123 en

123
10 October 2013 Data Carl Andre page 8 Top stories page 14 Interview Robert Hales page 16 Museums page 20 Galleries page 23 Artists page 27 Auctions page 28 Fairs & festivals page 30 Report Fine Art Asia page 31 Rooted page 32 Interviews Ai Xuan page 33 Ink Painting Alisan Fine Art Daphne King Yao page 37 Calvin Hui page 40 page 42
About AMA Art Media Agency (AMA) is a news agency specialised in the art market. If you would like to send us press releases, please do so at dropbox@artmediaagency.com. The agency produces more than one hundred fifty articles per week, all purely textual focusing on art news and current events. AMA covers all international markets. Licences AMA propose operating licences that allow one to receive thorough and up-to-date news on the art market, but also to reuse the provided content. If you are interested, please to not hesitate to contact us at info@artmediaagency.com to find out more about our licences and content. Advertising To advertise in AMAs Professional Newsletter, please contact our advertising agency: Art Rgie by email info@artregie.com or telephone at +33 (0) 1 75 43 67 20. For partnership requests, please write to info@artmediaagency.com. Schools
AMA NEWSLETTER
From Canvas to Computer: The New Age of Digital Art

The way we encounter images has become increasingly virtual. In the 20th century, the advent of television and, later, the internet, provided us with digitised versions of real life occasionally presenting images which were never physically real, but which had only ever existed as portions of co-ordinated data. Technological advancements have continued the proliferation of this digital image culture, with increasingly developed, image-focused mobile phones and tablets rendering painted, drawn and traditionally printed images somewhat antiquated. Even for those with a predilection for traditional, bound print material or canvas works, illuminated digital images still pervade metro stops and billboards, interrupting our lines of sight with a distracting dance of illuminated line and form. Art Media Agency took a look at digital art, considering artistss early forays into the field, and the genres gradual yet continually developing rise.
Maurizio Bolognini interactive installation at Art Palace, Cairo (2010)
This document is for the exclusive use of Art Media Agencys clients. do not distribute.
www.artmediaagency.com
AMA Newsletter 123 2
10 October 2013

Defining Digital Art Digital art is an incredibly broad field, encompassing production methods including scanning, and image production using vector graphics software, such as tablets, art work modified using computing processes, and digital painting. And, though it is a genre which depends on existing structures to exist (the hardware and software which make digital art possible), ongoing investment and development in the field whether artistically motivated or not provide artists with an ever-increasing, nuanced range of production tools. A certain degree of debate about the meaning of digital enters the commentary on the genre, with both critics of digital art and digital artists often excluding digitised text data and raw audio and video from the field. Though such works may look decidedly digital for some, digital art is a term which applies only to images manipulated, not created, by digital means: for many, digital is a process applied to existing visual works, not a medium in itself. Pieces by Jenny Holzer frequently challenge critical definitions, with her large-scale text projections variously described as conceptual installation pieces and digital art. For digital art critics such as Frank Popper, she is an established member of the field, with Poppers studies From Technological to Virtual Art, and Art of the Electronic Age including Holzer in a long line of technologically-curious artists such as Bill Viola and Nam June Pak widely considered to be the founder of video art. Holzers LED text works directly engage with a culture of digital imagery, deliberately replicating the glowing haze of public advertising to beam out intimate thoughts or arresting truisms. Though the artists works employ technology in their production, their association with digital art is much broader, with pieces such as Protect me from what I want, and Abuse of power comes as no surprise questioning the broader phenomenon of text-based visual imagery. Beamed into Time Square amongst a dizzying array of existing adverts, the works merged the brash, functional form of conventional text advertising with sentiments that quite unexpectedly spoke to their viewers innermost thoughts. Digital Arts beginnings Though Holzers LED text works visually resembled the adverts by which they were surrounded, their reflective, emotionally-aware messages distanced them from commercial pieces. For other digital artists, however, digital arts proximity to the high-colour, fast-image culture of advertising was not problematic, but appealing. One of the earliest instances of digital art took place perhaps fittingly for its creator in a commercial environment, when Andy Warhol publicly created a piece of computer art for the unveiling of the Commodore A1000 at New Yorks Lincoln Centre on 23 July 1985. The Commodore was one of the first examples of an affordable personal computer, which was both powerful and flexible enough to be used as a creative tool open to, not simply technologists, but a whole generation of artists, film makers and creatives. Warhol was invited to demonstrate the versatility of the machine, publicly creating a digitised image of Debbie Harry, which was captured in monochrome from a video camera before being processed using a graphics programme called ProPaint, with Warhol adding colour to the image through flood fills. At the time of the event, Warhol gave an interview to Guy Wright and Glenn Suohko in Amiga magazine (the promotional publication which accompanied the launch of Amigas Commodore A1000 computer), with the writers dramatically describing the moment at which the Pop Artist sat down to create his first digital work: Andy begins playing with the mouse, and the colors on the screen change with each move and click. He is intrigued with the changing colors and weird effects caused by the cameralight-software-mouse-people combination. This present-tense depiction of the artist encountering the machine ached with possibility, with the ingredients of camera-light-software-mouse-people joining for the first time suggesting the imminent arrival of a tantalising, never previously seen product.
10 October 2013

Whereas Holzers truisms seem to present a juxtaposition between human feeling and a more distant digital influence, Warhols project was presented as a fluid melding of man and technology. When interviewed by Wright and Suohko, the artist was asked Do you think the computer has a limiting effect?, to which Warhol simply and emphatically responded No. For the artist, digital technology represented a form of artistic development; technology was not something which stood between Warhol and his work, but rather a tool which enabled the artist to work more quickly in a manner which was very much in line with his factory ethos. Praising the immediacy of a future of digital production, the artist stated It would save a lot of time, adding Its really great not to get your hands in paint. The development also promised a greater degree of independent production, heralding the arrival of self-printing; at the time, artists such as Jean-Michel Basquiat, Warhols occasional collaborator, were doomed to frequenting the Xerox shops of New York. And neither was a collateral sense of duplicability a threat for the artist. When asked How do you feel about the fact that everyones work will now look like your work?, Warhol assured the interviewers: But it wont. Whilst some may fear that the advent of digital art will result in a depersonalisation of works which might no longer have the near-tangible sense of movement and pressure implied in hand-delivered brushstrokes Warhol did not. The artist remained the director of his works, and the Amiga tool, stating: The thing that I like most about doing this kind of art on the Amiga is that it looks like my work.
Commodore Amiga 500 16-bit computer (1987) As used by Andy Warhol
In the months which followed the Amigas launch, the artist acquired a battery of Amigas, using them to produce pieces such You are the one, a series of twenty painted frames, discovered on a floppy disk amongst thousands of others on Warhols estate.
