00
‘It’s this very dangerous thing that these people are playing with… This list, it’s almost like the Nobel Prize’
Glenn Beck on the Power 100
Donald Judd with his work, Untitled, 1975, at La Mansana de Chinati/The Block, Marfa, 1982
Photo by Jamie Dearing. Judd Art © Judd Foundation. Licensed by VAGA, New York, NY
Courtesy Judd Foundation Archive and David Zwirner
Judd Foundation
is now represented by David Zwirner
David Zwirner
525 West 19th Street
New York, NY 10011
212 517 8677 telephone
212 517 8959 fax
www.davidzwirner.com
JOHN GIORNO
EATING THE SKY
29.10.10 – 18.12.10
Jason Rhoades
1 : 12 PeRfect WoRld
24 sePtembeR – 18 decembeR
london
subodh GuPta
25 sePtembeR – 13 novembeR
ZüRich
louise bouRGeois
the fabRic WoRks
15 octobeR – 18 decembeR
london
monika sosnoWska
5 novembeR – 18 decembeR
neW YoRk
chRistoPheR oRR
20 novembeR – 21 JanuaRY
ZüRich
WWW.hauseRWiRth.com
JASON DODGE
O C TO B E R 3 0 - D E C E M B E R 2 3
Zeno X Gallery
Leopold De Waelplaats 16 2000 Antwerp Belgium +32 3 216 38 88 info@zeno-x.com www.zeno-x.com
Gavin TURK EN FACE
30.10.10 – 18.12.10
WWW.PERROTIN.COM
Peter Land
The Road home
12 NovembeR - 15 JaNuaRy
Joachim
Koester
to n av i g at e , i n a g en u i n e way, i n t h e u n K n ow n
n e c e s s i tat e s a n at t i t u d e o f da r i n g , b u t n ot o n e
o f r e c K l e s s n e s s ( m ov e m e n t s g e n e r at e d f r o m
t h e m ag i c a l Pa s s e s o f c a r lo s c a s ta n e da )
1 2 N ov e m b e r - 1 5 Ja N ua ry
Yayoi Kusama Solo Presentation · New Works Narcissus Garden, 1966 -
Stand B12 · Grand Palais Jardin des Tuileries
november 2010
DISPATCHES 31 New on
Snapshot: Lucas Blalock Now
See This: Rebecca Warren, Mark
ArtReview.com
Grotjahn, Roe Ethridge, Hans Op
de Beeck, Song Dong, Cosima von News
Bonin, Manifesta, São Paulo International art, design and
Bienal, Artissima, The Last architecture news, updated every
Newspaper Columns: Paul Gravett day, as it happens
on John Russell post-BANK
collective; Joshua Mack on Video
Vogue-ology; Raimar Stange John Russell creates a new work,
worries Berlin has forgotten its Vermillion Vortex, specially for
artists; Marie Darrieussecq artreview.com; Mona Hatoum talks
writes on reading The Free maps and her latest installation
Lance: Christian Viveros-Fauné in our Close Encounters video
asks if change is an unobtainable series; we attend the
goal London Calling: Save the announcement of the Jarman Award
Arts misses the bigger political 32 winner; and it’s off to the
picture, J.J. Charlesworth Frieze Art Fair, camera in tow
argues The Painted Word: Nigel
Cooke takes on Toy Story 3’s Big Text
Baby The Shape of Things: Pop Stewart Campbell on Centotto and
goes the Popemobile, says Sam Bushwick’s apartment show scene;
Jacob Hong Kong Diary: Mark Joshua Mack reviews Demetrius
Rappolt meets Baz Luhrmann Oliver’s Jupiter installation on
42 New York’s High Line; Laura
Design: Decorative doesn’t have
to be an insult, postulates McLean-Ferris heads to Ruth
Hettie Judah Top Five: The pick Proctor’s solo show at Hollybush
of shows to see this month as Gardens; Oliver Basciano sees
selected by Chris Dercon A New David Adamo inaugurate Ibid
Concise Refererence Dictionary: Projects’s new gallery space;
Camp to cuts, defined by Neal and we blog ourselves to
Brown Consumed: Studio Voltaire tuberculosis during Frieze week
presents the House of Voltaire,
plus Tom Common, Ben Mclaughlin
and Theo Simpson’s Dead-Ends,
Marc Newson’s speedboat, Li
Xiaofeng’s polo shirt and
Harmony Korine’s Trash Humpers,
out now on VHS Digested: X’ed 54
Out, David Batchelor, Super Sad
True Love Story, Atlas of Remote
Islands, Marian Bantjes, Fanzines
On View: Louise Bourgeois’s
‘fabric drawings’, as curated by
Germano Celant; Mark Rappolt on
the Arte Povera of Mario Ceroli
64
20 ArtReview
H I rosHI sUGImoto
t H e DAY A F t e r
NoW represeNteD bY
FEATURES
The Power 100 93
ArtReview’s expert ranking
of the most powerful
people in contemporary
art starts here. Find out
who’s running the show
and how they’re doing it.
With commissioned portraits
by Miles Aldridge and
Nick Haymes, and new
artwork from Anne Collier
and Alexandre Singh
REAR VIEW
2010, again 176
A timeline of the year in art
106
132
188
22 ArtReview
ALL DESIGNS © THEO FENNELL
Carpe Diem
Contributing Artists /
Photographers
Miles Aldridge, Lucas Blalock,
Anne Collier, Nick Haymes,
Ian Pierce, John Russell,
Alexandre Singh
Interns
Ksenia Landa, Roisin
McQueirns, Katie Bruce
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24 ArtReview
THE HUGO BOSS PRIZE 2010
Guggenheim Museum
Award Ceremony in November 2010 at the Solomon R. Guggenheim Museum, New York
The Nominees
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Apichatpong Weerasethakul
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26 ArtReview
ConTRIBUTORS
November 2010
Miles Aldridge
A regular photographer
for Vogue Italia, American
Vogue, Numéro, The New York
Times and The New Yorker,
Miles Aldridge is one of two
photographers on this edition
of the Power 100. Other
projects this year include
a collaboration with artist Anne Collier
Chantal Joffe at Reflex Art The New York-based artist
Gallery in Amsterdam. His Anne Collier has repeatedly
works are in the permanent returned, throughout her
collections of the National career, to photographing
Portrait Gallery and the magazine and record covers
V&A in London, and of the as still life studies.
International Center of In Artnews (2005), for
Photography, New York. example, she photographed
Pictures for Photographs, a the five issues of Artnews
monograph of his photographic magazine to feature female
work, was published in cover stars during the 1980s.
2009 by Karl Lagerfeld’s She has taken this approach
7L imprint at Steidl. to reviewing ArtReview’s past
Power 100 covers in her
28 ArtReview
GARY
SIMMONS
DOUBLE
FEATURE
17.09
06.11
SAKS
BEIJING 04.09.10 – 31.10.10
SHAN FAN HOMELAND: PAINTING THE MOMENT
– PAINTING SLOWNESS
ARTISTS
AI WEIWEI - CHEN HUI - DING YI - DU JIE - HE YUNCHANG (A CHANG)
L/B - LI DAFANG - LI ZHANYANG - LIU DING - MENG HUANG
NIE MU - QIU SHIHUA - SHAN FAN - ANATOLY SHURAVLEV
TRACEY SNELLING - JULIA STEINER - NOT VITAL - WANG QINGSONG
WANG XINGWEI - XIA XIAOWAN - XIA XING - XIE NANXING
Beijing: 104, Caochangdi Cun, Cui Gezhuang Xiang, Chaoyang District, PRC-100015 Beijing/China
Lucerne: Rosenberghöhe 4, 6004 Lucerne/Switzerland
galerie@galerieursmeile.com, www.galerieursmeile.com
DISPATCHES
november
Snapshot 31 Top 5 54
Now See This 32 A New Concise
The Free Lance 38 Reference Dictionary 56
London Calling 40 Hong Kong Diary 58
The Painted Word 42 Consumed 62
The Shape of Things 44 Digested 68
Design 48
ArtReview 31
DISPATCHES
clockwise from left: Rebecca Warren, Cube, 2003, bronze on MDF on wheels, 51 x 35 x 38 cm, courtesy Maureen Paley, London, and Matthew Marks Gallery, New York; Mark Grotjahn, Untitled (Scarlet Lake and
Martin herbert
Indigo Blue Butterfly 826), 2008, coloured pencil on paper, 51 x 41 cm, courtesy the artist; Roe Ethridge, Mop Bucket, 2010, ink jet pigment print, 178 x 137 cm, courtesy Greengrassi, London
words
Rebecca Warren
Over the last few years,
Roe Ethridge
into a singularity. That’s how
32 ArtReview
Hans Op de Beeck (Ron Mandos,
John Russell Amsterdam, to 20 November, www.
ronmandos.nl) has similarly cast his net
wide, formally so: moving confidently between
John Russell was a cofounder and proactive member of BANK sculpture, video, drawing and animation over the
between 1991 and 2000, throughout assorted incarnations, past decade, he locates unity in an overwhelming
group shows and publishing of a tabloid-style satirical magazine. tenor of melancholia and profound attention to the
Much of what Matthew Collings described in Art Crazy Nation uses of artifice. When ArtReview ran into Op de
Beeck in Basel recently, he was in the midst of a
(2001) as BANK’s ‘surly, self-destructive, self-conscious,
video project set on a cruise ship, for which the
from top: Hans Op de Beeck, Extension (2), 2007, sculptural installation, mixed media, 550 x 350 x 190 cm; Song Dong, Jump, 1999, video, © the artist, courtesy Pace Beijing
introspective attitude – combined… with critical intelligence artist had even written the jazz music played by the
and a flair for spotting weaknesses in the art system’ persists
in Russell’s wide-ranging post-BANK solo works, from his
intellectually intense writings to grand hallucinogenic vistas
in backlit digital prints on vinyl.
In now addressing the visual-verbal interplays of
comics, Russell has developed them into an arresting short
‘drawn film’ for ArtReview entitled Vermillion Vortex (2010),
viewable at tinyurl.com/vermillionvortex. He largely shuns
animation effects, aside from a few pans, zooms or sequences
such as water in motion, in favour of a flow of dissolving,
sometimes overlapping drawings, mainly kept raw and vivid,
some laced with sinister Psycho-style subliminal flashes. He
intersperses this image stream with bursts of narrative texts
in bold capitals, some balloonish, graffiti-style or aggressively
hand-drawn in marker-pen. “I was interested in the potential
of drawing and the phrasing of comics”, says Russell. “More
specifically, in a kind of cinematic phrasing and the way that onboard band. He is not, in other words, a slacker:
a still image can stand in for a scene. Most of the scenes are in here he shows a video, Staging Silence (2009), which
reconstructs memories of generic public places, and
fact a kind of minimally animated still. Anime plays on this, as
a new series of sculpted still lifes.
do comics, in the gap between frames.” Neither a comic nor an
animation in their conventional senses, and perhaps closer to
the halfway hybrid of ‘motion comics’, Russell’s film demands Song Dong (Pace Beijing, 30 October
to be read as much as to be watched – as well as listened to,
with the soundtrack similarly dissolving music and voiceovers.
– 18 December, www.pacebeijing.com)
builds his work on a version of the butterfly
The result can be experienced as a time-based audiovisual effect: the hope that an individual’s small acts
piece like most animated films, but equally the pause and mute might affect society. An artist who skews closer to
buttons let the viewer/reader/listener control it as in a comic. the spacious poetics of Felix Gonzalez-Torres than
Russell suggests that his Strip for this issue serves to many of his Western art-translating
as “a kind of trailer for the film”, but unravelling in reverse, contemporaries, he has built miniature cities out of
biscuits which viewers were invited to eat, videoed
starting with the ending. As the title implies, Vermillion Vortex
himself jumping in front of audiences and – perhaps
‘climaxes’ in a blood-red maelstrom, contrasting the antiseptic most symbolic of transience of all – written in
soullessness of the main setting nearby with expanses of
multiple, rotting Golgothas. “The ending is a kind of ecstatic,
holocaust-event and has nothing to do with the narrative as
such. It ends the narrative and therefore renders the flow of
events up to this point as establishing scenes, only more or less
interesting in as much as they set up the situation where they
can be ended”, says the artist. “And therefore, in the end is the
beginning, as the narrative is retro-coded backwards by the
end, from the end, to allow for the end… in the end… Amen. So
‘the end’ is the monster in this story.”
New York
water. (No word yet if you should eat before
visiting this show.) If Song makes something out of
Cosima von Bonin, Blue St Bernard with Box, 2008 (installation view, Le Printemps de Septembre, Les Abbatoirs, Toulouse, 2009), courtesy Galerie Daniel Buchholz, Cologne & Berlin
list is absolutely loaded, most have access to cash through niente, or sweet idleness, she puts an ironic
spin on what is a seriously labour-intensive show.
fortune or funding; most are white; and most are schooled in
Occupying the entire institution with her
the Western tradition. These commonalities underlie a society characteristic stuffed animals, droll takeoffs of
bound by rituals of association – art fairs, exhibition dinners, Minimalism, fabrics and other presciently postmedium
auctions, committee memberships – which in turn reflect and
reinforce shared assumptions of criticism and class.
Of course you know all this, and most critiques of such
closed cultural circuits – mine included – are really just cases
of the children of privilege gazing at their own entitlement. So
let’s look at something happening this month that concerns
people excluded from the social mainstream by virtue of
all the above criteria: Vogue-ology, an exhibition at Parsons
the New School for Design organised by members of the
sound collective Ultra-red in conjunction with members of
the house/ballroom community. The latter (see the 1990
documentary Paris Is Burning for a slanted intro) are mostly
male-to-female transgender people of colour – many rejected
by their own families – who create kinship associations known
as ‘houses’ ruled by mentoring ‘mothers’ or ‘fathers’. The
community’s ritual glue is walking in balls: highly scripted
drag performances that mimic fantasies of privileged desire,
eg, high-fashion spreads in Vogue. More than a cakewalk, this
finds voguers subsuming a canon of beauty unreachable for all
but the richest and most ‘perfect’ of women, and transforming
it into a higher art. Voguers beat Vogue at its own game by
becoming even more beautiful than its readers can.
As a ball participant has written: ‘Beauty begets control.
Artifice equals power.’ What these words mean to the speaker,
however, are not necessarily what they mean to our Power 100,
and the challenge for Ultra-red is how to reveal that significance.
Thus the exhibition is conceived as part of an ongoing
process of discussion and listening; its ultimate goal is the
establishment of a house/ballroom archive organised around
terms defined by members of the community. Situating these
analytical criteria within the house mindset not only respects
and reveals the community’s voice, but also – if successful
– transcends the power relationships and social prejudices shenanigans that underwrite wild ambiguities of
inherent in most mainstream analysis. These are the very tone, van Bonin’s first major show in the
assumptions of inclusion, entitlement and form which underlie Netherlands promises to do anything but underwhelm.
the marginalisation of the house/ballroom community, among
others, and which its participants, in turn, subvert and exploit
in creating their own structures of aesthetics and power. Along
Manifesta (various venues, Murcia
the way, ‘we’ become the outsiders: a refreshing and thought- and Cartagena, to 9 January, www.
provoking turn of events.
manifesta.org) has always positioned itself at
interstitial points: sometimes disastrously so, as
Vogue-ology, Parsons the New School for Design, New York, when the 2006 edition of the itinerant biennial
17–30 November imploded amid conflicts between the curators and the
government in Nicosia, Cyprus. The last Manifesta,
words JOSHUA MACK in 2008, on the Italian/Austrian border, was an
understandably cautious affair. This one sees them
back in Spain (where Manifesta 5 transpired),
looking at the dialogue between Europe and North
Africa. There’s a tripartite and hydra-headed
curatorial team, a fairly hip/under-familiar list
34 ArtReview
of artists and the sort of structural interest in
Berlin
translocalism and nomadism which suggests that
Nicolas Bourriaud’s The Radicant (2009) is popular
among the thick-geometric-spectacles set. And if
that leaves one feeling footloose, it’s time once
Now that summer is over, the Berlin art scene is starting the new
season with an ending. The Temporäre Kunsthalle, a feature of
from top: Jean-Marc Superville Sovak, It Can’t Last: No Rush, 2010, curated by ACAF for Manifesta 8, photo: © the artist; Leya Mira Brander, Untitled, 1997–2008, photo: Amilcar Packer
Schlossplatz for the past two years, has closed its doors for the
last time. But our distress is tempered – no more than mediocre,
its exhibitions programme ultimately seemed bereft of any
real concept. And the closing exhibition – John Bock’s silly
adventure-playground and group show FischGrätenMelkStand
(Herringbone Milking Parlour) – did nothing to change that
impression. And other Berlin institutions, Haus am Waldsee
and the Nationalgalerie, for instance, are ailing again – the
Bruce Nauman show at Hamburger Bahnhof, as unsurprising
as you’d expect, is one of the few highlights at the moment. Nor
do the galleries seem to have recharged their batteries during
the short, much too hot summer – or have we had a surfeit of
success lately? Too many collectors, too many art fairs, too
many ‘gallery weekends’, but too few studio visits?
Koch Oberhuber Wolff, for instance, is showing
paintings by Chris Martin in which abstract ornament and
colour patterns combine with photographs and fragments of
text that mostly reference African-American music, playing
down sensual-aesthetic purism in the hope of entering into
dialogue with black pop culture. But to no avail: text and
São Paulo Bienal (various
again for the
abstraction have long since come to an accommodation in venues, São Paulo, to 12 December,
painting, and the result here is not the hoped-for ‘rousing’
aesthetic enquiry. Nor is Neugerriemschneider, with its ever-
www.fbsp.org.br), which also totes a
hypertrophic guest list (some 160 artists),
so-respectable Pawel Althamer exhibition, putting its best foot a heaving curatorial coven (two main curators,
forward. In something of a doll’s-house scenario, Althamer Moacir dos Anjos and Agnaldo Farias, and several
has recreated places from his own life: the apartment block guest curators) and the wonderful title There
is always a cup of sea to sail in. National
he lives in now, the study he works in, a river landscape from
pavilions, a former hallmark of the show, have
his childhood. But where does this installation actually get us? been abolished; emphasis has been placed on South
Meanwhile, a similarly unexciting event is under way at Esther American artists and rationales for showing, say,
Schipper, which is presenting the ambitious project 80*81. North American ones; and there’s an overriding
With its multimedia setup, the show looks back to 1980 and concern with politics – from which, reckon the
organisers, art is inseparable. (And if you’re in
1981. Unfortunately the various media – a bank of monitors,
São Paulo, the extraordinary Inhotim Contemporary
slide projection, book and wall text, to name but a few – are the Art Center – brainchild of collector Bernardo Paz,
familiar accoutrements invariably used when art is pretending featuring installations by Matthew Barney, Chris
not to be art. Burden, Doug Aitken and more – is a convenient
It is probably not by chance that one shining beacon in helicopter ride away. You do own a helicopter,
right?)
the present array of Berlin exhibition spaces is wholly not-for-
profit: at DAAD Galerie Tim Lee is showing Streichquartett
Op. 1 (2010). This four-channel video installation shows Lee
playing Glenn Gould’s String Quartet Op. 1 (1956), note by
note, on all four instruments. Lee cut together minishots of his
playing so that the four instruments of the ‘string quartet’ are
finally heard together in the installation in a performance that
judders more than it flows. In this piece Lee presents a detailed
picture of the relationship between technology and virtuosity,
a picture – where the instruments all scrape by with each other
somehow – that also pretty much reflects the Berlin art scene
at the moment.
