p.m.

Volta New York
Now on Pier 90, snuggled up next to its corporate big brother the Armory Show, this is a generally smart and particularly thoughtful invitational fair of solo artist presentations. (Carribbean artists are particularly strong this year.) Shoppers take their time here, and the “Volta Salon” also generally offers a good lecture/panel program.

Pier 90
West 50th Street at 12th Avenue
Open March 5-8; vernissage for the public March 5
Thursday 6 p.m.-8 p.m.; Friday-Saturday 12 p.m.-8 p.m.; Sunday 12 p.m.-7 p.m.

Salon Zürcher
Possibly the smallest fair you’ll go to this week (six galleries), this LES salon actually takes place within the gallery space of one of its exhibitors, Galerie Zürcher. If you’re someone who gets easily overwhelmed, then this might be the place for you.

33 Bleecker Street
Open March 2-8; Opening March 2
Monday 5 p.m.-8 p.m; Tuesday-Saturday 12 p.m.-8 p.m., Sunday 12 p.m.-5 p.m.

(un)Scene Art Show
There are many ways to draw attention to your art fair, but free ice cream is perhaps the most laudable. That’s what the folks behind this event did at their last venture (the unFair), and this time they promise a “happening.”

549 West 52nd Street
Open March 4-8
Wednesday-Sunday 11 a.m.-8 p.m.

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Mar 4, 2015

'Oona' (2006), Alex Katz. Courtesy of Galleria Monica De Cardenas Milano/Zuoz

Highlights from The Armory Show 2015

The Armory Show, New York’s leading modern and contemporary art fair, opens to the public tomorrow at Piers 92 & 94. As the extravagant centrepiece of the city’s Armory Arts Week, it plays host to the world’s most influential dealers, and some highly significant works of art. Highlights this year range from Barbara Hepworth’s polished abstract sculpture Six Forms on a Circle (1967) at Osborne Samuel (the modernist sculptor is the subject of a major retrospective at Tate Britain this June) and On Kawara’s I WENT at mfc-michèle didier – a great example of the obsessive conceptual cataloguing for which the artist is famous. Chantal Joffe’s recent portrait of a Woman in a Blue Coat on Green (2014), and Alex Katz’s Oona (2006) are eye-catching, enigmatic images of women; while American modernist Marsden Hartley’s Finnish-Yankee Wrestler (c. 1938–39) and Jim Dine’s Self-Portrait from 1970 are no less arresting explorations of male identity. We’ve picked out a few of our other favourites below.

The Armory Show is at Piers 92 & 94, New York, from 5–8 March.


The 2015 Armory Show in 23 Superlatives

The Pommery Champagne Bar at the 2015 Armory Show (all photos by the author for Hyperallergic)

The 2015 Armory Show delivers pretty much what you’d expect of the 2015 Armory Show: some quite good art, some pretty bad art, and a lot of completely harmless stuff in between. The long-running fair feels, for better or for worse, quite set in its ways, and its ways are those of the traditional art fair; no secret bars or booths-turned-totally-wacky-installations here.

There can be a certain charm in that — or, if not quite “charm,” a certain amusement, predicated on accepting the fair for what it is and letting it entertain and wash over you. In that spirit, I decided it might be nice to hand out accolades this year, to salute the galleries and artworks that — for better or for worse, among the hundreds of others (in the Contemporary section; I did not visit Modern) — moved me to stop and take their pictures. Here they are.

Most Bookish Booth: mfc-michèle didier


Muntadas, "On Translation: The Bookstore" (2001) (click to enlarge)

Given that mfc-michèle didier is a publisher, it’s not entirely surprising that the booth focuses on printed objects like books. Still, it was a good booth. In addition to Allen Ruppersberg’s binder book The Novel That Writes Itself (which collectors could buy their way into for the right price), the booth has a wall of imposing tomes by On Kawara, comprising a documentation trilogy of the artist’s daily conceptual exercises: I GOT UP, I WENT, I MET. In sharp relief to these precious objects is a funny photo series by the artist Muntadas, which documents the interchangeable nature of some of our beloved bookstores.

Best Booth to Linger In: Gallery Espace

Work from Manjunath Kamath’s ‘Miniature’ series (2014), gouache and acrylic on paper, 5 x 7 in each, at Gallery Espace (click to enlarge)

Chitra Ganesh, 'Cat Women' series (2013), mixed-media collage on handmade paper, 12 x 12 in each (click to enlarge)

Gallery Espace has, I think, put together one of the best booths at the Armory Show. It could be easily missed, because there’s nothing very flashy in it, but if you visit, you’ll be rewarded. Quirky, imaginative collages from Chitra Ganesh’s Cat Women series (2013) hold court in one corner, resonating with nearby Ritual Drawings by Manjunath Kamath — who also has a series of Miniature paintings (2014) on view around the corner. The artists share a playful surreality grounded in traditional figuration, and their work in small series connects them to Zarina Hasmi’s eye-catching black-and-gold collages that dominate the back wall.

Best Art-Fair Art: Zipora Fried at On Stellar Rays


On Stellar Rays is exhibiting in the Armory Presents section of the fair, which features solo or duo displays by galleries less than 10 years old. Artist Zipora Fried gets the whole booth, but this work is really all you can see. Nothing says “art fair” like a gold-tinted mirror propped up by a shitload of baseball bats.

Best Art Object Likely to Be Mistaken for Trash: Gavin Turk at Ben Brown Fine Arts


… Because, you know, it’s a lifelike trash bag! This one had all the eyebrows raising and the smartphones shooting today. Good thing it’s probably too heavy for security to accidentally throw out.

Best Ass and Air-Conditioning Combination: Andrew Kreps Gallery


The painting is Robert Overby’s “Summer Fram” (1977–86). The air-conditioning unit I couldn’t find wall text for. Is it art? Your guess is as good as mine.

Best Recycling Project: Bade Stageberg Cox, Street Seats


This is the fourth year that the Armory Show has asked Brooklyn architects Bade Stageberg Cox to design the fair. One of their standout projects — not new this year, but still great — is Street Seats, for which the firm salvaged pieces of furniture from the the sidewalks of New York City, repaired them, and painted them taxicab yellow. The chairs and tables would be cute regardless of their origin, but their recycled nature and connection to the city make them excellent design.

Best Oversize Christmas Ornament: Berta Fischer at James Fuentes


I couldn’t quite figure this thing out. I’m going with Christmas ornament because it’s colorful and hanging, although you’d certainly need a big tree. Barring that, maybe it’s hospital art? It does resemble a tangle of in-patient wristbands blown up and gone haywire.

Best Art That Looks Textured but Isn’t (Got Ya!): Amir Nikravan at Various Small Fires

Work by Amir Nikravan at Various Small Fires

These paintings by Amir Nikravan seem to be one of two things: either tantalizingly textured paintings or extremely well-Photoshopped prints. They are neither! In fact, Nikravan has a very elaborate process that involves using objects to create a pattern on a wood panel, then stretching fabric over it, then vacuum sealing the whole thing, then spray-painting the fabric, then removing it and mounting it on aluminum. Photoshop is so 2004.

Most Underwhelming: Michael E. Smith & Franz Erhard Walther at KOW

Work by Franz Erhard Walther and Michael E. Smith at KOW

There is a place for both of these men in art, but that place is not here, together, comprising a booth so dull it makes your heart hurt.

Best Amalgamation of Things You’d Find in Your Home: Rachael Champion at Hales Gallery


Champion injects new life into a category of art I thought had been laid to rest in 2009.

Best Art Befitting Its Gallery’s Name: Nick van Woert at OHWOW


How do all those rocks stay balanced? How does this thing not topple over? Wait, wait, it’s made of copper? Oh wow!

Best Art That Is Also a Functioning Slot Machine: Andrew Ohanesian at Pierogi Gallery


Those who can’t buy, gamble.

Most Photogenic Art with No Discernible Meaning: Glenn Kaino at Honor Fraser


According to the explanatory materials on offer at Honor Fraser, “the form [of Glenn Kaino’s ‘A Shout Within a Storm’] appears to change relative to our experience of the position of the viewer, suggesting a set of contingencies that reflects our experience of the world.” I really couldn’t tell you what that means, but this thing sure is fun to photograph. See?

Glenn Kaino, "A Shout Within a Storm"

Best Lumpy Ceramics: Benedetto Pietromarchi at Josh Lilley Gallery


Surprisingly, I didn’t see any other lumpy ceramics on view at the fair, so this may be an unfair contest. But I do enjoy these pieces by Benedetto Pietromarchi; they strike just the right balance between beautiful and weird.

Best Immersive, Color-Coordinated Booth: Michael Müller at Aanant & Zoo/Galerie Thomas Schulte


I didn’t honestly have enough time to spend in this booth, reading all the text and taking everything in. But a short walk through suggests that it’s worth spending time with. The booth feels like a rarity at an art fair: a complete presentation that foregrounds the artist’s vision.

Best Thing Sewn Together from Other Things: Aiko Hachisuka at Eleven Rivington


The only thing wrong with this is that you’re not allowed to sit on it.

Best Selfie Bait: Jeppe Hein at Johann König


I’m not sure what reason this could possibly have for existing besides selfies. Editions for every night-club bathroom in Chelsea!

Best Donald Judd Remake for the 21st Century: Ryan Gander at Johnen Galerie


Because Ikea shelves are the building material of the 21st century, and if their assembly is DIY anyway, why not stack them? The plant is an especially nice touch — a domestic rejoinder to the austere machismo of Minimalism.

Highest Art: Jessica Stockholder at Kavi Gupta Gallery


There are most certainly fewer women than men represented at the Armory Show, but at least the women who are there will not allow themselves to be limited by silly things like booth walls. From afar, this nifty sculpture by Jessica Stockholder seems to climb over Kavi Gupta‘s wall; close up, it dangles madly. I appreciated that it was literally the highest art I could find.

Jessica Stockholder, "Celestial Season" (2015), plastic baskets, wire ties, chain, lights, driveway mirrors, paint, 96 x 70 x 70 in

Most Striking Photographic Portraits: Valérie Belin at Galerie Nathalie Obadia


There are a lot of photographic portraits at this year’s Armory, many of them excellent: a booth devoted to George Dureau, gorgeous pictures by Zanele Muholi. But these two by Valérie Belin at Galerie Nathalie Obadia — which so unsettlingly toe the line between artifice and reality — stayed with me.

Best Thing Masquerading as Art: Gilles Barbier at Galerie Vallois


It’s certainly some kind of sculptural super-someThing.

Best Kehinde Wiley: Kehinde Wiley at Galerie Daniel Templon


With an exhibition at the Brooklyn Museum and his work on offer in at least three booths at the Armory Show, Kehinde Wiley is the man of the moment. I often feel like, once you’ve seen several Kehinde Wileys, you’ve seen them all, but this piece feels a lot richer and more thoughtful than his mega-portraits.

Biggest Abstract Painting: Secundino Hernández at Galerie Forsblom


When you can’t paint better, paint bigger.

The 2015 Armory Show continues at Piers 92 and 94 (West 54th Street at Twelfth Avenue, Hell’s Kitchen, Manhattan) through March 8.



No Art Fair Lull as One Gallery Sells $1 Million in Three Hours

11:53 AM PST
March 5, 2015

William J. O'Brien Sculptures

by Katya Kazakina
11:53 AM PST
March 5, 2015

William J. O’Brien Sculptures
Glazed ceramic sculptures by William J. O’Brien at Marianne Boesky gallery sold for $12,000 to $16,000 in New York. Photographer: Katya Kazakina/Bloomberg

(Bloomberg) — Sean Kelly Gallery sold more than $1 million of sculptures by British artist Antony Gormley in less than three hours on March 3, as a week of art fairs in New York opened with a flurry of purchases by wealthy collectors.

The gallery pulled in another $1 million for works by blue-chip and emerging artists the next day at the Armory Show, the city’s largest contemporary art fair that anchors about a dozen concurrent shows and countless exhibition openings.

“These Gormleys go up 20 percent to 25 percent a year,” Kelly said about the cast-iron blocks evoking human figures shown in his booth at the Art Show at the Park Avenue Armory. “You can’t get 2 percent from a bank.”

New York is the first major stop this year on the global art fair circuit that continues in Hong Kong; Maastricht, the Netherlands; and Dubai later this month. In recent years, fairs have become one-stop shopping malls for the mega-wealthy seeking to diversify their stock portfolios with paintings and sculptures by brand names and hot young artists.

Many galleries are participating in five to 10 art fairs a year, hopping from one time zone to another, according to dealers and fair organizers.
‘More Intense’

“It gets more intense every year,” said Marc Spiegler, director of Art Basel, the contemporary art fair whose Hong Kong edition opens next week. “The time-crunched new wealthy collectors aren’t going to spend weekends going to every gallery in town. They go to art fairs.”

In 2014, 204 fairs specialized in fine art and design, up 32 percent since 2007, according to Skate’s Art Fairs Report, with 80 events representing 95 percent of all business. Last year, 65,000 people attended the Armory Show, which has 199 galleries from 28 countries.

On March 3, 2,600 people braved the snow and sleet to show up for the gala opening of the Art Show, which featured 72 top American galleries. Select guests included ex-Goldman Sachs Group Inc. partner Jonathan Sobel, AllianceBernstein Corp. Chairman and Chief Executive Officer Peter Kraus, and Barnes & Noble Inc. Chairman Leonard Riggio.

Petzel gallery mounted a minimal installation by Wade Guyton with small, black-and-white prints displayed on a bright yellow surface inside five long, custom-made vitrines. A set of 15 vitrines with 146 prints was reserved for a U.S. museum, the gallery said. Asking price: $750,000.
Turned Corner

Dominique Levy gallery exhibited works by Japanese artist Tsuyoshi Maekawa, whose roughly textured, creased oil-on-burlap canvases looked like a cross between painting and sculpture. The largest one, “Work” (1963), priced at $425,000, sold within the first 10 minutes of the opening.

Droves of collectors hit the Armory Show at two hangar-size piers on the Hudson River on March 4. Guests included CIT Group Inc. CEO John Thain, Tishman Speyer Properties chairman Jerry Speyer, this year’s Academy Awards host Neil Patrick Harris and actors Tobey Maguire and Mike Myers.

“The Armory Show has officially turned a corner,” said New York dealer James Fuentes, who sold a neon Plexiglas sculpture by Berta Fischer for $15,000 to New York collectors Zoe and Joel Dictrow. “It doesn’t have the baggage of a fair people aren’t interested in anymore.”
Another Try

Several prominent galleries including Metro Pictures, Galerie Lelong, Andrew Kreps and Kamel Mennour returned to the fair after years of absence.

“We stopped because it wasn’t sexy,” said Kamel Mennour, the owner of the Paris-based gallery that mounted a solo show of Daniel Buren, whose signature vertical stripes have appeared on pavements, palaces and paintings. Like other dealers, Mennour said he was persuaded to give the fair another try by its director Noah Horowitz.

“He has a precise vision,” said Mennour. “He sees it as not only the market, but also the content.”

Mennour returned with Buren’s works from every decade starting in the 1960s. There were paintings on wood, canvas and plastic. A sequence of black and white stripes on marble sold for 150,000 euros ($165,405) during the first hour of the opening.

First-time participant OHWOW gallery from Los Angeles did brisk sales throughout the day, said partner Al Moran.

“We are testing it out,” he said. “So far it has exceeded our expectations.”

The gallery’s sales included Luis Gispert’s assemblage made with glossy black rocks and fake gold chains for $24,000 and two large canvases covered with bark by Nick van Woert for $35,000 and $40,000.
Ceramic Sculptures

Actor Christian Slater joined a mob of collectors snapping up glazed ceramic sculptures by William J. O’Brien at Marianne Boesky. The gallery sold 18 of O’Brien’s 27 pieces, priced at $12,000 to $16,000. An ephemeral wall sculpture made of fiberglass by Diana Al-Hadid went for $85,000.

“We could have sold it three times,” said Adrian Turner, the gallery’s senior director.

Jack Shainman’s booth, anchored by a large, shimmering, black tapestry by El Anatsui, attracted New York collectors Susan and Michael Hort and Madeleine Grynsztejn, Pritzker director of Museum of Contemporary Art Chicago.

Canadian collector Robert Rennie, who has a private museum in Vancouver, inquired about a work on paper by Kerry James Marshall depicting a nude black man in an odalisque pose. Priced at $45,000, it was already sold. So was Nick Cave’s white sound suit, priced at $125,000.
Tougher Sell

While lower-priced works went fast, pieces at about $1 million were a tougher sell.

There were no immediate takers for the Anatsui tapestry priced at $1.5 million at Shainman; for Buren’s 1966 canvas, offered at 850,000 euros at Kamel Mennour; or Chinese artist Yue Minjun’s $800,000 signature smiling man painting at Galerie Daniel Templon.

“There’s no frenzy, but very consistent traffic all day long,” said Augusto Arbizo, director of Eleven Rivington, where the Horts picked up an abstract painting by Evan Nesbit priced at $16,000 and Dallas-based collector Howard Rachofsky bought Aiko Hachisuka’s multi-patterned couch sculpture for $24,000. “There was no lull.”


Six years ago, when it started out, the art fair called Independent really was sort of that. It had a cool guerrilla buzz. In the former Dia headquarters on West 22nd Street in Chelsea, it was tiny compared with the cattle-call Armory Show. More rebelliously, admission was free. And the look was new. Instead of booths the size of stockyard stalls, there were wide-open prairies of exhibition space on all three floors. Within these democratic vistas, you could hardly tell where one gallery ended and another began.

Democracy is fine and independence is fun, but they don’t pay for the farm, so things changed. Now there’s an entry fee ($20) and many more partition walls than there were of yore, enough so that some gallery spaces are all but self-enclosed. Despite such bows to convention, though, one thing is the same: Independent still feels more like an art experience than a shopping experience, and that sets it apart from the competition.

What accounts for the atmosphere? For one thing, less-is-more is the prevailing style. Sparsely hung spaces at least suggest that you’re looking at art, not inventory. Traces of neighborliness linger on. You have to pass through galleries to get to others, which means you see pretty much everything in the show whether you mean to or not.

The relatively relaxed and uncompetitive vibe encourages a degree of visual subtlety. The black-on-black North Atlantic landscape paintings of Silke Otto-Knapp at Gavin Brown’s Enterprise, for example, might have been swallowed up on the Piers: Here they do just fine. So do the abstract, delicately detailed sculptures of the young Los Angeles artist Matt Paweski at Herald St., one of six London galleries this year.

Possibly the geographic breakdown of the fair’s 50 participants might make a revealing study in art fair demographics. New York, of course, dominates, but Berlin, with 11 galleries, comes in a strong runner-up. Is it significant that Los Angeles has only three galleries and Mexico City the same? Or that no African, Asian or Australian galleries are in the mix at all? To my eye, at least, such statistics mean little, since, in an era of global pluralism, everything here could come from almost anywhere within a Euro-American sphere. This gives Independent a somewhat clubby look — there may be galleries from 14 countries, but everyone speaks the same visual language — which is the not-so-fabulous flip side of neighborliness.

Anyway, in the end you’ll come away with memories of what you liked best (or least), some of it familiar, some not. On the second floor, JTT, a young gallery from the Lower East Side — and one of 16 first-time Independent exhibitors — opens the show on a solid, no-nonsense note with a beaconlike sculpture made from a truck tire balanced on a column of stones by Charles Harlan. Nearby, Elizabeth Dee, who founded the fair with Darren Flook, has strong pieces by three veteran artists Mac Adams, John Giorno and Julia Wachtel. And the Box, from Los Angeles, highlights 1960s work — tiny, vaguely sinister assemblages of seashells, broken dolls and severed bird wings — by Barbara T. Smith, an early West Coast feminist artist who should be far better known in New York than she is.

Further on, at Canada, another undersung figure, the conceptualist painter Gerald Ferguson, who taught at the Nova Scotia College of Art and Design for decades and committed suicide in 2009, has what amounts to a full-fledged show of late abstract landscapes done in black house paint on plain canvas. Galeria Agustina Ferreyra Gallery, from San Juan, Puerto Rico, goes for high color and high energy in a wraparound installation of paintings by Adriana Minoliti, from Buenos Aires. Closer to home — Greenpoint, Brooklyn — Real Fine Arts, a stimulating place, mixes intensely marketable abstract painting (Jon Pestoni, Ned Vena) with more interestingly kooky and no doubt harder to sell sculpture: a life-size, purple, faux-fur Cookie Monster-ish figure by Stefan Tcherepnin and bust-length heads combining alpaca wool, metal spikes and “nonorganic garbage” by Mathieu Malouf.

Plan B, a gallery with branches in Berlin and Cluj, Romania, has made an impression at the Armory Show in the past and is worth a visit on its first Independent appearance. The gallery has brought just two artists. Navid Nuur, originally from Tehran, now living in Europe, makes both modular sculptures and crusty, glowing paintings that swirl with calligraphic lines. These are complemented by the paintings of a younger artist, Achraf Touloub, born in Morocco, who turns similarly swirling lines into tree trunks and branches that look both realistic and unnaturally continuous, like arabesques.

Old and new, alike and different, are braided together on the third floor. Labor from Mexico City and Supportico Lopez from Berlin — share a space and a single artist, Jan Peter Hammer, with Labor also representing the estimable Pedro Reyes and Nicholas Mangan, who is in the New Museum’s 2015 Triennial. Two other galleries connect “outsider art” dots both from across the Atlantic and from opposite sides of the fair’s third-floor space. Galerie Susanne Zander/Delmes & Zander in Germany are showing cosmic diagrams by the psychologically troubled German artist Harald Bender (1950-2014), while Chelsea’s own White Columns has a cache of erotic Rapidograph fantasies by the New Yorker Anthony Ballard (1945-2008), who was schizophrenic and exhibited at Fountain House in New York.

Mendes Wood DM, a gallery from São Paulo, has a solo by the Brazilian artist who uses the gender-free moniker f.marquespenteado (full first name: Fernando). He says that he works best when permitted “to occupy an entire space.” And so he does here, creating an environment of paintings, drawings, embroideries and collages that serve as a stage set for a multicharacter narrative about masculine stereotypes and how they thwart the path of true same-sex love.

A debut Independent appearance by the Mexico City gallery Kurimanzutto brings a rare visit from the long-expatriate American artist Jimmie Durham in the form of a 2007 installation, “The Sacred, the Profane and Everything Else.” The piece, which incorporates seven metal oil drums, suggests a combination of altar and industrial no-go zone and refers to, among other things, death, Rome (where it was first shown) and the worldwide battle for fuel. A couple of battered suitcases folded into the mix read as stand-ins for the artist himself, politically alienated from his homeland and always on the global move.

On the fourth floor, you’ll find some of the quietest work, and some of brashest. Ms. Otto-Knapp’s penumbral landscapes are here. So is a geometric corner mural painting by Lydia Okumura, its form made three dimensional by strings stretched, like drawn lines, between two walls at Broadway 1602. Not that a sculptural extension in painting is necessarily abstract. The same gallery has a 1963 Pop picture by Marjorie Strider (1934-2014) of a pinup model with a seductive smile and 3-D breasts. Directly across from it, at Thomas Erben, is a large pieced-together text painting by Mike Cloud, color-rich, rough-surfaced, annotated and argumentative. And not far away in a niche-like area occupied by the Modern Institute from Glasgow, murals by Nicolas Party — huge Modernistsquiggles and a gargantuangrisaille version of Picasso’s 1904walleyed “La Celestine” — cover the wall from floor to high ceiling and are themselves covered over by superimposed pictures of stilllifes.

What Mr. Party’s installation is exactly about, I can’t say, but I remember with some pleasure another he created at Salon 94 Freemans on the Lower East Side in 2012. That one was called “Dinner for 24 Dogs” and featured a big round table with two dozen customized place settings in an every-inch-painted room. With respectful nods to Matisse, Judy Chicago and Rirkrit Tiravanija’s cooking-as-art, the piece was artful, eye-catching, conservative and companionable, all of which Independent is, too.

March Fair Season Highlights

THE ART SHOW continues through Sunday at the Park Avenue Armory, Park Avenue at 67th Street;, 212-488-5550.

THE ARMORY SHOW runs through Sunday at Piers 92 and 94, 12th Avenue, at 55th Street, Manhattan;; 212-645-6440.

INDEPENDENT 2015 runs through Sunday at 548 West 22nd Street, Chelsea;

Many other satellite exhibitions will take place during March Fair season. Here are a few recommendations:

ART ON PAPER, featuring work by artists who use paper as a major influence in their sculpture, drawing, painting and photography, runs through Sunday; Pier 36, 299 South Street, Lower Manhattan;

PULSE NEW YORK, a showcase for cutting-edge contemporary art, runs through Sunday at the Metropolitan Pavilion, 125 West 18th Street, Chelsea; 212-255-2327.

VOLTA NY, which focuses on solo-artist projects, runs through Sunday at Pier 90, next to Piers 92 and 94, the platform for the Armory Show;

Whatever ills you diagnose in contemporary art, you can usually find a way to link them to the art fairs. With the market in perpetual boom, fairs have taken on such outsized importance that not only collectors but also curators, artists and exhausted critics spend more time than ever in the tents and barracks from Basel to Bogotá. There are now more than 200 of them, and I am ashamed to say how many I’ve been to.

Art fairs have taken the rap, especially for the rise of dull, easily sellable painting, decades after the medium was (wrongly) declared passé. So I went to New York’s art fairs this week to see how painting was faring – and was pleasantly surprised. The most important of them, the Armory Show, has 199 exhibitors and all the craziness of the biggest fairs: copious champagne, pop-up restaurants, an Instagram-ready prank of a performance artist on a magic carpet. The Art Show, the more blue-chip fair organized by the Art Dealers Association of America (a professional organisation for galleries), tends to soberer and more historical presentations. At both of them, painting is in fine fettle.

A deal is struck at the Armory show.

A deal is struck at the Armory show. Photograph: Zuma/Rex

The Armory Show fell on hard times a few years ago, and when London’s Frieze Art Fair decided to open a New York outpost, the future of the Armory Show was truly in doubt. Yet under Noah Horowitz, Armory’s sharp young director, the fair has been swept clean of some of the lower-tier galleries that had been gumming up the aisles; better European galleries, both established and younger, are here these days, and there’s a strong Middle Eastern focus.

ADAA’s Art Show, by contrast, was once for blue-haired Upper East Side matrons but has rebalanced itself as a tighter, more contemporary event, where many galleries mount booths devoted to a solo artist: especially pleasant for those of us who aren’t keen on cash-and-carry art.

A sculpture at the Armory show.

A sculpture at the Armory show. Photograph: Zuma/Rex

In the last year a whole passel of art critics – and not a few dealers too – have been complaining about the rise of “zombie formalism”, a term that describes safe, predictable abstract painting, almost always by men, that repeats postwar innovations in purely decorative fashion. The term was coined by Walter Robinson, a great and incisive figurative painter who also works as a critic. For Robinson, “these pictures all have certain qualities – a chic strangeness, a mysterious drama, a meditative calm – that function well in the realm of high-end, hyper-contemporary interior design”. Easy to sell, easy to reproduce in jpegs or on Instagram, these zombie paintings have glutted art fairs and galleries in recent years – suggesting that it was only the market, and not any deeper aesthetic ambition, that contributed to the revival of painting in the 21st century.

And there is a share of zombie formalism on display at the Armory Show. On the booth of Paris gallery Praz-Delavallade, the Los Angeles painter Joe Reihsen has offered bland abstractions of squiggly gray lines over irregular grids: a sort of Laura Owens-lite. The gratifying surprise of this year’s Art Show and Armory Show, though, is how much good painting, figurative and abstract, the dealers have brought to market. Fairs are never going to be the place to go to see the entire terrain of contemporary art. But if painting is going to be the medium our oligarchical collectors favour above all others, so be it – at least we mere art lovers can have something to look at.

Duane Zaloudek, Monitor, Armory

Duane Zaloudek, Monitor, Armory Photograph: Jason Farago for the Guardian

On the booth of Monitor Gallery, with branches in Rome and New York, the paintings of 84-year-old Duane Zaloudek turn pure paint into a burningly erotic enterprise. He paints hard-edged abstractions whose shapes of rods and ovals have obvious sexual resonances, but whose intensity derives from the simplest arrangements of color and form.

Kukje Gallery, from Seoul, has two excellent paintings from seminar figures of Tansaekhwa, a movement in Korean art of the 1960s that favored spare, methodical, usually monochrome abstraction. Lee Ufan’s simple blue squares made with an ultra-wide brush, or in Ha Chong-hyun’s organic gray networks on untreated canvas, burst the fiction that abstract painting has exhausted himself, and prove that even the most rigorous techniques have room for experimentation, personality, and beauty.

Stanley Whitney, Galerie Baronian, Armory

Stanley Whitney, Galerie Baronian, Armory. Photograph: Jason Farago for the Guardian

Stanley Whitney, on the booth of Brussels’ Galerie Albert Baronian, has painted a knockout canvas whose regions of undifferentiated colour, arranged in imperfect and off-kilter grids, have the improvisatory artistry of great jazz. Royally plush red seethes next to a wash of forest green; stripes of hot orange and Mediterranean blue make the composition fly. It’s uncalculated and winningly confident, an object lesson for young painters who need to learn how to think with their hands as much as their brains.

Over at ADAA’s art show, the knockout booth comes from David Zwirner Gallery, who mounted a restrained but deeply emotional showcase of the paintings of Forrest Bess. A self-taught painter from Bay City, Texas, Bess made his living as a fisherman and underwent frequent spiritual visions – so intense that he mutilated his own penis in order to merge what he called the male and female aspects of his personality. Bess’s small, tender paintings, of an irregular red star on a dappled black background, or a pale orange sun swallowed in an inky night sky, you can see the vision of an artist for whom painting was much more than a question of form, but a violently concentrated exercise of body and soul.

Saloua Raouda Choucair, CRG Gallery

Saloua Raouda Choucair, CRG Gallery. Photograph: Jason Farago for the Guardian

And CRG Gallery, a New York dealer has devoted its ADAA booth to the Lebanese painter Saloua Raouda Choucair – who at 99 years old is finally receiving the attention she deserves for her cunning, almost musical abstract paintings. Visitors to London’s Tate Modern recently had the opportunity to see her landmark achievement in the development of Middle Eastern art, but here in the US we’ve been too slow to embrace her nimble, beautifully composed artworks, which display the influence of her teacher Fernand Léger but also are indebted to Islamic decorative arts. They serve as a reminder than modernism is not a unitary phenomenon, but a global network of only partially overlapping styles, methods and beliefs.


Reviews of Art Basel Miami Beach and Satellite Fairs 2014


What Not to Miss at Miami’s Satellite Art Fairs


Though Art Basel Miami Beach is this week's main event for the 75,000 art fans who have flocked to the city, nearly two dozen satellite fairs offer a chance to see equally thought-provoking work. Here, "Untitled Rorschach #2," one of the pieces commissioned by the Scottish design duo Timorous Beasties for Danziger Gallery's booth at Pulse.
Though Art Basel Miami Beach is this week’s main event for the 75,000 art fans who have flocked to the city, nearly two dozen satellite fairs offer a chance to see equally thought-provoking work. Here, “Untitled Rorschach #2,” one of the pieces commissioned by the Scottish design duo Timorous Beasties for Danziger Gallery’s booth at Pulse.CreditCourtesy Timorous Beasties and Danziger Gallery

With nearly two dozen satellite fairs taking place in Miami during the city’s art week, navigating the scene can be difficult for any of the 75,000 or so collectors and art enthusiasts expected to be in town. For the most part, each alternative fair covers a certain niche in the art market; NADA, for instance, is dedicated to “exploring new or underexposed art that is not typical of the ‘art establishment,’” while Pulse calls itself “the premiere satellite fair for the discovery and acquisition of cutting-edge contemporary art.” Select embraces the local community, and, according to its curator, Tim Goossens, positions itself as an “international, smaller-scale, digestible fair with a focus on artist commissions.” Untitled, which attracts visitors with its gorgeous beachfront location, focuses on emerging and midcareer contemporary art. Here, a few of the highlights to scope out.

Timorous Beasties at Pulse

Alistair McAuley and Paul Simmons, the Scottish duo known as Timorous Beasties, made a name for themselves in graphic and textile design with their enchanting, historically influenced prints, resulting in collaborations with Nike, Liberty of London and Philip Treacy. The gallerist James Danziger of Danziger Gallery was so taken with their work that he visited them in Glasgow and commissioned them to create their first pieces for an art exhibition — three vivid Rorschach-influenced works printed with ink on velvet. The results will be on display at Danziger Gallery’s booth at Pulse from Dec. 4 through 7.

Rashaad Newsome’s homage to hip-hop’s best emcees at Select

The New York-based artist Rashaad Newsome went to the New York hip-hop stations Hot 97 and Power 105 to ask listeners who they thought were the best emcees of all time. Everyone from Jay Z to Tupac to M.I.A. turned up on the list, and with the help of Adobe After Effects, Newsome scanned their most iconic music videos for specific movements of the lips, hands and body. Newsome then took all the cuts and set them against the six movements of Carl Orff’s dark iconic choral piece “Carmina Burana.” The result is “The Conductor,” a spectacular mash-up of clips that dissects the gestural language of virtually every hip-hop great imaginable. The installation is on display at the Select fair, and on December 5, Mykki Blanco — who is also one of the rappers in the piece — will perform for visitors.


From left: Swoon's "Thalassa" (2011), on view at the Swizz Beatz-curated "The Dean Collection" at Scope; several of the decorated coffins in Ebony G. Patterson's "Bling Funeral" series at Untitled.
From left: Swoon’s “Thalassa” (2011), on view at the Swizz Beatz-curated “The Dean Collection” at Scope; several of the decorated coffins in Ebony G. Patterson’s “Bling Funeral” series at Untitled.Credit Courtesy the artist and Scope; courtesy the artist and Untitled

Digital art abounds

New-media art is on the rise, and according to East Hampton Shed curator Nate Hitchcock, “The works currently being made that are reflecting on technological production and its discontents are coming into their own.” Head to either room 1034 or the Artsy booth at NADA and discover the second edition of “#ArtsyTakeover,” a site-specific installation by WALLPAPERS, an artist collective founded by Nicolas Sassoon, Sara Ludy and Sylvain Sailly. Curated by Artsy’s Julia Colavita and Hitchcock, “each 50-inch screen displays an animated .gif file that seamlessly transitions into the adjacent image,” says Hitchcock. “The result is a moving patterned texture, appearing in part as wallpaper.” Over at Pulse, the new-media scholar Lindsay Howard curated the fair’s digital platform, Pulse Play, which features pieces by Tilo Baumgaertel, Alexandra Gorczynski, Carlo Ferraris, and Tracey Snelling and Idan Levin.

Swizz Beatz moonlights as a curator

You may know him as Swizz Beatz, but Kaseem Dean is more than just the Grammy-winning music producer known for developing the rhythms of chart toppers like T.I. and Beyoncé. The avid art collector is curating “The Dean Collection” at this year’sScope, which features a series of works throughout the fair by the artists Cleon Peterson, D*Face, Lyle Owerko, Sandra Chevrier and the street artist Swoon, who contributed “Thalassa,” a towering depiction of the Greek goddess inspired by the tragic 2010 Deepwater Horizon oil spill.

Ebony G. Patterson’s Bling Funeral series at Untitled

Yes, Untitled takes place on the beach — but there’s also a lot of thought-provoking work in the fair, notably at the Chicago gallery Monique Meloche‘s booth. The Jamaican artist Ebony G. Patterson explored the phenomenon of “bling funerals” among Kingston’s lower classes through a series of caskets adorned with rich prints that were marched along the city’s streets in a performance-art piece last spring; seen in installation, they exemplify the old expression “You may not have noticed me when I was alive, but you will damn well see me as I leave.”

Richard Prince and “Mana Monumental” at Mana Miami

For its inaugural art fair, Mana Miami organized a trio of exhibitions, including over a dozen never-before-exhibited 2003 collaged works by Richard Prince in the VIP room that features his signature themes: jokes, faces and vulgar illustrations. The “Mana Monumental” exhibition shows off massive paintings by blue-chip names like Julian Schnabel, Francesco Clemente, David Salle and Urs Fischer.

The art of the selfie

Selfie-obsessed art fans will encounter countless pieces of work ripe for auto-portraiture throughout the week’s alternative fairs. At Miami Project, Thomas Glassford has a piece made of mirrored Plexiglas and anodized aluminum at Quint Gallery. An ever-evolving, changing-hued wall by Phillip K. Smith III at Royale Projects is an option at Untitled for those who need a little color in their lives; and at Scope, Ken Borochov has created an oval mirror framed by neon lights and its title, “Selfie,” at Mordekai. Viva #artselfie.

Jason Farango. The Guardian London

One Way: Peter Marino Art Basel review – a spectacle of decadence

Bass Museum of Art, Miami
This show of the leather-clad architect’s private collection suggests that art’s recession into fashion and luxury is not just inevitable but to be celebrated

Curator Jérôme Sans posing next to wax Peter Marino
Curator Jérôme Sans posing next to wax Peter Marino. Photograph: Jason Farago/The Guardian

The exhibition starts on a long ramp ascending from the ground floor to the main galleries upstairs, whose usually white walls have been covered in black unspooled videotape: an intervention by the artist Gregor Hildebrandt, whose dark luminescence sets the tone of high-end punk. Against this backdrop, in recessed spaces, are paintings from Marino’s collection: universally black and white, and utterly unconcerned with art history or for that matter quality. Ideas are out, looks are in. An important painting by Rudolf Stingel, one of the most trenchant interrogators of the possibilities of abstraction, hangs next to a vapidDan Colen; a fine Christopher Wool is displayed next to, no joke, a projection of a Chanel runway show. (The show has been organized by Jérôme Sans, a peripatetic French curator.)

Paintings by Loris Gréaud, Dan Colen, and Rudolf Stingel hung side by side.

Paintings by Loris Gréaud, Dan Colen, and Rudolf Stingel hung side-by-side. Photograph: Jason Farago/The Guardian

But even the luxe leather bar does not prepare you for the subsequent galleries: first, a dozen images (hung cheek-by-jowl, like at an auction preview or a storage facility) of Marino himself, biceps bulging out of his leather vest, as well as a Madame Tussaud’s-style wax sculpture perfect for selfie snappers. Photographs by Robert Mapplethorpe, that earlier leather lover, against walls covered in shiny black cowhide. Dozens of flatscreen televisions projecting Marino’s luxury boutique designs: Armani, Bulgari, Chanel, Dior, all the way from LA to the Gulf, as well as a model of one of his Louis Vuitton stores. And, in the last room, of all things, an opera: a multi-screen video recording of Glück’s Orfeo ed Euridice, performed last year in Marino’s own house and reconstituted here with custom furniture, a shimmering silver backdrop, and all the trimmings.

Mapplethorpes against leather wall.

Mapplethorpes against leather wall. Photograph: Jason Farago/The Guardian

It is, in a word, obscene. And yet there is something almost perversely admirable about the overtness of its obscenity – the show’s unconcerned commingling of art and commerce, its total indifference to history and scholarship, its assurance that art’s recession into fashion and luxury is not just inevitable but something to be celebrated. Philanthropy is marketing, alas, but this show takes it to new heights. Too many luxury brands to count have stumped up to support the show, and here’s something I’ve never seen before: individual galleries bear the names of luxury sponsors. “This gallery is sponsored by Chanel.” “This gallery is sponsored by Louis Vuitton.”

An Anselm Kiefer and a Georg Baselitz.



An Anselm Kiefer and a Georg Baselitz. Photograph: Jason Farago/The Guardian

The funny thing is that he actually owns some truly major works of art. Along with numerous Stingels, you’ll see some important photographs by Thomas Struth, a totemic Baselitz sculpture I liked more than I thought I would, and there’s even aRobert Ryman white monochrome if you can find it shunted near the emergency exit. (Female artists are not his thing; I counted just three – Paola Pivi, Claude Lalanne, and Michal Rovner – alongside more than 40 men, though Marino’s wife Jane Trapnell collaborated on the opera.) If a private collector wants to hang such important works in such decadent circumstances, that’s no concern of mine. Whether a nonprofit museum should be the forum for this, though, is a thornier matter.

Most Of The Art On Display At Art Basel Miami Was Crap

art basel miami 2014REUTERS/Andrew InnerarityAn attendee looks over art at Art Basel in Miami Beach December 4, 2014. An estimated 70,000 art enthusiasts have converged on the city during its annual contemporary “Art Week,” centered around an event called the Art Basel Miami Beach fair.

Extremely reasonable questions put forth by the 2014 BMW Art Guide by Independent Collectors, these queries appeared especially intriguing during the latest iteration of Art Basel in Miami Beach (ABMB).

A positively gilded affair that looks increasingly beholden to a global art-as-asset aesthetic, this year’s ABMB featured lots of shiny surfaces, stacks of joke paintings, and enough zombie abstraction to inspire several remakes of World War Z.

The fair’s thronged aisles of mostly uniform wares also sparked a few less politic questions. Among them: Who buys all this shit?

The answer, of course, is a growing connoisseur class that has developed a special predilection for what is, without a doubt, the new art of the 21st century—art fair art. Because a growing number of financial players increasingly see art as having permanent value, these masters of the universe have successfully redrawn the global art world (as well as its proliferating entertainments) in their plutocratic likeness.

Among the signs of the new times is the newfound comfort many artists have developed with art entrepreneurship’s boldface names. These are the Aby Rosens, Alberto Mugrabis, and Stefan Simchowitzes of the world. More powerful still are their growing legion of imitators.

