Venice makes the art world go round

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ART BASEL DAILY EDITION 13 JUNE 2013
Venice makes the art
world go round
Dumas show coming
to the Beyeler in 2015
ANGOLA PAVILION: PAOLO UTIMPERGHER. DE BRUYCKERE: ERMANNO RIVETTI
As collectors swap Italy for Switzerland, will strong sales at the Biennale boost Art Basel?
REPORT
Portrait of a Young Nelson Mandela
(detail), 2008, could go on display
Basel. As dealers report strong sales at
Art Basel, works in all media are also
selling well at the other major art fair
this summer—the Venice Biennale. The
Italian exhibition is ostensibly a noncommercial event, but in reality, there
are hundreds of new works available
for purchase in the main show, “The
Encyclopaedic Palace”, organised this
year by Massimiliano Gioni, the associate
director of New York’s New Museum,
and in the national pavilions and collateral displays elsewhere in the city.
The Angola pavilion, the winner of
the Golden Lion for best national presentation, has found a permanent home
in Africa. Jochen Zeitz, the director of
the luxury-goods group Kering (formerly
PPR), has bought the installation by
the artist Edson Chagas. It consists of
stacks of photographs taken in the Angolan capital, Luanda; they are displayed
in Venice alongside Renaissance paintings in a 16th-century palace. The work,
which was acquired from the A Palazzo
Gallery in Brescia, Italy, is destined for
a planned museum in Africa. “My collection acquires as much as possible
from biennials,” Zeitz says. “Artists push
themselves, and the critical dialogue
and context that their curators provide
results in evocative and powerful work.”
Mark Coetzee, the curator of the
Zeitz Collection, has bought 85 works
for the collection at this year’s Biennale,
including numerous pieces from the
South Africa pavilion, such as a series
of photographs by Zanele Muholi from
the Cape Town- and Johannesburg-based
Stevenson gallery (S8 at Art Basel), and
three large sculptures by Michele Mathison in the Zimbabwe pavilion from
Cape Town’s Whatiftheworld gallery.
“You get access to artists and galleries
in Venice that you would never see at
Art Basel,” Coetzee says.
The South African-born, Netherlandsbased artist Marlene Dumas is preparing a major exhibition that will travel
from the Stedelijk Museum in
Amsterdam to London’s Tate Modern
and the Fondation Beyeler in Basel.
Theodora Vischer, the Beyeler’s senior curator, is excited by the prospect
of Dumas’s work going on show at
the institution during Art Basel 2015.
One of Dumas’s most famous portraits is of Nelson Mandela, the former South African president, as a
young man. It is not yet clear if the
work, which the artist donated to the
Nelson Mandela Foundation in 2009,
will be included in the exhibition,
although Vischer says it is likely.
“Marlene Dumas is working on the
checklist of works,” confirms a
spokeswoman for David Zwirner
(2.0/F5). Meanwhile, the Schaulager in
Basel has announced the exhibition
that will follow its current Steve
McQueen show (until 1 September).
Next year’s exhibition will be devoted
to the Hong Kong-born artist Paul
Chan. It is due to open on 11 April
2014 and close in September. J.P.
In the Arsenale, a massive, immersive
work by the Los Angeles-based artist
Ryan Trecartin will go to the Londonbased collector Anita Zabludowicz once
the Biennale is over. The Zabludowicz
Collection helped to fund the production
of the as-yet-untitled work. It was bought
from the Andrea Rosen Gallery (2.0/B5)
and Regen Projects (2.1/N6).
A similar arrangement is behind the
screening of Imitation of Life, a video by
Mathias Poledna, in the Austrian pavilion.
The collector Francesca von Habsburg
helped to fund the production of the
Disney-esque animation of a singing
donkey and has acquired the work for
her Viennese foundation. Other pieces
that sold before they went on display
in Venice include a series of paintings
by Lynette Yiadom-Boakye, which were
bought by the Fondazione Sandretto
Re Rebaudengo in Turin, and the Plymouth City Museum and Art Gallery in
the south-west of England with funding
from the UK’s Contemporary Art Society,
via Tommaso Corvi-Mora of the CorviMora gallery, London.
Best sales pitch ever
Berlinde De
Bruyckere’s
Kreupelhout—
Cripplewood, 2013,
at Galleria Continua (2.1/M20)
Back in Basel, dealers
who are normally
keen to publicise their
sales are unusually coy
about discussing transactions in Venice. “The Biennale
is not about sales” was the official
line taken by several of the galleries
CONTEMPORARY ART
EVENING & DAY SALES 27 & 28 JUNE LONDON
we approached. Nevertheless, a major
display in the Italian city is one of the
most effective sales tools at a dealer’s
disposal at the Swiss fair.
Numerous galleries with artists on
show in Venice have brought work by
the same artists to Basel. A small sculpture of four fake rocks balanced on top
of a concrete block by Sarah Sze—Standing pile (Cairn), 2013—sold at Victoria
Miro (2.1/N7) for a five-figure sum in the
opening minutes of the fair. “Since she
“The truth is that Venice
needs Basel and Basel
needs Venice”
was announced as the artist for the US
pavilion, any time we’ve taken a sculpture by her to an art fair, it’s sold within
15 minutes of the opening,” says Glenn
Scott Wright, a co-director of the gallery.
A mixed-media sculpture by the Belgian artist Berlinde De Bruyckere is on
offer with Galleria Continua (2.1/M20)
for €250,000. Kreupelhout—Cripplewood,
2013, was made “in parallel” with the
much larger version on display in the
Belgian pavilion at the Biennale. The
gallery’s owner, Lorenzo Fiaschi, says a
European foundation is “in pole position” to buy the Venetian installation.
Berlin’s Galerie Thomas Schulte
(2.1/K7) is offering six editions of a lightbox by Alfredo Jaar, priced at €150,000
each. Milan, 1946, 2013, shows Lucio
Destined for an African museum:
Edson Chagas’s work for the Angola
pavilion won the Golden Lion award
for best national presentation at the
Venice Biennale
Fontana visiting the ruins of his studio
after the Second World War. Another
edition is on display in the artist’s solo
presentation in the Chile pavilion in
Venice, which also includes a huge
model of the Giardini. Venezia, Venezia,
2013, which sinks into a pool of water
every three minutes, is a unique piece,
but there is also an artist’s proof at half
the size, says one of Jaar’s dealers, Liza
Essers of South Africa’s Goodman Gallery
(2.1/N12). A display at the Biennale “can
shift [collectors’] consciousness of an
artist”, she says, which can significantly
boost their market.
So why are so many dealers unwilling to acknowledge the commercial
side of the Venice Biennale, let alone
discuss details of sales? “There is this
idea that the world of commerce and
the world of pure, unpolluted art should
remain separate,” says Olav Velthuis,
an associate professor in the department
of sociology and anthropology at the
University of Amsterdam and the author
of Talking Prices, an examination of the
workings of the art market. “But the
truth is that these two worlds need
each other. Venice needs Basel and
Basel needs Venice.”
Cristina Ruiz
Libeskind’s US memorial
for Turin palace
The architect Daniel Libeskind plans
to unveil a major architectural installation in the Baroque Venaria Reale
palace near Turin. The Polish-born
American “starchitect” told the Italian
newspaper La Stampa that the new
work “will be a Baroque memorial
that marks a horrific event, symbolising at the same time peace and harmony. It will represent the ambitions
of the United States, its heart and
emotion.” The large-scale wooden
work will be housed in the Citroniera
space inside the Venaria, which was
designed in the 18th century by the
architect Filippo Juvarra. A schedule
for installing the work has not been
confirmed. Meanwhile, an 18,000
sq. m museum of contemporary art
designed by Libeskind, which was initially due to open in 2011 to the northwest of Milan as part of the CityLife
development, has been delayed. Milan
city council declined to comment on
why the project has stalled. G.H.
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
NEWS
In brief
Design district for Dubai
Design galleries dress to
impress in swish new space
Design Miami Basel’s move to the heart of the Messeplatz starts to pay off as collectors arrive in force
FAIR REPORT
Basel. The move to the new exhibition
hall on the Messeplatz, designed by
the Swiss architects Herzog & de Meuron, seems to have reignited the creative
instincts of galleries exhibiting at Design
Miami Basel (until 16 June), where several stands inside Hall 1 Süd are dressed
as interior environments. “The new
space and location has stimulated the
show’s evolution,” says Craig Robins,
the co-owner of Design Miami (in partnership with MCH Group). “Gallerists
are seeing it as an opportunity to step
up a level, with more elaborate expressions of how design can be showcased…
and they’re realising the economic benefits of doing so.”
The Parisian gallery Jousse Entreprise
(G14) has recreated an interior by the
late French designer Pierre Paulin, while
the stand of the Berlin- and Stockholmbased Jacksons (G37) resembles a clinic,
to suit Alvar Aalto’s furniture, some of
which was designed for a sanatorium.
A photo mural of the 1960s studio of
the Japanese-American designer George
Nakashima is the backdrop for the
stand of Sebastian + Barquet (G15), New
York. European collectors snapped up
two “Conoid” tables by Nakashima and
“several smaller Nakashima pieces”
(prices undisclosed). Meanwhile, backlit screens suggest a domestic scene at
Galerie Pascal Cuisinier (G31) from Paris.
Prouvé’s maison
“Fairs need this kind of creative input
from galleries to shake them up, and
we’re finding the payback is enormous,
both economically and in terms of respect,” says Loic Le Gaillard, a partner
at Carpenters Workshop Gallery (G17),
which is sharing a stand with Steinitz,
a Parisian gallery specialising in historic
rarities. The booth emulates the home
of a gentleman collector.
Judging by early sales made on Monday, during the fair’s preview, these
initiatives appear to have paid off. Galerie Patrick Seguin (G07) sold Jean
Prouvé’s prefabricated structure La Maison des Jours Meilleures, 1956, to a European collector for an undisclosed sum
within the first 15 minutes. Jousse sold
a set of three seats with a sofa (€140,000)
and two lights from Pierre Paulin’s
5th June – 27th July 2013
Blain|Southern
4 Hanover Square
London W1S 1BP
+44 (0)20 7493 4492
www.blainsouthern.com
Monday to Friday: 10.00–18.00
Saturday: 10.00–17.00
A “Conoid” table by George Nakashima at Sebastian + Barquet (G15)
“Elysée” collection as well as a “Declive”
chaise longue (€320,000; edition of
three). First-time participant Galerie
Pascal Cuisinier sold a unique ceramictop table by Mado Jolain, priced at
around €40,000, to a European collector
and a rare pair of rattan “Soleil” armchairs, dating to 1956, by Janine Abraham and Dirk Jan Rol for €45,000
within the first hour of the preview. A
US collector later bought Pierre
Guariche’s “G1” wall sconce and “G1PL”
ceiling light, both dating to 1951.
“It was crazy,” Le Gaillard says. “Within hours, we sold three Ingrid Donat
bronze ‘Galuchat’ commodes [€95,000
each; edition of eight], two Robert Stadler
‘Irregular Bomb’ sofas [€38,000 each;
edition of eight] and a ‘Fragile Future’
chandelier by Studio Drift [€82,000; edition of eight].” He says the gallery also
sold the entire edition of Studio Job’s
2013 “Black Cat” bronze sculptures with
illuminated eyes (around €22,000 each).
Steinitz’s director, Benjamin Steinitz,
took reservations for two 17th-century
pieces, including a bronze dragon head
by De Vries, and three 19th-century
works, including a chandelier made by
the Chiurazzi Foundry (prices undisclosed). “Collectors reacted strongly to
the quality of the pieces,” he says.
Around 4,300 people attended the
preview (a 27% increase on 2012), including the actor Leonardo DiCaprio
and the collectors Laurence Graff, Dasha
Zhukova and her partner Roman
Abramovich, Jonathan Zebina, Benedikt
Taschen and Norman Braman. The hiphop musician Kanye West was also an
early visitor.
Italian and American furniture.
Several dealers championing the
mid-century period include Milan’s Nilufar Gallery (G12), which sold a unique
1950 Gio Ponti wall cabinet for €54,000
and a late 1950s Ponti bookcase/
cocktail cabinet for €34,000, and Galerie
Kreo (G21) from Paris, which sold nine
Gino Sarfatti lights (various 1950s models made by Arteluce) at prices ranging
from €5,000 to more than €70,000.
An indication of the fair’s strength
is the number of new pieces presented
for the first time. Paris’s Galerie BSLBéatrice Saint-Laurent (G19) sold two
unique lighting sculptures by Ayala Serfaty (€13,000 each), a throne (€24,000)
from Faye Toogood’s new “Caged Elements” collection and a new set of ten
tables with Pinolite (a rare hard-stone)
surfaces from Taher Chemirik’s “Interior
Treasures” collection for €75,000. Southern Guild (G36), a contemporary design
platform from South Africa, made its
fair debut with multiple sales, including
Porky Hefer and Audrey Esca’s hanging
leather chair ($17,000; edition of two).
