frieze 2011, issue 3

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UMBERTO ALLEMANDI & CO. PUBLISHING
LONDON NEW YORK TURIN VENICE MILAN ROME
FRIEZE ART FAIR FRIDAY 14 OCTOBER 2011
Analysis
Europe
Too much too young?
Legal fight
over light
bulb ruling
Galleries reselling works by young artists stand accused of breaching “hidden” codes of conduct
Market speculation
The problem, as some perceive
it, has arisen because the traditional role of a primary gallery
has been to manage its artists’
markets and careers by placing
works carefully with important
museums or respected collectors.
Secondary market galleries, like
the auctions, arguably have little
responsibility to the artist: their
bread is buttered by serving the
seller and maximising profits.
This matters little when an artist
is dead, or so established that
their reputation and prices are
stable—and can be a good way
for collectors to gain access to
their works.
Some, however, fear that
shows like “Guyton Guyton
gallery model. “Traditionally,
there has been very little innovation in our trade, but now galleries are pioneering different
business models,” says David
Zwirner of the eponymous
gallery (G13). “It’s an interesting
move. Artists go from primary
market to secondary so quickly
now,” says Sarah Watson, the director of L&M Arts gallery’s Los
Angeles branch, speaking at
Frieze this week.
It could also be seen as a response to the auction houses,
which became dominant during
the boom years. “Everything goes
to auction anyway. Why can’t a
Death by disconnection
Elmgreen & Dragset’s untitled 2011 installation at Galerie Emmanuel Perrotin (F7) has taken on a
macabre resonance this week. It is a corpse lying on a morgue freezer shelf. Wax legs jut out from
under a white sheet; the corpse’s toenails are painted red. Alongside the figure is a plastic bag in which
belongings have been stored: a pair of Prada heels, a string of pearls and… a Blackberry. Ingmar
Dragset told us that they are clues from which the viewer is meant to extrapolate a story. With dealers
and collectors alike complaining about the woes brought on by the massive Blackberry outage of the
past few days affecting London and much of Europe—one dealer, for example, couldn’t send her RSVP
to the Artforum dinner—here is the scenario we’ve come up with. The freshly pedicured lady collector
arrives at Frieze decked out in pearls and killer heels, only to find that she can’t receive jpegs on her
less than smart phone. Sale after sale goes unconsummated. At her wits’ end with the vagaries of
modern gadgetry, she collapses and dies. (As for Emmanuel Perrotin, he uses an iPhone.) ■ S.D.
artists,” says Lisa Schiff, an art
adviser, who adds that “prices are
now so far beyond what they
would be on the primary market”.
Thomas Dane (F17), whose
gallery represents Walker, says
that it is “totally inappropriate”
for such young artists to be sold
on the secondary market in this
way, and Sadie Coles (C14) says
the venture is “confusing”.
White Cube’s involvement in
this secondary market venture
could be seen simply as a new
strategy for coping with the
pressure on the traditional
dealer do it? It’s the secondary
market, so anything goes,” says
another Frieze gallerist, who
asked to remain anonymous. Just
yesterday, a small “X” painting
by Guyton, Untitled, 2007, sold
at Sotheby’s day sale for
£163,250, more than twice its upper estimate of £80,000.
Other dealers say the phenomenon is new to London but
not New York, and that the stake
in Modern Collections adds another string to White Cube’s
London bow when major US galleries are moving into the British
capital. Philbrick says Modern
Collections is “doing the things
you would expect of an Upper
East Side gallery”. Pilar
Ordovas, who opened a new
space dealing in historic secondary market material last
week, says: “It is a model that has
been very successful in New
York, and which has not really
been adopted in London.”
White Cube is a proud advocate of London. The gallery’s
vast, new, third space in south
London measures 74,300 sq. ft.
“London is a great creative hub,
and we want to play a part in
keeping that momentum going,”
says Tim Marlow, White Cube’s
creative director.
Whatever the reasons for the
trend, the results remain to be
seen. Will the hype taint these
young artists’ careers or can their
markets be sustained? “If [they]
continue to make fantastic work,
then the prices are worth it,”
Libeert says. Philbrick says the
show is just one part of the
gallery’s programme, and that future exhibitions will focus on
various generations of artists—
not just the young. ■
Charlotte Burns
© Stephen Flavin/Artists Rights Society, New York, 2011. Courtesy of David Zwirner, New York
Walker Walker” (until 20
December) could fuel speculation, which may damage the longterm careers of these younger
artists. Others suggest that the
business itself represents a new
twist in the commodification of
art. “It seems like a really irresponsible thing to do to young
Photo: David Owens
LONDON. One of the curiosities of
recent years has been the furore
surrounding young artists whose
works are being traded on the
secondary market for gigantic
sums. The secondary (or resale)
market has historically relied
upon dead or ageing artists for its
supply, but the heat around contemporary art has fuelled a new
phenomenon: an emerging resale
market for artists in the early
stages of their careers.
A new Mayfair space that
opened this week with a whisper
(there wasn’t even a press release) has, nonetheless, set
tongues wagging. Modern
Collections is a secondary market gallery with links to one
of London’s most celebrated
primary market dealers—White
Cube’s founder, Jay Jopling.
White Cube has a stake in the new
business, which is directed by
Inigo Philbrick, its former head
of secondary market sales.
The opening exhibition of
works by Kelley Walker (born
1969) and Wade Guyton (born
1972), whom neither White Cube
nor Modern Collections represents, is proving contentious.
Both artists are very much in
demand. “Their values have skyrocketed. Everyone is talking
about how this has happened and
how it can continue,” says Filiep
Libeert, the Belgian collector
who was an early supporter of
Guyton and Walker. Libeert says
that works that were selling for
$20,000 six or seven years ago are
now priced over $800,000 on the
secondary market.
Paris test case?
A Flavin, or electrical fittings?
PARIS.
David Zwirner (G13) has
hired the Brussels branch of law
firm Mayer Brown International
to explore the gallery’s legal
options regarding the European
Union ruling that works by artists
including the late Dan Flavin,
when disassembled, are classified not as art but as wall lighting
fittings.
“I’ve been in business for almost 20 years and it is the most
absurd thing I’ve heard,” says
David Zwirner, the gallery’s
founder. The ruling means galleries and auction houses have to
pay the full 20% VAT on video
and light works imported from
outside the EU. It is binding on
all EU countries.
The gallery will issue more details during the Fiac art fair (2023 October), where it plans to
show Flavin’s untitled (to the citizens of the Republic of France
on the 200th anniversary of their
revolution) 1, 2, 3, 1989. It has
been exhibited only once before,
at the Leo Castelli Gallery in
New York in 1989. ■ C.B.
Whitechapel’s public-private endowment launched
LONDON.
Three leading patrons
are making their presence felt in
London as the first major donors
to the Whitechapel Gallery’s
Future Fund, a project that aims
to raise an endowment of £10m
by 2020. Greek entrepreneur
Dimitris Daskalopoulos, the
chairman of financial services
company Damma Holdings, and
the London-based, husband-andwife philanthropists Maryam and
Edward Eisler, are founding part-
ners of the new fund. The
amounts given remain confidential, but the donations are
“significant and generous”, a
gallery spokeswoman says.
“The interest from the fund
[will be] used to realise
initiatives that build on
the Whitechapel’s international profile,”
she says. These
Daskalopoulos
include the Daskalopoulos
curatorial award, a cultural
exchange between Athens
and London, and a new
five-year senior post: the
Eisler curator and head of
curatorial
studies.
Meanwhile, in a significant move, the
Future Fund was
kickstarted by a
£2.7m grant from
the arm’s-length
government funding body Arts
Council England in July this
year, the first time taxpayers’
money has gone towards starting
a UK gallery endowment.
The Eislers recently launched
their own foundation, which will
fund curatorial posts, acquisitions and major shows at institutions in London that they already
support, including the Tate and
the British Museum. ■
Gareth Harris
CONTEMPORARY ART PART I
AUCTION 7 NOVEMBER 2011 NEW YORK
PHILLIPS de PURY & COMPANY
450 PARK AVENUE
PHILLIPSDEPURY.COM
2
THE ART NEWSPAPER FRIEZE ART FAIR FRIDAY 14 OCTOBER 2011
Diary
Cutting a glamorous dash at the fair yesterday
was London collector and art patron Valeria
Napoleone, who was vividly co-ordinated with
her identical twin sister Stefania Pramma, a
New York-based fashion designer. They were
a matching sartorial symphony of Issey Miyake
FRIEZE ART FAIR DAILY EDITION
Editorial and production
(fair papers):
pleats and Prada platforms. “We thought
it might be a bit too much,” declared Mrs
Napoleone. “But ‘too much’ is not a phrase
we like to use very often!” declared her
sibling Stefania—certainly, here it seems
that excess is best
Let’s get it on
Access denied
From Stephen Fry’s gushing,
ode-to-Steve-Jobs review of the
Artoon by Pablo Helguera
Courtesy of Paul Simon Richards
Yesterday, we told you there
wasn’t a lot of sexually explicit
work at Frieze. But that doesn’t
mean there isn’t any. One of the
first things you see upon
entering the fair is a giant, pink,
decidedly phallic Franz West at
Gagosian (pictured, D8).
Sometimes a West is just a West,
but there are more explicit
examples. An Urs Fischer
screenprint lining the outside
wall of Sadie Coles’s booth
(C14) features a woman fellating
a man. Across from Andra
Ursuta’s sculpture of a prone
female body covered with
semen at Ramiken Crucible
(R15) are drawings by Judith
Bernstein at the Los Angeles
gallery The Box (R17), run by
Mara McCarthy. Nearly every
one of Bernstein’s drawings—
some of which date from the
1960s (and one owned by her
artist father Paul McCarthy)—
features the male member. “I’m
an old pro with the penis,” she
said. “There are never enough
penises in the show.”
A ration of Richter
is just enough
Ready to rumble
Never mind the rumble in the jungle: now we have the punch-up in the park, with yesterday’s broadcast by
Peckham-based collective LuckyPDF TV (Frieze Projects, P2) erupting into a fist-flying showdown between the
man-mountain that is “Tiny Iron”, who modestly describes himself as “Half Man, Half Amazing”, and “The Dark
Entity Known as RAGE”. The pair came face to face in the LuckyPDF studio to promote their forthcoming bout at the
Harlow Playhouse on Sunday, Sunday, Sunday 23 October, but appeared to break out of the stand and rampage
through the aisles, wreaking particular havoc on the Ancient and Modern (R5) and Hunt Kastner (R6) stands in the
Frame section. Truth or partial fiction? Judge for yourself by viewing the entire broadcast at www.luckypdf.com ■
iPhone 4S in the Guardian
recently, you’d think there is
nothing the machine can’t do.
Think again. At Moscow gallery
XL’s booth (D1), LED sculptures by artists Aristarkh
Chernyshev and Alexei Shulgin
contain invisible messages
viewable through the lens of a
digital or mobile phone camera.
But there’s a hitch. A sign
notifies: “Sorry, iPhones 4 (and
up)… wouldn’t see messages
due to infrared filters.” For all
you iPhone 4 users out there, the
invisible messages say things
like “error”, “access denied”
and “invalid code”, all messages
that, as gallery associate Sergei
Khripun puts it, “show up when
computers crash, but that can
also be read as life issues”.
Friendly rivalry
“In the past your work was
annoyingly snobbish, but now
it is refreshingly boring.”