10 October 2013

The rise of the computer The rise of the personal computer followed a rise in digital art production and digital art criticism, with artists such as Maurizio Bolognini producing works which were directly inspired by separate, computer-science focused research into the dimensions of digital technologies. For Bolognini, the distance between generative devices and the artist was more pronounced than it had been for Warhol, who had created work using the Amiga, but not been directed or censored by the instrument. Series such as Bologninis Programmed Machines (begun in 1998), present technology as a tool which, though employed by the artist, is autonomous. For the series, Bolognini took hundreds of personal computers and programmed them to generate flows of continuously expanding random images. Commenting on the work, the artist stated that his focus was on the experience of disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies. Though it was Bolognini who produced the work, and who wrote the computer programme, the computers once set-up functioned independent of Bolognini himself. The work also engaged with the notion of infinity, with the boundless nature of the continually evolving data resulting in a work which could go on ad infinitum which, if left to run, could go on creating new images even beyond the artists death. Describing Programmed Machines, Bolognini stated: I do not consider myself an artist who creates certain images, and I am not merely a conceptual artist. I am one whose machines have actually traced more lines than anyone else, covering boundless surfaces. I am not interested in the formal quality of the images produced by my installations but rather in their flow, their limitlessness in space and time, and the possibility of creating parallel universes of information made up of kilometres of images and infinite trajectories. My installations serve to generate out-of-control infinities. Bologninis out-of-control infinities mark a sharp departure from Warhols comparatively traditional use of the personal computer as a means of more quickly achieving the action of painting, pointing to a new form of art which exists not on canvases hung in galleries but as pieces of data in a separate, virtual dimension. This new genre of work, which predominantly emerged in the 1990s, has spawned its own strand of related criticism, with art historians fascinated by the way that technology changes the role of the artist, and alters traditional artistic concerns, including the notion of beauty, artistic personality, and self-expression. For philosopher Mario Costa, works such as Bologninis represent a new aesthetic dimension; they are exciting and new, taking us away from the values we have come to associate with art, and re-defining our understanding of artistic creation. Other artists to have focused on technology as an autonomous, separate vehicle for creative production include Joseph Nechvatal, whose paintings (frequently described as paintings, with scepticism as to their true status as paintings added as scare quotes) are produced using computer viruses. As with Bagninis pieces, it is Nechvatal the artist who is author, but it is the computer viruses, acting independently, which dictate the final form of his works. Occasionally described as digital collaborations, these pieces form part of a new post-human aesthetic, which boldly departs from traditional artistic practice to merge elements of philosophy, technology, and science fiction. Printers and vector graphics Yet, whilst Bolognini and Mario Costas works point towards an ever-expanding, virtual space of artistic production which teeters on the verge of high conceptualism other contemporary artists continue to view digital technologies as a means of producing art works which draw upon traditional painterly techniques. Using Microsoft Word and Adobe Photoshop to design his abstract motifs, artist Wade Guyton creates large-format prints, which he prints on an Epson Stylus Pro 4000/9600 inkjet printer. Whilst the futuristic post-human aesthetic of Bagnini and Nechvatal focuses on creative processes which happen in abstract, non-physical environments, Guytons large-scale pieces are still engaged in the notion of materiality. Printed on canvas, book pages, exhibition invitations and plywood, the works are directly concerned with their own materiality: texture and form remain central to the artists practice.
For the City (2005) Jenny Holzer Projected on the main branch of the New York Public Library in Manhatta
10 October 2013

Discussing his work in a 2004 interview, Guyton stated: Recently Ive been using Epson inkjet printers and flatbed scanners as tools to make works that act like drawings, paintings, even sculptures. These traditional forms of artistic production remain at the heart of the artists works, with Guyton admitting the resulting images arent exactly what the machines are designed for slick digital photographs. There is often a struggle between the printer and my material and the traces of this are left on the surface: snags, drips, streaks, mis-registrations, blurs. The ongoing rise of digital technology seems set to continue the proliferation of digitally-produced works, with products such as Google Glass a camera which seeks to merge human vision with digital images promising to further reduce the interface between humans and technology. Whilst some might dismiss digital art as impersonal, or accuse computer-aided works of removing the unique human touch left by painters or sculptors, others argue that the genre is more honest, being more closely related to our everyday experience in the modern world. When, in 2012, David Hockney presented his iPad paintings as part of an exhibition of new works at Londons Royal Academy, the artist was praised for his relevance, with British newspaper The Guardian even pointing to the development as proof that Hockey is an artist who still genuinely matters. Hockneys response to the works struck a balance between an admiration for new digital technology, and an admission of its practical nature. For Hockney, the iPads Tools are extraordinary and well worth exploring, yet also wholly practical. Echoing Warhols statement Its really great not to get your hands in paint, Hockney commented: Its a real privilege to make these works of art through digital tools which mean you dont have the bother of water, paints, and the chore of clearing things away for all its philosophical ramifications, digital art, it would seem, has the bonus of simply being really clean. Though digital art might raise complex questions about the role of the artist as author, and touch upon computer science, it also offers an immediacy which verges on the playful. For Hockney, new technology does not interrupt or challenge the role of the artist, but represents new opportunities. Nor is the idea of traditional production far away, with the artist adding: You know sometimes I get so carried away, I wipe my fingers at the end thinking that Ive got paint on them.
Electronic Superhighway: Continental U.S., Alaska, Hawaii (1995-1996) Nam June Paik
La Cne (1480) Domenico Ghirlandaio Fresque 400 810 cm
Programmed Machines (1998) Maurizio Bolognini
Paris Art Week

by
From 23 to 27 October. All the news live from Paris Art Week.
Free 2 printed newspapers per day 5 issues 16 pages 100 % live content Distributed in both French and English 20,000 copies per day 100,000 copies in total More than 50 distribution points across Paris: fairs, auction houses, galleries, luxury hotels, book shops, etc.