Nicole Swengley
In its relentless drive to rebrand itself as an
arts hub, Dubai now aims to become a centre for design, with plans to build a dedicated zone called the Dubai Design District.
"The district is expected to become a fullservice commercial hub for design industryrelated organisations, brands and supporting enterprises within the value chain,"
according to the website of the Design Days
Dubai fair. Institutes for design and a convention centre will also form part of the
planned development. The new district,
near to the central Business Bay area, will be
operated by the Dubai-based conglomerate
Tecom Investments, which has invested
AED$4bn ($1bn) in the project. Phase one is
scheduled for completion by 2015. G.H.
Auschwitz unveils
Israeli work
The Israeli prime minister, Benjamin
Netanyahu, is in Poland today to open
“Shoah” in Block 27 at the AuschwitzBirkenau State Museum.
For the new permanent exhibition, the
Israeli-born artist
Michal Rovner
has created a display of drawings
and paintings
made by children
during the Holocaust.
Video installations by
the artist, who is represented
by the Pace gallery (2.0/B20), were a high
point of the Venice Biennale when they featured in the Israeli pavilion in 2003. “‘Shoah’
places the [mass] murder at AuschwitzBirkenau in the larger context of the Nazis’
systematic attempt to exterminate the
Jewish people,” says Avner Shalev, the chairman of Yad Vashem, which has organised the
exhibition. The new exhibition replaces displays that date from the 1960s. J.Mi.
Artoon by Pablo Helguera
Historic pieces
With 48 galleries (up 20% on last year)
passing the fair’s proposal-based selection
process, there is a strong showing of
museum-quality historic pieces. Galerie
Jacques Lacoste (G05) is showing a stone
bas-relief, support and console by Alberto
Giacometti (for an interior decorated
by Jean-Michel Frank), which was unsold
as we went to press. The gallery’s early
sales include a pair of Jean Royère “Trefle” armchairs (around €100,000) and a
1953 ceramic-top table by George Jouve
and Janette Laverrière. Other returning
20th-century specialists include Galerie
Downtown-François Laffanour (G16),
which sold a Jean Royère “Polar Bear”
sofa for €400,000 and two Charlotte
Perriand tables, Doron (€120,000) and
an untitled low table (€100,000). Galerie
Eric Philippe (G06) has sold 70% of
its display of 1940s to 1960s Danish,
NAKASHIMA: ERMANNO RIVETTI
2
BILL VIOLA
FRUSTRATED
ACTIONS
AND FUTILE
GESTURES
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
4
NEWS ANALYSIS
Here come
the young
ones
Patrons’ groups for people under 40 are on the
rise in UK museums and elsewhere
Basel. Contemporary art’s fashionable
status has created a new international
clique. “Young patrons’ groups”, until
recently the preserve of US museums,
are now appearing elsewhere—and
making their presence felt at the art
fairs this season.
The groups, which provide an additional funding stream for visual arts
organisations, are aimed at people aged
40 and under, who pay between £250
and £1,000 a year, depending on the
institution. This is less than full patrons,
whose annual membership starts at
an average of £1,200.
Hong Kong), and the UK’s Royal Academy of Arts founded a similar group in
November. Gregor Muir, the executive
director of the ICA, says the ability to
launch such groups is “a sign of the
times; contemporary art is so widely
exposed at the moment that newcomers
can now mix with like-minded people”.
Plus, says Philip Tinari, the director of
the UCCA, “ticket sales [here] wouldn’t
even pay the water bill”.
The groups generally mix members
from outside the art world with those
who work in the industry. The Tate,
for example, counts Andreas Gegner
of Sprüth Magers (2.0/B19), Matt CareyWilliams of White Cube (2.0/C18; he
holds joint membership with his
When their interest is piqued, these people
swiftly become young collectors
In the UK, the Tate, the Serpentine
Gallery and Parasol Unit (to name but
three) have developed thriving groups
for younger patrons over the past few
years, all run by the energetic Alia AlSenussi, a member of the Libyan royal
family who also runs Art Basel’s VIP relations in the Middle East. Meanwhile,
in London, the Photographers’ Gallery
is launching a young patrons’ group
next week and the Institute of Contemporary Arts (ICA) will do the same
later this year. Beijing’s Ullens Center
for Contemporary Art (UCCA) launched
its Ullens Contemporaries group last
month (its first trip was to Art Basel
husband) and Alex Logsdail of Lisson
Gallery (2.0/B12) among its 150 members.
Organisers say that this does not represent a conflict of interest; rather, it is
the best way to break down barriers.
“Including young dealers encourages
accessibility in a world that people can
be nervous of entering,” Al-Senussi says.
Those from outside the art world
who are joining up are generally the
working wealthy, from international
backgrounds. “These groups work for
someone who is actively involved in
the arts, such as myself, but also those
who are new to London, or someone
who has just made enough money to
The Guggenheim celebrated 15 years of its Young Collectors Council last December
develop their interest in art, or perhaps
works in a bank and wants to talk
about more than finance all day,”
Al-Senussi says. Talks, private dinners
and an annual party are generally included in the programmes, as well as
events around art fairs (“members love
them”, she says).
The importance of this demographic
cannot be underestimated in the fastmoving contemporary art world. “If
you looked at who were the top ten
collectors [at Art Basel] ten years ago,
they wouldn’t be the same as today.
People die, lose their fortunes or just
change their minds, and reaching out
to young collectors is one way of rejuvenating the scene,” says Marc Spiegler,
the director of Art Basel.
When their interest is piqued, these
people, whose day jobs often involve
making quick decisions, swiftly become
young collectors. Indoo Sella di Monteluce, who manages the sports investment fund Global 11, joined the
Tate’s young patrons in 2010 as a relative newcomer to art. He has since
built a collection that includes work
by Doug Aitken, Daido Moriyama and
Alighiero Boetti. “I can honestly say
that [this] has been heavily influenced
by the insight and knowledge I have
gained through the group,” he says.
The young patrons’ groups established by museums have grown in popularity alongside other private “clubs”
that cater to younger would-be art buyers. The Arts Club in London, revamped
in 2011, offers a discount for members
under 30. Its curators, Amelie von Wedel
and Pernilla Holmes, are conducting a
tour of Art Basel for selected members
(the Arts Club did the same at Frieze
New York and the Venice Biennale last
month). Meanwhile, in Hong Kong, the
(young) collector Alan Lo has just
launched Duddell’s club (its opening
exhibition, “Face to Face”, until 31 August, has been organised by Von Wedel
and Holmes). “People love to say, ‘I’m a
member, you’re not’,” Lo says.
So are young patrons’ groups just
the latest way to have fun with a preselected, young, wealthy and interna-
THOMAS SCHÜTTE
VIER GROSSE GEISTER
6 JUNE – 2 JULY 2013
BELLEVUE / ZURICH
MAX ERNST
26. 5. – 8. 9. 2013
MAURIZIO CATTELAN
8. 6. – 6. 10. 2013
ALEXANDER CALDER
8. 6. 2013 – 2014
FONDATION BEYELER
Foto: Mark Niedermann
THOMAS SCHÜTTE
6. 10. 2013 – 2. 2. 2014
Public Art Project
FONDATION BEYELER
tional social circle? There is certainly
an element of this, and this week’s
events for young patrons in Basel include
not only tours of the fairs, but invitations
to the peripheral parties.
Despite this, the organisers underline the serious element of their offering
to the young. This is just as well, since
members are also having a tangible
impact on the museums they patronise.
The Guggenheim’s Young Collectors
Council, founded in 1997, votes on and,
in part, funds museum acquisitions
(between two and five a year). Karaugh
Brown, the Guggenheim’s manager of
membership and patrons, says this is
a “unique part” of its programming,
but the newer groups are also heading
this way. Al-Senussi, as the representative to the Tate patrons’ executive committee, votes on acquisitions on behalf
of the young patrons (although their
funds are not used exclusively for this
purpose). Plus, she says, “resources are
not just financial—enthusiasm goes a
long way”.
Melanie Gerlis
GUGGENHEIM: CHRISTINE BUTLER; © SRGF
COLLECTING
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
6
NEWS ANALYSIS
It’s big, but is it clever?
Adel Abdessemed’s Coup de Tête,
2011-12 (left), Ryan Gander’s More
Really Shiny Things That Don’t Mean
Anything, 2011 (below left), and
Richard Wentworth’s A Room Full of
Lovers, 2012
LARGE-SCALE ART
Basel. This year’s Unlimited section is
the biggest yet, with 79 works, including
a 22-metre painting by Matt Mullican
and a 30-metre-long sculpture by Carl
Andre. The section’s expansion reflects
a growing thirst for monumental art,
a trend emblemised (and satirised) by
Paul McCarthy’s Balloon Dog, 2013—the
inflatable sentinel standing outside
Frieze New York last month.
What explains artists’ burgeoning
interest in gigantism? Jean de Loisy, the
director of Paris’s Palais de Tokyo and
the curator of Anish Kapoor’s popular
“Monumenta” commission in the French
capital in 2011, explains that “some
artists feel that to be in a public space
or to make monumental art is a way of
making them [part of a] collective, rather
than belonging only to a small part of
the world, the art world.” Large works
allow artists to explore “symbolic mean-
“Art’s exponential
growth was inevitable
in a globalised world”
ings, but outside of the artificial space
of the museum”, he says, “which is important for an artist who feels that art
should have a social responsibility in
the transformation of the world.”
But it can backfire. De Loisy cites
the Algerian artist Adel Abdessemed’s
five-metre-high bronze Coup de Tête,
2011-12, in the Centre Pompidou’s forecourt last year, which recreated footballer Zinedine Zidane’s head-butt on
Marco Materazzi in the 2006 World
Cup final. It was “a disaster”, De Loisy
says. Notably, Abdessemed’s sculpture
was shown close to a work by Alexander
Calder which has a “a physical necessity” to be large in its interplay with
nature, he says. “But when it’s just an
enlarged image, it’s meaningless.”
Richard Serra has produced some
of the most immense works of our
time, but their industrial scale is crucial,
says Lynne Cooke, who organised an
exhibition of Serra’s “Torqued Ellipses”
My
Basel
Top
The German dealer
Matthias Arndt opened
his contemporary art
gallery in east Berlin in
1994, relocating in 2010
to Schöneberg, a central district of the city. He has organised more than
300 exhibitions, including pop-up shows in
spaces around the world. In January 2013,
Arndt opened a venue in Singapore in the
new art hub, Gillman Barracks. G.H.
1
WORK OUT:
The first thing I do
when I arrive is pick up
my pre-reserved bike at
Basel railway station
(www.rentabike.ch). For
20 years now, at every
Art Basel, I have taken a
one-hour ride every
morning along the Rhine.
2
EAT:
Another annual
ritual is lunch at the
Brauerei restaurant,
Grenzacherstrasse 60. I
meet a dear US couple,
who are collectors, and
we have a kalbsbratwurst [veal
bratwurst] with rösti,
before making our first
tour of the Liste fair.
3
VISIT:
The Vitra Design
Museum in Weil am
Rhein is another must.
With boundaries
between art and design
becoming more fluid, I
love to see what is new in
contemporary design; at
the same time, there are
still so many design classics to discover.
4
EAT (AGAIN):
Dinner at Chez
Donati in the Les Trois
Rois hotel is essential: it’s
an old-school venue with
incredible Italian food
that never disappoints.
5
THE FAIR:
Last but not least,
Art Basel is the centre of
everybody’s attention
and the reason why
we’re all there. All meetings take place in or
around the fair, with its
busy agenda and rich
offerings.
at the Dia Art Foundation in New York
in 1998 and co-organised his 2007 retrospective at the Museum of Modern
Art. She explains that the dimensions
of his work have “a direct relationship
to the scale of those who look at it and
walk around it”, as well as the urban
environment around them. People “find
them as exhilarating as they do oppressive—really enthralling—because
they offer spatial experiences of a kind
that simply weren’t possible before.”
The British artist Richard Wentworth
has often expressed suspicion of largescale works, famously declaring: “I find
cigarette packets folded up under table
legs more monumental than a Henry
Moore.” For Wentworth, the phenomenon is inextricably linked to wider
political and economic developments,
leading to what he says might be “a
terrible flattening out” of culture, with
big, branded art created by a fabrication
and production process that has recently
become industrialised. In a phone interview with The Art Newspaper, he says:
“I’m standing in a street of nice cars,
one says Peugeot, one says Ford, another
BMW, and I’m not sure that’s any different from something that says McCarthy or Hirst or Hirschhorn.”