Nice to see the directors of
London’s not-for-profit spaces
rolling up their sleeves to help
shift their special artists’ editions
on the Museum Editions stand
(next to R4). First off was the
ICA’s Gregor Muir, who joined
forces with the Serpentine’s
Julia Peyton-Jones for a stint of
selling on Wednesday, with a bit
of jovial competitiveness
erupting when Muir joshingly
insisted on standing in front of
the Serp’s display to draw extra
attention to the ICA’s lineup.
Yesterday, it was the turn of
Chisenhale’s Polly Staple and
Joe Scotland of Studio Voltaire,
with Camden Arts Centre’s Jenni
Lomax due to make an appearance today between 11am and
1pm, and Muir planning a
comeback between 12pm and
2pm on Sunday. With sales at an
impressive £65,000 at the time
of writing, this democratic
strategy seems to be working.
From Russia,
with love
Raphael Castoriano, art adviser
and founder of Kreëmart, an
organisation that makes art out
of desserts, was walking
around Frieze with a nose in
his satchel—none other than
Marina Abramovic’s, moulded
out of chocolate. Castoriano
came to the fair from
Abramovic’s retrospective at
Dasha Zhukova’s Garage
Center for Contemporary Art in
Moscow. Dessert at the
opening dinner was, of
course, a Kreëmart
project: a nose cast from
molten chocolate. As the
sniffers were handed
out, Abramovic told
a well-known story
about her nose: how
she’d always hated it
and wished it looked
like Brigitte Bardot’s.
As there were 350
guests at the dinner,
and the noses
numbered 400,
Castoriano has been
left with surplus
schnozzles.
Greek collector Dimitris
Daskalopoulos is known to
have a philosophical bent.
The recent exhibition of his
collection at the Guggenheim
Bilbao was called “The
Luminous Interval” after
writings by the Greek philosopher Nikos Kazantzakis. Upon
spotting Dimitris in the first
hour of Frieze, when the aisles
were still sparsely populated,
he offered the best antidote
we’ve yet heard to the anxious,
frenzied atmosphere of the art
fair experience. “Go to the
Richter exhibition and zero in
on a square inch of a painting
and find the absolute truth.”
There you have it. Tate Modern
here we come.
A mug’s game
David Blandy’s video game
“Duals and Dualities” on the
Zabludowicz stand at the
Sunday satellite art fair is
proving to be popular with all
generations, so gamers young
and old are expected to
converge on the Marylebone
Road in droves tonight for a
tournament from 6pm to 8pm.
However, we have a top tip
straight from the artist’s
mouth, which we faithfully
relay: “Pick Child of the
Atom to win.” Where’s that
bookie’s office?
Message in a bottle
German artist Christian
Jankowski has employed
fortune tellers to predict the
reception of his work in the
past, but for Review, his most
recent serial piece on the
Proyectos Monclova stand at
the Sunday art fair, the
outcome is assured. The
artist is asking critics to
write reviews of the piece,
which then become the
work itself. These are
neatly sealed in a bottle and
sold for €5,000 as “indoor
or outdoor sculptures”. It is
then up to the owner
whether they keep the work
or toss it into the water as a
performance piece for
someone else to discover
and ponder. ■
Editors: Jane Morris,
Javier Pes
Deputy editor:
Helen Stoilas
Production editor:
Ria Hopkinson
Copy editors:
James Hobbs, Emily Sharpe
Designer:
Emma Goodman
Editorial researcher/picture
editor: Julia Michalska
Contributors: Georgina Adam,
Louisa Buck, Charlotte Burns,
Melanie Gerlis, Gareth Harris,
Cristina Ruiz, Emily Sharpe,
Anny Shaw, Sarah Douglas
Photographers:
David Owens, Ola Grochowska
Exhibitions:
Riah Pryor, Belinda Seppings
Executive director:
Anna Somers Cocks
Managing director:
James Knox
Associate publisher:
Patrick Kelly
Business development:
Stephanie Ollivier
Advertising sales UK:
Ben Tomlinson
Advertising sales US:
Caitlin Miller
Advertising executive:
Cecelia Stucker
Published by Umberto Allemandi
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4
Publications
Books that go where the iPad cannot (yet)
There are over 1,000 titles on sale at Frieze this year. But how many art books will there be in the future?
© David Owens
A
lmost 50 years after
Roland Barthes declared
the death of the author,
publishers are facing the possibility of the death of the book.
Franz König, who has had a book
store at Frieze Art Fair since its
inception in 2003, says that the
printed book is still big business,
although he acknowledges that he
has had to adapt to the transition
from analogue to digital, particularly over the past two years.
“The trading landscape has
changed,” says König. “The
biggest pressure comes not so
much from digital publishing,
but from internet selling—prices
and margins are under pressure.
The recommended retail price
(RRP) doesn’t really exist any
more; only specialist books are
still sold at full price. In our stores
and at Frieze, general books sold
at reduced prices are flagged up
with ‘fair price’ stickers.”
At Frieze this year, König is
stocking around 1,000 titles, from
“grey literature” (books without
an ISBN number) to more mainstream publications. General art
books are priced between £5 and
£500 and rare books are priced
“far beyond that”. To coincide
with the Gerhard Richter retrospective at Tate Modern, which
opened last week (until 8 January
2012), König is selling several
rare books by the artist, including
two
limited
editions—Eis
(edition of 90, each cover individually painted, published by
Galleria Pieroni) and Sinbad
(edition of 800, published by
Walther König; 18 come with an
original painting from Richter’s
2010 “Abdullah” series).
Books like these are “complex
objects”, says König. “They often
require more skill to create than a
work of art. They are also permanent records, unlike temporary
exhibitions.” König is confident
that the Richter books, including
the Tate’s exhibition catalogue,
will prove popular at the fair.
Browsing time: König Books at Frieze
An emphasis on the book as a
finely crafted object is one tack
publishers are taking in the face
of stiff competition from eBooks,
which are faring well largely
thanks to the meteoric rise of the
iPad. According to figures
recently released by the
American
Association
of
Publishers, eBook sales rose
from $181.3m in the first half of
2010 to $473.8m in the same
period this year—an increase of
161%. Julius Wiedemann, the
director of digital publications at
Taschen, says publishers are
focusing much more on the
design of books: “Now you have
to think about how to use all the
properties that print gives you
that you can’t get online.” The
way to compete is “not to
compete but to create something
completely different”, he adds.
If publishers are focusing on
form and design to bolster sales,
they are increasingly looking to
the internet to distribute content.
Although Taschen is known for
publishing large-scale, sumptuously designed art books, it has
also tapped into the iPad market,
and in December 2010 released
“
Books can be
more complex objects
than works of art,
says Franz König
”
its first app—the architectural
monograph Yes Is More—on
iTunes. The digital version of
the book, which focuses on the
Danish architectural practice,
the Bjarke Ingels Group (BIG),
features 25 videos and 360degree images of their exhibitions. Taschen plans to release
seven more titles as apps—
including Architecture Now! 7,
Art Now! 3 and Caravaggio—by
the end of this year. According to
Wiedemann, however, publishers often struggle to break even
with apps, which are costly to
produce. As König says: “Digital
publications are always add-ons
because digital revenue alone is
not yet sufficient to create original content.”
Like Taschen, Phaidon is
straddling the analogue-digital
divide by continuing to produce
weighty coffee-table books while
also developing its online operations with a new-look website.
Phaidon’s latest art book, The Art
Museum, a 7kg, 992-page tome,
which is being published this
week to coincide with Frieze and
is on sale at König’s store for
£83.47 (RRP £125), offers readers huge colour reproductions of
works. Richard Serra’s The
Matter of Time, 1994-97, is
reproduced on a double-page
spread, for example. Amanda
Boetti hitch takes shine off Bonhams’ big night
In the end, Bonhams
couldn’t quite pull off its first
Frieze week contemporary sale.
The event, featuring 20 lots—all
fresh to market—would have
been a success if only the headline work, Alighiero Boetti’s 30ft
long Anno 1984, (est £1.2m£1.8m) had sold. No bids came in
for the Boetti at yesterday’s
auction and Jonathan Horwich,
the head of pictures at Bonhams,
had to hammer it down unsold.
“The main issue is its scale, which
cuts out a lot of private collectors,” said dealer Pilar Ordovas,
adding: “There’s no doubt it
should be in an institution.” The
work was recently in Greece’s
Dakis Joannou collection, from
which it was given to the seller.
Bonhams had offered a cash
advance against the work (for less
than half its estimated value,
according to Anthony McNerney,
the head of the contemporary art
department). McNerney said
that, should Bonhams not subsequently sell the work privately,
this loan would be repaid.
The rest of the sale was solid,
with a respectable 70% sold by
Sold: Chu’s, Lueurs, 1981
Must reads
König’s predictions for this year
1. Peter Doig, Richard Shiff
and Catherine Lampert
(Rizzoli), £70.32, RRP: £100
2. Hortus Conclusus, Peter
Zumthor (Serpentine Gallery),
£25, RRP £25
3. Gerhard Richter, Panorama,
Nicholas Serota and Mark
Godfrey, eds (Tate), £25, RRP
£25
4. Wilhelm Sasnal exhibition
catalogue (Whitechapel
Gallery), £19.95, RRP £19.95
Best sellers in 2010
1. Louise Bourgeois: Fabric
Works, Germano Celant
(Skira), £58.25, RRP £65
2. Klara Lidén, Melissa Larner,
Sophie O’Brien and Teresa
Hahr, eds (Serpentine
Gallery/König Books), £19.80,
RRP £19.80
3. Leo & His Circle: a Life of
Leo Castelli, Annie CohenSolal (Knopf NY), £22.70,
RRP £22.70
4. Rich Texts, John Kelsey
(Sternberg Press), £13.95,
RRP £13.95
industry. This month, Swedish
furniture company Ikea is rolling
out a new version of its “Billy”
bookcase with deeper shelves,
designed to hold coffee-table
books and objects rather than the
humble paperback. Ikea says the
bookshelf can be configured to
“cater for all books”, but the
redesigning of this ubiquitous
piece of furniture signals a shift
in consumer tastes. König, like
many publishers, is adamant the
book will prevail. “A change in
medium
doesn’t
happen
overnight,” he says. “Books
have evolved over a very long
time. They are a perfect package
whose 500-year-old tradition
can’t just be cut off.” ■
Anny Shaw
Lacklustre mood at Sotheby’s
Contemporary auctions
LONDON.
Renshaw, an editorial director at
Phaidon, says: “You wouldn’t be
able to view works of art at this
quality on a computer screen.”
Art fairs and book fairs such as
the
Whitechapel
Gallery’s
London Art Book Fair, which
focuses on art historical books,
artists’ books and exhibition catalogues from the public and private
sectors (next edition 21-23
September 2012), provide excellent opportunities for readers to
physically handle books. “Art
books are distinctive because their
reproduction and materiality are
two key components,” says Iwona
Blazwick, the director of the
Whitechapel. “I do not believe
they will ever go digital. When all
these technologies keep moving
on, the book will abide.” For the
first time, the Whitechapel has a
presence at Frieze this year,
having formed a consortium with
fellow non-profit organisations
(the Camden Arts Centre,
Chisenhale Gallery, Institute of
Contemporary Arts, Serpentine
Gallery and Studio Voltaire).
They share a stand (next to R4),
which has been donated by Frieze,
where they are selling works “in
the tradition of limited editions
and multiples”, priced between
£75 and £4,000. Profits will return
to the individual organisations.