advertising and distribution
content
info@artregie.com +33 (0) 1 75 43 67 20
dropbox@artmediaagency.com parisartweek@artmediaagency.com
10 October 2013
Carl Andre
Art Analytics
T he American artist Carl Andre was born in Quincy, Massachusetts, on 16 September 1935. He began studying painting in 1951 at the Philips Academy in Andover, near Boston. In 1954, he discovered the work of Brancusi during a trip to Europe, which affected him so deeply that he began to consider himself a disciple of the Romanian sculptor. His work was also influenced by a visit to the site of Stonehenge in England. Upon his return to New York in 1958, the artist began sharing his workshop with Franck Stella, in a period which saw the former produce his Black Paintings. Andre described the striped paintings of Stella: Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Frank Stella is not interested in expression or sensitivity. He is interested in the necessities of painting His stripes are the paths taken by the paintbrush on the canvas. These paths lead only to the painting. It was at this time that he gradually began to give up painting and move towards sculpture. He produced wooden works similar to those of Brancusi, and started working with raw industrial materials, particularly logs, bricks, concrete blocks and sheets of metal. The artist chose to keep these materials intact; they were not processed, sanded, filed down or varnished. Instead, he worked with the pieces in an industrial way, combining geometric form and with careful positioning. From 1959 to 1964, financial difficulties led Andre into a job with the Pennsylvania Railroad Company. This experience was to shape a part of the artists future work. The horizontal form of railway architecture was, undoubtedly, a source of inspiration for his work, with the artist stating: For me, sculpture is like a road My works force the viewer to walk along them, around them, or over them. In 1965, Andre took part in the exhibition Shape and Structures, together with artists Robert Morris, Donald Judd and Larry Bell. The show was curated by Henry Geldzahler, and was held at the Tibor de Nagy Gallery, New York. A month later, Andre was given his first solo exhibition. In 1966, he participated in an exhibition entitled Primary Structures, held at New Yorks Jewish Museum one of the first institutions to promote the Minimalist movement. It was here that Andre first displayed a piece which consisted of a single repeated unit: a line of 100 bricks. After this initial piece, his works continued to question the essence of sculpture and the perception of forms in space a line of interrogation predominantly explored through the principle of repetition. In 1972, the work Equivalent VIII (1966), also know as The Bricks , produced using 120 firebricks arranged in a rectangle, was acquired by the Tate Gallery. This work which was highly controversial when first unveiled saw the artist gain an international audience.
50
Evolution of the number of exhibitions by type Evolution of the number of exhibitions by type of venue
25
1968
1973
1978
1983 group shows
1988
1993
1998 solo shows
2003
2008
50
25
1968
1973
1978 gallery
1983
1988
1993 biennials
1998
2003 others
2008
museums
10 October 2013
Carl Andre
Art Analytics
Distribution by exhibition type Distribution by venue type Distribution by country
The artist has been exhibited most frequently in his home country, the United States, followed by Germany, the United Kingdom, Switzerland and France. The institutions that have hosted the greatest number of exhibitions dedicated to the artist are the Paula Cooper Gallery, United States (which has exhibited Andre 41 times), the Tschudi Gallery, Switzerland (12), the Margo Leavin Gallery, United States (11), and the Konrad Fischer Gallery (11). The artist has been most frequently exhibited alongside artists Sol LeWitt, Donald Judd, Dan Flavin, Bruce Nauman and Lawrence Weiner. Often exhibited alongside peers from the Minimalist movement, Andre has benefited from a significant and growing, international visibility.
4%
43% 50%
16%
25% 7%
84% 7% 8%
35%
18%
gallery event
museum other
group shows solo shows
United States United Kingdom France
Germany Switzerland other
Evolution of the number of articles published on Carl Andre
30
15
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
Top publications
Distribution of language
The New York Times The Guardian Financial Times 0 123
340
14% 8% 21% 57%
94 50 100 150 200 250 300 350

English Spanish German other
10 October 2013
Carl Andre
Art Analytics
At auction, works by Carl Andre have realised total sales in excess of $28 million, with works commanding an average price in the region of $140,000. In terms of the works which have fetched the highest prices: Andres record sale was achieved in May 2008 at Sothebys New York for the sculpture 36 Copper Square (1968), which sold for nearly $2.3 million hammer price. The installation Pyre (Element Series) (2001) fetched $1.5million hammer price at Sothebys New York in November 2008, while in May 2010, the sculpture Aluminum-Magnesium Alloy Square (1969) sold for $1.2 million hammer price at Christies New York. A look at Andres sales by medium reveal that it is the artists sculptures which represent both the largest number of lots offered, as well as the greatest portion of the artists revenue at 95%. Andre, who turned to sculpture after producing intial works in paint, has sold nearly 200 sculptures and installations at public auction. These pieces have realised total sales of nearly $27 million, with an average price of around $136,000. Other mediums have seen a relatively weak presence at auction. 21 of the artists drawings have been sold at auction, for an average price of $50,000, whilst 17 multiples have fetched an average price of $7,000, and nine paintings have achieved average sales of $20,000. It is important to note that the number of lots proposed at auction has been steadily increasing over the past twenty years. Currently, around twenty works by the artist are put up for sale annually.
Evolution of the number of lots Evolution of revenue Evolution of the average value of lots
30
15
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
$5m $4m $3m $2m $1m $0m 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011
$400k
$200k
$0k
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
10 October 2013
Carl Andre
Art Analytics
Two thirds of Andres works have been auctioned in the United States, though France and the United Kingdom have also held a significant number of sales. The majority of auctions of Andres works have been held in the UK and America, and it is these sales which have accounted for nearly all of the artists revenue at auction The relatively high cost of Andres sculptures the medium which represents the largest proportion of lots is what leads sellers to turn to the better-known auction houses. The rate of unsold works of Carl Andre is relatively low. More than 2/3 of lots presented at auction have found a buyer. We can also see that an significant portion of the artists total revenue has been realised as a result of sales of lots which attained prices in excess of $500,000.
Distribution of lots by medium and revenue Distribution of lots by country and revenue
7% 9%
4%
6% 7% 21% 66%
8%
81%
95%
90%
Sculpture
Drawing
Multiples
Painting
United States France
United Kingdom other
Rate of sold/unsold lots Distribution of lots by auction house and revenue
23%
18% 48% 77% 34%
6%
42%
53%
sold
unsold
Christies
Sothebys
other
Rate of unsold works by price
Total sales by price of works
> $500k $200-500k $100-200k $50-100k < $50k 0% sold 25% 50% 75% 100%
> $500k $200-500k $100-200k $50-100k < $50k $0m $7,5m $15m
unsold
10 October 2013
Carl Andre
100% 75% 50% 25% 0% 1989 1991 1993 1995 1997 sold 1999 2001
Art Analytics
2003 unsold
2005
2007
2009
2011
A chronological analysis of the artists success at public auction, demonstrates that, except for a period in which his unsold rate rose sharply (between 1998-2001), his rate of returns is very limited for a contemporary artist. Andres production periods are not all valued in the same way. The years 1968 and 1969 are particularly popular, as it is in these years that the artist created two or three of the works which realised the most significant sales. Very few pieces produced in the late 1980s have been offered at auction.
Evolution of unsold lots
Number of presented lots and revenue by creation year
30
$10m
15
$5m
1958
1963
1968
1973 lots
1978
1983
1988
1993
1998
2003
2008
$0m
turnover
Until 3rd November 2013, Andres work is to be exhibited at the Prada Foundation in Venice, as part of the exhibition When Attitudes Become Form: Bern 1969, alongside other artists, including Richard Artschwager, Joseph Beuys, Yves Klein, Joseph Kosuth, Jannis Kounellis, Sol LeWitt, Bernd Lohaus, Richard Long, Mario Merz, Robert Morris, Bruce Nauman, Michelangelo Pistoletto, Richard Serra, and Lawrence Weiner. Andres work is also on display at the Venice Biennale until 24 November 2013. Carl Andres work is also being exhibited as part of the show Gifts, Collection Of The Freunde Der Kunstmuseen Krefeld at the Haus Lange de Krefeld Museum in Germany as part of an exhibition on display until 16 February 2014.