Wentworth argues that the art’s exponential growth was inevitable in a
globalised world with industrial lines
of production. “Once you’ve got some
large sheds, with ex-art students who
are good with their hands [and] can do
things, and there’s an economy that
will allow that big blob to arrive in a
field in China next week, and there’s
that weird Russian money, etcetera—
on a napkin, we could probably draw
the map,” he says. A Room Full of Lovers,
2012, Wentworth’s response to Gaudi’s
calculations for the Sagrada Família in
Barcelona, shown at Unlimited last
year, is the antithesis—rich and slowburning, filling the room, but defiantly
anti-monumental.
Ryan Gander, meanwhile, directly
questions grand, public art. More Really
Shiny Things That Don’t Mean Anything,
2011, which he shows in the “Sculpture
in the City” programme in London from
20 June, was initially made for a public
square in Warsaw. “The context [for
that work] is the history of public art,”
he says, “and whether that is art for
the public, or whether it’s art for the
commissioner but pretending to be art
for the public—they’re quite different
things.” Scale is just one artistic device,
Gander says. “You can manipulate spectators in any medium in different ways,”
he adds. “But monumentality is really
quite easy to do.”
Ben Luke
• Gianni Jetzer, the curator of Unlimited, is
the moderator of a discussion on this subject
with the artists Oscar Tuazon and Latifa
Echakhch today (3pm-4pm)
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ABDESSEMED: © PHOTO WHAT'S THE FOOT?; GANDER: COURTESY THE ARTIST AND LISSON GALLERY
Supersizing can, at best, greatly enhance a work’s impact. At worst, however, it’s about ego and marketing
CHEIM
& READ
Art Basel 2013
Hall 2.0/C14
June 13 - 16
Louise Bourgeois Untitled 2007 fabric 22 1/2 x 16 1/2 in 57.2 x 41.9 cm © Louise Bourgeois Trust
THE ART NEWSPAPER DAILIES
Live reporting from the fair by the same editorial team who
create our monthly edition. This year, we are at:
ART BASEL
FRIEZE LONDON
FRIEZE MASTERS
ART BASEL MIAMI BEACH
FRIEZE NEW YORK
ART BASEL HONG KONG
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
9
FEATURE
The great ‘whether
to separate’ debate
The commission
question
Galleries are increasingly splitting their sales and curatorial teams. Some, however, are sceptical
A
s the marathon run of
international art fairs
that began in New
York in May, then
moved to Hong Kong,
comes to an end here
in Switzerland, the last thing that art
dealers may be thinking about is their
gallery shows. And, indeed, some of
them won’t have to. Traditionally,
gallery staff work with artists, collectors and museums simultaneously,
making no distinction between the
sales and exhibitions departments.
But the onslaught of trade events has
led many dealers to restructure their
businesses, spinning off specialised
sales teams to work at art fairs while
the exhibition team stays at home to
mind the gallery. Which structure is
chosen is an important expression of
a gallery’s identity, albeit one that is
invisible to the public at large.
The move away
from the old-style
relationship
between gallery
and artist has
been likened to
the separation of
church and state.
Stevenson Gallery
(1/S8), which uses
the traditional
model, is showing
an installation
(below, detail) that
complements a
performance by
the South African
artist Kemang
Wa Lehulere
STREET SIGNS: WYOMING JACKRABBIT. WA LEHULERE: ERMANNO RIVETTI. WINKLEMAN: DUSTIN WAYNE HARRIS/PATRICKMCMULLAN.COM. MAGERS: L. JUSTEN/PATRICKMCMULLAN.COM
Two paths
The move towards the newer model
is fuelled by the growth of the art
market: galleries are taking part in
more international art fairs and biennials than at any other point in history and many have spaces in more
than one country. “The success of a
gallery’s expansion often has to do
with how they set up the structure
internally,” says the art adviser Lisa
Schiff. Some are hiring management
consultants to streamline operations,
while others are bringing in freelance
curators to organise exhibitions
rather than creating them in-house.
Edward
Winkleman:
“[It] really comes
down to the old
capitalist idea of
specialisation as
a means towards
efficiency”
Dealers in favour of the new
model maintain that it makes galleries more efficient and competitive.
Goodman Gallery (2.1/N12), based in
Cape Town and Johannesburg,
recently decided to convert. “The old
model works for small galleries, but
there is no accountability” for individual staff members, says the owner,
Liza Essers, who is presenting new
work by William Kentridge, Gerhard
Marx and David Goldblatt at the fair.
The new model, by contrast, offers
each employee a strictly defined set
of responsibilities. “I found that, as
the gallery has more than doubled its
turnover as well as increased its activity at international art fairs, restructuring, with curators responsible for
artists and exhibitions, and separate
from the sales team, is the way to go.
Another key reason is that artists
require attention, so I feel that a dedicated team working with artists is
important.”
The São Paulo-based Galeria Nara
Roesler adopted a similar model after
collaborating with an outside consultant and experimenting with different
structures for two years. “I think that,
as galleries grow into bigger enterprises, they are forced to specialise
staff,” says Daniel Roesler, the
gallery’s co-director.
Small galleries are converting as
well. “We saw bigger galleries structuring themselves this way, so we
thought, ‘Let’s try this’,” says Edward
Winkleman, whose New York gallery
now employs a sales director as part of
its four-person staff. The new structure
“really comes down to the old-school
capitalist idea of specialisation as a
means towards efficiency”, he says.
David Leiber, a director at the New
York-based gallery Sperone Westwater
(2.0/E10), likens the division between
exhibitions and sales to a “separation
between church and state”. (He notes
that his gallery, which is presenting
historic pieces including a red punctured painting by Lucio Fontana from
1960 and a large charcoal drawing by
Gilbert & George from 1971, priced at
more than $1m each, operates “somewhere in between”.) At its “least
nuanced”, he says it means that the
sales staff is “given a list of works at
the end of the day”, while the “curatorial staff work only with the artists,
almost like a museum”.
The SoHo model
Devotees of the traditional model
maintain that it is one of the few
factors keeping
the art business from
becoming corporate. To prevent
art dealers from
becoming like “so
many investment
bankers, churning deals
when and where they can to
make the numbers… both the
selling and exhibiting of art need to
be a single pursuit”, says the Londonbased dealer and art-world commentator Kenny Schachter.
Philomene
Magers: “We give
the structure a
lot of thought…
if people only sell,
they may be too
detached from
the content”
Refined in the 1960s and 1970s,
when dealers ran smaller, more
localised operations in neighbourhoods such as SoHo in New York and
Saint-Germain-des-Prés in Paris, the
traditional model places a premium
on close communication between
artists, collectors and dealers. Staff
members work with artists on all
aspects of their careers, including
gallery exhibitions, museum shows
and publications, as well as sales.
“The newer model is not necessarily in the best interests of the artist or
art and its greater audience,” says
Finola Jones, the director of the
Dublin-based gallery Mother’s
Tankstation (1/S16), which is presenting a series of paintings by Mairead
O’hEocha
in the
Statements
section. She
says it encourages the idea
of art as a
“branded product”.
“We adhere to the
‘traditional’ model,” says Joost
Bosland, a director at the Cape Townand Johannesburg-based Stevenson
Gallery (1/S8). “Our clients wouldn’t
have it any other way.”
A handful of larger international
businesses, like Sprüth Magers
(2.0/B19), have also consciously
rejected the new model. Although
the gallery has 31 staff members
spread across Cologne, Berlin and
London, its founders, Philomene
Magers and Monika Sprüth, prefer a
holistic approach. Directors from all
three locations are on hand at the
fair, presenting an untitled bristleand-wood sculpture by Rosemarie
Trockel from 1994 for €300,000 and a
digital print on vinyl by Barbara
Kruger, Made for You, 2013, for
$250,000. “We give the structure a
lot of thought. For example, if people only sell, they may be too
detached from the content,” Magers
says. “By structuring the gallery in
this way, we can bind different
locations together and make information travel.”
Is there a limit?
As a gallery gets bigger, however,
“there is a tipping point where the
left hand doesn’t know what the right
hand is doing, and you become inefficient”, says the New York-based
dealer Sean Kelly (2.1/N2). (His gallery
employs 20 people who are involved
Commission (the portion of a work of
art’s sale price that goes directly to the
salesperson) is another question. “If it is
a fierce commission-based structure,
you’re all ruthlessly fighting for material,” Lisa Schiff says. “If you all share a
portion of the total profit, you might
make less money, but I think it’s a
healthier model.”
Sean Kelly (2.1/N2) says his directors
do not work on commission for that reason. “It isn’t beneficial to the artists
because it pits people against each
other,” he says. “Everyone understands
that if the company does well, there will
be bonuses handed out and they will do
well.” Each of the five partners of David
Zwirner (2.0/F5) has a stake in the business. Although there are “commission
incentives”, according to the gallery’s
marketing and press director, Julia Joern,
“they are more like bonuses”.
Gagosian Gallery (2.0/B15) takes a
slightly different tack. “Everyone gets
paid the same commission rate on sales,”
which is usually between 10% and 20%
on secondary market material, according
to court depositions by gallery staff, “but
for those who sell less and spend more
time working with artists and exhibitions, the base salary is higher,” according to a 2011 Vogue magazine article. A
spokeswoman for Gagosian says that this
information is not entirely correct but
declined to comment further.
with both sales and artist services.)
“We hear this from our artists who
work with other galleries that are at
that stage, and it makes them very
uncomfortable,” he adds.
“Most dealers and artists would
love to have a firewall between the
grind of sales and the challenge of
producing art,” says the New Yorkbased artist William Powhida. “As an
artist, it’s very important to work
with people who have an interest in
the development and trajectory of
the work beyond sales. It reminds
me of the relationship authors have
with their editor, versus the relationship they have with their agent.”
But, he adds, “I can’t imagine an art
world—well, maybe I can—where
wealthy collectors would be entirely
happy dealing with a salesperson,
and not someone who is intimately
connected with the development of
the work.”
It is unclear how much the division of labour shapes the buyer’s
experience. “I don’t feel like there is
any lag or lack of information
because I’m not dealing with someone who is directly involved with the
artist,” says the art adviser Wendy
Cromwell. “If the gallery is well-run,
there isn’t a difference in service.”
Ultimately, most galleries must be
flexible because the needs of artists
and collectors are not uniform. Jose
Kuri, of Mexico City’s Kurimanzutto
(2.1/N1), says: “We operate in a very
different way for each project—there
is not a model that we follow.”
Julia Halperin
• Edward Winkleman will discuss the
practical challenges of running a
moderately sized art business with
Elizabeth Dee and Josh Baer in an Art
Basel Salon panel today (1pm-2pm)
10
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
IN PICTURES
Al-fresco
art in the
Kaserne
1
Parcours’ new curator on staging the
section in Basel’s lively cultural area
T
he fourth edition of Parcours returns to Art Basel with
17 performances and site-specific installations in
Klingental, one of Basel’s liveliest areas. Organised for
the first time by Florence Derieux, the director of Frac
Champagne-Ardenne in Reims, France (all of the previous editions were curated by Jens Hoffmann, currently
the deputy director of the Jewish Museum in New York), Parcours
comprises old and new works by Marina Abramovic, Marc Bauer,
Olaf Breuning, Tom Burr, Michael Craig-Martin, Lothar Hempel, Joep
van Liefland, Jill Magid, Lisa Oppenheim, Evariste Richer, Sterling
Ruby, Michael Smith and Joshua White, Valerie Snobeck, Daniel
Steegmann Mangrané, Danh Vo, Martin Walde and Artur Zmijewski.
The section opened yesterday with Parcours Night, and it remains
open until Sunday; all performances and screenings, except the L.A.
Dance Project, are free of charge. Parcours is open today, tomorrow
and Saturday (11am-10pm) and on Sunday (11am-7pm).
The Art Newspaper: What made you want to work on Parcours?
Florence Derieux: It’s a fantastic opportunity to develop a project in
the context of Art Basel and within the city. The idea behind
Parcours—to provide artists, galleries and art professionals with the
opportunity to see art developed in different ways and in different
locations around Basel—is very exciting for me. It is very positive
that art fairs adapt to new artistic developments and [acknowledge]
the renewed interest in environments, installations and performances. Creating links between art and the public in different ways is
the core of my work at Frac.
2
What is the historical significance of the Klingental neighbourhood and sites?
Klingental is extremely near the fair [a five-minute walk]. During the
Middle Ages, they sent people they didn’t want to live with to that
area, such as foreigners, prostitutes and other people who were living on the margins. Today it’s considered the liveliest area of Basel,
specifically the Kaserne: it’s full of cultural institutions, creative
businesses and even the first ever artist studios in Switzerland, created in 1964, where many artists still work today. After visiting the
venues several times, I knew the area and was able to develop projects with the site as the prime element.
3
ALL PHOTOS EXCEPT DERIEUX: © DAVID OWENS, 2013
What are some of the highlights of Parcours?