Wiedemann says fairs are the
perfect place to show titles.
“Because a lot of books are now
bought online, without the object
in front of you, it’s hard to
convince people of their value,”
he says. “We are always thinking
about how we can get people in
contact with the books, and fairs
are a great platform for that.” A
sample copy of Taschen’s monograph on Mark Ryden, due to be
published next month, is on
display at Paul Kasmin’s stand
(G2), alongside Ryden’s painting
The Meat Shop, 2011.
It is not only publishers who
are having to respond to the
changing landscape of the
lot—so healthier than the 66% at
Phillips de Pury’s equivalent
auction on Wednesday evening,
but with a still small £2m sale total
(est £3.3m-£4.6m). One highlight
was Lueurs, a 1981 painting by
Chinese artist Chu Teh-Chun,
which attracted lively bidding
from the telephones, saleroom
and the internet before selling for
£103,250 (est £30,000-£50,000).
“I think we have a fighting
chance,” said McNerney of the
firm’s contemporary sales, adding that it has a “stonking masterpiece” for its sale in February. ■
Melanie Gerlis
LONDON. Credit must be given to
Sotheby’s (and its fast-paced
auctioneer Oliver Barker) who
managed to sell an uneven
selection of works at last night’s
contemporary art sale. The
mood was lacklustre as most of
the lots sold for under or
around their low estimates,
after bidding from only one or
two parties—but sometimes
that is all it takes. One of the
higher quality lots, Lucian
Freud’s finely painted 1952
Boy’s Head portrait of his young
neighbour Charlie Lumley, sold
on its second bid for a hammer
price of £2.8m, under its £3m£4m estimate that dealers felt
was “punchy”. Of the 47 lots on
offer, 11 went unsold, a
respectable sell through rate of
77%. The sale total was £17.8m
(once premium was added), just
below its £19.1m-£26.6m presale estimate. ■ M.G.
RACHEL HOWARD FOLIE À DEUX
DAT ES :
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7
Interview: Adam Curtis
Cowardly art in a conservative age
The documentary director on snobbish artists and the limitations of an increasingly narrow culture
“All Watched over by Machines
of Loving Grace”, shown on
BBC Two in May, investigates
how computers have colonised
the way we see the world.
We met Curtis to discuss his
work and his views on contemporary art.
Adam Curtis draws on collage in his award-winning journalism
work which is patronising to
people who actually want to
know more.
I work in television, a mass
medium. I believe that your job
is to try to take people seriously.
Don’t patronise them. It’s
wrong; it’s snobbish. I sometimes feel that the art world
does the opposite. I think you
can explain anything, however
complicated, in simple terms.
What do you think is the
prevailing mood of
contemporary art?
The art of our time desires to
feed the mood of our time,
which is the desire of individuals to experience things for
themselves and not be lectured
to by elites. This is dominant in
television as well as art.
If your job is to allow people
to experience things as
individuals, you can’t liberate
them from themselves, which is
what art used to do at other
times. Religious art, revolutionary art, all sorts of other art
were about transcendence, the
idea that you’re part of
something bigger than yourself.
That’s gone now. What you
now have in novels, films and
books is very much the
experience of the individual
narrator, which the audience
either connects to or doesn’t.
It’s incredibly limiting because
you constantly have to give the
audience pointers that connect
to their own experience.
There are lots of good artists,
but I do notice that a lot of
people do things that Marcel
Duchamp did in 1917—that’s
quite odd. There is a prevailing
sense of stasis. For example, in
television you go back into the
past; you rework shows either
in an ironic way or not in an
ironic way. Strictly Come
Dancing is just a talent show
from the 1950s.
I’m not a cultural commentator but I sometimes wonder if
it is quite conservative with a
small “c”, quite constrictive,
when you are stuck with the
individual and her or his
desires, because people don’t
want to be taken out of
themselves. They’re slightly
frightened. And why not?
We’ve lived through 100 years
when people were taken out of
themselves by totalitarianism
and nationalism, and look
where it led. Will nationalism
come back with the economic
crisis? That’s going to raise all
sorts of other questions but it
will probably break the logjam
of art, and real fears will have
to be examined, not mock fears,
which is what a lot of art and
journalism examines at the
moment. Think of bird flu.
Nationalism is a lot more
frightening than bird flu.
Does art have the power to
change the world?
What interests me is how
power works. The spats I have
with some of my colleagues
[are because] I think they’re
overly obsessed with the
concept that power simply
works through Parliament.
Lawmakers have enormous
amounts of power, but I also
think power works through the
great stories of our time, which
are art and science in all their
different manifestations.
I’m intrigued by how ideas
in society shape the way we
think and feel—thus they can
change the world. The battle
I have with certain aspects of
the left is that they believe that
everything follows economic
forces. I think it’s a little more
complicated than that. Ideas
have really big influences.
I don’t think you’d have got
Mrs Thatcher if you didn’t
have punk music at the same
time. They were both expressions, in completely different
ways, of a much bigger mood
of complete independence—an
“I don’t want to be controlled
by you” attitude.
I’m fascinated by science, by
stories of the Large Hadron
Collider, particles going faster
than the speed of light. I love
the quote reported in the
newspapers: “And if this is
true,” said the professor from
Oxford, “we’re buggered.” Isn’t
the notion that there is something out there that changes
everything we think we know
exciting, awesome and
wonderful in a way that very
little art today really is? ■
Interview by Cristina Ruiz
❏ Adam Curtis’s talk takes place on
Saturday 15 October at 4.30pm. Entry is
included in Frieze admission tickets. Seats
can be booked at the auditorium from 12pm
on the day
Roy Lichtenstein The Den 1990-96 Mixed media collage on board © Estate of Roy Lichtenstein
The Art Newspaper: What are you
going to talk about at Frieze?
Adam Curtis: I will probably
explain what I do. I know
nothing about art but I nick
various techniques from art,
such as collage, and I apply
them to journalism. I go back
into the recent past and look
at the way things were filmed
20 years ago, and take [the
footage] apart and put it back
together again to say: “Actually,
you could look at what was
happening then in this way.”
Although I borrow from art,
I sometimes find the prevailing
art view—which is “there is no
such thing as reality, it’s
whatever you make it”—a bit
cowardly. It somehow justifies
artists just noodling and not
engaging with the real world
and with what people really
desire. I’m not saying that’s
everywhere; this is a gross
oversimplification.
What do you make of art that is
so obscure it requires curators
to decipher it?
The generous interpretation of
that is that artists are going for
a higher truth which is invisible
and inchoate and difficult to get
to. Speaking as a journalist, if
they’re doing that, they have no
excuse for then actually writing
about the work in the same
way. None. Zero. If they want
to say nothing, I respect that.
But I have real problems with a
cowardly description of the
© Getty Images. Courtesy of BBC Pictures
O
nce you’ve seen a
documentary by Adam
Curtis, you’re unlikely
to forget it. Using riveting
sequences of archival footage,
music and film clips, Curtis
weaves narratives about politics
and power, the rise of ideas and
the forces that shape society.
His films describe periods and
people we think we already
know, but present new,
sometimes astounding, readings
of recent events.
In his award-winning BBC
Four series “The Century of the
Self” (2002), Curtis charted the
history of modern consumerism
and its manipulation by those in
power, using the story of the
Freud dynasty as the narrative
backbone. The documentary
starts with Edward Bernays, the
nephew of Sigmund Freud who
moved to America, invented
public relations in the 1920s
and pioneered the use of his
uncle’s theories of psychoanalysis to help corporations
sell products. It ends with an
examination of how Bill
Clinton and Tony Blair
appropriated these techniques
to launch a new kind of
consumer-led politics. Along
the way, Curtis tells us how
hippies, who believed they
were rejecting the strictures of
society, actually led to the
creation of modern, individuated, lifestyle consumerism.
On BBC Two, in “The
Power of Nightmares” (2004),
Curtis examined the growth of
Islamic extremism in parallel
with the rise of the neoconservative movement in the United
States, arguing that the two
exist in a co-dependent,
mutually beneficial relationship. His most recent series,
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8
Feature
Painting: back from the dead
This year’s fair proves that the medium is alive and well—and the debate about its health may finally be over
© Mark-Woods.com, 2011. Courtesy of Gavin Brown’s Enterprise
Photo: Jason Dewey. Courtesy of the artist and the Modern Institute/Toby Webster Ltd, Glasgow
T
he demise of
painting has been
declared on
countless occasions. It is said
that Paul
Delaroche exclaimed “from
today, painting is dead” on
seeing the daguerreotype in
1839. Aleksandr Rodchenko
claimed to have “reduced
painting to its logical conclusion” in 1921, several decades
before Ad Reinhardt declared
that his black paintings were
“the last paintings which
anyone can make”.
In the 1980s, in a scene
gripped by French cultural
theory, the critic Yve-Alain
Bois wrote: “One hears endless
diagnoses of death: death of
ideologies (Lyotard); of
industrial society (Bell); of
the real (Baudrillard); of
authorship (Barthes); of man
(Foucault); of history
(Kojève).” Amid all this,
Douglas Crimp wrote “The
End of Painting”, in a 1981
issue of the journal October,
which cited the art of Daniel
Buren as the medium’s
natural conclusion.
But is the “painting is
dead” debate itself now lost?
Katy Siegel, who presented a
paper, “The Luxury of
Incommensurability”, as part of
Frieze Talks yesterday,
certainly hopes so. Siegel, a
professor of art history at
Hunter College, City
University of New York, and a
contributing editor of Artforum
magazine, is co-curating an
exhibition—“Facture and
Fidelity: Painting, 19452013”—with Christopher
Bedford, the chief curator of
exhibitions at the Wexner
Center for the Arts in
Columbus, Ohio, where the
exhibition will begin in 2013.
“There is really no serious
discourse in painting because
everyone starts with the idea
that ‘painting isn’t dead yet—
oh my God!’ So the whole of
their rhetorical force is taken up
by explaining the fact that
painting isn’t dead,” Siegel
says. “I wanted to start from
some place different, so you
could actually spend your
energy saying something more
profound and insightful.”
“Facture and Fidelity”
focuses on a particular strain of
art, beginning in the post-war
period, that sits on the cusp of
figuration and abstraction. It
began with Bedford and Siegel
acknowledging the ubiquity of
“figurative but materialist
painting” among young and
mid-career artists. Siegel set out
to try to explain this tendency:
“There was no one really
talking about it because it didn’t
fit in with the pre-existing
categories of painting or not
painting, or painting but doing
it ironically, or abstraction
versus representation.”
For the beginning of the
period covered in the show,
Siegel settled on 1945, when
“things get divided up not just
artistically but ideologically,
and it becomes clear that there
are two positions [abstraction
and figuration], and they’re
loaded—you can’t do both, and
Clockwise from left: Joe Bradley’s Jason, 2011; March to Goodwill, 2011, by Tal R; and Cathy Wilkes’s Untitled, 2011
there is real pressure on artists
politically to make a decision”.
Nevertheless, ever since,
some artists have occupied the
grey area between the two—the
“incommensurable” territory of
the title of Siegel’s talk. They
include Wols, Jean Fautrier,
Willem de Kooning, Maria
Lassnig, Albert Oehlen and
Peter Doig. “These artists are
fundamentally interested in
conflicting ideas, in things that
don’t fall into categories,” she
says. “There are experiences
that are not easily spoken about
with language, and not because
they are mystical or ineffable
or something like that, but
because they are too complicated and they don’t fit into those
black-and-white discourses.”