Auction results from Artprice.com
S t e p h e n S C H U LT Z
12 october -10 november 2013
TWICETOLDTALES TWICETOLDTALES Opening Saturday 12 october 6pm
Pieces, I, II, III, IV 4x(204cm X 234cm)mixed media ( charcoal,graphite,pastel,coloured pencil),raw canvas, 2013
g a l e r i e
w w w . f a t i h a s e l a m . c o m 5 8 r u e C h a p o n 7 5 0 0 3
f a t i h a
g a l e r i e @ f a t i h a s e l a m . c o m P a r i s / + 3 3 9 8 3 3 3 6 5 6 9
s e l a m
10 October 2013
Top stories
Article of the week
US Government shutdown sees forced closure of Smithsonian Institutions and National Gallery A number of US museums have closed to the public, following the USs governments first shutdown for seventeen years, which resulted from Congresss failure to authorise a new budget before its 1st October deadline. The move leaves 800,000 federal employees furloughed and 1 million working without pay. Museums in Washington D.C., including the Hirshorn Museum and Sculpture Garden, the National Portrait Gallery and the Freer Gallery of Art, have also closed, as well as New York sites such as the National Museum of the American Indian and the Cooper-Hewitt currently closed for renovation works anyway. The National Gallery of Art, run separately from the Smithsonian, has also closed. Other monuments and national parks across the US have also been shutdown, along with forty artists-in-residence programmes, organised through the National Park Service. The shutdown has also impacted two federal arts agencies the National Endowment for the Arts (NEA) and the US Commission on Fine Arts, both of which have currently ceased operations. Seven out of the NEAs 156 employees remain at work, with this significant decrease in staff expected to slow grant processing and cut off communication between the federal agency and the USs 50 state arts agencies, according to Americans for the Arts. Only 688 of the Smithsonians 4,202 employees remain at work during the shutdown including security and facilities staff, and veterinarians at the National Zoo. Employees of the institution were permitted to come in to work immediately before the closure to undertake necessary work for an orderly shutdown, as per the institutions contingency plan. Voluntary workers, even if willing to work, have been told that they are not legally able to do so. Communication channels across museums have also shutdown; at the time of writing, the Smithsonians website states Employees will not have access to their e-mail or voicemail accounts during the shutdown. Museums in Washington DC which are independent of federal funding, including the Phillips Collection and the Corcoran Gallery of Art, remain open, and are reported to have noted a marked increase in visitor numbers following the closure of rival institutions. The Corcoran Gallery of Art has seen double normal visitor numbers, whilst the number of those visiting the Phillips Collection has quadrupled. The National Museum of Women in the Arts has also seen a 50% increase in attendance. All three institutions are giving discounted or free admission to furloughed federal employees. The last government shutdown, which took place in 1995, and which lasted 21 days, resulted in a loss of around 2 million visitors to the Smithsonian. Commercial galleries remain open, as does New Yorks Metropolitan Museum of Art.
Art work
Fears over the future of Elmgreen & Dragsets Prada Marfa Supporters of Elmgreen & Dragsets Prada Marfa installation (2005), have joined together in an attempt to defend the piece, after it was recently deemed illegal by the Texas Department of Transportation. Authorities are yet to announce definite plans to tear down the structure a fake Prada boutique in the middle of the Chihuahuan desert though a pre-emptory Save Prada Marfa Facebook page has attracted nearly 4,000 likes since appearing on 20 September. This has been joined by a e-mail in praise of the work, released by Galerie Nicolai Wallner, which represents Michael Elmgreen and Ingar Dragset. The message stated: The work is a poignant critique of our contemporary consumer culture and holds an important place within contemporary art history We kindly ask that you please join the efforts to save Prada Marfa so that we may all enjoy the work for years to come. The controversy surrounding the work follows a similar response to Richard Phillipss recent Playboy sculpture, also installed along the highway. The neon sign was classified as illegal in June, with authorities citing the lack of an advertising permit, but the work has nevertheless remained standing. Fans of Prada Marfa hope the work will be similarly resilient.
Cooperation
UK and Russia continue long cultural tradition of engagement Details of some of the major events to be planned for the 2014 UK-Russia Year of Culture have been released, with major exhibitions set to take place in honour of the agreement in both London and Moscow. British artist and film director Peter Greenway is to present a large video installation at Moscows Manege, to pay homage to The Golden Age of Russian Art. A report in The Moscow Times states that the State Pushkin Museum of Fine Arts plans to host a long-planned exhibition of works by Francis Bacon, whilst Londons Tate has announced plans to host a retrospective dedicated to Constructivist Kazimir Malevich. The agreement between the UK and Russia was signed on 13 March 2013, when Sergey Lavrov, the Minister of Foreign Affairs of the Russian Federation, signed a Joint Statement designating 2014 as the bi-lateral UK/Russia Year of Culture. A statement released by the British Council states that the relationship celebrates the long cultural tradition of engagement between the two countries and aims to develop new, creative and contemporary narratives in both countries.
Out of the ordinary

A bizarre accusation is made in Venice A visitor of the Palazzo Ducale, the Doges Palace in Venice, has blamed the museum authorities of having damaged the walls of the palace by drilling holes into them for the exhibition Manet: Return to Venice. The director of the Fondazione Musei Civici, Gabriella Belli, considers the accusation bizarre. The directors comments come two weeks after the report was filed, showing between 30 and 35 holes, each with a diameter of between 6 cm and 7 cm. The holes were drilled into the seven walls of the first floor of the palace, in order to support the air conditioning system to aid the conservation of Manets works. Belli confirms that the system was installed by a company with an in-depth knowledge of the palaces structure, adding that the work was carried out in accordance with the guidelines followed by all international museums.
10 October 2013
Symbol
South African street artists campaign for Free Mandela South African street artists have requested the City of Cape Town grant them permission to repaint one of the citys oldest pieces of graffiiti, which reads Free Mandela!. The work was whitewashed when anti-graffiti laws came into force in the city three years ago, though several members of the citys street art community argue that the piece forms a part of the regions heritage, and should therefore be preserved. According to a report published in The Art Newspaper, Faith47, the local artist who is leading the campaign, has asked authorities to repaint the mural, but has been refused as the wall upon which the words are painted comes under the protection of heritage laws. Commenting on the decision, the artist asked What heritage are we preserving?, adding surely this slogan is part of our collective memory and should be preserved. Sanele Nyoka, the head of the transport and public works ministry for the Western Cape Government, has stated that the matter is under consideration.