Tom Burr’s outdoor installation of wooden and metal sculptures at
Kasernenplatz [Dressage, 2013] directly responds to the former military training and equestrian uses of the site. Burr’s work is very
important for many artists; he’s what artists call an artist’s artist.
His work has always been present but not visible enough for us to
understand the links between different artists [who have been influenced by him], and between recent history and the present.
There are three main projects during
Parcours Night: a performance by
Michael Smith [Avuncular Quest, 2013], a
screening of Marc Bauer’s animated
film [The Architect, 2013] with live
music by the band Kafka, and the
L.A. Dance Project at Kaserne Basel,
a place for theatre, dance and
music. From the beginning, I
wanted to realise collaborations
with people who are already working there. The L.A. Dance Project
will present a collaboration
between the choreographer
and artist Benjamin Millepied
and the artist Christopher
Wool [Moving Parts, 2012] and
will perform a historical piece
by Merce Cunningham
[Winterbranch, 1964], a collaboration with Robert
Rauschenberg—who conceived
of the costumes, décor, accessories and lighting—with music
by La Monte Young. It is very interesting because it is really about collaborations—the relationship
between visual arts, dance, music
and many other creative areas.
Interview by Laurie Rojas
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
11
4
6
5
1
Danh Vo, Gustav’s Wing, 2013,
Galerie Buchholz (2.1/K23),
Galerie Chantal Crousel
(2.1/J19), Isabella Bortolozzi
Galerie (2.1/K14), Marian
Goodman Gallery (2.0/B17)
2
Martin Walde, Choice, 19932013, Galerie Krinzinger
(2.1/K19)
3
Sterling Ruby, Stove, 2013,
Hauser & Wirth (2.0/C10),
Xavier Hufkens (2.0/B18)
4
Tom Burr, Dressage (Rhythm and
Regularity; Relaxation and
Suppleness; Contact;
Impulsion; Straightness;
Collection) (detail), 2013,
Bortolami Gallery (2.1/M13)
5
Olaf Breuning, Just a Misfit?,
2013, Metro Pictures (2.0/B9)
6
Michael Craig-Martin, Hammer
(Blue), 2011, New Art Centre
(2.0/D15), Gagosian Gallery
(2.0/B15)
7
Evariste Richer, Avalanche (#2)
(detail), 2012, Meessen De
Clercq (S17)
7
MODERN.
CONTEMPORARY.
ABU DHABI ART.
20 - 23 November 2013
UAE Pavilion and Manarat Al Saadiyat
Saadiyat Cultural District
Abu Dhabi, UAE
abudhabiartfair.ae
Organised
Organised b
by:
y:
PARTICIPATING GALLERIES
THE
INTERNATIONAL
EXPOSITION OF
CONTEMPORARY
& MODERN ART
NAVY PIER
19–22
SEPTEMBER
2013
Mylar Cone (detail),
Studio Gang Architects
Galeria Álvaro Alcázar Madrid
Ameringer | McEnery | Yohe New York
Gallery Paule Anglim San Francisco
BASE GALLERY Tokyo
John Berggruen Gallery San Francisco
Galleri Bo Bjerggaard Copenhagen
Marianne Boesky Gallery New York
Isabella Bortolozzi Galerie Berlin
Russell Bowman Art Advisory Chicago
Rena Bransten Gallery San Francisco
THE BREEDER Athens | Monaco
CABINET London
David Castillo Gallery Miami
Cernuda Arte Coral Gables
Chambers Fine Art New York | Beijing
James Cohan Gallery New York | Shanghai
Corbett vs. Dempsey Chicago
CRG Gallery New York
Stephen Daiter Gallery Chicago
Maxwell Davidson Gallery New York
Douglas Dawson Gallery Chicago
MASSIMO DE CARLO Milan | London
DIE GALERIE Frankfurt
Catherine Edelman Gallery Chicago
Max Estrella Madrid
Henrique Faria Fine Art New York
Peter Fetterman Gallery Santa Monica
Fleisher/Ollman Philadelphia
Galerie Forsblom Helsinki
Forum Gallery New York
Honor Fraser Los Angeles
Fredericks & Freiser New York
Galerie Terminus Munich
Galeria Hilario Galguera Mexico City | Berlin
Richard Gray Gallery Chicago | New York
Kavi Gupta Chicago | Berlin
Chicago | Berlin
Hackett | Mill San Francisco
Haines Gallery San Francisco
Carl Hammer Gallery Chicago
Harris Lieberman New York
Galerie Ernst Hilger Vienna
Hill Gallery Birmingham, MI
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
Vivian Horan Fine Art New York
Edwynn Houk Gallery New York | Zurich
Il Ponte Contemporanea Rome
Taka Ishii Gallery Tokyo
Bernard Jacobson Gallery
London | New York
R.S. Johnson Fine Art Chicago
Annely Juda Fine Art London
Robert Koch Gallery San Francisco
Koenig & Clinton New York
Michael Kohn Gallery Los Angeles
Alan Koppel Gallery Chicago
LABOR Mexico City
Galerie Lelong New York | Paris | Zurich
Locks Gallery Philadelphia
Lombard Freid Gallery New York
Diana Lowenstein Gallery Miami
Luhring Augustine New York
Robert Mann Gallery New York
Magnan Metz Gallery New York
Matthew Marks Gallery New York | Los Angeles
Barbara Mathes Gallery New York
Galerie Hans Mayer Düsseldorf
The Mayor Gallery London
McCormick Gallery Chicago
Anthony Meier Fine Arts San Francisco
Andrea Meislin Gallery New York
Jerald Melberg Gallery Charlotte
Laurence Miller Gallery New York
moniquemeloche Chicago
Carolina Nitsch New York
David Nolan Gallery New York | Berlin
Richard Norton Gallery, LLC Chicago
Nusser & Baumgart Munich
P.P.O.W. New York
Pace Prints New York
Franklin Parrasch Gallery New York
Galeria Moisés Pérez de Albéniz Madrid
Ricco/Maresca Gallery New York
Michael Rosenfeld Gallery New York
Rosenthal Fine Art Chicago
Galerie Thomas Schulte Berlin
Carrie Secrist Gallery Chicago
Marc Selwyn Fine Art Los Angeles
Sicardi Gallery Houston
Manny Silverman Gallery Los Angeles
Skarstedt Gallery New York | London
Gary Snyder Gallery New York
Carl Solway Gallery Cincinnati
MARC STRAUS New York
Hollis Taggart Galleries New York
Tandem Press Madison
Paul Thiebaud Gallery San Francisco
Tierney Gardarin Gallery New York
Leslie Tonkonow Artworks + Projects New York
Vincent Vallarino Fine Art New York
Tim Van Laere Gallery Antwerp
Susanne Vielmetter Los Angeles Projects
Los Angeles
Weinstein Gallery Minneapolis
Max Wigram Gallery London
Zolla/Lieberman Gallery Chicago
David Zwirner New York | London
EXPOSURE
Benrimon Contemporary New York
Blackston New York
Bourouina Gallery Berlin
Callicoon Fine Arts New York
Galerie Donald Browne Montréal
Luis De Jesus Los Angeles Los Angeles
Diaz Contemporary Toronto
DODGEgallery New York
Hansel and Gretel Picture Garden New York
Charlie James Gallery Los Angeles
JTT New York
MARSO Mexico City
Galerie Max Mayer Düsseldorf
THE MISSION Chicago
On Stellar Rays New York
ANDREW RAFACZ Chicago
Jessica Silverman Gallery San Francisco
SPINELLO PROJECTS Miami
VAN HORN Düsseldorf
Workplace Gallery Gateshead, UK
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Presenting Sponsor
14
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
CONSERVATION
No longer
glossing over
the subject
U
ntil the mid-20th century, oil paint had
been the medium for
painters for more
than 500 years. The
widespread availability of modern synthetic paints after
the Second World War heralded a new
era of artistic expression in which
artists looked to new types of paint,
such as acrylics, as a means to express
life in a rapidly changing world. “My
opinion is that new needs need new
techniques… it seems to me that the
Modern painter cannot express this
age—the airplane, the atomic bomb,
the radio—in the old forms of the
Renaissance or of any other past culture. Each age finds its own technique,” Jackson Pollock said in 1950.
The impact of these fast-drying synthetic paints on Modern and contemporary artistic practice cannot be overstated. From Picasso’s penchant for
common house paints and Pollock’s
use of alkyd enamels to Lichtenstein’s
preference for Magna, a particular
brand of solution acrylic paint, and
Hockney’s adoption of acrylic emulsion paints when he moved to Los
Angeles in the 1960s, the list of artists
who have embraced these paints is
impressive. Works in acrylics and the
like are clearly in evidence at Art
Basel, 63 years later. Mitchell-Innes &
Nash of New York (2.0/E6) is showing
Transept, 1978, an acrylic on canvas by
the Op Art artist Julian Stanczak
(priced in the region of $80,000), and a
large-scale acrylic painting by Morris
Louis (Beta Alpha, 1961; price undisclosed). Bridget Riley’s acrylic work
Clandestine, 1973, which was exhibited
at the Galerie Ernst Beyeler in 1975, is
on offer with Hazlitt Holland-Hibbert
of London (2.0/D16) for £780,000.
As these paints age, however, the
need for information on how to care
for works made using them is at an
all-time high, especially as the demand
and prices for these pieces increase.
There was a dearth of information on
how modern paints age until a few
years ago, when institutions such as
the Tate in London and the Getty
Conservation Institute (GCI) in Los
Angeles decided to throw their collective weight and expertise behind
research projects that aimed to find
answers to these important questions.
Rapid drying time
Acrylics make up 50% of artists’ paint
sales over the past 30 years. The synthetic resins used in acrylic emulsion
paints make them inherently flexible.
Originally designed to be used outdoors, they can stretch and bend with
very little cracking, unlike traditional
oils, which are harder and are prone
to crack over time. As well as having a
rapid drying time—acrylics can dry in
a matter of hours, as opposed to days
or even weeks, so artists can work on
one painting without interruption
instead of having to juggle multiple
works—they also tend to yellow far
less with age than oils. Another benefit of using acrylics is that they are
carried in water and not solvent,
which made them a popular choice
for artists such as Hockney, Warhol
and Wesselmann.
The softness of acrylics, however,
can lead to problems. If the temperature becomes too high, the paint can
become soft and pliable, making it easier to damage; too low, and the paint
film can become brittle and crack.
Bronwyn Ormsby, a senior conservation scientist at the Tate, recommends
“shielding works from temperatures
below 10 degrees Celsius and above 30
degrees Celsius”. The recommended
relative humidity levels are between
40% and 60%. The Tate began to investigate acrylics in the early 2000s, and
in 2006, the museum teamed up with
the speciality insurer Axa Art for a
three-year research project focusing
on the medium. One of the outcomes
of the project was the guide “Caring
for Acrylics: Modern and
Contemporary Paintings”.
The softness of the material also
means that care needs to be taken
when it comes to handling and transporting these works. Fingerprints are
one of the biggest concerns, especially
as many acrylic works are not glazed,
either for aesthetic reasons or because
they are too large to put behind glass
or perspex. “It goes against one’s natural instinct not to touch your works of
art, but just think of all of the chemicals you accumulate on your hands
throughout the day and the damage
that they can do,” says Clare Dewey, a
claims manager at Axa Art. The oils
from your fingers can transfer onto
the painting’s surface and attract dust
and dirt. “You may not immediately
see any marks on the painting so you
think you’ve got away with it, but
years later, the dirt begins to show,”
PAINTS: TIMOTHY A. CLARY/AFP/GETTYIMAGES; © AFP, 2012
The preservation of works made using synthetic
paint is a hot topic. By Emily Sharpe
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
STILL: © THE CLYFFORD STILL ESTATE; PHOTO: TOM LEARNER, GCI. POLLOCK: © POLLOCK-KRASNER FOUNDATION, 2013/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. RILEY: © BRIDGET RILEY
Conservators work on
Still’s painting 1951–No.2
(PH–240) (box, top)
says Tom Learner, who left the Tate to
join the GCI in 2007 as a senior scientist and the head of contemporary art
research. “These fingerprints are very
difficult to remove,” he says. Gloves
should always be worn when handling
acrylic works, and Ormsby warns that
when preparing works for transport,
no packing materials should touch the
paint’s surface, as “they can leave
unwanted impressions in the paint
under certain circumstances”.
Despite their softness, Learner says
that, “compared with most materials
contemporary artists might turn to,
acrylics are remarkably stable”. So
what types of damage do insurers
encounter most when it comes to
these paintings? “The majority of our
claims are for accidental damage. They
usually involve a cleaner knocking
into something. It’s always the cleaner
who gets the blame,” Dewey says.
