frieze 2005, issue 4

THIS SPECIAL FRIEZE
EDITION MADE POSSIBLE BY
DEUTSCHE BANK
FRIEZEART FAIR SUNDAY/MONDAY 23-24 OCTOBER
LONDON. You won't see many
red dots on the stands at
Frieze indicating that pieces
have been sold. "It's a given
that works on display at the
fair have sold, so you don't
have to proclaim it,” says
gallerist Marian Goodman.
people crazy, and I have a list
as long as my arm for his
work,” she says.
You can wait for years to
acquire works by hot artists
like Chris Ofili and the
German painters represented
by dealer of the moment,
Artist Chuck Close chose this work by the Russian Vlad Monroe,
Warhol (2005) at XL Gallery (E17), as his favourite piece at Frieze. To
see artists, art world professionals and the odd celebs’ favourites, turn
to pp.6-7
So powerful is today’s
sellers’ market that all but
the most important private
clients have to wait,
sometimes years, for work by
the most fashionable artists.
Their pieces rarely appear at
fairs: "It would be impossible
to bring a work by Marlene
Dumas to this fair because
there is a huge waiting list for
her work," says Jane Hamlyn
of the Frith Street Gallery.
Marianne Boesky had to take
down the only Barnaby
Furnas painting she had
brought: “It was driving
Gerd Harry Lybke of Eigen +
Art (Leipzig/Berlin). And
even then, there’s no
guarantee that you will
secure a work. Mr Lybke says
he has kept major collectors
like Charles Saatchi waiting
over a year for work by some
of his hottest artists.
Because galleries today
can discriminate about whom
they sell to, collectors have to
make rapid decisions or risk
losing out on desired works.
"You have to move really
fast at this fair," says Luis
Augusto Teixeras de Freitas,
the Lisbon and Rio de Janeiro
collector, who went home
empty-handed. "The first day
I wanted to think for half an
hour about an Olafur Eliasson
piece at Tanya Bonakdar,
because it was quite
expensive. There was only
one reserved in an edition of
three, so I walked around
some more. But by the time I
came back and said I wanted
it, the one here was sold and
so were the two in New York”.
"I've had some bad
experiences trying to buy
work this weekend—it's
almost like a fraternity hazing
ritual," says the New Yorkbased art advisor Lowell
Pettit. "Galleries are acting
with a lot of bravado, asking a
lot of questions about who
your clients are and where
the money is coming from."
Galleries are also being
tough with existing collectors.
Among the practices sure to
land them in the dealers’
black book are "flipping"
works at auction, breaking
"resale agreements"(by which
the buyer gives the dealer the
right of first refusal in case of
resale), displaying work in
unflattering contexts and
being difficult when it comes
to loaning works.
Ms Boesky says clients
who flip work forfeit the right
to buy again from her gallery.
And this doesn't only apply to
gallery artists: "I had a client
who resold a work, not from
my gallery, at auction," " says
Ms Boesky. "I'll never sell to
him again."
If collectors are finding
getting "access" to be tough
going these days, it's a boon
for museums—always a high
priority buyer for artist and
galleries because their
imprimatur permanently
validates an artist's oeuvre.
At the Hauser & Wirth stand
Marc Payot, director and
partner of the Zurich gallery,
explains: "When the market's
so strong we can be more
careful where we sell to." As
an example, he cited the new
Ellen Gallagher painting
Watery ecstatic, for which the
gallery has turned down more
than two dozen offers
because it is waiting three
weeks for a museum
acquisitions board to
convene.
As Ms Boesky says:
"Museums come first, then
anyone willing to give to a
museum later down the line.
After that, those who support
the gallery," she says,
employing the common art
world phrase that refers to
buying the gallery's less
easily sold artists.“Our
priority is museums, and
then private collections that
are on public view," says
Andrej Przywara of Foksal
Gallery, which represents hothot-hot Polish artists
Althamer and Sasnal.
Not surprisingly, once a
collector has run the gauntlet
and the museum sales have
failed to materialise, they are
not finding prices as
negotiable as in a softer
market. "Obviously in this
kind of situation, we can tell
people with a straight face
that there's been a lot of
interest and can't give out
discounts," says David Leiber
of New York's Sperone
Westwater. "Maybe we'll offer
to throw in shipping costs."
Georgina Adam
and Marc Spiegler
Red dot on sale: Untitled 2005,
Robert Berry, with Gasser &
Grunert (D21)
Inside
The not so beautiful game:
Frieze celebrity footie match
ERIN BARRY
If your name’s not on the list,
you’re not getting in Join the
queue to buy your favourite work
Art world personalities including Royal Academy supremo Norman
Rosenthal, Art Basel director Sam Keller, photographer Juergen
Teller and dealer Max Wigram took to the football pitch yesterday.