Legal matter
Art lawyer and director accused of taking $750,000 from Cy Twombly Foundation Ralph E. Lerner has been accused of fraudulently taking $750,000 from the Cy Twombly Foundation, which manages the estate of the artist who died in 2011, and of which Lerner is one of four directors. Regarded as one of New Yorks most prominent art lawyers, Lerner had been acting as a defendant in a legal case regarding the purported mismanagement of the foundations funds. Two of the foundations directors, Nicola Del Roscio, Twomblys companion, and Julie Slyvester, curator and Twombly expert, have accused Lerner of charging the foundation unauthorised fees for legal services, and of hiding these charges from other members of the board by having bills sent to addresses in New York and Delaware, and by arranging wire transfers which could not be seen by the foundations accountants. Del Roscio and Slyvester also state that Thomas H. Saliba, the fourth of the foundations directors, took unauthorised fees for investment services, aided by Lerner, and accuse the pair of having worked together in 2012 to have Twomblys artwork placed in a separate trust, and appraised at a vastly inflated value in excess of $1 billion. A report published in the New York Times describes the foundation as deadlocked, with Lerner said to have asked Twomblys son, Alessandro, to join the board in order to dissipate tension a request which other board members have reportedly interpreted as a ploy.
Grant
The Robert Rauschenberg Foundation believes that art can change the world The Robert Rauschenberg Foundation RRF has distributed the SEED grants to sixteen emerging artistic organisations across the United States. The money is to help organisations in the start-up stage to ensure the sustainability of their projects. RRF focuses its grants within regions which are rich culturally, but which lack funding, allowing its beneficiaries to collaborate and establish relationships which support access to art. A donation of $10,000 dollars is to be given per year for three years to the following organisations: Off Center Dance, Story Story Night, Visual Arts Collective, Emerging Leaders in the Arts Buffalo, Signal Culture, Sugar City, convergence-continuum, Ensemble Theatre, FiveOne Experimental Orchestra, MorrisonDance, Black House Collective, The Fishtank, FOKL, Front/Space, Black Poet Ventures, and Cattle Track Arts and Preservation. The foundation promotes creation and access to art, supporting the idea that art can change the world.
Loan
Carnegie International and Transformazium launch art loans project Transformazium, a Pennsylvania-based art collective, has created a programme which allows the towns residents to loan art works from their local library. The collectives project is taking place between 5 October 2013 and 16 March 2014, as part of Carnegie International, an exhibition of contemporary art held every four to five years in Pittsburghs Carnegie Museum of Art. The Carnegie Museum has contributed $30,000 to the project, and 28 of the 35 artists participating in this years show have contributed works, including Taryn Simon, Vincent Fecteau and Wade Guyton. Donated pieces are to form a collection of over 100 prints, paintings, photographs and sculptures, to be held at the Braddock Carnegie Library, which users will be able to loan for up to six weeks at a time. The project was conceived by Transformazium following the success of a previous project at the library, which saw a print shop open in 2009. The lending scheme has a first-year budget of $78,000, which is to go towards framing, installing an art rack, insurance costs and hiring staff, who will be on hand to discuss the collection during library hours. Each work is stamped with a seal to show that it belongs to the library, and project organisers hope that the those who loan works will treat them with respect.
Study
Selling art in Singapore The Financial Times has published a study based on the current situation of art galleries in Singapore. The newspaper looked at strategies, costs and the customer composition of a Singapore gallery opened by Europeans. The case study focused on Frdric de Senarclens, owner of Art Plural Gallery, a space which was initially intended to be located within his new house in Emerald Hill, Singapore. The couple rented the house in order to sell works directly from their home, an idea which works well in Europe. It did not, however, catch on in Singapore. According to the newspaper People dont want to come to your home. Asians want to come to a gallery to see that you are established. Thats when they begin to trust you. Frdric de Senarclens admits that opening the gallery had been a huge risk, as it meant quadrupling sales in order to makes ends meet. But he has declared that all is currently going well, with more sales than he had expected. Most of his clients live in New York, Europe, Hong Kong, India and Australia. They either buy online or come into the gallery when they travel to Singapore. Around 35 % of his clients are locals, from Singapore or India.
Competition
Christopher Marinello leaving Art Loss Register to set up rival company Lawyer Christopher Marinello, Director General Counsel of Art Loss Registrer a company specialising in the research and retrieval of stolen art works has announced that he is resigning in order to establish a competitor company, to be called Art Recovery International. Marinello explains I am pleased to announce that after seven years as General Counsel for the Art Loss Register, I have left the company to form Art Recovery International, a London based partnership that specialises in recovering stolen, missing, and looted works of art. I have assembled a small team of legal experts and other professionals who offer discreet and bespoke services to collectors, dealers, insurers, museums and artists.
10 October 2013
Interview
Islamic and Oriental Arms and Armour Interview with Robert Hales, collector
Robert Hales has been collecting Islamic and Oriental Arms and Armour since 1966, often travelling across the globe to collect pieces from countries including Iran, India and Afghanistan. His book, Islamic and Oriental Arms and Armour: A Lifetimes Passion, is the first to give a comprehensive overview of antique weapons, offering a rich insight into a field with a broad and compelling history. Art Media Agency spoke to Hales, gaining an insight into his work as a collector, gallerist, and author. What prompted you to undertake this great expedition at the age of 21? At that time we were one of the first to drive overland it became very popular soon after. I was always fascinated by the idea, and I think it all started with stamp collecting as a child. I saw all of these wonderful foreign places on stamps mountains, deserts, temples etc and that led me to read about Oriental history, the Mughals, Genghis Khan, Lawrence of Arabia etc. it really fired my imagination. At the age of fifteen I went to Italy on a school trip and began my passion for travel. When I was 21 a friend had a LandRover, and wanted to take commercial journeys to India and back. I joined his first experimental trip. I took extra jobs during the evening and at weekends until I had saved up enough money for the journey. It lasted five months and cost about 300. This journey was to change the rest of my life. Everyday was an adventure: we travelled through Europe, Turkey, Iran and Afghanistan taking a diversion to see the great Buddhas of Bamiyan which I think were one of the wonders of the world. The India-Pakistan war had flared up, and the border had closed so we were forced to drive to Karachi, leave the vehicle in the British Embassy compound, and then fly on to Delhi this was the only way of getting into India. For the next two months we traveled by bus, train, or on foot. We had to walk 45 miles into Kathmandu because part of the road had been washed away by the monsoon. From Kathmandu we walked north for nine days to look into Tibet. Once reunited with our vehicle, we returned by the southern route, from Quetta through Southern Iran and on to the Middle East. We either camped in the desert or slept in cheap hotels. Every day was exciting and apart from the odd mechanical trouble we had no major problems. There was no animosity towards travellers and it was a wonderful adventure. What were these regions like during this period? I loved Afghanistan, there were no problems and we travelled through the entire country. Sometimes we camped in the Hindu Kush where we heard wolves howling at night but the people were always friendly. Ive been to almost all the Muslim countries in the world in my life including Yemen and many places that are unsafe today. We benefited from the ancient Islamic custom of hospitality to strangers.