Rogue vacuum-cleaner attachments
are not the only culprits; children also
often figure in the equation. “We had
one case in which a little boy decided
to put his action figure through a
painting, perhaps in an attempt to
make it look like the figure was flying,” she says. One recent claim
involved an unknown substance that
had dripped down a large area of blue
paint on one of Lichtenstein’s
“Imperfect Paintings”. “Restoring
paintings with a large area of a single
colour can be problematic. In some
cases, the only option available is to
repaint the entire damaged area,
which is not at all ideal,” Dewey says.
Cleaning
The cleaning of acrylic paintings is
one of the hottest areas of research.
15
How to care for your
acrylic paintings
Conservation projects
Clyfford Still
The American Abstract Expressionist Clyfford Still is one of the
latest artists to be put under the Getty Conservation Institute’s
(GCI) microscope. As part of its Modern Paints project, the
institute has teamed up with the artist’s estate, the Hirshhorn
Museum and Sculpture Garden in Washington, DC, and the
Artex Conservation Laboratory to analyse several key works
representative of Still’s oeuvre. Although the artist is known to
have used traditional paints, especially oils, scholars have long
wondered whether he added the oils to hand-ground pigments (these
types of pigments were found in his studio after his death) or to tube paints. The findings are
due to be published in mid-2014 in the GCI’s series “The Artist’s Materials”. Still is in good
company: other artists in the series include Willem de Kooning and Lucio Fontana.
Jackson Pollock
One of Jackson Pollock’s largest paintings, One:
Number 31, 1950 (right), is now back on display at
New York’s Museum of Modern Art after a ninemonth project to clean and examine the work
“inch by inch”. The museum’s chief conservator,
James Coddington, kept the public abreast of
the project in posts on MoMA’s Inside/Out blog. The drip patterns of this 9ft by 17ft painting show that Pollock applied paint while the canvas was on the floor as well as when it
was propped up. The examination also revealed that some paint was applied after the
artist’s death in 1956—possibly during a mid-1960s restoration. This was removed during
the cleaning process. Conservators will soon begin work on another painting by Pollock,
Number 1A, 1948. The project is being sponsored by Bank of America Merrill Lynch as part
of its art conservation grant programme.
Bridget Riley
To a Summer's Day, 1980 (right), an acrylic-onlinen work by the British artist Bridget Riley, is
currently in the Tate’s conservation studio. The
composition consists of a series of undulating
wave patterns in pink, lilac, blue and ochre yellow stripes, set on a white background.
Conservators expect to use a dry cleaning
process to remove the thin veil of dirt that has accumulated on the painting’s surface in
recent months. Although this will be a minimal treatment, cleaning is required as the
work’s optical illusion depends upon the stark contrast between the white and the
coloured stripes.
According to Learner, acrylics respond
differently to oils when it comes to
cleaning treatments, so conservators
and scientists have had to go back to
the drawing board to devise new
cleaning systems. The Getty and Dow
Chemical Company have collaborated
on research into the subject. “Dow has
robots that can test dozens of things at
the same time… the whole process is
automated, so they can get through a
huge number of cleaning systems to
see what works,” Learner says. One
byproduct of the research is Cleaning
of Acrylic Painted Surfaces, a series of
workshops for conservators that presents the latest research into cleaning.
Industrial coatings designed for use
pacegallery.com
Tara Donovan, Drawing (Pins), 2012, gatorboard, paint, and nickel-plated steel pins, 491⁄2 x 491⁄2 x 31⁄2 ” (125.7 x 125.7 x 8.9 cm), 2 panels each (detail)
Booth B20 Hall 2.0
June 13–16, 2013
Stability is the key: maintain a
room temperature of 15 to 25 degrees
Celsius and a relative humidity of
between 40% and 60%
in the automotive and aviation industries have also been used by artists,
including Lichtenstein. “These paints
were intended to be used outdoors, so
they are typically stable and their
colour usually doesn’t fade, especially
if they are kept indoors,” Learner says.
But he warns that they can become
brittle if painted onto a floppy surface.
He recommends that artists who use
industrial paints apply them to solid
surfaces, such as boards or aluminium
panels, or to canvases that have been
stretched across something solid.
House paints
When it comes to house paints,
Picasso is often the first artist to
spring to mind. But the popularity of
the medium did not stop with the
Spanish master; a later generation of
artists, including Patrick Caulfield,
Bridget Riley and Frank Stella, also
used them. House paints can be
among the cheapest paints available,
as some manufacturers reduce the
amount of binders and pigments—the
expensive components—and increase
the cheaper substances, such as water
and chalk, to keep costs down. But not
all house paints are made with cheap
materials and many works made using
them remain in good condition.
Learner cites Riley’s early black-andwhite paintings on board and Stella’s
early works on canvas painted with
household enamels as examples of
pieces that have fared well over the
years. “You feel they should show
more damage, but they’re not cracking and typically they’re in good condition,” he says of Stella’s early works.
Although modern paints have
forced conservators to get up to speed
Pick the right spot: hanging
unglazed acrylic works over radiators
or fireplaces or on poorly insulated
walls is not advisable
Do not touch: the paint will absorb
oils from your fingers, attracting dust
and leaving fingerprints
Keep dust at bay for works in
storage: make sure they are properly
wrapped and that the packing materials do not come in contact with the
paint's surface
Cleaning regime: do not dust with
wet or impregnated cloths or try to
clean with solvents typically used to
clean oil paintings. A vacuum and a
soft artists' brush applied to a wellbound, intact acrylic paint film twice a
year does the trick
Source: “Caring for Acrylics: Modern
and Contemporary Paintings”,
published by Axa Art in collaboration
with the Tate
with a whole new set of materials
very quickly, the challenges these
paints present are minimal compared
with some other forms of art. “The
conservation challenges of paintings
are reasonably manageable compared
with those of other forms of contemporary art, such as installation or performance art or time-based media,”
Learner says. “There are issues with
Modern paintings, but they are
nowhere near the scale of the issues
associated with other forms of
Modern and contemporary art, where
there is still no real consensus within
the conservation profession on how
best to conserve them.”
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
16
BOOKS
At the top of his game
How an experiment resulted in Gerhard Richter’s evocative recent works in ink
ABSTRACTION
A
lthough Gerhard
Richter came to
prominence in the
1960s with blurred
photo paintings, in
recent decades
abstract painting has been central to
his practice. This interest is not a
recent development. When Richter,
who began his painting career in the
isolated East German republic, talks
about the post-war art that captured
his imagination when he first visited
the West, he mentions Lucio Fontana
and Jackson Pollock in particular.
Furthermore, during Richter’s early
years in West Germany, many of his
colleagues were members of the Art
Informel, Tachisme and Zero groups,
all strong in non-representational art.
While photo paintings dominated
Richter’s output in his first decades,
he also made more experimental
work. His Vermalungen (“in-paintings”)
were exercises in random surface
generation: he applied paint in dabs
to a canvas, then pushed a brush over
it until the canvas was covered in
paint. In his monochrome “Grey
Paintings”, the artist worked a
seam of Minimalism that was popular in the early 1970s. There were
other short-lived experiments in
abstraction that seemed more antipainting than painting.
In retrospect, it seems clear from
the brevity of these forays that
Richter was looking—unsuccessfully—for an approach that was sufficiently rich and expansive to match
his ambition to be a serious abstract
painter. From the early 1970s to the
early 1980s, Richter made large
(sometimes very large) oil paintings
that combined multiple paint layers,
dramatic colour juxtapositions, deep
pictorial space and photo-style blurring. These are problematic works in
The stippled swirling
clouds recall the
cosmos—galaxies and
clusters of debris
that they emphasise diversity of style
and application above all else (very
much in the postmodernist idiom)
and thus risk becoming all guile and
no substance. The artist, unable to
find a single synthesised style,
seemed—paradoxically—to be too
detached and trying too hard at the
same time.
Then, in the early 1980s, Richter
made a significant breakthrough. He
started making paintings by dragging wet paint across surfaces using
a wiper, before scraping off and reapplying the paint. These paintings succeeded in a way previous works had
not—by creating dense, coherent,
colour-rich planes animated by surface incident. Richter allowed the
paint to form its own surfaces
largely out of his precise control and
thereby developed a unique synthesised technique. The paintings have
a geological, sedimentary character
and gain through viewers’ associations with natural processes, in addition to allusions to mechanically
worked materials. These are
dynamic, audacious, complex and
truly beautiful paintings that rank as
some of the great achievements of
abstract art.
In November 2008, Richter began
a seemingly idle experiment. He
applied ink droplets to wet paper,
using alcohol and lacquer to extend
and retard the ink’s natural tendency
to bloom and creep. These
“November” sheets were a significant
departure from his previous watercolours in that the pervasive soaking
of ink into wet paper produced double-sided works. Sometimes the
uppermost sheets bled into others,
generating a sequentially developing
series of images.
The muted colours (indigo, violet,
orange and pink) and shapes in the
“November” sheets are similar to
From the “November” series, 2008
The publication of Gerhard
those in chromatographs, where the
Richter: November—including a text
separation of ink on blotting paper
by Dieter Schwarz, who explains the
records the presence of certain comgenesis of the sequence—will enable
pounds. The stippled swirling clouds
viewers to appreciate the series
also recall the cosmos—galaxies and
properly. This facsimile in book forclusters of debris unimaginably huge
mat works well, reproducing the
in scale, familiar to us through photwo-sided sheets as pages and duplitographs from the Hubble Space
cating the double-sided and sequenTelescope. Thus we have images that
tial nature of the original sheets, all
are humble in origin yet evocative
at 1:1 scale. Published in a signed and
enough to prompt thoughts of
numbered edition of 800, the volume
surpassing wonder. Richter’s
is sure to become a favourite for
microscopic-macroscopic
collectors of Richter rarities
“November” paintings
and those interested in
extend the transcendentabstract art.
Gerhard
sublime strand in
Alexander Adams
Richter: Nove
mber
abstract art, which
The writer, a British art
Gerhard Rich
ter with a
includes Pollock, Sam
critic and artist based in
text by Dieter
Sc
hw
arz
Francis and the Colour
Berlin and Brussels, has
Henri Publishing
,
Field painters and ultiwritten for publications
limited edition
of 800,
mately derives from landincluding The Art Newspaper,
111pp, £400 (hb
)
scape painting by Claude,
the Burlington Magazine,
Turner and Friedrich.
Apollo and the British Art Journal
8TH EDITION:
7-10 NOVEMBER
IN PARALLEL WITH:
13th Istanbul Biennial
Art Istanbul ‘‘A Week of Art’’ - 4-10 November 2013
Robert Motherwell: Collage
BERNARD JACOBSON GALLERY
Hall 2.0 Booth C3
www.jacobsongallery.com
(Art Fair And Galleries, Museums, Institutions, Initiatives,
Special Projects, Cultural Centers)
Main Sponsor
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Associate Sponsors
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INTERNACIONAL ART FAIR
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09 | 05 - 08 | 2013
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PREVIEW AD INVITI
giovedi 23 gennaio dalle 12 alle 21
ORARI
da venerdi 24 a domenica 26 dalle 11 alle 19
lunedi 27 gennaio dalle 11 alle 17
PREVIEW BY INVITATION ONLY
Thursday January 23 from 12 AM to 9 PM
OPENING TIMES
Friday January 24 to Sunday January 26 from 11 AM to 7 PM
Monday January 27 from 11 AM to 5 PM
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
CALENDAR
Art Basel week, 11-16 June
Listings are arranged
alphabetically by category
FAIRS
Art Basel
UNTIL 16 JUNE
Messeplatz 10
www.artbasel.com
Design Miami Basel
UNTIL 16 JUNE
Hall 1 Süd, Messeplatz
www.designmiami.com
I Never Read, Art Book
Fair Basel
14-16 JUNE
Volkshaus Basel, Utengasse 9
www.ineverread.com
Liste
UNTIL 16 JUNE
Burgweg 15
www.liste.ch
Scope
UNTIL 16 JUNE
Uferstrasse 40
www.scope-art.com
The Solo Project Art Fair
UNTIL 16 JUNE
St Jakobshalle,
Bruglingerstrasse 19-21
www.the-solo-project.com
Volta 9
UNTIL 15 JUNE
Dreispitzhalle, Gate 13,
Helsinki-Strasse 5
www.voltashow.com
EXHIBITIONS
IN THE CITY
BASEL, SWITZERLAND
Ausstellungsraum
Klingental
Kasernenstrasse 23
Within the Horizon of the Object
UNTIL 30 JUNE
www.ausstellungsraum.ch
Cartoonmuseum Basel
St Alban-Vorstadt 28
Proto Anime Cut: Visions of the
Future in Japanese Animated Films
UNTIL 13 OCTOBER
www.cartoonmuseum.ch
Fondation Beyeler
Baselstrasse 101
Max Ernst
PICASSO: PHOTO: KUNSTMUSEUM BASEL, MARTIN P. BÜHLER; © SUCCESSION PICASSO/PROLITTERIS, ZÜRICH
UNTIL 8 SEPTEMBER
Andy Warhol from the Bruno
Bischofberger, Daros and Beyeler
Collections
UNTIL 22 SEPTEMBER
Maurizio Cattelan: Kaputt
UNTIL 6 OCTOBER
Alexander Calder: Trees/
Naming Abstraction
UNTIL 31 JANUARY 2014
www.fondationbeyeler.ch
Haus für Elektronische
Künste Basel (House of
Electronic Arts)
Oslostrasse 10
Semiconductor: Let There
Be Light
UNTIL 30 JUNE
www.haus-ek.org
KEY
Listings are arranged
alphabetically by area
쏍 Commercial gallery
Where to see the world’s best
Picassos? Basel, believe it or not
A major show explores the city’s rich history of collecting works by the Modern master
Kunstforum Baloise
Aeschengraben 21
Franz Erhard Walther
12 JUNE-1 NOVEMBER
www.baloise.com
Kunsthalle Basel
Steinenberg 7
Michel Auder: Stories, Myths,
Ironies and Other Songs
UNTIL 25 AUGUST
I
t may come as a surprise, but
Basel is home to more major
works by Picasso than almost anywhere in the world. “In terms of
quality and quantity, the Picassos
in Basel are probably on a par
with those in Paris, and are only exceeded
by those in New York,” says Nina Zimmer,
a curator at the Kunstmuseum Basel.