Where artists were once predictably wary of such dealer-collectors, they are now extremely solicitous of their money—if the loads of sunny paintings and mirrored sculptures on view at this year’s ABMB are any indication. Among the latter, there are Bertrand Lavier’s transparent acrylic painting on mirror Harrogate (2014) at Kewenig and Doug Aitken’s EXIT (large) (2014), a flashy take on the “Exit” sign, composed of powder coated steel and mirror at Regen Projects. Artists and their galleries shipped in scads more mirrored works and upbeat art fair art to match the Black Friday-like consumption that would follow. It did, in money-laden spades. More reason, it would seem, for artists up and down the art market ladder to scrap their critical inhibitions, stop worrying and love the M-bomb.

At ABMB 2014, that love officially became infatuation. Today, the 13-year-old fair can be said to specialize not just in blue chip art (everything from Basquiat and Bacon paintings to photo-based works by Cindy Sherman and Richard Prince), but in a cheery brand of content-free stuff that actively caters to the tastes of the global collecting class. Handsome, glitzy, and insubstantial to the point of being as light as air, this kind of art perfectly patronizes the tastes of today’s high net worth individuals. Not unlike the effects of 19th century academic painting on the French bourgeoisie, this newfangled art Pompier is designed to be overblown and insincere (or ironic, take your pick), yet hold or increase its value while providing, in turn, an exquisite reflection of the worldview of the new overclass. But what to do when the triumph of pretty pictures—sometimes extremely pretty pictures—leaves art in the lurch with regard to the globe’s other 99.99 percent?

Inside the Miami Beach Convention Center, it was as if Ferguson and the Eric Garner verdict had never happened—though angry pilots did protest ABMB’s longtime sponsor NetJets outside the fair entrance over planned cuts and shrinking benefits, and Ferguson-related protests sprang up elsewhere in the city. With the notable exception of the very few artworks that featured critical content—among them, Kendell Geers’s police baton sculpture in the shape of a pentagram at Goodman Gallery and Ana Mendieta’s wrenching video of a 1975 blood strewn performance at Lelong—the vast majority of objects on view at the fair flattered or directly reflected the superior, detached ideal of today’s megarich. But like with the smooth, artificial academic painting of the 19th century, there are consequences to art fair art’s frivolous disengagement from the world. Here’s one in a golden nugget: beauty is passing, dumb is forever.

Besides Pop-inflected art fair tchotchkes by the usual suspects—Josh Smith (at Mnuchin), Cory Arcangel (at Team), and Sterling Ruby (at Xavier Hufkens)—veteran artists like Mel Bochner also got into the sales act with gusto. One of his dealers counted at least six chuckle-headed text paintings at the fair, while I spied two peppy colorful works from theBlah, Blah, Blah series (2008-2012) in the same aisle. Bjarne Melgaard, a purveyor of highly sexualized and misogynistic provocation, opted to show eight brightly hued primitive gestural paintings at Gavin Brown’s booth—several resembling expressionistic smiley faces. Other artists and galleries making hay while the sun shone last weekend included Damien Hirst’s bright, pharmaceutically-inspired sculptures at Paul Stolper, Sherrie Levine’s suite of hanging colored mirrors at Paula Cooper, and a blithe graffiti canvas by the late Keith Haring at Edward Tyler Nahem.

Another indication that works at art fairs have literally thematized the idea of art as retail therapy were Eric Fischl’s paintings of well-heeled buyers standing around perusing the displays at—where else?—art fairs (one such painting incredibly features a figure in front of an edition of Aitken’s Exit (large), the very same one hung at the booth at Regen Projects). Works like these lead to a natural conclusion: artists across the board are as comfortable as luxury department store clerks with romancing the billfold. But the new art fair art is not just sales-savvy, it’s cynical. Exhibit A is Arcangel’s Going Negative/Lakes (2014), a flatscreen TV turned on its side. Its linguistic jiu-jitsu reads: “Fuck Negativity.”

Of course, even a small Jeff Koons work is capable of encapsulating the artistic zeitgeist better than his legions of zombie children. His mirror piece at Gagosian’s stand is not just the costly vanity piece that launched tens of thousands reflective objects, it is the perfect synecdoche for a vastly improved brand of strategic art that may have finally relegated contemporary art’s critical power to the dustbin of history. In the words of New York magazine’s Carl Swanson, Koons’ vapid works routinely repeat the question that matters most in today’s art world: “Who’s the fairest collector of them all?”

But the last word on the material that dominated the floor of ABMB 13 goes to Rafael Ferrer, an underknown artist whose neon sign Red, White & Blue ARTFORHUM (1971/2014) (at Henrique Faria Fine Art) presciently antedates the use of this now ubiquitous material. More than four decades after it was conceived, the answer to Ferrer’s implied question is all too obvious. Without the winners of a lopsided global economy and the artists who dutifully butter them up, the vast majority of the crap on view last week in Miami would not exist.

Miami Art Basel Countdown Report 2014

EVERY YEAR EVERYTHING CHANGES FOR MIAMI ART BASEL AND ITS SATELLITE FAIRS AND MONSTER PRIVATE COLLECTION SHOWS AND SMALL BUT AMAZING MUSEUM SHOWS. This year may be more different than any we’ve seen since Fireplace Chats began going to Miami for Art Basel starting in 2005. First off is the return of the art fairs to from Miami to Miami Beach. The Pulse Fair is the most recent to decamp from Miami and will be centrally located south of NADA (which moved from Miami to Miami Beach a couple/three years ago). The Scope Fair is spending its second season in Miami Beach in South Beach; not far away is the Untitled Fair, which debuted on Miami Beach and remains there with an even more potent program than ever before. Art Miami and its Context Art Fair, and its Miami Beach fair – Aqua Art Miami, together offer over 200,000 sq. ft. of exhibition space for during Art Basel Miami Beach 2014. Miami Project fair still has serious game in Miami, and is joined this year by the newest Miami art Fair: Concept Art Fair. The guaranteed superb museum retrospective experience will be of the work of the leading abstract painter in South America, Beatriz Milhazes, at PAMM. The brand new ICA Miami, formed by the former board of North Miami MoCA, will have its debut show in the Design District. North Miami MoCA will have a show by a Nigerian artist curated by an African art scholar. According to the NYTimes, Mana (the massive full service contemporary art venture in Jersey City  has invested in group of buildings covering five blocks, Mana will host an art fair in Miami in December. The several private collection exhibitions are described in the Art Basel Miami Beach 2014 press release:

“Reflecting the show’s long-term impact on the local art scene, South Florida’s leading
museums and private collections will again time their strongest exhibitions of the year to
coincide with Art Basel. Visitors from across the world will have an opportunity to view the
city’s internationally renowned private collections.”
Public Opening Night, which is free and open to the public, will take place in Collins Park on Wednesday, December 3, from 8.30 pm to 10pm. The Public sector is free of charge and open to the public from December 4 to December 7. Tours will be offered daily at 10.30am, 11.30am and 12.30pm.
The Cisneros Fontanals Art Foundation
(CIFO) will show ‘Impulse, Reason, Sense, Conflict/Abstract Art in the Ella Fontanals-
Cisernos Collection’, featuring works exhibited for the first time at the CIFO Art Space.
‘Beneath The Surface’ at the de la Cruz Collection Contemporary Art Space will include
work by Félix González-Torres, Wade Guyton, Rob Pruitt, Dana Schutz and
Kelley Walker, among others.
The Margulies Collection at the Warehouse will celebrate
its 15th anniversary with an exhibition of work by Pier Paolo Calzolari, John
Chamberlain, Willem de Kooning, Olafur Eliasson, Dan Flavin, Michael Heizer,
Donald Judd, Anselm Kiefer, Jannis Kounellis, Sol LeWitt, Richard Long, Mario
Merz, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard
Serra, Tony Smith, Do-Ho-Suh, Franz West and others.
The Rubell Family Collection
will present ‘Collection Overview/50 Years of Marriage’.”

looking forward to seeing you all there in sun and fun Miami Beach and Miami! Vincent Johnson Los Angeles



Dominique Levy to Bring TRUE GRIT to Art Basel Miami Beach, 12/4-7

November 24
11:15  2014
Dominique Levy to Bring TRUE GRIT to Art Basel Miami Beach, 12/4-7From December 4 through 7, 2014, Dominique Lévy will present the exhibition TRUE GRIT at Art Basel Miami Beach. With significant works created from the 1970s through the 1990s, the show is inspired by the potent themes that transformed Charles Portis’ 1968 novel True Grit – and the 1969 Academy Award-winning film based upon it – into bona fide milestones of American popular culture celebrated worldwide. The exhibition includes painting, sculpture, and photography by Alberto Burri, Enrico Castellani, Gilbert & George, David Hammons, Keith Haring, Barbara Kruger, Sigmar Polke, Richard Prince, Peter Regli, Thomas Schütte, Kazuo Shiraga, Richard Serra, Frank Stella, Günther Uecker, Andy Warhol, and Christopher Wool.

The original story of Portis’ True Grit is told from the perspective of an Arkansas woman named Mattie Ross, who recounts the time when she was 14 years old and in search of retribution for the murder of her father by a scoundrel named Tom Chaney. She is aided in her quest by the tough U.S. marshal Rooster Cogburn and a young Texas Ranger called LeBoeuf, unlikely cohorts who nevertheless share with Mattie a single defining trait: “grit.” Literally a collection of small, hard, abrasive materials such as dirt, ground stone, debris, and the coarse surface of sandpaper, “grit” is also a marked steeliness of character – a mixture of determination, fearlessness invincible spirit, and willingness to be society’s outsider for the sake of a goal.

TRUE GRIT at Art Basel Miami Beach focuses on interrelated thematic threads harkening back to both definitions of the word “grit”, to unrefined materials and the archetype of the outsider. In a strictly black, white, and red color palette, the works on view have evolved specifically from artistic attitudes of true grit – unwavering consistency, fearlessness, and the willingness to tread untested turf conceptually and materially.

Among TRUE GRIT’s highlights are works made by Gilbert & George, David Hammons, and Keith Haring via materials and techniques that exude the grittiness of the pre-gentrification streets London’s East End (“The London Nobody Knows”) and New York’s East Village and Harlem in the 1970s and 1980s. Also on view are daring explorations of tough, untested industrial materials, such as Alberto Burri’s visionary experiments with acrovinyl and cellotex to create the “Crettos” that resemble the cracked surface of a desert floor. Günther Uecker’s obsessive hammering of oversized nails onto the picture plane and Frank Stella’s determinedly hand-built works from scraps of metal, industrial detritus, and car paint – rusty and sharp-edged – are primary examples of rough material investigation. Richard Prince, Sigmar Polke, and Christopher Wool have channeled the tough ethos of the of the streets with spray paint; Andy Warhol’s glitter-splattered “Diamond Dust Shoes” nods to the dark, hardened heart of a seductive downtown disco scene; and Richard Serra’s heavily applied paintstick drawings suggest an artist as craggy and indomitable as Portis’ Rooster Cogburn. Perhaps the pivotal work of the exhibition is Barbara Kruger’s large-scale photographic work “Cuando ellos hacen negocios hacen historia,” with its transgressive mantra linking business and history with the mise-en-scène of TRUE GRIT.

Gilbert & George declared in the 1980s, “We want to be completely outside with-whatyoucall-hooligans and tramps.” TRUE GRIT offers a glimpse of a group of exceptional artists’ explorations of the dark hero’s embrace of Portis’ declaration that “outside is a place for shooting.”


Miami’s Top Private Collections

Ty Cole
By Sue Hostetler

Why the best contemporary art in town may not be in museums.

The best counterargument to the outdated canard that Miami is a sun-swept cultural desert is the passion of its private art collectors. Their contemporary holdings are arguably more comprehensive than the local museums’ collections—thankfully, many of them have dedicated spaces to show them off to the public—and their stamp of approval can help turn an emerging artist into a global star practically overnight (as Don and Mera Rubell did with Oscar Murillo). If Art Basel Miami Beach is widely regarded as the catalyst behind South Florida’s cultural renaissance, it was these collectors who laid the groundwork for it. In the pages that follow, Miami’s most influential patrons open their doors.


“We have to remember Miami used to be a beach resort, and we are always trying to compare it to other cities with a rich history of museums and cultural institutions,” says Rosa de la Cruz. Ironically, her world-class collection and vociferous support of the contemporary art scene in Miami are among the reasons such comparisons are increasingly apt.

Rosa and her husband, Carlos, met as teenagers in their native Cuba. They left for Spain just after the revolution to seek political asylum. In 1975 they settled in Miami, where Carlos made his fortune in beverage distribution. The couple began collecting con­temporary art about 25 years ago to decorate a new home, without ever dreaming it would turn into the full-fledged passion that it has.

Recently, the de la Cruzes have been taking local cultural institutions to task for becoming “banquet halls and country clubs” prizing elitist social functions over bringing art to the community. “The collectors in Miami realize the importance of opening our spaces to the public,” Rosa says.

For years they allowed visitors into their art-filled Key Biscayne mansion during Art Basel for legendary dinner parties. In 2009 the collection outgrew the home, and the couple opened the 30,000-square-foot de la Cruz Collection Contemporary Art Space in the Design District. Open year-round and free of charge, the space hosts rotating exhibitions from their stellar collection (including names like Isa Genzken, Christopher Wool and Dana Schutz). “Our space is an extension of our home,” Rosa says. “No room is private. I like when visitors tell me they would love to live there!”

For Rosa, the acquisition of works is less rewarding than the ability to foster a thriving local arts culture. With that in mind, the de la Cruzes have also established residencies for artists and invited them to create site-specific installations. At 23 NE 41st St.;


On their first day of law school at the University of Miami, in 1978, Dennis and Debra (née Schwartz) Scholl were seated next to each other, per the class’s alphabetical arrange­ment. Their foray into collecting began just as for­tuitously as that first meet­ing. “During law school we needed a job,” recalls Dennis, “so we both worked in a gallery that sold art that matched your sofa! But that allowed us to learn a lot about what makes a great piece of art.”

Both practiced law, though Debra made a name for herself as one of the first historic developers of Art Deco buildings in South Beach, completing more than 20 restorations.

For 35 years the Scholls have earned recognition for their experimental collection and their generosity. Most recently they donated more than 300 works to the Pérez Art Museum Miami—with an emphasis on sculpture by artists like Olafur Eliasson and photography by Catherine Opie and Anna Gaskell.

Each year the couple selects a young guest curator to reinstall work from their 1,000-plus-piece collection during Art Basel, then opens their South Beach apartment to thousands of visitors. “Miami has a very committed group of collectors who are willing to turn their collections outward,” says Dennis, who is now the vice president of arts for the Knight Foundation.

Debra, who is the chair of the board of directors for one of the coolest alternative arts spaces in town—Locust Projects—finds Miami singular for its utter lack of pretense. “Miami is a very open city—you don’t have to be fifth generation to get involved on the highest level.” Collection viewing by invitation only.


“I don’t drink wine, so that wasn’t an option [to collect],” says Martin “Marty” Margulies. “And I don’t want to be reminded that time is constantly going by, so watches were out, too. I relate to the visual arts because of the great imprint art makes on your mind.”

Raised in Washington Heights, New York, Margulies moved to Miami in his late twenties after serving in the army and attending Wharton Business School to capitalize on the “virgin” real estate market and be near his retired parents. He began collecting modern and contemporary art in the ’70s and photography in the ’90s. The collection eventually grew so large that “my curator, Katherine Hinds, pointed out that we were running out of space in the apartment,” Margulies recalls. So, in 1998, The Margulies Collection at the Warehouse was born.

Creating the 45,000-square-foot, Wynwood-based space accomplished two important objectives: “It allowed the collection to expand into new areas such as large-scale installations and video,” he says, “and we were able to use the Warehouse as a vehicle to educate young people.” He is particularly dedicated to opening the space to Miami-Dade County public-school students. As Hinds says, “Today contemporary art originates from every corner of the globe. The firsthand exposure to different cultures through great art is valuable and not available in the schools.”

Margulies feels that Art Basel’s coming to Miami was a no-brainer. “In the early days I got a call from the mayor of Miami Beach saying he was taking suggestions about the fair coming to town,” he recalls. “My response was, ‘Don’t listen to any suggestions, because Art Basel is the Super Bowl of the art world.’” Margulies doesn’t think that the subsequent cultural revitalization has been fully realized, though. “The current art scene here, contrary to public perception, is still in the very early stages,” he says. At 591 NW 27th St.;


Over the last 30 years, Norman and Irma Braman have watched Miami transform from a drug-fueled dystopia to a top cultural destination. “In the late ’80s and ’90s, Miami had a terrible reputation worldwide,” Norman says. “The racial difficulties and crime against tourists…Miami was ripped apart in a Time magazine article called ‘Paradise Lost’ The art scene really was what revolutionized the city.”

As a major collector, Norman rightly claims some credit for that revolution. Both he and his wife, Irma, believed early on that bringing Art Basel to Miami would not only help solve the city’s PR problem but would also be good for business. “We thought it could be a very successful enterprise,” he says. “We kept speaking to [former director of Art Basel] Lorenzo Rudolf, who, after careful analysis and deliberation, persuaded the board in Switzerland to come to Miami. And now it is by far the most important fair in the States.”

The 81-year-old made his fortune selling pharmaceuticals and cars—his name adorns dealerships around the city. Outside Miami, he’s best known as a former owner of the Philadelphia Eagles.

He and Irma began collecting in the late ’70s after visiting the Maeght Foundation in Saint-Paul-de-Vence, France. They were so entranced with the works of Alexander Calder and Joan Miró that they returned five times in two years to see the changing exhibitions, finally deciding to buy a few Calders. Fast-forward nearly four decades, and their blue-chip collection—much of it on display at their spectacular Indian Creek Island residence—now includes the largest private holding of works by Calder. The 240-piece trove also contains works by Andy Warhol, Willem de Kooning and Jasper Johns.

Married for 58 years, the Bra­mans reportedly have $900 million of their $1.6 billion net worth invested in art. In 2011 the Bramans announced that they intended to sell their collection to fund med­ical research. Collection viewing by invitation only.


Perhaps no collectors loom larger on the Miami contemporary art landscape than Don and Mera Rubell. As they demonstrated in 2012, when they offered a residency to then-little-known Colombian artist Oscar Murillo—whose paintings now command hundreds of thousands—they have the power to anoint art royalty. (Murillo created 50 works during his five-week residency—the Rubells bought every one.)

The couple began collecting in the ’60s in New York City while she was a schoolteacher (earning $100 a week) and he was a medical student. “Our first impulse was to cover the holes in the walls of our Chelsea walk-up apartment with art posters rather than plaster and paint,” laughs Mera, who has maintained a teacher’s ability to communicate passion. “We met young artists in the storefronts around our neighborhood who were happy to work out long-term payment schedules for their original works. For some years, it was literally $5 per week per artist!”

The Rubells moved to Miami in 1992 because of the cheap and seemingly limitless real estate opportunities—and because their children were already there. “With little money, you could own amazing property,” says Don. “Virtually every building in South Beach was for sale.”

Mera continues, “As a collector, nothing is more frus­trating than having your artwork in storage. The only way to experience our art was to follow it to places where it was being exhibited. Miami was such a wide-open frontier that we were able to buy a 45,000-square-foot former DEA facility,” which they converted into the Rubell Family Collection, “for less than it cost to get a storage space in Manhattan.”At 95 NW 29th St.;


Complex magazine

The Marina Abramovic Institute Announces Special Events for Art Basel Miami Beach and Design Miami/

Today in a press release, the Marina Abramovic Institute (MAI) announced a new series of “collaborative events and public installations” that will happen during this year’s Art Basel Miami Beach and Design Miami/ art fairs in December.

The first will be a collaboration with the Beyeler Foundation and will take place at their booth at Art Basel. Designed by Marina Abramovic, the event will involve attendees and what we are going to call #ArtBaselNaps. “Participants, guided by trained facilitators, will be encouraged to lie down, rest, and sleep with no time restriction,” reads the release. “This exercise will offer the public an opportunity to slow down within the lively, fast-paced environment of Art Basel.”

MAI will also present Abramovic’s Counting the Rice exercise, a long durational exercise that requires that participants separate grains of rice from lentils. on wooden tables designed by architect Daniel Libeskind in collaboration with Moroso, the Italian design company. The exercise will be presented in the Miami District as well as during Design Miami/. At the fair, two special design objects will be used: the Libeskind table and the Portal chair by Patricia Urquiola.

The Slow Motion Walk exercise will also be presented in Miami from Dec. 4 through Dec 7. at the YoungArts Jewel Box. The exercise will be facilitated by Abramovic collaborator Lynsey Peisinger and performance artist Brittany Bailey​, and presented in collaboration with the National YoungArts Foundation.

The final announcement is that the IMMATERIAL Volume 1 ebook will launch at Art Basel on Dec. 1 to $2+/month subscribers at That’s a lot to keep track of, so check and the MAI Hudson Tumblr, where photographs and updates will be posted from the coming events.


Art Basel Miami Announces Public: 26 Sculptures Transforming Collins Park - ArtLyst Article image

Art Basel Miami Announces Public: 26 Sculptures Transforming Collins Park


As a highlighted feature of Art Basel Miami 2014, 26 works by international artists will transform Collins Park into a sculpture garden. Nicholas Baume, Director and Chief Curator of Public Art Fund, returns for his second year curating Art Basel’s Public sector. Under the theme Fieldwork, Public will transform Miami Beach’s Collins Park into an outdoor exhibition space with 26 large-scale and site-specific installations by leading and emerging artists from 13 countries. Produced in partnership with the Bass Museum of Art for the fourth consecutive year, the sector will include work by Georg Baselitz, Lynda Benglis, Matthias Bitzer, Sarah Braman, Ana Luiza Dias Batista, Sam Ekwurtzel, Elmgreen & Dragset, Faivovich & Goldberg, Nuria Fuster, Ryan Gander, Jeppe Hein, Jessica Jackson Hutchins, Alfredo Jaar, Gunilla Klingberg, Jose Carlos Martinat, Justin Matherly, Olaf Metzel, Sam Moyer, Ernesto Neto, Ugo Rondinone, Nancy Rubins, Yinka Shonibare MBE, Jessica Stockholder, Barthélémy Toguo, Tatiana Trouvé, and Hank Willis Thomas with Ryan Alexiev and Jim Ricks.

Focusing on the potential for public art to challenge artists and viewers, Nicholas Baume’s curatorial premise of Fieldwork will center on the idea of experimentation. In Collins Park artists will try out their ideas and verify them ‘in the field’. Public will include several site-specific works conceived especially for the exhibition by Ryan Gander, Sam Moyer and Jessica Stockholder. Some of the selected works will engage with the architecture of Collins’ Park, like Ugo Rondinone’s intervention on the Bass Museum façade or Alfredo Jaar’s on the park’s rotunda. This year, the sector will extend beyond Collins Park to include a performance-installation by Gunilla Klingberg on the nearby beach, where an intricate geometric pattern will be imprinted into the sand every morning, gradually being erased over the course of the day.

Both Lynda Benglis and Tatiana Trouvé will be represented with works that reconceive the classical fountain, while Nancy Rubins’ and Nuria Fuster’s works will give new meaning to found objects and scrap materials. Familiar images will shift scale and significance in sculptures by Yinka Shonibare MBE and Barthélémy Toguo, while perceptions of space and form will be challenged by Matthias Bitzer, Sarah Braman, Jeppe Hein and Jessica Jackson Hutchins.

On display will be one of Georg Baselitz’s rare bronzes; Ana Luiza Dias Batista’s scaled replica of a popular 1980’s Brazilian amusement park attraction; and Elmgreen & Dragset’s formal golden-bronze equestrian statue of a young boy riding a rocking horse, a scaled version of the artists’ Fourth Plinth commission in London’s Trafalgar Square.

Also on view will be nós sonhando [spacebodyship] (2014), a sculpture by Ernesto Neto that functions as a playful double hammock for two, giving visitors the opportunity to slow down and pause. Sam Ekwurtzel’s mole tunnels cast in aluminum and Jose Carlos Martinat’s cacophonous audio-mechanical installation will reflect on art history. History and politics will come together in Faivovich & Goldberg’s 3.6-ton sculpture composed of 12 fragments that render the contour of the Chaco province of Argentina, as well as in Olaf Metzel’s sculpture revolving around recent American history. Meanwhile, Hank Willis Thomas and collaborators from the Cause Collective will invite visitors to record their own truth within a portable and inflatable Truth Booth in the shape of a giant cartoon speech bubble.

As in the past two years, a selection of artworks will remain installed in Collins Park through March 2015 as part of tc: temporary contemporary, which is present by the Bass Museum of Art in partnership with the City of Miami Beach.

A series of live performances will be presented on Public’s Opening Night on Wednesday, December 3. Alix Pearlstein will invite actors carrying illumination panels to circulate amongst the crowd, at times spotlighting artworks and other objects. Ryan Gander will equip curator Nicholas Baume with two bodyguards, heightening the visibility and the actions of the curator. The boundary between stage and audience will be disrupted with Christian Falsnaes’ participatory collective performance, in which a large- scale structure is continuously spray painted, torn down, displayed and subsequently rebuilt. Liz Glynn and Dawn Kasper will transform the Collins Park Rotunda into a pulsating and animated geodesic planetarium, questioning how we locate ourselves within the vast universe of seen and unseen forces.

Public Opening Night, which is free and open to the public, will take place in Collins Park on Wednesday, December 3, from 8.30 pm to 10pm. The Public sector is free of charge and open to the public from December 4 to December 7. Tours will be offered daily at 10.30am, 11.30am and 12.30pm.

Collins Park is located between 21st and 22nd Street, in close proximity of the exhibition halls within the Miami Beach Convention Center and adjacent to The Bass Museum of Art.

On Friday, December 5, from 5pm to 6pm, Art Basel’s Salon program will see Nicholas Baume in conversation with Ryan Gander, Lyz Glynn and Nicolás Goldberg. Art Basel entry tickets include admission to Salon


Mana Miami:
Mana Monumental, Dirty Geometry, GLE at Mana

December 2 – 7, 2014

For its Miami art fair debut, Mana Contemporary presents a compilation
of special projects all reflecting an organizational mission of collaboration and community. Held on Mana’s Wynwood campus in a 140,000-square-foot facility spread over 22 acres, the shows will take place in conjunction with Art Basel Miami.


Featuring Aboudia, Doug Argue, José Bedia, Orit Ben-Shitrit, Stanley Casselman, Ofri Cnaani, Sante D’Orazio, Carole A. Feuerman, Kate Gilmore, Ron Gorchov, Kaoruko, KAWS, Ben Keating, Eugene Lemay, Alfred Leslie, Yigal Ozeri, Milton Resnick, David Salle, Julian Schnabel, Ray Smith, Edvins Strautmanis, and Maxwell Snow.

Scale, spectacle, and community star in this staggering survey of large-scale works by twenty-one artists associated with Mana Contemporary. Titled Mana Monumental, the exhibition features projects that utilize colossal proportions as a means to connect with viewers in a personal, meaningful way — much like Jackson Pollock and Sol Lewitt, whose sizable work effectively enveloped viewers with the sheer experience of confronting them. For Pollock and Lewitt, as with the artists in Mana Monumental, scale contributes to meaning rather than the grandiose, and aims to create an elemental impact that is at once magnificent, heroic, and influential.

Mana Monumental also references Mana’s mission to foster a sense of community in the contemporary art world. By showcasing a diverse roster of artists who have a studio in, have exhibited at, or are otherwise connected to the bourgeoning arts organization, the exhibition acts as a platform that unifies and empowers its participants as group. The project is curated by artist Eugene Lemay, the founder and director of Mana, whose artwork doubles as visually engulfing displays that invite viewers to not only look at, but enter into, their enticing expanse. Through Mana Monumental Lemay, together with a talented troupe of peers, demonstrate the enduring relevance of Barnett Newman’s belief that, in a contemporary context where traditional art subjects and styles are made invalid, it is the sublime that will save us.


Featuring Emilia Azcárate, Alessandro Balteo Yazbeck, Cecilia Biagini, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Willys de Castro, Diana de Solares, Marcolina Dipierro, Eugenio Espinoza, Jaime Gili, Mathias Goeritz, Juan Iribarren, Bárbara Kaplan, Ramsés Larzábal, Raúl Lozza, Beatriz Olano, César Paternosto, Alejandro Puente, Luis Roldán, Osvaldo Romberg, Joaquín Torres García, and Horacio Zabala

Curated by artist Osvaldo Romberg, Dirty Geometry showcases work that demonstrates what he sees as a rebellious attempt to separate itself from the tight, rigid theoretical framework perpetuated by traditional notions of geometry. The exhibition’s twenty-three participants, all Latin Americans working in geometric abstraction between 1950 and today, explore a kind of creolization of orthodox geometric style. They effectively reinvent geometry into a notion that is free from theory—a “dirty war,” according to Romberg. Like the controversial French philosopher Georges Bataille, who believed that “divine filth” leads to pure ecstasy, Romberg believes geometry can be made erotic through primal dirt.

Romberg’s Dirty Geometry subverts the strict, systematic, straightforward qualities of geometric forms pioneered by Wassily Kandinsky, the Russian artist and art theorist credited for creating the first purely abstract paintings. While a number of artists, including Mark Rothko and Frank Stella, have experimented with this bold approach, Romberg feels Latin American artists offer some of the most prominent examples of it.

By twisting and reinventing classic shapes using contemporary cultural prisms, the organic, pared-down works in the exhibition question the role of art in the human experience. Playful, colorful, and subtly sexy, the featured practitioners display a solid consciousness of artistic-cultural identity together with a sense of new possibilities.


Featuring Bob Gruen, Charles Hinman, Robert Indiana, Richard Meier, Yigal Ozeri, and Jessica Stockholder.

Mana Contemporary is pleased to present GLE at Mana, an exhibition of limited-edition prints selected from Lichtenstein’s most recent collaborations made in his studio, Gary Lichtenstein Editions (GLE). Now based in a 10,000-square-foot space at Mana, GLE is dedicated to making high-quality, limited-edition prints. GLE at Mana features a selection of work made in collaboration with the visionaries GLE has attracted thus far, showcasing the venture’s creative potential.

Over the course of his forty-year career, Gary Lichtenstein has created a wide range of screen-printed images with industry legends. Known for his distinctive use of color, reflection, and light absorption, the artist’s experimental work is part of permanent collections at the Museum of Modern Art, the San Francisco Museum of Modern Art, and the Chicago Art Institute, among others.


During Mana Miami, Mana Sessions will feature a daily program of roundtable discussions led by prominent art world insiders. These conversations grant visitors an in-depth analysis of critical and current issues facing artists and art professionals. The themes of the talks reflect Mana’s organizational mission of collaboration and community. A full program will be announced soon.




Liz Glynn and Dawn Kasper Team Up for Public at Art Basel in Miami Beach

Sarah Cascone, Wednesday, November 19, 2014


Lynda Benglis, Pink Lady (2014. Photo: courtesy Cheim & Read.

Visitors to Art Basel in Miami Beach planning their visits to fairs and parties have yet another great item to add to their itineraries. Twenty-six artworks will transform Miami Beach’s Collins Park into an outdoor sculpture garden for Art Basel Miami’s Public sector. Curated by the Public Art Fund’s Nicholas Baume, in partnership with the Bass Museum of Art, the show will kick off on December 3 with opening festivities featuring four simultaneously occurring performance art pieces from Ryan Gander, Christian Falsnaes, Alix Pearlstein, and a collaboration between Liz Glynn and Dawn Kasper.

For opening night, Glynn and Kasper have teamed up on a theoretical physics-based performance, titled cosmo[il]logical. The piece will take place in the park’s rotunda, which will be transformed into a planetarium under a dome structure installed by the artists which will emit both light and sound. It will project images of of the cosmos on the rotunda ceiling while the artists draw with chalk on the felt floor, which has been coated in chalkboard paint.

“The piece is kind of activated through the act of drawing,” Glynn told artnet News in a phone interview, “and the drawings accumulate over the course of the performance…. The performance explores different theories of perception.”

Going all the way back to the big bang for inspiration, Glynn and Kasper will discuss quantum mechanics and string theory in relation to visual art, drawing a distinction between “things that are visually perceptible and things that you believe in but can’t experience through sight alone.”

“In physics, when matter and antimatter collide they destroy each other,” said Glynn. “We go through the history of the origins of the universe and how we can kind of explain our position within it through physics.”

The artists have taken opposite sides in the debate, with Kasper taking the position of antimatter, which, according to Glynn, she has dubbed “invisible dark energy—all of the things that prevent you from getting out of bed in the morning.” Glynn, for her part, will take a more didactic approach. The divide is a reflection of their unique approaches to performance art. “I’m much more of a research-driven person,” said Glynn. “Dawn works much more with improvisation and sound, so it’s kind of the collision of our two practices as well.”

Gander’s suspended sculpture of plastic barrels and an etched metal plaque, titled Never has there been such urgency, or The Eloquent and the Gaga – (Alchemy Box #45), will be on view for the duration of the fair. He will also perform Thank you, but I am promised to the company of my artist this evening during the opening, a piece that centers around Baume, who will be followed throughout the evening by two actual armed bodyguards. As Baume crisscrosses Collins Park that evening, his comings and goings will be all the more noticeable thanks to the imposing presence of the guards being paid to protect him. In effect, curator will become a performer, a part of the very spectacle he is there to oversee, in a unique blending of art and life.

Pearlstein’s performance, The Shining, will also infiltrate the crowd, outfitting a roving group of actors with personal illumination panels, while Falsnaes will actively engage with the audience, encouraging them to participate in the repeated ritualistic building up and breaking down of a large-scale structure in his piece Front.

The full roster of artists, artworks, and galleries for Public 2014 are listed below:

Georg BaselitzLouise Fuller (2013), Galerie Thaddaeus Ropac
Lynda Benglis, Pink Lady (2014), Cheim & Read
Matthias Bitzer, Sleep and echo (2012), Marianne Boesky Gallery, Almine Rech Gallery
Sarah Braman, Door (2013–14), Mitchell-Innes & Nash
Ana Luiza Dias Batista, Eva (Eve), 2014, Galeria Marilia Razuk
Sam Ekwurtzel, Incomplete Open Cubes (2014), Simone Subal Gallery
Elmgreen & Dragset, Powerless Structures, Fig. 101 (2014), Victoria Miro Gallery
Faivovich & Goldberg, Territorio del Chaco (2013), SlyZmud, in cooperation with Nusser & Baumgart, Munich
Nuria Fuster, Pump Iron (2014), Galería Marta Cervera
Ryan Gander, Never has there been such urgency, or The Eloquent and the Gaga – (Alchemy Box #45), 2014, Lisson Gallery
Jeppe Hein, Mirror Angle Fragments (3×60°), 2014, Johann König
Jessica Jackson Hutchins, Him and Me (2014), Johann König
Alfredo Jaar, Culture = Capital (2012/2014), Galerie Lelong, Goodman Gallery, Galerie Thomas Schulte
Gunilla Klingberg, A Sign in Space (2012–ongoing), Galerie Nordenhake
José Carlos Martinat, Manifestos (2014), Revolver Galería
Justin Matherly, The degenerated instinct which turns against life with subterranean vengefulness; See you again in your muck of tomorrow (2010), Paula Cooper Gallery
Olaf Metzel, Untitled (2014), Wentrup
Sam Moyer, Zola (2014), Galerie Rodolphe Janssen
Ernesto Netonós sonhando [Spacebodyship] (2014), Tanya Bonakdar Gallery
Ugo Rondinone, Untitled (2014), Galerie Eva Presenhuber, Gladstone Gallery
Nancy Rubins, Our Friend Fluid Metal, Chunkus Majoris (2013), Gagosian Gallery
Yinka Shonibare, Wind Sculpture IV (2013), James Cohan Gallery
Jessica Stockholder, Angled Tangle (2014), Kavi Gupta Chicago/Berlin
Barthélémy Toguo, In the Spotlight (2007), Galerie Lelong
Tatiana Trouve, Waterfall (2013), Gagosian Gallery
Hank Willis Thomas with Ryan Alexiev and Jim Ricks, In Search of the Truth (The Truth Booth), 2011, Goodman Gallery, Jack Shainman Gallery

Art Basel in Miami Beach will be on view December 3–7, 2014. A selection of works from Public will remain on view in Collins Park through March 2015 as part of “tc: temporary contemporary.”



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Just six weeks until the opening of Art Basel Miami Beach! The 13th edition of the annual art fair — and all it’s satellite fairs, exhibits, museum and gallery openings (and parties) — begins on Wednesday, December 3rd and runs through the 7th at the Miami Beach Convention Center.  The city’s ambitious plan to build a new convention center has now been replaced with a simpler and cheaper “re-model,” but that won’t affect this year’s fair or the expected 75,000+ international visitors.For 2014, ABMB launches a new sector called Survey, featuring “art-historical projects” from thirteen galleries including two rare “Tir-Assemblages” by Niki de Saint Phalle, outsider art by Henry Darger, mid-twentieth century works by the Brazilian artist Alfredo Volpe and more.  The original “sectors” will also return, including Nova, Positions and Kabinett; plus all the big outdoor, public art projects in Collins Park and the films in SoundScape Park and at the Colony Theatre on Lincoln Road.Due to an on-going fight between two factions of Miami’s Museum of Contemporary Art (770 NE 125th Street, North Miami) several members of the museum’s board resigned and started a new museum called the Institute of Contemporary Art in the Moore Building (4040 NE 2nd Avenue, Miami) in the Design District.  MOCA is still alive, and they’re having an opening reception for an exhibition called “Shifting the Paradigm: The Art of George Edozie” featuring works by the Nigerian artist on December 2nd at 7 p.m.Buckminster-Fullers-Dome.jpgMeanwhile, the Design District is rapidly morphing into “the luxury fashion district” with an incredible transformation of the entire area still underway.  Lots of stores are already open including Prada, Marni, Rick Owens, Louis Vuitton, Hermes, Louboutin, Cartier, Celine, Pucci, Dior etc. and many more are on the way.  And there’s a new “Palm Court” featuring a Buckminster Fuller dome, an enormous underground parking garage and plans for a condominium building to be designed by Chicago starchitect Jeanne Gang. You can follow the progress HERE.Screen Shot 2014-10-21 at 2.52.59 PM.pngTo take advantage of all the “luxury” in town for ABMB, The New York Times is hosting an “International Luxury Conference” at the Mandarian Oriental Hotel from December 1st to 3rd with guest speakers including Francois-Henri Pinault, Diane Von Furstenberg, Frida Giannini, Tom Sachs, Diego Della Valle and many more. Tickets are $4250.

Screen Shot 2014-10-21 at 2.59.23 PM.png(The Edition hotel)

The third edition of the SELECT art fair is making a bold move up to North Miami Beach where they plan to set up a 40,000 square-foot tent to hold over 50 galleries on the beach at 72nd Street. They’ll also use the art deco amphitheater already on the site for installations, performances and exhibitions. Just a few blocks south at 67th Street and Collins Avenue, the NADA fair is back in the Deauville Beach Resort. The whole strip of Miami Beach from the W Hotel on 23rd Street up to the SoHo Beach House on 43rd Street is the hottest new, high-end real estate in town.  This year should see the opening of Ian Schrager’s Miami Beach Edition  hotel (rooms are over $1,000 a night during ABMB) on 29th Street; and construction is also well under way at Alan Faena’s massive $1 billion hotel, condo and art museum complex at 32nd Street with buildings designed by Rem Koolhaas/OMA and Norman Foster.  If your budget won’t cover any of these mid-beach, mega resorts, we suggest the super-cool and trendy Freehand Miami on 27th Street were a co-ed dorm room goes for around $115 per person a night.

Screen Shot 2014-10-21 at 3.03.07 PM.pngPeter Marino

The Bass Museum of Art (2100 Collins Ave., Miami Beach) will be celebrating their 50th anniversary with a big gala on November 1st and, during ABMB, they’re planning an exhibition called “One Way: Peter Marino” curated by Jerome Sans.  Marino is a renowned American architect and designer and this show will include art from his private collection plus site-specific installations, an opera collaboration and a series of his bronze boxes.  The opening VIP reception is the evening of December 3rd and it will be open to the public from the 4th until March 29, 2015.

On Thursday, December 4th, the up-and coming UK singer FKA Twigs will be performing at YoungArts and on Friday,  December 5th, they’ve booked the Grammy-nominated and Mercury Prize winning recording artist James Blake. Tickets are available HERE. Last year, the National YoungArts Foundation debuted their new home in the old Bacardi building on Biscayne Boulevard and now they’re moving ahead with plans to open a restaurant and performing arts space on the top floor called Ted’s.  Philadelphia’s Stephen Starr Events will handle the food.

Apparently there’s a VIP crisis at Art Basel Miami Beach — or maybe it’s just a clusterf**k. The problem is that too many people were being admitted on Wednesday, so they’ve made a big change this year. Instead of hosting the “Vernissage” during the evening of December 3rd, it will now take place on Thursday morning, with the general public admitted at 3 p.m. On Wednesday, “First Choice VIPs” will still get in at 11 a.m. and “Preview VIPs” at 3 p.m. with the doors closing at 8 p.m. The change will probably leave many people scrambling to find a way in before Thursday, but it should prevent another early shut-down by fire marshals as happened in 2011. Marc Spiegler, Director of Art Basel, explains: “We are confident that this opening structure will allow us to provide our galleries with the best opportunity to spend quality time with both existing and potential patrons.” Overcrowding — or shortage of “quality time” — has also become an issue at Basel in Switzerland and at FRIEZE London, with more VIP days and hours added to keep patrons and galleries happy.