For a match report, turn to p.4
Art fund gets trendy
Investment company
targets riskier,
contemporary works
LONDON. Although The Fine
Art Fund’s focus has been
more on Canalettos than
Cattelans, the London-based
art investment fund has been
doing business at Frieze. It
consigned two pieces it had
bought eight months ago to a
Frieze dealer and, according
to managing director Phillip
Hoffman, both sold rapidly,
giving investors profits of
50% and 60%. The company
will be upping the percentage
of post-60s work from 20%
to 30% for its next fund to be
launched in January.
More importantly, from
the standpoint of the
contemporary art market, Mr
Hoffman says the fund is
doing almost one coinvestment deal per week
entirely in the post-war and
contemporary market, in
which the fund partners with
single investors in deals
ranging from $150,000 to
$2 million, usually with
projected selling times of six
months to two years.
Assuming the numbers cited
by Mr Hoffman are accurate
(the fund’s financial details
are not a matter of public
record), this would make the
deals worth at least $8
million, which could make it
more significant in market
impact than all but the most
active collectors. By investing
so heavily, it also runs the
risk of fuelling its own
success.
“Contemporary art is much
riskier for us, because
fashions change quickly, but
there’s more upside
potential,” says Mr Hoffman.
”With collectors like François
Pinault racing around
reserving things, we’re in a
real sweet spot in terms of
prices rising quickly.” M.S.
2
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
Gossip
Lammy knows
the meaning
of ministry of fun
Not in these shoes,
darling
There was no difficulty in
finding players for the
Modern Painters/Zoo football
match but sourcing linesmen
proved much more
problematic. When asked if
he could indulge in a little
boundary patrol Spoon editor
Stephen Todd firmly refused,
declaring: “I couldn’t possibly
run in these shoes, they are
Gucci and were given to me
by Tom Ford personally!”
Fellow Spooner Meredith
Etherington-Smith was also
resolutely unmovable
announcing: “I am sitting
firmly on my vintage
Balenciaga coat—I think 1952
Balenciaga on the turf is
Isabella blows in
on tour
NADIM SAMMAN
The art world need have no
fears about the cultural
enthusiasms of David
Lammy, the new(ish) minister
for the arts. Not only is he
married to artist Nicola
Green, but he clearly prefers
lunches with Frieze’s very
own Matthew Slotover and
Amanda Sharp to whatever
the cabinet whips have in
store for him. On Friday,
Lammy was lunching at the
Le Caprice tent with the
Frieze duo, artists Wolfgang
Tillmans and Jane Wilson,
Olympic-art supremo Jude
Kelly, and George Osborne
(the Tory shadow chancellor),
better known as a scion of the
Osborne & Little design
institution. Midway through
this high powered culturefest,
he was summoned by pager
on urgent government
business. (As it was Friday, he
was one of the ministers
supposed to be on call.) But
to the surprise of the guests
he returned within 10 minutes
having dismissed the matter
in hand—saying “this is just
sooo much more important.
This is the most important
thing happening in London
today!”
(Dawn Mellor’s work set him
riffing about former Tory MP
David Mellor), but to be there
he had missed the opening of
Richard Patterson: new
paintings at Timothy Taylor
for which he wrote the
catalogue essay, so any
oddities were ignored.
Bargains were to be had by
the canny few who attended,
and works by Chris Ofili,
Thomas Bayrle, Dexter
Dalwood, Silke Otto-Knapp
and others were snapped up
for well below market prices.
quite the look for this
autumn.”
It’s not porn,
it’s art silly
If Araki’s work wasn’t enough,
US critics Neville Wakefield
and Mel Agace have
commissioned a group of
artists and film makers—
including Sam Taylor-Wood,
Matthew Barney, Mike Figgis,
John Maybury and Larry
Clarke—to go the whole hog
and make their own
unashamedly pornographic
films. These will soon be
available on DVD under the
De-restricted label. Some are
still in production but Sam
Taylor-Wood has finished
hers, and screened it at an
oh-so-private showing in her
studio on Friday night at
which Matthew Barney was
also present (all hands were
above the table at all times,
we hear). Cowboys are
rumoured to play an active
role…ho hum.
Coat check pin up
Talk of the fair has been the
gorgeousness of the
cloakroom staff, with artist
Martin Maloney and Gavin
Brown both enthusing about
the fresh faced good looks
of one of male members
of staff. Unfortunately,
this reached the ears of
collector Judith Greer,
who swiftly put paid to
any improper thoughts
by firmly informing
Coatcheck heartthrob
Matthew Greer
Published by
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them both that the object of
their admiration is in fact her
son Matthew, who is working
as an intern at Frieze having
just finished his GCSEs
at Westminster.
Who guides
the guides?
When a well-groomed gent
joined Richard Wentworth’s
Friday tour, the artist
assumed he was a collector
or perhaps an overseas
curator. So he was somewhat
disconcerted when the
“curator” revealed that he
was, in fact, a professional
tour guide who was keenly
appraising the proceedings.
But to the artist’s relief the
visitor declared himself more
than satisfied with the tour’s
unconventional format and
promised to try and attend all
of the artist’s programme.