Most of the city’s major Picassos are
now on show at the Kunstmuseum. “The
Picassos are Here! A Retrospective from
Basel Collections” (until 21 July), featuring
highlights of the city’s public and private
collections, is billed as a retrospective,
since it presents a full chronological survey of the artist’s oeuvre. How was it that
this relatively small city (with one-fiftieth
of the population of New York) attracted
so many important works?
Partly it is because a handful of major
early collectors of Picasso’s work were
based in this part of Switzerland. The
German-speaking Swiss have long had a
taste for Modern art: Ernst Beyeler, Basel’s
leading art dealer for half a century, later
developed close ties with the artist and
sold 400 of his works during his lifetime,
although only a small proportion
remained in the city.
Just over a third of the works in the
exhibition come from the Kunstmuseum
(most from its permanent collection, with
some on long-term loan). Quite a few of
the pictures were originally in Basel’s
early private collections.
The local entrepreneur Rudolf
Staechelin (1881-1946) bought his first
work by Picasso, The Two Brothers, in 1917.
Much of his collection was later left to a
family trust and deposited on long-term
loan at the Kunstmuseum. In 1997, the
pictures were withdrawn in protest
against Switzerland’s signature of the
Unidroit agreement (an agreement on cultural property that made it easier for
source countries to reclaim looted antiquities) and sent to the Kimbell Art
Museum in Fort Worth, Texas. The row
was later resolved, with the foundation
returning the paintings to the
Kunstmuseum in 2002.
The banker Raoul La Roche (1889-1965),
an early collector in the 1920s, was
encouraged by the architect and artist Le
Corbusier. La Roche commissioned Le
Corbusier to design his villa, asking him
to “make a frame for my collection”. On
completion, the patron lightheartedly
complained that it is “almost a shame to
hang pictures in it”. But he did so, and his
collection with four Picassos was later
donated to the Kunstmuseum.
The shipowner Karl Im Obersteg (18831969) was another great Basel collector,
whose works by Picasso have been on permanent loan to the museum since 2004.
The Zürich textile merchant Georges
Bloch (1902-84) set out to assemble all of
Picasso’s prints—an ambitious undertaking, since there are more than 2,000. He
did not quite make it, but when he dispersed his prints to Swiss museums via a
foundation, 70 came on permanent loan
to the Kunstmuseum.
19
Paulina Olowska: Pavilionesque
13 JUNE-1 SEPTEMBER
Tercerunquinto: Graffiti
UNTIL 30 APRIL 2014
www.kunsthallebasel.ch
Kunsthaus Baselland
St Jakob-Strasse 170
Christopher Orr: Light
Shining Darkly
UNTIL 30 JUNE
Laurent Grasso: Disasters and
Miracles, 1356-1917
UNTIL 30 JUNE
Manuel Graf: Commercials,
Mosques and Ceramics
UNTIL 30 JUNE
www.kunsthausbaselland.ch
Les demoiselles des bords de la Seine, after Courbet, 1950
Kunstmuseum Basel
Picasso’s stay at Les Trois Rois (after Klee stood him up)
Picasso spent only one night in Basel, on 7 September 1932. He later reminisced: “I stood there on
the balcony all night long. The hotel was called Les Trois Rois, right on the Rhine. The view is very
beautiful. I had never seen such a black river before. Ink black. And you could hear the tram going by,
and a couple of cars here and there, and finally a door closing somewhere, and then the whole city
was still.” As today, Basel and Zürich were vying to be the art capital of German-speaking
Switzerland, and both cities wanted to organise a Picasso show in 1932. The director of the
Kunsthalle Basel had been negotiating for an exhibition, but was thwarted when the Kunsthaus
Zürich made an arrangement with the artist’s Parisian dealers. When he stayed at Les Trois Rois,
Picasso was en route to Zürich for the opening of the Kunsthaus show. He had arranged to meet Paul
Klee that night, but the Swiss artist failed to turn up, so Picasso rested on his balcony. Les Trois Rois,
which dates back to 1681, is still Basel’s top hotel today. M.B.
The museum also acquired its own
works by Picasso, with the first arriving in
1926. The most celebrated acquisitions
were made in 1967, when a referendum
was held to decide whether the city council should buy two major paintings from
the Staechelin collection: The Two Brothers,
1906, and Seated Harlequin, 1923. After voters gave their approval, the artist donated
four additional works, and these were
greeted at the Kunstmuseum with a large
banner reading “The Picassos are Here!”
A third of the current retrospective
comes from the personal collection of
Ernst Beyeler (1921-2010). His foundation
now runs a magnificent museum in
Riehen, just outside Basel, and the entire
major private lenders include Esther
Grether, who inherited a stake in her husband Hans’s cosmetics and healthcare
company (now Doetsch Grether, it owns
numerous brands, including Grether’s
throat pastilles; she is also a major shareholder in Swatch). Her collection includes
works by artists ranging from Cézanne to
Bacon, and it is said to include more than
600 pieces. Esther and Hans were regular
visitors to Beyeler’s gallery on Saturday
afternoons in the 1960s and 1970s, when
they looked through stacks of newly
acquired paintings, including numerous
Picassos. “Often we went home with a
selection under our arms,” she recalled.
The other major anonymous lender
St Alban-Graben 16
Otto Meyer-Amden
UNTIL 7 JULY
The Picassos Are Here! (see left)
UNTIL 21 JULY
Ed Ruscha: Los Angeles
Apartments
UNTIL 29 SEPTEMBER
www.kunstmuseumbasel.ch
Kunst Raum Riehen
Berowergut, Baselstrasse 71
Annette Amberg, Asier
Mendizabal and Yelena Popova:
Futures of the Past
UNTIL 23 JUNE
www.kunstraumriehen.ch
Museum der Kulturen Basel
Münsterplatz 20
POPCAP ‘13
UNTIL 23 JUNE
www.mkb.ch
Museum für
Gegenwartskunst
St Alban-Rheinweg 60
Some End of Things
UNTIL 15 SEPTEMBER
www.mgkbasel.ch
Museum Tinguely
Paul Sacher-Anlage 2
“The Picassos in Basel are probably on a par with those
in Paris, and are only exceeded by those in New York”
Tinguely@Tinguely: a New Look
at Jean Tinguely’s Work
UNTIL 30 SEPTEMBER
Zilvinas Kempinas: Slow Motion
collection of Picassos (18 paintings, four
sculptures, eight drawings and two prints)
has been lent to the exhibition.
The remainder of the show—just
under a third—comes from private
collectors in Basel. Anita Haldemann, who
has co-organised the show with Nina
Zimmer, points out that many of these
works were bought after the Second
World War, often from Beyeler, the
Rosengart gallery in Lucerne or, for works
on paper, Galerie Kornfeld in Bern. All the
private collectors are exhibiting
anonymously, a sign of just how discreet
Swiss collectors tend to be. Most have
loaned single works of art, but two
important lenders should be noted.
Although she has not been named, the
has focused on Picasso’s “Artist and
Model” drawings of December 1953 and
January 1954. Made when Picasso was 72,
they are playful depictions of the relationship between painter and muse. The set
of 180 drawings was dispersed long ago,
but the Basel collector has already
reassembled 26 and may well still be on
the lookout for more.
There is one final work that is not in
the Kunstmuseum’s galleries, but outdoors. Man with Spread Arms, a greatly
enlarged steel version of a tiny 1961 sculpture, was installed in the Picassoplatz 21
years ago. Welcoming visitors to the
Kunstmuseum, it symbolises Basel’s deep
admiration for the artist.
Martin Bailey
UNTIL 22 SEPTEMBER
www.tinguely.ch
Schaulager
Münchenstein,
Ruchfeldstrasse 19
Steve McQueen
UNTIL 1 SEPTEMBER
www.schaulager.org
Schweizerisches
Architekturmuseum
Steinenberg 7
Spatial Positions #2: in the Grip
of Art
UNTIL 7 JULY
www.sam-basel.org
CONTINUED ON PAGE 20
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
20
CALENDAR
Swiss tour for
Schütte sculpture
Art Basel week, 11-16 June
Aeschenvorstadt 15
Christian Peltenburg-Brechneff
and Walter Ropélé
SOLOTHURN, SWITZERLAND
Kunstmuseum Solothurn
Basel
Vitra Design Museum
The Double Image
UNTIL 11 AUGUST
Robert Müller
UNTIL 22 JUNE
www.thorens-gallery.com
Craft and Drawing
Schütte, Head of a Woman,
2006
UNTIL 20 OCTOBER
Fondation Beyeler
쏍 Depot Basel
Uferstrasse 90
Werkhofstrasse 30
A35
UNTIL 29 JUNE
5
www.depotbasel.ch
쏍 Galerie Carzaniga
www.kunstmuseum-so.ch
Thomas Schütte: Vier Grosse
Geister (Four Great Spirits)
ST GALLEN, SWITZERLAND
Kunsthalle St Gallen
Fondation Beyeler, Orderer
Utoquai/Bellevue Zurich
Davidstrasse 40
UNTIL 2 JULY
Flex-Sil Reloaded: Homage
to Roman Signer
Leading up to an exhibition of
the artist it is organising in Basel
in October, the Fondation
Beyeler is sending a new public
sculpture by Thomas Schütte on
a tour of four Swiss cities, starting in Zurich this summer. Vier
Grosse Geister is a group of mysterious figures that “call to mind
heavy-footed golems, bulging
Michelin Men or misshapen mascots”, according to the foundation. Schütte started working on
small-scale versions of these
sculptures in the mid-1990s,
but they quickly grew to a monumental size and the current
works, cast in bronze with a
black patina, stand more than
eight feet tall and weigh around
half a ton. H.S.
UNTIL 4 AUGUST
Gemsberg 8
www.k9000.ch
3
Christopher Lehmpfuhl, Christian
Lichtenberg, Paolo Bellini
Kunstmuseum St Gallen
Parcours, Klingental
neighbourhood
UNTIL 15 JUNE
www.carzaniga.ch
Art Basel, Messeplatz
Filipa César: Single Shot Films
Museum Tinguely
쏍 Galerie Gisèle Linder
Marktplatz
Museum der Kulturen
Kunsthalle Basel
Elisabethenstrasse 54
Roger Ackling
UNTIL 20 JULY
Museumstrasse 32
UNTIL 23 JUNE
Dan Flavin: Lights
UNTIL 18 AUGUST
Museum für Gegenwartskunst
Kunstmuseum Basel
www.galerielinder.ch
www.kunstmuseumsg.ch
Lokremise
Grünbergstrasse 7
쏍 Galerie Mäder
Anthony McCall
Claragraben 45
UNTIL 21 JULY
Annette Barcelo
Kunsthaus Baselland
UNTIL 29 JUNE
www.galeriemaeder.ch
Haus für Elektronische Kunste
쏍 Galerie Hilt
Freiestrasse 88
Schaulager
Passion Kunst
www.lokremise.ch
THUN, SWITZERLAND
Kunstmuseum Thun
Thunerhof, Hofstettenstrasse 14
August Macke and Switzerland
UNTIL 1 SEPTEMBER
www.kunstmuseumthun.ch
UNTIL 29 JUNE
www.galeriehilt.ch
18
쏍 Marc de Puechredon
WINTERTHUR,
SWITZERLAND
Fotomuseum Winterthur
ZURICH, SWITZERLAND
Fondation Beyeler
Vorderer Utoquai/Bellevue,
Zurich
Thomas Schütte (see above)
Museum für Neue Kunst
New Home
MULHOUSE, FRANCE
La Filature
Marienstrasse 10a
LIESTAL, SWITZERLAND
Kunsthalle Palazzo
14 JUNE-31 AUGUST
20 allée Nathan Katz
Julius Bissier
Poststrasse 2
Lewis Hine
Ewerdt Hilgemann: Implosion
UNTIL 1 SEPTEMBER
Haus Konstruktiv
This Infinite World
Selnaustrasse 25
www.puechredon.com
UNTIL 7 JULY
Make Active Choices: Art and
Ecology—How?