One advantage of occupying
this indeterminate cusp is the
freedom and flexibility it has
given painters. “In these artists,
you find an urge to change and
keep changing,” Siegel says.
“It’s hard to see, perhaps,
unless you have looked at a lot
of their work chronologically,
but there is a wish to keep
themselves in some uncertain
place, despite all their accomplishments.”
This idea of an “uncertain
place” is an apt description of
the painting practices beyond
Siegel’s exhibition, which
are widely reflected at this
year’s fair. For the Danish
painter Tal R, who is a guest
professor at the influential
Kunstakademie in Düsseldorf,
the post-“painting is dead”
world is fertile territory for
painters. “If painting is
considered dead by somebody,
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it is better for the painter,
because then you are actually
free to work,” he says. “If an
art form is taken for granted,
there is a tendency for the artist
to become lazy. Painting gets
its strength from being weak.”
Painting can also define itself
in opposition to the speed and
ubiquity of new media, he says.
“Painting is a very humanistic
way of talking about the human
experience.”
Toby Webster, the director
of the Modern Institute in
Glasgow (B12), concurs with
Tal R’s view that the 1980s
debates about painting’s
validity ignited rather than
diminished the medium. “The
argument encouraged people
to paint,” he says. “It was
The Modern Institute’s
Frieze booth features a recent
work by 2008 Turner Prize
nominee Cathy Wilkes, who
has begun to separate the
paintings that have often been
included in her installations—
small, intense and lyrical
abstracts—and show them by
themselves. Wilkes is one of a
number of Modern Institute
artists, among them Victoria
Morton and Hayley Tompkins,
who have incorporated
paintings in installations with
found objects and sculptures.
“I have been working with
them for 15 years,” says
Webster, “and people are
noticing how important that
work is by Vicky, Hayley and
Cathy—female painters who
“
It is such a mad thing to get a piece of
cloth and stretch it over a frame and spread oil
on it. If you were an alien and saw someone
painting, you would think they were insane
somehow seen as an authority
on what painting was or what
happened to painting. Nobody
likes that in the art world, and
they want to prove it wrong.”
Webster has represented a
steady stream of painters since
opening his gallery in 1998.
“I never really thought I
worked with painters, and now
I am actually working with a
lot of them. And that is quite an
interesting element for me,
because I studied art and we
always thought painting was
the traditional way.”
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”
really have been pushing the
boundaries for a long time.”
These hybrids of painting,
sculpture and installation are
one legacy of painting’s need to
jostle with the pluralist artistic
tendencies of the past halfcentury. “Painting is no longer a
protected territory, and painters
are no longer only in dialogue
and competition among
themselves, within the framework of their own tradition,”
said Thierry de Duve, the
professor of aesthetics and
history of art at the University
of Lille 3, in an Artforum
round-table discussion in 2003
on the death of painting. If
painters must now measure
themselves against artists using
other media, Wilkes, Tompkins
and Morton go even further,
suggesting that painting can
continue to evolve by being
allied directly with them.
For another artist on the
Modern Institute stand, Michael
Wilkinson, painting is just one
part of a diverse practice. He
has come to painting, he says,
via “a circuitous route”, after
studying on the famous
environmental art course at
Glasgow School of Art in the
1990s. It was “the nearest thing
you get to a conceptual art
course”, Wilkinson says, and a
“rival camp” to the painting
students. Recently, when
working with mirrors and
looking around for other
materials to explore ideas
relating to them, he “let
himself” turn to paint and
canvas, he says. “Once that
barrier had been crossed, I
started to find the properties of
the thing in itself—its material,
the fabric—intriguing… it had
all these weird surface and
behavioural qualities. To be
honest, I didn’t really know
what I was doing.”
In coming to painting from a
conceptual art background,
Wilkinson feels he has been
free to experiment, soaking the
canvas, dripping onto it and
using unorthodox solutions
and oils to explore their effects.
“If I had been in a studio with
a ‘commitment to painting’,
I think these might have been
exposition
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accidents that I might not even
have noticed,” he says.
The paintings of Joe
Bradley, which are creating a
buzz in the art world, reflect
just how much the taut
abstract-figurative distinctions
that Siegel recognised as once
having a vice-like grip on
painting discourse have fallen
away. Bradley’s groups of work
at the booths of New York
galleries Canada (G23) and
Gavin Brown’s Enterprise
(B11) are so different that they
could have been made by
different painters, with graphic
silkscreens relating to an early
group of figurative silhouettes
at Canada, and messy,
Basquiat-like painterly works
at Gavin Brown.
“I don’t see that anything in
painting or art-making should
be off limits for exploration,”
Bradley says.
Some voices of dissent
remain. Ryan Gander—whose
Locked Room Scenario,
currently taking place in a
warehouse in Hoxton in east
London, perfectly distils the
conceptual riddles and knowing
nods to art history that have
propelled him to the forefront
of the international art scene—
feels painting is an inadequate
medium for contemporary
ideas. “Painting is a craft; it is
not art any more,” Gander says.
“You can make a painting as an
artist, but that would be because
the concept of the work means
that it needs to be a painting,
not because you like painting.
That’s not art.”
Gander says he feels more in
tune with the music producer
Pharrell Williams or the
furniture designer Michael
Marriott than he does with
painters, “because they are
investigating and exploring real
things in the world, and the fallout of those things turns into
what we call art”. Painting, he
says, is an absurd act. “It is
such a mad thing to get a piece
of cloth and stretch it over a
frame of wood and spread oil
on it,” he says. “If you were an
alien and you saw someone
painting, you would think they
were insane.”
Despite his views, Gander
stops short of declaring
painting’s death, but suggests
that it is “only as important in
art as cake, or a log pile. It
can’t be more important than
those things”. In a way, he
reinforces the position of those
artists who continue to value
painting, such as Tal R and
Michael Wilkinson, in that he
refutes its innate right to be
any more significant than any
other medium—one of the
chief bugbears of the antipainting critics of the 1980s.
As is testified by the scores of
painters who feature prominently at Frieze this year,
painting is not dead. But the
debate about its vitality has
undoubtedly helped to place it
in uneasy territory, and as Katy
Siegel’s talk suggested,
painters have long thrived
amid such ambiguity. “Long
live the death of painting,”
Tal R says. “That’s where all
the possibilities start.” ■
Ben Luke
20-23
SEPT
2012
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Hide and seek
Photo: David Owens
It’s not just what you see at Frieze—it’s what you do that counts
Photo: David Owens
Ibid Projects, E19
Balice Hertling, E22
13
Photo: David Owens
Photo: Ola Grochowska
Take Ninagawa, R18
Georg Kargl Fine Arts, D18
14
Expert eye
Julia Peyton-Jones, right, the director of London’s Serpentine Gallery, chooses her
favourite works at Frieze. This weekend (15-16 October), the gallery is hosting its
annual marathon of events and talks, featuring some 50 artists. The theme is gardens,
inspired by its Peter Zumthor-designed rustic summer pavilion (until 16 October)
Interviewed by Anny Shaw
Creating a ripple
effect
A desire for
authority
Nicole Wermers, Wasserregal,
2011
(£24,000)
Herald St, D11
This is a small piece of cloth
cast in gypsum attached to a post
on the wall, and it’s painted with
watercolours. As with all of
Gober’s work, the thing that
leaves me breathless every time
is the authority of the object,
which is incredibly moving and
I never can fully understand
why; how he can create
something that is so small, but
you see it and there’s no
question that it is the most
beautiful piece. There’s this
whole idea that he takes an
object and then distorts it; he
takes something that is completely everyday and then in
some way, through his reshaping
of it, he turns it into something
to marvel at, something to
unnerve you, something that
really stops you in your tracks,
which is what happened to me
with this piece.
When you are at a fair and
your senses are assaulted, what
do you focus on? Things stand
out to you like beacons, saying
“look at me”, and this work
really stood out. We showed
Gober very early on at the
Serpentine [in 1993], when we
had a combination of wallpaper
works and objects. When his
Hanging Man/Sleeping Man
[1989] wallpaper was shown in
the US, there was outrage, but
when it was shown by us, there
was complete silence.
With the genital wallpaper,
though, there was complete
outrage in the UK. The police
came and tried to close the
exhibition down and questions
were asked in the House of
Commons. I have an incredible
affinity with his work, having
worked with it in that very direct
way and also with him. But
there’s nothing nostalgic about
selecting this piece. It really is
just because it’s an object of
extraordinary presence. ■
All images © Ola Grochowska
Robert Gober, Untitled, 2007
(£100,000-£150,000, sold)
Matthew Marks Gallery, C10
It’s an incredibly subtle piece.
Wermers’s work takes a variety
of different forms, very often
referencing historical figures,
such as Brancusi. She’s highly
aware of the history of sculpture, as well as design. On the
stand there are two pieces by
Wermers that are really
significant. The water piece is
very subtle—unless you were
looking at it very closely, you
would have no idea that there
was any water in it. They are
very shallow steel trays that are
part architecture, part furniture,
part sculpture. The artist has
also taken photographs of the
Rodin museum. She has made
the clips that hold the photographs together and they
become completely enmeshed
with the image. It’s an interesting way of breaking the
boundary between collage and
image and playing with the
A breed apart
Leon Golub, Bite Your Tongue, 2001
($750,000)
Anthony Reynolds Gallery, H3
This fantastic painting was in the [recent] Reina Sofía exhibition of his work at the Palacio de Velázquez, and it encompasses so many
aspects of his work. Golub [1922-2004] was highly politicised. He was an activist and a campaigner, and this work combines some of
the things he is best known for: the slogans, the texts, the graffiti element. There’s a head that reminds me of Basquiat. Of course, the
dog is a central part of the picture; in the mid-1990s, he did a book about dogs called Beware of Dog. The dog always seems to feature
in his work. I am a dog lover, but that’s not why I chose the work. The first time I recognised him for the extraordinarily astonishing
artist that he was came at a collaborative show he did at the Whitechapel Gallery; the [Madrid] show was also simply amazing. It’s
wonderful to find an important work by this artist at a fair—I particularly wanted to choose this work. In these uncertain times, and
particularly at a fair, where it’s all about sales and commerce and this incredible display of so many things, it’s fantastic to have
something that really is grounded in gravitas and weight. It’s a kind of mark in the sand. It’s a great example of the artist’s late work
and was shown at Documenta in 2002, so it really is a museum work. It’s all to do with somehow creating a patina. ■
Time waits for no man
James Lee Byars, Five Points
Make a Man, 1997
($100,000)
Michael Werner, G12
This work, which consists of
five spots made of black silk, is
installed on the wall next to
four small granite pieces by the
artist [The Path of Luck, 1988].
It’s the first time the black spots
have ever been shown. The
spots actually move, so it is an
installation that is involved in
performance. The spots slide
down the wall because the glue
used is not permanent. A
collector said to Byars: “How
on earth can I show this? They
are not going to exist—it’s not
something that is sustainable.”
Byars’s answer was: “At my
stage of life, 15 minutes is a
lifetime.” The artist made this
The unabridged portrait of Paul Chan
Paul Chan, Volumes, 2011
($75,000, sold to a private
foundation in the Middle East)
Greene Naftali, B10
This is from a new body of
work, but it’s not to the
exclusion of what we know
and love in his work—all the
moving images and the
projections. I find it fascinating formally; there’s this
play with the grid and the
fashions of the turn of the
century. He seems to be
playing with that to really quite
a sophisticated degree.