Paris
Artissima (Lingotto
to cover art fairs, but
Aleksandra Mir, Let’s Go Get ‘Em! (19 October 1996), 2007, marker, paper, courtesy Mary Boone Gallery, New York
ground, irregularly disposed, from place to place, blocks of text
in black letters form a design in slight relief…’ The hero dreams
he’s in a book, and one is reminded of Rilke’s gripping description
of a library: ‘Many people are in the room, but you don’t feel it.
They are in the books. Sometimes they move about the pages,
like sleeping men, and turn over between two dreams.’
I believe that words are not there to be read but to be
heard, even when written. It’s not only about their consistency
in sound – rhythm, alliterations, musical harmony, etc: the
material of poetry. Words are perceived by all the senses, just
as in art we are entirely in the presence of a work. Words are
seen, heard, felt, breathed, absorbed, memorised and echoed in
a complete virtual world by the organ of vision alone.
Irvin Yalom is an excellent storyteller who writes page-
turners (these expressions don’t exist in French). The great
misunderstanding with the novel is that there are two publics:
one for books of leisure and another for literary art. It’s rare
(but possible) that a book meets with both, and when it does,
literature sneaks in through the eyes.
36 ArtReview
POP HYMNS
26 NOVEMBER 2010 -
21 JANUARY 2011
A Change Is
The phrase ‘Change we can believe in’ is a slogan,
a book and presently a laughingstock. Nearly two full years into
the Obama presidency, Newsweek recently published an article
titled, archly, ‘We’re No. 11!’ The piece went on to razz its
Gonna Come…
already enervated readers: ‘Has the United States lost its
oomph as a superpower? Even President Obama isn’t immune
to the gloom. “Americans won’t settle for No. 2!” Obama
shouted at one political rally. How about No. 11? That’s where
the U.S.A. ranks in Newsweek’s list of the 100 best countries in
the world, not even in the top 10.’
Or Is It?
Settling is what many Americans appear to be doing
today, and they are increasingly accepting a decline. Make what
one might of Newsweek’s frontrunners in the ‘best country’
Dan Colen, Meet Me Around the Corner, 2007, enamel on board, two panels, each 142 x 107 cm (142 x 214 cm overall). Courtesy Peres Projects, Los Angeles & Berlin
stakes – just the boredom, racial homogeneity and psycho
suicide rates (much higher than America’s and Britain’s) of
Finland (No. 1) and Switzerland (No. 2) should plonk them
back into their incestuous, wrist-cutting aquavit-and-schnapps-
pickled bogs – deep pessimism has set in throughout the
heartland. Whether it be fact or fiction, Americans feel their
If America now believes itself to be in
fortunes sliding southwards. More important, the land of ‘We’re decline, it’s going to take more than speeches
No. 1’ believes itself powerless to change or improve its course.
As anthropologist Arjun Appadurai puts it, the capacity
and seminars to get the country – and its
to aspire to a different future is crucial for the underprivileged artworld – back on an upswing
to overcome their conditions. It stands to reason, then, that the
same should be true for developed societies – and by extension,
their own microsocieties or – ahem – in our case, miniclubs.
With this thought in mind, and following some Friday night
carousing amid chummy Chelsea galleries, I dragged my sorry
carcass out one morning (on a Saturday!) to the New School’s
Vera List Center for a mysterious programme titled ‘It
Happened Tomorrow: Probabilities, Predictions and
Prophecies’. Even after a Bloody Mary and a double Excedrin,
there was literally no way I could forecast what I was in for.
38 ArtReview
london calling
Save our
to decide whether to go ahead with the cuts. Yet as the risk to
CCE makes clear, ACE has for many years been doing a lot
more than just funding art galleries and dishing out grants to
artists. CCE’s slice of ACE’s government grant works out at 8.5
percent. CCE likes to think that it is terrifically good value for
Quangos!
money, but the fact remains that its mission to raise educational
attainment should really be the responsibility of the department
for education. Yet under New Labour, culturecrats endlessly
bigged-up the idea the arts could do everything: provide a new
economic model, cut crime, raise educational standards…
So what happened to ACE’s previously fondly held
beliefs – has it suddenly discovered that its priority should be to
In the scramble for cash, art gets ugly fund artists and art institutions? Perhaps, but in the hysteria
over a likely cut in ACE’s grant, it’s easy to miss the fact that
almost 40 percent of ACE’s revenue comes from the National
Lottery (£172m in 2009/10); and that ACE has been forfeiting
some of its Lottery cash to the Olympic fund (an arrangement
which will expire once the Games are over). But Lottery money
is not part of the public finances, and ACE’s Lottery grant is a
small fraction of the £1.24bn the Lottery generates, of which
half goes to the Big Lottery Fund, a community-philanthropy
organisation that is all about ‘community learning and creating
opportunity, promoting community cohesion and safety,
promoting well-being’. All very worthy, but again these are
political objectives that should already be the responsibility of
government rather than of yet another unaccountable quango.
In other words, everybody’s promoting community and
Another month, another desperate campaign to stop advancing education and opportunity – a sort of endless policy
cuts in government spending on the arts. Three months into the ‘mission creep’. What the proposed cutting of CCE
UK’s wacky Conservative–Liberal Democrat coalition, and demonstrates is how many quangos now crisscross and overlap
with ministers threatening 25–30 percent cuts to the state- in their policy objectives, and how a body like the Big Lottery
funded cultural sector, one group of visual-arts movers and Fund has survived on the basis of fuzzy sentiment – that it
shakers has weighed in with a petition under the banner Save supports ‘good causes’ – rather than any realistic idea of
the Arts. To kick off the campaign, artist David Shrigley has whether it actually does any good. Redistribute the Lottery
dreamed up a blackly comic animation in which a farmer and money, and funding to the arts could in fact increase, something
everyone seems to accept that such measures have to be taken. than confronting the status quo: as Shrigley’s farmer
As long as they affect someone else. So those threatened are fatalistically declares, “Because of those jokers in charge of the
cranking up the apocalyptic rhetoric: Save the Arts declares banks, the government is going to have to make some cuts. We
that ‘25–30 percent cuts… would result in the closure of many all have to accept that.” But do we? The new coalition is
smaller arts organisations and would also have a crippling effect happiest when presenting itself as solemnly, responsibly making
on the functioning of the country’s leading arts venues’. cuts, yet it is silent – and largely unchallenged – on how it will
Spending cuts on such a scale would indeed be rough. In kickstart the economy to bring greater growth and prosperity.
September it was reported that Arts Council England (ACE) While the various quangocrats jostle and manoeuvre over
was considering cutting its £38m of funding to Creativity, which slice of the policy cake they get left with, there is still little
Culture and Education (CCE), a quasi-nongovernmental debate on what kind of funded arts culture is really worth the
organisation (quango) charged with developing educational money, and even less on how we recreate the economic
collaborations between creative professionals and schools. dynamism on which – in the end – all art and culture relies.
Denying CCE’s claims that the decision had already been made,
ACE stated that it would wait until after the Spending Review
40 ArtReview
the painted word
Poor Big
At last – during the summer’s art hiatus and after 11
years in the making, Pixar’s hugely anticipated Toy Story 3
(2010) was finally released. With an incubation that long, it
promised to be at least as ripe for allegorical interpretation
as the other two; the artistically minded will no doubt start
Baby
reading all kinds of nonsense into the plotline (‘it’s really all
about God/Marx/Auschwitz’ – delete as interpreted). But not
this ‘viewer’ – I was heavily prepared to go with it, swearing off
subtexts and metanarratives for the time being – at least until
the Frieze Art Fair.
All that went out the window upon encountering one
of the all-new characters in the film – the disturbing, moon-
gazing baddie Big Baby, an infant doll with emotional issues.
Originally of the Tiny Tears variety, he is here transformed into
Toy Story’s newest character treads
a traumatised and edgy outsider with a short fuse, thanks to where artists dare not go
having been left by the roadside by his previous owner. Now one
of a gang of brainwashed, heartbroken and vengeful rejects, he
spends his days swigging from his bottle and staggering in a way
that lets you know it isn’t filled with milk.
Thinking about this character in terms of art is
unavoidable: his abjection immediately recalls the legion
of artworks that use grubby dolls and the like ‘to make the
viewer uncomfortable’. And I’m not talking about Hans
Bellmer’s libidinous, sadistic corpse-dolls, or the later hybrids
and amalgams of Paul McCarthy, Tetsumi Kudo and Cindy
Sherman. Apart from such stellar exceptions, most art made
with children’s toys has the same problem. The ‘sadness’ of the
discarded teddy or doll remains, for some reason, unquestioned.
Assumed to be a hotline to troubling content – omnipresent
evil, domestic abuse, paedophilia, etc – a kids’ toy allows artists
to lazily bootleg a back catalogue of unease, the supposedly
innate suggestiveness of the thing requiring little intervention
to complete the picture of foul play. As any art-school tutor
will tell you, it’s for this reason that dolls and teddies go on the Here, the animism of the Toy Story concept functions on
as-yet-unwritten list of dead-end art materials, stuff so loaded two distinct levels, corresponding to the respective experience
with symbolism and references that it would take nothing levels of the two principal audiences addressed in the cinema:
short of mass pop-cultural amnesia for anyone to reuse them children and adults. With this simple move the film’s creators
in any thought-provoking way. Dolls in art aptly illustrate the have put together a succinct portrait of abuse. Big Baby is the
Big Baby, from Toy Story 3, 2010, dir Lee Unkrich. © Disney/Pixar
movement of kitsch – the bathetic slide from the genuinely antithesis to the other characters’ honest playability, as every
affecting to the hopelessly and endlessly repeated. action and bodily inscription can be read in two ways. And even
Although he connects with this cliché, Big Baby also goes where the other toys are schizophrenically inseparable from
way beyond it; Pixar has managed to turn this hackneyed visual their own merchandising, this uncanny sufferer maintains a
trope on its head and achieve what art could not – an enduringly more unsavoury relationship with his commercial identity.
unsettling portrait of abuse and psychic anguish through the He becomes like the living dead, a toy hauled from the bin
medium of the neglected baby doll. and put back on the shelf to be consumed all over again. The
They do this by doubling up on the signifiers of neglect. indifference of this market context to the anguish of the doll/
Each mark and fault on the doll has a role as a sign both of child may even lend the character some extra power here, in
entropic wear and tear, and of a troubled interior consciousness ways that would seem unbearably corny in the rarefied context
that’s prey to self-loathing and addiction. Witness the scribble of art. If anything, the successful doll art of McCarthy and
marks – they leap out as tattoos, simply because of where they others depends on indifference too, but directed towards the
are placed. The smudges of dirt scan as bruises. The broken cloying sentimentality and faux meanings that come with doll
eye calls to mind the aftermath of a barroom brawl. And imagery, which are surprisingly absent in Toy Story’s Big Baby.
most unnervingly, Big Baby’s henchmanlike strong-arming of In the end, the film may well be about God, Marx or the
the other toys is accompanied by a babyish gurgling and the Holocaust. But don’t miss the biting subtext of domestic abuse
occasional “Mama”: by virtue of his size relative to the other and psychic trauma, delivered by a grimy baby doll you wouldn’t
toys, his is a child’s mind in an adult body. want to take home with you.
42 ArtReview
Jimmie Durham
arts, media and sports
SPROVIERI
7 October – 27 November 2010
Cinthia Marcelle
Ilya & Emilia Kabakov
Jimmie Durham
Matheus Rocha Pitta
Nan Goldin
SPROVIERI
27 heddon street
london w1b 4bj
+44 20 7734 2066
tue – sat 10 – 6
new website
sprovieri.com
the shape of things
Pimped
I was more than a little disappointed by the Pope’s UK
visit in September. Not because of the well-logged issues that
currently plague the organisation he runs, nor because the
expense of his visit was borne by the British taxpayer. It’s worse
than that: someone’s screwed with the Popemobile.
no more
When Pope John Paul II visited the UK in 1982, he used
two Popemobiles. One was a converted 24-tonne British
Leyland ‘Constructor’ truck designed by Tom Karen. It brought
with it stylistic tics recognisable from some of his other projects,
the super-groovy Bond Bug car, the Raleigh Chopper and the
Kiddicraft marble run among them. Karen’s Popemobile looked
part Star Wars Stormtrooper carrier and part refuse truck, and
had the kind of massiveness that made you think it could do
some damage. John Paul’s other car was a Range Rover – one of
Why the Pope’s new ride will fail
those boxy early-1980s models (also, of course, in white) that to procure him many new fans
Princess Margaret might have driven. Except the Pope’s
transport had a large hump of extra Range Rover on its back, as
though two Rovers were mating.
Last month, Pope Benedict XVI flew over a pair of
armoured Mercedes-Benz 4x4s from Vatican City. These, and
more of the same model located around the world, now form a
fleet of standardised Popemobiles in use since 2002. Based on
the ML430 SUV, each has a viewing box fitted to the rear, and
bulletproof windows, frames and undercarriage. The Pope’s
central seat can be raised hydraulically.
The standardisation of the Popemobile may well be neat
and convenient, but its previous incarnation as a one-off, locally
interpreted design seemed somehow to demonstrate ingenuity
and originality wherever the Pope went.
The Polish really knew how to do it. One of their versions There is a tension in those old versions: a struggle
looks like a military golf cart with a bright yellow flash down its between the symbolic and iconographic traditions of
side and sprays of flowers around its radiator grille. The Pope Catholicism and the generic world of vehicle design. They
would stand in a kind of raised balcony (decorated by more display an attempt to invent a solution to the problem of how an
flowers) framed by a tapestry held over him on thin rods. object of the modern world might exist within the object realm
Another, even stranger incarnation looks like a bus stop or of the Pope, in which every detail is part of a vast and complex
perhaps an office-partitioning glazing system. Above this floats choreography of ancient symbolism that adds up to a total
a petrol-station canopy. And the whole apparatus sits on a universe of meaning. The Council of Trent had little to say
rectangular plinth that has what appear to be very tiny wheels about vehicle design.
poking out from beneath it. The problem of the Popemobile is that contemporary
There are, naturally, more sensible-looking variations – design can’t – or isn’t willing – to operate in that symbolic,
a flatbed with a large aquarium attached, or the cool jeep that iconographic way any more. The Pope’s current SUV sports the
looks like it should be driven by a hot archaeologist. number plates SCV and SCV 1 – for ‘Stato della Città del
Vehicle customisation, or ‘ride pimping’, as many now Vaticano’. That doesn’t really cut it in the symbolism stakes –
know it, is something that normally occurs as an instance of more boy racer than Holy See. It is this lack of exceptionality,
subculture vernacular – one thinks of Chicano lowriders, hippy this ordinariness, that is disappointing.
convoy buses, even carnival floats. While today the Vatican may It is not as though vehicle design is a semiologically
well represent just another one of these subcultures, it’s hard barren activity. One only has to glance at a car advertisement to
© Mazur/www.thepapalvisit.org.uk
not to link all its aesthetic production to the exceptional quality see how the deformations and inflections of metalwork, the play
of high Baroque Bernini and Michelangelo. of chrome against panel and the lustrous sheen of paintwork
In those old Popemobiles, you can still glimpse fragments are aesthetic manipulations that stir fundamental reactions. In
– an embroidered canopy, a piece of iconographic livery – fact, it is in the bodywork of cars – the rising waistline from
suggestive of the symbolism and iconography present, for front to back that gives a feeling of dynamic forwardness, the
example, in the papal robes; not so the current model, which bowed reflection that sprawls over the bonnet or the starburst-
feels part of the secular, modern world. plastics of a brake light – and their direct appeal to our senses
that we might find the only living inheritance of Rome’s
seventeenth-century Baroque design tradition.
44 ArtReview
fragrance takes to the wing
design
Pattern
I recently left a bowl of sloes out on the table.
A friend shoved a handful into his mouth, thinking that they
were blueberries. The expression on his face after five seconds
of chewing reminded me uncannily of the look I got from an
industrial designer once when I referred to his limited-edition
Recognition
works as ‘decorative art’. Decorative art is to the visual arts
world what mime is to the performing arts: a long, important
heritage that has translated in contemporary life into something
naff and embarrassing. The very word ‘decorative’ has become
a kind of insult, like ‘inoffensive’ or ‘pleasant’.
The works that we now think of as decorative art – from
Sèvres porcelain to inlaid cabinets to carved stone objects – are
rarely decorative for their own sake. Decoration – whether
military or domestic – is a sign of status, and where there’s
Long the art that dare not speak its name,
status, there’s usually politics, intrigue, alliances and bloody decorative art is becoming hip
struggle. Stories of poisoning, magic and sacrifice have
peppered the BBC’s History of the World in 100 Objects radio
series (2010), produced with the British Museum, and no doubt
contributed to its allure.
When I spoke with the Dutch designer Carole Baijings
(of the studio Scholten & Baijings), she told me that she was a
huge fan of the series: I’d be interested (surprised, even) to hear
whether any British designers have been similarly inspired by
it. Baijings was probably predisposed towards museum-y
subject matter; her studio has been working closely with the
Zuiderzee Museum in Enkhuizen and over the last three years
has produced works, ranging from willow baskets to glassware
to decorative storage boxes, that relate to the practices and
historical stories told by the collection.
There is nothing obscure or retro or even kitsch about
these pieces – they are gorgeous and exciting and wonderfully
modern looking. (In the UK they are produced by Established
& Sons, and you can buy them at Moss in New York.) Yet the
Zuiderzee Museum, until a few years ago, was the kind of place
to which children got dragged screaming on wet holidays – a
48 ArtReview
ANSELM ON TOUR WITH THE
KIEFER
8 October 2010 – 16 January 2011
Anselm Kiefer Palette, 1981. © Anselm Kiefer. ARTIST ROOMS Tate and
National Galleries of Scotland. Acquired jointly through The d’Offay Donation with
assistance from the National Heritage Memorial Fund and the Art Fund 2008
BAL351
RECENT BRITISH SCULPTURE
RUPERT ACKROYD
ATHANASIOS ARGIANAS
CHARLES AVERY
VANESSA BILLY
MATTHEW DARBYSHIRE
JESS FLOOD-PADDOCK
BRIAN GRIFFITHS
MICK PETER
SAM PORRITT
KEITH WILSON
Keizersgracht 82, 1015 CT Amsterdam, The Netherlands , Eerste Jacob van Campenstraat 23-25, 1072 BR Amsterdam, The Netherlands
www.grimmfineart.com, Tel +31 (0) 20 4227 227, Fax +31 (0) 20 3301 965.
flavio de marco
VEDUTE
21.11.2010 - 27.02.2011
work by:
TAKASHI MURAKAMI
MARLENE DUMAS
WILLIAM KENTRIDGE
ESTHER MAHLANGU
ASHA ZERO
ROELOF LOUW
and others
Reliquaries, wax, paint, leather, metal, wood, resin, Plexiglas, 24 x 99 x 24 cm, collection Carnegie Museum of Art, Pittsburgh, photo: Jason Mandella, © Estate of George Paul Thek, courtesy Alexander and Bonin, New York
from left: Gabriel von Max, Female Martyr on the Cross (St Julia), c. 1867, oil on canvas, Charles and Emma Frye Collection, Frye Art Museum, Seattle; Paul Thek, Warrior’s Arm, 1967, from the series Technological
What to see this month by 2 Small Scale,
Chris
Big Change: New
Architectures
of Social
Dercon
Director designate, Tate Modern, London
Engagement
Museum of Modern Art, New York
To 3 January
www.moma.org
4 Paul Thek: Diver,
A Retrospective
As the venue says, ‘This show
presents eleven architectural Whitney Museum of American
projects on five continents Art, New York
that respond to localized 21 October – 9 January
5 Marburg!
believe in, say, biogenetics. in mind.