Nature? Swiss Photography from
1870 until Today
UNTIL 25 AUGUST
6PM, 13 JUNE
Cyril Hatt, Nicolas Lelièvre and
Jacques Perconte: Blow Up
UNTIL 23 JUNE
UNTIL 9 FEBRUARY 2014
Hot Spot Istanbul
www.lafilature.org
UNTIL 8 SEPTEMBER
www.palazzo.ch
www.fotomuseum.ch
St Johanns-Vorstadt 78
Grüzenstrasse 44 and 45
www.freiburg.de/museen
La Kunsthalle, Centre d’art
contemporain
Fabian Marti in “Some End of
Things” at the Museum für
Gegenwartskunst, Basel
쏍 Nicolas Krupp
Contemporary Art
Rosentalstrasse 28
Fotostiftung Schweiz
Grüzenstrasse 45
Kunsthalle Zurich
16 rue de la Fonderie
WEIL AM RHEIN, GERMANY
Vitra Design Museum
Adieu la Suisse!
Limmatstrasse 270
Daniel Gustav Cramer: Ten Works
Charles-Eames-Strasse 1
UNTIL 25 AUGUST
Cameron Jamie
UNTIL 25 AUGUST
Louis Kahn: Power of Architecture
www.fotostiftung.ch
www.kunsthallemulhouse.fr
UNTIL 11 AUGUST
Archizines
Kunsthalle Winterthur
UNTIL 6 OCTOBER
Waaghaus, Marktgasse 25
Kunsthaus Zürich
Zaha Hadid: Prima
Patricia Esquivias
Heimplatz 1
Augustinerplatz
12 JUNE-11 AUGUST
UNTIL 23 JUNE
Kelly Nipper
With Pen and Quill: Drawings from
Classicism to Art Nouveau
www.design-museum.de
www.kunsthallewinterthur.ch
15 JUNE-15 SEPTEMBER
AARAU, SWITZERLAND
Aargauer Kunsthaus
FREIBURG, GERMANY
Augustiner Museum
www.freiburg.de/museen
Rhythm in Contemporary Art
UNTIL 11 AUGUST
Geoffrey Farmer, on show at the
Migros Museum, Zurich
LUCERNE, SWITZERLAND
Kunstmuseum Luzern
www.nicolaskrupp.com
UNTIL 18 AUGUST
Europaplatz 1
www.aargauerkunsthaus.ch
Jorge Macchi: Container
Franz Karl Basler-Kopp
UNTIL 24 AUGUST
BERN, SWITZERLAND
Bernisches Historisches
Museum
Erik Steinbrecher
Helvetiaplatz 5
UNTIL 24 AUGUST
Qin: the Eternal Emperor and His
Terracotta Warriors
쏍 Galerie Urs Meile
UNTIL 17 NOVEMBER
Xie Nanxing
쏍 Stampa
Zilla Leutenegger
www.stampa-galerie.ch
쏍 Von Bartha Garage
Kannenfeldplatz 6
Daniel Robert Hunziker
UNTIL 20 JULY
www.vonbartha.com
EXHIBITIONS
FURTHER AFIELD
COLMAR, FRANCE
Musée d’Unterlinden
1, rue d’Unterlinden
Robert Cahen
UNTIL 31 DECEMBER
www.musee-unterlinden.com
The Hubert Looser Collection
(see below)
UNTIL 11 AUGUST
UNTIL 8 SEPTEMBER
www.kmw.ch
www.kunsthaus.ch
Kunsthaus Zurich anticipates Looser loans
UNTIL 16 JUNE
Spalenberg 2
www.tony-wuethrich.com
UNTIL 18 AUGUST
Museumstrasse 52
Cut! Video Art from the Collection
UNTIL 11 AUGUST
UNTIL 29 JUNE
Kunstmuseum Winterthur
Giuseppe Penone
Aargauplatz
Baldessari’s new
series on show
UNTIL 16 JUNE
Valkyries over Zurich
Caravan 2/2013: Karin Lehman
20 Years of the Tony
Wuethrich Galerie
UNTIL 18 AUGUST
www.kunsthallezurich.ch
UNTIL 29 JUNE
Vogesenstrasse 29
UNTIL 22 SEPTEMBER
www.hauskonstruktiv.ch
Walter Swennen
쏍 Tony Wuethrich Galerie
UNTIL 2 JULY
www.fondationbeyeler.ch
Palm Heart, Sea Scallops,
Pear Seaweeds and
Citronella (detail), 2013
www.bhm.ch
UNTIL 28 JULY
www.kunstmuseumluzern.ch
Rosenberghöhe 4
UNTIL 6 JULY
www.galerieursmeile.com
Kunsthalle Bern
John Baldessari: Morsels
and Snippets
Ericka Beckman
UNTIL 4 AUGUST
NEUCHATEL, SWITZERLAND
Musée d’art et d’histoire
Neuchâtel
Mai 36 Gallerie, Zurich
www.kunsthalle-bern.ch
Esplanade Léopold Robert 1
Kunstmuseum Bern
Jules Jacot Guillarmod: Wildlife
and Landscape Painter
Hodlerstrasse 8-12
UNTIL 18 AUGUST
UNTIL 8 SEPTEMBER
Hannes Schmid: Real Stories
UNTIL 21 JULY
His Majesty in Switzerland:
Neuchâtel and its Prussian Princes
Myths and Mysteries: Symbolism
and Swiss Artists
www.mahn.ch
The Swiss industrialist Hubert Looser has built a rich collection of Modern
and contemporary art over four decades, heavily geared towards Arte
Povera, Abstract Expressionism and Minimalism. In 2017, an expanded
Kunsthaus Zürich will house 70 works from the Fondation Hubert Looser
on long-term loan. In anticipation of this, the museum is showing nearly
the whole collection for the first time in Switzerland. The 90 paintings,
sculptures, installations and works on paper, which have been chosen by
the museum’s curator, Philippe Büttner, include pieces by Cy Twombly,
Ellsworth Kelly, Willem de Kooning, Agnes Martin and Giuseppe Penone.
Visitors will be able to see works that will not be included in the loan, such
as Pablo Picasso’s Sylvette, 1954, a sculptural rendering of the artist’s
cubist profiles in sheet metal and oil paint. V.S.B.
Helvetiaplatz 1
UNTIL 27 JULY
The title of this show of a new
series by the American “father of
conceptual art” John Baldessari
refers to both the content and
the form of the 13 works in the
exhibition—large, colourful canvases covered with the names of
haute cuisine delicacies and
blown-up newspaper clippings.
Images of saluting troops, for
example, hover over the text of
the title in Palm Heart, Sea
Scallops, Pear Seaweeds and
Citronella, 2013. V.S.B.
UNTIL 6 OCTOBER
UNTIL 18 AUGUST
www.kunstmuseumbern.ch
Zentrum Paul Klee
SCHAFFHAUSEN,
SWITZERLAND
Hallen für Neue Kunst
Monument im Fruchtland 3
Baumgartenstrasse 23
Satire, Irony, Grotesque: Daumier,
Ensor, Feininger, Klee, Kubin
The Raussmüller Collection
UNTIL 6 OCTOBER
13-16 JUNE, SPECIAL OPENING HOURS
DURING ART BASEL, 11AM TO 5PM
www.zpk.org
www.modern-art.ch
Arshile Gorky, Untitled, 1931/33
The Hubert Looser Collection
Kunsthaus Zürich
MARTI: PHOTO: THOMAS STRUB. BALDESSARI: © THE ARTIST / COURTESY OF MAI 36 GALERIE, ZURICH. FARMER: PHOTO: LORENZO PUSTERLA, COURTESY OF THE ARTIST, CATRIONA JEFFRIES GALLERY, VANCOUVER, AND CASEY KAPLAN, NEW YORK. GORKY: © 2013 PROLITTERIS, ZURICH. SCHUTTE: PHOTO: NIC TENWIGGENHORN © 2013, PROLITTERIS, ZURICH. MAP: KATHERINE HARDY
CONTINUED FROM PAGE 19
쏍 Daniel Blaise Thorens
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
Through the lens of Jay DeFeo
UNTIL 27 JULY
Wilhelm Sasnal
UNTIL 27 JULY
www.hauserwirth.com
쏍 Häusler Contemporary
Stampfenbachstrasse 59
David Reed: Recent Paintings
UNTIL 17 AUGUST
www.haeusler-contemporary.com
쏍 Mai 36 Galerie
Rämistrasse 37
John Baldessari (see p20)
UNTIL 27 JULY
www.mai36.com
쏍 RaebervonStenglin
Pfingstweidstrasse 23
Ivan Seal
UNTIL 27 JULY
www.raebervonstenglin.com
쏍 Scheublein Fine Art Ltd.
Schloss Sihlberg, Sihlberg 10
Eight years in the making: DeFeo’s The Rose, 1958-66
Monuments
Jay DeFeo: Chiaroscuro
www.scheubleinfineart.com
UNTIL 17 JULY
Galerie Eva Presenhuber, Löwenbräu-Areal, Zurich
UNTIL 20 JULY
쏍 Thomas Ammann Fine Art
Jay DeFeo is best remembered for her monumental, sculptural canvas The
Rose, 1958-66, which she worked on for eight years and which was
recently the centrepiece of a major survey of her career at the Whitney
Museum of American Art in New York. Less known is her photography,
which DeFeo took up in the 1970s, when she began experimenting with
gelatin silver prints, photograms and collages. The artist’s trust has provided 52 works for this selling show at Galerie Eva Presenhuber, including
paintings, drawings and photographs. H.S.
Restelbergstrasse 97
Francesco Clemente
UNTIL 27 SEPTEMBER
www.ammannfineart.com
ART BASEL EVENTS
THURSDAY 13 JUNE
Limmatstrasse 270
쏍 Galerie Eva Presenhuber,
Maag Areal
Geoffrey Farmer
Zahnradstrasse 21
UNTIL 18 AUGUST
Ugo Rondinone: Soul
John Armleder, Stefan Burger,
Valentin Carron, Edward
Krasiński, Manfred Pernice
UNTIL 20 JULY
10AM-11.30AM
Trisha Donnelly: April
UNTIL 18 AUGUST
Eva Rothschild
쏍 Galerie Francesca Pia
András Szántó moderates a discussion between Agustín Pérez
Rubio, the former director of the
Museo de Arte Contemporáneo
de Castilla and León, the
Kunsthalle Athena curator Marina
Fokidis, and Suzanne Cotter, the
director of the Serralves Museum
of Contemporary Art.
Limmatstrasse 268
Salon
Elad Lassry
Art Basel, Hall 1, Auditorium,
Messe Basel
Migros Museum
www.migrosmuseum.ch
UNTIL 20 JULY
UNTIL 20 JULY
Mark Handforth: Blackbird Museum für Gestaltung
UNTIL 7 SEPTEMBER
Ausstellungsstrasse 60
www.presenhuber.com
René Burri: a Double Life
UNTIL 13 OCTOBER
www.museum-gestaltung.ch
Public/Private: Museums
and Austerity
Art Basel, Hall 1, Auditorium,
Messe Basel
Landesmuseum
UNTIL 20 JULY
Museumstrasse 2
www.francescapia.com
Animals and Mythical Creatures
from Antiquity to the Modern Age
쏍 Galerie Gmurzynska
UNTIL 14 JULY
Paradeplatz 2
1PM-2PM
www.musee-suisse.ch
Robert Indiana
Shedhalle
www.gmurzynska.com
New York gallerists Elizabeth Dee
and Edward Winkleman talk with
moderator Josh Baer, the art
adviser and publisher of Baer Faxt.
Artist Talk: Parcours
UNTIL 30 JULY
Rote Fabrik, Seestrasse 395
Art Market Talk: the Place of
Mid-level Galleries in the Age of
the Mega-gallery
Switzerland Is Not an Island #2
쏍 Galerie Haas AG
UNTIL 30 DECEMBER
Talstrasse 62a
2PM-3PM
www.shedhalle.ch
Jean Fautrier
쏍 Annemarie Verna Galerie
www.galeriehaasag.ch
Artists Tom Burr and Valerie
Snobeck talk with moderator
Florence Derieux, the curator of
Art Basel’s Parcours sector.