I always think of his books
as a kind of portrait of himself
because he really is an
intellectual; he’s incredibly
well read. He is this extraordinary person who is, of course,
a great artist, but he is also an
activist. He’s a publisher
online and he’s a publisher of
books, as well as of other
materials. That element really
has so much to do with who he
is and how he communicates
with the world.
I was fascinated to see
this representation of an artist
I admire greatly, but also of an
aspect of his work that was
always there but has now taken
this three-dimensional form.
This work does have a very
formal fascination. ■
work just before he died.
Of all the things I have
chosen, the spots seem to me to
make a space; in a curious way,
they push the other works out
of the way and demand
attention. There’s a quote by
Ian Hamilton Finlay about one
of his works being “modest,
appropriate and beautiful”, and
somehow that really applies to
Byars’s piece. ■
architecture of the image itself.
It’s also about drawing, as is the
water sculpture. It’s about the
line. She is a German-born
artist living in London and her
most recent show was at the
Kunstverein in Düsseldorf, but
she has not, to my knowledge,
had a one-person show in a
public space in London. ■
© SOTHEBY’S, INC. 2011 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #9588677 © 2011 SUCCESSION H. MATISSE / ARTISTS RIGHTS SOCIETY (ARS). NEW YORK
LO N D O N
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LONDON
Anri Sala exhibition supported by
Anri Sala
Until 20 November
and
Pavilion 2011
Designed by
Peter Zumthor
Until 16 October
Garden
Marathon
15 –16 October
Pavilion sponsored by
Advisors
Platinum sponsor
Garden Marathon supported by
Admission free
Open daily 10am–6pm
Serpentine Gallery
Kensington Gardens
London W2 3XA
T +44 (0)20 7402 6075
F +44 (0)20 7402 4103
information@serpentinegallery.org
www.serpentinegallery.org
With assistance from
16
Artist interview
Home is where the art is
T
he work of Polish artist
Wilhelm Sasnal demonstrates that the discipline
of painting pictures is far from
dead. His growing prominence
in the international art world is
affirmed by a major retrospective at London’s Whitechapel
Gallery (until 1 January 2012).
The show surveys the past
12 years of the artist’s career,
highlighting his work as a
painter and also as a film-maker.
Born in the small Polish town
of Tarnów in 1972, Sasnal went
on to study at the Akademia
Sztuk Pięknych im Jana Matejki
w Krakowie (the Jan Matejko
Academy of Fine Arts in
Kraków). He rebelled against
the school’s conservative
approach by setting up an
artistic collective called the
Ładnie [“pretty”] Group,
members of which painted
scenes from everyday life,
making broad use of pop culture
as seen in advertisements and
on television.
He left the group in 2001,
moving away from “pretty”
pictures and towards more
weighty subject matter, ranging
from the Holocaust to intimate
portrayals of his family life.
Drawing on politics, art history
and topical events, most
recently the Japanese tsunami,
his work is varied in form and
content but always remains
recognisably his.
The Art Newspaper: Do you find
it anachronistic that people
often refer to you as a painter,
particularly as you also work
in film?
Wilhelm Sasnal: It used to
bother me because I had a
hangover from my studies. At
the academy, there were strict
classifications and you were
known by the discipline you
studied. You weren’t an artist
but a painter, a sculptor and so
on. I tried to avoid being
categorised in this way, but now
I’m fine. I even like this
anachronism, maybe because
I also make films. I am a
painter and a film-maker but
I am mostly a painter.
What do you find in film that
you don’t find in painting?
The main difference is that
films have a plot and, compared
to painting, can contain
numerous thoughts and
attitudes. Of course, one can
refer to painting in films, and
many directors have been
inspired by paintings and art.
When I work behind the
camera, I haven’t given up
being a painter. Looking
through the viewfinder is a lot
like seeing the world as a
painter. However, making films
is a social activity involving a
number of people—you’re not
alone in a studio. The interplay
between film and music also
fascinates me, the way meaning
changes when music is added.
I used to think that painting
closes you and film opens you
up. You suck the image in
through the camera, while you
bring the image out when you
paint. But this is not that clear
to me any more. I now have
more control of the script and
of the set, so it is no longer that
opposite.
You tend to be known as a
painter, and in exhibitions of
your work, your films are often
sidelined. Does this bother you?
Photo: David Owens
Wilhelm Sasnal on how his native Poland provides the inspiration for his work on canvas and celluloid
By Julia Michalska
Sasnal’s Whitechapel show is a rare chance to see his work in different media together
Yes, and it makes me reluctant
to mix painting and film in
exhibitions. I prefer to divide
these two practices, especially
because there aren’t that many
intersections between the two.
In the Whitechapel exhibition,
however, I thought it was
important to include some short
films just to fill a certain
historical moment. At that
particular time, I was making
films on Super 8, combining
them with music and painting.
For me, it was pretty much the
same practice. It was like
jumping into a stream and going
with the flow. As I became
more recognised as a painter,
I felt I needed the support of the
paintings to show the films,
which I didn’t like. There are
also technical barriers to
showing my films in exhibitions.
I make films on 16mm [film],
and show them from reels
through projectors, but this is
very stylish and loud. So I am
now taking the time to reconsider how I show them and am
trying to find the proper balance.
Recently, I’ve become more
involved in large-scale film
production; films that have been
transferred onto 35mm, which
I show at film festivals and in
cinemas. This is an entirely
different type of film, not the
kind that is only a sideline.
Many Polish artists have moved
abroad. Why have you stayed?
The area around my home town
continues to be very inspiring
to me, so I travel and that’s
enough. My recent attempt to
move abroad with my family
[to Israel] for six months didn’t
work out. Within two days, we
decided to move back to Poland
because I just didn’t find what
I was looking for. My career
seems to be going at the right
pace; I have no need to speed it
up. No Berlin, no London, no
New York for me.
Works shown at Frieze in 2003
famously inspired your
“Metinides” series
[photographs by the Mexican
artist Enrique Metinides were
shown by the Kurimanzutto
gallery; its stand was next to
that of the Foksal Gallery
Foundation, which was
exhibiting Sasnal’s work]. Are
you hoping to find inspiration
at this year’s fair?
Honestly, no. I don’t think you
can find inspiration at an art
fair—it’s just too crowded. One
rather just flows through the
corridors among the booths.
I like to be aware of the
destination of some of the works
that leave my studio and to
know what the art world looks
like, but I’m not naïve enough to
think I can control or change it
in any way. Of course, my
works form part of this flood of
works, and I find it hard to
believe that anyone can find
inspiration in my work here
either. Perhaps if you enter the
tent knowing exactly what you
are looking for, it may be
different. But I’m not interested
in art or certain artists enough to
do that. I enjoy Frieze as a social
event but I don’t think I can be
inspired by the works. ■
19
What’s On
FRIEZE WEEK 12-16 OCTOBER 2011
▲ Commercial gallery
Fairs
1 Frieze Art Fair
13-15 October, 12pm-7pm
16 October, 12pm-6pm
Regent’s Park, NW1
www.friezeartfair.com
2 Moniker
13 October, 7pm-9pm
14-16 October, 11am-7pm
54 Holywell Lane, Shoreditch,
EC2A 3PQ
www.monikerartfair.com
3 Moving Image
16 October, 6pm-8pm
Oxo Tower Wharf, Bargehouse
Street, South Bank, SE1 9PH
www.moving-image.info
4 Multiplied
14 and 17 October, 9am-5pm
15 and 16 October, 11am-6pm
85 Old Brompton Road, SW7 3LD
www.multipliedartfair.com
4 Chisenhale Gallery
James Richards
until 20/11/11
64 Chisenhale Road, E3 5QZ
www.chisenhale.org.uk
5 Guildhall Art Gallery
Atkinson Grimshaw: Painter
of Moonlight
until 15/01/12
Liza Dracup: Chasing the
Gloaming
until 15/01/12
Guildhall Yard, EC2V 5AE
www.guildhall-art-gallery.org.uk
6 Institute of International
Visual Arts
Entanglement: the Ambivalence
of Identity
until 19/11/11
Rivington Place, EC2 3BA
www.iniva.org
5 Pavilion of Art & Design
London
Berkeley Square, W1
www.padlondon.net
6 Sluice
26 Molton Lane, Mayfair,
W1K 5AB
www.sluiceartfair.com
8 Peer
John Smith: Unusual
Red Cardigan
until 26/11/11
99 Hoxton Street, N1 6QL
www.peeruk.org
7 Sunday
35 Marylebone Road, NW1 5LS
www.sunday-fair.com
9 Raven Row
Mathias Poledna, Florian
Pumhösl
until 20/11/11
56-58 Artillery Lane, E1 7LS
www.ravenrow.org
EAST
1 Barbican Art Gallery
OMA/Progress
until 19/02/12
Level 3, Silk Street, Barbican
Centre, EC2Y 8DS
www.barbican.org.uk/artgallery
2 Bloomberg Space
Stuart Croft: Comma 39
until 05/11/11
50 Finsbury Square, EC2A 1HD
www.bloombergspace.com
19 ▲ EB & Flow
Neil Ayling: Flection
until 05/11/11
77 Leonard Street, EC2A 4QS
www.ebandflowgallery.com
3 Calvert 22
Between Heaven and Earth:
Contemporary Art from the
Centre of Asia
until 13/11/11
22 Calvert Avenue, E2 7JP
www.calvert22.org
7 Museum of London
The Dispossessed
until 20/11/11
Freedom from: Modern Slavery
in the Capital
until 20/11/11
150 London Wall, EC2Y 5HN
www.museumoflondon.org.uk
Exhibitions
www.theartnewspaper.com/whatson
www.theartnewspaper.com/what-
10 Rivington Place
Entanglement: the Ambivalence
of Identity
until 19/11/11
1 Rivington Place, EC2A 3BA
www.rivingtonplace.org
20 ▲ Flowers East
Nicola Hicks: Aesop’s Fables
until 19/11/11
Simon Roberts: We English
until 19/11/11
82 Kingsland Road, E2 8DP
www.flowerseast.com
© Josephine Meckseper. Courtesy of the Timothy Taylor Gallery, London
Exhibition listings are
arranged alphabetically
by area
THE ART NEWSPAPER
21 ▲ Fred London Ltd
Vaudeville
until 20/11/11
45 Vyner Street, E2 9DQ
www.fred-london.com
22 ▲ Hales Gallery
Richard Galpin: Let Us Build Us
a City and a Tower
until 19/11/11
Tea Building, 7 Bethnal Green
Road, E1 6LA
www.halesgallery.com
Josephine Meckseper
Timothy Taylor Gallery
until 12 November
German-born, New York-based Josephine Meckseper’s vitrine
works and wall pieces feature in this, her first UK solo exhibition. Afrikan Spir, 2011, above, conjures a Hitchcockian
relationship between a black crow, a totem, a make-up mirror
and glass ornaments, and is typical of the 2010 Whitney
Biennial artist’s love of contrasting banal objects, photographs,
sculptures and paintings to comment on contemporary life in
the era of late capitalism. Designation, 2011, a wall piece,
includes found objects by fastening an umbrella, an abstract
painting and a glass crystal on pulsating mirrored bands of red
and blue. The artist’s work is due to feature in London’s Saatchi
Gallery’s next big show, “Gesamtkunstwerk: New Art from
Germany” (18 November to 30 April 2012). ■ B.S.