54 ArtReview
A New Concise Reference Dictionary
Cc
documentation are thus engaged in the reconstruction of a
continuum: an operation in narrative time which is physically
affected by memory and history, and where past and future
are reconstituted as present.
cliché Clichés tend to be ‘classical’ clichés, and are therefore
important vocabulary modes. Without clichés there is
no comprehension, and arts professionals would have
no common language or ability to function. The radical
transformations of the strategies of documentation are thus
engaged in the reconstruction of a continuum: an operation
in narrative time which is physically affected by memory
and history, and where past and future are reconstituted as
camp to cuts present.
cluster fuck US military slang term for intractable disarray
(often involving multiple deaths) now appropriated by
practitioners of the hey dude style of art writing. In
this way the radical transformations of the strategies of
camp. See connoisseurship. documentation are engaged in the reconstruction of a
cannibalism The most prevalent of the cannibalisms in continuum: an operation in narrative time which is physically
contemporary art is autoconsumption by artists of their affected by memory and history, and where past and future
own blood, penis, faeces or other bodily materiality. The are reconstituted as present. Note: there is a corresponding
literal killing and eating of others is less common, although tendency for the military to borrow art-critical terms in
the blood, faeces or other bodily materiality of an artist may return, such as ‘visual discourse’ – used to describe the aerial
be offered to others to share. The radical transformations bombing of peasant villages.
of the strategies of documentation are thus engaged in the cock See connoisseurship.
reconstruction of a continuum: an operation in narrative cocaine Benzoylmethylecgonine – a crystalline tropane
time which is physically affected by memory and history, alkaloid. An artist’s material unusually characterised by a
and where past and future are reconstituted as present. transversality of disciplinarity specialisations. See toilet
catalogue Publication with essay, illustrations, etc, published (Duchamp urinal).
by a public or private gallery, the text written by a drudge. coda See absurd counterpoint.
See madness. Because catalogues are an advertisement, code See hidden key.
they have a compromised critical independence. Where the colour A universal positive in visual art. With the exception,
artist is still alive, they have zero critical independence. This certain authorities claim, of most 1970s practice.
is compensated for by the universal truth that such essays conceptual art The relationship of the determined commodity
are never read. See advertising. object, or thought locus, within the statement terms of a
celebrity See buttocks. directive authorial imprecation strategy.
children’s and youth art Cheeky ‘East End Cockney’ confessional art See vagina, anus, penis, drunk, snot.
gallery stallholders and young artists, many little more than connoisseurship See cluster fuck, Lady Gaga, cocaine.
children, may be seen dancing, selling art, eating winkles and craquelure See anus.
sniffing cocaine powder from colourful baskets as they cry critic See critical theory.
their wares in London streets. See Lionel Bart, Malcolm critical theory The commonly accepted theory that art critics
McLaren, Poor Law Amendment Act of 1834. should write favourably about an exhibition on the basis of
chimpanzee See also baboon. Humans share 98 percent of the written instructions of a press release.
their DNA with the chimpanzee, but dealers will only share critique See hidden key.
50 percent plus framing costs. culture See cuts.
chora See ciborium. cunt See chora.
ciborium Liturgical vessel used to hold the Eucharist. cuts A nonjocular political expediency locus term especially
cinema a) A cultural locus accorded reverence by theorists, related to the arts in which the letter ‘n’ may be removed
in which the radical transformations of the strategies of from the slang pejorative ‘cunt’ (see feminism), the word
documentation are engaged in the reconstruction of a ‘cut’ itself then becoming a cut word (see pun, Derrida) as
continuum: an operation in narrative time which is physically part of a fiscal transformation strategy terminology process
affected by memory and history, and where past and future in which the letter ‘n’ is removed by econometricians from
are reconstituted as present. b) A socialised architectural certain words in order to save money. Such vigorously
space showing a dull film in which wealthy celebrities mime contested centrality purposes are not usually regarded as
having sex, in front of which audiences (sitting in dirt and playful, except as seen in Orcinus orca (commonly referred
darkness) consume fatty foodstuffs and expel foul fartage. to as killer whale), which will toy with a lacerated infant seal
classicism Certain formulas have been devised so as to prior to killing and eating it. See banker, cannibalism,
attempt definition of this term whose normative value scream. Listen also to Cut by the Slits (1979).
usage is a variable depending on historical and descriptive
context. The radical transformations of the strategies of words Neal Brown
56 ArtReview
HONG KONG diary
Wizards
of Oz
In our third and final report from
Hong Kong, we pick up some
tips on improving next year’s art fair
The Creek, 1977 (detail), 2010. Courtesy 10 Chancery Lane Gallery, Hong Kong
‘Did you see Baz Luhrmann? – he’s here’. While those same the collectors wandering around establishing their credentials
dealers attempt to make it clear that they’re absolutely as part of a cultural aristocracy. On the way to meet Baz and
unimpressed by his presence, they resent the fact that a Vince, I pass a dealer who’s busy explaining to a prospective
celebrity from another creative field is trying to muscle in on purchaser that “this painting is really special to the artist – it’s
their (or more properly their artists’) territory. They don’t say it his absolute favourite”. I wonder how the dealer’s going to
(except when they’re drunk, when they do), but you can see it in explain the paintings the artist doesn’t like so much, or if he’s
their eyes, which roll like fruit machine counters when you ask ever tried the opposite tack: “This painting’s really special – the
if they’ve seen The Creek, 1977. artist absolutely hates it”. But more than that, I’m thinking
The installation is a collaboration in a real sense. Not about how similar the narratives being spun into the fair to
because it’s a seamless and inseparable fusion of two minds make the artworks (and more precisely the purchase of them)
working together (which tends to be the art critic’s default more real are to the performance of Fantauzzo and Luhrmann’s
requirement for collaborative success). Rather because there’s collaboration.
no disputing that two people made this work. Fantauzzo’s We end up meeting in the fair’s café, which means that a
Caravaggio-esque photoreal painting of the aftermath of a car few fans and well-wishers pass through our conversation, too.
crash (a scene evolved from Luhrmann’s childhood in Australia, But Baz is relaxed about that, so Vincent and I are as well. In
and incorporating portraits of both the painter and the fact, he thinks art fairs could do with a more chilled-out
filmmaker) stands at the end of a long dark corridor lit by attitude: “In Hong Kong you’ve got the wine fair, happening at
parallel rows of tea-candle-like lights regularly interspersed the same time, and that’s great. You’ve got the auctions. But why
with the kind of photographs you’d expect to find in the not have the party fairs and the porn fairs, a real mix of high and
Luhrmann family archive (which is where they’re from). The low? A tribal blowing-out is a legitimate and thrilling part of the
installation is the complete opposite of the brightly lit white ceremony.” I know I’m looking forward to the Christy Canyon
booths it’s almost invisibly sandwiched between. Indeed, The and Rocco Siffredi booths at Art Hong Kong 2011.
58 ArtReview
CHINA
POWER STATION
elyron.it
CHINESE CONTEMPORARY ART
FROM THE ASTRUP FEARNLEY COLLECTION
PINACOTECA AGNELLI
LINGOTTO VIA NIZZA 230 TORINO
7 NOVEMBRE 2010 27 FEBBRAIO 2011
CON IL PATROCINIO DI LA MOSTRA FA PARTE
DEL CALENDARIO
Miraculous Beginnings
–
Walid Raad
2 January 2011
14 October 2010
Whitechapel Gallery
whitechapelgallery.org
dispatches
62 ArtReview
Consumed
The pick of things you didn’t know you
really needed. Words Oliver Basciano
£150
The pick of things you didn’t know you
really needed. Words Oliver Basciano
01
£6
02
04
£1.5M £5005
01 02 03 04
Titled Dead-Ends, this It’s a boat that fulfils When looking for an artist It watches like some
small low-fi book, in all those 1970s James Bond to collaborate with on terrible happy-slap caught
an edition of 400, is (wet) dreams. I mean, this a new clothing line, on degraded videotape;
the result of a yearlong is sexy stuff, so sexy that approaching a sculptor who one in which the depraved
scavenging project by Tom even Kanye West wants one works with broken fragments protagonists aren’t the
Common, Ben Mclaughlin (it was on Twitter). It’s of ancient porcelain is youths of tabloid fervour,
and Theo Simpson, who designed by Marc Newson an unexpected choice. but a gang of latex-
gathered job-vacancy slips for Riva and retailed by Lacoste’s partnering with clad elderly Peeping Toms
littered around the local Larry Gagosian as a limited Chinese artist Li Xiaofeng terrorising suburban
vicinity of three Sheffield edition; and you’ll be has resulted in a surreal Tennessee. Harmony Korine
unemployment offices. looking pretty foolish sculptural rendering of the (Kids, 1995) writes and
For many the unsuitable speeding around the waters classic polo shirt made directs Trash Humpers
vacancy adverts are off the Maldives or Miami out of china, which, though (2009), an unsettling film
unwanted souvenirs of their if you’re not one of the not the most wearable of in which the director
fortnightly trip to sign on 22 people in the world to items, we think is quite references William
for the dole – Jobseeker’s have laid his hands on fantastic. Luckily Li Eggleston’s 1974 Stranded
Allowance. Documented here, this turquoise-and-mahogany (and Lacoste) will also be in Canton. Released on DVD,
creased and torn in their little number. running off 20,000 cotton as a limited-edition VHS
original found state, they editions for men and women (pictured) and as a very-
are a poignant, political www.marc-newson.com – all based on the textures limited-edition 35mm film
testament to frustration and colourings of his print, it will cost you
and purposelessness. original sculpture. between £15.99 and £7,500.
64 ArtReview
10 November–9 December 2010
MARCUS HARVEY
Tattoo
FAS
148 New Bond Street London W1S 2JT
+44(0)20 7629 5116 +44(0)20 7318 1895
tc@faslondon.com fascontemporary.com
dispatches
digested
It’s what we think you should swallow, or spit out
X’ed Out
By Charles Burns
68 ArtReview
I Wonder
By Marian Bantjes
Kids Have Everything These Days (Grenade), 2010 Godzilla, 2010 (detail)
Mixed Media C-type print
23 x 11 x 10 in / 58 x 28 x 25 cm 30 x 24 in / 76 x 61 cm
Edition of 3
Eleven
11 Eccleston Street London SW1W 9LX England
T +44 (0)20 7823 5540 F +44 (0)20 7824 8383 E info@elevenfineart.com
W www.elevenfineart.com
Future
Generation
Art Prize
Shortlisted Artists
Ziad Antar / Fikret Atay / Fei Cao / Keren Cytter
Nathalie Djurberg / Simon Fujiwara / Nicholas Hlobo
Clemens Hollerer / Runo Lagomarsino / Cinthia Marcelle
Gareth Moore / Nicolae Mircea / Ruben Ochoa
Wilfredo Prieto Garcia / Katerina Seda / Guido van der Werve
Nico Vascellari / Jorinde Voigt
Artem Volokytin / Emily Wardill / Hector Zamora
www.futuregenerationartprize.org
PinchukArtCentre pinchukartcentre.org
Partner of PinchukArtCentre
C A P E TOW N J O H A N N E S B U R G
David Goldblatt, The ruins of Shareworld and Soccer City, Johannesburg, 6 June 2009
TJ
Some ThingS old
Some ThingS new
and Some much The Same
Joburg phoTographS by david goldblaTT
GOODMAN GALLERY JOHANNESBURG
7 OCTOBER–6 NOVEMBER 2010
DAVID GOLDBLATT IS A 2010 LUCIE AWARD LIFETIME ACHIEVEMENT HONOREE
GALLERY HOURS: TUESDAY–FRIDAY 09H30–17H30 SATURDAY 09H30–16H00 | 163 JAN SMUTS AVENUE PARKWOOD JOHANNESBURG, 2193, SOUTH AFRICA
P. +27 (0)11 788 1113 | F. +27 (0)11 788 9887 | jhb@goodman-gallery.com| www.goodman-gallery.com
on view
Germano
ArtReview This is the last exhibition of the artist’s work
that Bourgeois was actively involved in. Can you describe the
curating process, and what it was like working with her on the
show?
Celant
Germano Celant As a curator and historian of
contemporary art I always pose myself the problem of making a
new contribution to the interpretation of a period or an artist,
so that the exhibition and its related publication add something
to research. In Bourgeois’s case, we discussed with Louise and
her assistant Jerry Gorovoy what part of her work was
‘unknown’, in the sense of not having been examined or
presented on other occasions or in other studies. And so her The curator of Louise Bourgeois:
‘fabric drawings’ became the theme of the exhibition in Venice
[where Fabric Works was on view over the summer, before The Fabric Works speaks with
travelling to London in October], surprising everyone with ArtReview about bringing the
their freshness and intensity.
artist’s abstract visual diary to light
AR What were her, and your, aims for the exhibition?
Louise Bourgeois, Untitled, 2005, fabric, 30 x 43 cm. Photo: Christopher Burke. © Louise Bourgeois Trust. Courtesy Hauser & Wirth, London
interview by ARTREVIEW
AR Bourgeois grew up surrounded by fabric in her family’s one that is always connected with a ‘metaphysical’ condition. In
tapestry restoration workshop, and the fabrics she used in these Bourgeois this always remains sensual and tactile, but takes a
artworks often came from her own or her family’s clothing: it less figural and narrative form. The account tends to dissolve
clearly had autobiographical resonance for her. What do you into an iconography made up of simple and geometric shapes,
feel were her aims – both for herself and for her audience – in even though in many of the fabric drawings the terrifying image
working with this material? of the spider returns in the form of a centrifugal expansion, and
thus an osmosis between nightmare and nirvana.
GC The force of memory and of the suffering that she went
through in her adolescence have been a stimulus to her AR Much of this work has remained unseen and unknown until
creativity. In the fabric drawings she carried out a sublimation, this show: why was it not exhibited before?
where the pieces of clothing and fabric are transformed,
turning into an almost ‘abstract’ language, where the human GC The history of art is filled with ‘discoveries’ of unknown
traces of their use are present but everything is translated periods in an artist’s work. In the case of Louise Bourgeois,
into images that speak of the course of her life, all the way up to the fabric drawings can be taken as a visual diary of the last
its approaching end. ten years of her life: something intimate and personal, but at
the same time a ‘shroud’ of the last stage of her existence and
AR Why do you think that Bourgeois turned to abstraction in her feelings.
making the fabric drawings, when her work had previously been
predominantly figurative? Louise Bourgeois: The Fabric Works is at Hauser & Wirth
Savile Row, London, through 18 December
GC At the end of an adventure of life and research, an artist
tends to play down the tragic nature of his or her contribution.
This translates into a vision of the absolute and the void, and
ArtReview 73
on view
Don’t box
You can never escape your past, they say, but over
the past 40 years or so, Mario Ceroli has given it a pretty good
go. The Rome-based artist is best known for his association
with Italy’s most famous postwar art movement, Arte Povera,
and for a series of works produced during the 1960s, among
them Cassa Sistina (1966), a wooden shed for which he was
me in
awarded the sculpture prize at that year’s Venice Biennale, La
Cina (also 1966), a squadron of wooden silhouette figures, and
a playful 1966 homage to Giorgio de Chirico’s painting Mobili
Nella Valle (1927) in which the Surrealist’s slightly sinister
interior scene is reproduced (with a few modifications) as a
wooden set that looks at once incredibly ordinary (because of
the everyday untreated wood in which it is produced, something
of a Ceroli signature) and like it should be the setting (two Mario Ceroli, star of Arte Povera, looks to the
chairs, one high-backed, one short, drawn close together in
front of an armoire) for some terrible inquisition, not least a
future by refusing to confront his past
metaphysical investigation of de Chirico’s work. Indeed, in
many ways it’s the big metaphysical questions that Ceroli’s work
attempts to tackle: what’s out there and what’s it like?
These investigations into people and objects, and into
their surroundings, led the sculptor to produce sets for theatre,
television and cinema, most notably in collaboration with
directors such as Luca Ronconi (a 1968 production of Richard
III) and Pier Paolo Pasolini (Orgia, 1968), and on a production
of Bellini’s opera Norma (1831) at Milan’s Scala in 1972. Then
furniture, such as La Bocca della Verità, a pine bed produced by
Poltronova in 1974. And more recently still, a series of public
sculptures featuring those silhouette figures, such as Silenzio:
Ascoltate! (2007), which depicts a series of Florentine heroes
(among them Dante, Leonardo, Brunelleschi and Giotto)
rendered in terracotta and marble, and located in the city’s
Piazza Bambine e Bambini di Beslan. Other works use glass or
sand, and range in style from Pop-inspired word sculptures to
equestrian monuments, in a way that would be both baffling
and annoying to those attempting to conveniently place the
Italian within an easy art-historical bracket.
complex – a cluster of buildings housing an archive of his work about young artists today, and he replies that there’s a “big, big
(including almost all those mentioned above), attended by a crisis”. “The new generation”, he says, “doesn’t know how to
long-serving, chain-smoking assistant whose sand-filled break free. They may have the talent, but they don’t have the
buckets cum ashtrays decorate the studio like fire extinguishers creativity to do it. I get the impression that collectors function
might a major museum. It’s part Name of the Rose and part as art critics and they suggest what artists should do.” For
stage set for a Columbo mystery, with the silhouette sculptures Ceroli, art must always have a forward momentum – a
huddled together like characters from a ghost ride or victims on modernist attitude that seems so quaint and old-fashioned
a firing range. these days that it’s become inspiring to hear anyone say it. The
But despite that, Ceroli has not simply retreated into a exception to this assessment of the new generation of artists?
remote landscape populated by his own creations. With a Maurizio Cattelan – “He’s incredibly interesting, the only one
typically restless energy and no little sense of mischief, he with great talent and creativity”. For Ceroli, it seems, great art
boasts of closing the studio at eight in the evening and going out is as much about attitude as it is about objects, which presents
dancing “every night”. And despite the fact that he works in an intriguing situation for an established artist at the end of his
something not far removed from a museum, he says that he’s career.
still more interested in the work he’s doing today than in the
past productions on which his fame rests. “I don’t want to die”, Work by Mario Ceroli is on view at Tornabuoni Art, Paris, until
he finally confesses as we switch to a more personal 11 December
metaphysics, “and what I do tomorrow will live on in a new
generation”. Perhaps it’s to hedge his bets in this afterlife that
ArtReview 75
Chris Berens
leeuwenhart
at roq la rue - seattle
oCtoBer 22 - deCemBer 4 2010
amsterdam
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A N DY WA R H O L
N E V E R S TO P R E A C H I N G F O R T H E S TA R S
w w w. d o m p e r i g n o n . c o m
the power 100
i n a ssociati o n with
ArtReview 93
the power 100
ARTWORK by
Anne collier
2 010
94 ArtReview
the power 100
This is the ninth time that ArtReview has had to introduce its annual artworld Power 100 list,
and it has to admit that it’s running out of exciting new things to say. In fact, it’s got to the point
where it’s tempted to introduce the theme of power by cobbling together various bits from
past introductions, altering some dates and pressing ‘autosummarise’ until its Frankenstein text
reaches the correct length. Because ArtReview watched Cleopatra recently, and knows that
being powerful means not having to do everything for yourself. But ArtReview doesn’t want the
competition (or its writers) to know the secrets of this magical ‘editing technique’.