Art for every room and a hat for
every occasion; Isabella Blow
(above) leads a tour through
Frieze. Bootleg clones of
Maurizio Cattelan (right) are
easier to spot than the real
article at the fair, while Carol
Bove’s Panegyric (Vogue
photocollage), 2003, went under
the hammer at the Cubitt charity
auction (below)
Slim pants,
slim pickings
Overheard at the Zoo Art Fair
yesterday: Hedi Slimane, he
of the Dior Homme drainpipe
trouser, conversing with
gallery directors and
commenting on the striking
similarity between their
apparel and his fall
collection. “Are you wearing
my clothes?” he was heard to
demand, nonplussed, of a
number of people. It was bad
luck on the art front too. As
an enthusiastic collector of
young artists, he reserved a
Christopher Bucklow painting
at Riflemaker Gallery,
planning to return and seal
the deal on his way out, only
to find himself pipped to the
post by a buyer for a
corporate collection in
Amsterdam, who paid for the
work in cash.
Dealer to raise
money for Cubitt
Cubitt Gallery’s fund raising
auction at the RIBA on Friday
night was a great opportunity
for collectors to buy works by
the swathe of name artists
who had donated pieces. The
auction made over £35,000
for this small artist-run
gallery and studios which, for
the past ten years, has been
at the forefront of avant-garde
production in London.
Celebrity auctioneer Matthew
Collings had them rolling in
the aisles with his witty
asides. At times his adlibbing became so tangential
that the auction itself
teetered on the edge of chaos
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Queen of the Hat, and top
fashionista Isabella Blow, led
yesterday’s “What do they
wear at the fair?” tour.
Hapless exhibitors were
singled out for inspection,
like rabbits caught in the
headlights. Ms Blow was in a
good mood, however, and was
only keen to dispense praise.
The feathered chaps and
bizarre headdress‚ being
sported by members of
Andrea Zittel’s hiking
party, provoked especially
commendations.
Determined not to be left
out, The Art Newspaper’s
correspondent was also
singled out for sporting
minimalist black and white.
Ms Blow even went so far as
to declare “It’s all about black
and white today!” You can
guess what colour her
outfit was.
Bring me the head
of Maurizio
Cattelan
The elusive Maurizio Cattelan
continues to evade the
cameras (viz the decoy in
yesterday’s Art Newsaper)
and now New York-based Eric
The Art Newspaper
Frieze Art Fair Daily edition
Group Editorial Director:
Anna Somers Cocks
Managing Director: James Knox
Editor: Cristina Ruiz
Assistant Editor: Gareth Harris
Art Market Editor: Georgina Adam
Managing Editor: Jane Morris
Correspondents: Marc Spiegler, Louisa Buck
Picture editor: Helen Stoilas
Editorial assistant: Nadim Samman
Production Manager: Eyal Lavi
Photographer: Erin Barry
Project Manager: Patrick Kelly
Design: Esterson Associates
Head of Sales: Louise Hamlin
Advertising Executive: Ben Tomlinson
Doeringer, whose bootleg art
has been one of the
unexpected successes of the
fair, has come up with the
answer. Eric is offering a
packet of five Maurizio heads
for only £120. Most artists
have taken Eric’s work in the
intended spirit of fun, but he
has received cease and desist
letters from lawyers for
Takashi Murakami and Sean
Landers. Cattelan, however, is
undoubtably delighted that
there are so many
doppelgängers in circulation.
Art’s not just
for the rich (honest)
Visitors to Frieze may quake
at the prices, but law firm
Simmons and Simmons have
made a collection for less
than the price of Volvo 4 x 4.
Frieze VIPs were given the
opportunity to view the
lawyers’ luxury offices, the
swanky City Point at
Ropemaker St, and were
treated to works by almost all
of the leading YBAs (Lucas,
Emin, Hirst, Turk, Ofili et al)
plus international stars
Wolfgang Tillmans. The canny
lawyers snaffled the lot for a
measly £25,000—about the
same amount as a single spot
of a Damien Hirst today.
The Art Newspaper is signing
off its Frieze daily editions.
Don’t miss us every month
and at ArtBasel/Miami Beach.
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©2005 The Art Newspaper Ltd. All rights reserved.
No part of this newspaper may be reproduced
without written consent of copyright proprietor. The
Art Newspaper is not responsible for statements
expressed in the signed articles and interviews.
While every care is taken by the publishers, the
contents of advertisements are the responsibility of
the individual advertisers.
4
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
There was much spectator
sport to be had both on and
off the pitch at the art football
match organised by
representatives from the Zoo
fair and the magazine
Modern Painters yesterday.
The game boasted an
illustrious line-up of artists
and luminaries from the art
world, split into two teams:
Home and Rest of the World.