Screen Shot 2014-10-27 at 2.20.53 PM.pngFuture Brown. (Photo by Christelle de Castro)

The Perez Art Museum Miami (1103 Biscayne Boulevard, Miami) celebrates the first anniversary of their new Herzog & de Meuron-designed home with exhibitions by Beatriz Milhazes, Mario Garcia Torres, Gary Simmons, Geoffrey Farmer and more. They’re also hosting a big party on December 4th, 8 p.m. to midnight, with the electronic supergroup Future Brown (Fatima Al Qadiri, Asma Maroof and Daniel Pineda of L.A.’s Nguzunguzu and J Cush, founder of NYC record label Lit City Trax) along with special guests including L.A. singer Kelela, Total Freedom from L.A.’s “Wildness” parties, Ian Isiah andMaluca. The band will play on a special stage with an extreme-watersports performance on Biscayne Bay as the backdrop. The party is a DIS Magazine and THV Entertainment production.

Screen Shot 2014-10-27 at 2.48.49 PM.pngThe Wolfsonian-FIU Museum (1001 Washington Avenue, South Beach) takes a look back at how designers, artists and filmmakers responded to the First World War with an exhibition called “Myth and Machine.” The show is divided into three sections: “War Machines,” Unknown Soldiers” and “Loss and Redemption.” They’ve also got an exhibition called “Remembering Tokyo” featuring 30 woodblock prints made between 1928 and 1940 by Koizumi Kishio. Be sure to check out their cool gift shop when you stop by.

Screen Shot 2014-10-27 at 2.49.38 PM.pngThe Miami Project (NE 34th Street at NE 1st Avenue, Miami) satellite fair returns to Midtown Miami for a third go-round from December 2nd to the 7th. Their VIP Preview, sponsored by 1stdibs, is on Tuesday from 5:30 to 10 p.m.

Screen Shot 2014-10-27 at 3.10.21 PM.pngLocal Miami gallery, Locust Projects (3852 North Miami Avenue, Miami), is presenting Daniel Arsham’s first major exhibition in Miami since 2010. Called “Welcome to the Future,” the installation will included an excavation of the gallery’s floor, filled with thousands of “calcified, 20th Century media devices.” The opening reception is Thursday, December 4, 7 to 10 p.m. Meanwhile, check out James Franco while he destroys some artifacts HERE in Arsham’s new short film.

Screen Shot 2014-10-27 at 3.15.10 PM.pngUntitled, 2012 from Paula Crown’s “Fractals” series

The Chicago/Aspen-based artist Paula Crown is working on a big, site-specific installation called “Transportation: Over Many Miles” in the Design District at 39th Street and 1st Avenue. The work includes a 25-foot-long sculpture on a 3,200 square-foot floor, all made from reclaimed wood, glass, Astroturf, metal, plants and sand. Theaster Gates Design Apprenticeship Program is assisting with the fabrication and Chicago’s Studio Gang is the architect. It will be up from December 1st through March 2015, and there’s an opening reception the evening of December 4th.

Screen Shot 2014-10-27 at 3.17.08 PM.pngFridge Art Fair returns for second year, this time at The 3rd Street Garage (300 SW 12th Avenue, Miami) from December 4 to 9. Their “Mega Mango Miami: The Great Opening” preview is on Thursday, December 4, from 2 to 8 p.m., with an afterparty at the infamous “den of iniquity,” The Ball & Chain (1513 SW 8th Street, Miami) in Little Havana starting at 9 p.m. This fair started in NYC’s LES in 2013 and founder Eric Ginsburg has the right attitude: “People should not be afraid to go and see art, and it should not cost a fortune.”

Screen Shot 2014-10-27 at 3.18.21 PM.pngPerrier-Jouet launches a new, year-long collaboration with the Vienna-based art duo mischer’traxler(AKA Katharina Mischer and Thomas Traxler) called “Small Discoveries.” Their aim is “to tell the story of the magical dialogue between nature and mankind” and they’ve created a work called “Ephemera” that will be on view at Design Miami from December 2nd to the 6th.

Screen Shot 2014-10-27 at 3.20.00 PM.pngA new fair called Concept will be held aboard the Seafair mega-yacht, docked downtown at Bayfront Park (100 Chopin Plaza, Miami) from December 3 to 7 with VIP previews on the 2nd from 6 to 10 p.m. Over 35 international galleries are expected.

Screen Shot 2014-10-27 at 3.22.08 PM.pngKLIMA

Several new restaurants are expected to be ready by the time ABMB hits town. KLIMA will bring the gastronomy of Barcelona and the Mediterranean to a bi-level, indoor/outdoor spot on 23rd Street and Collins Avenue in South Beach. Their Executive Chef is David Rustarazo and Barcelona restaurateur Albert Ventura is advising. L.A Chef Danny Elmaleh launches a third version of his award-winningCleo restaurant in the Redbury Hotel (1776 Collins Avenue, South Beach). This one’s also “contemporary Mediterranean.”

Screen Shot 2014-10-27 at 3.25.44 PM.pngThe Gale Hotel (1690 Collins Avenue, South Beach) — that’s the spot that hosted PAPER’s “Tiki Disco” pop-up last year — will open a special “rooftop” edition of the Disaronno Terrace from 7 to 10 p.m. on December 4th. DJs are TBA.

img_1.jpgPhoto via Wynwood Walls

Over at Wynwood Walls, they’re planning several new mural collabs featuring teams like Shepard Fairey X Cleon Peterson, Pose X Revok, Haas X Hahn and Faith 47 X Alexis Diaz.  Also, Swoon and Case will each contribute solo works and Kenny Scharf is updating his existing mural.

Detroit gallery Library Street Collective will have a pop-up space nearby and they’re programming artist talks and a book/print signing fair. The blocks around NW 2nd Avenue and 26th Street have become a gigantic arty-party during the area’s monthly “Second Saturday” art walks, but the congestion has some Wynwood veterans seeking space elsewhere. Fredric Snitzer, owner of one of the only two local galleries showing in the convention center and who plans to move from Wynwood to downtown Miami, recently told Miami New Times: “Wynwood has become too hectic and lost its vibe.” Jessica Goldman Srebnick, Wynwood Walls’ chief curator and daughter of Tony Goldman, hopes their “Art of Collaboration” exhibition can “encourage and inspire greatness” and claims, “The growth of Wynwood as a mecca for the arts is the result of great collaborations.”

Screen Shot 2014-11-04 at 3.32.55 PM.pngAs we mentioned two weeks ago, the SELECT art fair is moving to a tent on the beach at 72nd Street and they’ve enlisted Solange to curate a bunch of performances — including one by herself — nightly from Wednesday thru Saturday, starting at 7 p.m. She’s expected to book several acts from her label,Saint Heron Records, that will appear in the on-site, deco amphitheater.  The shows are open to the public and admission is FREE.  When we hear who’s playing (and when), we’ll fill you in.

AB/MB and Performa are hosting an immersive performance by artist Ryan McNamara called “MEEM 4 Miami: A Story Ballet About the Internet” on December 3rd and 4th at 8 and 10:30 p.m. at the Miami Grand Theater at Castle Beach Resort (5445 Collins Avenue, Miami Beach). RoseLee Goldberg, Performa’s founder and director, describes the work by the Brooklyn-based artist: “This piece is far more complex than it first appears, because it unfolds as one surprise after another. The viewer is both totally in the moment and yet spends hours thinking about it afterward.”
$30, tickets are available HERE. Note to VIPs: There’s also an “invitation only” preview on Tuesday.

NADAxPAOM_Logo.pngThe NADA art fair at the Deauville Beach Resort (6701 Collins Avenue, Miami Beach) will host their “invite only” opening preview on Thursday, December 4, 10 a.m. to 2 p.m. After that, admission is free and it’s open to the public daily through December 7th from 11 a.m. to 8 p.m.  You can also preview the fair on Artsy. This year, they’ve partnered with Contemporary Art Daily, Print All Over Me and the 15th Artadia Award. Print All Over Me will be doing special “artist editions” of clothing using images created by Jose Lerma, Amy Yao and Sarah Braman.

01_iwc_portofino_photo_shoot_actors_2014.jpgSwiss watch manufacturer, IWC will be celebrating their new “Portofino” collection with an exhibition of photos by Peter Lindbergh on December 3rd at the W South Beach (2201 Collins Avenue, South Beach). Several of the celebs featured in the campaign including Emily Blunt, Karolina Kurkova and Adriana Lima are expected; and hosts for the night are DuJour magazine founder Jason Binn and IWC CEO Georges Kern.

1959513_800160363360543_7668972189172110849_n.jpgOn December 3rd, Miami’s Institute of Contemporary Art (4040 NE 2nd Avenue, Miami) — the new spin-off from MoCA North Miami — is opening an installation/performance piece called “Sanatorium” by the Mexico-based artist Pedro Reyes. The pop-up “clinic” includes receptionists and therapists that will “help visitors with their individual needs” via everything from hypnosis to psychodrama to trust building games. The museum will also present new and recent works by the New York artist Andra Ursuta. Both will be up until March 15, 2015.

Screen Shot 2014-11-04 at 4.12.09 PM.pngThe PULSE fair is moving to Indian Beach Park (4601 Collins Avenue, Miami Beach) up by the Eden Roc Hotel for their 10th year in Miami. Their private preview brunch is on Thursday, December 4, 9 a.m. to 1 p.m. and then it’s open daily through the 7th. As part of their PULSE Projects, they are featuring a work by the Ontario-based artist Shayne Dark called “Tangle Wood” and also an audio installation by Jenna Spevack called “Birds of Brooklyn.” Their new media and video art section, PULSE Play, will be presented by Tumblr and curated by Lindsay Howard. Tickets are available HERE.

58.jpgNew works from PAPER faves Studio Job will be on view at Design Miami/2014 in the Carpenters Workshop Gallery. The Dutch/Belgian collective have re-imagined several global landmarks like the Taj Mahal and the Eiffel Tower, and transformed them into incredible “functional” sculptures.

LAD_basel_poster_FULL.jpgThe Life and Death record label is hooking-up with PLOT and Miami promoters Poplife and Aquabooty for a big showcase/party on December 4th at Grand Central (697 N Miami Avenue, Miami) nightclub. The line-up for the night includes Dixon (Innervisions), Bob Moses (Domino Records), Recondite, Mind Against, Thugfucker (Life and Death) and DJ Tennis; plus the Miami debut of Vaal.Tickets are available HERE.

Screen Shot 2014-11-04 at 4.24.51 PM.pngThe third annual Miami Street Photography Festival will take place from December 4th to the 7th at Kike San Martin Studios (2045 NW 1st Avenue, Miami) in the Wynwood Arts District.  This year’s featured guests include Magnum photographers Alex Webb, Susan Meiselas and Constantine Manos; poet/photographer Rebecca Norris Webb and National Geographic’s Maggie Stebber.  The festival is a partnership with Leica Camera.

carousel-shen-wei.jpgSeveral works by the Chinese-born artist Shen Wei — he was the lead choreographer of the opening ceremony at the Beijing Olympics — will be on view at downtown Miami’s Freedom Tower. The exhibition, “In Black, White and Gray,” includes paintings and site-specific performances and is the artist’s first U.S. museum show. The performances are on December 5, 6 and 7 and they are FREE, but you need to reserve a spot HERE.

Jean-Prouve-8x8-Demountable-house-process-6.png[Photo via]

Bally will be unveiling a house designed by Jean Prouve and Pierre Jeanneret in the garden behind The Delano (1685 Collins Avenue, South Beach). The house was originally commissioned by the French government in 1944 and recently underwent a 6-month restoration. During AB/MB it will be used for an art installation called “Triangle Walks” featuring works by Zak Kitnick and the art-duo,KOLKOZ, plus selected pieces from Bally’s collection of modernist furniture. There’s a VIP-only reception on December 3rd, but then it’s open to the public by appointment from December 4th to the 7th, 10 a.m. to 9 p.m.

Screen Shot 2014-11-10 at 5.16.05 PM.pngDesign Miami returns to a tent behind the convention center at Meridian and 19th Street with their VIP preview happening on Tuesday, December 2nd, and then it’s open to the public from December 3rd to the 7th. This year’s “10th anniversary” pavilion was created by the Minneapolis-based designerJonathan Muecke and the fair will also be honoring Peter Marino with their first Design Visionary award.

boardwalk-1.jpgThe Thompson Miami Beach (4041 Collins Avenue, Miami Beach) is now expected to be open in time for AB/MB and we hear that Peter Brant, Stephanie Seymour and Jean-Marc Pontroue, CEO of luxury watchmaker Roger Dubuis, are hosting a super-private dinner and afterparty with Dom Perignon at the new hotel on December 3rd. In case you haven’t heard, Jason Pomeranc recently sold all of his interest in the Thompson Hotel chain — including the Thompson name — to John Pritzker’s Commune Hotels and the Pomeranc properties are now called Sixty Hotels.

Screen Shot 2014-11-10 at 5.19.30 PM.pngMeanwhile over in the Design District, Miami’s new “luxury shopping” destination, a hybrid fashion store/design exhibition/art installation called “The World of Mr. Somebody & Mr. Nobody” featuringWalter Van Beirdendonck and Bernhard Willhelm will be open from December 1st to 15th, 11 a.m. to 8 p.m. daily at 91 NE 40th Street. Fashion from the Belgian “mavericks” will be juxtaposed with photography by Miles Ladin, graphic works by Peet Pienaar and clothes by Superella in an extravaganza hosted by Craig Robins, Sharon Lombard and Cathy Leff. The VIP opening is on December 4th with music by Dirk Bonn and drinks by Chris Adamo.

RyanMcGinley_sd_pierre_grasslands_HIGH.jpgRyan McGinley, Prairie (Pond), 2014. C-print, 90 x 60 inches (Courtesy of the artist and Team, New York)

The UNTITLED 2014 art fair hosts their “by invitation only” opening on Monday, December 1st, from 6 to 9 p.m. in a tent on the beach just off Ocean Drive near 12th Street. The opening is a benefit for the AIDS research and education organization ACRIA and will be hosted by Ryan McGinley. The New York artist donated an edition of three prints of his large-format photo, Prairie (Pond), 2014, to the cause. ACRIA will also be offering other objects and prints for sale in a booth at the fair. The VIP preview is on Tuesday, December 2, 3 to 7 p.m., and then they’re open to the public from December 3rd to the 7th.

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Scottish artist Georgia Russell — she’s known for slicing and dicing old books, newspapers etc. — is creating limited-edition “ornaments” to display bottles of Ruinart Champagne’s Blanc de Blancs that are inspired by the etchings in Maison Ruinart’s chalk quarries. She also crafted a large sculptural version of Ruinart’s 18th-Century ledger. The artist sees the works as “a continuation of my practice of cutting paper to bring the past into the present.” Ruinart Champagne and Public Art Fund are hosting a private brunch in her honor at Morimoto in the Shelborne Wyndam Grand South Beach(1801 Collins Avenue, South Beach).

Screen Shot 2014-11-10 at 5.22.18 PM.png[Photo via]

The Miami Ad School (571 NW 28th Street, Wynwood, Miami) will be celebrating the grand opening of their new campus location in Wynwood on Friday, December 5th, 7 to 10 p.m. with a big party called “SoakUp.” There will be interactive installations and activities featuring several international street artists including Kislow, NYCHOS, Dome, Omen, Aber and others.

wang-qingsong---new-women.jpgThe Frost Art Museum (10975 SW 17th Street, Miami) will have several gigantic photo-murals on view during AB/MB in a show called “Adinfinitum” by the Chinese artist Wang Qingsong; plus there’s also a group show, “A Global Exchange: Geometric Abstraction Since 1950,” with over 30 works “integral to the development of geometric art.” Both are up until January 2015. The museum’s annual “Breakfast in the Park” will feature guest speaker Daniel Arsham in their outdoor sculpture park on Sunday, December 7th, from 9:30 a.m. until noon.

Screen Shot 2014-11-10 at 5.26.23 PM.pngGary Nader, Miami art collector and owner of the self-professed “biggest gallery in the world” in the Wynwood neighborhood at 62 NE 27th Street, has just opened a branch here in New York City on 57th Street featuring Latin American art. He has now announced plans to build a $50 million museum on Biscayne Boulevard in Miami, designed by the Mexican architect Fernando Romero. A model of the museum, as well as several selections from his private collection, will be on view during AB/MB in the Wynwood space.

big-eyes-amy-adams1.jpgTim Burton’s new film Big Eyes headlines the AB/MB film program with a special screening on December 5th, 8:30 p.m., at the Colony Theatre on Lincoln Road.  It’s the story of Walter Keane, the mysterious painter of waifs with “big eyes,” who’s works turned out to have actually been made by his wife Margaret (played by Amy Adams). The screening is free, but get there super early.  Many other films submitted by participating galleries will be shown in a new, specially-designed screening room inside the convention center and nightly in SoundScape Park outside the New World Symphony (500 17th Street, South Beach).  The complete schedule is HERE.Russell and Danny Simmons celebrate the 5th anniversary of their “Artisan Series” with a big party for the 2014 finalists and winner — and a special performance by Miguel — at Soho Beach House (4385 Collins Avenue, Miami Beach) on Thursday, December 4th.  Since 2010, they’ve searched for and helped emerging artists by showcasing their work during AB/MB.  This year’s big winner will also receive a solo show during SCOPE NYC in March 2015.  Bombay Sapphire has collab’d and sponsored since the friends at GAYLETTER are having a big party called “Basel, Honey!” on Saturday, December 6th, 9 p.m. to 4 a.m., at TSL Lounge (167 NW 23rd Street, Wynwood, Miami)  Co-hosts on the night are Miami Eccentrics and the Kodex Agency.  Music by Kim Ann Foxman, Honey Soundsystem and Mystic Bill; plus there will be fab decor by San Fran’s Phillip Fillastre and crew.pmuocbxhtpdp9pkwcmcg.pngThe fab Alchemist shop on level 5 of the Herzog & De Meuron-designed parking garage on Lincoln Road, is set to top last year’s cool Colette collab with a week-long installation called “AIRBALL.”  They are installing a basketball court designed by Snarkitecture, where you can shoot some hoops or just chill to DJs and shop for new collabs from Rick Owens, Del Toro, Rochas and more.  Alchemist and Snarkitecture host an “AIRBALL” party at the Delano on Friday, December 5th, with performances by Pusha T and Travis Scott, along with a DJ set from Virgil Abloh.  Miami-based footware brand Del Toro( 2750 NW 3rd Avenue #22, Miami) is also celebrating the second anniversary of their Wynwood boutique on Thursday, December 4th, from 4 to 7 p.m.The Sagamore — aka Miami’s “Art Hotel” — just announced their latest exhibition, “Screen Play: Moving Image Art,” opening in November and on view throughout AB/MB. The show explores the moving image and it’s relationship to other media over a period of six decades via artists including John Baldessari, Joan Jonas, Nam June Paik, Merce Cunningham and others.  It was curated by Lori Zippay of Electronic Arts IntermixThe Sagamore‘s (1671 Collins Avenue, South Beach) 13th Art Basel brunch is on Saturday, December 6th.Screen Shot 2014-11-17 at 9.17.30 PM.pngThe bragging rights for being Miami’s first art fair surely belong to Art Miami.  Now in its 25th year, the fair also includes CONTEXT — dedicated to emerging and mid-career artists — and Aqua Art Miami, as well as the original fair hosting over 130 international galleries in their Midtown Miami location.  The private VIP preview on Tuesday, December 2nd, is a benefit for PAMM and then it’s open daily through December 7th.horsemeatdiscoiii-300.jpgIan Schrager (and Marriott) launch their latest Edition hotel (2901 Collins Avenue at 29th Street) with parties from top to bottom.  On December 3rd, there’s a private dance party with London’s Horse Meat Disco DJs in the basement in honor of the hotel’s designers George Yabu and Glenn Pushelberg.  And in the penthouse, Absolut Elyx will create an private, pop-up club called Casa Elyx with cocktail parties, book launches etc. happening all week.  We can’t wait to check out this new hotel and are happy to hear that Ben Pundole is involved. Supposedly there’s a bowling alley in the basement.As usual, the Morgan’s Hotel Group has a super-busy week of events lined up including a Snarkitecture (Daniel Arsham and Alex Mustonen) installation in the lobby of the Delano (1685 Collins Avenue, South Beach) and Jen Stark and Misaki Kuwai’s “Teepee Project,” featuring their interpretations of historic teepee painting, at the Mondrian. (1100 West Avenue, South Beach)  Le Baron — celebrating their 10-years-running Miami pop-up — will be in the Delano’s basement nightclub FDR nightly. There will also be an Art Markit pop-up shop and a Vanity Projects nail salon poolside at the Mondrian.

brooklyn-street-art-ron-english-martha-cooper-miami-marine-09-14-web-2.jpgMiami Marine Stadium — designed by Hilario Candela and built on Miami’s Rickenbacker Causeway in 1963 — is raising money for a total restoration, and they’re having a big street art exhibition during AB/MB.  Featured artists include: Ron English, Doze Green, Risk, Tristan Eaton, Crash, The London Police, Astrik and many more.  The event is hosted by the Art History Mural Project, the National Trust for Historic Preservation and Friends of Miami Marine Stadium, with proceeds from sales of one-of-a-kind works and limited editions going to the restoration.  The show will be open to the public at 5 NW 36th Street, Midtown Miami, daily from 10 a.m. to 10 p.m., from December 2nd to the 7th. There’s also an “invite only” reception on December 1st.  The Miami Boat Show plans to move to the stadium in 2016.

6a0128763ee05d970c01b8d08e38d5970c-800wi.pngChristie’s and the Marriott hotel group are hosting a pop-up gallery featuring original works by Andy Warhol on December 3rd and 4th in the JW Marriott Marquis Miami (255 Biscayne Blvd., Miami).  All the works — including paintings, photos, prints and works on paper —  are from the Andy Warhol Foundation, with proceeds benefiting their grant-making program.  Stop by the hotel’s fifth floor and have a look between 10 a.m. and 5 p.m. both days.  There’s also a private VIP lunch and panel discussion on Tuesday.

If you’re heading down to Miami early in the week, LAND (Los Angeles Nomadic Division) plus FLAUNT and Paddle8 are having their big gala on Monday, December 1st, 7 p.m., at the Raleigh Hotel (1775 Collins Avenue, South Beach). They’ll be celebrating “innovative women in arts and culture” with dinner and dancing and a big auction of works by artists including Hernan Bas, Sam Falls, Brendan Fowler, Rashid Johnson, Raymond Pettibon and others.  Tickets are available HERE.



Pérez Art Museum Miami mounts colorful solo show from Brazilian painter Beatriz Milhazes
10/10/2014 6:13 PM 10/10/2014 6:13 PM
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From left to right: ‘Férias de Verão,’ 2005. Collection of Catherine and Franck Petitgas. ‘Feijoada,’ 2010. Collection Beatriz Milhazes. ‘Chora, menino,’ 1996. Colección Patricia Phelips de Cisneros, Caracas and New York.
From left to right: ‘Férias de Verão,’ 2005. Collection of Catherine and Franck Petitgas. ‘Feijoada,’ 2010. Collection Beatriz Milhazes. ‘Chora, menino,’ 1996. Colección Patricia Phelips de Cisneros, Caracas and New York.ORIOL TARRIDAS PHOTOGRAPHY
Beatriz Milhazes: Jardim Botânico, Milhazes’ solo show at the Pérez Art Museum Miami, is both a beautifully perfect title for the exhibit, and a misleading one as well.The Brazilian painter has been popular for a couple of decades in Latin America and Europe, but this is her first U.S. museum survey, making it a bit of a coup for both PAMM and Miami. The more than 50 mostly large paintings simply burst from the walls in the several galleries they cover, with their outrageously bright colors and tropical flora imagery. It does feel like you are engulfed in a botanical garden, surrounded by shapes and hues that seem to have an organic life of their own and spiwll out from their canvases.But these lovely paintings, with all their obvious decorative flourishes, start to become far more formal, less “wild,” when observing them closely, and especially as you move from early years to the most recent creations. The contrast becomes more intriguing as you dig deeper into Milhazes’ garden.She is in fact intentionally playing with tension. She’s embracing her tropical environment — Jardim Botânico is the name of her neighborhood in Rio de Janeiro — and heritage, which includes the unique Brazilian cultural mix that has resulted in the exuberant carnival traditions and vibrant music.But Milhazes is also schooled in the Modernist (and at times much more rigid and minimalist) trends that overtook European and Latin art during the 20th century. And then she plants textural, architectural and Pop culture elements into her yard, making her work more complex than what first meets the eye.That’s why botanical is an essential part of the title: Her works are a framed study of detailed, specific bits and pieces that make up a micro-world, and not really an overflowing bouquet or untamed landscape.The earlier works, made in the 1990s, start in the first room — where you can see the development of the mixture of abstract and literal detail colliding and taking on its own morphed form. Some of these can look like tapestries or jewelry — broaches and necklaces — with clear references to lace and ruffles and an almost Baroque-like imagery. One good example is Santo Antonio, Albuquerque from 1994; the pink, lavender and baby blue coloring is somewhat gentle, with a patterning that looks like doilies woven together with jeweled chains and interspersed with flowers and decorative knick-knacks.It was at this time that Milhazes was inventing her own technique to make these paintings, which while feeling loose with their hyper-bright color schemes and elaborate interpretations, were actually precise in their composition. She didn’t leave the signs of brush-strokes behind after she applied a decal-like process to the creation of her works: She would paint on plastic sheets and then transfer the image to the canvas, layering them one on top of another, as though leaving layers of skin on the final product. That small touch, adding the collage element to all of her works, is what makes them less free-form and exploding than it seems from a distance. They are specimens, both natural and man-made.Milhazes moved toward abstraction in the next decade, with circular and linear geometric designs becoming more prominent. Geometric abstraction has a long history in South America, so this too can feel part of an organic progression.Flores e Arvores from 2012-2013 is an almost 3D culmination of all these influences, the huge painting truly leaping from a wall that seems trying to hold this kinetic, kaleidoscopic vision in. There are vertical and horizontal lines crossing over spheres and bubbles with more distinct motifs still popping through, in turquoise, yellow, pink, orange and purple coloring. These later works are more mural-like than confined to framed painting.

Like in any other garden, botanical and otherwise, there are surprising imperfections that also appear, marring in a good way. Milhazes suggests with these intentional markings that, mirroring nature, even the most gorgeous creations have flaws.

If there is a flaw in this exhibit, it is that even the lushest of gardens often need to be trimmed; at some point the number of psychedelic canvases sprouting from the galleries gets a little redundant. But Milhazes’ style and culturally influenced aesthetics are a fine fit for Miami, which is one reason why PAMM Chief Curator Tobias Ostrander picked her for this high profile solo outing. Milhazes combines references that reflect those of the multicultural New World, from Colonial Baroque to African rituals, from formal European artistic traditions to North American Pop culture. It’s a mix that Ostrander thought would resonate well in this cosmopolitan capital on the Caribbean rim, filled with people from points all over, and growing as an arts destination.

In fact, this is the first major in-house exhibit organized by the new museum and not brought in from elsewhere, which is a welcome trend. It will be the featured exhibit during Art Basel Miami Beach.

On your way in or out, don’t miss the new installation at PAMM on the ground floor, taking over from the Hew Locke piece comprised of dozens of colorful model boats and ships that helped inaugurate the museum. Hard to fill those shoes. But the monochromatic pieces from Portuguese artist Leonor Antunes, so different in tone from both Locke and Milhazes, nonetheless tie into the vision of the museum.

Antunes based these minimalist sculptures made of dark wood, brown leather and brass chains, on Brazilian architecture both Modernist and Afro-Brazilian. The linear meshes, weaves and planks that come down from the ceiling form a subtle maze through which you can quietly maneuver. It becomes immediately clear what a nice dialogue this installation has with another art asset here — the superb architecture of the Herzog & de Meuron building itself. Without screaming, they both stand handsomely and inviting.

Appropriately enough, the installation is called “a secluded and pleasant land. In this land I wish to dwell.”

What:S ‘Beatriz Milhazes: Jardim Botânico’

When: Through Jan. 11

Where: Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami

How much: $16


Read more here:


Art Basel Miami Beach 2014 Local Gallery Guide

By Jose D. Duran
Published Tue., Nov. 18 2014 at 11:30 AM

Courtesy of Robert Fontaine Gallery
Space Fruit, Still Lifes (Watermelon), Andy Warhol (1979).

If all you do during Art Basel Miami Beach is stick to the big fairs, you might as well call it a day and go back home.Seriously. Some of the best contemporary art we’ve seen during Art Basel has been away from the convention center and tents.

Local galleries feature both homegrown and international talent, including a mix of well-established artists and those on the cusp of greatness. And wouldn’t you rather have bragging rights that you saw so-and-so before they were big? (Basel is just one big bragging Olympics. Step your game up!)

That being said, there are way too may galleries to possibly feature them all. But we’ve picked out some of the best shows that coincide with Art Basel Miami Beach, some of which are already exhibiting right now — because it’s never too early to start Basel-ing.

See also: Art Basel Miami Beach 2014 Fairs Guide

Courtesy of Galerie Perotin
“Welcome to the Future,” Daniel Arsham at Locust Projects.

Design District and Upper EastsideKris Knight, “Smell the Magic.” December 1-15. Spinello Projects Pop-Up, 95 NE 40th St., Miami; 786-271-4223;

Tim Okamura, “Love, Strength, and Soul.” November 22-January 10. Yeelen Gallery, 294 NW 54th St., Miami; 954-235-4758;

Daniel Arsham, “Welcome to the Future.” November 15-January. Locust Projects, 3852 North Miami Ave., Miami; 305-576-8570;

“Art on the Move,” Ron Terada curated by Dominic Molon. Locust Projects, 3852 North Miami Ave., Miami; 305-576-8570;

Egan Frantz, “Monday and Friday, Tuesday and Friday, Wednesday and Friday, Thursday and Friday, Friday and Friday.” November 22-January 17. Michael Jon Gallery, 255 NE 69th St., Miami; 305-521-8520;

“Re-al-ized.” November 23-December 21. Carol Jazzar Contemporary Art, 158 NW 91st St., Miami; 305-490-6906;

“Luxury Face.” Ida Eritsland, Geir Haraldseth, and Agatha Wara in collaboration with Bjørnar Pedersen. December 1-January 10. Guccivuitton, 8375 NE Second Ave., Miami;

Robert Curran, “Anthology of 20 Years of Photography From Five Different Continents.” Robert Curran Gallery, 74 NE 40th St., Miami;

Courtesy of Primary Projects
Cole Sternberg

Downtown and Overtown“International Friendship Exhibition.” Autumn Casey, Jim Drain, Gavin Perry, Asif Farooq, Magnus Sodamin, Cole Sternberg, Cody Hudson, and Michael Vasquez. December 1-January 30. Primary Projects, 151 NE 7th St., Miami;

Fabian Peña, “Death of a Printed Story.” November 28-December 20. Dimensions Variable, 100 NE 11th St., Miami; 305-607-5527;

Purvis Young, “A Man Among the People: A Purvis Homecoming.” December 4-March. The Historic Lyric Theater, 819 NW Second Ave., Miami; 786-708-4610;

“The Avant-Garde and Latin-American Photography: The Poetics and Discourse of the Modern Gaze.” November 15-December 19. Centro Cultural Español, 1490 Biscayne Blvd., Miami; 305-448-9677;

“Panting.” Gina Beavers, Aaron Bobrow, Van Hanos, Sadie Laska, Dean Levin, Jeff Tranchell, and Jeff Zilm. Organized by John Connelly. December 5. Fredric Snitzer Gallery, 1540 NE Miami Ct., Miami; 305-448-8976;

Miami Beach

Jose Lerma, “Guaynabichean Odyssey.” December 1-Janaury 31. David Castillo Gallery, 420 Lincoln Road, Miami Beach; 305-573-8110;

“Auto Body.” María José Arjona, Naomi Fisher, Paloma Izquierdo, Dana Levy, Alex McQuilkin, Nontsikelelo Mutiti, Naama Tsabar, Agustina Woodgate, Antonia Wright, and more. December 4-7 Giant Motors, 1750 Bay Road, Miami Beach;

Courtesy of Gallery Diet
In Anticipation of Women’s History Month, Rochelle Feinstein (2012-2013)

Wynwood and EdgewaterJames Kennedy, “Morphosis.” November 14-December 26. Mindy Solomon Gallery, 172 NW 24th St., Miami; 786-953-6917;

Marcela Moujan, “Paradise Is Where You Are Right Now.” December 2-January 17. Vice Gallery, 47 NE 25th St., Miami; 305-898-6109;

Art | History Mural Project Pop-Up. December 1-7. 5 NW 36th Street, Miami; free with RSVP to;

“Welcome to the Jungle.” November 14-January 2. Pan American Art Projects, 2450 NW Second Ave., Miami; 305-573-2400;

“4409.72 miles 9125 days: 25 Years of Art Discourse from Buenos Aires to Miami.” November 21-January 31. Diana Lowenstein Fine Arts, 2043 N. Miami Ave., Miami; 305-576-1804;

Sebastiao Salgado, “Genesis.” November 6-January 10. Dina Mitrani Gallery, 2620 NW Second Ave., Miami; 786-486-7248;

Yuri Tuma, “Departure.” November 6-January. Butter Gallery, 2930 NW Seventh Ave., Miami; 305-303-6254;

David Hayes, “Maquettes + Studies.” November 7-February 28. m+vART, 2750 NW Third Ave. Suite 11, Miami; 786-431-1186;

Mauro Giaconi, “Revolt (Revuelta).” December 1-February 13. Dot Fiftyone, 187 NW 27th St., Miami; 305-573-9994;

Brandon Opalka and Hugo Montoyo, “Back on Earth.” December 1-January 31. Regina Rex, “Cemeterium.” December 1-7. Emerson Dorsch Gallery, 151 NW 24th St., Miami; 305-576-1278;

Pablo Lehmann, “The Scribe’s House.” November 8-December 27. Now Contemporary Art, 175 NW 25th St., Miami; 305-571-8131;

“Masters.” Gary Nader Art Centre, 62 NE 27th Street, Miami; 305-576-0256;

Jorge Blanco, “The Joy of Living.” November 25-December 31. O. Ascanio Gallery, 2600 NW Second Ave., Miami; 305-571-9036;

Rochelle Feinstein, “I’m With Her.” November 28-December 27. Gallery Diet,174 NW 23rd St., Miami; 305-571-2288;

“Perspectives.” Chuck Close, Keith Haring, Roy Lichtenstein, Barbara Kruger, James Rosenquist, Andy Warhol, Nick Gentry, Anthony Lister, RYCA, David Walker, and more. Robert Fontaine Gallery, 2349 NW Second Ave., Miami; 305-397-8530;



An Artist’s Tribute to the Obsolete Gadgets That Fill Our Trash Dumps
Artist Daniel Arsham with his new installation, Welcome to the Future, which is designed to look like an archaeological dig of 20th-century media devices.

Courtesy of Daniel Arsham

Last weekend, just ahead of Art Basel Miami Beach, visitors to the Locust Projectsexhibition space got a glimpse of Welcome to the Future, artist Daniel Arsham’s ode to an archaeological dig full of reproductions of 20th-century media devices that clog our 21st-century landfills.

Arsham—who has a background in set design for Merce Cunningham and runs the Brooklyn-based architecture firm Snarkitecture—spent a year collecting some 3,000 boomboxes, electric guitars, SLR cameras, Nintendo controllers, push-button telephones, VHS tapes, Walkmans, film projectors, portable televisions, and other iconic objects that have lost their urgent utility to new technologies.


Courtesy of Locust Projects/Zack Balber with Ginger Photography

Close-ups of Daniel Arsham’s Welcome to the Future.

Courtesy of Daniel Arsham

But if the installation is a comment on planned obsolescence and the wreckage on landfills, it’s also a monument to the detritus produced by art exhibitions: Those objects, some of which were broken as well as outdated, were destroyed in the process of making the molds for the reproductions. Arsham experimented with casting techniques using ash, steel, obsidian, glacial rock dust, or rose quartz crystal to achieve a partially deconstructed effect that would nevertheless hold without crumbling. Then he dug a trench in the exhibition space’s concrete floor—25 feet in diameter and 3 feet deep—and set the objects amid the concrete chunks (some weighing up to 600 pounds).

“The trench presents the recent past as archeology,” says a press release about the installation, “a world of technological objects whose obsolescence was built into their design, preserved like petrified wood or the figures of Pompeii. Rather than regard these objects as individual sculptures, the artist presents them as a mass below our feet, producing a new narrative of production, history, and discovery.”


Courtesy of Locust Projects/Zack Balber with Ginger Photography

Ashram told the Miami Herald that he chose the materials in order to create a gradient from the darker outer edges of the installation to its pale center, with the darkest objects cast from volcanic ash, followed by ash and steel, obsidian, glacial rock, and finally crystal. He began experimenting with casting objects when he recreated Pharrell Williams’ first keyboard in volcanic ash.


Courtesy of Locust Projects/Zack Balber with Ginger Photography

“I went to art school, and you don’t learn how to cast ash in art school,” Ashram said. “I want [the sculptures] to appear that they are falling apart, but I don’t want them to fall apart. I want to keep them in a frozen stasis.”

Welcome to the Future is on through January.