So, why does ArtReview do it? (the power list, not the editing – Microsoft Word does
that). The primary motivation is to acknowledge the fact that the art we are exposed to doesn’t
just hang, stack, dance or press play itself: someone – more often a group of people – is pushing
the buttons (influencing which artist gets a museum show, which artist’s work ends up in which
collection that’s then endorsed by or donated to a museum, etc). And at a time when the arts
are facing major funding cuts around the globe (well, perhaps not in the Gulf states), knowing
who those button-pushers are is perhaps more important than it has been before, both in the
interests of transparency and so that you know who to call.
ArtReview’s panellists (comprising 12 people spread across four continents, who remain
anonymous to avoid social awkwardness and to save the postman from being herniated by
all the begging letters) spent a long time worrying about money. Not just because ArtReview
doesn’t give them any for their ‘services’ and they were seeking to punish it by rubbing its
face into its power deadline; but also because the thumb-twiddlers couldn’t decide whether a
recession made money more or less important in deciding who has the power: less, because
more people didn’t have any money? Or more, for exactly the same reason? Ultimately the
panel decided that money wasn’t a factor at all – they’d leave that to Forbes and The Sunday
Times. What matters on this list is simply the consequences of people’s actions. And the Power
100 certainly isn’t all about being the biggest: Carlos Slim, the world’s richest man, has a 66,000-
work art collection and doesn’t make the list; Eli Broad, with some 2,000 works of art, is No. 8.
So, what factors does ArtReview take into account when compiling this list? Listed below are
the main three:
1. How active you have been in the artworld over the last 12 months
2. Your influence over the type and kind of art that’s been produced during that period
3. And the extent to which that influence has been wielded on an international rather
than local scale
The only other rule is that museums and institutions are only allowed to be represented by one
individual, in order to allow variety in the list.
This year’s cover artwork – a pyramid of power featuring 100 elements and the relationships
between them – was created by Alexandre Singh.
ArtReview 97
the power 100
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 5
Stop us if you’ve heard this one before: Gagosian
has opened a new gallery. The space, a made-
over hôtel particulier in Paris’s 8th arrondissement,
opening in October with a Jean Prouvé show, makes
nine Gagosian outposts in total – plus an office in
Hong Kong and a shop on Madison Avenue. That’s
compared to Hauser & Wirth’s five and David
Zwirner’s three (soon to be four). Right now, 31
years into Gagosian’s dealing career, this isn’t about
competition. It’s about outright demoralisation,
and a business empire that’s the perfect example
of how the contemporary artworld is a microcosm
of capitalism itself: at a certain level, expansion is
L a r ry G agosi a n
1
Gagosian’s status, then? It’s complicated.
Some of what he shows is extraordinary, but it’s
increasingly served up with a side dish of arrogance.
This is not appealing, but it’s the behaviour of power
in excelsis, when all competition has vanished from
the rearview.
98 ArtReview
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 1 Given the pressure that cash-strapped institutions
are putting on their curatorial departments, 2010 was
never going to be ‘the year of the curator’ (as 2009
was, when our current No. 2 was No. 1 ). Hans Ulrich
Obrist, though, can rest easy – or he could, if he ever
did. This year, the Swiss dynamo kept up his main
curatorial gig, together with director Julia Peyton-
Jones, at London’s Serpentine Gallery. If perhaps the
most Obristian project is October’s Map Marathon:
Maps for the 21st Century, the fifth marathon he’s
staged there (according to the Süddeutsche Zeitung,
these events are ‘as famous as pop concerts’; we
think they must be confusing the curator with Art
Garfunkel again, unless it’s the Huo with the Hoff),
then the Christian Boltanski show had his fingerprints
on it, too; and as the Serpentine looks set (according
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : S w i s s – L a s t Ye a r : 11
to rumours circulating at the time of going to press)
to expand by 2012 into the Magazine, a former
Now that Wirth has reached forty, he clearly
munitions warehouse being converted by Zaha
feels it’s time to get a move on when it comes to
Hadid, there’ll be more opportunity for him to spread
consolidating Hauser & Wirth’s position as one of
his curatorial wings. In spare moments, meanwhile,
the world’s leading galleries. Last September saw
he deepened his role as the artworld’s Studs Terkel
the opening of the gallery’s first New York space (he
– its default oral historian – with his interviews taking
had operated previously out of New York, until June
forms ranging from a video exhibition at the Venice
2009, with the gallery Zwirner & Wirth, in partnership
H a ns Ul r ic h Obr is t
Old Bond Street. Obviously you need art to fill all this
territory, and accordingly the gallery has continued to
expand its roster of artists, adding Monika Sosnowska
(in the US), Phyllida Barlow and the estate of Dieter
2
Roth (exclusively, worldwide). Meanwhile, as gallery
artist Christoph Büchel was controversially installing
a local swingers club in Vienna’s Secession, Paul
McCarthy, who inaugurated Hauser & Wirth’s first
London space with an installation titled Piccadilly
Circus back in 2003, has also moved on to bigger
things this year with his massive Pig Island installation
for the Fondazione Nicola Trussardi in Milan.
3
Three million people visited MoMA’s exhibitions
this year, and many of them were going to see
contemporary art, from the populist Tim Burton
exhibition to Marina Abramovic’s retrospective
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 1 2
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2
queuing to ‘sit’ with the artist. Director Lowry has said
recently that he has been pushing MoMA away from
being a ‘treasure trove’ towards becoming a ‘social
space’, a move that is driving up visitor numbers
but that has drawn some criticism. MoMA PS1 now
has a new director, Klaus Biesenbach (founder of
the KW Institute in Berlin and the Berlin Biennale,
and a curator at MoMA for some time, formerly
as chief curator of media & performance art, and
now with the title chief curator at large), who has
also been spearheading edgy programming that is
performance- and event-based. As Lowry says: ‘If
you’re going to follow the flow of contemporary art,
you have to constantly tweak and adjust. You can’t
lock it down and say this is what it should be for the
next 10 years. Artists are moving much faster than
that.’ Brave words. It’s likely that others will follow
MoMA’s example.
4
5
the power 100
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extension – and has he ever. Working doggedly with
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : N e w
In order to keep the No. 1 spot open, this list has never
attempted to take the measure of magazines, so up
until now we haven’t had the chance to honour the
longstanding influence of the assiduous Bice Curiger.
One of Parkett magazine’s founders (in 1984) and
its editor in chief, as well as the publishing director
6
of Tate Etc, she has also been curator at Zurich
Kunsthaus since 1993. However, she finds herself
(6) © Mischa Scherrer; (7) © Hugo Glendinning
7
her articles and curatorial selections, which should be
just about right for the current climate.
ArtReview 101
the power 100
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C a t e g o r y : C u r a t o r – N a t i o n a l i t y : S o u t h A f r i c a n – L a s t Ye a r : 5 9
performance because she felt that the scene was
narrow and ‘stuck’. Six years after she founded
Performa, a New York-based nonprofit ‘dedicated to
exploring the critical role of live performance in the
history of twentieth-century art and to encouraging
new directions in performance for the twenty-first
century’, the 2009 edition of the organisation’s
flagship biennial, featuring work from Tacita Dean,
Candice Breitz, Omer Fast, Dominique Gonzalez-
Foerster and Mike Kelley, proved that it is anything
but stuck. It’s difficult to overstate the impact of
the performance festival on the international art
landscape. Museums the world over have united in
the cry of ‘we’ll have some of that’. If further evidence
of Performa’s influence is needed, consider that New
York’s biggest institutions put on blockbuster shows
of performance artists this year: Tino Sehgal at the
El i Broa d
(8) artwork Andy Warhol, Self-Portrait, 1966, © Andy Warhol Foundation for the Visual Arts, Inc, New York; (9) Julie Beers
Guggenheim and Marina Abramovic at MoMA.
Broad is indefatigably involved in LA’s art museums.
An art collection worth more than $1b, a wing in
LACMA, a $30 million investment in LA MOCA
and his own museum aren’t enough. Broad (together
with wife Edythe) wants to be the art angel in the City
of Angels, creating press and fanfare whenever he
gives. And give he undeniably does. There are fears
being voiced from LA’s art community that Broad is
having a significant homogenising influence on the
city’s museums. Press coverage of Broad is filled
RoseL ee Gol dberg
8
the part of patrons, curators and museum directors
(except those he supports or those waiting for a
cheque). The truth is, however, that museums need
Broad like never before: California has a 12 percent
unemployment rate and a $20b deficit, and financial
cuts are being made left, right and centre. Broad,
with a fortune valued at $5.7b, has pledged to give
75 percent of it away. And the building of the Broad
collection museum on Grand Avenue, designed
by architects Diller Scofidio + Renfro, which is now
getting under way in earnest, should keep him busy
for the time being.
9
102 ArtReview
power
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 6
facts
G e n d e r 2010 20 09
N ati o n a l it y 2010 20 09
10
Canadian 0.5 -
Emirati 0.5 -
Finnish 0.5 -
Palestinian 0.5 -
Indian 0.3 -
(10) Luc Castel
the power 100
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : R e e n t r y (5 4 i n 2 0 0 7 )
Despite a recent survey
A critically acclaimed of longtime New York
by ArtTactic predictably
biennial, solid programming gallerist and art impresario
naming Ai Weiwei as the
and a smart new website, Deitch to the top position
Chinese artist with the
yes – but the big Whitney at LA MOCA. Why the
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 24
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 6
a thorn in the side of the most ubiquitous arts
under way. Although the acquire overnight the philanthropist. President
Chinese authorities. Having
(11) photo © Dawoud Bey, artwork © Sol LeWitt/Artists Rights Society (ARS), New York; (12) Tyler Coburn; (13) courtesy Ai Weiwei; (14) Timothy Greenfield-Sanders
disinterest that most people
C a t e g o r y : A r t i s t – N a t i o n a l i t y : C h i n e s e – L a s t Ye a r : 4 3
poor economic climate emerita of the Museum
alerted the world to his
has reportedly made expect a museum director of Modern Art (she was
brutal assault at the hands
fundraising difficult, it has to pretend to have? But president from 1991 to
of the police via Twitter
also reduced the cost of as those groups include 2002) and chairman of
last year, the artist suffered
construction; at any rate, the kind of people he’ll be its International Council,
a similar run-in in August.
the museum committed asking to donate money to Agnes Gund, whether
These attacks seem only
to breaking ground at its his new institution, there’s through her occasional blog
to have galvanised Ai,
new downtown site, in a certain logic to it all. at The Huffington Post, her
who in March gave a rare
the Meatpacking District, Deitch’s energetic presence continued support of the
lecture in the US on the
earlier this year. Building and savvy (an attention- Studio in a School (which
subject of censorship and
is expected to begin in grabbing collaboration she founded in 1977 and
installed a monument to
2011, though $215m must with actor James Franco, which brings artists into
the victims of the 2008
still be raised to meet a for example) are probably New York public schools),
Sichuan earthquake on an
fundraising goal of $590m what the ailing MOCA her financial, emotional and
Austrian mountainside, an
(construction costs alone needs right now: near- moral support of various of
act that must be viewed in
are estimated at about bankrupt after financial New York’s art institutions,
light of the artist’s ongoing
$200m). This expansion, mismanagement and the or her continued collecting
efforts to investigate and
the latest in a long line of credit-crunch caught up of both emerging and
publicise the possibility that
unrealised projects, is under with it, MOCA was bailed established artists, remains
poor construction standards
intense pressure from every out by a $30m donation a central figure for art in
increased the earthquake’s
angle, and architect Renzo plan from billionaire New York.
death toll. Whether this
Piano has been shifting MOCA trustee Eli Broad.
commendable political bent
A da m D. W einberg
A i W ei w ei
13 14
11 12
104 ArtReview
El iz a bet h dee
portfolio by
NICK HAYMES
Ph otog r a ph ed i n n e w yo r k
Septem b er 10 –17, 2 010
RIC H A RD C H A NG
k l aus biesenbach
ROSEL EE GOLDBERG
S tefan K a l ma r
A nne Pas ter nak
the power 100
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 5
The artworld’s inbox would
C a t e g o r y : A r t i s t – N a t o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 0
be a lot emptier without
It’s been a momentous
New York’s e-flux. For
year for Marc Glimcher,
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 1 8
Ma rc Gl i mc h er
in the familiy business)
show work by midcareer on Art-Agenda. exhibition, Dream Passage, has used this period of
artists, Pacquement has at Berlin’s Hamburger transition to investigate
announced plans for a Bahnhof, which was on show new ways of operating
‘pop-up’ mobile Pompidou for almost five months over – see revamped website
centre that will further the
A l f red Pacque m en t
17
in the Middle East and
18
is developing plans to
expand to Shanghai and
Hong Kong.
15
16
ArtReview 111
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C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 3
the position of anointer:
if she takes an artist Thanks to the fanfare
seriously, the rest of the surrounding the reopening
world shortly will too. At of London’s Whitechapel
Kunsthalle Zurich (normally Gallery in 2009 – following
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 9
located in the Löwenbräu an expansion programme
that almost doubled its It can’t be so bad being
building but showing work
floorspace – director Marian Goodman. This
out of Zurich’s Museum Jeffrey Deitch isn’t the Iwona Blazwick shot up a year alone you could watch
Bärengasse during the only New Yorker making dizzying 67 places in last your gilded inventory of
complex’s refurbishment a move on LA’s art scene. year’s Power 100. While the artists dominate the world’s
and expansion this year and In September L&M Arts
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 5
Whitechapel’s extensive institutions (via touring
next) Ruf has overseen a launched a new gallery at publishing programme and retrospectives by Gabriel
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 6
tight, critically acclaimed a former power plant in Blazwick’s ongoing support Orozco, William Kentridge
programme for nine years Venice, with local hero Paul of prizes for filmmaking and Thomas Struth, plus
now as director/curator, McCarthy’s first gallery (the Jarman Award) and Tino Sehgal’s much-praised
including, this year, shows exhibition in his hometown women artists (Max Mara stint at the Guggenheim),
by Elad Lassry, Rosemarie in more than a decade. Prize) continue to make her and you’d have the
Trockel and Christodoulos Speaking of the move, Lévy a dominant force on the satisfaction of premiering
Panayiotou. She works very recently stated that she London scene, and while Marcel Broodthaers’s
closely with the two Swiss ‘felt that the old, postwar
(19) © Mathias Braschler; (20) Richard A. Smith; (21) courtesy Whitechapel Gallery, London; (22) courtesy Marian Goodman Gallery, New York
the institution has promoted installation Section Cinéma
collectors on this list, Maja pole of Paris–New York female artists (this year (1972) in the US, 33 years
Hoffmann and Michael had become Berlin–Los shows for admittedly after opening your New
Ringier, and continues to Angeles’. Like many of the established names such as York gallery with a show
keep a hand in writing and galleries that have been Elizabeth Peyton, Sophie by the Belgian artist.
editing projects (she has able to expand through Calle and Alice Neel), Goodman, who has also
recently published texts the recent economic other areas are filled out successfully run a gallery
on the work of Seth Price, chaos, Lévy and Mnuchin
Dom inique L ev y & Robert M nuc h in
Enel Contemporanea and their biggest statement yet said, ‘It is simply fun to work
LUMA prizes, and she is on of an intention to dominate with her’.
the panel that will decide the latter in the way they
the fate of the Grand already dominate the
Ma r i a n Goodm a n
19 21
20 22
112 ArtReview
Art Basel scores Spiegler Although many people like
and Schönholzer’s place to think that Jay Jopling’s
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 1
on the list because, frankly, White Cube has not really
it knocks the world’s other evolved its programme
fairs into a cocked hat. Ask beyond the YBAs for Turning his hand to
any collector, curator or which it became famous whatever medium he
gallery to name the most With a stellar list of artists, (Hirst, Hume, Emin, the likes – over the past 12
important art fair in terms and galleries in New York Chapmans) and art’s months he’s mounted a
of sales, contacts and and Brussels, Gladstone established heavy-hitters painting show at Gagosian
artworks, and the answer is is already a busy woman, (Gormley, Gursky, Kiefer, and delivered a noisy
C a t e g o r y : A r t i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 0
always the same. Though but she’s about to get Baselitz), there’s no hiding performance at Performa,
journalist Spiegler and busier still. After executive- the fact that it remains a for example – Mike Kelley
the fair’s long-term show producing Shirin Neshat’s dominant force in London, continues to make his
manager, Schönholzer, award-winning movie with a suitably big exhibition punkish presence felt,
took the reins at a tricky Women Without Men in space (at Mason’s Yard) revealing America’s creepy
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 1 4
moment for global finances 2009, she’s seen Rosemarie to keep those big names underbelly in a way that
(in 2007), they have proved Trockel get retrospectives in happy. Look down the list looks as easy as pumpkin
a success, in no small part Basel and Zurich this year, of the 50 or so artists the pie. This year Kelley had
due to their efforts to keep and Matthew Barney get gallery represents and not his first major exhibition on
improving both Art Basel his Schaulager retrospective only is it far more diverse home turf in LA for nearly
Ma rc Spiegl er & A nnet te S c hon hol zer
and Art Basel Miami Beach, and carry forward his than people imagine, but ten years, when A Voyage
in terms of architecture, ongoing Norman Mailer- almost every single one of of Growth and Discovery,
reshaping the fairs, inspired Ancient Evenings them has had or been part his collaborative exhibition
emphasising projects such project in Detroit. Up of a major museum show with Michael Smith, toured
as the continually bold Art next year, she has Allora & during the last 12 months. to public space West of
Statements and events such Calzadilla’s American and And for the gallery’s Rome. Mobile Homestead
C a t e g o r y : A r t Fa i r D i r e c t o r s – N a t i o n a l i t y : A m e r i c a n/ S w i s s – L a s t Ye a r : 4 5
as this year’s Art Parcours Thomas Hirschhorn’s Swiss doubters, it’s presenting (2010), an ambitious public
around the city of Basel, pavilions for the 2011 Venice its first exhibition with project that will see a replica
curated by CCA Wattis’s Biennale to look forward LA-based Mark Bradford of his childhood home make
Ba r ba r a Gl a ds tone
Jens Hoffmann. to, plus construction work during Frieze a journey from midtown
on Anish Kapoor’s £19m Detroit to the suburbs
Olympic sculpture in where Kelley grew up, is the
London and much else artist’s first public project
besides. anywhere in the world
to result in a permanent
M ik e K el l ey installation. It’s proof of his
continuing ability to remain
on the perceived fringes
while creating work that is
undeniably significant, and
which has a wide and lasting
Jay Jopl ing
influence.