Captain of the UK redshirts
was the artist and 2005
Turner Prize nominee Darren
Almond (who had valiantly
sacrificed watching his
beloved Liverpool play
Fulham in the premiership in
order to attend) with other
members of the home squad
including the gallerist Max
Wigram, the founding
director of Zoo art fair David
Risley, Evening Standard
contemporary art critic Nick
Hackworth, and Ivo Gormley,
son of Antony who had sent
his offspring as a substitute,
but who nonetheless was in
fine voice on the sidelines.
Turning out for the
international yellowshirts—
despite being spotted
partying until 3am the night
before—was supertrendy
snapper Juergen Teller, along
with Jose Kuri of Kurimanztto
Gallery, Iranian collector Amir
Shariat and Art Basel
supremo Sam Keller who had
ERIN BARRY
The art of football Home team trounces
Internationals in dubious 2-1 win
Above, Karen Wright, editor of
Modern Painters, presiding over
the action with Meredith
Etherington-Smith (kitted out in
Balenciaga) and Zoo organiser
David Risley
Above right, art world stars
reach for the ball
bought not only new football
boots for the occasion but
also some extremely tight,
child-sized, England football
shorts for the occasion. Mr
Keller nonetheless struck fear
into the hearts of the slacker
elements of the game by
performing energetic prematch laps of the pitch before
start of play, along with The
Art Newspaper’s everenergetic Zurich-based
E X C I T I N G N E W P O S I T I O N AT
F R I T H S T R E E T GA L L E RY
One of London’s most significant contemporary art galleries is
seeking a candidate to join an expanding team.
If you would like to work with an exceptional list of international
artists and you have an extensive knowledge of contemporary art
coupled with at least three years sales experience we would like to
hear from you.
Please send your CV together with a covering letter to:
Jane Hamlyn
Frith Street Gallery, London
59-60 Frith Street, London W1D 3JJ info@frithstreetgallery.com
Closing date for applications Friday 4th November 2005
correspondent Marc Spiegler.
Overseeing the whole
event was The Royal
Academy’s Norman
Rosenthal who had been
drafted in as referee while
courageously declaring: “It’s
42 years since I was on a
football pitch—my daughters
have been re-educating me in
the rules of the game,” and
who was clutching a fistful of
cards of all colours in order to
dispense what he described
as a “full palette” of potential
penalties. “It’s a whole new
curatorial experience for
Norman,” commented Antony
Gormley, “ I think he’s chosen
to adopt a more
choreographic approach”.
Indeed, once the whistle
was blown, play was fast and
furious with the end result a
2-1 victory for the home team.
Nonetheless, there had been
vigorous debate when one
home side goal (scored by
Darren Almond) allegedly
took place after a handball
had been declared; with the
other (scored by David
Risley) infuriating the
international players who had
halted play after an offside
call. Mr Rosenthal himself did
concede after the match that
the goal allowance was “a bit
dubious” adding that “I hate
matches when nobody
scores.” However there were
smiles all round when
Modern Painters editor Karen
Wright presented the (still
wet) clay trophy made by FAT
architecture practice,
commenting that “I like the
fact that our trophy is only
just made —at Modern
Painters we like tight
deadlines!” She also
promised that the match
would now be an annual
fixture.
Louisa Buck
PUBLIC ART FUND
TALKS
AT THE NEW SCHOOL FALL 2005
RONI HORN
ALL TALKS BEGIN
MONDAY AT 6:30 PM
DO-HO SUH
THE NEW SCHOOL
JOHN TISHMAN AUDITORIUM
WEST 12TH STREET
JOSIAH McELHENY 66
NEW YORK
MONDAY, NOVEMBER 7
MONDAY, NOVEMBER 21
MONDAY, DECEMBER 5
Public Art Fund Talks offers an ongoing
series of discussions and presentations by
some of today’s most influential artists,
critics, and curators. The program is
organized by the Public Art Fund in
collaboration with The Vera List Center
for Art and Politics at The New School.
BETWEEN 5TH AND 6TH AVENUES
General Admission $5
$3 Members of PAF and Seniors
Free to students with valid ID
Email reservation requests to:
talktickets@publicartfund.org
or call: 212.980.3942
Josiah McElheny, Modernity circa 1952, Mirrored and Reflected Infinitely,
2004 (detail), courtesy Donald Young Gallery, Chicago
Public Art Fund
One East 53rd Street, New York, NY 10022 www.publicartfund.org
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Charing X Gallery
New works by
Cathy de Monchaux
22nd of October – 3rd of December 2005
121-125 Charing Cross Rd, London, WC2H OEW
Tel: 0207 287 1779 Fax: 0207 287 1925 info@charingxgallery.plus.com
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A
Clockwise from top left: Evening Standard Magazine
(June 2005), The Sunday Telegraph (April 2005), The
Times (October 2004), The Evening Standard (December
2005), The Financial Times (May 2005), The Guardian
(January 2005), The Independent (January 2005), Le
Monde (April 2005)
“The art world’s most respected publication” - The Sunday Telegraph, 24 April 2005
“The art world’s bible” - The Evening Standard Magazine, 3 June 2005
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
6
Selected by the stars Artists, art world
professionals and the odd celeb choose their
favourite works at Frieze
Frank Cohen, collector
Manchester
Patrizia Sandretto
Re Rebaudengo, director
Fondazione Rebaudengo
Turin
Jarvis Cocker, pop star
“Um, yeah, I really liked
Michael Bauer’s untitled
paintings (2005) at Hotel
(H5).” On Frieze: “It’s a lot
of art, isn’t it?”