Robert Hales
10 October 2013
Interview
Front cover (cat. 88) Detail of a Mughal ivory horse-head dagger hilt India, 17th century
Ottoman kilij (cat. 545) The silver-gilt crosspiece and scabbard mounts are pierced, chased and engraved with trophies of arms An early 20th-century handwritten label states Presentation Sword, presented to Captain William H. Bowen R.N. by H.M. King of Algiers for services rendere Ottoman, late 18th century Research indicates that the sword was actually presented to James Bowen by the Bey of Algiers
What was the first thing you collected on your travels? In Kabul I came across an antique shop and it was there that I bought my first antiques two old flintlock pistols. One had an English tower of London lock, and the other had a brass barrel, which I had never seen before so it intrigued me. I think they cost about 2 each. In Kathmandu I bought a kukri and a Tibetan dagger. I also bought a 17th century thanka of a black Mahakala. But in my ignorance I turned down a rare Tibetan bone apron, which, I later discovered, was worth quite a lot of money. Many of the antiques were sold by Tibetan refugees who had fled the Chinese invasion of their country. When I returned home I tried to learn more about the objects I had bought, but there were very few relevant books. I continued collecting and travelling, visiting Morocco, through North Africa and on to Egypt. Later I fell in love with Indonesia (I used to go twice a year, visiting many of the remote islands, collecting information on the kris). In Flores I contracted double malaria and spent some time in the London Hospital for Tropical Diseases. Once I began to recover it was quite fun, rather like a travelers club full of young people swapping adventure stories. How did you acquire the objects you collected did you buy them, or were they gifts given to you on your travels? All of the items featured in the book have been through my hands over the last 45 years they are all items I have bought and sold, and some I have bought and sold several times. The book is unusual in that all of the objects have at some time been for sale on the open market, unlike many books where the same museum pieces appear again and again. Friends often said that I should write a book to show some of things I have handled. With this in mind I have tried to keep a photographic record of selected items I have had over the years.
10 October 2013
Interview
What are the restrictions on moving weapons between countries, and practical considerations? I dont travel so much and it has become difficult to buy things abroad, also many countries ban the export of antiques. Its hard to imagine now but thirty years ago, I used to return from the Far East with twenty or thirty sharp pointed daggers in my hand luggage sitting at my feet on the plane, and it was really never a problem. How things have changed! What period do most of your works date from? Mostly they range from the 17th-19th centuries, although there are quite a number of earlier pieces. For example the unique early Ayyubid armour. Also some early Tibetan and Chinese pieces dating from the 14th-16th centuries. So theres a wide range of items in the book covering most of the non-Western world, from Morocco to Indonesia. There is an interesting chapter on Burmese dha (small ivory dagger handles). Very little was known about them until I was put in touch with Noel Singer, probably the only person with any in-depth knowledge of the subject. What first attracted you to the kris? I have always been intrigued by the kris it is so much more that just a weapon. It is an heirloom, a spiritual object and a cultural icon. The blades are fascinating with their multi-layered elaborate pattern-welded designs. The various religions that have swept through Indonesia (Animism, Buddhism, Hinduism, Christianity and Islam) have influenced the endless variety of motifs on kris hilts. Many of these arms are said to possess magical or spiritual powers is this something which attracts you to them, or something that you seek to bring out in your collections? Do you consider their potential to have been violent objects, as well? No, strangely enough the violent part has never crossed my mind. There are a thousand objects in the book and I think, in my dealing life I have probably bought and sold over fifteen thousand objects. For me, its the beauty and history that count. With Islamic weapons for example, the elegance of some of the jade handles, and the shapes and curves of the blades, form some of the most pleasing designs. Many were mens jewellery and were objects of wealth and status. Of course they could be used for defence if necessary, but mostly they were for show. Of course some were used in warfare, but the average soldier had a fairly plain sword, nothing highly decorated. Like all historic objects, weapons can be a route into history. Take for example a Mughal dagger from the 17th century. Apart from its obvious beauty, one is intrigued to know how it was made, who may have owned it, who ruled at the time, and what battles were being fought, and this opens up a whole realm of history. It is also interesting to think of the materials weapons were made from and where they originated. Why is it that, in Indonesia, around 40% of all ivory kris handles are made of hippopotamus ivory? There are no hippopotamus in Indonesia but there were plenty of elephants. Hippo ivory is actually the hardest ivory to carve. Arab traders took this virtually worthless hippopotamus ivory from Africa to Indonesian where it was sold as a novel material. Whats your research method? Well you just have to look at your material. Lets consider ivory kris hilts for example. I noticed that many handles had a distinct dotted seam around them. I examined elephant ivory, walrus ivory with its distinct mottled centre, sperm whale tooth with its circular or wavy grain, dugong teeth were too small. Finally I looked at hippo tusks and noticed a similar curved seam across the tip where the teeth grind together. I then visited the Natural History Museum to confirm that this indeed was the material (hippo tusk) used to carve these handles. In 2005, UNESCO gave the title Masterpiece of the Oral and Intangible Heritage of Humanity to the kris of Indonesia. In return, UNESCO urged Indonesia to preserve their heritage. Do you see your stock as a means of preserving cultural heritage? Well yes I think so, Ive been dealing for 45 years and things have changed immensely. I used to go to Indonesia and travelled through most of the islands from North Sumatra to Flores and Sulawesi, but used Bali as a base. The island has changed enormously over the years and is now almost entirely a shopping centre.
Indian jambiya in the Arabian style (cat. 111) The gold hilt and sheath are decorated with rubies, emeralds and diamonds India, 19th century Formerly in the collection of the Nizam of Hyderabad
East European shamshir (cat. 549) The slightly curved watered blade gold-inlaid with Orthodox Catholic symbols including a pair of candlesticks with lit candles, the Madonna and Child, a pair of angels supporting a crown; the reverse with St George and the dragon Second half of the 17th century
10 October 2013
Interview
The kris offers an example of how things have changed. In Bali, kris with wavy blades were the most popular with tourists. In response to the demand, many ancient straight blades were ruined when they were cut to form scallops resembling waves. That has all changed now, but it was sad in the past to see people who were so uninterested in preserving their own culture and history. And you used to run a London gallery? Yes, it ran for 27 years. Im semi-retired now, but Im still dealing with a few museums and collectors. I occasionally go to London, so Im still active, but with a more relaxed attitude. I dont have to fill a shop with stock. Now I just buy and sell what I like. Is it something you miss at all? In a way yes, my shop was like a social club. It was quite a small shop in Church Street, but it would attract people from all over the world, and I never knew who would come in. Clients arrived from Asia, America, Arabia and Europe. It was quite exciting and you never knew who you were going to meet. I made a lot of friends and I do miss that aspect. With regards to your book: did you feel that a comprehensive reference work on the subject was missing? People had been saying for a while, why dont you write a book, theres not really a general book on this subject. Some good books have recently been produced in Russia and Poland, but most are not written in English, and they usually feature only Islamic, Turkish and Caucasian weapons. In addition to these regions, my book covers Korea, Tibet, China, India, Burma and South East Asia. In the press release for your book, Jonathan Barrett said that you were fortunate enough to have been active during a period of relatively plentiful supply, a time that we are unlikely to see again has supply significantly reduced? It has somewhat prices have gone up over the years, things get more expensive and there are many more restrictions on exporting. Exports are banned in many countries and many items have been purchased by museums, especially in the Gulf States. Inevitably the supply has diminished and the prices have increased. But there are still items that are interesting and inexpensive. A major problem arises from the increasing number of copies that have been appearing on the market and it is important to be vigilant when buying. It is probably more important now that ever before to seek the guidance and advice of reputable dealers. Your book is came out on 4 October? Yes theres a website which shows about twenty pages from the book (out of 400). I have published it myself and it has taken two years to produce. I have attempted to make it visually attractive and informative, and at an affordable price.