(23) Courtesy Art Basel; (25) Johnnie Shand Kydd
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25
23
the power 100
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Joannou Collection – picked Franz West as ‘Benny Hill presence in the city. The
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billionaire’s major-player exploration of audience figures such as Peter Doig
with the likes of fashion
status is not just based on interaction in his work of the and Elizabeth Peyton, are
label Balenciaga, who are
money. Joannou’s DESTE 1970s and 80s ‘anticipated – critical successes and big
long-term admirers of the
Foundation, its associated and considerably outshines sellers, and Brown’s gang
artist, and who lent clothes
prize for a Greek artist – the recent vogue for contains more than a few
for her most recent series
and the Hydra project “relational aesthetics”’, cool kids: Rob Pruitt, Rirkrit
of works – none-too-kind,
space (which this year while artists such as Rachel Tiravanija, Mark Leckey
discomfiting images of
displayed work by another Harrison, Sarah Lucas and and Martin Creed, among
ageing rich women. While
of Joannou’s artist friends, Paul McCarthy are quick to others. Brown’s name
that series wowed New
Maurizio Cattelan) likewise acknowledge the Austrian’s was dragged into talk of
York’s ironic fashionistas,
stretch his influence beyond influence. At the beginning favouritism at the New
Sherman also won the Man
his considerable spending of the year, West’s first Museum this year (four
Ray award at the end of last
power and into the upper European retrospective of his artists have shown
year, awarded by the Jewish
echelons of institutional and opened at the Museum there in two years; he has
(27) Mark Seliger, courtesy the artist and Metro Pictures, New York; (28) Ilias Anagnostopoulos; (29) Markus Rössle
Museum for artists who
curatorial sway. Ludwig in Cologne, before strong connections with
investigate identity through
going on to Naples and its curators). But for the
photographic means – just
Graz. By the end of it he’d dealer, who views himself
about made for her, then.
also racked up solo shows at as a ‘lobbyist’ as much as a
However, the encomiums
Almine Rech in Brussels and gallerist, this may just be a
will surely crescendo in
Gagosian in Rome as well job well done.
Da k is Joa nnou
28
27
29 30
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(31) Philippe Pavans de Ceccatty, © Peter Fischli & David Weiss, courtesy Matthew Marks Gallery, New York; (33) Tim Blum photo: Margarete Jakschik, courtesy Blum & Poe, Los Angeles; (34) Timothy Greenfield-Sanders
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 3 1
Hahn Prize at the Museum in financing Blum & Poe’s Jonas earlier this year,
a new work made for the there, when the stock rose Berlin or New York instead since 1994, makes waves
Ludwig – excerpts from sharply a short time later, of expanding, but decided beyond the city – most
live radio edited into a Cohen promptly dumped to stick with LA. ‘We like recently commissioning
single faux-broadcast that it). This year, among LA’, they say. LA clearly Danish-Icelandic artist
steadily baffles its listeners other purchases, Cohen likes them back. Jakob Boeskov to create
– suggests they’ve hardly acquired a 1958 Jasper a short ‘art-action’ video
lost their touch vis-à-vis
T i m Blu m & Jeff Poe
marvellously absurdist reported $110m. Still, it’s Teco Benson in Lagos and
hermeneutics. a shame when you’re so producing Pae White’s
busy you can’t enjoy your luminous Self Roaming
own collection. He recently (2009) installation on
mentioned retiring to ‘just Miami Beach. The annual
watch a fucking movie, or Creative Time Summit, the
A nne Pa s ter na k
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C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : M e x i c a n – L a s t Ye a r : 4 1
dividends in the power at $3.1 billion by Forbes
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : U k r a i n i a n – L a s t Ye a r : 5 3
to matchmake fashion
game, and Marina in December, and this
and art, a relationship
Abramovic’s 700 hours during a rocky period in
that now runs far deeper Soft-drinks tycoon Eugenio
of motionless staring the fortunes of Interpipe,
than Murakami-designed López’s Mexico-based
seems to have raised her his pipe manufacturing
handbags. Louis Vuitton Colección Jumex has
already elevated status business – with his interest
initiatives such as the YArts long been held to be the
considerably. The Artist Is traditionally concentrated
Project in London, in which most significant holding of
Present, which found her on blue-chip artists bought
five major institutions contemporary art (ranging
facing members of her in bulk. (Pinchuk reputedly
work together with young from Warhol to Orozco)
public one by one across owned half the work shown
adults, and countless in Latin America. In the
a table in MoMA, was the in last year’s Damien Hirst
sponsored exhibitions past 12 months, however,
eponymous centrepiece in show at London’s Wallace
have suggested a new López has decided to make
this year’s crowd-pulling, Collection, for example.)
commitment to art. Arnault, it ‘bigger’ and send it on
much-written-about tour This year he has widened
whose own collection tour around the rest of the
de force of a retrospective. his influence by joining the
includes major installations world: at the end of last
Visitor numbers are a great board of MOCA in Los
by Olafur Eliasson and year, Where Do We Go
guarantor of museum Angeles and establishing
Vanessa Beecroft, will not from Here? went on show at
funding and with 500,000 the Future Generation
be outdone by No. 10 Miami’s Bass Museum, and
visitors and a further million Art Prize, an international
François Pinault and his by the time you read this,
watching the performance prize based on the one for
Venice museums for long. it’ll be at the Contemporary
online, the exhibition can young Ukrainian artists the
The former is finally set to
(35) Reto Guntli; (37) Sergei Illin, © Victor Pinchuk Foundation, Kiev; (38) Colección Jumex, Mexico City
claim dramatic success collector already operates Arts Centre in Cincinnati;
M a r ina Abr a mov ic
35 36 38
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118 ArtReview
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(39) Florian Kleinefenn, Château de Versailles, courtesy Galerie Emmanuel Perrotin, Paris; (40) Mauricio Donelli; (41) Linda Nylind, courtesy Frieze, London; (42) Flora Hanitijo/Arise Magazine, London
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love Takashi Murakami As well as masterminding any competition it may
– his current 15-room the Colección Patricia have faced in previous
installation at the Château Phelps de Cisneros years – if the satellite fairs
de Versailles has drawn (CPPC), generally surrounding London’s
flak from rightwing groups, acknowledged as one of October jamboree could
even though he’d edited the world’s outstanding be called competition in
out the ejaculating anime collections of Latin the first place. There was a
figures – but the Japanese definite lack of Supermarket Okwui Enwezor’s big-
American art, Cisneros,
artist doesn’t care. (He is, Sweep-style shopping show curation, critical
who sits on MoMA’s
C a t e g o r y : A r t Fa i r D i r e c t o r s – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 5 1
collection with Louis London art scene, keeping of globalisation have
College, supported and
Vuitton, Cosmic Blossom, his fingers in various other transformed the art of
coproduced an ongoing
and also styled the Richard pies, mostly political ones the developing world.
seminar series at Bard
Prince-photographed – be it the Save the Arts The last 12 months have
College, further up the
seen the publication of
Pat r ici a Ph el ps de Cisneros
may not be what it was, and new arts minister Ed Chika Okeke-Agulu), and
her collection, and
but certainly the mass- ‘Lazy’ Vaizey (at whom, Enwezor is now working
underwritten the catalogue
cultural mainstream is a confusingly, Save the Arts on an ambitious exhibition
Ok w ui En w ezor
for Guillermo Kuitca’s
more interesting place is partly directed). project, Meeting Points 6,
recent touring retrospective.
with Murakami kicking which will take place in nine
down its walls. Next stop, Middle East, North African
New York: look out for 12- and European cities,
metre-high, fang-sporting from Ramallah to Tangier
Murakami inflatables to Berlin, starting in
in November’s Macy’s Beirut in April 2011.
Thanksgiving Day Parade.
39 41 42
40
the power 100
C a t e g o r y : A r t i s t – N a t i o n a l i t y : B r i t i s h / G e r m a n/ I n d i a n – L a s t Ye a r : N e w
a museum-size space in
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C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : S w i s s – L a s t Ye a r : N e w
David Byrne – are a marker you can do with no art herself wrong. Home to
Bard College’s Center
of the New York nonprofit objects whatsoever: at European giants such as
for Curatorial Studies).
space’s indestructible cred. New York’s Guggenheim Fischli/Weiss and Andreas
Hoffmann is also vice
Higgs focused on his day this year – with the help of Gursky, Sprüth Magers is
president of the Council
job this year, downplaying a relay-race arrangement also the European gallery
of the Emanuel Hoffmann
his main sideline as a maker of progressively older of choice for a selection of
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 2
AIDS-related activism in Modernism, for the human exhibitions of work by
complex (home of the
the late 1980s and early drive towards advancement. Baldessari and Rosemarie
Kunsthalle and a number
1990s. Coming up for a He also created a model Trockel are currently and
of private foundations and
decade since he moved of open-ended human persuasively touring the
commercial galleries). As if
from the UK to America, engagement in the art that, world’s kunsthalles and
that wasn’t enough, this year
(45) courtesy Todd Eberle, Arles, 2009; (46) Dagmar Schwelle, courtesy Sprüth Magers, Berlin & London
Higgs continues to justify gratifyingly, was spun by major museums, while
she became a Tate trustee,
M at t h ew H iggs
the existence, since 2006, us, the visitors. Plus, Sehgal Cindy Sherman goes to
produced the documentary
of Harlem gallery Triple manages to sell works like MoMA in 2012. It seems
film Jean-Michel Basquiat:
Candie’s honorary Matthew this and get praised for not likely that the many stars in
The Radiant Child (2010)
Higgs Society. Name us being naively antimarket; their stable will rise higher
and, at the Venice
another curator who has and when the market and shine brighter, as
Architecture Biennale,
T ino Se hg a l
M a ja Hof f m a nn
one of those. spirals down, his austere behind the scenes Sprüth
unveiled the Frank Gehry-
yet generous procedures and Magers lightly and
designed plans for LUMA’s
look like a perfect response. unobtrusively pull a
Parc des Ateliers, a utopian
Can you be inimitable and few necessary strings.
arts campus to be located
paradigmatic at the same
in Arles, France, due to be
time? Sehgal’s whip-smart
commenced next year.
art says yes.
43 46
44
45
120 ArtReview
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For a time there it looked
like Nicholas Logsdail’s
Lisson was treading
Jeff Koons became a water, but the addition of
grandfather this year, and members of a younger
2010 saw the artist slip into generation of artists is Between them, the artists
elder-statesman mode, starting to give the gallery a Sadie Coles represents
cherry-picking pet projects: new vigour. Cory Arcangel have given her a busy year
curating friend and patron and Ryan Gander (who in terms of London museum
Dakis Joannou’s collection currently has a Public Art shows: Elizabeth Peyton at The contemporary art
at New York’s New Fund commission in Central the Whitechapel, Florian auction market took
Museum, accepting the C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 9 6 Hecker at the Chisenhale a big hit over the past
Park) joined last year, and
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 8 4
BMW Art Car commission the gallery took on Haroon and John Bock at the two years, with Western
and doing charity work: Mirza – included in this Barbican. When you factor Contemporary dropping
brightening up various year’s British Art Show in the major international an estimated 20–30
C a t e g o r y : A r t i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 1 3
children’s hospital wards and and up for the Northern museum shows Coles has percent (according to
via his continued support of Art Prize – this year. Of had to deal with – among research conducted by
the Koons Family Institute course, these relative them Urs Fischer at New Clare McAndrew of Arts
on International Law & young’uns are all very well York’s New Museum and Economics). Although
Policy (set up following and good, but Logsdail’s Matthew Barney at the things seem to be on the
the loss of his son to the power still primarily lies Schaulager, Basel – it’s up this year, the market
child’s Italian mother). This in his relationship with an easy to see why her gallery hasn’t yet recovered. The
mellowing has proved older generation – and in programme is one of the first six months of 2010 saw
problematic, however. The particular this year, Marina most impressive in town. Christie’s rake in $461m
Joannou show, Skin Fruit, In September, Fischer dollars from its Post-War
(47) courtesy BMW, Munich; (48) courtesy Lisson Gallery, London; (49) Juergen Teller; (50) Christie’s Images Ltd, London, 2010
scene.
47 49
48
50
portfolio by
Miles Aldridge
Ph otog r a ph ed i n LO n do n
a n d ro m e
Septem b er 11 –24 , 2 010
Ca ndida gertl er
Po ju & A ni ta Z a bludow icz
M a r ina A br amov ic
Photographed at the Hotel Majestic, Rome. Makeup: Pierre Orlando at Face to Face Agency. Thanks to Umberto Cicci
M a rgot H el l er
nic hol a s l ogs da il
A nis h K apoor
the power 100
(51) Dominik Gigler, courtesy Sotheby’s, New York & London; (52) courtesy Hammer Museum, Los Angeles (53) David Bailey; (54) Guillaume Ziccarelli, courtsey Galerie Emmanuel Perrotin, Paris
£65,001,250 (including
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turbulent financial times, exhibitions: at L&M Arts in Perrotin seems to have
buyer’s premium) at and as its LA neighbours New York, Gagosian in New gained the Château de
Sotheby’s in London, peaked and troughed, York, Galería Hilario Versailles in its stead. Two
making it the most
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 2 8
the Hammer has stayed Galguera in New Mexico of the three contemporary
expensive work of art ever solvent. The big news and Monaco’s art exhibitions held at
sold at auction. ‘I’m afraid this year, however, is Oceanographic Museum. the French palace have
the Giacometti price will the Hammer’s recently This last retrospective not been from Perrotin’s
tip the balance back again announced founding, in only found Hirst partying stable: Xavier Veilhan in
in favour of the auction partnership with LAXART, with Albert II, the September last year and
houses’, gallerist Iwan Wirth of a Los Angeles Biennial, principality’s crown prince; Takashi Murakami this year.
commented. ‘We had a which will begin in 2012 Reports from the Murakami
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it also included spot, spin
buyer’s market, but it didn’t and feature artists from and butterfly paintings, all opening noted François
feel like a buyer’s market the city and surrounding series which, he announced Pinault, Eli Broad and
any more at the Sotheby’s areas in institutional and at the Gagosian show Adam Lindemann as all in
sale.’ In its first-half results, found spaces. (Given this (entitled End of an Era), attendance (with Pharrell
Sotheby’s reported that supportive emphasis, it’s he would no longer be Williams performing)
Tobi a s M ey er & C h ey enne W es t ph a l
revenue from Impressionist unsurprising that Philbin producing. This may to and placed Perrotin at
and Contemporary sales describes the Hammer’s some extent slow the the centre of attention.
increased 154 percent primary audience as artists.) shrinking of Hirst’s market Whatever the truth of the
on last year. Much of Though region-based – down by 93 percent last relationship, the Murakami
that was due to the first selections may have their year and bound to be lower show at Versailles (which
rather than the second problems, in a period in this annum – and allay the will move on to Qatar)
category – less than which there are fears about artist’s detractors, who in has topped Perrotin’s
half the lots in London’s the homogenisation of the stellar year, in which he
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52 54
51 53
134 ArtReview
A year has passed since Udo Kittelmann’s arrival
Nicolas Bourriaud curated as the director of Berlin’s
the Tate Triennial and, with Nationalgalerie, in which
it, introduced his catchall capacity he holds the reins
title for forward-thinking to five separate museums,
contemporary art; so far, was remarkably well timed
Gerhard Richter doesn’t
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 5 4
When it comes to chips,
though, ‘altermodern’ for this former apprentice
rest on his laurels. As if they don’t get any bluer
hasn’t caught the collective optician. Berlin’s growing
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : Fr e n c h – L a s t Ye a r : 6 8
being massively influential
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than Matthew Marks’s.
imagination in the way status as a commercial art
and constantly exhibiting There’s a section on the
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M at t h ew M a r k s
55 56 57 58
the power 100
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 6 0
of international media twenty-three, cofounded up pretty quickly. No a submission that did not
Michael Ringier also mounted the landmark dealt contemporary art out the project’s main patron,
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 8 5
holds one of the most German Pop show of Cologne for two decades steel magnate Lakshmi
important contemporary art Westkunst in Cologne in before opening a second Mittal. And it’s really hard to
collections in Switzerland, 1981 (introducing Franz space, in Berlin, in 2008, imagine that they could not
curated by Kunsthalle West to the world), traffics in an elegant blend have expected the pasting
Zurich’s Beatrix Ruf (who in cofounded Portikus gallery of cerebral and commercial, the design got from public
turn curates Ringier AG’s and has sired a dynasty European and American and critics alike. However,
annual reports, a hybrid of gallerists in the shape – a hard-to-emulate there’s no doubting
of accountancy and artist of sons Leo and Johann. approach that his galleries’ Kapoor’s popularity or his
project, executed this year Having directed Cologne’s recent and forthcoming prolific output: in addition
by John Baldessari). Six Museum Ludwig since showcases for Michael to a solo show at the
years ago, Ringier bought 2000, König recently Krebber, Reena Spaulings, Guggenheim Bilbao, his
into Verlag JRP (‘just ready renewed his contract Danh Vo and Wolfgang Royal Academy exhibition
to be published’), which – which had been due to Tillmans might effectively (the first granted to a living
has gone on to become end this year – until 2012. sum up. A good number of British artist) got 277,473
one of Europe’s premier art If the description ‘curator’ kunsthalle directors, it would visitors, making it into
(59) Christian Lanz; (60) Roman Mensing, courtesy Museum Ludwig, Cologne; (61) Albrecht Fuchs; (62) Johnny Shand Kydd, 2003
publishers. He also owns no longer does him justice, appear, are simply donning the top three of London
the German-language ‘force of nature’ might. blindfolds and throwing contemporary art shows last
art magazine Monopol, darts at Buchholz’s list of year. He is now preparing
and is a regular attendee artists. Are we complaining? for his first major exhibition
of the Bilderberg Group Hardly. in India, the country of his
conference for people of birth, across two venues:
great influence. the National Gallery of
Modern Art in New Delhi
and a Bollywood film studio
M ic h a el R ingier
59 60 62
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136 ArtReview
Given the calibre of the Christian Boros’s roles as
artists that Toby Webster’s art collector (together
Modern Institute works with partner and adviser
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 8 0
with (Eva Rothschild, Karen) – with their 3,000
Martin Boyce and Luke sq m private foundation
Fowler, to name just three), in a former Berlin S&M
As far as big-reputation
the Glasgow gallery in club – and media magnate
international exhibitions
the flesh was disarmingly collided this year with the
After curating the Venice go, few are bigger
lo-fi and tucked away. cofounding of the Distanz
Biennale to record-breaking than Documenta, the
This year, befitting an Verlag, an enterprise in
attendance in 2009, megasurvey of world art
outfit that boasts the most which the pair are joined
Daniel Birnbaum has had a that takes over the German
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2001, as well as making Goldberg. A former curator
stretched down the street. the Berlin gallery, which
an exit from the board of of Turin’s Castello di Rivoli
showcases just some of
Ca roly n C h r is tov-Ba k a rgiev
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C a t e g o r y : A r t i s t – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 7 1
for exhibitions at either
retrospective in Houston two simultaneous large- theorists of the post-Cold
New York’s Guggenheim
this year – Warhol and scale retrospectives. One War artworld, bringing fresh
museum or Milan’s Prada
C a t e g o r y : A r t i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : R e e n t r y (6 6 i n 2 0 0 6)
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 6 3
C a t e g o r y : C r i t i c – N a t i o n a l i t y : R u s s i a n – L a s t Ye a r : N e w
This year he curated Louise essayist and lecturer, Groys
may have influenced the pioneered as it is for being is happy to embrace the
Bourgeois’s final exhibition
decision by Milan’s city the final resting place of media he critiques, taking
(she died in May, the show
authorities to green-light J.S. Bach – the other at the over the art gallery to
opened in Venice in June);
Against Ideology (2010), Pinakothek der Moderne in present video lectures
next year the forward-
a sculptural one-finger Munich. Commenting on about the power of video,
thinking seventy-year old
salute in the direction of the honour, news service for example. How he takes
will be burnishing his legacy,
the Italian Stock Exchange, Deutsche Welle barked, ‘He to his new role as curator of
as he looks back to the
sited outside Cattelan’s is one of the country’s most the Russian Pavilion at next
movement whose name
four-work show at the important living painters, year’s Venice Biennale will
he coined in 1967. 2011:
Palazzo Reale Museum this and a de facto ambassador definitely be one to look
Arte Povera in Italia, which
September. All of which for modern German out for.
involves five museums
demonstrates that the art’. On the commercial
across the country, is a
artist is of such a standing side, with Rauch’s work
massive undertaking – even
that he gets whatever he breaking its record price at
though Celant directed the
wants: dangerous territory auction (his 1999 painting
Venice Biennale in 1997, this
for a notorious prankster. Stellwerk sold for £892,450
show looks like it could be
in December), the artist
his magnum opus.