Antony Gormley, artist
Sarah Lucas, She likes it cosy
(2005) at Barbara Gladstone
(C6). “I think she’s just so
back on form—it’s extremely
formal, extremely tacky and
just so funny and true.”
Sarah Lucas is also showing
at Sadie Coles HQ (C10).
“There will be a show
of Italian artist Patrick
Tuttofuoco’s works next year
at my foundation. I really like
the way his work focuses on
megalopolises. In fact, I have
a neon piece of his next to my
swimming pool which has city
names in lights. From West
to East (2005) at Haunch
of Venison (F16) is based
on the same theme.”
Toshio Hara, director
of the Hara Museum
of Contemporary Art, Tokyo
Charles Saatchi, collector
“I have several works
by Martin Kobe and am
commissioning him to do a
piece for the museum I am
opening in Manchester next
year. Unfortunately this piece
(Untitled, 2005) at White
Cube (F8) was already
reserved—its got a strong
3D perspective, its a very
powerful image—when you
look at it, it just hits you.”
Isa Genzken sculptures
at David Zwirner, New York
(C11). Above, Snoopy (2004,
detail). Thomas Helbig
paintings at Modern Art,
London (D13) and Guido
W. Baudach, Berlin (H10).
Michael Krebber Die
Freundin (The friend, 2004),
Diem Intellektuelle
(The intellectual, 2004)
mannequin sculptures
at Greene Naftali,
New York (G5).
“I came to Frieze to look
at and get to know young
artists—but what really
impressed me at Tanya
Bonakdar Gallery (E9) was
this piece by Olafur Eliasson
(Yellow double kaleidoscope,
2005) which is a work
of real maturity.”
7
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
Dinos
Chapman
artist:
“My favourite
work is
my own.”
On show
at White
Cube (F8)
Alice Rawsthorne, director
Design Museum, London
“If I was a millionairess
(sadly, I’m not), this is the
piece I would have from the
fair. Paul Noble’s Welcome
to Nobson’s new personalised
holiday villas. Villa jem. Rear
view (2005) at Maureen
Paley (C12). It’s very, very
rare, because this artist’s
works always takes so long.
I’ve always wanted one.”
Norman Rosenthal
exhibition secretary
Royal Academy of Arts
London
Andrew Mania’s Untitled
(oval mount girl, 2005)
at Vilma Gold, London (D20).
“Andrew is a great draughtsman and these are terrific
drawings. He has a big show
coming up at the Chisenhale
Gallery in London.”
Mark Wallinger, artist
Madrileño No.2 (2005)
by Evan Penny, $80,000,
at Sperone Westwater (B19).
“It’s a mind-boggling little
attraction of its own—like
a Ron Mueck head crossed
with the anamorphic skulls
in Holbein’s Ambassadors—
it quite defies the eyes.”
Dexter Dalwood, artist
Kirsten Dunst, actress
“Aya Takano’s pieces at
Galerie Emmanuel Perrotin
(D3) are my favourite
pieces.” Above, Tokyo Tower
(2005).
“I enjoyed a series of small
digital typewritten prints
by Christopher Knowles,
Untitled (The President)
(1983, detail above) with
Gavin Brown's Enterprise
(D7). They are very beautiful
and idiosyncratic. I also liked
Jeff Wall's piece, Burrow
(2005), with Marian
Goodman (F9) which
is surprising and unlike
anything I had seen
in the Tate exhibition.”
Tracey Emin, artist
Spiritual midwifery rush
(2005) by Corey McCorkle
at maccarone inc. (B3),
edition of three, $20,000,
for the whole series. “It
freaked me out—if anyone’s
thinking of giving birth,
don’t go there!”
ED RUSCHA
O CTO B E R 2 8 – D EC E M B E R 2 4 , 2 0 0 5
GAGOSIAN GALLERY
4 5 6 N O RT H CA M D E N D R I V E
B E V E R LY H I L L S , C A 9 0 2 1 0
Skulduggery
Steven Gregory
25 November –28 January 2006
Information Centre and Gallery
3+4 Percy Street
London W1T 1DF
Phone +44 (0)20 7637 0129
Fax +44 (0)20 7631 1140
www.sculpture.org.uk
Opening times:
Tuesday– Saturday
11am–6pm
T. 3 1 0 . 2 7 1 . 9 4 0 0
W W W. GAG O S I A N . C O M
9
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
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JAMAICA ROAD
Bermondsey
SOUTHWARK
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NEW KENT ROAD
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Kennington
LAN
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for abstract art features the
works of Peter Startup, an
enigmatic figure in the
history of British sculpture,
who developed a singular
formal language with his
favoured material: wood.
transforming museum
cases into walk-in pinhole
cameras. Life-sized
silhouettes of the objects
inside are overlaid with an
inverted negative image of
the galleries beyond.