until 04/12/11
The Street: Reclaim the Mural
until 04/12/11
Wilhelm Sasnal
until 01/01/12
Cristobel Leon, Niles Atallah and
Joaquin Cocina, Marthe
Thorshaug, Rachael Rakena,
Kelly Nipper
until 15/01/12
Rothko in Britain
until 26/02/12
The Bloomberg Commission:
Josiah McElheny
until 20/07/12
77-82 Whitechapel High Street,
E1 7QX
www.whitechapel.org
11 Wapping Project
Bridget Baker
until 21/01/12
Wapping Hydraulic Power
Station, E1W 3ST
www.thewappingproject.com
13 ▲ Anthony Wilkinson
Joan Jonas: Volcano Saga
until 20/11/11
Joan Jonas: Drawing Languages
until 15/01/12
50-58 Vyner Street, E2 9DQ
www.wilkinsongallery.com
12 Whitechapel Art Gallery
Government Art Collection:
Selected by Cornelia Parker
14 ▲ Aubin Gallery
Yasam Sasmazer: Illuminated
Darkness
until 04/11/11
64-66 Redchurch Street, E2 7DP
www.aubingallery.com
15 ▲ Between Bridges
Marte Esknaes
until 30/10/11
223 Cambridge Heath Road,
E2 0EL
www.betweenbridges.net
16 ▲ B & N Gallery
New Space
until 27/10/11
16 Hewett Street, EC2A 3NN
www.bn-gallery.com
17 ▲ Campoli Presti, 223
Cambridge Heath Road
Scott Lyall
until 17/12/11
77a Greenfield Road, E1 1EJ
www.campolipresti.com
18 ▲ Daniel Blau
Gerhard Richter: Benjamin Katz,
Atlas Exchanged
until 12/11/11
51 Hoxton Square, N1 6PB
www.danielblau.com
23 ▲ Herald St
Djordje Ozbolt
until 06/11/11
2 Herald Street, E2 6JT
www.heraldst.com
24 ▲ Hotel
Duncan Campbell
until 20/11/11
77A Greenfield Road, E1 1EJ
www.generalhotel.org
25 ▲ Kenny Schachter ROVE
Bill Wyman: Second Nature
until 30/11/11
33-34 Hoxton Square, N1 6NN
www.rovetv.net
26 ▲ Limoncello
Sean Edwards: Putting Right
until 12/11/11
15a Cremer Street, E2 8HD
www.limoncellogallery.co.uk
27 ▲ Madder 139
Four in Play
until 05/11/11
137-139 Whitecross Street,
EC1Y 8JL
www.madder139.com
28 ▲ Marsden Woo Gallery
Caroline and Maisie Broadhead:
Taking the Chair
until 29/10/11
Renato Bezerra de Mello: the
Crumbs of Childhood
until 29/10/11
17-18 Great Sutton Street,
EC1V 0DN
www.bmgallery.co.uk
29 ▲ Matt’s Gallery
Emma Hart: to Do
until 20/11/11
42-44 Copperfield Road, E3 4RR
www.mattsgallery.org
30 ▲ Maureen Paley
Rebecca Warren
until 20/11/11
21 Herald Street, E2 6JT
www.maureenpaley.com
31 ▲ MOT
Clune Reid
until 19/11/11
Unit 54, Regents Studios,
8 Andrews Road, E8 4QN
www.motinternational.org
32 ▲ Nettie Horn Gallery
Bettina Samson
until 20/11/11
25b Vyner Street, E2 9DG
www.nettiehorn.com
33 ▲ Payne Shurvell
Lucy Wood: Distant Neighbours
until 22/10/11
16 Hewett Street, EC2A 3NN
www.payneshurvell.com
34 ▲ Rocket Gallery
Revolt, Reform, Result
until 27/11/11
Tea Building, 56 Shoreditch High
Street, E1 6JJ
www.rocketgallery.com
35 ▲ Rod Barton
Michiel Ceulers
until 29/10/11
1 Paget Street, EC1V 7PA
www.rodbarton.com
Today’s highlights
14/10/11
Frieze Talks
1.30pm A discussion about
the significance of English
as the lingua franca of the
art world
4.30pm French artist Daniel
Buren on the importance of
context for his work
Frieze Film Programme
4pm Live filming by
LuckyPDF
Frieze Performance
3pm Artist Cara Tolmie, who
works with video and text
Ryan’s bar at Sunday
8pm Cocktails are served
from artist Ryan Gander’s
cocktail recipe book
Moniker
1pm Screenprinting
workshop with artist Beejoir
2
d
one Roa
Maryleb
T
▼
▲
33
et
Stre
nor
e
v
s
Gro
44
49
77
83
72
71
76
63
53
55
74 60 24
69 St
65 80
48 on
54
32 85
84 Brut
23
34
42
5
79
66
51
52
11
35
41
57 86
75
6
17
t
ee
Str
8 Parasol Unit
Yang Fudong: One Half
of August
until 06/11/11
14 Wharf Road, N1 7RW
www.parasol-unit.org
9 Standpoint
Jemima Brown
until 22/10/11
45 Coronet Street, N1 6HD
www.standpointlondon.co.uk
10 The Showroom
Petra Bauer: Sisters
until 19/11/11
63 Penfold Street, NW8 8PQ
www.theshowroom.org
11 Wellcome Trust
Miracles and Charms
until 26/02/12
183 Euston Road, NW1 2BE
www.wellcome.ac.uk
12 Zabludowicz Collection
Laurel Nakadate
until 11/12/11
176 Prince of Wales Road,
NW5 3PT
www.zabludowiczcollection.com/
london
13 ▲ All Visual Arts
Jonathan Wateridge: Mittelland
until 12/11/11
2 Omega Place, N1 9DR
15 ▲ Ibid Projects
Marianne Vitale: Too Much
Satan for One Hand
until 12/11/11
35 Hoxton Square, N1 6NN
www.ibidprojects.com
16 ▲ Kings Place Gallery
Borchard Self-portrait
Competition and Exhibition
until 24/11/11
90 York Way, N1 9AG
www.kingsplace.co.uk
17 ▲ One Marylebone
Reza Aramesh: Them Who Dwell
on the Earth
until 16/10/11
1 Marylebone Road, NW1 4AQ
www.onemarylebone.com
18 ▲ Pangolin London
Two and a Half Dimensions
until 29/10/11
90 York Way, N1 9AG
www.pangolinlondon.com
19 ▲ Victoria Miro Gallery
Tal R: Science Fiction
until 12/11/11
Maria Nepomuceno: the Force
until 12/11/11
Doug Aitken
until 12/11/11
16 Wharf Road, N1 7RW
www.victoria-miro.com
21
39
12
43
4
V
g’s
Kin
ad
Ro
illy
cad
Pic
50
14 ▲ Gagosian Gallery,
Britannia Street
Mike Kelley: Exploded
Fortress of Solitude
until 22/10/11
6-24 Britannia Street,
WC1X 9JD
www.freud.org.uk
14
▲
S
88
es’s
am
56 St J
82 87
are
qu
37
25
73
40
s
es’
Jam
St
Entertaining the Nation: Stars of
Music, Stage and Screen
until 08/01/12
Raymond Burton House,
129-131 Albert Street, NW1 7NB
www.jewishmuseum.org.uk
2
8
47
eet
Str
ent
Reg
45
16
58
S
dox
Mad
t
6
et
k Stre
Broo
en
Reg
78 64
Pl
nd
Portla
MAYFAIR
tS
ne
La
rk
Pa
Serpentine
Gallery
28
St
nd
Bo
St
rk Old
Co
7 Jewish Museum
HYDE PARK
36
27
t
ee
Str
nd
Bo
6 Freud Museum
Barbara Loftus: Sigismund’s
Watch, a Tiny Catastrophe
until 13/11/11
20 Maresfield Gardens, NW3 5SX
www.freud.org.uk
d
oa
eR
ar
gw
Ed
70
Sq
5 Estorick Collection
Edward McKnight Kauffer: the
Poster King
until 18/12/11
39a Canonbury Square, N1 2AN
www.estorickcollection.com
Street
Oxford
St
astle
Eastc
ley
rke
Be
4 Camden Arts Centre
Nathalie Djurberg with Music by
Hans Berg: a World of Glass
until 08/01/12
Haroon Mirza: I Saw a Square
Triangle Sine
until 08/01/12
Arkwright Road, NW3 6DG
www.camdenartscentre.org
St
man
New
26
treet
Oxford S
17
n Ro
Eusto
61 62
et
tre
rS
e
rtim
Mo
treet
ore S
Wigm
15
REGENT’S PARK
T
5
81 29
ne
La
rk
Pa
3 British Library
Michael Katakis: Photographs
until 20/11/11
Arthur Conan Doyle: the
Unknown Novel
until 05/01/12
Queen Mary of Scots
until 15/01/12
96 Euston Road, NW1 2DB
www.bl.uk
St
field
Titch
t
Place
67
NORTH
1 Artangel
Ryan Gander: Locked Room
Scenario
until 23/10/11
1-3 Wenlock Rd, N1 7SL
www.artangel.org.uk
2 Ben Uri Gallery, The London
Jewish Museum of Art
Josef Herman: Warsaw, Brussels,
Glasgow, London 1938-44
until 15/01/12
108a Boundary Road, NW8 0RH
www.benuri.org.uk
12
1
22
42 ▲ Vilma Gold
Sophie von Hellermann: Crying
for the Sunset
until 06/11/11
6 Minerva Street, E2 9EH
www.vilmagold.com
43 ▲ White Cube, Hoxton Square
Elad Lassry
until 12/11/11
48 Hoxton Square, N1 6PB
www.whitecube.com
7
Rd
Ct
nd
Portla
46
w
Ne
41 ▲ Vegas Gallery
3: Harmonie 2
until 20/10/11
45 Vyner Street, E2 9DQ
www.vegasgallery.co.uk
6
10
eet
Thayer Str
40 ▲ Transition
Face to Face: Artists from Galerie
d’YS, Brussels
until 30/10/11
110A Lauriston Road, E8 4QN
www.transitiongallery.co.uk
31
uare
an Sq
Portm
39 ▲ The Nunnery
David Rickard: Testing the Limits
until 06/11/11
181-183 Bow Road, E3 2SJ
www.bowarts.com
13
ld S
chfireeet
nTitd St
Portla
Great
7
37 ▲ Seventeen
Oliver Laric: Diamond Grill
until 12/11/11
17 Kingsland Road, E2 8AA
www.seventeengallery.com
38 ▲ The Approach
Sam Windett
until 06/11/11
47 Approach Road, E2 9LY
www.theapproach.co.uk
4
MARYLEBONE/FITZROVIA
m
ha
ten
Tot
36 ▲ Rokeby
Matthew Sawyer: White Donkey
for Sale
until 22/10/11
5-9 Hatton Wall, EC1N 8HX
www.rokebygallery.com
▼ ▼
▼
What’s On
▼ ▼
20
all
lM
Pal
SOUTH
1 Alma Enterprises Gallery
Richard Grayson: the
Objectivist Studio
until 06/11/11
38-40 Glasshill Street, SE1 0QR
www.almaenterprises.com
2 Design Museum
Kenneth Grange: Making
Britain Modern
until 30/10/11
28 Shad Thames, SE1 2YD
www.designmuseum.org
3 Drawing Room
The Peripatetic School: Itinerant
Drawing from Latin America
until 12/11/11
12 Rich Estate, Crimscott Street,
SE1 5TE
www.drawingroom.org.uk
4 Dulwich Picture Gallery
Masterpiece a Month:
Presiding Genius
until 31/12/11
Sir Peter Lely: Portrait
until 31/12/11
Nicolas Poussin’s First Series
of the Seven Sacraments
until 26/02/12
Gallery Road, SE21 7AD
www.dulwichpicturegallery.org.uk
5 Flat Time House
John Latham and Austin Osman
Spare: Murmur Become
Ceaseless and Myriad
until 30/10/11
210 Bellenden Road, SE15 4BW
www.flattimeho.org.uk
6 Gasworks
All I Can See is the Management
until 11/12/11
155 Vauxhall Street, SE11 5RH
www.gasworks.org.uk