M aur izio Cat tel a n
67 68 70
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138 ArtReview
It’s been a busy 12 months
for this onetime intern
to Joseph Beuys, and
we’re not just referring to Victoria Miro’s successes
Ropac’s time spent shuttling this year have been largely
A collector with pockets between his galleries in
deep enough to keep artists, This onetime LA Weekly away from her expansive
Paris and Salzburg. Last London space. Ironic given
dealers and even, it has art critic and director of San
November he donated that it was the gallery’s 25th
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
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Francisco’s CCA Wattis
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 3 3
been said, the occasional 25 works from his own
art fair afloat, German-born is now into his fifth year at birthday in July. Chris Ofili
extensive collection to the had his much-applauded
de Alvear is also Spain’s London’s Hayward Gallery,
Museum der Moderne in Tate Britain solo show; the
most prominent gallerist. and has done much to
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 8 6
Salzburg, while in March of late Alice Neel bagged
And she’s just endowed a revive the gallery as one
this year he opened Halle, new fans through a touring
foundation in her adopted of London’s most popular
a 2,600 sq m space on the retrospective; Elmgreen &
country’s Cáceres with a venues for contemporary
city’s outskirts, featuring a Dragset are up for London’s
2,500-strong collection of, art. Enormous installation-
400 sq m exhibition space Fourth Plinth commission;
well, you name it: Flavin, based group shows are now
to supplement his existing Isaac Julien’s epic Ten
Judd, Smithson and a raft its stock-in-trade, overseen
Salzburg gallery spaces (a Thousand Waves (2010)
of international and Spanish by Rugoff and chief curator
main gallery, project space is currently at London’s
artists working today. She’s Stephanie Rosenthal. The
and editions showroom). Hayward; and Phil Collins’s
as likely to buy works off sprawling tableaux and
Too big, you say? Actually, Marxism Today (Prologue)
a neighbouring Art Basel ‘artists do the craziest things’
perhaps not big enough (2010) was a standout
stand as to crow about her exhibitions are starting to
for a gallery that represents success at this year’s Berlin
gallery’s own significant wear a little thin, however.
more than 50 major artists Biennale. Back at the
successes, and she has The gallery has been
ranging from Rosenquist, gallery, there were shows
a fiercely loyal following refurbished recently, and
(71) Luis Asín; (72) W. Schweinöster, © Galerie Thaddaeus Ropac, Paris & Salzburg; (73) Kieron McCarron; (74) © Suki Dhanda
Sam Keller. But behind all early to say whether the Maria Nepomuceno
this love and fellow-feeling public’s recent affection that got its first London
for the shows there will showcase.
V ictor i a M iro
lies an unshakeable belief in
R a l ph Rugof f
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(75) Jerry Saltz in Work of Art: The Next Great Artist, courtesy NBC Universal, New York; (76) © David Bebber, courtesy the Zabludowicz Collection, London; (77) Alessandro Zambianchi; (78) Armin Weisheit
midcareer artist in London, Maureen Paley has been
C a t e g o r y : C o l l e c t o r s – N a t i o n a l i t y : B r i t i s h / Fi n n i s h – L a s t Ye a r : 8 1
Jerry Saltz loves this list.
It’s the New York Magazine and it’s this pair’s collection busy expanding her roster
art critic’s favourite they have their eye on this year, the most notable
moment of the year, he getting into – in part coup being getting Liam
says. So here you are, because the Zabludowiczes Gillick onboard. She also
A well-known photograph welcomed Romanian twins
Jerry, comfortably nestled have been unwaveringly
of Italian dealer Massimo Gert and Uwe Tobias,
between Victoria Miro supportive of emerging
De Carlo shows him signing them as they were
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 9 1
and the Zabludowiczes. art, through good times
gaffer-taped to a gallery given their first UK solo
C a t e g o r y : C r i t i c – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 7 3
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Saltz’s artworld power is wall for the sake of a work
a slippery thing this year, works from their collection show (at Nottingham
by Maurizio Cattelan Contemporary). Wolfgang
given that he’s spent much and independently curated
(Dealer, 1999). His gallery Tillmans, whom she has
of it cultivating mass shows, the couple’s 176
is a particular kind of worked with since 1993,
appeal – both through his space has had a bumper
powerhouse: one replete had an extensive solo show
appearances as a judge on year; and judging by
with contemporary art’s at the Serpentine Gallery
the Bravo reality contest Anita’s increasingly widely
biggest names (Cattelan, (and makes his own debut
Work of Art (2010) and read blog, it seems a
Höller, Elmgreen & on the Power 100); while
in the slow buildup of his natural extension of her
Dragset), but also artists the critically lauded Lars
Facebook and Twitter marathon appetite for
who are inclined towards Laumann, a rising star
tribes. Whether this populist studio visits and private
extremes, to pushing a signed by Paley in 2008,
approach has diluted his views. Her schedule makes
project or a work to its was given a whole gallery
critical standing within the for exhausting reading,
very limits. De Carlo’s not at the Liverpool Biennial.
industry is not yet clear: and that’s before you’ve
relaxing on the spoils of Aside from the gallery itself,
he’s certainly picked some considered the support the
his strong past decisions, Paley sits on the selection
fights in his postings – with couple give to the Frieze
however, and has been committee at the Frieze Art
Robert Storr (over the Art Fair’s new satellite,
quick to support and Fair and supports various
Guggenheim’s YouTube Sunday, to the RCA and
represent younger talents London institutions along
biennial) and Klaus Goldsmiths curating
such as Elad Lassry and the way.
Biesenbach (calling the courses, to Tate (on whose
Roberto Cuoghi. Slow
latter ‘a dick’ for his ‘pretty Foundation Committee
and steady international
A ni ta & Po ju Z a bludow icz
75
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142 ArtReview
For the New York Times’s If the German commercial
senior art critic, 2010 has art scene has shifted to
(79) Courtesy Montblanc, Hamburg; (80) courtesy The New York Times; (82) Pawel Althamer, dla tima i burkharda, 2004, clay, wire, paper, paint, thread, fabric, 47 x 27 x 19 cm, photo: Jens Ziehe, Berlin,
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : 7 2
hopeful approach to so many heavyweights:
up to acquire work from his relaunched Saatchi
recession trends – giving Franz Ackermann, Simon
the Frieze Art Fair for C a t e g o r y : C r i t i c – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : 6 1 Gallery has been cranking
a cautious welcome to the Starling, Pawel Althamer,
Tate Modern, the group out voluminous attention-
appointment of New York Olafur Eliasson and
(whose membership and grabbing shows from the
gallerist Jeffrey Deitch Jorge Pardo, to name
funding comprises a diverse collection, the former ad
as the new director of a few. Tim Neuger and
collection of individuals) man has found time to
crisis-ridden MOCA LA, Burkhard Riemschneider,
takes donors on studio author an art-school reality-
for example. In terms of who founded the gallery in
tours, private receptions show contest, knock out
art criticism, among her 1994 (Neuger previously
and international trips. a second book of quite-
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
extension this year. Gertler has reportedly baulked
Smith remains the storms, which now appear
sits on the Tate International at the condition that the
Big Apple’s bastion of to be abating. ‘Believing
Council, as does Peel, who gallery be able to sell from
responsible art criticism. in idealistic gestures’,
also advises St Petersburg’s the collection to fund
Neuger recently said
Hermitage Museum, is a acquisitions. As we await
opaquely, discussing
C h a rl es Sa atc h i
80 81
79 82
Hsu and Chang Tsong-
zung founded the Hong
Kong-based Asia Art
Galleria Continua’s rather Archive (AAA) back in
eccentric portfolio of 2000. The former is director
locations includes Beijing, The New York/Berlin and the latter sits on the
Boissy-le-Châtel, near publishing house Sternberg board. Their shared entry
Paris; and San Gimignano, Press was set up out of the reflects their combined
C a t e g o r y : P u b l i s h e r – N a t i o n a l i t y : L u x e m b o u r g i a n – L a s t Ye a r : N e w
near Florence, where the publishing house Lukas importance to the Asian art
three friends set up their & Sternberg – founded scene rather than reflecting
Johann König is the kind of
M a r io Cr is t i a ni , L orenzo F i a s c h i & M aur izio R igil l o
C a t e g o r y : C u r a t o r s – N a t i o n a l i t y : C h i n e s e/ B r i t i s h – L a s t Ye a r : 9 8 ( H s u)/ R e e n t r y (C h a n g Ts o n g - z u n g – 7 1 i n 2 0 0 3)
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : 8 8
(83) Ela Bialkowska; (84) Juergen Teller; (85) Belaid le Mharchi, courtesy Sternberg Press, Berlin & New York; (86) © Asia Art Archive
well as forging relationships to be an important home audience. Boasting more
gallery’s artists, including for well-chosen artist book
between artists, countries than 22,000 items, the AAA
Tatiana Trouvé, Jeppe Hein projects, long-form essays
and markets: these are the maintains one of the most
and Kris Martin, have had a and creative, readable
feats that mark this trio out comprehensive collections
generous serving of major writing that one can’t
as relentlessly inventive. It of documentary material
institutional shows this year, imagine being published
is their passion and interest relating to contemporary
and the gallery continues elsewhere, such as Nicolas
in artist-focused projects, art from the region – from
to stake out a secure Bourriaud’s The Radicant
however, which have magazines and catalogues
place for itself, influencing (2009), Bettina Funcke’s
garnered them such a fine to video interviews and
commercial and critical Pop and Populous (2009),
reputation among artists. archival material from
agendas internationally. Isabelle Graw’s High Price
C a t e g o r y : G a l l e r i s t s – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 9 2
artists’ studios.
(2010), Céline Condorelli’s
Support Structures (2009),
Keren Cytter’s film scripts
(2010) and Dexter Sinister’s
Ca rol ine S c h neider
Joh a nn Konig
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86
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C a t e g o r y : A r t i s t – N a t i o n a l i t y : T h a i – L a s t Ye a r : 9 3
of the Solomon R. days an artist uncommonly expansive solo show at
Guggenheim Foundation, unconstrained by the Serpentine Gallery
on the Leadership Council categorisations. While he in London to foreground
of the New Museum continues to make sociable, his abstract works, taken Founded in 1993, the
C a t e g o r y : A r t i s t – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
and a member of Tate’s topical exhibitions – this without a camera but Sharjah Biennial has
International Council, year, the Argentina-born incorporating photographic become one of the defining
until this year very few Thai artist’s first exhibition materials, to a UK audience. events in the Arab cultural
people were familiar in China offered visitors (Close to 200,000 people calendar. Hoor Al-Qasimi
C a t e g o r y : C u r a t o r s – N a t i o n a l i t y : E m i r a t i/ P a l e s t i n i a n – L a s t Ye a r : R e e n t r y ( H o o r A l - Q a s i m i – 9 9 i n 2 0 0 3)
Dimitris Daskalopoulos. equipment for home- during its 12-week stint, a biennial since 2002 and
(Having made his fortune building (in reference to record for the Serpentine.) is largely responsible
(87) Trevor Leighton; (88) courtesy the artist and Pilar Corrias Gallery, London; (89) courtesy Maureen Paley, London; (90) courtesy Sharjah Art Foundation
in the food industry, ‘DD’ the country’s hyperactive It’s a direction he’s been for shifting its focus
is currently chairman of growth) and bamboo pursuing for a while now, a from traditional arts to
the board of the Hellenic models of highrises filled conscious effort, perhaps, contemporary productions.
Federation of Enterprises with birds (‘It’s about to move his reputation Persekian, artistic director
and on the board of choices’, he said at the beyond the nudity and of the 7th Biennial in 2005,
directors of the National time) – it’s Tiravanija’s biographical subject matter is currently director of the
Bank of Greece.) Now extramural activities that of the photography which Sharjah Art Foundation,
his name is everywhere increasingly fascinate. so titillated the reviewers of which seeks to expand and
– in London’s Stephen Alongside the Land, the his 2003 Tate Modern solo build on the cultural legacy
Friedman Gallery, for whom alternative-energy-powered show. That said, Tillmans of the biennial through
Daskalopoulos curated a rice farm and art project – who has held a seat on residencies, production and
room in its summer show; he cofounded outside the Tate’s board of trustees education programmes.
in the Whitechapel Gallery, Chiang Mai in 1998, his since last year – remains The Sheikha is also a patron
R ir k r i t T ir ava ni ja
which is currently hosting publishing company Plan committed to his medium, of Art Dubai, and between
the second in a quartet of B and his text-free O Ver exhibiting 65 prints in a them they are establishing
Di m i t r is Da sk a l opoul os
exhibitions drawn from his magazine, he’s lately helped packed show at New York’s a position as gatekeepers
collection (which includes relaunch Bangkok’s Gallery Andrea Rosen in January to the riches (both
around 400 works ranging VER: Tiravanija’s energetic and keeping his German intellectual and financial)
gallery Daniel Buchholz of the Arab art scene.
Wol fg a ng T il l m a ns
88
87 89 90
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the power 100
C a t e g o r y : A r t Fa i r D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : N e w
of Art Hong Kong, is rapidly Space, an underachieving
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : I t a l i a n – L a s t Ye a r : 5 0
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : G e r m a n – L a s t Ye a r : N e w
might not have enough of the gatekeepers of this independent curatorial
time to be pleased with haven for tax-free art sales. activity and artmaking
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : D a n i s h – L a s t Ye a r : 8 9
himself, but it’s been a While it’s still very much in that escapes the worst of
pretty good year for the the process of bedding in, It’s been business as commercial interest. After
curator. This spring saw the fair – now in its third usual at Nicolai Wallner’s overseeing a few years
Gioni engineer the epic edition – attracted 46,000 800 sq metre space in of strong programming
Paul McCarthy project visitors this year (up 60 Copenhagen, albeit with a at Kunstverein Munich,
Pig Island for Fondazione percent on last year), major recent programme that has however, the confident
Nicola Trussardi (where galleries (Gagosian, White erred on the side of caution, Kalmár (who has published
he is artistic director), Cube, Hauser & Wirth, giving not unwelcome turns a large book project
while September saw him Arario, Pace, Perrotin, to local boy Jeppe Hein documenting his curatorial
curate the 2010 Gwangju Boesky, Lisson, Cohan, and American Richard approach in Munich) took
Biennale, putting him up Castelli, etc) and most Tuttle, for instance. Outside the whole thing in his stride.
there with alumni such important, sales. Whether the industrial environs of the In the name of transparency,
as Harald Szeemann and the fair can maintain its gallery (a former Carlsberg he is opening up the loft
Okwui Enwezor. And his position as the meeting warehouse), Wallner has space where the staff work,
role at New York’s New point for East and West is been busy engineering a and he has already brought
Museum has just been one of the challenges facing renaissance in the Danish a decidedly European style
expanded from that of Renfrew in the years ahead. capital’s art scene, with of curating to New York
curator of special projects plans for a second kunsthal with his first exhibitions
to associate director of the – offering an alternative to there – the first institutional
museum and director of the grandiose architecture Marc Camille Chaimowicz
exhibitions. His reputation of Charlottenborg – slowly show in the US, for
as a consummate artworld maturing. example, and a Charlotte
networker, it seems safe to
M a ssi m il i a no Gioni
Posenenske exhibition
say, is assured. that is reconfigured every
S tefa n K a l m a r
few weeks by gallery staff
M ag nus Renf rew
(91) Selva Barni; (92) courtesy Hong Kong International Art Fair; (93) Ariel Wallner
fascination with the 1970s
suggests an interest in the
underground cultures that
flocked to Artists Space
around that time. It’s more
than likely that he will try
to place the organisation
back at the heart of
the New York scene.
91 94
92 93
146 ArtReview
Gregor Podnar started out
as a curator in the early
As director of the Lebanese 1990s, founded his gallery Tate Modern’s Frances
Association for Plastic Arts in Slovenia in 2003 as part Morris was there, so
(Ashkal Alwan), the arts of the cultural production too the Guggenheim’s
nonprofit she cofounded organisation Association Richard Armstrong and
in 1994, Christine Tohme There are certainly galleries
DUM and eventually businessman David Tang.
is the the driving force in New York that turn
opened a second and more A quick look through
C a t e g o r y : C u r a t o r – N a t i o n a l i t y : L e b a n e s e – L a s t Ye a r : N e w
C a t e g o r y : C o l l e c t o r – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : N e w
conventionally commercial the guest list for the VIP
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : S l o v e n i a n – L a s t Ye a r : N e w
Works Forum. Ashkal Elizabeth Dee – ones that
space in Berlin, now his opening of Roundtrip:
C a t e g o r y : G a l l e r i s t – N a t i o n a l i t y : A m e r i c a n – L a s t Ye a r : N e w
Alwan staged Home have bigger artists and
primary base, in 2007. In Beijing–New York Now, a
Works I in 2002, gathering can guarantee themselves
moving to a commercial selection of works (among
artists, cultural activists a presence at Art Basel
gallery, Podnar wanted to them commissioned
and writers for ten days of – but Dee has nevertheless
provide Eastern European pieces by Terence Koh and
exhibitions, performances, had a busy year wielding
artists who had institutional Matthew Day Jackson)
lectures, video screenings, influence in an altogether
success with commercial from Richard Chang’s
artists’ talks, workshops less establishment manner.
support that was then Domus Collection, which
and publication launches. The X Initiative in the old
lacking. His programme was at the Ullens Centre
Since then, five editions Dia building wrapped up
remains focused on artists for Contemporary Art in
of the forum have run at the end of 2009, having
from Eastern Europe, Beijing last May, is enough
‘about every other year’ provided a temporary
among them Attila Csörgö, to tell you that this Chinese-
– unexpected wars and creative hub for New York’s
Vadim Fiškin, Alexander American collector is one
such can throw a spanner art scene to gather round:
Gutke, the Slovenian to watch. Chang, who
into scheduled international a positive project during a
collective IRWIN, Dan splits his time between
arts events – making it the pessimistic year. In 2010,
Perjovschi, Goran Petercol New York and Beijing,
Beirut Biennial in all but Dee and Darren Flook,
and Tobias Putrih, but sees his collection, which
name. In 2006, Tohme was of London’s Hotel gallery,
also includes young features a mix of leading
awarded the Prince Claus used the same space to
international artists such as Western and Chinese
Award in recognition of her offer an alternative to the
Magnus Larsson and Ariel artists, as helping to foster a
contributions to Lebanese Armory in the hybrid form
Schlesinger. two-way dialogue between
culture. In addition to of Independent, an art fair
artists and audiences in
staging Home Works 5, that aped an exhibition
both regions. A MoMA
Tohme’s 2010 has been and attracted participation
trustee for PS1, he also
devoted to mobilising from an international array
cosponsored this year’s
financial and professional of commercial galleries.