7 Purdy Hicks
65 Hopton Street SE1 9GZ
Tel: 020 7401 9229
Edgar Lissel
and Michael Porter
Until 12 November
Porter’s intricate
observations of the world
beneath our feet, and Lissel’s
photographs made by
8 Ritter/Zamet
2 Bear Gardens SE1 9ED
Tel: 020 7261 9510
Danica Phelps
Until 19 November
Over the last two years, New
York artist Phelps has been
determining and classifying
the benefits of an expensive
gym membership.
She presents a sequence
of her trademark charts
documenting the time and
money spent at the gym,
along with 26 drawings.
9 Design Museum
28 Shad Thames SE1 2YD
Tel: 0870 833 9955
Eileen Gray
until 8 January 2006
Robert Brownjohn
until 26 February 2006
Undervalued in her lifetime,
Gray is acknowledged here
not only as the most
important female designer
of her epoch, but as a crucial
shaper of Modernism and Art
Deco. Sketches, models and
documentation contextualise
such classics as the
E1027 table. Plus iconic
works from the 1950s and
60s by the graphic designer
Robert Brownjohn.
10 Gasworks Gallery
155 Vauxhall Street SE11 5RH
Tel: 020 7582 6848
Lindsay Seers
Until 30 October
New work in which video
artist Seers explores the
three main phases of her
process of transforming
herself into camera,
ventriloquist, and more
recently, projector. She
performs with DVD
projections on 30 October
at 3pm.
5 FA Projects
1-2 Bear Gardens SE1 9ED
Tel: 020 7928 3228
John Wood and Paul Harrison
Until 19 November
British video artists Wood
and Harrison continue their
witty, deadpan take on the
absurdity of everyday life
with their single-screen
projection The only other
point, which humorously
tracks the trajectory of balls
across space.
Mark Dion’s, Les Nécrophores—L’Enterrement (from Homage à JeanHenri Fabre), 1998, at South London Gallery
11 Hayward Gallery
Southbank Centre,
Belvedere Road SE1 8XZ
Tel: 020 7921 0813
Universal Experience: art,
life and the tourist’s eye
Until 11 December
A grand tour through the
work of 50 international
contemporary artists on the
theme of global tourism.
Includes Darren Almond,
Chris Burden, Maurizio
Cattelan, Fischli and Weiss,
Thomas Hirschhorn, Jeff
Koons, Gabriel Orozco,
Robert Smithson, Thomas
Struth and Andy Warhol.
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Elephant
& Castle
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BETH
LAM
4 Delfina Studio Trust
50 Bermondsey Street
SE1 3UD
Tel: 020 7357 6600
Dieuwke Spaans
Until 1 November
The drawings of Dutch artist
Dieuwke Spaans are dreamlike transformations of
fetishised bodies, based on
images from fashion
magazines. She creates
physical mutations, projecting
animal characteristics onto
her subjects, or human traits
onto animals.
6 Poussin
Block K, 175 Bermondsey
Street SE1 3UW
Tel: 020 7403 4444
Peter Startup
Until 12 November
This newly inaugurated space
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Waterloo
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Southwark
London
Bridge
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3 Cafe Gallery Projects
The Gallery, Centre
of Southwark Park SE16 2UA
Tel: 020 7237 1230
Anne Beam and Mark
Anderson: reap
Until 30 October
Commissioned videos,
sculptures, process-based
installations, events and
performances by 17 artists,
taking place in various
venues in and around the
park. Themes are time, space
and Earth’s seasonal cycle
around the Sun.
LOO
2 Beaconsfield
22 Newport Street SE11 6AY
Tel: 020 7582 6465
Chronic epoch, 1995–2005,
the celebration of a decade
Until 20 November
Group show celebrating
Beaconsfield’s 10th
anniversary. Painting, film,
performance and sculpture
by some of the artists
featured over the past decade
including Eija-Liisa Ahtila,
Beaconsfield Artworks, Keith
Coventry, Bob and Roberta
Smith, Kerry Stewart and
Tomoko Takahashi.
ER
WAT
1 Barbara Behan
50 Moreton Street SW1V 2PB
Tel: 020 7821 8793
Roberto Rizzo
Until 17 December
First London solo exhibition
for this Milan-based painter.
Abstract work employing the
simple instruments and
traditions of painting,
including colours derived
from 16th- and 17th-century
Italian and Flemish painting,
but confronting
contemporary and
technological artistic
developments.