A sling from a stone-throwing mangonel (siege machine) constructed from thick leather sewn over a rope framework, and with a loop at each end Length: 60 cm Ayyubid dynasty Late 12th-early 13th century Qatar Museums Authority, Doha
10 October 2013
Museums
Article of the week
Christies to finish its appraisal of works in the Detroit Institute of Art On 10 September, Christies experts arrived in continue being a great museum. The apDetroit to assess the collection of the Detroit praisal has an estimated cost of $200,000. Institute of Arts (DIA), as part of an appraisal The city, whose debt is around $18.5 bilexpected to be finished by the end of October. lion, was declared bankrupt on 18 July. Commenting on the project, Annmarie Since then, the state of Washington has Erickson, Executive Vice President of DIA, allocated $300 million towards the renosaid We have asked to see the Christies vation or destruction of the citys 80,000 contract with the city and they have not abandoned buildings, and to the mainteshared it with us, [...] There are a lot of nance of its most essential public services. things that are frustrating. This is just ano- Currently, 38 of the DIAs masterpieces ther one. But we do what we have to do to (of a total 60,000) have been valued at $2.5billion, though the people of Detroit remaint reluctant to part with their prestigious collection. A survey which appeared last week in the Detroit Free Press reported that 78% of the citys residents were against the idea of selling any of the museums works. You will find nobody in the city, even amongst the poorest people, who accept the stripping of the museum explained Glen, a paper mill employee, to the Monde Magazine.
Collaboration...
MASS MoCA joins the Hall Art Foundation to exhibit works by Anselm Kiefer The MASS MoCA has announced a major new collaboration with the Hall Art Foundation, which will see the gallery host a long-term exhibition of paintings and sculptures by Anselm Kiefer. The show represents only the second time that the MASS MoCA has focused on the work of a single artist for a significant period of time. Works to be featured include the wave-shaped sculpture troits sont les Vaisseaux (Narrow are the Vessels), 2002, the lead-based photographs and texts of Les Femmes de la Revolution (The Women of the Revolution), 1992, Velimir Chlebnikov (2004) a steel pavilion, containing thirty paintings depicting nautical warfare, inspired by the theories of Russian mathematician Velimir Khlebnikov, and a new, large-scale work, created specifically for the exhibition. Anselm Kiefer is considered to be one of the most important and most renowned German post-war artitst. Born in Southern Germany in 1945, his works consider the problematic nature of German artistic tradition following the Holocaust an interrogation which has developed to become a more complex spiritual quests, fuelled by popular myths and the cabalistic.
Human resources
Susanne Ghez joins The Art Institute of Chicago Susanne Ghez has joined The Artist Institute of Chicago as an adjunct curator to the department of contemporary art. Commenting on the appointment in a press release, a spokesperson for the institute said Ghez will bring her seasoned expertise in contemporary art to all aspects of the museums engagement with the field, including exhibitions, acquisitions, and collections. She will represent the museum in Chicago, around the country, and abroad, traveling widely to visit contemporary artists and institutions, and engaging on behalf of the Art Institute in global contemporary programming. Ghez left her role as director and chief curator of Chicagos Renaissance Society one of the first contemporary art museums in the United States last January. She had held the post for forty years, during which time she organised a total of 160 exhibitions of works by artists including Jeff Koons, Paul Chan, Lawrence Weiner, Joseph Kosuth, Michael Asher, Mike Kelley, and Nancy Spero. Douglas Druick, president and director of the Art Institute, described Susanne Ghez as one of the most widely respected curators in contemporary art, not only in Chicago but around the world.
Attendance
250,000 visitors for Ron Mueck at the Cartier Foundation Since its opening on 16 April 2013, an exhibition dedicated to Australian artist Ron Mueck, held at Pariss Cartier Foundation for Contemporary Art, has welcomed 250,000 visitors. The figure represents a new attendance record for an exhibition presented in a Parisian institution. The exhibitions success has prompted the Foundation to continue the show to be extended until 27 October 2013, with special late-night openings (until 1am) on 25 and 26 October. This is the Cartier Foundations second exhibition dedicated to Ron Mueck, with a former show in 2005 also being successfully received.
Free
The Statue of Liberty steps inside the Brooklyn Museum A monumental replica of the Statue of Liberty has been installed at the heart of the Brooklyn Museum. Though the true version of the Statue of Liberty has currently been closed as part of the USs Federal Government shutdown, visitors to Brooklyn can see its 14 metre replica at The Brooklyn Museum, which remains open. The work was created at the end of the 19th century, and fitted on the top of a Manhattan building until 2002, when it was given to the Brooklyn Museum. It is thought to have been created in a foundry in either Pennsylvania or Ohio. The original version of the symbolic American statue, entitled Liberty Enlightening the World, was installed on Liberty Island in 1885, by French sculptor Frdric-Auguste Bartholdi (18341904), where it served as a symbol of liberty, tolerance and opportunity for immigrants arriving on Ellis Island.
fight
Jean-Paul Getty Museum in diptych ownership row The J. Paul Getty Museum sued a French Citizen in the Californian Federal Court on 6 September 2013, with the former seeking a declaration which would establish the museum the rightful owner of a 14th century diptych. Entitled The Stigmatisation of Saint Francis and Angel Crowning Saints Cecilia and Valerian, the work in question is thought to have been produced in the 1330s by an anonymous artist from Avignon. The piece has an estimated value of around 2m, and was bought by the Getty in 1986 from the Wildstein Gallery, which had obtained the piece from the Sabran-Pontves family. The defendent has been named as Graud Marie de Sabran-Pontves, who has claimed that the sale to Wildenstein was unauthorised. At the time of writing, he has not responded to the Gettys complaint.