7 Hayward Gallery
Pipilotti Rist
until 08/01/12
Southbank Centre, SE1 8XX
www.hayward.org.uk
8 Horniman Museum and
Gardens
Bali Dancing for the Gods
until 08/01/12
100 London Road, SE23 3PQ
www.horniman.ac.uk
9 Imperial War Museum
Women War Artists
until 27/11/11
Francesc Torres: Memory
Remains
until 26/02/12
Shaped by War
until 15/04/12
Lambeth Road, SE1 6HZ
www.iwm.org.uk
10 Jerwood Space
The Jerwood Drawing Prize
until 30/10/11
171 Union Street, SE1 OLN
www.jerwoodspace.co.uk
11 National Maritime Museum
High Arctic: Future Visions
of a Residing World
until 13/01/12
Astronomy Photographer
of the Year
until 12/02/12
Park Row, Greenwich, SE10 9NF
www.nmm.ac.uk
12 South London Gallery
Gabriel Kuri: before Contingency
after the Fact
until 27/11/11
Independent Curators
International Presents Fax and
Project 35
until 27/11/11
65 Peckham Road, SE5 8UH
www.southlondongallery.org
13 Tate Modern
Taryn Simon
until 02/01/12
Gerhard Richter: Panorama
until 08/01/12
The Unilever Series: Tacita Dean
until 11/03/12
Artist Rooms: Diane Arbus
until 31/03/12
Photography: New Documentary
Forms
until 31/03/12
Bankside Power Station,
25 Sumner Street, SE1 9TG
www.tate.org.uk/modern
14 ▲ White Cube, Bermondsey
Structure and Absence
until 26/11/11
144-152 Bermondsey Street,
SE1 3TQ
www.whitecube.com
15 ▲ Beaconsfield
Nooshin Farhid
until 30/10/11
22 Newport Street, SE11 6AY
www.beaconsfield.ltd.uk
16 ▲ Cafe Gallery Projects
All Is Not Lost
until 23/10/11
Centre of Southwark Park,
SE16 2UA
www.cafegalleryprojects.org
What’s On
▼
▼
13
19
35
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Old S
11
28
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er
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68
37
8
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1
43
ad
reen Ro
hnal G
t
e
B
22
Brick Lane
oad
1
8
14
20
2
9
Whitechapel
Gallery
21 Victoria and Albert Museum
Signs of a Struggle:
Photography in the Wake
of Postmodernism
until 27/11/11
Postmodernism: Style and
Subversion 1970-90
until 15/01/12
The House of Annie Lennox
until 26/02/12
Ai Weiwei: Dropping the Urn
(Ceramic Works, 5000BC2010AD)
until 18/03/12
Cromwell Road, SW7 2RL
www.vam.ac.uk
32 41
e
Bishop’s Gat
33
e Heath Rd
bridg
Cam
18
3
31
Mare St
40
Kingsland Rd
5
16
21
4
13
38
39
15
23
30
29
17
12
3
e
dg
Bri
7
13
22
Tate Modern
7
21
10
Westminster Bridge
11
2
1
23 ▲ Agnew’s, Grafton Street
Zebedee Jones
until 04/11/11
8 Grafton Street, W1S 4EL
www.agnewsgallery.com
Ro
the
rhithe Tunnel
10
Tow
er B
ridge
4 18
loo
ter
Wa
St
Blackfriars Bridge
9
22 Wallace Collection
Display: Dazzling Arms and
Armour from the East
until 26/03/12
Hertford House, Manchester
Square, W1M 6BN
www.wallacecollection.org
24
5
24 ▲ Aicon Gallery
Adeela Suleman
until 19/10/11
8 Heddon Street, W1B 4BU
www.aicongallery.com
14
Houses of
Parliament
9
30
20
Va 38
16
3
18
15
25 ▲ Albemarle Gallery
Kim Yeon
until 29/10/11
49 Albemarle Street, W1S 4JR
www.albemarlegallery.com
17
19
19
ux
ha
ll B
rid
ge
Rd
26 ▲ Alison Jacques Gallery
Paul Morrison
until 12/11/11
16-18 Berners Street, W1T 3LN
www.alisonjacquesgallery.com
24
20
11
Ro
ad
South London Gallery
▲
▲
17 ▲ Corvi-Mora
Anne Collier
until 29/10/11
1a Kempsford Road, SE11 4NU
www.corvi-mora.com
18 ▲ Danielle Arnaud Gallery
Marius Pfannenstiel
until 31/10/11
123 Kennington Road, SE11 6SF
www.daniellearnaud.com
19 ▲ Greengrassi
Moyra Davey
until 29/10/11
1a Kempsford Road, SE11 4NU
www.greengrassi.com
20 ▲ Man and Eve
Alex Virji
until 23/12/11
131 Kennington Park Road,
SE11 4JJ
www.manandeve.co.uk
21 ▲ Poppy Sebire
James Aldridge: Bloodlines
until 12/11/11
All Hallows Hall, 6 Copperfield
Street, SE1 0EP
www.poppysebire.com
22 ▲ Purdy Hicks
Bettina von Zwehl: Made Up
Love Song and other Works
until 07/11/11
65 Hopton Street, SE1 9GZ
www.purdyhicks.com
23 ▲ Studio Voltaire
Alexandra Bircken
until 03/12/11
Doreen McPherson
until 03/12/11
1a Nelson’s Row, SW4 7JR
12
Peckham Road 5
www.studiovoltaire.org
24 ▲ The Agency
Sadie Murdoch: Dream of
the Dreamers
until 22/10/11
66 Evelyn Street, SE8 5DD
www.theagencygallery.co.uk
WEST
1 Architectural Association
Double or Nothing
until 26/10/11
School of Architecture, 34-36
Bedford Square, WC1B 3ES
www.aaschool.ac.uk
2 Austrian Cultural Forum
Thomas Feichtner: Hands-on
Design
until 25/10/11
28 Rutland Gate, SW7 1PQ
www.austria.org.uk/culture
3 British Museum
Grayson Perry: the Tomb of the
Unknown Craftsman
until 19/02/12
German Romantic Prints and
Drawings: Landscape Heroes
and Folktales
until 01/04/12
Great Russell Street, WC1B 3DG
www.britishmuseum.org
4 Courtauld Gallery
The Spanish Line: Drawings
from Ribera to Picasso
until 15/01/12
Somerset House, Strand,
WC2R 0RN
www.courtauld.ac.uk
5 David Roberts Art Foundation
Miriam Cahn
▲
4
23
Listings compiled by Belinda
Seppings and Riah Pryor
Map designed by Katherine Pentney
8
until 17/12/11
111 Great Titchfield Street,
W1W 6RY
www.davidrobertsartfoundation.com
6 Fleming Collection
John Burningham: an
Illustrated Journey
until 22/12/11
13 Berkeley Street, W1J 8DU
www.flemingcollection.co.uk
7 Institute of Contemporary Arts
Frances Stark: My Best Thing
until 23/10/11
Jacob Kassay
until 13/11/11
Ad Reinhardt: a Retrospective
of Comics
until 13/11/11
Franz West: Room in London
until 29/01/12
12 Carlton House Terrace, The
Mall, SW1Y 5AH
www.ica.org.uk
8 Mosaic Rooms
Fadi Yazigi: Che, Angel, It’s
Me, Donkey
until 28/10/11
226 Cromwell Road, SW5 0SW
www.mosaicrooms.org
9 National Gallery
Art for the Nation: Sir Charles
Eastlake at the National Gallery
until 30/10/11
Trafalgar Square, WC2 5DN
www.nationalgallery.org.uk
10 National Portrait Gallery
Glamour of the Gods:
Hollywood Portraits
until 23/10/11
Tony Bevan Self-portraits
October 20/23 2011 — Paris — www.showoffparis.fr
▲
Ca
mb
erw
ell
Ne
w
▲
6
21
until 11/12/11
St Martin’s Place, WC2H 0HE
www.npg.org.uk
11 Royal Academy of Arts
Journeyings: Recent Works on
Paper by Frank Bowling RA
until 23/10/11
Artists’ Laboratory 03: Nigel
Hall RA
until 23/10/11
Maurice Cockrill RA: Works on
Paper from Five Decades
until 30/11/11
Degas and the Ballet:
Picturing Movement
until 11/12/11
Burlington House, Piccadilly,
W1J 0BD
www.royalacademy.org.uk
12 Royal British Society of
Sculptors
From Public Space to
Private Realm
until 28/10/11
108 Old Brompton Road,
SW7 3RA
www.rbs.org.uk
13 Royal Institute of British
Architects
Palladio and His Legacy: a
Transatlantic Journey
until 31/12/11
66 Portland Place, W1B 1AD
www.architecture.com
14 Science Museum
Conrad Shawcross: Protomodel
until 13/11/11
Exhibition Road, SW7 2DD
www.nmsi.ac.uk
15 Selfridges & Co
Museum of Everything:
Exhibition #4
until 25/10/11
400 Oxford Street, W1U 1AT
www.selfridges.com
27 ▲ Annely Juda Fine Art
Christo and Jeanne-Claude:
40 Years, 12 Exhibitions
until 22/10/11
23 Dering Street, W1S 1AW
www.annelyjudafineart.co.uk
28 ▲ Anthony Reynolds Gallery
David Austen: Papillon
until 22/10/11
60 Great Marlborough Street,
W1F 7BG
www.anthonyreynolds.com
16 Serpentine Gallery
Anri Sala
until 20/11/11
Kensington Gardens, W2 3XA
www.serpentinegallery.org
29 ▲ Art First
Kevin Laycock: Collision
until 12/11/11
Liane Lang and Rasha Cahil
until 12/11/11
21 Eastcastle Street, W1W 8DD
www.artfirst.co.uk
17 Sladmore Gallery, Jermyn
Street
Impressionist Sculpture
until 28/10/11
57 Jermyn Street, St James's,
SW1Y 6LX
www.sladmore.com
30 ▲ Art Sensus
Andrei Molodkin
until 17/12/11
7 Howick Place, SW1P 1BB
www.artsensus.com
18 Somerset House
Real Venice
until 11/12/11
Strand, WC2R 1LA
www.realvenice.org
19 Tate Britain
Barry Flanagan: Early Works
1965-82
until 02/01/12
John Martin: Apocalypse
until 15/01/12
Art Now: Ed Atkins
until 22/01/12
Romantics
until 03/06/12
Millbank, SW1P 4RG
www.tate.org.uk/britain
20 The Great Room, 7 Howick
Place
Farkhad Khalilov
until 19/10/11
7 Howick Place, SW1P 1BB
www.farhadkhalilov.com
31 ▲ Atlas Gallery
Ernst Haas: Colour Correction
until 22/10/11
49 Dorset Street, W1U 7NF
www.atlasgallery.com
32 ▲ Beaux Arts
Elisabeth Frink
until 05/11/11
22 Cork Street, W1S 3NA
www.beauxartslondon.co.uk
33 ▲ Ben Brown Fine Arts
Nabil Nahas
until 03/12/11
12 Brook’s Mews, W1K 4DG
www.benbrownfinearts.com
34 ▲ Bernard Jacobson Gallery
Robert Motherwell: Works
on Paper
until 26/11/11
6 Cork Street, W1S 3NX
www.jacobsongallery.com
35 ▲ Bischoff/Weiss
“Just
“Just a quic
quickk wa
walk
lk fr
from
om
the
the G
Grand
rand P
Palais,
alais, on tthe
he
Port
Port de
dess Champs
Champs Ely
Elysées.”
sées.”