Miami and Miami Beach Art Fair Guide Online Guide to Miami Art Week 2014

Information about the art fairs and art events taking place in Miami and Miami Beach between December 1 – 7, 2014. The week is commonly known as Miami Art Week. Approximately twenty art fairs participate, positioned in the area between Miami’s Wynwood Art District, Downtown Miami and Miami Beach. For the second year running, will be offering a Day-by-Day Event Guide for Miami Art Week, with a wealth of information to make the experience fun, productive, and otherwise sublime. A special new section for evening and party planning will be included in the 2014 edition. The Day-by-Day Event Guide will become the “online go-to” guide for Miami Art Week! We’ll continue to update this guide and web page through November 29th. Below, you’ll find brief descriptions of the art fairs, including locations, hours, admission prices, and special events. If possible, plan on spending at least four days at Miami Art Week, as the week is flush with opportunities to mix, mingle; and, of course, feast one’s eyes on an incredible array of great art! Not only are the art fairs vibrant and engaging in of themselves, but related events occur at local art museums, private collections, non-profit art organizations, galleries and artist studios. An overview: Art Basel Miami Beach – held at the Miami Beach Convention Center is the largest art fair of the week, featuring more than 250 top galleries from around the world. Design Miami (a major design fair) takes place right next to Art Basel. Satellite art fairs: Scope Miami, Pulse, Select, NADA, and Untitled are also in Miami Beach and actually on or near the beach; enjoy the ocean view!. Hotel-based art fairs in Miami Beach include Ink and Aqua. Art Miami – held in Miami’s Wynwood Art District, is the most established art fair in Miami; it’s been around for years. Miami Project, Context, Spectrum, and Red Dot art fairs and many of Miami’s top art galleries are located in Wynwood. One can easily spend two days in the area and still miss a lot! Concept Fair is new for 2014 and it’s located at Bayfront Park. Miami River Art Fair is at the Miami Convention Center – James L. Knight Center, located in the downtown Miami. Free Shuttles – We highly recommend the free shuttle services offered by art fairs, especially when traveling between Miami and Miami Beach, and between downtown and Wynwood. Our Getting Around Town section in the Day-by-Day Event Guide will be the definitive companion for anyone navigating and schedule your weeks activities! Miami Beach Art Fairs Art Basel Miami Beach   |   Aqua Art Miami   |    Design Miami   |   Ink Miami   |   NADA Art Fair PULSE Miami   |   SELECT Fair   |   Scope Miami   |   Untitled. Miami Art Fairs Art Miami   |   Art Spot   |   Concept-Fair   |   CONTEXT   |   Fridge Art Fair   |   Miami Photo Salon Festival   |   Miami Project   |   Miami River Art Fair  |  Red Dot Art Fair  |  Spectrum

Art Basel Miami Beach 2013 logo Art Basel Miami Beach December 3 – 7, 2014 Miami Beach Convention Center, Miami Beach Art Basel Miami Beach is the most important art show in the United States, a cultural and social highlight for the Americas. Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars. Paintings, sculptures, drawings, installations, photographs, films, and editioned works of the highest quality are on display at the main exhibition hall, while ambitious artworks and performances become part of the landscape at nearby beaches, Collins Park and SoundScape Park. Art Basel is comprised of multiple sectors, each of which has its own selection process and committee of experts, who review applicants and make the final selection of show participants. The seven show sectors offer a diverse collection of artworks, including pieces by established artists and newly emerging artists, curated projects, site-specific experiential work, and video. Galleries: The largest sector with more than 200 of the world’s leading Modern and contemporary art galleries – from North America, Latin America, Europe, Africa and Asia. They display paintings, drawings, sculptures, installations, prints, photography, film, video, and digital art by over 4,000 artists. Nova: Designed for galleries to present one, two or three artists showing new works that have been created within the last three years, the Nova sector often features never-before-seen pieces fresh from the artist’s studio and strong juxtapositions. Positions: This sector allows curators, critics, and collectors to discover ambitious new talents from all over the globe by providing a platform for a single artist to present one major project. Edition: Leading publishers of editioned works, prints, and multiples exhibit the results of their collaboration with renowned artists. Kabinett: Participants are chosen from the Galleries sector to present curated exhibitions in a separately delineated space within their booths. The curatorial concepts for Kabinett are diverse, including thematic group exhibitions, art-historical showcases, and solo shows. Public: This sector offers its visitors a chance to see outdoor sculptures, interventions, and performances, sited within an open and public exhibition format at Collins Park (2100 Collins AVE) near the beach. Public Opening Night, Dec. 3, 8:30-10pm. A special evening program with live performances, as part of the Public sector. Film: The Film sector presents works in two venues: inside the Miami Beach Convention Center, and in the outdoor setting of SoundScape Park where works are shown on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center. Selections include works by some of today’s most exciting artists from Latin America, the United States, Europe and Asia. Survey: Survey presents precise art historical projects that may include solo presentations by an individual artist, or juxtapositions and thematic exhibits from artists representing a range of cultures, generations, and artistic approaches. Magazines: Art publications from around the world display their magazines in single-magazine stands or the collective booth. Editors and publishers are often present at the show. ADMISSION $45 (One Day), $100 (Permanent Pass), $32 (evening ticket after 4pm) $30 Students and Seniors with ID, and and Groups of ten or more $55 Combination Ticket for Art Basel and Design Miami HOURS Thursday December 4th, 3pm – 8pm Friday, December 5th, Noon – 8pm Saturday, December 6th, Noon – 8pm Sunday, December 7th, Noon – 6pm Art Basel Conversations | Daily at 10am Art Salon | Daily 1pm to 6:30pm EVENTS Visit the Art Basel Miami website for a full listing of daily Special Exhibitions and Events. Wednesday, December 3rd, 11am – 8pm Private View (by invitation only) Thursday, December 4th, 11am – 3pm Vernissage – Private View (by invitation only) Shuttle Bus Service The show has organized a shuttle bus service for visits to the museums and collections in Miami. The pickup location is directly across the street from Hall D of the Miami Beach Convention Center. Press and Media coverage about Art Basel Miami Beach None listed at this time up arrow

Aqua 14 logo AQUA 14 Art Miami December 3 – 7, 2014 Aqua Hotel, 1530 Collins Ave, Miami Beach, FL 33139 AQUA 14 Art Miami will celebrate its tenth consecutive installment this December. It is one of the best fairs for emerging art during Miami’s Art Week. Over the years, the fair has been recognized for presenting vibrant and noteworthy international art programs with a particular interest in supporting young dealers and galleries with strong emerging and early-to-mid-career artists. Set within a classic South Beach hotel with spacious exhibition rooms that open onto a breezy intimate courtyard, Aqua’s surroundings will certainly be a favorite gathering spot not only for fun and relaxation during the busy week but also as a place to exchange and disseminate new contemporary art ideas. And with its close proximity to Art Basel and continuous shuttle service to Art Miami and CONTEXT Art Miami, Aqua Art Miami will transform into one of the top attended satellite art events for collectors, artists, curators, critics and art enthusiasts alike. Aqua Art Miami will feature 47 dynamic young galleries from North and South America, Europe and Asia; and innovative special programming including performance art, new media and solo installations. With this commitment to artistic excellence, along with building a dynamic young marketplace with new and increased opportunities around marketing and audience services, The classic South Beach boutique hotel has breezy, spacious rooms surrounding an intimate courtyard. A great place to relax and socialize during Miami Art Week. And Aqua Hotel is located within walking distance of Art Basel, just south of the bustling Lincoln Road restaurant and shopping area. 2014 Aqua 14 Exhibitors ADMISSION $15 One day fair pass (Aqua Only) $75 Multi-day fair pass (Aqua, CONTEXT and Art Miami) $10 Students 12-18 years and Seniors HOURS Thursday, December 4th, Noon – 9pm Friday, December 5th, 11am to 9pm Saturday, December 6th, 11am to 9pm Sunday, December 7th, 11am to 6pm EVENTS Wednesday, December 3rd, 4pm – 11pm, VIP Preview. Access for Art Miami, CONTEXT, and Aqua Art Miami VIP Cardholders & Press Press and Media coverage about Aqua Art Fair None listed at this time up arrow

Design Miami logo Design Miami/ December 2 – 7, 2014 Meridian Avenue and 19th Street, Miami Beach Convention Center, Miami Beach Design Miami/ is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. 2014 Highlights Will be added when then information is available. The program of exhibitions presented by carefully selected galleries from Europe, the United States and Asia will be enriched by a dynamic series of design talks, site-specific installations and satellite events. For details of Design Miami’s cultural programs, including Design Talks, Collaborations, and Design Satellites. Swarovski Crystal Palace will be back for the seventh consecutive year as a main sponsor of Design Miami/. ADMISSION General Admission: $25 Students and Seniors (with ID): $29=0 Combination Ticket for Design Miami/ and Art Basel $55 (at ABMB) Tickets are valid for one day only. HOURS Wednesday, December 3rd, 10am – 8pm Thursday December 4th, 10am – 8pm Friday, December 5th, 11am to 8pm Saturday, December 6th, Noon to 8pm Sunday, December 7th, Noon to 6pm EVENTS Tuesday, December 2nd, Noon – 6pm Collectors Preview Tuesday, December 2nd, 6pm – 8pm Vernissage Press and Media coverage about Design Miami/ None listed at this time up arrow

Ink Miami logo INK Miami Art Fair December 3 – 7, 2014 Suites of Dorchester, 1850 Collins Avenue, Miami Beach, FL 33139 INK Miami is a contemporary art fair held annually in December during Art Basel Miami Beach. The Fair is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. It is sponsored by the International Fine Print Dealers Association and exhibitors are selected from among members of the Association for their outstanding ability to offer collectors a diverse survey of 20th century masterworks and just published editions by leading contemporary artists. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper. If you’re looking to purchase prints or works on paper, you should plan on attending this small art fair. This fair is located just a few blocks from the convention center and Art Basel Miami Beach. 2014 Ink Miami Exhibitors ADMISSION Free, No Charge HOURS Wednesday, December 3rd, Noon – 5pm Thursday, December 4th, 10am – 5pm Friday, December 5th, 10am – 8pm Saturday, December 6th, 10am – 8pm Sunday, December 7th, 10am – 3pm EVENTS Preview Breakfast, Wednesday, December 3rd, 10am – 11:30am Press and Media coverage about Ink Miami Art Fair None listed at this time up arrow

NADA Art Fair logo NADA Art Fair – Miami Beach December 4 – 7, 2014 The Deauville Beach Resort, 6701 Collins Avenue, Miami Beach, FL 33141 Founded in 2002, New Art Dealers Alliance (NADA) is a not-for-profit collective of professionals working with contemporary art. Our mission is to create an open flow of information, support, and collaboration within our field and to develop a stronger sense of community among our constituency. NADA’s fair is held in parallel with Art Basel Miami Beach and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging Contemporary Art. It is the only major American art fair to be run by a non-profit organization. Our international group of members includes both galleries and individuals (art professionals, independent curators, and established gallery directors). The various perspectives and ideas offered by our diverse roster creates a network which, at its most basic, is a resource which people could contribute to and take as much (or as little) as they are inclined. The benefits for some may be a matter of business, for others a source of intellectual or aesthetic stimulation. To date, our initiatives have succeeded on two fronts: making the contemporary arts more accessible for the general public, and creating opportunities that nurture the growth of emerging artists, curators, and galleries. Our EVENTS have included: artist talks/gallery walks with critics and curators; benefits in support of charitable institutions; members-only seminars to stimulate dedication and ethics in our profession; and an annual art fair in Miami, which is held in December and is free and open to the public. Don’t plan on walking to this art fair, look for the free shuttle service near Art Basel Miami Beach. The pick-up and drop-off is at 17th and Washington, near the southeast corner of the convention center. Shuttle service begins each day at 10:30am. 2014 NADA Exhibitors ADMISSION Free and open to the public HOURS Thursday, December 4th, 2pm – 8pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 8pm Sunday, December 7th, 11am – 5pm EVENTS Thursday, December 4th, 10am – 2pm, Opening Preview by Invitation Press and Media coverage about NADA Art Fair – Miami Beach None listed at this time up arrow

Pulse Miami logo for 2013 PULSE Miami Indian Beach Park 4601 Collins Avenue, Miami Beach, FL December 4 – 7, 2014 PULSE provides a unique platform for diverse galleries to present a progressive blend of renowned and pioneering contemporary artists, alongside an evolving series of original programming. The fair’s distinctive commitment to the art community and visitor experience makes PULSE unique among art fairs and creates an art market experience that is both dynamic and inviting. The Fair is divided into two sections and is comprised of a mix of established and emerging galleries vetted by a committee of prominent international dealers. The IMPULSE section presents galleries invited by the Committee to present solo exhibitions of artist’s work created in the past two years. In addition, PULSE develops original cultural programs with a series of large-scale installations, its PULSE Play video lounge, the PULSE Performance events. The PULSE Prize is awarded in New York and in Miami to one of the artists presented in the IMPULSE section. 2014 PULSE Miami Exhibitors ADMISSION General Admission $20 Students and Seniors $15 MultiPass (4 day) $25 2013 HOURS Thursday, December 4th, 1pm – 7pm Friday, December 5th, 10am – 7pm Saturday, December 6th, 10am – 7pm Sunday, December 7th, 10am – 5pm EVENTS Thursday, December 4th, 9am – 1pm, Private Preview Brunch (Invitation only) Complimentary Shuttle Service: PULSE will offer a shuttle service operating between Art Basel Miami Beach and Pulse Miami Beach. Shuttles will run from 9am to 8pm Press and Media coverage about PULSE Miami None listed at this time up arrow

Scope Miami 2013 logo Scope Miami Beach December 2 – 7, 2014 910 Ocean Drive, Miami Beach, FL 33139 SCOPE Miami Beach’s monumental pavilion will once again be situated on historic Ocean Drive to welcome near 40,000 visitors over the course of 6 days. Over 100 Exhibitors and 20 selected Breeder Program galleries will present groundbreaking work, alongside SCOPE’s special programming, encompassing music, design and fashion. Long-established as the original incubator for emerging work, SCOPE’s Breeder Program celebrates its 14th year of introducing new galleries to the contemporary market. VH1 will also be presenting the ultimate mash-up of music, pop culture and nostalgia for adults who still want to have fun. There will be some great music on Miami Beach. The tickets are difficult to get but you can sill enjoy the music from the beach for free. Juxtapoz Magazine will curate and present a selection artworks. Juxtapoz Presents galleries embody the New Contemporary that is SCOPE’s hallmark and add a singular dynamism to the Miami Beach 2014 show. Juxtapoz will also release a special edition SCOPE newspaper featuring coverage of the Juxtapoz Presents programming. Scope will also feature a curated exhibition of artworks from Korea. SCOPE Miami Beach opens on Tuesday, December 2, to welcome VIPs and Press at its First View benefit, and will run December 2 – 7, 2014. 2014 Scope Exhibitors ADMISSION General Admission $30 and Students $20 Free for VIP cardholders Brunch, Tuesday: $150 First View, Tuesday: $100 HOURS Wednesday, December 3rd, 11am – 8pm Thursday, December 4th, 11am – 8pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 8pm Sunday, December 7th, 11am – 8pm EVENTS Tuesday, December 2nd, Noon – 4pm, Platinum VIP First View. Tuesday, December 2nd, 4pm – 8pm, General VIP and Press First View. Friday, December 5th, 8pm – 11pm The Official VH1 + Scope Party (by invitation and confirmed RSVP only) Press and Media coverage about Scope Miami Beach None listed at this time up arrow

Select Contemporary Art Fair SELECT // CONTEMPORARY ART FAIR 72nd Street and Collins Avenue, Miami Beach, FL December 2 – 7, 2014 SELECT is pleased to announce its new location at 72nd Street and Collins Avenue in a grand-scale 40,000 sq/ft tent structure. We have selected this location for its multi-use capabilities, which include an adjunct amphitheater for performance and nightly music programming. The fair will have ample parking across the street and is a short walk from the neighboring NADA art fair. SELECT will evolve its vision of presenting 50 + cutting edge international galleries through the curatorial direction of Tim Goossens. Previously the Assistant Curator at MoMA PS1, Goossens is the Curatorial Director of envoy enterprise in Manhattan’s Lower East Side, a Curatorial Advisor at the Clocktower Gallery, and serves on the curatorial advisory committee of SoHO House New York. Additionally, he maintains a roster of independent curatorial projects. SELECT will be held at 72nd street and Collins Avenue, just three blocks from NADA along the sands of beautiful North Beach. Our location has perks such as, beach front views, an attached parking lot, and an amphitheater for music and arts programing. We are conveniently located at the end of the John F Kennedy causeway (route 934), allowing for easy visitor access for clients moving back and forth from the beach to Wynwood. Shuttle: Free shuttles will be running between SELECT (72nd and Collins) and the Convention Center (17th and Washington). 2014 Select Miami Exhibitors ADMISSION Free Entry HOURS Wednesday, December 3rd: 11am – 8pm Thursday, December 4th: 11am – 8pm Friday, December 5th: 11am – 8pm Saturday, December 6th: 11am – 8 pm Sunday, December 7th: 11am – 6pm EVENTS Tuesday, December 2nd, 4pm – 8pm, VIP and Press Preview Press and Media coverage about SELECT Art Fair None listed at this time up arrow

Untitled Art Fair Miami Beach 2013 logo UNTITLED. December 1 – 7, 2014 Ocean Drive and 12th Street, Miami Beach, FL 33139 UNTITLED., is a curated art fair and is back for it’s third year, running December 1 – 7, 2014, in the heart of Miami Beach’s South Beach district at Ocean Drive and 12th Street. UNTITLED., the international art fair launched in Miami Beach in 2012. UNTITLED.’s curatorial approach to the traditional art fair model places an emphasis on the viewer’s experience by contextualizing the artworks exhibited at each booth. The fair presents a selection of international galleries and not-for-profit spaces, positioned side by side to create a less segregated fair installation. UNTITLED. 2014 is presented in a temporary pavilion on South Beach designed by internationally recognized architecture firm K/R, led by John Keenen and Terence Riley. The 60,000 square feet floor plan complements UNTITLED.’s curatorial approach and creates an exceptional viewing experience with abundant natural light and an open ocean view. The fair is located directly on the beach in the South Beach district at Ocean Drive and 12th Street, providing a quintessential Miami Beach event. 2014 Untitled. Exhibitors ADMISSION General Admission: $25, 4-day pass $30 Discounted Admission (Seniors and Students): $15 Miami Beach residents: $15 Groups of 15 or more: $15 per person Children under 12: FREE HOURS Wednesday, December 43rd, 3pm – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 7pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 4pm EVENTS Monday, December 1st, 6pm – 9pm, Vernissage. Tuesday, December 2nd, 1pm – 3pm, Press Preview. Tuesday, December 2nd, 3pm – 7pm, VIP Preview. Press and Media coverage about Art Untitled Art Fair None listed at this time up arrow

Miami Art Fairs

Art Miami logo graphic Art Miami December 2 – 7, 2014 Midtown Miami | Wynwood, 3101 NE 1st Avenue, Miami, FL 33137 Known as Miami’s premier anchor fair, Art Miami kicks off the opening day of Art Week – the first week of December when thousands of collectors, dealers, curators, and artists descend upon Miami. World-famous for its stylish gallery-like decor, its outstanding quality and extraordinary variety, Art Miami showcases the best in modern and contemporary art from more than 125 international art galleries. Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors, and interior designers providing an intimate look at some of the most important work at the forefront of the international contemporary art movement. Ample and convenient parking is available through the use of a four-story parking garage with 2,000 spots, located directly across the street from the Art Miami Pavilion as well as valet parking. A network of complimentary shuttle buses will run round-trip service between Art Miami, Aqua, and Art Basel Miami Beach. 2014 Art Miami Exhibitors ADMISSION $35 one day, $75 multi-day pass, $15 Students 12-18 years and Seniors A One Day Fair Pass provides admission to Art Miami and CONTEXT Art Miami Fairs. A Multi-Day Pass provides admission to Art Miami, CONTEXT Art Miami and Aqua Art Miami Fairs. HOURS Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, VIP Preview (Access for Art Miami VIP Cardholders and Press Press and Media coverage about Art Miami None listed at this time up arrow

ArtSpot Miami 2014 logo ArtSpot Miami 2014 December 3 – 7, 2014 3011 NE 1st Avenue at NE 30th St, Miami, FL 33137 No details at this time. ADMISSION Not available at this time HOURS Wednesday, December 3rd Thursday, December 4th Friday, December 5th Saturday, December 6th Sunday, December 7th EVENTS None listed at this time Press and Media coverage about ArtSpot Miami 2014 None listed at this time up arrow

Concept Art Fair logo Concept-Fair December 2 – 7, 2014 301 Biscayne Blvd. (Bayfront Park), Miami, FL 33132 Inaugural Edition, Contemporary art fair featuring exclusively modern works from 1860-1980 including painting, sculpture, photography, design and objet d’art. Miami will focus on “fresh to market” blue chip secondary market works and modern contemporary masters. Limited to approximately 80 carefully selected dealers, it is designed as a sophisticated, elegant waterfront oasis for collectors during the frenetic Art Basel Week. This will be a fair for the serious collector and connoisseur presented in a relaxed, waterfront location adjacent to the Perez Art Museum Miami, Frost Museum in proximity to all major downtown hotels and the Brickell financial center, the second largest banking capital in North America. Our goal is to present a new fair at the “next level” from current December fairs. Uniquely, the hours will be until 9 pm creating a later “Miami Time” venue for collectors after the closing of other December fairs throughout the city prior to Miami’s later dining times. 2014 Concept Exhibitors ADMISSION One Day Ticket $15, Multiple Day Ticket $25 HOURS Wednesday, December 3rd, 1pm – 10pm Thursday, December 4th, 1pm – 10pm Friday, December 5th, 1pm – 10pm Saturday, December 6th, 1pm – 10pm Sunday, December 7th, 1pm – 7pm EVENTS Tuesday, December 2nd, 6pm – 8pm, Preview Tuesday, December 2nd, 8pm – 10pm, Collectors Invitational (Invitation only) Press and Media coverage about Concept None listed at this time up arrow

Context Art Miami logo CONTEXT December 2 – 7, 2014 Midtown Miami | Wynwood, 3101 NE 1st Avenue, Miami, FL 33137 CONTEXT along with the 25th edition of Art Miami will commence on December 2, 2014 with CONTEXT Art Miami’s highly anticipated Opening Night VIP Preview to benefit the Miami Art Museum (PAMM. The 2012 benefit preview attracted 11,000 collectors, curators, artists, connoisseurs, and designers and the fair hosted a total of 60,000 attendees over a six-day period. This immediately reinforced the CONTEXT fair as a proven destination and serious marketplace for top collectors to acquire important works from the leading international galleries representing emerging and mid career cutting edge works of art. The combined exhibition space of CONTEXT and Art Miami will increase the overall roster of galleries to 190 participants and cover 200,000 square feet. Ample and convenient parking is available for both fairs through the use of a four-story parking garage with 2,000 spots, located directly across the street from the CONTEXT and Art Miami Pavilions as well as valet parking. A network of complimentary shuttle buses will run round-trip service between Art Miami, CONTEXT, Aqua Art Miami and Art Basel Miami Beach. 2014 CONTEXT Exhibitors ADMISSION $35 one day, $75 multi-day pass, $10 Students 12-18 years and Seniors Tickets are sold online one month prior to Fair dates and onsite at the Box Offices during show hours. A One Day Fair Pass provides admission to Art Miami and CONTEXT Art Miami Fairs. A Multi-Day Pass provides admission to Art Miami, CONTEXT Art Miami and Aqua Art Miami Fairs. HOURS Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 9pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, VIP Preview (Access for Art Miami VIP Cardholders and Press Press and Media coverage about CONTEXT Art Fair None listed at this time up arrow

Fridge Art Fair Miami 2014 logo Fridge Art Fair December 2 – 8, 2014 300 SW 12th Ave. (Corner of SW 12th Ave. & SW 3rd St) Miami, FL 33130 Fridge Art Fair is pleased to announce that its second Miami edition will take place at the Good Wall / Conch Hill Market, 968 Calle Ocho, Miami, Florida from December 2 – 8, 2014, thanks to major sponsorship by the Barlington Group and media sponsorship by Miami Art Scene. Once again, Founding Director Eric Ginsburg, a noted painter in his own right (mainly for his soulful portraits of dogs), will lead the Fridge team. “People should not be afraid to go and see art, and it should not cost a fortune,” said Ginsburg. “I want people to be happy, we want everyone from all walks of life to come to this fair and say, ‘that was really cool!'” In that spirit he has subtitled this edition “De Staatliches Bauhaus Rijpe Mango Editie.” Cara Hunter Viera of Fridge will serve as producer, Miami Art Scene’s Kat Wagner joins Fridge as fair as head curator for the Miami Edition and NYC based curator writer and dealer Linda DiGusta, co-director of Fridge 2014 in New York, stays on the team as curatorial consultant. Major sponsors are the Barlington Group, an urban development company committed to revitalizing neighborhoods within Miami’s the urban core. And, The Miami Art Scene, an influential art portal covering local, national and international art news and information. Exhibitor applications still being accepted. ADMISSION Not available at this time HOURS Wednesday, December 3rd Thursday, December 4th Friday, December 5th Saturday, December 6th Sunday, December 7th EVENTS Tuesday, December 2nd, VIP Preview & Opening Gala, at the Ball & Chain – Miami’s Famed Cotton Club – Circa 1957 Press and Media coverage about Fridge Art Fair None listed at this time up arrow

Miami Photo Salon Festival MIAMI PHOTO SALON FESTIVAL December 2 – 5, 2014 Cuban American Phototheque Foundation, 4260 SW 74 Ave. Miami FL. 33135 Miami Photo Salon – December 2 to 5, is an International Fine Art Photography Festival that takes place yearly during Art Miami week. Local and international photographers will showcase and exhibit work in a salon-style venue, in Downtown Miami where foot traffic between 13 visiting art fairs will bring to the area 75000 visitors, meaning artists participating will get in front of a huge audience, at a time when Miami is hosting the most important international art event in the world. For those interested in collecting photography, artwork is of the best quality, as MPSF art fair committee had selectively invited excellent artists, and it is possible to attend a VIP opening night preview on December 1st. 2014 Miami Photo Salon Festival Exhibitors ADMISSION One Day Ticket – $15 Students and Seniors – $10 Preview Ticket and Multi-Day Pass – $50 HOURS Tuesday, December 2nd, 11am – 9pm Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 10pm Friday, December 5th, 9:30am – 7pm EVENTS Monday, December 1st, VIP Preview 6:30pm – 10pm Friday, December 5th, 6pm Award Ceremony and Closing Remarks Press and Media coverage about Miami Photo Salon Festival None listed at this time up arrow

Miami Project logo MIAMI PROJECT December 2 – 7, 2014 NE 29th Street and NE 1st Avenue, Miami, FL 33137 Miami Project will return to the Wynwood Art District from December 2 to 7, 2014. It will again present a selection of historically important and cutting-edge contemporary work side by side, with a unique emphasis on the strength of individual exhibitors’ programs irrespective of their primary focus. Sixty galleries from across the United States will show at the fair. Galleries that represent prominent estates like those of Larry Rivers and Robert Mapplethorpe will exhibit next to those showing today’s most exciting young artists. Work from the historic avant-garde will inform and contextualize the best examples of contemporary practice. Galleries are curated into Miami Project based on a serious commitment to important living artists; extensive involvement with remarkable estates; and the strength of their program generally. The fair’s emphasis on presenting quality works in an intimate setting won over its 20,000 visitors last year, and the 2014 edition will again be boutique-scale, allowing for comfortable viewing in a relaxed atmosphere. Miami Project is housed in a deluxe, tent with soaring cathedral ceilings erected especially for the fair. It will feature roomy aisles and extravagant lounges for a pleasant visitor experience. Located at NE 29th Street and NE 1st Avenue in Miami. Miami Project is presented with support from the Wall Street Journal, Luxe magazine, Perrier, the Midtown Doral, Porcelanosa, New Amsterdam Vodka, and Shellback Rum. 2014 Miami Project Exhibitors ADMISSION One Day Ticket – $25 Multi-Day Pass – $40 Preview Ticket and Multi-Day Pass – $50 HOURS Tuesday, December 2nd, 5:30pm – 10pm Wednesday, December 3rd, 10am – 5:30pm Thursday, December 4th, 10am – 7pm Friday, December 5th, 10am – 8pm Saturday, December 6th, 10am – 7pm Sunday, December 7th, 10am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, Miami VIP Preview Press and Media coverage about Miami Project Art Fair None Listed at this time up arrow

Miami River Art Fair logo Miami River Art Fair December 4 – 7, 2014 Miami Convention Center @ James L. Knight Center Downtown – Brickell Financial Area 400 SE Second Ave, Miami, FL 33131 The third edition of the Miami River Art Fair, an international, contemporary art fair, will take place at the Downtown Miami Convention Center inside the James L. Knight International Center in Downtown. MRAF is providing a unique fair-going experience during the art fair season as the only waterfront art fair. Miami River Art Fair is featuring both an indoor booth setting at the Riverfront Hall of the Miami Convention Center and the one-of-a-kind Riverwalk Sculpture Mall, which is featuring monumental sculpture on the banks of the historic Miami River with a presence of monumental sculptures from Italy, France, Cuba, Colombia, Korea, Spain and a special presentation from Mexico. The Miami River Art Fair will feature galleries and projects with artists from all around the globe. The Miami River Art Fair paves the way for the arts in our financial district as the pioneer art fair of the Downtown Miami – Brickell areas during the winter art fair season. The City of Miami welcomes the Miami River Art Fair as a herald for the revitalization of the Lower Miami River district, the city’s waterfront destination of the twenty-first century. Please join us as we celebrate the 3rd anniversary of the Miami River Art Fair and the Opening Night Preview on December 4. Guests will enjoy Italian Limited Edition Organic Wine and exclusive performance uniquely created for the evening. Funds raised at the event support the Little Dreams Foundation who was established by Orianne and Phil Collins in February 2000. Its mission is to fulfill the dreams of young aspiring talent without the means to achieve their goals. Special Collectors’ Preview: December 4th, 4:00 – 6:00pm, $200 per guest. The exclusive first opportunity to preview and purchase works of art at the fair. Guests are also invited to stay for the Opening Night Preview form 6:00 – 11:00 pm. Opening Night Preview Benefiting Little Dream Foundation 6:00 – 7:00 pm, $100 per guest. Meet LDF’s celebrity mentors as Phil Collins, Romero Brito, David Frangioni among others godparents, sponsors and technical advisors. The 100% proceeds supports the Little Dreams Foundation The Miami River Art Fair 2014 is endorsed by the City of Miami, the Miami River Commission, the City of Miami Beach, the Greater Miami Convention and Visitors Bureau and the Art Deco Preservation League. Miami River Art Fair complimentary Shuttle Service to transport passengers to other Art Fairs. 1) Every 30 minutes between The Miami River Art Fair and Miami Beach Convention Center. 2) Every 30 minutes between The Miami River Art Fair and Midtown Miami. Shuttle stop in front of JLK Center. 2014 Exhibitors – Not yet available ADMISSION FREE with online registration Complimentary Admission with Art Basel and Miami Art Fairs VIP Pass Complimentary group guided tour with online registration HOURS Thursday, December 4th, 7pm – 11pm Friday, December 5th Noon – 8pm Saturday, December 6th, Noon – 8pm Sunday, December 7th, 11am – 6pm EVENTS Thursday, December 4th, 4 – 6pm, Special Collectors Preview Thursday, December 4th, 6 – 11pm, VIP Opening The event will also support and raise funds for the Little Dreams Foundation, established by Orianne and Phil Collins in February 2000. Its mission is to fulfill the dreams of young aspiring talent without the means to achive their goals. Press and Media coverage about Miami River Art Fair 1) Virtual tour of 2013 edition of Miami River Art Fair 2) The Miami River Art Fair has been featured in over 50 international publications to date and in over 15 local, national and international local broadcasts, press interviews and video coverage segments. Here’s the link : up arrow

Red Dot Miami 2013 logo Red Dot Art Fair December 2 – 7, 2014 3011 NE 1st Avenue at the corner of NE 31st Street, Miami, FL 33137 Red Dot Art Fair is pleased to announce its 8th edition and return to the same prime location in Wynwood Art District in Miami, December 2- 7, 2014, concurrent with Art Basel Miami Beach. Building upon its reputation as a diverse fair, Red Dot will offer a unique selection of approximately sixty galleries exhibiting painting, sculpture, photography and fine-art objects. The opening reception on Tuesday, December 2nd, will benefit Center for Autism & Related Disabilities of Miami. Red Dot Art Fair strives to create a fair specializing in emerging, mid-career and established artists that present work of lasting value. The luxurious layout of the fifty thousand square foot tented venue will provide visitors with a sophisticated and friendly environment to view artwork presented by galleries and dealers. Red Dot is excited about being part of Miami’s vibrant art scene and its great fabric of galleries, museums and cultural institutions. 2014 Red Dot Exhibitors, not yet available ADMISSION One Day Ticket – $15 Week Pass – $25 HOURS Tuesday, December 2nd, 6pm – 10pm Wednesday, December 3rd, 11am – 5pm Thursday, December 4th, 11am – 6pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am -8pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 6pm – 10pm, Opening Reception Press and Media coverage about Red Dot Art Fair None listed at this time up arrow

Spectrum logo 2014 Spectum Miami Art Show December 3 – 7, 2014 3011 NE 1st Avenue at NE 30th St, Miami, FL 33137 No details at this time. ADMISSION General Admission $10 Opening Preview + 5 Day Show Pass $25 VIP Special Events Evening Pass – Includes special events & drinks (Dec. 4, 5, 6 – 6pm-10pm) $10 Students/Senior Admission $7.50 HOURS Wednesday, December 3rd, 6pm – 10pm Thursday, December 4th, 1pm – -9pm Friday, December 5th, 1pm – 9pm Saturday, December 6th, 1pm – 9pm Sunday, December 7th, Noon – 6pm EVENTS Wednesday, December 3rd, 6pm – 10pm, Opening Preview Press and Media coverage about Spectrum None listed at this time up arrow     === MIAMI NEW TIMES

Art Basel Miami Beach’s 13th Edition Prepares to Break Records

By Carlos Suarez De Jesus Published Tue., Sep. 30 2014 at 1:15 PM

Courtesy of MDC Museum of Art and Design
Shen Wei will present his first U.S. museum show at MOAD.

This year, our fall Arts & Eats Guide lists all that’s timeless and fresh in Miami, from visual art to delicious food. Theater, dance, music, and drinks all make a much-needed appearance throughout the season as well. Pick up one of our printed guides Thursday, October 2, where you’ll find profiles, interviews, and detailed event calendars to guide you through the upcoming cultural season.When Art Basel Miami Beach (ABMB) blitzes into town December 4 though 7, the event will likely break attendance records. For its 13th edition, ABMB will boast 267 of the planet’s top international galleries, selected from 31 countries, that will exhibit 20th- and 21st-century works by more than 2,000 artists at the Miami Beach Convention Center and various venues throughout the city. The zenith of Miami’s cultural calendar, Basel transforms our peninsula into a rambling art installation, with upward of 20 satellite fairs and scores of related events, including outdoor murals, installations, and pop-up shops mushrooming from South Beach to Wynwood, Little Havana, and Pinecrest. See also: New Bass Museum Curator of Exhibitions Reflects on Miami’s Artistic Boom The main event at the convention center, now recognized as the art world’s biggest block party, is expected to draw about 50,000 international visitors and generate close to a half-billion dollars in sales over its four-day run, according to experts. This year marks an increase of nine galleries from last year’s roster, including a whopping 90 galleries from New York City. By comparison, the Magic City’s booming arts scene will have a paltry presence, with the Fredric Snitzer Gallery returning to ABMB’s centerpiece Galleries section, while downtown Miami’s Michael Jon Gallery will make its debut in the fair’s Nova section at the convention center. It’s no surprise Snitzer’s gallery is returning. The owner has been a staple of ABMB since its inception and is a member of the fair’s selection committee. Michael Jon’s selection, however, has raised eyebrows among local dealers because the space is relatively new to a South Florida scene that, for the most part, is steaming over the repeated lack of local representation at ABMB. Also making its debut is Survey, a new sector of the fair boasting 13 select galleries that will feature art-historical projects ranging from solo exhibits to thematic showcases. New York’s Andrew Edlin Gallery will present a two-artist focus on the works of Henry Darger and Marcel Storr, ranking among the top offerings in the section. Special sectors will also showcase performance art, video art, public projects, and upstart galleries. The Positions section will feature 16 curated solo booths, including a meditation on “architectural destruction” by Syrian artist Hrair Sarkissian, who is represented by Greece’s Kalfayan Galleries. Among ABMB’s popular sectors is Public, an outdoor sculpture showcase organized by Public Art Fund director and chief curator Nicholas Baume, whose inaugural effort last year was hailed as one of the fair’s top attractions. Another returning crowd favorite is ABMB’s Film sector, in which curators David Gryn — the director of London’s Artprojx and Zurich collector This Brunner embrace the theme of playfulness for this year’s edition. Gryn will present more than 70 films and videos by an international compilation of artists. The works will screen at Miami Beach SoundScape on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center. This year’s satellite scene is expanding to downtown Miami with the inaugural edition of the Concept-Fair at Bayfront Park, where 80 exhibitors will feature blue-chip modern works from 1860 to 1980, including painting, sculpture, photography, design, and objets d’art in a tranquil setting far from ABMB’s more frenetic scene. The event will be housed in a $3 million spaceship-like circular tent with unobstructed views and a translucent ceiling designed to illuminate the artworks under South Florida’s tropical sunlight. Meanwhile, the 305’s top museums will trot out their best shows of the year to seduce visiting art-world cognoscenti and local Basel enthusiasts.

Photo by George Martinez/
Art Basel Miami Beach at the Miami Beach Convention Center, 2013

For its first anniversary, Perez Art Museum Miami’s (PAMM) Basel bash December 4 will feature a time-based art presentation by Future Brown with Kalela, an underground DJ supergroup. The museum will also unveil a commissioned work by Mexico City-based artist Mario Garcia Torres, whose project “incorporates photography, film, and objects that explore notions of South Florida as a site for withdrawal from society for the purpose of artistic creation,” according to the museum.PAMM also will display “Jardim Botanico,” the first major retrospective of Brazilian abstract painter Beatriz Milhazes. The artist is known for her complex and disorienting compositions bursting with wild, decorative patterns typically rendered in a glowing tropical palette. Both the Frost Art Museum and Miami Dade College’s Museum of Art and Design (MOAD) will showcase influential Chinese artists in their marquee matchups. The Frost has lined up Wang Qingsong, one of China’s top talents, who has earned international raves for his innovative approach to photography. The artist, who began his career as a painter, picked up the camera in the late 1990s and now works in documentary and staged photography, computer-generated images, and sculpture. His solo, “ADinfinitum,” will feature expansive images capturing his homeland’s epic transformation brought on by booming globalization. At the historic Freedom Tower December 5, MOAD will partner with MDC Live Arts to present “Shen Wei: In Black, White, and Gray.” The artist’s first U.S. museum show will be dedicated to a solo series of paintings in collaboration with site-specific performances. Chinese-born, New York-based Shen Wei is a choreographer, director, dancer, painter, and designer who achieved fame as the lead choreographer for the opening ceremonies of the 2008 Beijing Olympics. The artist, who has earned acclaim for his cross-cultural, bold movement-based spectacles, will premiere a suite of 11 theatrical and kinetic paintings while choreographing interpretive performances based on these works, resulting in a series of five public performances. If you visit the Bass Museum of Art December 4, you’ll have to navigate through a maze-like Gregor Hildebrandt installation made from hundreds of strips of tape gathered from video cassettes of the Jean Cocteau classic Orpheus. The meandering opus will be part of “One Way: Peter Marino,” a sprawling exhibit opening a window on the noted American architect and luxury designer’s multifaceted relationship with art. Marino, whose pioneering cross-disciplinary practice fuses art, architecture, fashion, and creative spatial design, has long been recognized for commissioning original artworks for his architecture and design. In addition to Hildebrandt’s shimmering tape passageways will be major installations by Guy Limone, Farhad Moshiri, Jean-Michel Othoniel, and Erwin Wurm. Works from Marino’s personal collection will include paintings by Loris Gréaud, Keith Haring, Richard Serra, Rudolf Stingel, and Andy Warhol. The exhibition will also feature sections dedicated to pop art, iconic portraiture, the German spirit, and photography. Marino worked closely with Jerome Sans, the exhibit’s curator, to strike a thought-provoking balance between his architectural work and designs, personal collection, and recent edition of cast-bronze boxes that will be showcased. Last year, North Miami’s Museum of Contemporary Art (MOCA) drew sizable Basel crowds for notorious British artist Tracy Emin’s first U.S. museum solo show. But this December marks a major litmus test for MOCA, which has been involved in a yearlong controversy. The museum’s board of directors filed a lawsuit against the City of North Miami in April before leaving MOCA with part of its collection and the city hiring a new director. On December 2, the embattled museum’s new administration will open “Shifting Paradigms: The Work of George Edozie,” signaling an institutional shift in focus while hoping MOCA’s fresh direction inspires crowds. Curated by Nkiru Nzegwu, professor of Africana studies at Binghamton University in New York, the exhibit seeks to “articulate and draw attention to the occurrence of a millennium shift in the epistemological paradigm of art-making and interpretation” while opening “MOCA, Art Basel, and the world to a new way of thinking and being in the world as truly universal,” says Babacar M’Bow, the museum’s new director. Edozie, a Nigerian artist who explores themes of identity in his narrative-based works, will present 50 works making their U.S. debut, including a series of freestanding sculptures constructed from fabric that will form his exhibit’s central installation.



Bass Museum’s New Curator of Exhibitions Reflects on Miami’s Artistic Boom

By Carlos Suarez De Jesus Published Tue., Sep. 30 2014 at 12:11 PM

Photo by Cristina Lei Rodriguez
Jose Carlos Diaz of the Bass Museum.

This year, our fall Arts & Eats Guide lists all that’s timeless and fresh in Miami, from visual art to delicious food. Theater, dance, music, and drinks all make a much-needed appearance throughout the season as well. Pick up one of our printed guides Thursday, October 2, where you’ll find profiles, interviews, and detailed event calendars to guide you through the upcoming cultural season. Jose Carlos Diaz is a pioneer. He helped transform Wynwood from a decaying warehouse district to a booming hothouse for creativity. Born in Miami, he’s one smart guy. In 2003 he turned his own apartment into the “Worm-Hole Laboratory.” It became a rehearsal space and home for cutting-edge art. Then he left town for five years, earning a master’s degree from the University of Liverpool and serving as a project coordinator during the 2010 Liverpool Biennial. In October of last year, he was named the Bass Museum of Art’s curator of exhibitions, just in time for the museum’s 50th anniversary. New Times recently caught up with the dark and handsome 36-year-old to ask about his new job and his views on how much the local art scene has changed. New Times: Where did you grow up? Jose Carlos Diaz: I was actually born in Miami and grew up in Northern California in Stockton. When did you become interested in art? My mother is an artist, so I have always been interested in art, but I also attended after-school art classes as a teenager. Visiting my local museum in Stockton ignited my interest in art and museums in general. You launched Worm-Hole Laboratory in 2003 in your tiny Edgewater apartment building [the Carolyn]. Can you tell us what inspired your mission and a little about the project? I had just finished my curatorial internship at the Rubell Family Collection. There I had learned so much about curating but did not have enough professional experience to become a museum curator or the funds to open my own gallery. The idea was to use my apartment as a rehearsal space. Miami is very entrepreneurial, so I just ran with it. Essentially, it became nomadic because I did not know how long it would last in the apartment or if other opportunities would emerge. One of the things I remember is that after you opened, you ran up a raft of shows in very rapid succession. How has Miami’s scene changed since then? Today it seems like there are so many galleries in Wynwood and the Design District, but it’s interesting to see how others have moved beyond these boundaries and are launching in downtown, west of Wynwood, and more northbound. It’s also amazing to see so many institutions celebrating anniversaries: the Bass, ArtCenter, Locust Projects, PAMM… Time flies, and it is great to see our roots grow deeper. Your apartment was so tiny. How did you manage to shoehorn group exhibits and other events into the space while continuing your daily affairs? I had an empty apartment, various part-time jobs, and lots of ideas! Miami has often had allure for young artists, so inviting someone to exhibit work in Miami never seemed to be a problem. I am not so sure I could do it now. Many of the artists you first exhibited at your space went on to become established Miami names. How did you find these artists? Who were some of the artists who caught your eye early on? I meet most artists through studio visits. I’m a natural people person, so if I connect with the art and the artist, often interesting ideas blossom. Diego Singh, Pepe Mar, and Cristina Lei Rodriguez were some core inspirations. Pepe and I both studied in San Francisco and we moved the same year. I met so many people from 2003 onward. Many artists I met back then are still making interesting work. I always admired the House and the artists involved. Actually, Martin Oppel and Daniel Arsham from the House launched Placemaker later. A decade later I have Martin in one of my shows, so that’s pretty cool.

Carlos Betancourt’s Amulet for Light in “Gold” at the Bass Museum of Art.