C h r is t ine Toh m e
95 96 97 98
The irony of Bruce High
Quality Foundation’s
inclusion on a list such as
this has not escaped us.
The Power 100 operates
as a hierarchy and as a
mechanism for promoting
power
personalities – and even,
perhaps, celebrity. Forming The South London Gallery,
with its Victorian picture-
facts
BHQF in 2003, the
collective of five to eight gallery proportions, has
long been one of the best
C a t e g o r y : M u s e u m D i r e c t o r – N a t i o n a l i t y : B r i t i s h – L a s t Ye a r : N e w
(99) Courtesy Bruce High Quality Foundation, New York; (100) Simon Parris
kunsthalles, but Heller’s
28% 23.5%
M a rgot H el l er
99
Highest Museum 2010 Highest Museum 2009
MoMA MoMA
100
the power 100
T h e top 10 0 at a glance
20 09 2010
1. Hans Ulrich Obrist 51. Amanda Sharp & 1. Larry Gagosian 51. Tobias Meyer &
2. Glenn D. Lowry Matthew Slotover 2. Hans Ulrich Obrist Cheyenne Westphal
3. Sir Nicholas Serota 52. Joel Wachs 3. Iwan Wirth 52. Ann Philbin
4. Daniel Birnbaum 53. Victor Pinchuk 4. David Zwirner 53. Damien Hirst
5. Larry Gagosian 54. Udo Kittelmann 5. Glenn D. Lowry 54. Emmanuel Perrotin
6. François Pinault 55. Marina Abramovic 6. Bice Curiger 55. Gerhard Richter
7. Eli Broad 56. Michael Ringier 7. Sir Nicholas Serota 56. Nicolas Bourriaud
8. Anton Vidokle, Julieta Aranda & 57. Gerhard Richter 8. Eli Broad 57. Matthew Marks
Brian Kuan Wood 58. Richard Serra 9. RoseLee Goldberg 58. Udo Kittelmann
9. Iwona Blazwick 59. RoseLee Goldberg 10. François Pinault 59. Michael Ringier
10. Bruce Nauman 60. Kasper König 11. Adam D. Weinberg 60. Kasper König
11. Iwan Wirth 61. Roberta Smith 12. Jeffrey Deitch 61. Daniel Buchholz
12. David Zwirner 62. Monika Sprüth & 13. Ai Weiwei 62. Anish Kapoor
13. Jeff Koons Philomene Magers 14. Agnes Gund 63. Daniel Birnbaum
14. Jay Jopling 63. Germano Celant 15. Alfred Pacquement 64. Toby Webster
15. Marian Goodman 64. Emmanuel Perrotin 16. Anton Vidokle, Julieta Aranda 65. Carolyn Christov-Bakargiev
16. Agnes Gund 65. Peter Schjeldahl & Brian Kuan Wood 66. Christian Boros & Karen Lohmann
17. Takashi Murakami 66. Beatrix Ruf 17. Bruce Nauman 67. Germano Celant
18. Alfred Pacquement 67. Okwui Enwezor 18. Marc Glimcher 68. Maurizio Cattelan
19. Peter Fischli & David Weiss 68. Nicolas Bourriaud 19. Beatrix Ruf 69. Neo Rauch
20. Mike Kelley 69. Karen & Christian Boros 20. Dominique Lévy & 70. Boris Groys
21. Barbara Gladstone 70. Isabelle Graw Robert Mnuchin 71. Helga de Alvear
22. Steven A. Cohen 71. Maurizio Cattelan 21. Iwona Blazwick 72. Thaddaeus Ropac
23. Dominique Lévy & 72. Charles Saatchi 22. Marian Goodman 73. Ralph Rugoff
Robert Mnuchin 73. Jerry Saltz 23. Marc Spiegler & 74. Victoria Miro
24. Adam D. Weinberg 74. Jasper Johns Annette Schönholzer 75. Jerry Saltz
25. Marc Glimcher 75. Louise Bourgeois 24. Barbara Gladstone 76. Anita & Poju Zabludowicz
26. Amy Cappellazzo & Brett Gorvy 76. Thaddaeus Ropac 25. Jay Jopling 77. Massimo De Carlo
27. Cheyenne Westphal & 77. Mera & Don Rubell 26. Mike Kelley 78. Maureen Paley
Tobias Meyer 78. Thelma Golden 27. Cindy Sherman 79. Yana Peel & Candida Gertler
28. Ann Philbin 79. Sarah Morris 28. Dakis Joannou 80. Roberta Smith
29. Matthew Higgs 80. Carolyn Christov-Bakargiev 29. Franz West 81. Charles Saatchi
30. Matthew Marks 81. Anita & Poju Zabludowicz 30. Gavin Brown 82. Tim Neuger &
31. Tim Blum & Jeff Poe 82. Paul Schimmel 31. Peter Fischli & David Weiss Burkhard Riemschneider
32. Gavin Brown 83. Jose, Alberto & David Mugrabi 32. Steven A. Cohen 83. Mario Cristiani, Lorenzo Fiaschi
33. Ralph Rugoff 84. Sadie Coles 33. Tim Blum & Jeff Poe & Maurizio Rigillo
34. Liam Gillick 85. Daniel Buchholz 34. Anne Pasternak 84. Johann König
35. Anne Pasternak 86. Victoria Miro 35. Marina Abramovic 85. Caroline Schneider
36. Dakis Joannou 87. Maureen Paley 36. Bernard Arnault 86. Johnson Chang Tsong-zung
37. John Baldessari 88. Johann König 37. Victor Pinchuk & Claire Hsu
38. Isa Genzken 89. Nicolai Wallner 38. Eugenio López 87. Dimitris Daskalopoulos
39. Paul McCarthy 90. Maria Lind 39. Takashi Murakami 88. Rirkrit Tiravanija
40. Michael Govan 91. Massimo De Carlo 40. Patricia Phelps de Cisneros 89. Wolfgang Tillmans
41. Eugenio López 92. Mario Cristiani, Lorenzo 41. Matthew Slotover & 90. H.H. Sheikha Hoor Al-Qasimi
42. Cindy Sherman Fiaschi & Maurizio Rigillo Amanda Sharp & Jack Persekian
43. Ai Weiwei 93. Rirkrit Tiravanija 42. Okwui Enwezor 91. Massimiliano Gioni
44. Patricia Phelps de Cisneros 94. Toby Webster 43. Matthew Higgs 92. Magnus Renfrew
45. Annette Schönholzer & 95. Long March Space 44. Tino Sehgal 93. Nicolai Wallner
Marc Spiegler 96. Nicholas Logsdail 45. Maja Hoffmann 94. Stefan Kalmár
46. Diedrich Diederichsen 97. Harry Blain & Graham Southern 46. Monika Sprüth & 95. Christine Tohme
47. Richard Prince 98. Claire Hsu Philomene Magers 96. Gregor Podnar
48. Damien Hirst 99. Peter Nagy 47. Jeff Koons 97. Elizabeth Dee
49. Bernard Arnault 100. Glenn Beck 48. Nicholas Logsdail 98. Richard Chang
50. Massimiliano Gioni 49. Sadie Coles 99. Bruce High Quality Foundation
50. Brett Gorvy & Amy Cappellazzo 100. Margot Heller
ArtReview 149
THE POWER PRINCESS PHOTOSHOOT
Princess wears Adidas courtesy Adidas
Photographer Vincent Dolman
Love u Mama & Jess & Chloe & gk xx
Assistants Amber and Violetta
Hair Simona
Make Up Charlotte
My Boys courtesy David Bennie
Mohammed Abdoun X - Dyal - Raf Rza Fellner -
Skout Lo - Benji - Mosie - Tom - Jasper
wearing vintage Adidas courtesy Lexington Bey
love peace & dollar xx
STVOL
ALEX BLAGOV
EGOR TATARENKO
MAXIM TKACHENKO
20 Oktober - 20 November
Andriivsky Uzviz 2b
04070 Kiev
+380 44 425 03 20
Ukraine
28 Kollwitzstrasse
10405 Berlin
+ 49 176 612 65 960
Germany
www.bereznitsky-gallery.com
2010
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New commissions,
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EDITIONS
Thursday 28—
Sunday 31 October 2010
Spinningfields,
Manchester
MILLENNIUM
Str eet an Pol, St . I v e s, C o r nw a ll, T R 2 6 2 DS
T: 01736 793121 , E: m a il@ m ille nnium g aller y.co.uk 23RD OCTOBER TO 15TH NOVEMBER
www.millenniumg a lle r y. c o. uk ILLUSTRATED CATALOGUE AVAILABLE
SS FP OCT 10 AW.ai 20/9/10 17:29:21
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is delighted to welcoming you at the art fair
Kunst Zürich, november 11 - 14, 2010
with works by, among others,
JUSTIN SIDNEY
Beautiful Decay
r oB e r T P ol i d or i
C ha mbre du Capit a i ne des G a rdes, C hat eau de Ver sa i l les, 2 0 0 7
www.justinsidney.com info.justinsidney@gmail.com
Listings Museums and Galleries
UNITED KINGDOM, SPROVIERI UNITED KINGDOM The Modern Institute
LONDON 27 Heddon street 14—20 Osborne Street,
London, W1B 4BJ Bloomberg New Glasgow, Scotland G1 5QN
Alexia Goethe Gallery T +44(0)20 7734 2066 Contemporaries 2010 T +44 (0)141 248 3711
7 Dover Street iinfo@sprovieri.com A Foundation F +44 (0)141 248 3280
London, W1S 4LD sprovieri.com 67 Greenfield Street Dirk Bell
T +44 (0)20 7629 0090 Jimmie Durham: “arts, media and Liverpool, L1 0BY from 28 Nov
www.alexiagoethegallery.com sports” www.newcontemporaries.org.uk
Alexander de Cadenet: 7 Oct - 27 Nov to 13 Nov United States, New York
Life-Force
24 Sep –19 Nov Somerset House CIRCA Contemporary Art David Zwirner
Strand, London Projects 525 West 19th Street New York,
Albemarle Gallery WC2R 1LA Stephenson Works, NY 10011
49 Albemarle Street www.somersethouse.org.uk Newcastle upon Tyne, NE1 3PE T +1 212-517-8677
London W1S 4JR T +44 (0)20 7845 4616 www.ccaprojects.org.uk Open Tue-Sat 10-6
T +44 (0)20 7499 1616 F +44 (0)20 7836 7613 Everybody Knows This Is information@davidzwirner.com
F +44 (0)20 7499 1717 Breon O’Casey Nowhere; Stuart Pearson-Wright, www.davidzwirner.com
info@albemarlegallery.com 20 Oct - 30 Jan 2011 Henry Coombes, Lu Chunsheng
Lee Jaehyo Solo Exhibition 20 Nov – 9 Dec
DOOSAN Gallery
The Force Of Will: SOUTH LONDON GALLERY
533 West 25th Street
The Force Of Nature 65 Peckham Road CoExist Galleries &
London SE5 8UH Studios,TAP NewYork, NY 10001
15 Oct - 6 Nov newyork@doosangallery.com
www.southlondongallery.org The Old Water Works North
T +44 (0)20 7703 6120 Road, Southend, Open Tue-Sat 10-6
Edel Assanti Insatiable Appetite, Sang-ah Choi
Tatiana Trouvé Essex, SS0 7AB
276 Vauxhall Bridge Road, 1 Oct - 28 Nov www.coexist.co.uk 18 Nov- 18 Dec
London, SW1V 1BB Phyllida Barlow &
www.edelassanti.com The Agency Fiona Macdonald L&M ARTS
SUPERUNKNOWN 66 Evelyn Street 8th Oct – 5th Nov 45 E 78th St.New York, NY 10075
6 Oct - 13 Nov London, SE8 5DD T +1 212 861 0020
www.theagencygallery.co.uk LEAMINGTON SPA ART Open Tue – Sat 10
Hotel Gallery info@theagencygallery.co.uk GALLERY AND MUSEUM info@lmgallery.com
77a Greenfield Road Dan Coopey: Position 1 Royal Pump Rooms, The Parade, lmgallery.com
London, E1 1EJ 29 Oct – 16 Dec Leamington Spa, CV32 4AA Damien-Hirst: Medicine Cabinets
T +44(0)20 7247 8625 T +44 (0)1926 742700 28 Oct – 11 Dec
mail@generalhotel.org The Fine Art Society www.warwickdc.gov.uk/
Alan Michael - Solo Show 148 New Bond Street, royalpumprooms Michael Werner Gallery
19 Nov – 18 Dec London W1S 2JT Touch: an installation 4 East 77th Street,
T +44 (0)20 7318 1895 by Lyndall Phelps New York, NY 10075
Royal Academy of Arts F +44 (0)20 7491 9454 18 Sep – 28 Nov T +1 (212) 988-1623
Burlington House, Piccadilly jb@faslondon.com www.michaelwerner.com
London W1J 0BD Henry Krokatsis: Like a Gang NATIONAL MEDIA MUSEUM info@michaelwerner.com
T +44 (0)20 7300 8000 of Virtue Bradford, BD1 1NQ Marcel Broodthaers: Major Works
www.royalacademy.org.uk 13 Oct – 4 Nov www.nationalmediamuseum. to 13 Nov
Treasures From Budapest Marcus Harvey: Tattoo org.uk
25 Sep – 12 Dec 10 Nov – 9 Dec T +44 (0)844 856 3797 THE Pace GALLERY
Fay Godwin: Land Revisited 32 East 57th Street
ROYAL COLLEGE OF ART Timothy Taylor Gallery 15 Oct – 27 Mar T +1 (212) 421 3292
Kensington Gore 15 Carlos Place, Tues-Frid 9:30– 6 Sat 10-6
London, SW7 2EU London, Sideshow www. thepacegallery.com
www.rca.ac.uk W1K 2EXT 1 Thoresby Street Robert Irwin: Way Out West
Shi Shaoping: T +44 (0)20 7409 3344 Nottingham 12 Nov- 24 Dec
The Metamorphosis Series Jessica Jackson Hutchins NG1 1AJ
13 – 18 Oct, 11am – 7pm daily 13 Oct - 6 Nov www.sideshow2010.org THE PACE GALLERY
Sideshow Wunderkammer 534 West 25th Street
Sadie Coles Gallery VICTORIA MIRO GALLERY 22 Oct - 14 Nov T+1 (212) 929-7000
69 South Audley Street, 16 Wharf Road Tues – Sat 10 – 6
London W1 London N1 7RW The Manchester Lucas Samaras: Poses
Tues-Sat 10-6 T +44 (0)20 7336 81090 Contemporary 9 Nov- 24 Dec
www.sadiecoles.com www.victoria-miro.com 28-31 October 2010
T +44 (0)20 7493 8611 Isaac Julien Spinningfields, Manchester THE PACE GALLERY
ANGUS FAIRHURST Ten Thousand Waves Register for free tickets online at 545 West 22nd Street
12 Oct – 27 Nov 7 Oct – 13 Nov themanchestercontemporary. T+1 (212) 989-4258
co.uk Tues- Sat 10 – 6
Hiroshi Sugimoto: The Day After
6 Nov- 24 Dec
ArtReview 171
United States, New York DENMARK Galerie ThaddAeus VW (VENEKLASEN/WERNER)
(continued) Ropac Rudi-Dutschke-Str. 26,
LOUISIANA MUSEUM OF 7, rue Debelleyme 75003 Paris 10969 Berlin
THE PACE GALLERY MODERN ART T +33 1 42 72 99 00 T+49 30 81 61 60418
510 West 25th Street Gl. Strandvej 13, 3050 Humlebæk www.ropac.net info@vwberlin.com
Tues-Sat 10-6 Winter 2010: Anselm Kiefer Liza Lou www. vwberlin.com
T +1 (212) 255-4044 21 Oct – 20 Nov Open Mon– Fri 10-6 , Sat 11-6
info2@thepacegallery.com GALLERI NICOLAI WALLNER Cory Arcangel/Ali Banisadr Markus Lüpertz: New Paintings
Thomas Nozkowski: Recent Work Ny Carlsberg vej 68 OG 24 Nov – 24 Dec Opening 18 November
22 Oct – 4 Dec 1760 Copenhagen V
Peter Land LE GRAND CAFE Greece
AUSTRIA Joachim Koester Centre d’Art Contemporain
12 Nov – 15 Jan 2011 Place des Quatre z’horloges Frissiras Museum
Christine Koenig Galerie F 44 600 Saint-Nazaire 3 Monis Asteriou
Schleifmuehlgasse 1A FRANCE T+ + 33 (0)2 44 73 44 00 Plaka, Athens
1040 Vienna www.grandcafe-saintnazaire.fr T +30 2103 234678 or
Austria FIAC Hans Op de Beeck +30 2103 316027
www.christinekoeniggalerie.com Grand Palais & Louvre, Paris 8 Oct - 2 Jan 2011 www.frissirasmuseum.com
Ai Wei Wei 21 – 24 Oct
to 6 Nov www.fiac.com MYRVOLD > MYWORLD Holland
PIA MYRVOLD
Galerie Thaddaeus Ropac Fondation Cartier 15 rue Sambre et Meuse GRIMM FINE ART
Mirabellplatz 2, 261 Boulevard Raspail 75010 Paris Keizersgracht 82
5020 Salzburg 75014 Paris T +33607968552 1015CT Amsterdam
T +43 662 881 393 T +33 1 42 18 56 50 By appointment. www.grimmfineart.com
www.ropac.net www.fondation.cartier.com www.pia-myrvold.com Recent British Sculpture
Arnulf Frainer & Dieter Roth Moebius Exhibiting at Atelier Clot Bramsen from 27 Nov
Sturtevant (Halle space) to 13 Mar 19 Rue Veille du Temple Paris
Jack Pierson (annex space) to 23 Oct Jaski Art Gallery
to Nov 20 Galerie Almine Rech Nieuwe Spiegelstraat 29
19, rue de Saintonge GERMANY 1017 DB Amsterdam
GALERIE HUBERT WINTER 75003 Paris www.jaski.nl
Breite Gasse 17 Tel +33 1 45 83 71 90 CAMERA WORK AG
A-1070 Wien www.galeriealminerech.com Kantstraße 149 ireland
T +43 (0)1524 09 76 Gavin Turk - En FAce 10623 Berlin
www.galeriewinter.at 30 Oct - 18 Dec www.camerawork.de IMMA (Irish Museum of
John Giorno - Eating the sky Modern Art)
MUMOK 29 Oct - 18 Dec DEUTSCHE GUGGENHEIM Royal Hospital, Military Road
Museum Moderner Kunst Stiftung Unter den Linden 13/15 Kilmainham, Dublin 8
Ludwig Wien Galleria Continua 10117 Berlin www.imma.ie
Museumsplatz 1 Le Moulin (Paris) T +49 (0)30 20 2093 info@imma.ie
A-1070 Wien 46, rue de la Ferté Gaucher www.deutsche-guggenheim.de T +353-1-612-9922
77169 Boissy-le-Châtel Color Fields The Moderns
Belgium Seine-et-Marne 22 Oct – 10 Jan 2011 20 Oct – Apr 2011
T +33 1 64 20 39 50
Galerie Almine Rech www.galleriacontinua.com JOHANN KÖNIG GALLERY ITALy
20 Rue de l’Abbaye “Sphères 3” Dessauer Straße 6-7,
B-1050 Brussels 23 Oct - 11 Jun 2011 10963 Berlin Alfonso Artiaco
T +32 26 485 684 www.johannkoenig.de Piazza dei Martiri 58
www.alminerech.com Galerie Emmanuel Manfred Kuttner 80121 Naples
Taryn Simon/John Giorno Perrotin 30 Oct - 8 Jan 2011 T+39 0814976072
Oct 29 - 18 Dec 76, rue de Turenne & 10 Impasse alfonsoartiaco.com
St Claude , 75003 Paris me Collectors Room Ann Veronica Janssens
ZENO X GALLERY T +33 1 42 16 79 79 Berlin
Leopold De Waelplaats 16 www.galerieperrotin.com me Kunst GmbH ARTISSIMA 17
B-2000 Antwerp Paula Pivi/Jin Meyerson Auguststraße 68 Turin
T +32 32 161 626 11 Nov - 23 Dec 10117 Berlin www.artissima.it
www.zeno-x.com www.me-berlin.com 5 – 7 Nov
Michael Borremans Galerie Laurent Godin Ouyang Chun –
22 Oct - 27 Nov 5, rue du Grenier St Lazare Painting the King BRAND NEW GALLERY
75003 Paris 2 Oct - 9 Jan 2011 Via Farini 32
T +33 1 42 71 10 66 20159 Milano
www.laurentgodin.com T +39-02-89.05.30.83
Claude Closky/Laloli www.brandnew-gallery.com
to 16 Oct Anton Henning
David Kramer 12 Nov - 22 Dec
21 Oct – 12 Dec
listings: museums and galleries
ArtReview 173
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ArtReview 175
Tate appoints Simon
Baker as its first curator
of photography
An exhibition of Tim
Burton’s work opens
at MoMA, and shortly
becomes the museum’s
third-most-visited
exhibition of all time
176 ArtReview
Rear View: 2010, AgAIN
Ja nu a ry
Arts funding in New York
State faces a cut of $9.6
million under a proposed
2010–11 budget
Pavel Büchler is
announced as the winner
of the Northern Art Prize
BHARTi KHeR
Private View, Friday 19 March, 6 — 8 pm
196A Piccadilly, London W1j 9Dy
Followed by a party at Home House
20 Portman Square, London W1H 6LW
RSVP
Rosa M Rego by Tuesday 16 March
rosa@hauserwirth.com
+44 (0) 207 478 1780
GALLERY
WEEKEND
BERLIN
APRIL 30 –
MAY 2
M ay
Bice Curiger is named
in a hung parliament
Louis Vui d to invite
new
ase iso n
are ple nd Street Ma
New Bo y
th Ma
esd ay 26
A volcanic eruption in
Iceland causes flight bans
and chaos as people are
stranded the world over
ArtReview 179
Outset wins the
Montblanc prize for art
patronage, €15,000,
which it donates to the
South London Gallery Jean Nouvel’s pavilion
for the Serpentine Gallery
Charles Saatchi announces opens in Hyde Park
his intention to gift his
gallery and part of his British cultural leaders,
collection to the nation including museum
directors, begin to plead
Manifesta 8 postpones in earnest with the
its slated opening date government to spare
to avoid clashing with a them proposed 25 percent
national strike in the host funding cuts
Harry Blain and Graham Philip Glass is given lifetime country of Spain
Southern, founders of Haunch achievement award from the The British government
of Venison, announce that US National Endowment for Villa Reykjavík, an art announces that the UK
July
they are to leave the gallery, the Arts festival involving 14 Film Council and the
which is now owned by European galleries, takes Museums, Libraries &
Christie’s Victoria Noorthoorn is place in Iceland Archives Council are to
appointed curator of the 2011 be scrapped
The British Library acquires Lyon Biennial
the J.G. Ballard archive
Following the BP Deepwater
German artist Sigmar Polke Horizon oil disaster in the
dies age sixty-nine Gulf of Mexico, the Tate
summer party is attacked
Chris Dercon is appointed the by demonstrators throwing
new director of Tate Modern molasses in protest over
Tate’s sponsorship by BP
At Art Basel, the Baloise prize
is awarded to Simon Fujiwara
and Claire Hooper
media invitation
Office hours: 020 7983 4070
Out of hours and weekends: 020 7983 4000
www.london.gov.uk
GLA/2010
July 2010
The event will take place on Thursday 19 August 2010 at 9.00am in the crypt of St
Martin-in-the-Fields, London WC2N 4JJ.