BLACKFRIARS BRIDGE
South London
SOUT
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Listings
12 Saatchi Gallery
County Hall, South Bank
SE1 7PB
Tel: 020 7823 2363
The triumph of painting, part II
Until 30 October
Second instalment of the
major six-part show intended
to demonstrate painting’s
continuing rude health
despite—and even because
of—new media. Artists
featured are Franz
Ackermann, Albert Oehlen,
Wilhelm Sasnal, Thomas
Sheibitz and Dirk Skreber.
13 South London Gallery
65 Peckham Road SE5 8UH
Tel: 020 7703 6120
Mark Dion:
microcosmographia
Until 30 October
Art and science merge
in nutty professor Dion’s
investigations into the
natural world. Highlights here
include a life-sized replica
of a prehistoric Ichthyosaur,
a giant hanging mole (left),
and a detailed survey of plant
and insect life in the gallery’s
Secret Garden.
14 Tate Modern
Bankside SE1 9TG
Tel: 020 7887 8000
Unilever series: Rachel
Whiteread, Embankment
until 2 April 2006
Jeff Wall
Until 8 January 2006
Henri Rousseau
Until 3 November
14,000 things to do
with a cardboard box.
Whiteread’s monumental
installation featuring stacked
polyurethane casts of the
insides of packing boxes
alters the scale and sensory
experience of the Turbine Hall.
Sugar cubes, blocks of ice,
international aid packages
and Raiders of the Lost Ark
are some of the associations
triggered. Upstairs is a
major retrospective
of Wall’s lightbox-mounted
photographs on
a cinematic scale.
Peter Startup’s Cactus at Poussin
Events
Sunday 23/
Monday 24
October
Frieze Talks
Sunday 5pm
Ian Wilson: a discussion
Venue: Guardian Auditorium.
Renowned conceptual
artist, Ian Wilson, will
discuss notions of the
“absolute” with members
of the audience, followed
by questions and answers.
Artists’ Cinema
Sunday 1.30pm
and Monday 2.45pm
Metamorphosis
Venue: Frieze Art Fair.
Curated by Philippe-Alain
Michaud. Films that
explore the concept of
metamorphosis, showing
changing appearances
and movements.
Sunday 5.15pm
Somewhere beyond the sea
Venue: Frieze Art Fair.
Curated by Berta Sichel.
Films that consider
how contemporary
developments have led
to indefinite boundaries
between space and place.
Frieze Projects
Sunday 7.30pm
Henrik Håkansson
Venue: Royal Academy
of Music.
Henrik Håkansson presents
the intriguing sound of a
single bird singing on stage,
which will be recorded and
produced as a film work.
VIP Event of the Day
Sunday 7- 9pm
Venue: Hayward Gallery.
Cocktail reception and tour
of “Universal experience:
art, life and the tourist’s
eye”, led by curator
Francesco Bonami.
Artists’ Tours
Monday 4pm
Jay Chung
and Q Takeki Maeda
Meet at the Frieze Art
Fair’s Information Desk.
An unusual event in which
the artists deconstruct the
concept of “the tour”, why
one would take a tour, and
who would lead it.
The Art Newspaper/Frieze Art Fair Daily
Sunday 23 October/Monday 24 October 2005
10
A daily profile brought to you by Deutsche Bank
Working on our fears
Profile of Cornelia Parker
Avoided Object, 1999. Photograph courtesy of Deutsche Bank.
Cornelia Parker’s work has
flirted with publicity and
public fears. People queued
round the block to see The
Maybe, 1995, her
collaboration with Tilda
Swinton who lay sleeping in a
glass case at the Serpentine
Gallery. She knows what
people want, and also
crucially how to make them
do what she wants. She
persuaded the British Army
to blow up a garden shed,
goldsmiths have reduced
jewellery to a thin line of
thread from which she has
composed wire drawings and
the Royal Mint made her
‘worthless’ embryo money.
She has rifled through the
pockets and attics of the very
famous so that she has used
feathers from Sigmund
Freud’s couch, Mia Farrow’s
negligee from Polanski’s
Rosemary’s Baby and
photomicographs from
Einstein’s blackboard. She
understands our aspirations,
illusions and memories; she
enjoys working with the
physical and intellectual
monuments we create and then
sometimes blows them up.
‘I don’t make art about art’,
Parker claims, and although
there are enough references
to other artists and art ideas
to satisfy the most obsessive
of critics, this is one of the
beauties of her work: she has
the common touch. Her
works are usually made of
everyday objects, even if they
are heavily charged with our
anxieties, aspirations and
phobias.
Cornelia Parker’s career
has been slightly in the
Passion: Contemporary Art.
Performance: Investing in talent and
the environment to help it flourish.
Deutsche Bank is proud to be the main sponsor of the
Frieze Art Fair for the second successive year.
www.db-artmag.com
A Passion to Perform.
slipstream of the generation
that followed her through
college, the Brit-Pack, yet this
has its advantage. Her
ambition was never curtailed
by the marketing advice of
Goldsmiths’ College
professors. Although she
admits to being an inveterate
questioner and declares that
‘I never have a definite
answer; I am more interested
in the beginning rather than
an end,’ she still acts in the
belief that an artist can make
an intellectually coherent
group of work.