Some of your nomadic shows helped cement Wynwood’s nascent scene. How has the area changed since those times, and do you think it still has a future as an incubator for serious curatorial projects, or has that time come and gone? It’s really amazing to leave a transforming neighborhood and return five years later to see it as a true destination filled with galleries, restaurants, and people walking through the streets. Miami is always in motion, and spaces likeGucciVuitton are creating a lineup of shows that I would never conceive. I like that! They’re really thinking outside the box!Back in the early days of Art Basel Miami Beach, you curated a Christmas tree for the Frisbee art fair. Can you tell us about your artsy tree-trimming project? Not many people remember that! Jen Denike and Anat Ebgi, who were active in Miami, invited me to do a project. With little funds and the holidays approaching, I thought ornaments could be interesting since they are so sculptural. I bought a plastic light-up Christmas tree and asked artists to mail me their ornaments. I still use it as my Christmas tree. How has Basel changed since then, and what unifying or long-term impact has it had on Miami’s art scene? Art Basel Miami Beach continues to bring the international art world to Miami Beach. Satellite fairs, fringe projects, and exhibitions orbit that particular week, but I think since the earlier years, Miami is good at being active at showing great exhibits year-round. Lots of wonderful programming takes place too. In 2005 you co-curated “Hanging by a Thread” at the Moore Space, then run by Silvia Karman Cubiñá, who is now your boss at the Bass. What is it like working for her? I have always admired and looked up to Silvia as a mentor, so to work with her is really a dream come true. She has an impeccable eye for great art and curating excellent shows. I’m inspired! Before joining the Bass as the museum’s curator of exhibitions, you worked at the Tate Liverpool. Can you tell us about your experiences at that institution and some of the projects you were involved with there? I was quite lucky to move to a city that was once home to Henry Tate. Although Tate Liverpool is smaller than Tate Modern and Tate Britain, it pre­sents world-class exhibitions, both modern and contemporary, and rotates works from the Tate permanent collection. I was able to work with the collection and also assisted on Charline von Heyl’s solo show and a special project called The Source, which was a large outdoor pavilion by Doug Aitken filled with his video conversations he recorded with leading figures in the creative sector, like Tilda Swinton and Jack White. It was a huge AV challenge installing the work, but very rewarding! From that I curated a show tracking the last 25-year history of Tate Liverpool. Your first curatorial effort for the Bass, “Gold,” marks the museum’s 50th anniversary and is currently on view. How long did you work on your official Bass debut show, and what are some of your favorite works on display? I worked on the exhibit for about a year. As you can imagine, I really love all the works! The online new-media projects, by Patricia Hernandez and Yucef Merhi, are always in a state of flux, and I love that. One continues to monitor the price of gold, and the other, by Patti, is selling a virtual island for bitcoins, a type of online currency unregulated by the government. Anyone can access these works from home [at and]. Silvia has turned the museum’s profile around in short order, giving visiting and local artists a platform to exhibit projects in conjunction with older works in its collection. What’s the importance of this approach in terms of education? Our museum has a permanent collection that really allows us to go beyond and explore many areas. In fact, we have had real success focusing on fashion: Just last spring, Harold Koda curated a show about the subject matter found in Dutch vanitas-style paintings by pairing haute couture with contemporary works also addressing the same themes. What are some of your plans for the Bass, and what role does the museum fill on an institutional scene that has radically changed in the past year? I am working on some exhibitions and projects for the future. Many are a surprise! What can you reveal about yourself that readers might not know? I have a twin brother who won the Latin Grammy last year for best children’s album [Lucky Diaz and the Family Jam Band].



Art Basel in Miami Beach Launches Art Historical Sector

Benjamin Sutton, Tuesday, September 30, 2014

Art Basel in Miami Beach (ABMB) has established itself as one of the world’s foremost art fairs for all things brand new and cutting edge, and now the mega-fair is carving out some space for art history with its new “Survey” sector. Set to debut during this year’s edition, running December 4–7 (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“), the Survey section will boast 13 mini art historical presentations, including 9 solo exhibitions and 4 thematic shows. The inaugural lineup of Survey presentations will highlight lesser-known artists and movements. São Paulo’s Galeria Bergamin will showcase the work of Brazilian painter Alfredo Volpi, who was especially influential in the middle of the 20th century. Paris’s Galerie Georges-Philippe & Nathalie Vallois will showcase two sculptures from around the same period by Niki de Saint Phalle, while Garth Greenan Gallery‘s solo presentation of paintings and sculptures by Paul Feeley will span the early-to-mid 1960s. New York gallery Menconi + Schoelkopf is bringing photographs and paintings by the Canadian-born American Ralston Crawford, one of the leaders of the Precisionism movement. Another New York gallery, Leslie Tonkonow Artworks + Projects, will show pieces spanning the decade between 1969 and 1979 by conceptual, minimalist, and land art figure Michelle Stuart. Works from roughly the same period by the Chilean Lotty Rosenfeld, including photo, video, and slides, will be displayed by Valencia’s espaivisor. James Fuentes Gallery, meanwhile, will display Fluxus artist Alison Knowles’s Big Book, a walk-in, book-shaped installation that made its debut in 1966. Galleri Bo Bjerggaard will present an exhibition of the Danish sculptor Poul Gernes’s work, co-curated by Gernes’s youngest daughters. Rounding out the solo presentations is Japan’s Y++ Wada Fine Arts, which will show dystopic and melancholy paintings by Tetsuya Ishida. The group shows in Survey boast a similarly eclectic selection. Perhaps most intriguing will be Cecilia de Torres, Ltd‘s exhibition of Uruguayan artist Joaquín Torres-García’s self-titled constructivist art movement and workshop the Taller Torres-García, which spanned the 40s and 50s. New York’s Broadway 1602 will bring together works by four women artists who got their start in the 60s and 70s: the late French conceptualist Gina Pane; the New York-based sculptor and painter Rosemarie Castoro; the Brazilian artist Lenora De Barros; and Lydia Okumura, the Japanese-Brazilian artist known for her minimalist site-specific installations. New York-based Outsider art dealer Andrew Edlin will present a two-artist show juxtaposing works by Henry Darger and Marcel Storr. And finally Vienna’s Charim Galerie will show works by three of the Vienna Actionists: experimental feminist filmmaker Valerie Export; conceptual artist Andrei Monastyrski; and early Action painter Alfons Schilling.


ICA Miami Launch is Yet Another Reason to Leave New York in December

Pedro Reyes, Sanatorium Just in case you needed an excuse to make a trip to Miami this winter, the new Institute for Contemporary Art, Miami will open to the public on December 2 with exhibitions by artists Pedro Reyes and Andra Ursuta. Ms. Ursuta’s collection of new work includes Soft Power 1 and 2 (2013), huge sculptures of fists made from quilted comforters. Mr. Reyes’ installation, Sanatorium, will transform the museum’s second floor into a clinic where non-professionals will interview, diagnose, and provide visitors with one of 16 types of therapy, like Gestalt or hypnosis. First staged at the Guggenheim in 2011, it’s a “democratization of therapy, a ‘psychological first aid,’” according to a statement from Reyes on his website. The Mexico City-based artist will be on hand to train volunteer therapists and pass on suggestions for visitors’ treatment during the exhibition’s opening week, which coincides with mega-show Art Basel Miami Beach from December 4 through 7. “The exhibitions will seek to create a unique experience that’s both complementary to and distinct from the fair, and the city,” ICA Miami deputy director and chief curator Alex Gartenfeld told The Observer. ICA Miami’s opening comes after a dramatic spat between the board of the Museum of Contemporary Art, North Miami and the City of North Miami. In August, some MoCA staff announced their departure from the museum and their plans to reopen as ICA Miami in the Design District’s Moore Building. Mr. Gartenfeld explained that ICA Miami hopes to set itself apart from the city’s art scene by focusing on emerging and experimental artists and commissioning new works. The opening exhibitions are also making use of the museum’s new 12,500-square foot space in the Moore Building, donated by Miami Design District Associates. Ms. Ursuta’s installations will be integrated into the architectural details found throughout the former furniture showroom’s atrium gallery, added Mr. Gartenfeld. Last week ICA Miami rounded out its leadership with the appointment of new interim director Suzanne Weaver, the former curator of modern and contemporary art at the Speed Art Museum in Louisville, Kentucky. Ms. Weaver replaced Mr. Gartenfeld, who has moved into the position of deputy director and chief curator after previously serving as interim director of MoCA. The inaugural exhibitions will run from December 3 to March 2015 and will be free to the public. Mr. Gartenfeld wouldn’t give specifics on how long admission will remain free, but said only that visitors wouldn’t have to pay as long as the museum stays in the Moore Building.

Peter Marino, Still In Leather, Details the Mammoth Exhibition of His Collection

“One Way: Peter Marino” opens at the Bass Museum of Art in Miami Beach on December 4.

Peter Marino (Photo courtesy Patrick McMullan) It’s always nice to see someone like Peter Marino walk into a fancy party, like he did at a dinner in his honor given by Design Miami Tuesday night, with all the suits and swanky dresses. This is because Peter Marino—the architect responsible for dreaming up most of the world’s high-end boutiques, who is also a designer, muse, motorcyclist and major collector—eschews anything that could be called “fancy” in favor of leather on metal on leather. His outfit for the evening: a leather vest pricked all over with metal studs, leather wristguards with metal spikes, a leather hat with a metal skull, a strand of leather hanging from his neck which holds some metal knives, leather belt, metal belt buckle, metal knuckles with skulls, leather pants, leather boots. All the leather is always black. He’s a great person to honor with a dinner, because he comes complete with three different modes of personality. Sometimes he prefaces everything with a long “Dude…” and sometimes he affects a strong British accent for no reason in particular. He also likes to refer to himself in the third person—not as “Peter,” as one might think, but as “The Pedro.” And then there’s his art collection. He’s got a thing for Renaissance Bronzes—he’s got 36 of them. He’s bought scores of Warhols, hordes of Hirsts, and many, many Mapplethorpes. Peter Marino owns so many Anselm Kiefers that Anselm Kiefer refers to Peter Marino’s house in Aspen as “The Anselm Kiefer Museum.” And this—this collection as loud as his outfits—is the reason for the dinner where he can totally disregard any sort of dress code. In December, the Bass Museum of Art in Miami will open “One Way: Peter Marino,” the first major review of his mammoth collection and his contributions to the world of fashion, architecture, and design. More on that in a second, but first I have to describe my first interaction with Mr. Marino, at the dinner Tuesday. You see, the star architect was not always the jet-setting man in black, the dynamo creator of designer stores, the guy ensuring that the ritziest of retailers could corral the shopper’s eye directly to the products upon entering the store. He was once Pete Marino from Queens, living in squalor and worshipping Warhol, who gave him his first work and exposure. “Dude… I’m just inviting all my friends for a free meal!” he said, swinging one leather-clad arm toward the two tables. (This would be Dude Peter, but he switched to British Peter later in the night, and other people were worried if The Pedro would come out, too). “I just ate at Tad’s Steakhouse for 11 years,” he bellowed. “99 cents a steak! I would just inhale them, and then I would go and stuff them in my pockets, just stuffing all these steaks in my pockets. Here he made some furious swooping motions with his arms toward himself, as if stuffing his pockets full of steak. His current pants were way too tight to have pockets, but the extra-beefy mental image of steaks in leather pockets was a nice one. “When Tad’s closed, I starved for two years,” he went on. “Look, dude… when people ask, ‘Isn’t it nice to have money?’ I’m like, dude… that was like two years ago!” The dinner continued on well into the night, and then, the next morning it was more Marino: he gave a chat in the offices of Peter Marino Architect, which naturally is very, very high up in a Midtown East building. My ears popped on the elevator zooming up, then I was lead past Warhols and Tom Sachs-drawn guides and Han Dynasty vases and Richard Princes and so on and so forth. He was talking about “One Way: Peter Marino,” and once again he had on more leather than all the biker bars in Detroit, and once again he was surrounded by guys in suits, and it didn’t matter. At least he called upon British Peter for the occasion. (Wherever was The Pedro, I wondered.) It was an attractive room, with models and drawn plans for private home commissions—homes in Lebanon, Star Island, Southampton, Sagaponack—and a view of that much-questioned skyscraper, One57, as cranes bring materials up to its peak. Mr. Marino went about describing what sounds like it will be one of the most talked-about things going on during Art Basel Miami Beach. There’s a room of Marino-designed bronze boxes, the walls all made of black leather. There’s a multi-part opera that Mr. Marino made in collaboration with Francisco Clemente and Dior designer Raf Simons. Also in the mix was Jérôme Sans, the co-founder of Palais de Tokyo in Paris and former editor-in-chief of L’Officiel Art, who curated the show. He was video chatting in from France, as one does. “I’m going to give a physical walkthrough of the show and then Jérôme is going to make sense of it all,” he said. He began by showing off the catalog, which had along its spine—what else?—a black leather clasp studded with metal. “Just in case the people didn’t know who the show was about!” Mr. Marino said. There are five commissions in the show. The first is by Gregor Hildebrandt, and it’s on the outside of the building. “I was like, how can that go over the outside of the building? Because I’m not crazy about the way it looks,” he said, to the slight consternation of Silvia Cubina, the executive director of the Bass Museum, who was standing right next to him. The Hildebrand work is a giant portrait of Mr. Marino. “You’ll see it from airplanes 38,000 feet in the air,” he said. He ran through a few more plans for other rooms in the exhibition—a lot of Mapplethorpes, a skeleton wearing a lot of leather called Peter Marino in 100 Years—and then turned it over to Mr. Sans, who began speaking of the show in his own style, one that was slightly more elliptical than that of the punchy, loud Mr. Marino. “The show has this life, and this presence, this skin, and it is going into the future, and the future cannot exist without the past,” the floating head of Mr. Sans said. “I love hearing that the show actually makes sense!” Mr. Marino said at the end of Mr. Sans’ remarks. Then, before everyone was to walk back out through the Hirst-heavy hallways and pieces of antiquities at every corner, someone asked which artist he first bought when he began collecting. “Warhol,” he said, in that put-on British accent. “I know that sounds very chic and all, but I was working for him, and he gave me a painting. He helped me out. One day he gave me a check and said, ‘If you’re smart, you won’t cash that, because my signature is going to be worth more than the check itself.’ But I was broke, so I cashed it. And what do you know! Andy was right.”

NADA Miami Beach 2014 Will Be the Anti-Art Basel

Rozalia Jovanovic, Wednesday, September 3, 2014


NADA Miami Beach 2012 Opening Preview The New Art Dealers Alliance (NADA) has just announced its exhibitor list for the 12th edition of NADA Miami Beach. The art fair, which will take place from December 4–7 at the Deauville Beach Resort, will feature over 90 exhibitors with a little over 40 from New York, and including 36 international galleries, along with 15 exhibitors that are new to the fair. There are around twenty New York exhibitors that are not returning this year, including Churner + Churner, James Fuentes, the Hole, Horton (which merged earlier this year with ZieherSmith), Klaus von Nichtssagend Gallery, Joe Sheftel, Kerry Schuss, Simone Subal, Kate Werble, Feature Inc. (the gallery’s founder, Hudson, died earlier this year), Andrew Edlin, Clifton Benevento, the Still House Group, Know More Games, Recess, and Devon Dikeou. Some, like Clifton Benevento and Simone Subal, are doing Art Basel in Miami Beach this year. Some are not making it to Miami at all this year. Kate Werble said she is attending two fairs in Europe in October—London’s SUNDAY Art Fair and the new FIAC satellite (Off)icielle—and her gallery just underwent an expansion. Some New York galleries that did not partake last year but are exhibiting this year are Bodega, Chapter NY, the Lodge Gallery, Grand Century, Koenig & Clinton, Kai Matsumiya, Simon Preston, Regina Rex, and Tomorrow. “Galleries apply to multiple fairs with multiple types of projects,” Maggie Clinton of Koenig & Clinton told artnet News. “The project we applied with to Art Basel Miami Beach was waitlisted.” While the gallery has participated numerous times in NADA Miami Beach, it did Art Basel Miami Beach last year. This year, it is participating in NADA and Untitled. But she said that their decision about which fairs to attend related more to the formats of the various fairs. “I think that NADA is an excellent format for emerging artists. Untitled is really great for curatorial projects. We have an artist that will be featured at the fair, and it’s the type of project that could not be shown at any of the other fairs.” Other advantages NADA has over the larger fair? “You’re not going to see way too much stuff,” Clinton said. “There’s not a huge discrepancy between larger booths and smaller booths.” While she noted the benefit of the larger audience at a larger fair, she said there was less chance of falling victim to so-called “fairtigue.” “You also have this moment in between, because of the architecture, to just have a coffee, and stop and see more art.” Without further ado, here is the list: Cooper Cole, Toronto, Canada The Apartment, Vancouver Andersen’s Contemporary, Copenhagen, Denmark Temnikova & Kasela, Tallinn, Estonia High Art, Paris, France Future Gallery, Berlin, Germany Natalia Hug Gallery, Cologne, Germany, Galerie Christian Lethert, Cologne Germany Linn Luhn, Dusseldorf, Germany Galerie Max Mayer, Dusseldorf, Germany Galerie Parisa Kind, Frankfurt, Germany Proyectos Ultravioleta, Guatemala City, Guatemala Tempo Rubato, Tel Aviv, Israel Apalazzo Gallery, Brescia, Italy Frutta, Rome, Italy, Federica Schiavo Gallery, Rome, Italy Galerie Bernard Ceysson, Luxembourg, Luxembourg Lulu, Mexico City, Mexico Rob Bianco, Oslo, Norway Aoyama Meguro, Tokyo, Japan Kayokoyuki, Tokyo, Japan Misako & Rosen, Tokyo, Japan Mujin-To Production, Tokyo, Japan XYZ Collective, Tokyo, Japan Roberto Paradise, San Juan, Puerto Rico Sabot, Cluj-Napoca, Romania Truth and Consequences, Geneva, Switzerland Glasgow International, Glasgow, UK Ibid, London, UK Kinman, London, UK Seventeen, London, UK Rob Tuffnell, London, UK Rod Barton, London, UK The Sunday Painter, London, UK Jonathan Viner, London, UK Whitechapel Gallery, London, UK 247365, New York, Brooklyn, New York Clearing, New York, Brooklyn, New York The Journal Gallery, Brooklyn, New York Courtney Blades, Chicago, Illinois Shane Campbell Gallery, Chicago, Illinois And Now, Dallas, Texas Bill Brady Gallery, Kansas City, Missouri Artist Curated Projects, Los Angeles, CA Thomas Duncan, Los Angeles, CA Francois Ghebaly Gallery, Los Angeles, CA International Art Objects Gallery, Los Angeles, CA Overduin & Co, Los Angeles, CA Night Gallery, Los Angeles, CA Tif Sigfrids, Los Angeles, CA Young Art, Los Angeles, CA Locust Projects, Miami, FLA The Green Gallery, Milwaukee, WI David Peterson Gallery, Minneapolis, MN Alden Projects, New York American Contemporary, New York Nicelle Bauchene Gallery, New York Bodega, New York Brennan and Griffin, New York Callicoon Fine Arts, New York Canada, New York Lisa Cooley, New York Chapter NY, New York Independent Curators International (ICI), New York Eleven Rivington, New York Derek Eller, New York Thomas Erben Gallery, New York Essex Street, New York Zach Feuer, New York Foxy Production, New York Laurel Gitlen, New York The Lodge Gallery, New York Grand Century, New York Jack Hanley Gallery, New York Invisible-Exports, New York JTT, New York Karma, New York Koenig & Clinton, New York David Lewis, New York Magic Flying Carpets, New York Marlborough Chelsea, New York Martos Gallery, New York Kai Matsumiya, New York P!, New York Eli Ping Frances Perkins, New York Simon Preston, New York Regina Rex, New York Sculpture Center, New York Rachel Uffner Gallery, New York Tomorrow, New York White Columns, New York Creative Growth, Oakland, CA Adams and Ollman, Portland, OR Ratio 3, San Francisco, CA ===

Suzanne Weaver Will Lead Miami’s New Contemporary Art Museum

Sarah Cascone, Tuesday, September 23, 2014 Suzanne Weaver. Photo: Gesi Schilling, courtesy Institute of Contemporary Art, Miami. The Institute of Contemporary Art (ICA), Miami, founded by the former board of trustees and staff of the Museum of Contemporary Art (MOCA) in North Miami (see “MOCA North Miami Closes in Controversy“), is making a fresh start in its new Miami Design District home with Suzanne Weaver, who has been appointed the reborn institution’s interim director. A 20 year art world veteran, Weaver has previously held curatorial positions at institutions such as the Dallas Museum of Art and the Speed Art Museum in Louisville, Kentucky. Alex Gartenfeld, who had served in an interim capacity as director since September of 2013, following the departure of Bonnie Clearwater, has been promoted to deputy director and chief curator. He joined the museum in May of 2013 as a curator. The new ICA Miami looks to move past its troubled MOCA North Miami past, which saw the city fail to provide funding and led to a heated battle over museum leadership (see “The Museum of Contemporary Art North Miami Sues City For Breach of Contract” and “Racist Taunts Escalate MOCA North Miami Feud“). It will open in the the Design District’s Moore Building in December, presumably just in time for Art Basel in Miami Beach festivities (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“). The interim space, provided rent-free by Miami Design District Associates while the board of trustees seeks a new permanent home, measures 12,500 square feet. “We are thrilled to be welcoming Suzanne Weaver as our new interim director, whose talent, enthusiasm, and professional experience will be an invaluable asset as the museum continues to grow,” said Ray Ellen Yarkin, co-chair of the ICA’s board, in a press release. “It is truly an honor to work with such a highly talented and committed Board of Trustees and staff to launch a new museum of contemporary art dedicated to quality, excellence, and rigor,” added Weaver. “Together, we will create an institution that will be an important addition to Miami’s dynamism internationally and make a lasting mark on the intellectual, cultural, and artistic life of the region.” ==

SCOPE Bringing 111 Galleries to Miami in December

Sarah Cascone, Friday, September 19, 2014 Scope Miami Beach. Photo: Scope. Not to be outdone by Art Basel in Miami Beach, PULSE, NADA, and UNTITLED., the venerable SCOPE art fair, now in its 14th year, has announced its exhibitors for its 2014 Miami Beach edition. A total of 111 galleries will be on hand, representing 27 countries and 48 cities. The fair runs December 3–7. With a focus on emerging artists, SCOPE will once again feature its Breeder Program, which provides an important showcase for new commercial galleries. The fair will also introduce a FocusKorea section, a collaboration with the Galleries Association of Korea sponsored by the Korea Ministry of Culture, Sports, and Tourism (similar to the Korean section at this summer’s Art Hamptons, as reported in “Hamptons Art Fairs Target Hipster Collectors with Edgy, Nostalgic Artworks“). This year, SCOPE will partner with Juxtapoz Magazine in what is being described as “an exploration of the New Contemporary.” As part of “Juxtapoz Presents,” Kimou “Grotesk” Meyer will design and create an interactive newsstand installation inspired by old Brooklyn, and based on Meyer’s 2009 cover for Juxtapoz. The stand will sell artist-made goods, magazines, as well as the new book, Juxtapoz Hyperrealism. Here is the full list of SCOPE Miami Beach 2014′s participating galleries:

ACE Gallery | Los Angeles Andenken | Amsterdam Art Park Gallery | Seoul Art Projects Gallery | Hong Kong Artside Gallery | Seoul Asterisk Projects | Brooklyn AUREUS Contemporary | Providence Baiksong Gallery | Seoul Barbarian Art Gallery | Zurich Galerija Bastejs | Riga Beautiful Asset Art Projects | Beijing Tally Beck Contemporary | New York Gallery Bhak | Seoul Gallery Biba | Palm Beach Black Book Gallery | Denver blunt | Toronto Bon Gallery | Seoul Anthony Brunelli Fine Arts | Binghampton C-Arte | Buenos Aires C.A.V.E. Gallery | Venice Beach Callan Contemporary | New Orleans Lawrence Cantor Fine Art | Venice Chalk Horse | Sydney Chandran Gallery | San Francisco CHUNG Art Gallery | Seoul Chung Jark Gallery | Seoul Dorothy Circus Gallery | Rome Elizabeth Clement Fine Art | Danvers & New York Ethan Cohen Fine Arts | New York Collage Habana Gallery | Havana Contempop | Tel Aviv Copro Gallery | Santa Monica Corridor Contemporary | Tel Aviv DECORAZON | London Dubner Moderne | Lausanne E3 {a small gallery} | Ostend Faur Zsófi Galéria | Budapest Fifty24MX | Mexico City The Flat – Massimo Carasi | Milan Forré & Co. Fine Art | Aspen Emmanuel Fremin Gallery | New York Fresh Eggs | Berlin Gallery G-77 | Kyoto Gana Art | Seoul Gauntlet Gallery | San Francisco Gallery Godo | Seoul Galerie Frédéric Got | Paris Joseph Gross Gallery | New York Mark Hachem | Paris & New York Hashimoto Contemporary | San Francisco Cheryl Hazan Contemporary Art | New York Kashya Hildebrand | London Kirk Hopper | Dallas Dan Hort Projects | New York Inner State Gallery | Detroit JanKossen Contemporary | Basel K + Y Gallery | Paris Kallenbach Gallery | Amsterdam Jacob Karpio Galeria | San Jose Keumsan Gallery | Seoul L’inlassable | Paris La Ira de Dios | Buenos Aires Labartino | Miami Jonathan LeVine Gallery | New York Life as a Work of Art | New York Long Sharp Gallery | Indianapolis Luster | Brooklyn Galerie Magenta | Antwerp Magpi Projects | New York Primo Marella Gallery | Milan Mario Mauroner Contemporary Art | Salzburg & Vienna Miami’s Independent Thinkers | Miami Mighty Tanaka | Brooklyn Mirus Gallery | San Francisco Mordekai | New York Leila Mordoch Gallery | Miami NextArt | Budapest NUNC Contemporary | Antwerp Ohshima Fine Art | Tokyo OTCA | London Galleri Oxholm | Copenhagen Pabellón 4 Arte Contemporáneo | Buenos Aires Paik Hae Young Gallery | Seoul Paradigm Gallery | Philadelphia Parlor Gallery | Asbury Park Pavleye Art & Culture | Prague Phone Booth Gallery | Long Beach Project Gallery | Los Angeles Pyo Gallery | Seoul RARE | New York Red Corridor Gallery | Künzell Red Truck Gallery | New Orleans Duane Reed Gallery | St. Louis Rush Arts Gallery | Brooklyn Gallery Shilla | Seoul Shirin Gallery | Tehran & New York Stick Together | Amsterdam StolenSpace | London TBD Independent Projects | Key Biscayne Thinkspace | Los Angeles Tribe13 Gallery | Redwood Valley Vertical Gallery | Chicago Vice Gallery | Miami Vogelsang Gallery | Brussels Gallery on Wade | Toronto Wallplay | New York Waltman Ortega | Miami & Paris Wanrooij Gallery | Amsterdam Wellside Gallery | Seoul White Walls | San Francisco Woolff Gallery | London Wunderkammern | Rome Yellow Peril Gallery | Providence 55bellechase | Paris == ARTNET NEWS

UNTITLED. Lines Up 96 Galleries for Third Edition

Sarah Cascone, Tuesday, September 9, 2014 2014-july-22-untitled-miami-new As if Art Basel in Miami Beach‘s impressively long list of exhibitors wasn’t enough to look forward to this December (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“), there are also the event’s numerous competing satellite fairs, which are also beginning to announce their 2014 line-ups. The third edition of UNTITLED. (running December 3–7) has just unveiled plans to feature work from over 200 emerging and established contemporary artists represented by 96 galleries and non-profit art organizations from 18 countries, as well as 16 cities in the US. The fair will be hosted in a temporary beach-side pavilion designed by K/R architects under John Keenen. With a newly expanded curatorial team comprising artistic director Omar López-Chahoud and curators Christophe Boutin and Melanie Scarciglia, UNTITLED. will host a series of conversations, performances, and events, as well as special projects (see “Miami’s UNTITLED. Fair Adds Curators, Gets New Tent“). As part of the special projects series, Paul Ramírez Jonas will present his volcanic rock and cork sculpture, Publicar V (2010), while French conceptual artist Mathieu Mercier has created a series of new works for the fair, to be shown by New York’s Denis Gardarin Inc. New York non-profit gallery carriage trade will present Cutting Through the Suburbs, a multimedia project memorializing 1970s suburbia and featuring works by Gordon Matta-Clark, Bill Owens, and James Wines/SITE Architects & Howard Silver. The fair is also partnering with online art service Curiator, which will allow UNTITLED. visitors to peruse the fair’s offerings online, creating digital collections, both in the two-week period leading up to the annual event, for VIPs, and during its run, for all guests. Here is the full list of UNTITLED. 2014′s participating galleries: (+) R – Barcelona Ada – Richmond, Virginia Adn Galeria – Barcelona Andrew Rafacz, Chicago Arroniz – Mexico City Artag – Helskinki Art Nueve – Murcia, Spain Arts & Leisure Gallery – New York Asya Geisberg Gallery – New York Bitforms Gallery NYC – New York Bravinlee Programs – New York Carriage Trade – New York Carrie Secrist – Chicago Casa Maauad – Mexico City Cindy Rucker Gallery – New York Cirrus Gallery – Los Angeles, California Cristin Tierney – New York Curro & Poncho – Jalisco, Mexico De La Cruz Projects – San José, Costa Rica Diablo Rosso –Panama City Denis Gardarin Inc. – New York Denny Gallery – New York Document-Art Gallery – New York Espacio No Minimo – Guayaquil, Ecuador Formato Comodo – Madrid, Spain Fredericks & Freiser – New York Fridman Gallery – New York Galería Bacelos – Madrid Galeria Espacio Minimo – Madrid Galería Juan Silió – Santander, Spain Galería Nora Fisch – Buenos Aries Galeria Pilar – São Paulo Galerie Antoine Ertaskiran – Montreal Galerie Laurent Godin – Paris Galerie Richard – New York Galerie Thomas Fuchs – Stuttgart, Germany Gallery Sinne – Helsinki González Y González – Santiago Halsey Mckay Gallery – East Hamptons, New York Henrique Faria Buenos Aires – Buenos Aires Hionas Gallery – New York Inman Gallery – Houston Island Press – St. Louis Jack Bell Gallery – London Johannes Vogt Gallery – New York Johansson Projects – Oakland, California Josée Bienvenu – New York Klemens Gasser & Tanja Grunert Gallery – New York Koenig & Clinton – New York Kravets Wehby Gallery – New York Kristen Lorello – New York Lawrie Shabibi – Dubai Little Big Man Gallery – San Francisco Longhouse Projects – New York Lora Reynolds – Austin Lucia De La Puente – Lima Luis De Jesus Los Angeles – Los Angeles Lvl3 – Chicago Makebish – New York Maloney Fine Art – Los Angeles Marisa Newman Projects – New York Marso – Mexico City Max Estrella – Madrid Microscope Gallery – Brooklyn Mite – Buenos Aires Mkg127 – Toronto Monique Meloche – Chicago Mulherin – Toronto Narrative Projects – London Nathalie Karg Gallery – New York Nueveochenta – Bogotá, Colombia Parisian Laundry – Montreal Present Company – Brooklyn Projektrom Normanns – Stavanger, Norway Richard Heller Gallery – Santa Monica, California Rincón Projects – Bogotá, Colombia Romer Young Gallery – San Francisco Ronchini Gallery – London Royale Projects: Contemporary Art – Palm Desert, California Salon Dahlmann – Berlin Sandra Gering Inc. – New York Sic Helsinki – Helsinki Site:Lab – Grand Rapids, Michigan Steve Turner Contemporary – Los Angeles Steven Zevitas – Boston Susan Inglett – New York Taymour Grahne Gallery – New York Threewalls – Chicago Today Is the Day Foundation – New York Universal Limited Art Editions – Bay Shore, New York Upfor – Portland, Oregon Vigo Gallery – London Western Exhibitions – Chicago Y Gallery – New York Zieher Smith & Horton – New York Zürcher Studio, – New York   ==

Announcing PULSE Miami Beach Artists and Exhibitors
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PULSE Contemporary Art Fair is pleased to announce the artists and galleries exhibiting at PULSE Miami Beach 2014. The fair, in a new custom-designed venue on Indian Beach Park, will feature work from over 150 cutting-edge artists presented by a select group of exhibitors from Asia, Europe and the Americas.”As we move into the tenth year of PULSE, we are focused on celebrating artists, who are the core of the fair and the indeed the industry as a whole,” says Director Helen Toomer. “We are excited about our move to mid-Miami Beach and our newly-designed exhibition space that will compliment the presentation and discovery of these artists’ work and we look forward to welcoming the international arts community to our new home.” Read more about PULSE’s tenth year in Miami in the New York Observer and scroll down to read the full list of artists and exhibitors.
PULSE Miami Beach 2014
PULSE Miami Beach at Indian Beach Park. Rendering courtesy of PULSE Contemporary Art Fair.
PULSE Miami Beach 2014 Artists & Exhibitors – (Learn more hereArt Mûr, Montreal, Canada: Jinny Yu Ballast Projects, New York, NY: Russell Tyler (POINTS) Beers Contemporary, London, UK: Faig Ahmed | Janneke Von Leeuwen | Tony Romano | Pawel Sliwinski Black & White Gallery/Project Space, Brooklyn, NY: Michael Van den Besselaar Bryce Wolkowitz Gallery, New York, NY: Yorgo Alexopoulos | Edward Burtynsky | Jim Campbell | Robert Currie | Airan Kang | Jimmy Nelson | Jose Parla Catinca Tabacaru Gallery, New York, NY: Yapci Ramos CC Gallery, Berlin, Germany: Maya Hayuk Danziger Gallery, New York, NY: Christopher Bucklow | Susan Derges | Hendrik Kerstens | Karen Knorr | Jim Krantz | Corinne Vionner Davidson Contemporary, New York, NY: Kiel Johnson | Darren Lago | Sam Messenger | Thomas Witte | Ghost Of A Dream De Buck Gallery, New York, NY: Simon Vega | XOOOOX De Soto Gallery, Venice, CA: Amelia Bauer | Brian Paumier | Ramona Rosales (IMPULSE) DIA Galería, Mexico City, Mexico: César López-Negrete | Ricardo Paniagua Elizabeth Leach Gallery, Portland, OR: Ann Hamilton | Sean Healy | Isaac Layman | Julia Mangold | Anna Von Mertens Front Room Gallery, Brooklyn, NY: Mark Masyga | Sasha Bezzubov galerieKleindienst, Leipzig, Germany: Corinne von Lebusa | Christoph Ruckhäberle Galerie Simon Blais, Montreal, Canada: Jean-Sébastien Denis | Alexis Lavoie | Yann Pocreau Gallery Joe, Philadelphia, PA: Mia Rosenthal gallery nine5, New York, NY: Soojin Cha | Jessica Lichtenstein | Ignacio Muñoz Vicuña Gallery Poulsen, Copenhagen, Denmark: Barnaby Whitfield | Aaron Johnson | Jean-Pierre Roy | Eric White Greg Kucera Gallery, Seattle, WA: SuttonBeresCuller | Chris Engman | Margie Livingston | Whiting Tennis GUSFORD | los angeles, Los Angeles, CA: Genevieve Chua (IMPULSE) Heskin Contemporary, New York, NY: Doreen McCarthy | Jennifer Riley Horrach Moya, Palma de Mallorca, Spain: Aníbal López | Jorge Mayet  | Joana Vasconcelos Hosfelt Gallery, San Francisco, CA: Jim Campbell | Jay DeFeo | Jutta Haeckel | Emil Lukas | Marco Maggi | Andrew Schoultz James Harris Gallery, Seattle, WA: Karin Davie | Gary Hill | Alexander Kroll | Cameron Martin | Alwyn O’Brien | Akio Takamori junior projects, New York, NY: Guy C. Correiro | Stuart Elster (IMPULSE) LAMONTAGNE GALLERY, Boston, MA: Gil Blank | Jeff Perrott | Joe Warwell LA NEW GALLERY, Madrid, Spain: Cristina de Middel | Santiago Talavera | Jorge Fuembuena LMAKprojects, New York, NY: Jonathan Calm | Popel Coumou | Claudia Joskowicz | Erika Ranee LYNCH THAM, New York, NY: Carlo Ferraris | Walter Robinson (IMPULSE) MA2Gallery, Tokyo, Japan: Ken Matsubara Miller Yezerski Gallery, Boston, MA: Evelyn Rydz | Nathalie Miebach | Deb Todd Wheeler New Image Art, West Hollywood, CA: Cleon Peterson | Retna | Maya Hayuk Nohra Haime Gallery, New York, NY: Natalia Arias Nuova Galleria Morone, Milan, Italy: Felix Curto | Mariella Bettineschi | Domenico Grenci | Sadegh Tirafkan Paci contemporary, Brescia, Italy: Michal Macku | Teun Hocks Patrick Heide Contemporary, London, UK: Pius Fox | Hans Kotter | Reinoud Oudshoorn | Dillwyn Smith Paul Loya Gallery, Los Angeles, CA: Tom Fruin Philip Slein Gallery, St. Louis, MO: Andrew Masullo | Gary Stephan | Chuck Webster | John Zinsser Purdy Hicks Gallery, London, UK: Sue Arrowsmith | Jonathan Delafield Cook | Claire Kerr | Susan Derges | Sandra Kantanen | Jorma Puranen Rena Bransten Gallery, San Francisco, CA: Dawoud Bey | Joe Cunningham | Bovey Lee | Nathan Lynch | Vik Muniz Rick Wester Fine Art, New York, NY: Alyse Rosner | Laurie Lambrecht | Lilly McElroy ROCKELMANN&, Berlin, Germany: Florian Japp | Jeffrey Teuton (IMPULSE) Rosamund Felsen Gallery, Santa Monica, CA: John Mills Rosa Santos, Valencia, Spain: Andrea Canepa SENDA, Barcelona, Spain: Oleg Dou | Anthony Goicolea | Sandra Vásquez de la Horra | James Clar Shoshana Wayne Gallery, Santa Monica, CA: Phil Argent | Kathy Butterly | Rachel Lachowicz | Izhar Patkin | Berverly Semmes | Michal Rovner | Kiki Smith Schroeder Romero, New York, NY: Lisa Levy Shulamit Gallery, Venice, CA: Kamran Sharif | Shahab Fatouhi | Tal Shochat Sienna Patti Contemporary, Lenox, MA: Lauren Fensterstock | Susie Ganch taubert contemporary, Berlin, Germany: Adrian Esparza | Markus Linnenbrink | Markus Weggenmann | Beat Zoderer | Jan von der Ploeg | Dionisio González | Sylvan Lionni Tyler Rollins Fine Art, New York, NY: Arahmaiani | Heri Dono | FX Harsono | Agus Suwage Uprise Art, New York, NY: Eric LoPresti | Erin O’Keefe Walter Maciel Gallery, Los Angeles, CA: Tm Gratkowski WAGNER + PARTNER, Berlin, Germany: Erwin Olaf | Mona Ardeleanu | Peter Dreher | Ruud van Empel WATERHOUSE & DODD, New York, NY: Kim Keever | Jean-François Rauzier | Xavier Guardans X-Change Art Project, Lima, Peru: Alessadra Rebagliati | Ana Cecilia Farah| Marian Riveros | MOHO Collective (POINTS) Yossi Milo Gallery, New York, NY: Marco Breuer | Lorenzo Vitturi | Alison Rossiter | Matthew Brandt | Assaf Shaham YUKI-SIS, Tokyo, Japan: Katsutoshi Yuasa | Kohei Kawasaki (IMPULSE) Zhulong Gallery, Dallas, TX: Alexander Gorczynski | James Geurts (IMPULSE)

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FIAC Paris 2014 Articles and Reviews




Fairs Market France

Paris fair sheds its Frenchness

Pinault and Arnault invitation to view Fiac ahead of VIPs pays dividends

The 41st edition of Fiac (Foire Internationale d’Art Contemporain) at the Grand Palais in Paris

“For me, Fiac is like the Frieze Masters of contemporary art; you can, in the main, be assured of the quality of the works,” said an anonymous US dealer attending the 41st edition of Fiac (Foire Internationale d’Art Contemporain) at the Grand Palais in Paris. The French billionaire Francois Pinault, whose collection is housed at two galleries in Venice, also put his faith in the French fair; he bought 30 works at Fiac and its new satellite event, (Off)icielle, at the Docks-Cité de la mode et du design.

The roll-call of curators, artists and collectors reflected the fair’s prestige, with the British artist Tracey Emin, the French artist Bernar Venet, the president of the Centre Pompidou, Alain Seban, and Beatrix Ruf, the newly appointed director of the Stedelijk Museum in Amsterdam, in attendance. Sources on the floor said that Pinault and Bernard Arnault, who is due to open his Fondation Louis Vuitton museum in west Paris later this week, entered the fair at a special pre-arranged time; a fair spokeswoman said that “out of discretion, both men came through a separate entrance a little earlier”.

The Paris-based art advisor Laurence Dreyfus said, however, that “there are not many spectacular works at Fiac this year, except perhaps for the Olafur Eliasson pieces on the stand of Neugerriemschneider gallery” (the German dealer’s solo presentation of works by the ubiquitous Danish-Icelandic artist proved popular, especially Dew Viewer, 2014, a cluster of 212 glass spheres; prices for the works were undisclosed). But a UK collector was overheard on the fair floor saying: “Fiac always plays it safe”.

Other art world professionals were evangelical about the elevated profile of the Paris fair. The dealer Michel Rein, who runs galleries in Paris and Brussels, said that Fiac has shed its reputation for being “too French”. There are 46 French galleries out of 191 galleries in total. “Of course Fiac is truly international,” said Rein who has participated in 23 editions of Fiac. “Why would you fill the fair with French dealers anyway?” he added. A 24-carat gold ATM by the Bulgarian artist Stefan Nikolaev on Rein’s stand, entitled Cry Me a River, 2009, was a hit, with two editions of the piece selling for €15,000 each. Nikolaev said that the work is “a comment on our relationship with money”.

A selection of works by Roni Horn at Hauser & Wirth gallery, especially a series of photographs of the French actress Isabelle Huppert, was also a draw (Portrait of an Image with Isabelle Huppert, 2005, $425,000). A gallery spokesman said that museums have expressed interest in the other Horn works, including one of the artist’s famous glass drums (I deeply perceive that the infinity of matter is no dream, 2014, $3.5m).

The VIP preview also proved profitable for the London- and New York-based gallery Skarstedt. It sold at least four works including a large-scale wall piece incorporating everyday detritus, such as buttons and beads, by the late US artist Mike Kelley (Memory Ware Flat no, 10, 2001) for “more than $1m”, said Bona Montagu, the director of Skarstedt London. “We’re seeing a lot more Americans here,” she said.