What’s On
Raphaël Zarka: Gibellina Vecchia
until 19/11/11
14a Hay Hill, W1J 8NZ
www.bischoffweiss.com
36 ▲ Blain Southern
Rachel Howard
until 22/12/11
21 Dering Street, W1S 1AL
www.blainsouthern.com
37 ▲ Brancolini Grimaldi
Roy Arden: the Homosexual Who
Wrecked an Empire
until 12/11/11
43-44 Albemarle Street, W1S 4JJ
www.brancolinigrimaldi.com
38 ▲ Edel Assanti Project Space
(In)Visible
until 13/11/11
276 Vauxhall Bridge Road,
SW1V 1BB
www.edelassanti.com
39 ▲ Eleven
Ben Turnbull: Supermen, an
Exhibition of Heroes
until 22/10/11
11 Eccleston Street, SW1W 9LX
www.elevenfineart.com
40 ▲ Faggionato Fine Arts
Enoc Perez: Nudes
until 18/11/11
49 Albemarle Street, W1S 4JR
www.faggionato.com
41 ▲ Fine Art Society
The Strawberry Thief
until 28/10/11
148 New Bond Street, W1S 2JT
www.faslondon.com
42 ▲ Flowers Central
Mona Kuhn: Bordeaux Series
until 29/10/11
21 Cork Street, W1S 3LZ
www.flowersgalleries.com
43 ▲ Frith Street Gallery
Marlene Dumas: Forsaken
until 26/11/11
17-18 Golden Square, W1F 9JJ
www.frithstreetgallery.com
44 ▲ Gagosian Gallery, Davies
Street
Andy Warhol: Bardot
until 12/11/11
17-19 Davies Street, W1K 3DE
www.gagosian.com
45 ▲ Gimpel Fils
Niki de Saint Phalle, Andrew
Gilbert and Lucy Stein: the Lost
Art of Convalescence
until 19/11/11
30 Davies Street, W1K 4NB
www.gimpelfils.com
46 ▲ GV Art
Ken and Julia Yonetani: Sense
of Taste
until 22/11/11
49 Chiltern Street, W1U 6LY
www.gvart.co.uk
49 ▲ Hamiltons
Tomio Seike
until 29/10/11
13 Carlos Place, W1Y 2EU
www.hamiltonsgallery.com
63 ▲ Luxembourg and Dayan
Grisaille
until 23/12/11
2 Savile Row, W1S 3PA
www.luxembourgdayan.com
50 ▲ Harris Lindsay
Now and Then
until 28/10/11
67 Jermyn Street, SW1Y 6NY
www.harrislindsay.com
64 ▲ Max Wigram Gallery
Athanasios Argianas: Laid Long,
Spun Thin
until 12/11/11
106 New Bond Street, W1S 1DN
www.maxwigram.com
51 ▲ Haunch of Venison
Frank Stella: Connections
until 19/11/11
Edward Barber and Jay
Osgersby: Ascent
until 19/11/11
Ahmed Alsoudani
until 26/11/11
6 Burlington Gardens, W1S 3ET
www.haunchofvenison.com
52 ▲ Hauser & Wirth, Piccadilly
Phyllida Barlow: Rig
until 22/10/11
196a Piccadilly, W1J 9DY
53 ▲ Hauser & Wirth, Savile Row
Roni Horn: Recent Work
until 22/10/11
23 Savile Row, W1S 2ET
www.hauserwirth.com
54 ▲ Helly Nahmad Gallery
Highlights from the Collection
until 21/10/11
2 Cork Street, W1S 3LB
www.hellynahmad.com
55 ▲ Imago Art Gallery
Marino Marini Contemporary:
Alessandro Algardi
until 31/01/12
4 Clifford Street, W1S 2LF
www.imago-artgallery.com
56 ▲ Jack Bell Gallery
Les Fantomes
until 29/10/11
13 Mason’s Yard, SW1Y 6BU
www.jackbellgallery.com
57 ▲ James Hyman
Photography
Eugène Atget
until 12/11/11
5 Savile Row, W1S 3PD
www.jameshymangallery.com
58 ▲ Karsten Schubert
Bridget Riley: Paintings and
Studies 1979-81
until 18/11/11
5-8 Lower John Street, W1F 9DR
www.karstenschubert.com
59 ▲ Laura Bartlett Gallery
Ian Law
until 18/11/11
10 Northington Street, WC1N 2JG
www.laurabartlettgallery.com
60 ▲ Laurent Delaye Gallery
Michael Stubbs
until 17/12/11
11 Savile Row, W1S 3PG
www.laurentdelaye.com
47 ▲ Hackelbury Fine Art
Garry Fabian Miller: That
I Might See
until 17/12/11
4 Launceston Place, W8 5RL
www.hackelbury.co.uk
61 ▲ Lisson Gallery
Cory Arcangel: Speakers
Going Hammer
until 12/11/11
52-54 Bell Street, NW1 5DA
48 ▲ Halcyon Gallery
Pedro Paricio: Spain Now
until 21/10/11
24 Bruton Street, W1J 6QQ
www.halcyongallery.com
62 ▲ Lisson New Space
Shirazeh Houshiary
until 12/11/11
29 Bell Street, NW1 5DA
www.lissongallery.com
65 ▲ Mayor Gallery
Do Not Remove: Conner, Herms
and Mallary
until 26/10/11
22a Cork Street, W1S 3NA
www.mayorgallery.com
66 ▲ Messum’s Fine Art Ltd
James Dodds
until 22/10/11
Lionel Bulmer and Margaret Green
until 22/10/11
8 Cork Street, W1S 3LJ
www.messums.com
67 ▲ Mummery and Schnelle
Luigi Ghirri: Project Prints
until 29/10/11
83 Great Titchfield Street,
W1W 6RH
www.mummeryschnelle.com
68 ▲ October Gallery
Owusu-Ankomah: Secret Signs,
Hidden Meanings
until 29/10/11
24 Old Gloucester Street,
WC1N 3AL
www.theoctobergallery.com
69 ▲ Osborne Samuel
Steinunn Thorarinsdottir:
Situations
until 11/11/11
23a Bruton Street, W1J 6QG
www.osbornesamuel.com
until 29/10/11
69 South Audley Street,
W1K 2QZ
76 ▲ Sadie Coles, Burlington
Place
Georg Herold
until 29/10/11
4 New Burlington Place, W1S 2HS
www.sadiecoles.com
In the October main edition
77 ▲ Shizaru Gallery
Kelly McCallum: Plumage
and Paradise
until 31/10/11
112 Mount Street, W1K 2TU
www.shizaru.com
Our current edition contains
104 pages packed with the
latest art world news, events
and business reporting, plus
high-profile interviews (and
a smattering of gossip)
78 ▲ Simon Lee Gallery
Michelangelo Pistoletto: Laviro
until 29/10/11
12 Berkeley Street, W1 8DT
www.simonleegallery.com
LA special The story behind
Pacific Standard Time and the
Los Angeles art scene
79 ▲ Sprüth Magers London
George Condo: Drawings
until 12/11/11
7A Grafton Street, W1S 4EJ
www.spruethmagers.com
80 ▲ Stephen Friedman
Mark Garry and Isabel Nolan
until 19/10/11
25-28 Old Burlington Street,
W1S 3AN
www.stephenfriedman.com
81 ▲ Stuart Shave/Modern Art
Richard Tuttle
until 19/11/11
23/25 Eastcastle Street, W1W 8DF
www.modernart.net
82 ▲ Thomas Dane
Albert Oehlen
until 26/11/11
Chicago Imagists: 1966-73
until 26/11/11
11 Duke Street, SW1Y 6BN
www.thomasdane.com
70 ▲ Pilar Corrias Ltd
Charles Avery: Place de
la Révolution
until 16/12/11
54 Eastcastle Street, W1W 8EF
www.pilarcorrias.com
83 ▲ Timothy Taylor Gallery
Josephine Meckseper
until 12/11/11
15 Carlos Place, W1K 2EX
www.timothytaylorgallery.com
71 ▲ Pilar Ordovas
Irrational Marks: Bacon
and Rembrandt
until 16/12/11
25 Savile Row, W1S 2ER
www.ordovasart.com
84 ▲ Trinity Contemporary
Frances Richardson: Ideas in the
Making: Drawing Structure
until 28/10/11
29 Bruton Street, W1J 6QP
www.trinitycontemporary.com
72 ▲ Riflemaker
Artists Anonymous: the
Happy Show
until 05/11/11
79 Beak Street, W1F 9SU
www.riflemaker.org
85 ▲ Waddington Galleries
Ian Davenport
until 29/10/11
11 Cork Street, W1S 3LT
www.waddington-galleries.com
73 ▲ Robilant and Voena
Morandi: Still-life
until 29/11/11
Wim Delvoye
until 16/12/11
38 Dover Street, W1S 4NL
www.robilantvoena.com
74 ▲ Rossi & Rossi Ltd
Faiza Butt and Naiza Kahn:
Shifting Ground
until 29/10/11
Heri Dono: Madman Butterfly
until 24/11/11
16 Clifford Street, W1S 3RG
www.rossirossi.com
75 ▲ Sadie Coles HQ
Andreas Slominski: Europ
86 ▲ Waterhouse & Dodd,
Cork Street
Emil Robinson: Someone and
Some Other
until 21/10/11
26 Cork Street, W1S 3MQ
www.waterhousedodd.com
87 ▲ White Cube, Mason’s
Yard
Raqib Shaw: Paradise Lost
until 12/11/11
25-26 Mason’s Yard, SW1Y 6BU
www.whitecube.com
88 ▲ Whitford Fine Art
Albert Louden: Imaginings
until 21/10/11
6 Duke Street, SW1Y 6BN
www.whitfordfineart.com
News Who owns the damaged
Henry Moore masterpiece
outside Parliament?
Museums The Faurschous, the
Danish dealers, to open
museums in Copenhagen
and Beijing
Art Market China’s booming
art exchange market
Features Victor Pinchuk, right
with Jeff Koons, reveals plans
for a new museum in Kiev
Artist interview Paul McCarthy
on why he will never leave
Los Angeles
Books Photography and death:
coming to terms with grief
Get your free copy
from Stand M5
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Coming up in November
Art Market Jonathan and
Matthew Green discuss the
new Richard Green Gallery
opening in New Bond Street
Museums Clyfford Still’s
Denver museum opens
What’s On Performa, right,
New York’s visual art
performance biennial
Artist interview Maurizio
Cattelan: genius or joker?
Books Holy bones: a round-up
of books on medieval relics
Ragnar Kjartansson, still from “God”, 2007. Courtesy of the artist, Luhring Augustine and I8 Gallery
22
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