Parker was trained in the
Conceptual Seventies, when
The Idea was all-important.
She is happy to acknowledge
the influence of mainstream
20th century movements,
such as Arte Povera, Dada,
and artists like Duchamp,
Yves Klein, and Manzoni. Her
major works can be intricate,
employing explosions,
steamrollers, lighting and
rainforests of wires, but she
has the film director’s knack
of suspending belief - making
us see things clearly and
simply in a fresh way. Her
works never totally rely on
one concept; she brings her
ideas down to earth. She
points to Bruce Nauman’s
influence and alludes to him
referring to Roland Barthes,
‘If you only deal with what is
known, you’ll have
redundancy: on the other
hand, if you only deal with
the unknown you cannot
communicate at all.’ She has
found this balance.
Sometimes one needs to
think through Parker’s
‘destructive production’ to
understand the tuning
between presentation and
concept. It is possible to be
seduced by Thirty Pieces of
Silver when it is hanging
suspended by thin wires from
the Tate’s ceiling and shining
under the curators’
spotlights, but not when one
sees a photograph of the
work in progress: the oldfashioned steamroller
belching steam comes out of
dreams and nightmares as it
rolls towards us squashing
the horde of silver. The artist
recollects, ‘I was living in a
condemned ACME home and
studio just of the M11 at the
time,’ so she was more
vulnerable than most to
steamrollers. She identifies
with the put-upon hero of
Modern Times when his fobwatch is flattened. She talks
of cartoons, Tom and Jerry
forever being killed off and
then springing back to life,
but the guilt in the biblical
title implies that she is not
totally at peace with this
flippant response to the
destruction going on about us
Cornelia may not trip off
the art world tongues as
easily as Tracey and Damien.
She is not a celebrity sculptor
making celebrity sculpture.
Indeed there is a certain
Canute-like defiance about
her stance, epitomised by a
marvelous photograph of her
standing on the cliff top
above the sea magically
suspending the word
‘specific’ in mid-air. The
picture was taken to recall
Words That Define Gravity,
1992, which involved throwing
a dictionary definition of
gravity, all made in lead, off
the white cliffs of Dover.
It is important for Parker
that the potency of the object
does not swamp the impact
of the finished work. At one
stage she had one of
Churchill’s cigars and Hitler’s
ashtray. She contemplated
stubbing out Churchill’s cigar
in Hitler’s ashtray, but she
didn’t. She is not happy to
rely on pure sensation. She
needs marginally more room
to work with our taboos and
neurosis, so she did complete
a series of photographs taken
above the Imperial War
Museum taken with a camera
from the Imperial War
Museum that was previously
owned by Hoess, the
commandant of Auschwitz –
Avoided Object, 1999. She is
confronting our fears. The
passing clouds above a
museum devoted to War
ostensibly tell us nothing of
the horrors that the very
machine that captured the
picture must have witnessed.
Passing time does not stop
the ceaseless debate as to
whether it is possible to make
art after such events.
Avoided Object is the
generic title the artist has
Thirty Pieces of Silver, Tate Gallery, 1988-9, work in progress.
Photograph courtesy of the artist.
given to a sequence of small
works about objects with a
past or pre-empted future.
This series includes
embryonic items such as
Embryo Firearms, 1995, and
Embryo Money, 1996, in
which Parker breaks down
our anxieties. In her
catalogue of 1996, Avoided
Object, she juxtaposes an
illustration of a bag of unmade money, pre-minted
smooth coins in their first
stage of production, against
Nietzsche’s words, ‘Truths are
illusions which we have
forgotten are illusions; they
are metaphors that have
become worn out and have
been drained of sensuous
force, coins which have lost
their embossing and now
considered as metal and no
longer as coins.’
Cornelia Parker does not
deal in Nietzsche’s
certainties, nor does she
totally rely on irony or
cynicism. She is happy to
deal in and quote from what
many would see as tainted
sources and to pick her way
through illusions and truths.
Most of the materials that
make her work are secondhand, many of them
unredeemed pledges from
pawnbrokers. In to this mix
she dazzles us with celebrity
endorsement. Very few artists
have managed to blend our
ideas, both petty and grand,
our surroundings, fears and
other emotions into such a
consistent, but relentlessly
questioning, art.
Cornelia Parker’s work can be
seen at Frieze at the Frith
Street Galleries (Stand C1).
She also has an exhibition
Subconscious of a
Monument, a major work
using earth excavated from
underneath the Leaning
Tower of Pisa, over the road
at the Royal Institute of
British Architects until 27th
October at 66 Portland Place,
London W1B 1AD. She is
represented in the Deutsche
Bank Collection.
Alistair Hicks is Art Advisor
to Deutsche Bank, London
For information telephone (020) 8080 0330 - www.cartier.com
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