The younger galleries housed upstairs in the Salon d’Honneur section seem keen to graduate to the main floor of the fair where the established galleries showcase their works, but the mid-career dealers on the first floor still reported strong sales. The London-based gallery Campoli Presti sold two works by the US photographer Eileen Quinlan priced at $15,000 each.

But the final appearance of the veteran Paris dealer Yvon Lambert at Fiac struck a poignant note. Lambert will close his Paris gallery in December and plans to launch a new business next year devoted to art books and exhibition catalogues. The French Prime Minister, Manuel Valls, toured Lambert’s stand with the newly appointed culture minister Fleur Pellerin, giving Lambert the state’s stamp of approval before he bids adieu to the Parisian art scene.

Mike Kelley’s Memory Ware Flat no, 10, 2001) sold for “more than $1m” with Skarstedt



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The Mother of all French Markets: The Incandescent FIAC 2014 Paris

©Sylvia Davis

FIAC Paris 2014


October 23, 2014

FIAC 2014 opened at the Grand Palais in a shimmering flurry of celebrities, dignitaries, and VIPs.

One of the leading international art fairs, FIAC was founded 40 years ago to bring a curated exposé of contemporary art to the public. It was born as an event “by gallerists for gallerists” and gradually expanded to a mainstream audience, welcoming around 80,000 visitors at the capacious Grand Palais main venue. It has also sprouted numerous extramural sites and events, including installations in public spaces such as the infamous sculpture by Paul McCarthy. Set up in the swish Place Vendome, the giant green shape –some saw it as a Christmas tree, most identified it with a sex toy – was vandalized, causing it to deflate (there’s an irony somewhere in there) and had to be taken down.

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The Mother of all French Markets: The Incandescent FIAC 2014 ParisPrime Minister Manuel Valls, Minister of Culture Fleur Pellerin (right)

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The Mother of all French Markets: The Incandescent FIAC 2014 ParisGilbert and George, as if they had just jumped out of their picture

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The Mother of all French Markets: The Incandescent FIAC 2014 ParisArtist Tracey Emin catching up with friends Georgie Hopton and Hikari Yokoyama

FIAC is not a museum exhibition, it is a bustling market. The main distinction is that the art on display is bought and sold right then and there. The whole art world stands to notice when a piece or a particular artist is attracting interest at FIAC, and eager collectors elbow their way through the doors on preview day to scoop up their next treasure. The continuing success story of FIAC will start a new chapter in March 2015 with the debut of FIAC Los Angeles.

For emerging young artists, being noticed here can be the fortune cookie that presages an auspicious future. To underline this incubator effect and promote the next generation, a new addition this year is the (OFF)icielle art fair held at the Docks, presenting 68 newcomer galleries from 14 countries.

The sense of occasion on the vernissage came from the tour of the exhibits by Prime Minister Manuel Valls and Minister of Culture Fleur Pellerin, as well as the presence of celebrated artists likeGilbert and George and Tracey Emin, who stood out for being eminently gracious, meeting and greeting, chatting to old friends and generally having a grand time.

For all the fond handshakes and champagne clinking, there’s serious business swiftly moving on in the background, which makes the energy of the FIAC particularly seductive. Sales appeared to be ticking along nicely as we witnessed, just during our brief visit, the red dot going up on Jean Dubuffet’s L’Heure de Pointe, priced well over 530,ooo euros, by Waddington Custot gallery, and brisk interest in a striking 2.9-million-euro Basquiat at the Van de Weghe booth.

FIAC, however, is not an exclusive playground for the elite collector. While the main statement pieces are intended to attract attention, and priced accordingly, galleries offer a wide selection of new art, prints, or limited series – items that are within reach of every art enthusiast. FIAC is a great place to start a collection. With 191 galleries from 26 countries there’s bound to be something that catches your eye, and gallery representatives are approachable and passionate about the art they bring to the show. If you find a piece you love, you could be taking back home the ultimate souvenir from Paris, one that will ignite memories and inspiration for years to come.

FIAC Paris is held every year in October.

FIAC 2014
Grand Palais
Avenue Winston Churchill, Paris 8th
October 23-26
Noon to 8pm – Until 9pm Friday
Métro: Champs-Elysées / Clemenceau
Admission including catalogue €60 – Children under 12 free





“À votre avis,” by Amadou Sanogo, is being shown at the FIAC in Paris as part of the art fair’s (Off)icielle satellite event. CreditAmadou Sanogo/Galerie Magnin-A, Paris
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PARIS — As the art world continues to boom and expand, there can be little doubt that, in order to survive in it, size helps.

In recent years, major galleries have compulsively opened outposts worldwide: Gagosian alone has 14 galleries, with another set to open in London next year; Emmanuel Perrotin has four; David Zwirner, three. Around 200 art fairs are crammed into the calendar, with the major ones like Art Basel and Frieze London also holding international sister events (Miami Beach and Hong Kong for Basel; New York for Frieze).

As the International Contemporary Art Fair in Paris prepares to open its 41st edition on Oct. 23, it appears clear that this event is happy to play with the big boys.

Under the guidance of Jennifer Flay, the fair’s general director since 2010, the Foire Internationale d’Art Contemporain, or FIAC, is extending its reach in multiple directions. Its first international event, FIAC Los Angeles, will be held next year at the Convention Center from March 27-29. This year the Paris fair is effectively doubling, with the opening of a new satellite event, (Off)icielle, that focuses on emerging galleries.

“Since 2006 there have been up to six or seven different ‘offs’ around the FIAC, but, with respect, none of them really made the standard,” the New Zealand-born Ms. Flay said during an interview this summer in her office here. “So yes, we decided to do it ourselves.”

Before Ms. Flay was named artistic director of the FIAC in 2003, the fair was considered a fusty relic on the art fair circuit: “too boring and too poor,” as Ms. Flay put it. Today, it has standing as a major international event that has injected new life into the French art scene.

As usual, the fair, which this year runs through Oct. 26, is being held in locations across Paris. Its main gallery base is in the Grand Palais, with events in the Tuileries, the Jardin des Plantes, the Place Vendôme and on the banks of the Seine. The spread of the FIAC is so extensive that this year it has organized shuttle boats along the Seine that can serenely transport ticket holders from the Grand Palais to the Cité de la Mode, where (Off)icielle is being held, avoiding the frenzy of the Paris Métro.

Such is the draw of the FIAC that many Paris art institutions synchronize their calendars with its opening. This year, happily timed events include the reopening of the Picasso Museum on Oct. 25, the inauguration of the Frank Gehry-designed Fondation Louis Vuitton on Oct. 20 (opening to the public on Oct. 27), and the reopening of La Monnaie de Paris on Oct. 25, with a major exhibition dedicated to the American artist Paul McCarthy. Celebrations are also being held by the Fondation Cartier for its 30th anniversary.


“Joel,” 2011, by Omar Victor Diop, part of the (Off)icielle event at FiAC.CreditOmar Victor Diop/Galerie Magnin-A, Paris

The Grand Palais will hold stands from 191 galleries from 26 countries, including Turkey, Mexico, Norway, India and South Korea. Most galleries, as in previous years, hail from France, the United States and Germany. Major dealers include Hauser & Wirth from Switzerland; White Cube from Britain; Paula Cooper and Gagosian from the United States; Sprüth Magers from Germany; and from France, the cream of the Paris galleries, including Perrotin and Marian Goodman.

It will also be a last FIAC for the legendary French dealer Yvon Lambert, who confirmed this summer that, at 68, he will be closing his Paris gallery in order to focus on books and literature.

The Grand Palais will be divided into sections, with established galleries in one area and newer galleries in another. There will also be a space dedicated to the works of the nominees for the Marcel Duchamp prize, one of France’s most prestigious contemporary art awards. On the shortlist this year are Théo Mercier, Julien Prévieux, Florian and Michaël Quistrebert, and Evariste Richer. The winner will be announced on Oct. 25.

The work of 3,430 contemporary and Modern artists will be on sale, including established names like Marina Abramovic (Krinzinger Gallery); Zeng Fanzhi (Gagosian); Nan Goldin (Matthew Marks); Ai Weiwei (Lisson Gallery and Continua); and Dan Flavin (Pace). They will be alongside rising stars like the 35-year-old British painter and sculptor Lydia Gifford (Laura Bartlett); the multidisciplinary Indian artist Asim Waqif (Nature Morte); and Cyprien Gaillard, the 34-year-old French multimedia wunderkind, whose work will be on show at Bugada & Cargnel, Sprüth Magers and Gladstone Gallery.


“Installation View, Drawn,” by Lydia Gifford.CreditLydia Gifford/Laura Bartlett Gallery

(Off)icielle, the new satellite fair, runs from Oct. 22-26 at Paris’s new City of Fashion and Design, known as Les Docks, which opened in 2012 in the 13th Arrondissement in the city’s southeast quadrant. Sixty-eight galleries from 13 countries will be showcasing works there in a vast, 3,700-square-meter space.

Fringe events are not new to art fairs, a recent example being Frieze Masters, focused on historical art, which opened in London in 2012. But rather than scanning the past, Ms. Flay wanted (Off)icielle to highlight up-and-coming dealers, or galleries that might have been overlooked.

“It’s not some little thing we’re doing on the side, it’s absolutely a part of FIAC,” said Ms. Flay, who, having run her own gallery in Paris from 1990 to 2003, understands the importance of art fairs for dealers.

Galleries showing at (Off)icielle include the London-based Limoncello, with works by the young Israeli artist Yonatan Vinitsky. From Paris, galleries include Magnin-A, which focuses on contemporary African art and is showing works by Omar Victor Diop and Amadou Sanogo among others, and Semiose, which includes the multimedia artist Sébastien Gouju. From the United States, LTD Los Angeles is showcasing the 25-year-old Argentine-born artist Amalia Ulman, while Zink Gallery from Berlin brings the 23-year-old Russian video artist Aslan Gaisumov.


“Untitled (video still),” 2011-2014, by Alsan Gaisumov.CreditCourtesy of Aslan Gaisumov and Galerie Zink, Berlin

Ms. Flay said that in holding the satellite event, she also hoped to provide an accessible entry point to the art world for aspiring collectors. “There is something about being surrounded by these younger galleries that is so much less intimidating than the context of the Grand Palais,” she said. “We’ll be creating a different atmosphere.”

While the FIAC offers private gallery tours and exclusive events for its V.I.P. guests, (Off)icielle is channeling an edgier vibe. Les Docks has impeccable hipster credentials: The former industrial warehouse holds the ultratrendy bar-cafe-nightclubs Nüba (run by the Baron nightclub crowd) and Wanderlust (part of the Silencio bandwagon), where (Off)icielle will hold screenings and events. In keeping with the urban vibe, street food will be available.

Another new event at this year’s FIAC is a collaboration with the Austrian crystal maker Swarovski. As part of the Hors Les Murs section— the showcasing of art outside of the Grand Palais — the house is sponsoring a new work by the French sculptor Didier Marcel, which will be in the Jardin des Plantes in the Fifth Arrondissement. Mr. Marcel, who won a competition to create a work “inspired by Swarovski,” is creating “Rosée” (Dew), described as a scattering of drops of crystal throughout the Jardin’s Rose Garden.

Meanwhile, a Hors Les Murs feature, “Tree” by Paul McCarthy in the Place Vendôme, will not be visible during the fair: The 80-meter-high inflatable sculpture was deflated by vandals the night of Oct. 17, and Mr. McCarthy and local authorities said he would not seek to re-inflate it. The lime green sculpture was described by the artist as a Christmas tree, but critics said looked like something much more prosaic: a sex toy. “After the violent reactions, the artist was disturbed by the potential impact of the work,” according to FIAC officials.

Doreen Carvajal contributed reporting



Paris makes a comeback

 PARIS  |  23 October 2014  |  AMA  |    |  

The one domain that seems to have been saved from the culture of “French bashing” is art. The sudden yet spectacular revival of the Parisian art scene and the multiple events and inaugurations of international recognition taking place day by day across the capital have not gone unnoticed by the Anglo-Saxons, who this week pay testimony to this resurgence in the media with an unusual enthusiasm that deserves to be recognised.

It is in this resolutely optimistic context that the 41st edition of FIAC opens this year, a time when Paris offers art amateurs a myriad of spaces and events, some public — the reopening of the Musée Picasso and Monnaie de Paris — and others private, such as the Fondation Louis Vuitton.

Paris: art capital? 
The pick of Paris museums remains, without a doubt, one of the richest in the world, with tens of millions of visitors arriving every year; however, France’s place on the global art market has been in constant recession over recent years. It is in London (where the majority of important collectors live), New York or Hong Kong where most high-value transactions take place.

The French art scene is obviously not the most profitable in the world, yet France and Paris can nevertheless count on their different qualities. As Anny Shaw underlines in The ArtNewspaper: “London might appeal to the business head, but it seems that Paris appeals to the heart, and never more so than this year.”

Conversely to many perceptions, and despite Paris’ ‘sleeping beauty’ image, we have recently seen the giants of contemporary art (Galerie Thaddaeus Ropac and the equally famous Gagosian gallery) invest in the Parisian suburbs with the opening of vast spaces in the towns of Pantin and Le Bourget respectively. The inauguration of the Fondation Louis Vuitton in the heart of the Bois de Boulogne and the proliferation of new projects elsewhere in Paris, for the most part private, are also consistent with the notion that the decided attractiveness of the capital is only waiting to be exploited.

This autumn, the rich public programming and the good health of FIAC have created an almost euphoric feeling. So what to make of it all? “Paris is suddenly in a very good mood for art,” said Jean-Philippe Billarant, an industrialist and longtime collector who plans to give tours of his collection, housed in a converted silo, during FIAC week. Le Silo sits 30 miles northwest of Paris. “The atmosphere of Paris reminds me of Chelsea 30 years ago, and that’s interesting.”

This enthusiasm is shared by Sunny Rahbar, co-director of the Third Line Gallery and exhibitor at FIAC where he is showing work by Ala Ebtekar, Amir H. Fallah, Farhad Moshiri, Joana Hadjithomas & Khalil Joreige, Rana Begum and Slavs & Tatars. The gallerist explains, “I can say that the fair has gone from strength to strength. We have participated for the last 3 years now, and every year we meet more and more collectors. And yes, it does feel that the market is getting stronger for sure. I feel the future for the market is only going to get better and stronger as there seems to be a renewed interest and a good energy around the fair here and contemporary art in general.”

Focus on FIAC
Since Jennifer Flay took over FIAC, media and art professionals alike have said that the fair has taken on a new life. The efforts made to drag the event from the drowsy atmosphere in which it found itself in the early 2000s seem to have paid off. With an obstinate desire to internationalise, the New Zealander has, over the years, drawn some of the biggest galleries in the world and their precious collectors to Paris. Whilst many fairs have taken off across the world and the competition is intense between the leading events, today FIAC is hot on the heels of competitors such as Frieze and Art Basel.

The 41st edition sees its doors open on 23 October into a more or less serene atmosphere, the rejection of subjecting works of art to wealth tax having arrived just in time to reassure French collectors.

Internationalism is the key word for Jennifer Flay. This year 191 galleries originating from 26 countries come together at the Grand Palais; amongst these, only 65% are European (compared to 73% in 2013). Featured are 48 French galleries, 26 German, with galleries from Norway and Portugal making their debut appearance, whilst 45 North American galleries are to exhibit (four from Brasil and four from Mexico). Furthermore, for the first time, we see the participation of Japan and Saudi Arabia.

Amongst new participants, and also those returning, include: Helly Nahmad Gallery (New York), Hannah Hoffman (Los Angeles), Antoine Levy (Paris), Vera Cortês Art Agency (Lisbon), Cory Nielsen (Berlin) and Wallspace (New York).

Artists at the Grand Palais 
In light of this 41st edition, Artprice has released precise information on the key players at this event. This year we will see no less that 1,451 artists. Whilst big names such as Andy Warhol, Francis Bacon and Gerhard Richter will be on display, one will be surprised to find that contemporary Chinese artists, on the other hand, are rather underrepresented: Luo Zhongli, Chen Yifei and Zhang Xiadong — amongst the ten most popular artists in the world — will not be exhibited at FIAC.

From international galleries to international names; amongst the 84 nationalities represented, American artists take the lion’s share with 25%, followed by Germany (12%), France (11%), the United Kingdom (9%), Italy (3.3%), Switzerland (2.9%), Belgium (2.8%) and China (2.7%).

Recent figures on exhibiting artists show that more than 80% of exhibited artists are still alive, the average age being 50 years old. The doyenne of this selection is Cuban Carmen Herrera, aged 99 years old, exhibited by Lisson Gallery London. As for the youngest, they are just 25 years old: Lucien Smith at Skarstedt and Phillip Timischl at Neue Atle Brucke.

The next step: go international 
If the scale of the event has undoubtedly risen over recent years, the ambition of becoming a rival to Art Basel is still a target to reach for.

Whilst it is certainly globalised, the art market is not totally closed off to locals. Yet we must wonder if the small number of high-level collectors residing in France (the consequence, as we saw above, results in the lack of luxury sales on French soil) does not represent significant obstacles for FIAC.

Despite a visible effort to strengthen their image as an international fair, a process which inevitably comes with a reduced number of French galleries, FIAC is still a long way from the renown of Art Basel, which remains unrivalled, except perhaps by the presence of Frieze, which is of course a younger fair; both of these events have successfully expanded to the United States (Art Basel Miami and Frieze New York) as well as Hong Kong (for Art Basel). So FIAC will take up residence in Los Angeles from 27 until 29 March 2015. The outcome of this Californian adventure is yet to be seen…

Around FIAC, and (OFF), and other offsite events
Amateurs and collectors, often weary of well known names who are mostly inaccessible for the majority of buyers, will this week have a wide range of coinciding events. With seven in total, the big newcomer this year is the launch of l'(OFF)icielle de la FIAC, taking place at the Cité de la mode et du design, in the Jakob + MacFarlane building. Jennifer Flay has highlighted that she wanted “a new event entirely, not just another satellite of the FIAC,” much in the same spirit as Liste, the much-valued event that takes place every year alongside Art Basel.

In the media space that FIAC and its surrounding events must share with the inauguration of the Fondation Louis Vuitton, the appearance of l'(OFF)icille raises many questions. For the 60 participating galleries, the success of a newly-created event is in no way assured, even if the opening on 21 October seemed promising.

Does the appearance of this parallel fair — equally as reliant on the powerful Reed Exhibition’s organisation — not risk suffocating a still-hesitant market, rather than leaving the competition in the same segment, leaving them in pieces? Furthermore the stand tariffs at l'(OFF)icille and its mother festival barely seem to differ (€445 against a Grand Palais’ €494 to €545), despite the huge difference in reputation. However, it is worth mentioning that these tariffs are often subject to negotiations. One may wonder if the aim of Reed Exhibitions, in the creation of this new event, is to partially open up FIAC to galleries who have for many years dreamed of participating and to let them in through a side entrance.

As for these external events, despite the cancellation of Cutlog (the director of which accused Reed of monopolising all available locations across the market and thus saturating it), the choice remains varied.

The event considered to be the most important of fairs “off-not-officielle”, is YIA — Young International Art Fair — taking place at the Carreau du Temple in the heart of the Marais quarter, from 23 until 26 October.

Claiming the need to mix up young galleries and more well-established players, YIA’s founder Romain Tichit refuses to deliberately be considered as an “off” event. Betting on the originality and creativity which, it is said, are at the heart of its success, the objective taken up by YIA is to set themselves apart, establishing their own identity in an environment which is, at best, more conservative. This proves a considerable challenge when the YIA has often been accused of unequal selection.

Not far from the Grand Palais, in Hotel le A, rue d’Artois, the first French edition of the Outsider Art Fair will take place. The fair, which was founded in New York 20 years ago, demonstrates the important position of Art Brut today, and more widely that of what Anglo-Saxons refer to as ‘Outsider Art’. Coincidence or not, the event takes place for the first time this year whilst Bruno Decharme’s key abcd collection is on display at Maison Rouge.

Other noteworthy events include Art Elysées (Champs Elysées, from 23 until 27 October) and Design Elysée which, having focused on the particular segment of ‘classic’ Modern and contemporary art and historic design from the post-war period, are also looking to make their mark.

Another fair working in the less competitive, but perhaps more difficult, sector of the avant-garde is Variation, formerly Show off, which takes place at the Espace des Blancs Manteaux from 21 until 26 October. This fair centres around contemporary digital creation, via the work of 40 artists who present photography, videos, 3D printing, sculptures and prototypes.

A sign of the desire for renewal and dynamism which can be noted in today’s atmosphere, the Slick Art Fair has also opted for a name change, rebranding itself this year as Slick Attitude. For its 9th edition, the event will take place underneath Paris’ Pont Alexandre III, bringing together 30 galleries with one common objective: to promote the young international art scene in France and to emphasise the work of new galleries which aim to research and uncover emerging talent.

Finally, new arrival Fair In Off, which is also to take place at the Espace Commines between 23 and 26 October, will try to grab the attention of amateur art-lovers in a landscape which already leaves very little room for competition. According to organisers, it is to be a “complimentary initiative”, bringing together 14 emerging artists standing staunchly at the fringes of traditional fairs. Fair In Off proposes to “bring the public closer to the process of artistic reflection.”

Frieze Fair London 2014: Articles, Reviews and Interviews

  • The Best of Frieze London 2014 - Nick Mauss at Frieze.
  • The Best of Frieze London 2014 - Carsten Holl
  • The Best of Frieze London 2014 - Smile Room
  • The Best of Frieze London 2014 - Ed Fornieles
  • The Best of Frieze London 2014 - Marvin Gaye Chetwynd’s Hermitos Children 2
  • 100 Hamilton Terrace

    Nick Mauss at Frieze. Courtesy of Linda Nylind/Frieze.

The Best of Frieze London 2014

Everything to know about the most talked about art, people, and parties from the annual art fair.

Frieze Special Projects and beyond: You Can Dance
Fleet-footed, catch-it-if-you-can kind of work isn’t what you expect from an art fair. At this year’s Frieze Art Fair in London however, dance was dominant. The fair’s Special Projects fully embraced their not-for-profit status with a slate of live commissions that won’t be hugging the walls of collectors’ homes.

Nick Maus for instance, had the Northern Ballet’s unitard-clad performers strutting in loose formations to a moody, improv soundtrack composed by Kim Gordon and Juliana Huxtable, from an unembellished rehearsal space to the fair’s crowded corridors.

The show-stopper though came from Adam Linder, exhibiting with Berlin’s Silberkuppe, as part of Frieze Live, six galleries focusing on performance art. A former member of Michael Clark’s company and the Royal Ballet, Linder glide danced around the confines of the gallery booth. For anyone not familiar with hip-hop choreography, it’s like Michael Jackson’s moonwalk, but more ethereal and graceful, as if he were literally dancing on air. Linder was working more than mesmerizing moves however. His choreographies were an embodiment of art writer, Jonathan P Watts’s observations of the crowds and art at the fair.

At the Fair: Smile Please
Solo presentations are the obvious way for galleries to stand out within an art fair’s visual clamor. While you can always trust the Megatron of blue chip operations, Gagosian, to stay ahead of the pack, this year Carsten Holler’s Gartenkinder provided an unexpected moment of reprieve from the seemingly endless rounds of air kisses and deal brokering. The delights of his play area included a giant dice that concealed a climbing frame accessible only to the very small, a vast mushroom that emitted tinkly music when rocked and a scarlet rubber octopus. It was as big a hit with grown-ups as the kids, whose pure enjoyment of this wonderland was a neat reminder of the pleasures of imaginative play.

Salon 94 went for a similarly feel-good vibe with its Smile Face Museum. Acid yellow dominated curator Mark Sachs’s ever-expanding collection of smiley face ephemera, from furry slippers to key rings, which offset work by a wide array of artists playing with the superficial cartoon cuteness of the universally recognized symbol for happiness. Works that mined its double-edge veered from faces created with cigarette burns to bright, flat paintings of squiggly lines and dots that reveled in surface.

Beyond the fair: The Kids Are Alright
A Frieze week, “one to watch,” Ed Fornieles’s first big show, “Modern Family,” in a UK public gallery, left you in no doubt that the young British artist’s heart now belongs to L.A. Two of the presiding gods of the West Coast art scene, Mike Kelley and Paul McCarthy, had evidently left their mark on a deliriously messy installation that invoked the city of dreams with film set lighting, jiggling pornstars on flat screens and a bubbling Jacuzzi, as well as gross food and an obscene mash-up of cuddly toys.

This was very much an orgy of pop culture for the Internet age however. Loosely themed around a family picnic and home, works unfolded with the surreal logic and speed of an internet search from giant headstones embossed with flowers, fruit, and apple pie coated in a gelatinous resin goo, to sturdy translucent legs filled with Cheerios and a fountain where the statue of a mother and child playing are rudely punctured by grey pipes. Throughout a day of special performances, a family of young actors struck tableaux vivants, bringing the collision between online unreality and lived experience home.

Best Bash
Marvin Gaye Chetwynd’s biggest film project yet, Hermitos Children 2, at the not-for-profit stalwart Studio Voltaire in South London, was one of the week’s highpoints. Renowned for her carnival-esque performances that rethink high art and pop culture with a troupe of delightfully disheveled performers and homemade props, Chetwynd’s work is always about doing things your own way. In a gallery decked with loose, giant paper prints that featured clowns, leopards and bikers, her sex crime detective show unfolded on a stack of boxy old TVs, with plenty of cross dressing, crazy dancing and a sinister dildo seesaw.

Guests at the gallery’s celebratory dinner at patron Valeria Napoleone’s regal home on Kensington’s Palace Green were treated to a night of Italian home cooking surrounded by her collection of all-woman art, including Helen Marten’s voracious assemblage sculpture, Ida Ekblad’s urban expressionism and Julia Wachtel’s cartoon characters. In the crowd were designer and artist Julie Verhoeven, who created a number of Chetwynd’s costumes, Chloé director Clare Wright Keller and the artist and her face-painted collaborators.

The New Art Hangout: The Rosewood London’s Mirror Room
Since it opened last fall, in a 1914 Belle Epoque building boasting a grand, seven-story marble staircase, Rosewood London fast gained a reputation for timeless glam. Owned by the brand behind New York’s Carlyle, its décor, from the colored glass and polished red leather that dominates the dining room to the wood paneled bar full of Gerard Scarfe cartoons, is aimed at discerning tastes of all ages. It has also become the theatre crowd hang-out thanks to the likes of Kevin Spacey and The Old Vic hosting the 10th anniversary party for its 24 Hour Plays Celebrity Gala there.

The close of Frieze week bucked this trend, with Art Review magazine’s party in the Mirror Room, cohosted by the young Hong Kong billionaire collector Adrien Cheng. The throng, including artist Michael Elmgreen, Art Basel director Marc Spiegler and artist-filmmaker duo Forsyth and Pollard, fresh from the success of their recently released Nick Cave film, 20,000 Days On Earth, knocked back Absolute vodka cocktails while sizing up their post-fair state in the mirrored ceiling and walls.


Bloomberg News:

Collectors Get Big Playground at $2.2 Billion Frieze Week

Source: Gagosian Gallery via Bloomberg

Gagosian Gallery at the Frieze Art Fair will show “Gartenkinder,” a children’s playground by Carsten Holler. The… Read More

Source: Frieze, Linda Nylind via Bloomberg

Attendees view works of art during Frieze London on Oct. 19, 2013.

Source: Christie’s via Bloomberg

Peter Doig’s vibrant green basketball court titled “The Heart of Old San Juan” is estimated at 4 million pounds to 6… Read More

Source: Otto Naumann via Bloomberg

Rembrandt’s “Portrait of a Man With Arms Akimbo” has an asking price of $48.5 million at Otto Naumann’s booth at Frieze Masters.

Frieze Art Fair in Regent’s Park opens tomorrow to select wealthy collectors seeking to snap up artworks by contemporary stars and Old Masters from a Cy Twombly canvas for $24 million to a Rembrandt portrait for $48.5 million.

Coinciding with the fair, Christie’s, Phillips and Sotheby’s will auction 972 works at their day and evening sales estimated at as much as 264 million pounds ($426 million), or more than double the 118 million pounds of art that was sold at the equivalent auctions last year. New buyers “from all pockets of the world” are purchasing art and pushing up prices, said Suzanne Gyorgy, head of art advisory and finance at New York-based Citigroup Inc.’s Citi Private Bank.

“In 2008, when certain parts of the art market were hit hard, the high end still did very well,” Gyorgy said. “Private sales carried on. A lot of wealth is still being created and more wealthy people are becoming collectors.”

The artworks offered at Frieze, auctions, galleries and a half-dozen satellite fairs in 2013 had been estimated at as much as $2 billion last year. Values probably will be about $2.2 billion, or 10 percent higher, this year, according to insurers.

Robust Market

“The contemporary art market is very robust, and the active buyers of art are heavily engaged,” in spending money on these works, said Andrew Gristina, national fine art practice leader at Travelers Cos., which is insuring a number of galleries at Frieze. “The fair remains a popular event and you would expect an equivalent amount of pieces of high quality to be brought there.”

Contemporary-art sales at public auctions globally totaled 1.5 billion euros ($1.9 billion) in the 12 months to July 3, up 33 percent from the previous year, according to a report by Paris-based arts data researcher Artprice. The figures don’t include commissions. Similar sales in 2000 were less than $90 million, Artprice said.

“Contemporary art, which used to be the weak link in the art market, is now almost as important as the modern art segment,” Thierry Ehrmann, chief executive officer of Artprice, said in an e-mail.

Frieze, which started in 2003 and expanded to New York in 2012, was the seventh-most attended art fair in the world from the fall of 2013 through June 30, with 70,000 visitors at the London event, according to a report by Skate’s, a New York-based art market researcher.

Giant Mushroom

Frieze said it expects attendance this year to remain at 70,000, with 162 galleries at the main fair. Frieze Masters, a sister event also at Regent’s Park that shows modern and historic works, will have 127 galleries. Last year 152 galleries exhibited at Frieze and 130 at Frieze Masters.

At the main fair, Gagosian Gallery will offer “Gartenkinder,” a children’s playground by Belgian artistCarsten Holler. The installation includes a large-scale die that children can play inside and a giant mushroom that rocks like a toy. Gagosian declined to give a price.

Tanya Bonakdar gallery, based in New York, has a large-scale painting by Danish-Icelandic artistOlafur Eliasson priced from 150,000 euros to 200,000 euros.

Some galleries are likely to get a business boost from artists who have simultaneous museum shows.

Rembrandt Portrait

Eliasson, who created public waterfalls at four sites in New York in 2008, is showing other works at Tate Britain that are inspired by the paintings of J.M.W. Turner. David Zwirner’s booth at Frieze has an $800,000 cloth work by American sculptor Richard Tuttle, whose new piece featuring vast sways of fabrics will be shown at Tate Modern’s massive Turbine Hall starting tomorrow.

One of the most expensive works at Frieze Masters is a Rembrandt 17th century portrait of a man with arms akimbo, being offered at New York’s Otto Naumann gallery for $48.5 million. A Twombly paint, crayon and graphite canvas from 1959 is at Van de Weghe Fine Art for $24 million. A 7,000-year-old figurine of an Aegean neolithic idol is at Rupert Wace gallery for 450,000 pounds.

The major auction houses will offer works by postwar and contemporary masters.

Christie’s kicks the auctions off this evening with the sale of 44 works from the Essl Collection of contemporary art in Austria, expected to fetch as much as 56.8 million pounds.

Richter’s Abstract

The works come from Karlheinz Essl, the founder of hardware store chain BauMax AG, and include coveted German postwar artists. Gerhard Richter’s 1985 red, yellow and green abstract is valued at 7 million to 10 million pounds. Sigmar Polke’s 1975 fiery red portrait “Indian With Eagle,” is estimated at 1.5 million pounds to 2 million pounds. Martin Kippenberger’s 1992 self-portrait is valued at 2.5 million pounds to 3.5 million pounds.

In a separate evening sale on Oct. 16, Christie’s will offer 46 lots with a high estimate of 47 million pounds. Peter Doig’s oil on canvas of a vibrant green basketball court titled “The Heart of Old San Juan” is estimated at 4 million to 6 million pounds.

Phillips’s evening sale on Oct. 15 will be the first in its new London home at 30 Berkeley Squarein the wealthy Mayfair neighborhood. Phillips, owned by Moscow-based Mercury Group, said the sale of 47 lots, featuring works by Christopher Wool, Richter, Damien Hirst and Richard Prince, is estimated to fetch as much as 23 million pounds. Wool’s untitled alkyd and acrylic on aluminum image of black birds is estimated at 1.8 million to 2.2 million pounds.

Sotheby’s evening sale on Oct. 17 has a high estimate of 35.1 million pounds for 59 lots. AFrancis Bacon portrait of a man in a suit is valued at 1.5 million to 2 million pounds.



Eight Photo Discoveries to See at Frieze London and Frieze Masters

Keiji Uematsu, courtesy of Yumiko Chiba Associates
Stone/Rope/Man II, 1974 – Fortuitously, the Japanese sculptor, who is known for his installations that appear to distort gravity or depict magnetic forces, was at the gallery booth as I approached it. Keiji Uematsu said of his photographic work: “I’m interested in changing the relationship of an installation using my body. I want to create work where a lack of a single element will cause the entire structure, the invisible existence of things and their relationships to collapse like a cosmos.” I do hope, that when the relationship between stone, string and motion collapsed, the stone didn’t fall on his head.
Just like every year at Frieze London, the majority of fairgoers were dressed in the obligatory art-fair black. And just like every year, the bigwigs of contemporary photography Wolfgang Tillmans, Ellad Lassry, Ryan McGinley, Andreas Gursky, Jeff Wall, and Thomas Struth were strutting their stuff on the gallery walls. But, among the best-selling greats, were also some unexpected gems – some well-known, others less so. Frieze Masters, showcasing art from ancient to modern and only in its third year, was perhaps the biggest tour de force, with four dedicated photography galleries enticing audiences with works by Lionel Wendt, Keiji Uematsu and Charles Sheeler among others.

“With Frieze Masters we decided from the outset that we would give photography the same platform as painting, drawing and sculpture,” says Victoria Siddall, director of both London-based Frieze fairs. “We felt it was very important not to put the photography dealers into some kind of ghetto as they sometimes are at fairs.”

In this slideshow, I present my favorite picks from across both fairs.

Anne-Celine Jaeger is a contributor to TIME LightBox and the author of Image Makers, Image Takers, published by Thames & Hudson. She previously wrote for LightBox about Jean-François Leroy.

Read more: Eight Photo Discoveries to See at Frieze London and Frieze Masters – LightBox





Barber & Osgerby Reimagines the Frieze Art Fair

London-based designers Edward Barber and Jay Osgerby are directing their creative talents to a new interior scheme for this month’s Frieze Art Fair in London and a variety of other projects

Oct. 7, 2014 11:13 a.m. ET

DESIGNING MEN | Edward Barber (left) and Jay Osgerby, seated on the Tip Ton chair they designed for Vitra, in their newly expanded Shoreditch offices. Photography by Thomas Giddings for WSJ. Magazine

EDWARD BARBER AND JAY OSGERBY met in 1992 as first-year architecture students at London’s Royal College of Art and became friends almost immediately. A little bored and more than a little underfunded, they jumped when an acquaintance put them up for some freelance work designing a bar. Soon they were skipping classes and running on adrenaline and cigarettes and the occasional round of drinks with the bar owner. (“He was sketchy,” says Barber. “The whole thing was sketchy, actually.”)

Their routine eventually caught up with them.

“I remember one course where we had a morning crit on a project, and we’d been up all night doing the bar,” Osgerby says. “Both of us were standing there, and it was like the firing squad—literally bang, bang, bang. It was awful. Not only did our teachers want to get rid of us, so did everyone in our class. We had jobs, you see.”

More From WSJ. Magazine

They’re still getting the jobs. Since co-founding Barber & Osgerby in 1996, two years after graduating from RCA, the duo, both 45, have maintained one of the more active design offices in London. Fueled by curiosity about how objects are made and used, they’ve produced a range of work—like the bent-plywood Loop table for Cappellini, the perforated torch for London’s 2012 Olympics and the Ace Hotel in Shoreditch, with its convivial, rabbit-hutch lobby—that, while stylistically diverse, always manages to look original and somehow inevitable. Their enthusiasm for research and craft has endeared them to industrial design giants such as Knoll, Vitra and B&B Italia, and the furniture they create for these companies possesses a lucid, streamlined beauty.

FINE LINES | From left: B&O’s projects include a current installation at the V&A Museum’s Raphael Gallery and a limited-edition Iris table for Established & Sons. Courtesy of Barber & Osgerby

Clockwise from top left: Frieze Art Fair; Loop table for Cappellini; coins commemorating the 150th anniversary of the London Underground Courtesy of Barber & Osgerby (loop table, coins); Courtesy of Universal Design Studio

From left: Interior at the Ace Hotel Shoreditch and solar-powered lamp for Louis Vuitton Courtesy of Barber & Osgerby (lamp); Photograph by Mads Perch, Courtesy of Universal Design Studio

This is a busy moment for Barber and Osgerby, with a full spectrum of their work on view across London. First is a new interior scheme for the Frieze Art Fair, held each October in a tent among the ancient oaks of Regent’s Park. Over on Exhibition Road, London’s Science Museum launches Information Age, a 27,000-square-foot permanent gallery, four years in the making, that traces the history of communication over two centuries, from the earliest telegraph receivers to the Soviet BESM-6 supercomputer. Next door at the Victoria and Albert Museum, the designers have temporarily turned the barrel-vaulted Raphael Gallery into an engine room for art, where a pair of massive whirring blades mounted above visitors’ heads reflects Renaissance paintings to the crowd below.

The first two projects are the work of Universal Design Studio, a division Barber & Osgerby launched in 2001 to handle their architecture and interiors practice. In 2011 they complemented Universal with MAP, an industrial design consultancy focused on strategy and innovation. From the beginning, the two have pursued jobs that overstep the neat boundaries of industrial design work, and the firm’s tripartite structure lets them take on projects up and down the supply chain, from conception and planning (the Google Chrome Web Lab in 2012) to the end user (solar-powered lanterns for Louis Vuitton the same year). “In a nutshell,” says Osgerby, “MAP is about thinking, Universal is about building and Barber & Osgerby is about making.”

All three divisions, employing some 60 people, occupy a newly expanded Shoreditch office that meanders through a former warehouse building on Charlotte Road. The principals share a desk in each of the three studios, though they can often be found in one of the basement rooms devoted to model making, a passion for both of them since boyhood. At RCA they developed the habit of drawing opposite each other at the same desk and sequentially folding heavy card paper into experimental shapes. “It was really fraternal,” Osgerby says. “It still is. We both come from families with three boys—I was the oldest and Ed was in the middle—and I think that’s how we’ve managed to get on the way we have.”

Outside the office their lives are notably different. Barber is unmarried, a voracious traveler and a photographer. Osgerby has a wife and three young children and regularly bikes the six miles between the office and his home in Greenwich. And yet they are on a plane together almost every week, sporting identical brown beards and dressed as though from the same closet: jeans, sneakers and loose cotton blazers. (When a new acquaintance mixes them up, Osgerby, the more diminutive, volunteers the mnemonic that “Jay” is shorter than “Edward.”) They juggle factory visits, exploratory meetings and promotional trips, using the travel time to evaluate new jobs and chart the studio’s professional course. As their opportunities have grown, notes Barber, their goals have become more far-reaching. This is especially true in product design: “If you can reinvent an archetype for its function, and not just in a styling way, that’s really something,” he says. “Like the soda bottle to the can—same function, new take. That was reinventing the archetype. That’s big.”

This past summer the studio won a competition for its most ambitious project to date, one that will expose several archetypes to re-examination—the Crossrail train, part of a new high-speed transport line that will hurtle east–west through London and its suburbs in under an hour. It’s a quintessential Barber & Osgerby job: The studio will conceive of not just the train and its contents, but the travel experience as a whole, including acoustics, signage and how people enter and exit the cars.

The Frieze tent, temporary and sprawling at 215,000 square feet, offers an intriguing set of opposites: It’s about creating engagement, not about passing through, and the commission has a budget that is “hilariously small,” notes Frieze co-director Matthew Slotover. It also targets the chauffeur-driven cultural elite—a group the designers have never sought to cultivate—rather than commuters.

“We haven’t wined and dined the art world,” Osgerby says. “We’ve never hung out and been part of the clique—in fact, we’ve never done that with any clique. We’ve just set out to do our own thing.” Perhaps because of that, and despite accolades within the design community (not to mention OBEs bestowed on them by the Crown in 2013), Barber and Osgerby haven’t attained the level of fame that some of their RCA classmates—architect David Adjaye and fashion designer Christopher Bailey, for instance—have.

This doesn’t concern them. They’re less interested in courting status than in the opportunities that tend to float by in its wake. Deyan Sudjic, head of the London Design Museum, believes the pair will make a lasting contribution to the design landscape in a decisively modern way. “They demonstrate a certain pragmatism that was perhaps shaped by their early experiences as students,” he writes in his foreword to the duo’s 2011 monograph.

The designers might put it differently. “We’re over there, beavering away,” Osgerby says. “And people are finally curious.”


The Frieze Effect

As the art world congregates in London for the Frieze art fair, fashion businesses stand to profit.

Frieze art fair | Source: Courtesy

LONDON, United Kingdom — In 2003, the Frieze art fair launched as a modest event in a large tent in London’s Regent’s Park. But twelve years on, the fair and its sibling event, Frieze Masters, attracts 70,000 visitors from around the world and has become the centrepiece of a week-long, city-wide programme of art events. Any cultural organisation that aspires to international status will hold a launch of some kind this week, from the unveiling of Richard Tuttle’s monumental installation at Tate Modern to fly-by-night events in derelict office blocks. As gallerists, collectors, curators, critics, artists and curious civilians converge on London for private views, talks and parties, it can be easy to forget that the increasingly buzzy atmosphere surrounds a marketplace. Frieze exists for the buying and selling of art — and, as it grows, the acquisitive urge of those it attracts has been flowing out of the fair and into the city’s fashion retailers.