The exhibiting artists are Allora & Calzadilla; Elmgreen & Dragset; Katharina Fritsch;
Brian Griffiths; Hew Locke; and Mariele Neudecker.
RSVP
Tamsin Selby, Bolton & Quinn
Sep te m ber
Notes to Editors
1. The selected artist is due to be announced by the Mayor of London next year, with the artwork being
installed after the current work, Nelson’s Ship in a Bottle by Yinka Shonibare, has been taken down.
2. The Fourth Plinth Programme is funded by the Mayor of London and Arts Council England and sees
new artworks being selected for the vacant plinth in a rolling programme of new commissions. The
first new commission for the Fourth Plinth under the auspices of the Mayor of London's Fourth Plinth
Commissioning Group was Marc Quinn's sculpture, Alison Lapper Pregnant, unveiled in a public
ceremony in September 2005. It was followed by Thomas Schütte's Model for a Hotel in 2007 and by
Antony Gormley’s One & Other in 2009. Yinka Shonibare’s sculpture Nelson’s Ship in a Bottle is
currently on the plinth and will remain there through 2011. Previous commissions have been Ecce
Homo by Mark Wallinger (1999), Regardless of History by Bill Woodrow (2000) and Monument by
Rachel Whiteread (2001). Arts Council England has been a funding partner supporting the
programme since 2003.
Japanese filmmaker and French New Wave director SAVE THE DATE
Ai Weiwei claims that Tuesday, 14th September 2010
Ekow Eshun and Alan Keith Coventry wins Kensington Gardens, London
7.30 - 9.30pm
ArtReview 181
the power 100
wo r ds : G A L L E RY G R R R L
182 ArtReview
G A L L ER IS TS
Go big! Now is the time to expand – your rivals are
suffering, so put your boot on their throats and dance
the lambada. In this one swift move you can destroy
their tenuous grip on reality forever. Remortgage
2
hoik on the secondary are Day-Glo canvases by a
recent West London graduate with a coke problem
and celebrity mates – and thus, alas, entirely worthless.
But remember, don’t say you’re closing; instead send
out an email saying that you’re concentrating on
‘private dealing’.
Curators
or those bits of MDF stored for your latest lo-fi
sculptural installation and try to remember how to
paint. It was hard enough to sell installation and film in
1 the boom times, but now art fairs are almost bereft of
such media, aside from the kooky experimental sections
where young galleries jostle to look serious. If you want
to earn a living, get out Julian Schnabel’s underrated
Basquiat (1996) and lock yourself in your gallerist’s
basement, armed with oodles of chang and a couple of
large canvases. Competition is intense out there, the pay is lousy and
jobs are being culled. Your safest bet is to become a
Give up painting! Put away those dodgy oils and learn
1
celebrity curator – hop around the world to every
2
how to make proper cinema films. It worked for big biennial, triennial and special external project going,
Julian. And Kathryn Bigelow used to be a dauber before and eventually you will appear in Artforum’s ‘Scene and
working out that it would be more profitable to cast Herd’ gossip column enough times to persuade punters
Keanu Reeves as an FBI agent posing as a surfer. that you are in fact incredibly famous.
Start selling your work to celebrity clients! As bankers get Give up working for your institution and become the
cold feet about ploughing their bonuses into art, now’s in-house curator of a rich collector. Not so easy these
the time to find yourself some stars. Jay-Z and Beyoncé
2
days, as old-school collectors are getting twitchy – but
Go political. Now that no one is selling, it’s time to Teach curating. Curating itself is hard work (okay, it’s not
unleash the inner critique of late-capitalist culture that hard, but it’s work… just) and poorly paid, but if you
that has been brewing away since your early student stack up a load of teaching jobs at the curating courses
4
days. Make agitprop posters in unlimited editions. Or
3
popping up, the chances are that you won’t have to do
deliver mysterious performances with no documentary any actual hands-on curating. Instead immerse yourself
photography allowed. Join a collective with like-minded in books about curating and pick a handful of shows that
desperate fellow artists. This is your chance to get really happened in the pre-Internet age to rhapsodise about
angry and make regular appearances in committed art as if you’d really been there. On no account commit
periodicals – if things work out well, you can even make anything to writing, as this is an easy way of being found
money out of this as a biennial regular. out.
Move to Amsterdam – the only place left in the world Write a tome about curating! The books out there are
5
where the government doles out cash to artists. Meet so lousy that any old dreary collection of great shows
like-minded artists, get stoned and cycle round on old- in the past is sure to sell in bulk to the eager young
fashioned bicycles while wondering why the concentric
canals are driving you slowly insane. 4 curating students out there. Choose a simple narrative
arc, for instance one that goes from André Malraux’s
‘museum without walls’ straight through to Manifesta 8’s
Spend 20 years in obscurity battling against the engagement with North Africa and just put down the
6
commercial gallery system before being rediscovered in first thing that comes into your head.
2030. Reenter the artworld with a triumphant if baffling
show before appearing on the cover of ArtReview, Become an art historian. Admit it, you and your curatorial
preferably surrounded by buff assistants. colleagues currently haven’t got the foggiest about art
history and think that COBRA is a poisonous animal
1
about ethics and all that nonsense that Fred Wilson and the
Guerrilla Girls used to bang on about? This is the twenty-first percent discounts. Target galleries whose sectors have been
1
century, and more important, your institution is going down overheated – like the young contemporary folk – and then be
the tubes with your pension attached. If you really want to fist-pumpingly aggressive at their experimental booths in the
go hog-wild, offer said collector and his chums places on the groovy bits of fairs that pretend that they’re not about filthy
board. lucre. Of course they’re about filthy lucre. It’s an art fair! Chuck
in a few cancelled sales at random to give these upstarts a
If that’s too horrifying a prospect for your delicate curatorial lesson in who’s boss.
heart, why not fall back on that old warhorse of raising
Get angry! Basically all that stuff you’ve bought on whims at
2
institutional cash: the ‘gala dinner’ with accompanying auction
conducted by an auction bod doing an ironic turn with the art fairs is now worthless, as the bottom has dropped out of
gavel (at least we think it’s ironic). The only problem is auction the market you’ve been speculating in. Those deliberately bad
fatigue seems to be setting in: a misfiring auction at London’s
ICA was blamed by its outgoing director as in part triggering
the institution’s economic crisis, so this might not be a total
2 paintings, those installations of MDF and a found photograph
of Alain Robbe-Grillet are destined for the tip. Storm into
art fairs, find the fuckers who sold you this so-called ‘art’ and
banker. give them a good going over. Demand your money back on
the spot, loudly and repeatedly until you are hauled out by
There’s always an even older horse to be flogged: special security.
museum limited editions. It’s an old trick, but remember, there
3
are always new young collectors who think that a framed Renounce the market and become a philanthropic sort. This is
photocopy signed by one of the programme’s illustrious easy – museums are desperate for cash. Sponsor a dinner or
two, chuck their curators a bit of money to go shopping at art
3
alumni is worth a few hundred quid. It’s a lowdown manoeuvre
and won’t earn you much, but it’ll pay for the staff Christmas fairs, sort out tours of their collections with your chums – it will
party. earn you respect in a world where respect is the only currency
left. Let it be widely known that you welcome the correction in
Merge a few of the curatorial departments. Or even better, get the marketplace and shake your head sadly at the speculators
rid of them. Do you really need nineteenth-century specialists? who did so much damage to the precious object that we call
4
can now become ‘freelance curators’ (ie, unemployed) and on gallery dinners. Granted, this is a short-term solution best
your wage bill will be trimmed in no time. deployed at art fairs. But have some respect – when you find
yourself stuffing your holdall at a Jennifer Rubell performance,
Fire the finance staff. They got you into this unholy mess, so you know it’s time to stop and head to Lidl.
5
let’s make these glorified accountants pay! Take control of the
budget yourself and divvy it up among your salary, the cost to Find a disused warehouse space and open a private museum
hire a couple of shows in from an obscure kunsthalle and some to hang all those mysterious works you’ve bought over the
petty cash to pay the security guards, cleaners and curators. years. Do you remember buying it? Any idea who might have
How hard can it be?
5 made it? If not, this isn’t a problem – hire a couple of young
bucks to scour the interweb and catalogue for you, and then
6 Reallocate the carefully built up reserves to a new account allow them to ‘curate’ a few shows out of it. If you’re feeling
called ‘cash for immediate spending’. When the board particularly in need of liquidity, charge an entry fee. Punters
complain, attempt to fire them all. If they point out that you might never return, but eventually those eight-quid tickets will
can’t fire them, throw away the key to the boardroom you’ve add up to, erm, around £72.
Museu m Directors
just locked all of you in and subjugate the fuckers to your own
Cancel all your patron schemes and ask galleries to take you
6
recreation of Carolee Schneemann’s Interior Scroll. Eventually
they will do what you say. off their mailing lists – it’s time to give up. The promise that the
artworld would give your otherwise turgid social life a bit of a
bohemian lift was simply the smoke and mirrors of those evil
dealers who were after your cash. We’re all going down. Read
Collectors
Richard II and weep like the wretch you have become. Promptly
donate everything to the nation (just leave it on the steps of
the ArtReview office and we’ll sort out the technicalities) and
write a confessional warts-and-all novel about your descent
into the artworld. In the blink of an eye, return as the founder of
a charity enabling the work of community artists in inner cities
and burble about the Big Society. It’s a new dawn!
ArtReview 185
The strip: John RusselL
186 ArtReview
on the town:
19 September
Aaron Curry, Michael Werner Gallery at 20 Hoxton Square, London
16 September
Nathaniel Rackowe, Bischoff/Weiss, London
16 September
Thomas Scheibitz, Sprüth Magers, London
5
4
188 ArtReview
Aaron Curry
Nathaniel Rackowe
5
Nathaniel Rackowe
6
Gallerists Paola Weiss
and Raphaelle Bischoff
Thomas Scheibitz 9
7 Folkestone Triennial’s Andrea
Schlieker, Drawing Room’s Kate
Macfarlane, artist Cornelia Parker
and artist Jeff McMillan
8 Camden Art Centre’s Anne-Marie
Watson and Ancient & Modern’s
Bruce Haines
9 Camden Arts Centre’s Jenni Lomax
and journalist Louisa Buck
10 Anthony Downey of Sotheby’s
Art Institute London
11
Hauser & Wirth’s Damian
Brenninkmeyer and James Lavender
12 Artist Maaike Schoorel and
Hayward Gallery’s Stephanie
Rosenthal with friend
13
Drawing Room’s Mary Doyle, 10
curator Stephen McCoubrey,
Thomas Scheibitz, Drawing
Room’s Kate Macfarlane
14
Camden Art Centre’s Jenni
Lomax, writer Sarah Thornton
and Thomas Scheibitz 12
11
13
14
Monday, October 4, 2010 16:17
Power. Everybody’s obsessed with it. ArtReview Towers has been deluged with phone calls, emails, gifts,
PowerPoint presentations, flower garlands, money in large brown envelopes, graphs (I kid you not), Book
Tokens and all sorts of bogus statistics by the good folk of the artworld desperately trying to get onto that
power list. Sitting perched on the office’s Eileen Gray Monte Carlo sofa watching the Power 100 judges
bent over the Isamu Noguchi coffee table inexplicably passing each other a rolled €500 note while laughing
manically, I felt a terrible sense of emptiness. I left the office and, zipping up my Peter Pilotto cropped
jacket against the morning chill, meandered through the streets of Clerkenwell thinking of Ezra Pound’s
Canto LXXXI: ‘Pull down thy vanity, it is not man / Made courage, or made order, or made grace / Pull
down thy vanity, I say pull down.’ For what is power? After all, as Ezra memorably noted, ‘The ant’s a
centaur in his dragon world’, and you, eager young gallerist, are merely a front-desk bitch in Daniel-Henry
Kahnweiler’s world, if you get my drift.
So as I meandered into St John for my morning sharpener of two parts Fernet-Branca and one part
crème de menthe over ice (thank you, Fergus!), I decided to pen an hommage to those in the artworld who
historically have shunned this baseless thing called power. First on the list was so totally my favourite artist,
Bas Jan Ader. With his black polo-neck sweaters, mysterious death at sea, wavy hair and intense handsome
looks, Bas has been my hero long-time. He spent his artistic life exploring failure by falling off roofs,
cycling into canals and DJ-ing hard trance in the gritty clubs of Schleswig-Holstein. Tragically he died
when his speedboat ran over Gloria Estefan while they were on a collectors’ retreat thrown by prominent
Greek collector Thokos Fokoffolios. Knocking back the first drink, I stood up and, to an empty bar, toasted
Bas aloud: “You spurned power with the same force that I spurn this ludicrous floral trend that D&G and
Erdem are pushing.”
Second on my list are all those artists who have renounced the ego of the artist’s individual identity
and merged into a collective. The Guerrilla Girls, Art & Language, Liam Gillick, BANK and then,
confusingly, Banksy. It’s like the world of pop: for years there were no Nellies, and then Nelly Furtado and
the other Nelly, who was known only as Nelly, turn up almost at the same time. I remember the good times
at Charlie Wrights in my House of Jazz lime-green playsuit; in a very real sense it was indeed ‘hot in herre’.
Anyhow, back to the egoless collectives, I raised a toast to them as well – although I was now onto the 2008
Anjou Blanc, which was certainly lifting my spirits.
Thirdly, a toast to all those international curators who have handed the reins of power over to their
supposed rivals in the spirit of collective generosity. For the 2003 Venice Biennale, Francesco Bonami
stepped aside from the solo curatorial magisterial voice and instead put together a Band Aid-type collective
of the world’s groovy international curators – Hou Hanru, Daniel Birnbaum, Bono, Catherine David and
Hans Ulrich Obrist were some of those who were metaphorically bellowing, “And there won’t be snow in
Africa this Christmas time, wooo-ah yeah”. The result was generously described as ‘multifaceted’. The toast
for this one was easy; as I raised my glass of 2007 Meursault Rouge to the chefs and bellowed: “Here’s to
them underneath that burning sun” (the Africans, that is, not the curators).
And then the whole restaurant joined me in a final toast. A small glass each of Rogomme du Quercy
to all you out there, dear readers, who never made the list, never have wanted to make the list, never will
make the damn list and who are currently tearing the list out and throwing darts at it. The damn shallowness
of so-called power! As Pound’s old buddy T.S. Eliot wrote, borrowing from Baudelaire: ‘You! hypocrite
lecteur! – mon semblable, – mon frère!’ Although obviously I’m hoping for a place in the high 70s next time
round… Book Token anybody?
GG
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