Artist Talk: Unlimited
Neptunstrasse 42
UNTIL 28 JUNE
Celebrating 20 Years
쏍 Galerie Mark Müller
UNTIL 6 JULY
Hafnerstrasse 44
3PM-4PM
www.annemarie-verna.ch
Joseph Marioni: Painting at 70
쏍 Barbarian Art Gallery
John Nixon: EPW
Artists Oscar Tuazon, Latifa
Echakhch and Matt Connors with
Gianni Jetzer, the curator of Art
Basel’s Unlimited sector.
Artist Talk: Ericka Beckman
UNTIL 20 JULY
Limmatstrasse 275
UNTIL 20 JULY
Aida Mahmudova: Inner Peace
www.markmueller.ch
UNTIL 13 JULY
www.barbarian-art.com
쏍 Galerie Nicola von
Senger AG
6PM-7PM
Thomas Feuerstein
The artist speaks with the publisher Lionel Bovier and the
Kunsthalle Bern director Fabrice
Stroun.
John Armleder: Overload
UNTIL 13 JULY
Design Talks
UNTIL 27 SEPTEMBER
www.nicolavonsenger.com
The Choreography
of Collaboration
쏍 Galerie Andrea Caratsch
Waldmannstrasse 8
Limmatstrasse 275
www.galeriecaratsch.com
쏍 Galerie Bob van Orsouw
BONTECOU: © LEE BONTECOU, COURTESY HAUSER & WIRTH
Conversations
쏍 Galerie Peter Kilchmann
Zahnradstrasse 21
Design Miami Basel Studio,
Hall 1, Süd, Messe Basel
Limmatstrasse 270
Los Carpinteros: Bola de Pelo
5:30PM
Shirana Shahbazi
UNTIL 27 JULY
UNTIL 27 JULY
www.peterkilchmann.com
Alexandre Joly
The artist Daniel Arsham and the
designer Judith Seng discuss their
collaborations with Merce
Cunningham, Jonah Bokaer and
Barbara Berti, moderated by the
designer Tamar Shafrir.
Albrecht Schnider
UNTIL 27 JULY
www.bobvanorsouw.ch
쏍 Galerie Eva Presenhuber,
Löwenbräu-Areal
쏍 Galerie Römerapotheke
Rämistrasse 18
UNTIL 13 JULY
Film
www.roemerapotheke.ch
Stadtkino Basel, Klostergasse 5
Jay DeFeo (see above)
쏍 Hauser & Wirth Zurich
Short film programme:
Approaching Spaces
UNTIL 20 JULY
Limmatstrasse 270
8PM
www.presenhuber.com
Lee Bontecou: Works on Paper
Limmatstrasse 270
21
THE ART NEWSPAPER ART BASEL DAILY EDITION 13 June 2013
22
DIARY
Socialist chic
Make a wish
As every silver-tongued dealer knows,
there are many ways to add value to
a work of art, but few take this as
literally as the Indian artist
L.N. Tallur, whose “wish
tree” sculpture
Chromatophobia
(right), on Nature
Morte’s stand,
invites visitors to
“take out a coin
from your
pocket” and
insert it into the
work using “the
hammer provided for
this noble cause”, while
making a wish. For the
wish to come true, however, the artist
stipulates that the donor should
“CLEAN UP your mind from all worries, ugly thoughts
and bad actions”—something that
might prove a challenge for many
Art Basel attendees.
ART BASEL DAILY EDITION
Getting funky with Solange
personal ads offering machines for
sale, they have also become adept at
fending off retro fans, gently informing them that, contrary to appearances, the individual machines cannot be bought—but that the price for
the entire installation, Video Palace 33:
The Living Dead 1264, 2011 (above), is
€35,000. Let’s hope the artist’s representative, Galerie Gebrüder Lehmann,
is offering Moccaraba a commission.
Time you bought
a watch
Time was ticking at the lavish celebration this week marking the
Swiss luxury watchmaker
Audemars Piguet’s first
year as a partner with Art
Basel. The French disco
giants C2C were the
special attraction at
the swish event held at
Basel’s Volkshaus, but
the Gallic turntablists
were less good at timekeeping than their hosts,
as more than 300 guests
waited (and waited) patiently
to see the DJs strut their stuff.
The dashing Euro-popsters finally
appeared and proceeded to charm the
The art bar installation by the American artist Mickalene Thomas, nestled
within Basel’s Volkshaus, will no doubt draw hordes of fairgoers hell-bent on
going back in time. Better Days, commissioned by the Absolut Art Bureau, is
named after the parties Sandra Bush, the artist’s late mother and muse, threw
for her theatre group in New Jersey in the 1970s. Every detail of Thomas’s
immersive, kitsch-tastic experience (even the plug sockets are American) evokes
the period that connoisseurs would rather forget, with faux wood panelling,
psychedelic furnishings and punch—the house-party beverage of the era—
available in three flavours: “Phuck U1”, “Phuck U2” and “Phuck U3”. But one
way in which Basel differs from New Jersey is crowd control. “Back in the day,
they didn’t care if the house burnt down at [these] parties. In Switzerland,
things are definitely more ordered,” Thomas says, stressing the strict door policy. Let’s hope the Swiss were ready for Solange Knowles (above), the indie little
sister of pop behemoth Beyoncé, who performed last night, prompting the good
burghers of Basel to let down their hair and dust off their gold lamé hotpants.
masses, who were left pondering the
eye-catching projections of work dotted around the venue by Dan
Holdsworth, the British photographer
commissioned to document the
Vallée de Joux, otherwise known as
the timeless birthplace of
Audemars Piguet.
Mad about the boy
The Turkish artist Kutlug Ataman
(right) is very gay—so says a
certificate, issued by the Turkish
military police in 2011, that pulls no
punches about the artist’s less than
macho manner. Under “findings”, the
official document sternly notes that
“his self care is good, his temperament
is calm, his sociability is respectful,
talk effeminate, voice effeminate, his
Confessions of an art dealer
Be kind, rewind
Daniel Blau
Daniel Blau,
London and Munich
The Parcours map may be notoriously
difficult to navigate, but the various
establishments hosting works of art
in the Klingental neighbourhood are
all super-helpful, and none more so
than the proprietors of the
Moccaraba coffee and tea house.
Klingental’s favourite roasters have
temporarily assumed the identity of
an importer/exporter of obsolete VCR
players, courtesy of the Dutch artist
Joep van Liefland. Not only have the
owners of the aromatic shop allowed
their premises to be colonised by
stacks of defunct video equipment
and a display of genuine-looking
The museum I’d like to lead…
Would have been the Leverian
Museum, which unfortunately
closed 200 years ago.
The artist I should have
signed…
I like to work with dead artists.
Things that keep me awake
at 3am…
The stuff under my bed.
I should have been…
An 18th-century explorer or an
archaeologist.
Dealers are misunderstood
because…
They unflinchingly stand up
for their artists, art works
and vision.
Fairs are important…
To compete with auction
houses.
Small talk is…
The liquid in the stew or a
breeze on a hot summer day.
A recurring nightmare
involves…
Waking up.
I was happiest when…
I was digging at the foundations
of my boarding school.
The most underrated art
movement is…
15 March – 17 November 2013
Bernisches Historisches Museum
China’s spectacular
heritage – now in Bern
Qin – The eternal emperor
and his terracotta warriors
www.qin.ch
mimics and
gestures are
effeminate…
thoughts
concerning
being noninterested in
women and
being
interested in
men are at the
forefront… playing girl-games with
girls since his childhood.” This
provocative and puzzling
proclamation of homosexuality, Fiction
[Jarse], 2011, can be found at Art Basel
at the Thomas Dane Gallery. And—no
surprise from the days of “Don’t ask,
don’t tell”—the gloriously
“effeminate” Ataman was deemed
“unfit for military service”.
Truly great artists try not to
about it.
be identified with movements.
My Art Basel dream
I agree with that notion.
is to…
The next big thing…
Exhibit at Art Basel
Will seem tiny the moment
Waikiki.
after.
Gareth Harris
I wish I had met…
James Cook.
Travel broadens…
My horizon and collection.
Life is too short for…
Democracy.
My favourite person in
Dan
iel B
lau
the art world is…
The first one chopping
a pebble two million
years ago, enjoying the new
shape and telling the others
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editors: Jane Morris, Javier Pes
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: James Hobbs, Iain Millar, Emily
Sharpe, Anny Shaw
Designer: Craig Gaymer
Picture researchers: Katherine Hardy,
Ermanno Rivetti
Editorial assistants: Pac Pobric, Laurie Rojas
Editorial researcher: Victoria Stapley-Brown
Contributors: Alexander Adams, Martin Bailey,
Robert Bevan, Louisa Buck, Charlotte Burns, Paul
Carey-Kent, Benjamin Eastham, Eddy Frankel,
Melanie Gerlis, James Hall, Julia Halperin, Gareth
Harris, Ben Luke, Julia Michalska, Javier Pes, Pac
Pobric, Laurie Rojas, Cristina Ruiz, Emily Sharpe,
Anny Shaw, Helen Stoilas, Nicole Swengley
Photographer: David Owens
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Managing director: James Knox
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ART BAR, VAN LIEFLAND AND TALLUR: © DAVID OWENS. BLAU: © BURKHARD MAUS
Is 2013 the year of William Morris?
The Victorian craftsman, social
reformer and trendsetter has a starring role in Jeremy Deller’s British
pavilion at the Venice Biennale, and
his former family home in east
London snagged the UK’s coveted
Museum of the Year award.
Contemporary artists’ love affair with
all things Arts and Crafts continues
apace in Art Basel, with Morris’s distinctive floral designs finding a blingy
new incarnation as the vivid backdrop
for Kehinde Wiley’s latest series of
portraits, one of which adorns
Stephen Friedman’s stand. The series
is due to be shown at the London
gallery this autumn, and with a special
project by Yinka Shonibare planned
for the William Morris Gallery next
year, the popularity of the 19thcentury radical from Walthamstow
shows no signs of abating.
Design M iami
m / Basel 2013
The Global For um for Design
11–16 June 2013
New Locat ion / Hall 1 Süd
E SE
E LE
TM
LET M
ME S
E
OW
E SH
OW M
E SH
Sand
nd Chairrs,
s 2012
Kueng Caputo, courtesy of Salon 94
E
S
E
M
Design Galleries
Antonella Villanova
Villanov / Caroline Van Hoek / Carpenters
Workshop Gallery/
Gallery / Cristina Grajales Ga
Gallery/
y / Dansk
Gallery / Demisch Danant / Didier Ltd /
Møbelkunst Gallery
Apartment-Gallery/
Erastudio Apartment-Galler
y / Franck Laigneau
Laignea / Gabrielle
Gallery/
Duval / Galerie
y / Galerie Anne-Sophie Duva
Ammann // Galler
Saint-Laurent / Galerie Chastel-Maréchal
Chastel-Marécha /
BSL – Béatrice Saint-Lauren
Galerie Downtown – François Laffanour / Galerie Eric
Philippe / Galerie Jacques Lacoste / Galerie kreo / Galerie
Maria Wettergren / Galerie Pascal Cuisinier / Galerie
Patrick Seguin / Galerie Ulrich Fiedler / Galleria O. / Gallery
Gallery / Hostler
Libby Sellers / Gallery SEOMI / Heritage Gallery/
y/
Burrows / Jacksons / Jousse Entreprise / Nilufar Gallery
Ornamentu / Pierre Marie Giraud / Priveekollektie
Ornamentum
Art|Design / R 20th Century/
Century / Salon 94 /
Contemporary Art|Desig
Sebastian + Barquet / Southern Guild / Steinitz / Thomas
ARTRIUM / Victor Hunt Designart Dealer /
Fritsch – ARTRIU
YMER&MALTA /
YMER&MALT
Design O
On / Site Galleries
Armel Soyer presenting Mathias Kiss / Carwan Gallery
presenting India Mahdavi / Elisabetta Cipriani presenting
Enrico Castellani / Galerie VIVID presenting Richard
Woods & Sebastian Wrong / Granville Gallery presenting
Elizabeth Garouste / Louisa Guinness Gallery presenting
Anish Kapoor / NextLevel Galerie presenting Bina Baitel /
ProjectB presenting Philippe Malouin
Maloui /
Design Talks
Thursday 13 June / 5.30pm
The Choreography
of Collaborat ion
Daniel Arsham, Artist
in conversation with
Judith Seng, Designer
Moderated byy /
Tamar Shafrir,
Designer & Critic
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IURPĬQGLQJQHZSHUVSHFWLYHV
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For the past 20 years, our support of Art Basel has created
an opportunity for our clients to pursue their
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And that’s why we work to provide access to collecting
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