“Our customers always love our events during Frieze. It’s our busiest time of the year,” says Adrian Joffe, chief executive of Dover Street Market, whose original store is positioned on Dover Street, in London’s Mayfair, a stone’s throw from a number of blue-chip art galleries. Unlike London Fashion Week, which brings with it an entourage of press and store buyers, Frieze attracts an aesthetically sophisticated, wealthy clientele that makes for an excellent fit with the store, which is run by a subsidiary of Comme des Garçons. “Our customers during Frieze are like the ones that come to us all the time — fashion-forward, independent, creative, curious, cool, strong, interested in art and design, daring, lovely and wonderful — there are just more of them about during Frieze,” added Joffe.

Dover Street Market actively tempts Frieze-goers with a richer-than-usual programme of exhibits and events, which this year includes installations by French artist Nicolas Buffe and designer Ann Demeulemeester, as well as the unveiling of Louis Vuitton’s Icons and Iconoclasts collection, featuring a collaboration with the artist Cindy Sherman.

Dover Street Market's 2013 Frieze window by Rei Kawakubo, featuring the work of Katsuhiro Otomo | Source: Courtesy

The Frieze private view on the Tuesday night of the fair often more closely resembles a long snaking catwalk — or perhaps the red carpet of a film premiere — than an art gallery, peppered as it is with the gorgeous, the extravagant and the brilliantly peculiar. Under the flooding white lights of the big tent in Regent’s Park everyone is on display. But it’s not all about billionaires’ wives wearing 12cm heels and 10cm skirts as they eye up the Oscar Murillos and ponder which will best match their carefully curated scatter cushions. The Frieze effect is also important to fashion brands that court those working in the creative industries.

“Our heads of design Karin Gustafsson and Martin Andersson are always at the fair,” says Atul Pathak, head of communications for COS. “We find that we are fortunate enough see a lot of our collection represented in the outfits of the people in the fair itself. It makes us feel that we are talking to the right audience.” In previous years, COS has supported Frame, a section of Frieze dedicated to young galleries. “We think our customers have a strong interest across the design world and in contemporary art — it feels like it’s integral to the brand.”

For the last few years, the family-run, Italian luxury goods company Etro has launched artist collaboration projects to coincide with Frieze week. This year, they are unveiling an accessory collection created with the Japanese artist Mika Ninagawa, accompanied by celebratory events aimed at those in town for the fair. “We are keen collectors of contemporary and ancient art,” explains creative director Jacopo Etro, adding that, as a house known for its prints and patterns, his family’s interest in art provides it with an important source of inspiration. For Etro, Frieze carries “a particular atmosphere, a moment of sharing and joyfulness, spreading energy and positivity all around the city…. You can feel excitement in the air.” Whilst the house’s artist collaborations are meant to represent a celebration of creativity, Etro is happy to say “that these kinds of projects have a good impact on sales as well.”

The relationship is, of course, a reciprocal one, benefiting not just retailers, but also the participating artists. “The art scene in Britain has changed a lot in recent years,” notes Linda Hewson, creative director of Selfridges. “The fact is that the arts need public and commercial support now more than ever to ultimately reach as wide an audience as possible.” This year, Selfridges’ Old Hotel will act as an off-site project space for Frieze and the Institute of Contemporary Arts, with live events staged by performers including Korakrit Arunanondchai and Boychild. “We go to Frieze every year and have done since its launch,” says Hewson. “It’s part of our cultural research into the global art scene, market and trends. The fair is an important moment on the cultural calendar in London because it creates a buzz of peripheral art happenings and openings.”

Selfridges first hosted an ICA off-site project last year and it drew thousands of new visitors – a much larger audience than would generally visit the cerebral, iconoclastic ICA’s comparatively diminutive galleries on the Mall. Positioning itself somewhere between the glitz of Frieze and the grit of the ICA suits Selfridges well, explains Hewson: “If you consider Frieze as aspirational in terms of the cultural elite who attend and spend, then there is an overlap with our international clientele. If you consider the ICA as being on the knife’s edge of contemporary creativity then perhaps the more pertinent overlap is with our savvy London clientele who relate to such art forms more. But good, even great, exciting art draws audiences from all walks of life.”

Korakrit Arunanondchai and boychild, part of Selfridges' Frieze week live programme | Source: Courtesy, Photo: Charles Roussel

Such off-site projects, performances and events are of increasing importance because the consumer who attends Frieze is, as Hewson notes, looking for something that is one-of-a-kind, unique, experiential.Alexander McQueen, which first became an official sponsor of the fair in 2013, is, this year, putting its name behind Live, Frieze’s inaugural performance art programme. And, for the first time, this year, Gucci is one of the sponsors of the Frieze Masters fair, which is held on a separate site and focuses on historical art.

For both brands, the choice of association is telling. Gucci has allied itself with the talks programme of Frieze Masters, which features names that may be familiar to the brand’s customer base, including South African artist William Kentridge and best-selling author and ceramicist Edmund de Waal. Meanwhile, Alexander McQueen is stepping up to support challenging live art, including an explicit critique of lifestyle branding by the New York-based collective Shanzhai Biennial, which tallies well with the house’s history of spectacular and often provocative shows. “Performance art has had its highs and lows in terms of acceptance and popularity, but it’s certainly the most experimental art practice and there’s a new and rejuvenated energy,” notes Jonathan Akeroyd, chief executive of Alexander McQueen. “As a brand, Alexander McQueen has always been at the forefront of pushing boundaries.”

In describing the fair, Akeroyd makes an important distinction between the convivial, welcoming atmosphere of Frieze and the comparatively quiet formality that many associate with galleries and museums. Part of his intention in supporting Frieze is to help broaden the audience for contemporary art, as well as profit from the crossover potential with the fashion industry. In addition to showing works from the Sadie Coles gallery in a glass vitrine in their Savile Row store, Alexander McQueen will host events that bring together key players from the art and fashion industries.

“Lee McQueen was a big collector and Frieze was always a highlight of his year; he would also ensure that he was always one of the first to visit the fair on the opening day,” explains Akeroyd. “Obviously being a creative company pretty much all of our staff have a high level of interest in the art world and it is great that we all now feel more connected to the fair through our involvement.”




Beyoncé and Jay Z Match During Date Night in London: See the Cute Coordinating Couple!

Beyonce, Jay ZSplash News

Beyoncé and Jay Z are taking London!

The 33-year-old “Flawless” singer and her 44-year-old hubby stepped out in London Wednesday night dressed in coordinating black and white outfits.

For their date night, Bey looked super fashionable in a black and white polka dot skirt and a black and white patterned blouse under a black motorcycle jacket. Beyoncé completed her monochromatic ensemble with black sunglasses, black and white striped heels and hernew blunt bangs. And for her man, he sported black pants and a white hoodie under a black jacket.

Talks about one cute coordinating couple!


Beyonce Knowles, Jay ZNeil P. Mockford/GC Images

As for their outing, Bey and Jay attended the annual Frieze Art Fair together in London’s Regents Park.

Earlier today, Beyoncé and Jay were spotted leaving an art gallery together looking cute and colorful. Bey looked chic in a white skirt that featured a black, orange and blue pattern paired with a black and white top, sunglasses and black heels. Her hubby followed behind her wearing black pants and a gray designer hoodie.

Beyoncé has been out and about a lot since debuting her new bangs the other day. Bey stepped out in Paris Tuesday morning with the surprising new ‘do.



Bloomberg News

Hirst Tops Sales as Buyers Pick $2.2 Billion Frieze Art

October 15, 2014

“Forgings” by American Sculptor David Smith

Mnuchin Gallery sold one of four sculptures from the 1955 “Forgings” series by American sculptor David Smith for $2.5 million at Frieze in London. Source: Mnuchin Gallery via Bloomberg

Damien Hirst, Pablo Picasso and Andy Warhol works sold for more than $3 million each as wealthy collectors got first dibs at the opening of the Frieze Art Fair in London.

Select guests including billionaire Indonesian collector Budi Tek, who opened a private museum in Shanghai in May, actress Sienna Miller and architect Zaha Hadid packed 162 galleries this week at the main contemporary art fair in Regent’s Park and 127 booths at Frieze Masters, a sister event showing modern and historic works.

Frieze Week is Europe’s biggest concentration of commercial fairs, public sales and gallery shows, offering as much as $2.2 billion of art. Frieze, whose organizers expect 70,000 people to attend the two fairs, runs through Oct. 18; Frieze Masters closes Oct. 19.

Contemporary-art sales at public auctions globally totaled 1.5 billion euros ($1.9 billion) in the 12 months to July 3, up 33 percent from the previous year, according to Paris-based arts data researcher Artprice.

Dealers reported brisk sales in the first two days of the fair. Within the first hour of the Frieze Masters preview, Mnuchin Gallery sold one of four elongated varnished steel sculptures from the 1955 “Forgings” series by U.S. sculptor David Smith for $2.5 million to a private collector.

“Americans know David Smith, but we need to broaden his audience,” Robert Mnuchin, a former Goldman Sachs Group Inc. executive whose New York gallery specializes in postwar art, said of the artist who died in 1965. “I’ve already had a lot of interest from non-U.S. collectors.”

Many of the bigger sales were at Frieze Masters, which had booths showing works by Francis Bacon, Edgar Degas, Claude Monet and Old Masters such as Rembrandt and Peter Paul Rubens.

Warhol’s “The Scream (After Munch),” a 1984 work inspired by the Norwegian artist, was sold by Skarstedt Gallery for about $5.5 million to a private collector.

Formaldehyde Fish

At the main fair, Hirst’s “Because I Can’t Have You I Want You,” a 1993 diptych of glass-enclosed fish in formaldehyde, fetched 4 million pounds at White Cube within minutes of the opening preview. The gallery, with branches in London, Hong Kong and Sao Paulo, also sold a 2001 piece composed of an electric microphone, metal stands and electrical cords by David Hammons for $4 million.

“I can’t keep up with the sales,” said David Maupin of Lehmann Maupin, which sold British artist Tracey Emin’s embroidered calico of a reclining woman in a price range of 120,000 to 175,000 pounds. The New York and Hong Kong gallery also sold Mickalene Thomas’s 2008 work composed of rhinestone-encrusted portraits in the 60,000-to-100,000-pound range.

Kaws’s Creature

“Final Days,” an almost 7-foot-tall black sculpture of a creature with big feet, hands and ears by Brooklyn, New York-based artist Kaws sold for about $300,000 at Galerie Perrotin, which has galleries in New York, Paris and Hong Kong. An almost 10-foot-fall 2014 bronze sculpture of a standing sausage by Erwin Wurm sold for 250,000 euros at Galerie Thaddaeus Ropac, which is in Paris and Salzburg, Austria.

Sigmar Polke’s untitled 2003 gouache on paper abstract, sold for $800,000 at Michael Werner Gallery of New York and London. New York’s Marianne Boesky Gallery sold drawings and a sculpture by Diana Al-Hadid, who was born in Syria and lives in Brooklyn, made of stainless steel treated with plaster and fiberglass at prices from $20,000 to $120,000.

1:54 Contemporary African Art Fair London 2014 – Articles, Reviews, Interviews





How She Did It: The bravest thing I’ve done? Set up an African art fair in London

How She Did It showcases your stories of work success. Here, Touria El Glaoui explains how she used her passion for art to launch an African art fair in London – and says that, in business, nothing ever turns out quite as you expected

Touria El Glaoui, 39, is the Founding Director of 1:54 Contemporary African Art Fair, a platform for artists, galleries, curators, independent art centres and institutions dedicated to promoting African and Africa-related art.

Established in 2013, 1:54 takes place annually in October at Somerset House in London, bringing together exhibitors from countries such as Nigeria, Kenya, South Africa, France, Italy, Germany, UK and the US.

El Glaoui, who lives in London, has co-curated several exhibitions with her father, the Moroccan artist Hassan El Glaoui who was famously discovered and encouraged to attend art school by Winston Churchill.

Here, she explains how she did it.

1:54 draws together galleries, curators, artists, art centres and museums both from Africa and working on Africa-related projects to promote art by established and emerging talent to an international audience.

By taking place during Frieze Week (one of the world’s leading contemporary art fairs), 1:54 builds on the burgeoning popularity of contemporary African art. It presents a rare opportunity to explore the emerging market and acquire works, in an environment supported by some of the most influential people and organisations in the world.

There is also a ‘critical conversations series’ to stimulate discussion and debate with some of art’s most inspirational thinkers. The programme comprises lectures, talks, film screenings and panel discussions.

The Magid Books by Sitor Senghor, an artist appearing at 1:54

What motivated and inspired you to start your business?

Being the daughter of an artist in Morocco, I have always been exposed to art and its discourse. My father encouraged me to engage in a number of art forms. My earlier work allowed me to travel extensively to different African countries, so I would immerse myself in the art scenes and ecology as I went. That’s what motivated me to initiate the fair and give others the chance to delve into the African art scene.

What were the first few steps you took to get your business up and running?

I piloted the idea to peers and advisors from the art industry to see whether there would be demand. I also did vast amounts of research – knowing your market is vital.

How have you raised awareness?

1:54 had a limited marketing and communications budget. By reaching out to influential people, we attracted press attention. During the week of the first fair, last year, word of mouth seemed an effective tool in propagating excitement, which is turn, encouraged audiences to visit.

What has been your biggest challenge so far?

The hardest task has been raising awareness and finding appropriate sponsors to support the project. It’s a process that requires a sensitive and considered approach – targeting the right people, in the right way.

1:54 takes place at Somerset House

How do you overcome challenges?

Discuss and work through the different possibilities. There are always alternatives.

What do you love about running your own business?

I enjoy the autonomy and being at liberty to follow your instincts. I work with a great team who are passionate and very much engaged.

How do you stay motivated through difficult times?

By thinking about the response we’ve already had. Hearing that 1:54 has challenged the perception of contemporary African art and being able to identify more artists working and living in Africa, definitely fuels our impetus.

What advice would you give to other budding entrepreneurs?

Securing a source of revenue, or funding, upfront is more productive than consistently having to find sources along the way (although not necessarily simple). It feeds confidence into your project – for yourself, your team and your customers.

How I did it

One of the artists featured at 1:54, Rotimi Fani-Kayode

When I face a big challenge I…

Break the concept down and think about alternative methodologies and approaches I could adopt.

My greatest fear is…

Losing those that I care deeply about.

The most courageous thing I’ve ever done is…

Initiate 1:54 Contemporary African Art Fair.

If I could go back in time to when I was 20 I would tell myself…

To be true to yourself and do something you love.

I believe…

That the projects your time and energy is invested into should inspire you.

The biggest lesson I have ever learned is…

It doesn’t matter how much you plan, the outcome is always something other than what you anticipated.

My favourite business tool or resource is…

Discussions with professionals and friends from the industry.

My favourite quote is…

By Churchill in response to impending cuts in arts funding to make way for the war effort, succinctly asking: ‘Then what are we fighting for?’

1:54 returns to London on 16 – 19 October at Somerset House.



The four-day event — the largest such fair outside Africa — opens today and showcases the work of over 120 artists in the grand setting of Somerset House in the heart of the British capital in a bid to reach a global market.

Some 27 galleries from around the world are represented at “1:54” — named after the number of countries in Africa — and the event has doubled in size since it debuted last year.

“What is exciting about 1:54 is showing that Africa is global, we are not in a bubble,” said artist Sokari Douglas Camp, from Nigeria’s Rivers State but based in London.

“I don’t understand why Africa has to be separate, it is part of this planet and has been communicating for centuries,” she added, standing next to one of her steel sculptures depicting a person straining under the weight of a bucket full of flowers.

Cameroonian Adjani Okpu-Egbe, who dreamed of becoming a footballer before turning to painting, believes that the new wave of African artists can be as important as the continent’s superstar sportsmen in raising its cultural profile.

“There are many different things that make us happy and art is one of them,” he said. “Art can reach out as much as football.”

In “The Journey of the Underdog” — painted on four wooden doors — Okpu-Egbe colourfully depicts himself being devoured by a bright red, sharp-toothed monster, meant to represent his domineering father.

‘Great sense of humanity’

As with many artists represented at the fair, the 33-year-old is self-taught, giving the collections a fresh sparkle to western eyes, according to 1:54 founder Touria El Glaoui.

“There is a lot of influence from their life context and you can see that,” she said. “You can understand what you see, it’s not too conceptual.

“They are not trying to be pleasers, they are not trying to comply to a typical group of collectors or institutions, which is amazing.”

On the perils of producing work to impress art’s power brokers, Okpu-Egbe said: “The best way to please people is when you are pleased yourself.

“If you are standing on a strong foundation, you can stretch out your arm and help.”

The painter, who is now based in south London, pinpointed “platforms and resources” as the biggest obstacles facing artists in Africa, calling the dearth of art museums in Cameroon “unbelievable”.

Having established the fair in London, founder Touria El Glaoui, daughter of famous Moroccan artist Hassan El Glaoui, said there were plans to bring it to New York and Africa itself.

Reflecting the shortage of artistic materials, much of the work on display is fashioned out of recovered materials including charcoal sacks and plastic oil containers, and is heavily influenced by the local environment.

“There is a lot of politics, that are very visible and sensible in their production,” explained the event’s artistic director Koyo Kouoh. “There is a great sense of humanity.

“It’s not about the artist, it’s a very important voice in portraying society.

“The power they (artists) have is to challenge and tease consciousness and I think African artists do that best because the society and environment is so challenging,” she added. — AFP

– See more at:



Spotlight on African art: an interview with Touria El Glaoui, founder of 1:54 fair

 LONDON  |  16 October 2014  |  AMA  |    |  

In October 2013, Touria El Glaoui founded 1:54 Contemporary African Art Fair in London. The fair is a platform for galleries, artists, curators, art centres and museums and aims to bring art from African artists to an international audience. With the fair’s second edition taking place from 16 to 19 October during the capital’s Frieze Week, AMA spoke to El Glaoui about 1:54 and her vision for the future of African art.

Where did you get the idea to bring African art to London?
I understood there was a very important gap to bridge between African art at auction and artists on the continent and from the diaspora, and the wider contextual framework of art today. I think that there’s not one reason, but several reasons to bring 1:54 to London. When I was travelling to Africa for other jobs, I was seeing some wonderful artists who didn’t get visibility beyond their borders in Africa. Based on what I’ve been doing for my Dad [Moroccan artist Hassan El Glaoui], I’ve always been surprised that he has had two careers: one in Paris with amazing visibility, with international exhibitions, all over Europe and the US; and another career when he decided to go back to Morocco to become an artist there, which was really different from what he had known in Paris. I put those factors together relating to how important  the visibility of artists from the continent and from the diaspora is, for example. The only way to improve that was to do it somewhere which was already a very international hub, like London.

Is there something particular about London?
During the 12 years that I’ve lived there, London has shown that it has such an international culture, a platform for everything — you have museums already showing amazing exhibitions, there are all types of fairs all year long that are taking place. But I think London is very international; especially when it comes to its openness — there are all these different art fairs specialising in different parts of the world like Pinta for South America, and Art 14 having this Asian angle; those take place in London as well. It just made more sense, from a promotional perspective, for all the artists to be in London.

Contemporary African art is experiencing a period of growing interest at the moment. Why do you think this is happening now?
I believe that it is one of the last continents to be discovered; there has not been this focus on Africa yet, so I think collectors in general have a curiosity and enthusiasm about new talent; young talent and new art. I believe that this is just the normal progression; that at one point the focus will be on Africa, but also that this is happening right now because there’s so much focus on Africa in the media, from an economic perspective — I think both are linked. We have some of the strongest economic growth in African countries right now, and that reflects in the development of different art scenes on the continent and in the diaspora. I really want it to be something that is constant; I don’t like to use the words ‘trend’ or ‘boom’ or creating a ‘buzz’; I prefer to think that this is just a moment that we are having, giving visibility to these African artists; I do hope that it’s not temporary. It correlates to the economic growth in Africa, and the fact that we’re doing this event in an international city like London will give it a lot of focus.

People often talk about ‘African’ art, and as is shown by the fair’s name, Africa is actually this huge number of different countries and cultures — so what’s your take on the idea of a shared African identity?
Actually, I’m not doing it thinking that there’s a shared identity; the name we chose was to remind people that when they talk about Africa — and this is something that I’ve seen for years, people talk about Africa like it’s a big country — there are 54 countries; first of all, people don’t even know there are 54 countries in Africa, but part of the title was really making sure that they understood that we were trying to showcase as many perspectives as possible from this huge continent, and being able to showcase as many exhibitors and artists as possible. We’re really humble about the fact that we’re definitely not conceptualising the fair as ‘African art’; we’re conscious of the fact that it is a question of us giving the spotlight to those artists who have not been given it before. Today we have more than 100 artists at 1:54, and we’re very proud to be able to say that this is a platform where you can see many artists coming from the continent, showing their work. We are not trying to categorise any artist; we just like giving them the spotlight, creating a stronger platform and rebalancing the number of artists being present internationally.

What do you think the future is for the African art market?
In the future I want to see a stronger but steadier market for African artists, from the diaspora and from the continent. I know there is a stronger presence already; I started the project around African artists not just for international art fairs, but also for international exhibitions. I hope that this will be a continued evolution; there are different events taking place that I’m really proud of, for example the director of the next Venice Biennale, Quin Wasabi, will be a Nigerian-born director, which is quite an interesting development for contemporary African artists. I believe there will be a much greater presence of African artists, so I’m very curious about seeing the Venice Biennal this year. We also know that there are a lot of exhibitions taking place in international museums in 2015 that will include contemporary African artists, or that will feature solo shows of African artists. This is what we want the contemporary African art scene to be; part of this international art circus. We don’t want to be ‘the African art fair’, we just want to be a platform for discussion. We have a forum here where African artists are present, discussing contemporary African art and its production on the continent or in the diaspora. We want this to be this international rolling ball where people can experience contemporary African art.

The fair is taking place during the London Frieze week; what kind of opportunities does this give you?
We purposely chose to do 1:54 during Frieze, as the collector base is already present in London for the fair — so for us, there are only benefits. We’re doing it during Frieze so we can open the market to international collectors; we wanted to not only attract African collectors to the fair, but those who may not be familiar with artwork coming from the continent or the diaspora. For us at the moment — we’re a very young fair, this is only our second edition — we only benefit from being at such an event. At the moment I could only tell you good things about this fair taking place around Frieze; since our first edition, they have put us on their VIP website where their VIPs can access 1:54, so we’re really happy with this collaboration and we’re really happy with the people it brings to the fair.

How do you select which galleries you will exhibit?
We have an open call, like all other fairs, in early February, and we ask all the galleries to apply. We have a selection committee that chooses galleries with a contemporary programme; it’s a much smaller scale than other fairs but we have the same selection process. The galleries are led by the artists they present and their contemporary programme.

What do you think the highlights of the fair are going to be this year?
We are increasing the number of galleries: we had 15 galleries last year, we have 27 this year, coming from the continent, so we are really proud of that. There is a small video installation from one artist, we have different presentations from different galleries, so the audience will be able to see a larger portfolio of some of the artists. We also have a book store which we are very excited about, where you’ll be able to find publications on African artists. This is our response to something that we’ve been seeing — we usually have a very hard time finding publications on African contemporary artists or artists from the African diaspora, so we’re really proud to have this new book store. We have extended to a new wing as well, and we are also doing a very strong forum of four days this year, which features amazing artists’ talks and debates on contemporary African art. A lot of people came last year — 6,000 visitors — we got a lot of good press saying that our first edition was really successful, and there was a lot of hope for us. I think people will come again this year, and maybe some of those who weren’t able to see it the first year around.

I think 1:54 has to be experienced; it’s in the beautiful location of Somerset House; I wish everybody could experience it, because it’s quite different to any other fair. There’s an intimacy between the galleries and their rooms, with their artists, with their audience;  it’s quite special, I can’t describe it well enough! There’s such an experience in coming to the fair, seeing all the different works coming from the different countries, coming from the different places in Europe and artists being present to explain their work. It’s a very touching and unique experience.




African Art Fair in London: Africa Set to Launch its Biggest Contemporary Art London UK / Africa News
09 Ekim, 2014 | 16:25

African Art London

African art giant, 1:54 is set to entertain the city of London with its Contemporary African Art Fair which will begin from 16 to 19 October.

This is the second time 1:54 is organizing event of this nature to showcase the world about the best of African art.

The event will be held at Somerset House, a historic building and major cultural arts centre in the heart of the city of London.

The fair will be open to the public from Thursday 16 to Sunday 19 October, 2014, from 10am to 6pm daily with special attention to customers who wish to transact business by buying some items.

Prices for arts that would be display are relative cheaper in order to make it moderate for visitors to be able to purchase some to beautify their homes.

Reduced admission fee is also available for 13-18 years and full time students with valid cards but admission for children less than 12 years is free of charge.

In touring the event by visitors, there would be excellent introduction to the exhibitors’ galleries and a convenient way to see a tailored view of the fair in a short visit. Public tours are designed for individuals and groups (10 people or less) and are available on Wednesday – Sunday, 15.00 and 17.00 on daily basis.


Items to be showcase at the event include galleries, artists, curators, art and museums involved in the preservation of African artifacts. The galleries will be limited to only 27 carefully selected best African arts, telling the story of the African people to new international audience.

Officials at 1:54 say the event will also showcase educational and artistic program including lectures, film screenings and panel debates featuring leading international curators, artists and art experts.

The objective of including this educational program is to promote Africa related projects activities aimed at projecting the base value of African art by establishing effective mechanism to take care of emerging African art talents and help connect them to international audience.

1:54 is initiated by market developer, Touria El Glaoui under the auspice of Art Africa Ltd to help in the development of art in Africa.

The origin of African art is estimated to be more than 6000 years old and it started as wood carvings. But contemporary African art is more of the social surrounding including nature, abstract interpretations of animals, plant life, mystery creatures such as dwarfs and natural designs.

Issaka Adams / NationalTurk Africa News



October 10, 2014 4:20 pm

Sub-Saharan artists making waves

From established figures to rising stars, African art fair 1:54 returns to Somerset House
‘Azonto’ (2013) by Romuald Hazoumè

‘Azonto’ (2013) by Romuald Hazoumè


ast year, among October’s proliferating events and exhibitions in London, there was a smart new kid on the block. 1:54: Contemporary African Art Fair set up shop in the neoclassical apartments of Somerset House, offering a platform to 15 galleries and not-for-profit spaces, with work by 80 African artists. The title hints at the impossibility of representing all 54 countries in one event, but the fair included galleries both in the west and in Africa, showing artists working within Africa and in the wide diaspora.

Some were hesitant. Cécile Fakhoury, based in Abidjan, Ivory Coast, who represents the painter Aboudia, whose work is currently on display at the Saatchi Gallery as part of Pangaea: New Art from Africa and Latin America, comments: “I was not sure about the project. I want to be a contemporary art gallery in Africa, not necessarily a contemporary African art gallery.”



  • Among 15 galleries only six were from Africa, reflecting the imbalance of power in this nascent market. There were others who, noting the sponsorship of the event by Christie’s, feared that African art might merely be being lined up as a target for the next art investment feeding frenzy.

The fair’s founder is businesswoman Touria El Glaoui, daughter of revered Moroccan artist Hassan El Glaoui, and she had high ambitions. She asked the Tanzanian-born, RIBA award-winning British architect David Adjaye to design the fair, and put together an impressive series of talks to provide critical context. Hans Ulrich Obrist was in conversation with Berlin-based Nigerian-born performance artist Otobong Nkanga, whom he presented this June in his 14 Rooms at Art Basel; the 2013 Venice Biennale winner of the Lion d’Or, the Angolan artist Edson Chagas took part. As did Chris Dercon, director of Tate Modern, basking in the afterglow of Tate’s 2013 show of its recent purchase, Benin artist Meschac Gaba’s exuberant Museum of African Contemporary Art.

‘Hippo’ (2014) by Ransome Stanley

‘Hippo’ (2014) by Ransome Stanley

With prices congenially low in comparison with elsewhere in London, dealers reported excellent business. Fakhoury comments: “I sold a lot of work. I met many museum curators and many good collectors. You could feel the interest.”

Next week, the fair returns to Somerset House, this time with 27 galleries taking part, 11 from Africa. You will be able to see work by 113 artists from established figures such as Benin artist Romuald Hazoumé, South African Ernest Mancoba (who died in 2002) and London’s Sokari Douglas-Camp, to rising stars such as the Nigerian Peju Alatise (Art Twenty One), Sammy Baloji from the Democratic Republic of Congo (Galerie Imane Farès) and London-based Cameroonian Adjani Okpu-Egbe (Knight Webb Gallery).

1:54 is just one expression of a current ferment of interest in contemporary African art. It has been a slow build. The Goodman Gallery from South Africa, exhibiting at Frieze, has been in existence since 1966, nurturing the careers of both black and white artists. The October Gallery in London was founded in 1979 to bring attention to African as well as other “transcultural” artists. In 2002, the British Museum’s purchase of the “Throne of Weapons” by Mozambican artist Kester led to collaborations with contemporary African artists, while in 2011 Tate launched its African Acquisitions Committee.

‘Untitled Tete’ (2014) by Aboudia

‘Untitled Tete’ (2014) by Aboudia

The touring exhibition Africa Remix (2004-07) showcased figures such as South African photographer David Goldblatt and the Ghanian master El Anatsui, while in 2007, Hazoumé was awarded the Arnold Bodé Prize at Documenta 12, in Kassel, Germany.

Internationally, influential critics such as Okwui Enwezor, now director of Munich’s Haus der Kunst and Simon Njami, curator and co-founder of the art journal Revue Noir, have long fought to create a space for African artists within the global art world. Enwezor’s appointment as curator of the Venice Biennale 2015 is just one indication of the current changed status of African art.

Today, however, it is the market, not just the not-for-profit spaces and museums, that is taking note. Besides the African artists on view at Frieze and Frieze Masters, who include the magisterial South African William Kentridge, African art is on view next week at many other commercial galleries, including the three-year-old Tiwani Contemporary and the brand new Sulger-Buel-Lovell. At Bonhams’s fifth Africa Now sale in May, 10 new records were broken, with Nigerian and Ghanaian artists achieving prices well into five figures. Art fairs in Dubai and Johannesburg have also opened up new markets to African art.

‘Privilege Heritage’ (2014) by Adjani Okpu-Egbe

‘Privilege Heritage’ (2014) by Adjani Okpu-Egbe

But as Ross Douglas, director of the Joburg Art Fair, explains, the key to the transformation has been the beginnings of a local market. Until recently the only country within Africa to have a mature market, of mostly white collectors, was South Africa. Now rising wealth in Nigeria has combined with a growing interest in buying art to stimulate a strong art scene in Lagos, with auction houses, commercial galleries, not-for-profit spaces and the emergence of significant private collections.

At this year’s fair in late August, Douglas says, we began “to get a sense of the pan-African art market”. Besides local collectors, both black and white, there were many Nigerians, with buyers from Zimbabwe, Zaire and Ghana, and “collectors were looking for artists across the African continent”.

Until recently the only mature market was in South Africa. Now rising wealth in Nigeria has stimulated a strong art scene in Lagos

This new pan-African vibrancy is confirmed by Joost Bosland of the highly regarded Stevenson Gallery, which is also exhibiting at Frieze this year: “Increasingly our artists come from all over Africa. Ten years ago none of them were showing.”

Bomi Odufunade, a Nigerian and the co-founder of art consultancy Dash & Rallo, points out that until recently, in the absence of viable internet, mobile phone or even flight connections, it was hard for collectors and artists to connect across the continent. Today, as an art adviser – to Congolese collector Sindika Dokolo, the lead sponsor of 1:54, among others – she encourages her collectors to start locally, then reach out across the continent to the diaspora and beyond. In her view, “this is more representative of how we have all influenced each other”.

Far from being an imprisoning concept, she hopes 1:54 will set both artists and collectors free.


1:54: Contemporary African Art Fair runs October 16-19,




African contemporary art eyes int’l market

LONDON, Oct. 16 (Xinhua) — A major contemporary African art fair kicked off in London Thursday, with dozens of African artists seeking opportunities in Europe and beyond.

The 1:54 African Contemporary Art Fair, one of the largest of its kind held in Europe, featured paintings, sculptures, photography and installations.

The fair comprised 27 selected galleries representing over 100 international artists from Nigeria, Kenya, South Africa, France, Italy, Germany, Britain and the United States and so on.

Inaugurated in London last year, this year’s fair has doubled in size, aiming to expand the presence of contemporary African art in the international market.

“For a very long time, there was no role for African art in the international art market, but from last year to right now … countries have the exhibitions done with African artists, so I know it is getting stronger and stronger,” said Touria El Glaoui, founder and director of the fair.

Mariane Ibrahim-Lenhardt, director of U.S. based M.I.A Gallery, which mostly presents contemporary African artists, described the 1:54 as a party for Africa related art to join in the international art market.

After being around with African artists for several years, she decided to devote herself to creating a market for them.

“The people are looking at African contemporary art, is more like they realize that this is a big thing … maybe later there would be a greater demand,” she said, adding that “we are all on the edge and we are waiting for it.”

The organizers are also aspiring to take the fair to other parts of the world, particularly in Asia.

“The Asia market is curious about everything and it is happening in art,” Glaoui noted.

She listed Singapore and Hong Kong as the most probable locations for the fair when it is held in Asia.

Apart from the exhibition, the fair has also created an online platform named “Artsy” to help African artists to gain access to the international market.

Glaoui said the online platform opened the door for African artists to get in touch with the whole world’s collectors.

“For them, it changed everything,” she said.

The participants have also voiced their surprise at the diversity of the African contemporary art on display.

“Just like the artists from many other parts of the world, African artists are talking about gender, political, social, environmental issues and so on. They are a window of the society,” Ibrahim-Lenhardt explained.

“For me, when talk about Africa, it is about the entire human civilization,” said Marcia Kure, a Nigerian artist living in the United States.

The 1:54 African Contemporary Art Fair will be held from Thursday to Sunday in London’s Somerset House.


Art Basel Hong Kong 2014 reports, photographs, interviews



Highlights From Art Basel Hong Kong 2014

Highlights From Art Basel Hong Kong 2014Images via Holly Howe

Now in its second year, Art Basel Hong Kong follows hot on the heels of Frieze New York and a few weeks in advance of its namesake, Art Basel (in Switzerland). Next year, it moves to March in an attempt to space things out for art world jet-setters, but for now, we’ve rounded up some of the highlights from the fair’s 245 galleries.

The fair is split across two floors at the Hong Kong Convention and Exhibition Centre in Wan Chai. As well as hosting the usual suspects—David Zwirner, Hauser and Wirth, Gagosian, and Lehmann Maupin—there is a strong focus on galleries from Asia and the Asia Pacific region in the Insights section.

There’s a lot to see, but we’ve selected some works you definitely shouldn’t miss.


If you were in L.A., Houston, or New York last summer, you probably saw one of James Turrell’s exhibitions. The artist tends to make enormous installations in unusual spaces—most notably Roden Crater in Arizona—which is tricky if you want something for your home. Thankfully Pace Gallery has come to your rescue with its set of three ukiyo-e woodcut prints, available for $20,000.

Vik Muniz is up to his usual trick of assembling images from nontraditional materials (he has previously used diamond dust, honey, rubbish from Brazil, and cigarette butts, among other things). For Ben Brown Fine Arts, he has produced Hong Kong Postcard, assembled from an collage of postcards from around the world that reproduces the Hong Kong skyline.

Japanese artist Mariko Mori has been making deeply meditative works for a long time but has shifted away from mainly video art to producing Zen-like sculptures. Sean Kelly has a collection of her works for sale, including the magnificent Renew III. Ommmm.

New York gallery owner James Cohan is showing British artist Yinka Shonibare’sBallerina with Viola. The sculpture features a faceless figure, wearing an outfit made from material that is popular in Africa, but tends to be made in Holland and sold in England, all of which reflect issues of colonialism and multiculturalism.

Glenn Kaino’sRooftop Studies at Kavi Gupta Gallery are based on photos the artist took in Cairo when he was preparing works for the Cario Biennial (which was postponed as a result of instability in the region). The landscapes have no people in them, and yet people are referenced through the technologies they use, all of which have been covered in gold leaf. In one work, it’s the satellite dishes; in another, the air conditioning units reveal a human presence.

Local gallery 10 Chancery Lane is showing a number of early works by Huang Rui. These early pieces are very minimal. The work Four Purples references quotes from different periods of Chinese history.

Ever wondered what becomes of those abandoned toys you sometimes see lying on the side of the road? Well if Adeel uz Zafar is around, he will pick them up, take them home, bandage them, and use them as models for his art. His works at Gandhara-Art are created by painting the vinyl white, adding a layer of black over that, and then engraving these mummified characters into the surface. They may look creepy, but the gallery owner confided that children love them.

As you enter the third floor, you are greeted by Forever, one of Ai Weiwei’s now well-recognized bicycle sculptures at German gallery, neugerriemschneider. Although Hong Kong is a special administrative region of China, the artist is still not allowed to travel there.

It’s always interesting to see what people love to photograph at fairs, and Taiwanese artist Hsi Shih-Pin’sSymbolic Steed of Memory at Soka Art seems to be one of the most popular works this year. The shiny surface is perfect for #artselfies.

One artist who really understands the selfie allure is Kyoung Tack Hong. The Korean artist’s large painting at Hakgojae Gallery is titled Reflection 1 and shows the artist posing with a camera phone in the various surfaces of the dazzling object.

Perennially hip Arndt Gallery has the perfect piece for the skater in your life. This pop art skateboard is titled Tempus Fugit (Latin for “time flies”) and was created by Indieguerillas, made up of Indonesian artist duo Santi Ariestyowanti and Dyatmiko “Miko” Bawono. The work sold early on to a European collector for $5,000.

More bright and shiny work is on view at Nanzuka Gallery, including The Uncrossable Upswept Bridge by Keiichi Tanaami. The 78-year-old Japanese artist is inspired by anime and pop culture. Although most of his early work is 2D, he made some sculptures in the 1980s and picked the medium up again in recent years.

Kaikai Kiki is showcasing works made by Takashi Murakami’s studio assistants. Mr. is one of their most well-known painters, having worked with Murakami for over 10 years. The artist champions “kawaii,” the Japanese style of work that’s “pretty” or “cute”. Also at the booth is Reminiscence by Ob, which was surrounded by real life Hong Kong school girls.

And this was a scene repeated at Galerie Perrotin, where more school children sat on the floor to sketch a large work by Mr. Perrotin. The Perrotin booth also has a number of Takashi Murakami works on view, including New Red Flowerball and DOB in Pure White Robe.

Lastly, an art fair wouldn’t be an art fair if it didn’t have a spot painting by Damien Hirst. Of course, White Cube obliged, but if you’re looking for something a little more interesting, check out Gilbert and George’sKillers, from their London Pictures series, based on newspaper headlines in a daily London newspaper.


Art Basel Sales: Fair Offers Shopping Spree for the Rich

‘Rem(a)inders’ by Italian artist Michelangelo Pistoletto at Art Basel Hong Kong

European Pressphoto Agency

A massive shopping spree for art is underway in Hong Kong.

The annual Art Basel Hong Kong fair opened its doors to an invite-only VIP list on Wednesday, and wealthy collectors splurged quickly as they perused the booths of 245 galleries at the Hong Kong Convention and Exhibition Centre.

Adrian Cheng, executive director of property developers New World Development Company, said he bought 15 art works on the first day alone. The voracious 34-year-old collector is the grandson of Hong Kong jewelry and real-estate tycoon Cheng Yu-tung.

Among Mr. Cheng’s purchases were a $60,000 sculpture by Adrian Villar Rojas from Marian Goodman gallery and a $180,000 painting installation by Carol Bove from David Zwirner. He also bought works by Toy Ziegler and Valerie Snobeck from Simon Lee gallery.

Galleries reported strong sales on day one. According to a release from the fair’s organizers, Soka Art from Taipei sold a landscape called “Red” by Chinese contemporary oil painter Hong Ling for $600,000.

New York gallery Hauser & Wirth sold three paintings by Chinese artist Zhang Enli to different private collectors from mainland China, the gallery said. Prices for the works ranged from $180,000 to $240,000.

Western works are also proving popular at the fair. At White Cube gallery, an Antony Gormley cast-iron sculpture titled “Rest II” was sold. It had an asking price of almost $420,000. The gallery said it had “exceptionally strong sales” from Asian collectors.

Among the seven works Lisson Gallery sold on the first day were two works by Jason Martin and three pieces by Anish Kapoor. Prices for the works ranged from $67,000 to US$167,000.

Art Basel Hong Kong continues today and ends on Sunday.



0 Posted by – May 12, 2014 – FEATURED SHOWS



ArtBlitz LA had the opportunity to speak with Susanne Vielmetter, owner of Susanne Vielmetter Los Angeles Projects prior to the gallery’s departure for Hong Kong Art Basel.  Though it is the fair’s second rendition in Hong Kong this will be Susanne Vielmetter’s first time participating.  We are eager to see how the LA gallery is received.  Watch for our follow-up post featuring the gallery’s booth.


Tell me about your program at Hong Kong Art Basel.  Who are you bringing?


We will have a focused presentation.  We are taking two artists, Yunhee Min and Tam Van Tram, who have Asian roots, they’re not from Hong Kong specifically though.  Yunhee Min is from Korea and Tam Van Tram is from Vietnam, although they both live and work in Los Angeles.  This is our first time doing the fair, so we don’t know that much yet.  It’s a little tricky to access how the audience will interpret our program, but we felt these artists offer a good point of entry.  They both focus on painting and we are bringing relatively small work.  Whenever we do a fair for the first time and don’t know the audience we bring smaller works because our artists might be completely new to the collectors and it’s always easier to make a first purchase of a smaller work.  We also know these artists well, we’ve worked with them for a long time, but their work is still in a good price range because they are both early/ mid-career artists.

We are also bringing two new Mickalene Thomas paintings with higher prices.  We feel confident that we will place these paintings, even if it’s here in LA, but we’d like to show them in Hong Kong to see if we can find new collectors and a new market for her work.  So even if they don’t sell there we will place them, they’ll just go on a little vacation.




Why do you feel it was important to have a presence at Hong Kong this year?


We do the other Art Basel fairs, we’re doing the big Art Basel for the first time this year, but have been to Miami for many years.  These fairs are very well run, the fair management goes out of their way to make it a good experience for the galleries and we felt it would be good for us to add this to our schedule and expand our client base.  We have a positive attitude about it.  It’s very difficult to gauge what the response will be, as I mentioned, and that response will determine whether we do it again, but Asia is an important market, I’m not sure it is for my gallery specifically, but we’re about to find out.




Is there anything you’re looking forward to either in, or outside the fair?
Food.  Everyone says it’s exceptional.  We don’t have enough time really to do other things.  Which isn’t true for just this fair, we go straight to set up and we’re there to work.  Not there for a vacation.














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Art Basel Javanese Sculpture Catches On

Javanese Sculpture Catches On

One of the most energetic gallerists bringing the art of Indonesia to the world stage, Berlin-based Matthias Arndt plans a new gallery in Singapore.


Art Basel: Time Out International Picks

Posted: 14 May 2014

Time Out editors across the world give us their highlights of the global array of galleries gracing Art Basel this year…



Tolarno Galleries (1B19)
This 1967-founded gallery prides itself on unearthing and nurturing young Australian artists. Director Jan Minchin came from the more traditional background of the National Gallery of Victoria, at which she was curator of 20th century Australian art, but at Tolarno she has enjoyed working with rule breakers and subversive thinkers such as Bill Henson and Ben Quilty. Jenny Valentish, editor, Time Out Melbourne

Galleria Continua (1B26)
Galleria Continua, an Italian gallery with outposts in Italy, France and China, is a heavyweight among Beijing galleries. It has featured many high profile artists from China and abroad: Ai Weiwei, Qiu Zhijie and Anish Kapoor are just a few names from a very long list. Tom Baxter, art editor, Time Out Beijing

Yamamoto Gendai (1B30)
This contemporary gallery in Tokyo specifically chooses artists that ‘cross the border of existing art genres’, often hosting live and experimental exhibitions. Their collection of artists at Basel this year covers a wide range of media including the delicate etchings of Etsuko Fukaya, the lighter-than-air sculptures of Motohiko Odani and the puzzle-like paintings of Kei Imazu. Annemarie Luck, deputy editor, Time Out Tokyo

Scai the Bathhouse (1D14)
With a reputation for introducing avant-garde Japanese artists to the world and for helping international artists to establish a presence in Japan, Scai the Bathhouse wonderfully combines traditional and contemporary artworks and installations. They’ve curated a lineup of 10 artists for Art Basel, including renowned Indian sculptor Anish Kapoor and video/photographic artist Mariko Mori. Annemarie Luck, deputy editor, Time Out Tokyo

Rhona Hoffman Gallery (1B10)
This Chicago gallery celebrates Art Basel by featuring the work of Hong Kong-based artist Adrian Wong. The exhibition also includes historical artworks by Sol LeWitt, Gordon Matta-Clark and Fred Sandback. Laura Baginski, editor, Time Out Chicago

Lee Wen: Ping Pong Go-Round at Encounters

iPreciation (1C18)
This Singapore contemporary fine arts gallery represents a range of both prominent and promising artists around Asia, including multidisciplinary Singaporean artist Lee Wen, who is perhaps best known for his Yellow Man series. Works on show at the booth were created between 1992 and 2014, and include a good range of Wen’s performance pieces, installations, paintings and drawings. Gwen Pew, arts editor, Time Out Singapore

Kavi Gupta Gallery (1D18)
Specialising in the exhibition of emerging and mid-career artists, Kavi Gupta displays an exciting range of contemporary multimedia work. Highlights include Roxy Paine’s intriguing acrylic sculpture, Tavares Strachan’s encyclopaedic collage and Glenn Akiro Kaino’s photography adorned with gold leaf. Laura Baginski, editor, Time Out Chicago

Thaddaeus Ropac (1D27)
With two major white cubes in Paris and its suburbs, Thaddaeus Ropac is a reliable source of top-drawer high-profile stuff. The francophile Austrian gallery owner is bringing big fish to Hong Kong this year, including mammoth works by Yan Peiming and Georg Baselitz, some of Alex Katz’s paintings and hybrid organic sculptures by Not Vital. Tania Brimson, art editor, Time Out Paris

Balice Hertling (1D30)
Belleville, Paris’s East End, has become home to some of the city’s most exciting art galleries over the past few years and, among them, Balice Hertling is perhaps one of the most adventurous. This year at Art Basel, look out for fresh work from three young multimedia artists: Sam Falls, Isabelle Cornano and Eloise Hawser. Tania Brimson, art editor, Time Out Paris

Magician Space (1D33)
Magician Space is a tiny gallery in the middle of Beijing’s super-sized 798 Art District. It has a strong commitment to conceptual art and installations, as well as a penchant for radical usage of its two small exhibition rooms. Tom Baxter, art editor, Time Out Beijing

Michael Hoppen Gallery (1D32)
Michael Hoppen Gallery has operated out of its quaint Chelsea space for more than two decades, becoming an essential port of call for anyone in search of contemporary and classic 20th century photography. Hoppen brings historical work to Hong Kong with a display dedicated to the pre-eminent 20th-century British photographer Bill Brandt. Martin Coomer, visual arts editor, Time Out London


(View map)

Anna Schwartz Gallery (3C03)
The imposing Anna Schwartz opened her Melbourne gallery in 1986 and has represented some of Australia’s most respected contemporary artists, including Callum Morton, Shaun Gladwell and Mike Parr. Jenny Valentish, editor, Time Out Melbourne

Blum and Poe (3D04)
The massive two-storied Los Angeles space of Blum and Poe is almost museum-like in its curation of contemporary pieces from the likes of Yoshitomo Nara and Chiho Aoshima. They bring Takashi Murakami as their showcase artist this year. Ramona Saviss, managing editor, Time Out Los Angeles

Victoria Miro (3D05)
By the time you arrive at Victoria Miro’s stand at the fair, you will already have walked past work by gallery-represented artists Elmgreen & Dragset. This isn’t the first time the Scandinavian duo has shown their VIP door, titled But I’m on the Guest List Too! – it graced the lawn outside Frieze London 2013. But it’s a good art joke worth repeating. Miro will be showing work by her international roster of artists, including Chris Ofili’s stripped back, luminous new paintings. Martin Coomer, visual arts editor, Time Out London

OMR Gallery (3C11)
Founded in 1983 by couple Patricia Ortiz Monasterio and Jaime Riestra, OMR has become one of the most prestigious galleries in Mexico by promoting new trends in contemporary art, both Mexican and foreign artists, and also a variety of media and disciplines. Mariana Guillén, art editor, Time Out Mexico

Sun Xun: 鯨邦是人間樂土 – Jing Bang is a Heaven, 2013 (STPI)

STPI (3C15)
This 14-year-old Singapore institute hosts residencies and exhibitions to help develop and showcase works by some of the biggest names in the genre. At Art Basel this year, viewers are treated to works by Teppei Kaneuji, Haegue Yang and Han Sai Por. Be sure to keep your eye out for Sun Xun’s installation Jing Bang: A Country Based on Whale – he sets up a new country where visitors can purchase citizenship packs or visas. Gwen Pew, arts editor, Time Out Singapore

Poligrafa Obra Gràfica (3C21)
Barcelona’s Poligrafa Obra Gràfica opened its doors in 1960 as a workshop, soon becoming a place where artists such as Joan Miró, Josep Guinovart and Hernández Pijoan attended to develop their projects. At Art Basel, they show the disassembled and abstract furniture of Wang Huaiqing, pop projects by Nelson Leirner and the architectural work of Garth Weiser. Eugènia Sendra, editor, Time Out Barcelona


Art Basel satellite events

Posted: 14 May 2014


All the fun of the fair – but not at the fair. Make sure to venture outside Art Basel for these simultaneously occurring arts satellite events. By Laurel Chor

α (alpha) pulse by Carsten Nicolai

ICC (best viewed from Tamar Park, Sun Yat Sen Memorial Park and the terrace on Podium 3 and 4 of the IFC mall); May 15-17; 8.30pm-9.20pm. Free. 

German sound artist Carsten Nicolai certainly doesn’t lack ambition, what with his next installation taking up the entire façade of Hong Kong’s tallest tower. A commission by Art Basel and Davidoff, Nicolai’s installation, which is inspired by scientific research on neural responses to pulsing light sources, sends light up and down the ICC tower. A downloadable app provides audio to the installation. We hope  there won’t be any unintended consequences but a certain scene from Men in Black III, when the Empire State Building is revealed to be a giant memory-erasing neuralyser, comes to mind.

Asia Contemporary Art Show

40F-44/F, Conrad Hotel Hong Kong; May 15-18; $260-$180. 

This is the largest edition of the semi-annual Asia Contemporary Art Show yet, with over 3,000 paintings, sculptures, limited editions and photographs coming from 100 plus galleries representing 19 different countries. Emerging artists from places like Brazil, Vietnam and Russia are featured alongside art luminaries Andy Warhol, Banksy and Qiu Sheng Xian. If you can’t make this fair, do not despair – the next one is in October.

Asia Week Hong Kong 

Various venues; May 17-27; Free. 

Art Basel is a show of global proportions with artwork and collectors flying in left and right to our little corner of the world. But Asia Week makes sure that art from our own continent gets the showcasing it deserves with Asia-focused exhibitions, lectures, book launches and gallery tours scheduled over 10 days. With Asia Week collaborating with the International Antiques Fair, art is represented not only from all regions of Asia, but also from all epochs.

Chai Wan Mei 

Chai Wan; May 16-17; Free. 

Chai Wan is marked by grit, heavy-duty machinery and large, non-descript buildings. But nestled in ex-industrial spaces across the area are creatives from all fields, and their close proximity to each other often facilitates unusual collaborations. To celebrate this, Chai Wan Mei shows off its vast pool of talent with art exhibitions, concerts, fashion and design showcases, workshops and pop-up installations. Don’t miss the V Art Project, which uses shipping containers as galleries for pop-up exhibitions with open-air screenings of videos as well. The Asia debut of a special dance performance by Ryan McNamara (for our interview with him, check

Conversations and Salon at Art Basel

HKCEC, 1 Expo Dr, Wan Chai; May 15-17; Free. 

Art Basel offers not only the world’s best art for sale, but also hosts a series of events for visitors to further their artistic education and gain a wider understanding of the global arts landscape. The morning Conversation series is more academic, with art professionals like M+ curator Aric Chen and Sydney Biennale artistic director Juliana Engbergs offering an insider’s view on a variety of disciplines and topics. Meanwhile, the afternoon Salons are more informal, ranging from screenings of animation and short films to a panel discussion on Vietnamese art. 


Hong Kong Arts Centre Open House

2 Harbour Rd, Wan Chai; Sat May 17, 10am-10pm; Free. 


The Hong Kong Arts Centre is the home to many major cultural institutions such as the Goethe-Institut, the Hong Kong Arts School and the Hong Kong Music Centre. All open their doors to the public on May 17 with exhibits, workshops and events that include the launch for William Lim’s book The No Colors, about his collection of Hong Kong art. A street music series of outdoor concerts and a film festival featuring the films of the late Cantonese opera singer Hung Sin-nui are also not to be missed, and Hong Kong singer-songwriter and pop sensation Chet Lam performs for five nights at the Shouson Theatre. There are also guided cultural and architectural tours in the building itself and in the surrounding Wan Chai neighbourhood, where many outdoor art pieces are installed for public appreciation. Make sure to hop on the Art Bus, a free shuttle bringing visitors from the Convention Centre to the less-visited art hubs of Wan Chai, Tsim Sha Tsui, To Kwa Wan, Kwun Tong and North Point. A comprehensive guide is available. 



Around Blake Garden, Sheung Wan; Until May 19; Free.


Going against the gallery formula, new initiative HKWALL(s) aims to paint up the best canvasses available in Hong Kong: the walls. The paint is still drying at the project’s launch this May, perhaps a fitting metaphor for the nascent state of street art in Hong Kong. Artists paint on the large, usually neglected, exterior walls of galleries and businesses around Blake Garden in Sheung Wan such as Tai Ping Shan Street and Square Street. A neighbourhood block party with live music and drinks is in the pipeline for Sunday, but make sure you check the website for the latest info.

Intelligence Squared Debate:
“Asia Should House Its Poor Before It Houses Its Art”


Rm N101, HKCEC; Fri May 16, 6.30pm-8.00pm; $300. 


It’s well known that Hong Kong’s cage homes are a deep shame to our otherwise glitzy city, and also a fact that negative comments about our dearth of highbrow culture are still rolling in. With Hong Kong’s ever-shrinking space, what the government decides to do with every spare square centimetre – whether it’s spent on public housing or an art museum – is everyone’s business. As always, Intelligence Squared chooses a timely topic for thought leaders to duke it out in the debating ring discussing whether ‘the funding of museums is best left to private patrons’. West Kowloon Cultural District CEO Michael Lynch moderates, with debaters including SCMP financial journalist Jake van der Kamp and Jessica Morgan, the daskalopoulos curator of international art at the Tate Modern.

Mapping Asia and Hong Kong Art Quiz by Asia Art Archive


AAA, 11/F, 233 Hollywood Rd, Sheung Wan and Rm N101B, HKCEC;
exhibition and talks: May 15-17; quiz: Sat May 17, 2pm-4pm; Free.


The tremendous Mapping Asia project launches at Asia Art Archive – the research uses a multidisciplinary approach to explore Asian geographical boundaries with academic, historical and artistic references. Meanwhile, at the Convention Centre, Asia Art Archive’s artists-in-residence pair C&G reveal their latest research in the form of an art quiz. Listen and learn – four teams comprising of artists, art professionals and students  compete in a live game show-style trivia game on Hong Kong art history. AAA also hosts an ‘Open Platform’ series at their Art Basel booth that brings together art professionals to discuss the art world at large as it stands today.

Market Forces Exhibition and Symposium
by Osage Art Foundation and CityU


Exhibit: 4/F, 20 Hing Yip St, Kwun Tong and 18/F, AC3 Bldg, City U, Kowloon Tong; May 16-Jun 30. Free. Symposium: Wong Cheung Lo Hui Yuet Hall, 5/F, AC3 Bldg, City U, Kowloon Tong; Sat May 17, 2pm-6pm; Free. 


The city’s number of high-end galleries is growing every year, in tandem with the growth of the highly commercial nature of art in Hong Kong. Osage Gallery’s non-profit foundation and City University join forces to offer a non-commercial discourse to explore and break down this phenomenon. Visit an exhibition of concept and object-based art from Asian artists and an open symposium featuring arts professionals and academics like Leeza Ahmady, director of the Asian Contemporary Art Week at Asia Society, and Charles Merewether, former director of the Singapore Institute of Contemporary Arts, discussing the blurred lines between aesthetic and market values in Asian art production through various lenses.

Uli Sigg, ‘China’s Art Missionary’:
Short Film Premiere and Book Launch 


HKAC, 2 Harbour Rd, Wan Chai;
Fri May 16, 3pm-5pm; Free.


At first, Swiss media executive Uli Sigg may seem like an unlikely candidate to be a celebrated collector of Chinese art, but he actually has one of the largest and most important collections of Chinese art in the world. His collection, most of which he donated to our very own M+ last year, is currently housed in a 600-year-old Swiss castle. Independent arts writer and first-time filmmaker Patricia Chen is premiering a short film and launching her book, both about Sigg, at the Hong Kong Arts Centre. Registration is mandatory.

Wong Chuk Hang Art Night 


Wong Chuk Hang; Thu May 15, 5pm-11pm; Free. 


Wong Chuk Hang, an area once dominated by industrial factories, but now a burgeoning arts hub, welcomes visitors  to discover the neighbourhood. Thirteen galleries and 12 eateries open their doors, and with a free shuttle bus available, there really is no excuse not to visit. Start at Spring Workshop, where the works of Christoduolos Panayiotou are shown.


Talking Art Basel with…

Posted: 14 May 2014

Magnus Renfrew, director Asia

On Art Basel Hong Kong 2014:

“One of the new developments for this year was the film sector, and we really felt that this was a very appropriate development for the Hong Kong and Asia audience, because of HK’s very established relationship with film. We made some first steps last year in terms of trying to bring art out of the halls and into the public domain, so this year we have Carsten Nicolai’s commissioned work [at ICC]. We’ve also been working with local partners, local galleries, the Hong Kong Art Gallery Association and non-profit institutions, and there’s over 150 different events during the week of the fair. So we’re really able to showcase the very best of what’s happening in Hong Kong both outside of the halls and inside of the halls. And I think that’s a big contribution that we can make and it’s a contribution that we’re keen to make. And that also has longevity beyond the time of the fair. There are many relationships that start in Hong Kong, and many discoveries that happen in Hong Kong that lead on to other things happening in other times of the year or in the future.”

Li Zhenhua, curator Film

On the Film sector:

“Showcasing the playful and the beautiful is the main concern of the Film sector. I have created six categories to group the selected works, and one highlight category is ‘action’, which incorporates issues of activism with a tinge of humour.

To make this new sector open and free is an important step for Art Basel Hong Kong, as art belongs to the people. It is for everyone instead of only a particular group of people, and this is especially true when art, film and video are combined – they should reach more people and go public.

I have always been very interested in the film industry and experience in Hong Kong, so the programme is thus dedicated to Hong Kong first, then to the art world interested in video art history and finally to the international audience.”

The Film sector is at… Hong Kong Arts Centre, May 15-17, various times.

Yuko Hasegawa, curator Encounters

On the Encounters sector:

“Material and social relationships are undergoing a process of complicated diversification due to the fluidity of globalisation and the formation of a new way of relating through social media. Change in the social landscape constitutes miscommunication and cultural breakdown.

Encounters comprises of works that critically reflect this situation, whether proposing to engage these fundamental shifts, or trying to resist them. This can be seen in Homeaway, a work by Tobias Rehberger, who recreates a favourite Frankfurt bar as an environmental installation. Michael Lin’s work Point converts a meeting place into a sculpture that visitors can climb, thus reversing the relationship between the viewer and the viewed.

The second means of thematic expression is to add multi-layered meaning to the memory of objects and the nature of material. For instance, in her work Thousand, Yeesookyung combines fragments of old, broken ceramics to create and regenerate entirely new and different objects. Alternatively, there are artists who discover strong messages within the material itself, as can be seen in Aiko Miyanaga’s naphthalene sculpture, Letter.”

The Encounters sector is at… E1-17, Halls 1 & 3.



Bloomberg News

Art Basel Beckons Billionaires With $10,000 Passports, Hirst (1)

May 14, 2014

Asia Society's Melissa Chiu and artist Takashi Murakami

Melissa Chiu, director of the Asia Society Museum in New York, left, and Japanese artist Takashi Murakami who was honored at an Asia Society Gala in Hong Kong on May 12. Photographer: Frederik Balfour/Bloomberg
May 14, 2014

Inside Art Basel Hong Kong at the city’s convention center there’s a booth where guests can apply for instant citizenship to the Republic of Jing Bang.

For $10,000 you can obtain a passport, an aluminum “Citizenship Box” briefcase and national flag from Jing Bang, an ephemeral state created for the fair by Chinese artist Sun Xun, whose installation is a satirical comment on art, commerce and nationhood.

The art world elite including Indonesian collector Budi Tek, New World Group scion Adrian Cheng and Canyon Capital Advisors co-chairman Mitchell Julis didn’t need any fictional travel documents to converge on Hong Kong, where more than $1 billion worth of art is for sale, according to fair insurer AXA ART.

Wealthy collectors snapped up a everything from a $10,000 painting by emerging Chinese artist Yuan Yuan to an 800,000 pounds ($1.3 million) for a scalpel blade painting by Damien Hirst.

Art Week

Anchoring what is informally known as Hong Kong art week, Art Basel opens to the public tomorrow. VIPs got a chance to preview the 245 galleries from 39 countries exhibiting today, featuring primarily contemporary art.

Every year at this time Hong Kong’s social life goes into overdrive with a whirlwind of more than 25 gallery openings, charity art auctions, debates and champagne-fueled parties held on warehouse rooftops, at poolsides and parking garages.

“It’s like the Rugby Sevens for the Hong Kong arts and cultural set,” said Alice Mong, executive director of Asia Society Hong Kong, which hosted a gala dinner for 400 people on Monday night honoring Asian artists Zhang Xiaogang, Bharti Kher, Takashi Murakami and Liu Guosong.

Launched as Art HK in 2008, the fair was re-branded Art Basel Hong Kong last year after the owners of Art Basel and Art Basel Miami Beach purchased a majority stake in 2012 and it is now a major stop on the international art circuit. About half the exhibitors have space in Asia and Asia-Pacific, a deliberate decision to keep the fair’s original regional flavor.

Buying Spree

Half-way through the VIP preview today New World’s Cheng, followed by a staff of four, had bought 12 works and was on the hunt for more. “The good thing about having a team is you buy something and they negotiate” he said while posing beside a Carol Bove painting he bought from David Zwirner.

Zwirner also brought oil-on-canvas works by 28-year-old Oscar Murillo, an emerging artist who catapulted from relative obscurity three years ago to New York’s latest wunderkind. The Colombia-born artist, best-known for his abstract works, has seen his auction prices surge as much as 5,600 percent in two years as a result of frenzied art flipping.

By mid-afternoon of the preview the gallery had sold three paintings ranging from $75,000 to $180,000 to collectors from China, Hong Kong and Taiwan.

Overwhelming Response

“We knew there was interest and he’s newsworthy and they know about his auction prices,” senior partner Angela Choon said about Murillo. “But we didn’t expect the response to be this overwhelming.”

Returning to Hong Kong for the fifth year, New York-based Paul Kasmin gallery is featuring both Western and Asian works to take advantage of buyers’ increasing willingness to stray outside their comfort zones.

“Art Basel has brought more Europeans and Americans to Hong Kong and Asian collectors are becoming more interested in purchasing western art,” said gallery director Nicholas Olney.

Kasmin sold a newly commissioned work by Indonesia’s best-selling contemporary artist, I Nyoman Masriadi, for $350,000 at the VIP opening and is selling a polished bronze modernist bust by Constantin Brancusi and photographs by David LaChapelle.

Balinese Beauties

The works of Ashley Bickerton, who quit New York after 12 years to move to Bali in 1993, provide a contemporary twist on Gauguin’s exoticism. A painting of two topless women with silver bodies astride a scooter, garlands in their dreadlocks, is selling for $190,000 by Singapore-based Gajah Gallery. Another work by the artist sold for $160,000 at the preview.

First-time exhibitor Hannah Barry gallery from London is bringing the work of 27-year-old U.K. artist James Capper in a solo show featuring a hydraulic creature able to claw its way on giant steel talons. Measuring 2 meters (6.5 feet) long, one meter wide and 1.6 meters high, it costs 40,000 pounds.

Whale State

Citizenship to Sun’s “Jing Bang: A Country Based on Whale” is limited to 100 people, though visas can be purchased for $30 each at the fair.

Describing his one-party state (administered by the Magician’s Party), which has a planned life span of just six weeks, Sun writes “If history is a big lie, then the Republic of Jing Bang uses one lie to intercept another lie.” The project is jointly presented by the Singapore Tyler Print Institute and ShanghArt gallery. Fifty passports sold during the VIP preview, prompting Sun to increase the citizenship price to $13,000.

Collectors on more modest budgets can head over to the Conrad Hotel for the Asia Contemporary Art Show where five floors of guest rooms are transformed into temporary gallery spaces featuring emerging artists from 18 countries from May 16 to 18. VIPs get an advance preview tomorrow.

UBS AG (UBSN), which also sponsors Art Basel and Art Basel Miami, has added the Hong Kong fair for the first time this year. “Our private banking clients include people interested in fine art, so it’s a natural fit,” said Chi-Won Yoon, Chief Executive Officer of UBS Group Asia Pacific.

Marble Dust

Local galleries are taking advantage of the influx of deep-pocketed visitors this week to launch new shows. Blindspot Gallery, located in the burgeoning art district of Wong Chuk Hang overlooking the city’s Aberdeen harbor, is showing London-based photographer Nadav Kander’s latest works that feature nudes of sitters covered in marble dust that evoke Michelangelo and Lucien Freud.

Pace Gallery opens its Hong Kong space with oil-on-paper works by Zhang Xiaogang in the heart of downtown on the 15th floor of the Entertainment Building. Next door Antwerp, Belgium-based Axel Vervoordt Gallery is also having its inaugural show with Ghanian artist El Anatsui, who employs youths to weave work with discarded liquor caps and fastenings to create tapestries selling for $1 million a piece.

Blood Bags

Those looking for a break from the hustle of the fairs can seek refuge in another highrise. Hong Kong artist Nadim Abbas has transformed vacant office space on the 17th floor of Soundwill Plaza II in Causeway Bay into a post-apocalyptic bunker-like bar complete with sandbags. In collaboration with Absolut Vodka it will feature themed concoctions including “2666: A Space Cocktail” and a beetroot drink served in a blood bag.

Art Basel is open to VIPs today by invitation and to the public May 15 through May 18.




Art Basel in Hong Kong 2014

unnamed 1 Art Basel in Hong Kong 2014

David Zwirner is pleased to participate in Art Basel in Hong Kong (Booth 1C02). 2014 marks the fourth consecutive year the gallery will be at this fair.

Highlights include works made especially for the fair by Oscar Murillo, who will be in attendance at the fair. A Mercantile Novel, the artist’s debut show at David Zwirner, re-creates a chocolate-making factory inside the gallery (519 West 19th Street, New York; on view through June 14).

Also exhibited will be a major work by Donald Judd, one of the most significant American artists of the postwar period. Untitled (Bernstein 90-01), 1990, exemplifies one of the artist’s favored configurations—the stack. Executed in black anodized aluminum with clear Plexiglas, this work is comprised of ten wall-mounted units that are evenly spaced from floor to ceiling. A plank sculpture by John McCracken, another leader of American Minimalism and whose estate the gallery represents, will also be shown.

Other highlights include paintings by Michaël Borremans, whose major retrospective is now on view at Palais des Beaux-Arts, Brussels; Carol Bove, whose critically acclaimed presentation of seven new sculptures on New York’s High Line at the Rail Yards recently ended its year-long run; Neo Rauch who will have a show at David Zwirner, New York this fall; and a new painting by Yayoi Kusama, whose first exhibition at David Zwirner, New York in 2013 attracted tens of thousands of visitors.

Also featured will be works on paper by Marlene Dumas, whose museum survey, The Image as Burden, comprising over one hundred drawings and paintings from private and museum collections throughout the world, will open in September at Stedelijk Museum, Amsterdam. The show will travel to Tate Modern, London and Fondation Beyeler, Basel in 2015.



Art Basel Hong Kong: A Portal to the Asian Market

On the heels of Frieze New York, the art world is not given a chance to breathe as Art Basel Hong Kong launches its second edition this week. As more and more art fairs pop up across the world, each attempts to steal the global art market’s focus with a signature splash. Art Basel Hong Kong already has a strong hold by being a new fair in the mega art capital, but it has also called attention to itself with two special projects that extend the fair well beyond its walls, and across Victoria Harbor. Famed British artist Tracey Emin and German artist Carsten Nicolai have created larger-than-life light installations that will occupy two soaring buildings in Kowloon – visible from not only the fair, but most parts of the city around the waterfront. Art Basel Hong Kong is also significant, in that it highlights the art from the continent, with over half of its 245 exhibiting galleries having a base in the Asia-Pacific region, and 24 galleries from Hong Kong proper. The fair will wow with their “Encounters” section, curated by Yuko Hasegawa, featuring 17 oversized sculptural experiences. Since Hong Kong has long-standing roots in the film industry, the fair has responded with a new section devoted to film that creates a relationship with locals, and was carefully curated by Asian digital art expert Li Zhenzhua . The 2014 Art Basel Hong Kong fair not only presents some of the world’s leading galleries and artists, but also serves as a portal to the sophisticated and thriving Asian art world.
Duane Hanson, Chinese Student, 1989. Courtesy of Van de Weghe.
Art Basel brought its brand to Hong Kong last year giving international galleries a platform in the growing economy and art collector base in the city known as being the gateway between the East and West. The cross-cultural exchange brings six sectors of exciting programming to the fair, including 170 international exhibitors in Galleries, site specific commissions from regional artists in Insights , emerging artists in Discoveries, large scale works in Encounters, important films about artists in Film and international publications in Magazines that includes a Salon series of lectures and discussions.
Tracey Emin, My Heart Is With You Always, 2014. Courtesy of The Peninsula Hotel Hong Kong.
But echoing beyond the pavilion and weaving the fair within the fabric of the city are the projects by Tracey Emin and Carsten Nicolai that light up the shores of the Kowloon district. Emin’s piece has already begun to light up the city, in a collaboration with the 30-story Peninsula Hotel, My Heart Is With You Always features her signature handwriting in neon on the side of the façade from 7pm to midnight each night for 10 days. With an opening that coincides with the opening of the fair, Nicolai’s piece will take over the tallest building in the city, the International Commerce Center. For Alpha Pulse, which was commissioned by Art Basel Hong Kong, Nicolai will reprogram the 118-story building’s existing lighting system to pulse rhythmically at a relaxing, low frequency for two hours over three nights. The light installation will be accompanied by a soundtrack that visitors can access using a smart phone app that will synchronize the soundtrack along with the light pulsations, activated through their phone’s camera.
Carsten Nicolai, a (alpha) pulse, 2014. Courtesy of Galerie EIGEN + ART and The Pace Gallery.
The fair is also attempting to engage the flavor of Hong Kong with the newly created film program, bringing in the founder and director of Beijing Art Lab, Li Zhenhua, as the expert curator. Li has chosen 49 works by 41 artists from a pool of 140 applicants, which he has organized into six themes – “Urban Life”, “Beautiful Visuals”, “Animation”, “Action”, “Performance” and “Fiction Mix.” In order to make the chosen films more accessible to the visiting audience, they are all under 20 minutes, and the roster includes 29 Asian-Pacific artists.
Marta Chilindron, Cube 48 Orange, 2014. Courtesy of the artist and Cecilia de Torres.
Lee Wen, Ping Pong Go-Round, 2013. Courtesy of iPreciation Gallery.
The Encounters section, curated for the second year by Yuko Hasegawa, spreads over 60 square meters of exhibition space, and is meant to be truly experiential. Of the 17 oversized pieces, some are interactive, inviting visitors to unfold Marta Chilindron’s Cube 48 Orange, or play an infinite ping pong game on Lee Wen’s Ping Pong Go-Round. Sun Xun plays on the increasing role of globalization with an immigration office for the fictional country of Jing Bang, where fair goers can interact with performers and apply for citizenship. Visitors can become performers themselves for Yu Cheng-Ta’s The Letters (Live Performance). Cheng-Ta has taken something that anyone with an email account can relate to – the often ridiculous spam email. Visitors are invited to read out loud advance-fee fraud spam emails sent to Cheng-Ta while being videotaped. The videos will then be replayed between performances, turning the visitor into art. Rebecca Baumann’s mesmerizing Automated Color Field (Variation V) is like a breathing Pantone color chart, with a motorized grid of colors that flip from one to the next, calmly clicking through an ever changing mosaic of color.
Rebecca Baumann, Automated Color Field (Variation V), 2014. Courtesy of Starkwhite.
Galleries specifically from the Asia-Pacific region spanning from Turkey to New Zealand, and to the Middle East and India make up the Insights section, which also features art-historic, solo and two or three person shows by artists reigning from these areas. This section is meant to bring artists from these regions under the international nose. Jeddah-based Athr Gallery will present a solo booth of Ahmed Mater, Saudi Arabia’s most known artist, whose work is inspired by a fusion of his medical background with his view on modern urbanized society. Hong Kong’s Koru Contemporary Art will take the art-historic route, showcasing a beautiful collection of vintage photographs of Hong Kong by Brian Brake.
Ahmed Mater, Abraaj Al Bait Towers, 2012. Courtesy of Athr Gallery.
Brian Brake, The Great Wall, Chuyun Kuan, North Beijing, 1957. Courtesy of Koru Contemporary Art.
A small lecture program will focus on bridging the gap of the global art world and collecting internationally. Two out of the three talks are in English, literally showing the influence of globalization in the art world. The Salon series is more lax, bringing together several talks per day in English, Mandarin and Japanese, such as artist talks (including Carsten Nicolai), topics such as collecting cross culturally and others of interest to those local to Hong Kong.
Salon talk with Hans van Dijk: Dialogues in the Development of Contemporary Art in China. Courtesy of Thomas Fuesser.
Although the special programming may seem to trump the main fair, Art Basel Hong Kong invites the world’s best galleries to exhibit, including Lehmann Maupin, 303 Gallery, Marian Goodman, Van de Weghe, Zach Feuer and Kavi Gupta. Despite the popularization of the art fair as a selling tool around the world, Art Basel Hong Kong has shown that it has a strong investment in not only fueling the art market economy in Hong Kong, but also educating collectors and encouraging a cross-cultural conversation between the thriving Asian metropolis and the globalized market.
Doug Aitken, You/You, 2012. Courtesy of 303 Gallery.
Jennifer Steinkamp, Bouquet1, 2013. Courtesy of Lehmann Maupin.


Art Basel Hong Kong Opens with Increasing Asian Focus
   2014-05-14 21:19:26      Web Editor: Guo

The booths of art magazines and institutions at Art Basel Hong Kong. [Photo:]

The second Art Basel Hong Kong opens at the Hong Kong Convention and Exhibition Center on Wednsday May 14, which will open to public from May 15 to 18.

The show presents 245 pieces of the world’s leading galleries, and has attracted more than 3,000 artists, ranging from young emerging artists to the Modern masters from both Asia and across the world.

Art Basel Hong Kong��s debut last year attracted 60,000 visitors. The international art fair made Hong Kong its third location after its original show in Switzerland and Miami Beach in the US.

Carrie Lam Cheng Yuet-ngor, the Chief Secretary for Administration of Hong Kong Government, delivers a speech Wednsday May 14, 2014, at the opening ceremony of Art Basel Hong Kong. [Photo:]

Carrie Lam Cheng Yuet-ngor communicates with Chinese artist Wu Jian��an about his works. [Photo:]

Visitors view art exhibits at Art Basel Hong Kong. [Photo:]

Art Basel Hong Kong is a grand fair for art lovers and art insiders. [Photo:

An art piece of Japanese artist Yoshitomo Nara. [Photo:]

An art piece on display at Art Basel Hong Kong. [Photo:]

The art works by Chinese oil painting master Chen Yifei. [Photo:]

Sculptures are on display at Art Basel Hong Kong. [Photo:]

The clocks represent that Art Basel has been held in three places around the world annually. [Photo:]

Click to see the next picture

Brochures and books of art works displayed at Art Basel Hong Kong. [Photo:]








NewsHong Kong

A bigger, better Basel: Art fair returns to Hong Kong with strong local focus

PUBLISHED : Wednesday, 14 May, 2014, 11:53am
UPDATED : Wednesday, 14 May, 2014, 12:27pm

Art Basel Hong Kong will overwhelm the city with more than 100 art events starting on Thursday but its impact on the local art scene will go well beyond the four-day event, industry insiders say.

Aficionados from around the world are flocking to the city as preparations for dozens of Basel art events get underway.

“One of the things we’ve been most proud about the fair has been its ability to put the spotlight to what’s happening in Hong Kong,” says Magnus Renfrew, director of Art Basel Asia.

Andy Warhol’s Reigning Queen (Royal Edition) Queen Elizabeth 11 at the Asia Contemporary Art Show. The show is returning after last year’s debut that attracted 60,000 visitors. The international art fair made Hong Kong its third show location after its original in Switzerland and Miami Beach in the US when it acquired a 60 per cent ownership stake in Art HK in 2011.

Art Basel’s global director Marc Spiegler said, “There is a much stronger local scene to engage with in Hong Kong compared to Basel or Miami.”

Asia Contemporary Art Show presents works by Mikhal Molochnikov. Of the 245 galleries from 39 countries and territories participating in this year’s fair, 25 are based in or have an office in Hong Kong.

Renfrew said, “In comparison, in Basel we had five or six galleries from Basel and at Miami Beach only two from Miami Beach. That serves as a real testament to the strength of the local gallery scene in Hong Kong.”

“The Guggenheim curators are here, the Tate curators are here, and the Australian museums are coming,” said Katie de Tilly, co-president of the Hong Kong Art Gallery Association. “Art Basel Hong Kong has benefited Hong Kong as a city by bringing more attention to arts and culture.” she said.

Opera Gallery presents CHAOS exhibition media tour which inlcudes The Feast of the Barbarians, as part of Art May.Fo Tan, home to one of the city’s largest cluster of artist studios known as the Fotanian Artist Village, is welcoming Art Basel Hong Kong’s VIPs with two special tours with shuttle service from Wan Chai.

Though the tour is a Fotanian initiative rather than an Art Basel invention, Fotanian artist Simone Boon said she had benefited from last year’s tour in collaboration with Art Basel, as her encounter with the owner of Ning Space in Beijing’s 798 art zone during the tour resulted in an exhibition there that just took place in April.

Wu Dayu’s Untitled no 7, from Tina Keng Gallery, is among the pieces on display at Art Basel 2014. Boon is in charge of designing the tour this year. The Dutch-native who has lived in Hong Kong for ten years remembers since the days of Art HK – running from 2008 to 2011, local artists and galleries have held their own events around the time of the fair, “but things have become more organised since Basel came.”A worker sets up artworks at a booth of the Art Basel venue in Hong Kong. Photo: AFP

Chow Chung-fai, local artist and chairman of the Fotanian Art Village, compared attending Art Basel and exploring the rest of the city’s art scene to “seeing the end products” versus “seeing where art actually happens”. He said it is a good thing that Hongkongers have a chance to appreciate top notch art from around the world in the three days during Art Basel, “But the development of our art scene is not dependent on the number of local artists that make it to the fair, but on a comprehensive blueprint supporting arts development on a policy level.”“Space Painting by Zhang Enli” with mainland artist Zhang Enli for Art Basel week, Cosco Tower, Grand Millennium Plaza, Sheung Wan. Photo: Dickson Lee

As a centerpiece of this year’s show, Berlin-based artist Carsten Nicolai will take over the city’s tallest building, the 484-metre International Commerce Centre in Kowloon, with his dazzling light installation for three nights. With that described by Renfrew as a visual impact of Art Basel on Hong Kong that is hard to miss, the long-term impact of the show will hopefully be just as remarkable.




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May 9, 2014 6:41 pm

Highlights: art in Hong Kong this week

‘By the River Neva in St Petersburg’ (2014) by Wang Xingwei©Chris Kendall

‘By the River Neva in St Petersburg’ (2014) by Wang Xingwei, at Galerie Urs Meile, Beijing-Lucerne

The Art Basel Hong Kong fair seems to be having the same effect on the former British colony as Frieze has had on London: triggering a whole swathe of openings and art initiatives.

Just a few years ago the Pedder Building in Central, now the beating heart of the top-end art trade, housed one gallery, alongside cashmere shops and offices. Last year, the joint opening night for the six art dealers now installed in it was so mobbed that guests had to be corralled into a lengthy queue to get in.

This year’s “Art Basel Hong Kong week” kicks off on May 13 with, in Pedder, openings of the Rothko-esque Chinese painter Su Xiaobai at Pearl Lam; Miquel Barceló at Ben Brown; Toby Ziegler at Simon Lee; Hernan Bas at Lehmann Maupin; Giacometti at Gagosian; and Gu Wenda at Hanart TZ. In the nearby Entertainment Building, Pace is showing Zhang Xiaogang, and Axel Vervoordt unveils its new premises with El Anatsui. A hop, skip and jump away, White Cube offers Mark Bradford, while Perrotin, in its breathtaking gallery on an upper floor, shows Jean-Michel Othoniel and Ryan McGinley.

'Her permanent mark on him’ (2014) by Melora Kuhn©Chris Kendall

‘Her permanent mark on him’ (2014) by Melora Kuhn, at Galerie Eigen + Art

These are the heavyweight galleries, but smaller ones are popping up everywhere in grittier industrial districts (the rents in Central are sky-high) – and present a chance to see what’s happening on the ground in the territory. On May 15, the Wong Chuk Hang Art Night includes Blindspot and Pékin Fine Arts, and in the Foton area there are 200 artists’ studios to be visited. The Chai Wan Mei festival on May 16 and 17 brings together 60 artists and 40 studios for a weekend of exhibitions, performances, installations and workshops. And not to miss: the always excellent non-profit Para Site – with an intriguing Sex in Hong Kong show – and Asia Society’s exhibition of Xu Bing in its Admiralty building, a former explosives store. Bang!


7:01 am HKT
May 13, 2014

Arts & Culture

Where to See Art Outside Art Basel Hong Kong

‘Circus’ by American painter Mark Bradford, on show at White Cube in Hong Kong, was inspired by the city’s public housing.

White Cube

Consider it part of the halo effect of