10 October 2013
Whats on
British Museum presents Shunga: Sex and Pleasure in Japanese Art Londons British Museum is to present an exhibition of Japanese works, entitled Shunga: Sex and Pleasure in Japanese Art, to take place from 3rd October 2013 to 5 January 2014. The erotic Japanese Shunga prints, a word meaning spring pictures, were produced between 1600 and 1900. The exhibition which is closed to under-16s who are not accompanied by an adult brings together 170 works from European and American collections of Japanese works. Artists exhibited include Hishikawa Moronobu, Kitagawa Utamaro and Katsushika Hokusai. The show explores the origins of Shunga art, its cirulation, its socio-cultural position within the sexual art of Japan and its historical importance in the field of Japanese art. The Museum has sourced an exceptional number of ordinarily high quality works for the show a rare feat when producing displays focused on this period of production. The genre, which is erotic and sometimes humorous, was often found in the homes of Japaneses wealthiest society a tendency which exists in sharp contrast to European practice of the time, where social, moral and religious norms created a stark division between art and pornography. The birth of avant-garde at the Albertina Museum in Vienna Viennas Albertina Museum is currently presenting Matisse and the Fauves, to run until 12 January 2014. With a duration of only three years, Fauvism was one of the earliest, and shortest, avant-garde movements of the 20th century, named after critics described its young participants as fauves, or wild beasts. Works by the Fauves, including Andr Derain, Maurice de Vlaminck and Henri Manguin, revolutionised traditional approaches to artistic production by freeing artists from traditional, realist concerns. These freed works were characterised by their use of vibrant colour, displaying influences of sculptural works from Africa and Oceania, as well as the painterly techniques employed by artists including Van Gogh and Czanne. The exhibition at the Albertina Museum brings together 160 pieces from collections around the world, and is the first major show in Austria to focus on the movement. Jim Shaw exhibits the myths of American culture in Paris From 24 October 2013 to 24 January 2014, the art centre Chalet Society in Paris is to present the exhibition Jim Shaw Archives. It is the second exhibition curated by Californian artist Shaw, who produces in painting, drawings, videos, installation and performance art. The artist is also a passionate collector of art, and is always in search of pieces based on pop culture. For this exhibition, the artist is not presenting art works but the archives which are his source of inspiration. Visitors can view t-shirts, books, paintings, sculptures, CDs and brochures, all based on American myths. Sects, secret societies, fraternities, evangelical movements, scientology, Mormons, Jehovahs Witnesses, and other such conspiratorial themes are also depicted. Keeping an eye on the time at Mexicos Museo de Arte Carrillo Gil Mexicos Museo de Arte Carrillo Gil is to present El ojo en el tiempo: obras de la Coleccin Adrastus (The Eye on Time: Works from Adrastus Collection), to run between 4October2013 and 12 January 2014. The Adrastus Collection began more than ten years ago, when collectors Javier Lumbreras and Lorena Prez-Jcome began gathering artworks that they believes represented some of the finest artistic creation from the dawn of the 21st century. The collection includes paintings, sculpture, mixed media, video and performance pieces, with works by artists including Pierre Huyghe, Roman Ondk, Gabriel Sierra, Cinthia Marcelle, Ryan Gander, Quisqueya Henrquez, Jim Lambie, Danh Vo, Pawel Althamer, Monika Sosnowska, Rosa Barba, Gonzalo Lebrija and Tacita Dean. It is a very varied collection which the creators hope will emphasize the contradictions and diversity of artistic expressions from an era of globalisation. Artworks featured in El ojo en el tiempo were selected because they share a conceptual, iconographic and symbolic relationship with the present-day idea of time. Time is considered as a plural phenomenon, noticeably present, not only in the measurement of everyday instances, but as a defining factor in the fleeting, ephemeral nature of human existence. Lee Bul at Luxembourgs Mudam Luxembourgs Mudam Museum is currently presenting an exhibition of works by Korean artist Lee Bul, set to run until 9 June 2014. The show focuses on architectural pieces, engaging with ideas of utopian and dystopian environments. Featured works include Diluvium (2012), an installation created from wood panels which covers the vast majority of the Mudams Great Hall. Also featured are suspended sculptures, produced as part of the series Cyborgs (1998-2001). The exhibition features a reconstruction of the artist studio, with a number of drawings, models and material. Lee Bul was born in Yeongju (South Korea) in 1964. He is represented by Thaddaeus Ropac, and lives and works in Seoul. Abstract art at the Kunstmuseum in Basel Basels Kunstmusem is currently presenting a major exhibition of three modern masters, Piet Mondrian, Barnett Newman and Dan Flavin, to run unil 19 January 2014. Though the artists are all from different generations, they each focus their production on abstraction. Basels Kunstmuseum has arranged its exhibition chronologically, seeking to identify connections between each artist. These links are sometimes opposing; according to an article publish in Le Journal des Arts, The first artist [Mondrian], a Calvinist and theosophist, produces layouts which comply religiously with the octagonal confluences between lines and primary colours. These canvases, which leave nothing to chance, are utopian models for a future society, balanced and serene. The second artist [Barnett Newman], who is fascinated by the Kabbalah, paints canvases of monumental size, in which the contrast between the straight and zigzagging lines, and the vast, extending, surfaces seek to produce an immediate and sublime effect. Significant pieces on display include Day Before One by Barnett Newman (1959), and Untitled. In memory of Urs Graf by Dan Flavin (1972). douard Dantan at the Museum of the Avelines The Museum of the Avelines in Saint-Cloud, Paris, is to present douard Dantan (1848-1897), peintre des ateliers, des figures et des rivages (douard Dantan (1848-1897), painter of workshops, figures and shores), from 10 October 2013 to 2ndMarch 2014. The exhibition offers an overview of the works by the artist, who received a traditional education, but who was captivated by the observation of daily life. The museum is to feature around sixty pieces drawn both from public institutions and private collections including paintings, pastels, watercolours, and drawings, which represent the realist aspect of Dantans practice. Works included in the show depict labour, travellers, and Saint-Cloud station. The artist also painted seascapes in Great Britain and Calvados. www.artmediaagency.com
10 October 2013
Coming soon
Erwin Blumenfeld at Pariss Jeu de Paume Pariss Jeu de Paume Gallery is to present an exhibition of works by Erwin Blumenfeld (18971969), which is to run from 15 October 2013 until 26 January 2014. The show is to feature photographs, drawings and photomontages, produced as a socio-political response to the post-war years, with the artist placing a particular focus on emigration. A selection of 200 works, produced by Blumenfeld between 1910 and 1960, demonstrate the diverse nature of his practice, with featured pieces including original, now-famous designs, as well as black and white and colour photographs, produced for the fashion and advertising industries. The show is also to present a selection of self-portraits, as well as portraits of renowned figures. Lucie & Simon at the European capital for culture The Centre de la Vieille Charit, Marseille, is to present an exhibition entitled Silent World, to feature works by Lucie & Simon, from 25 October 2013 until 5 January 2014. The artists produce works which feature intrusions people who interrupt the calm nature of otherwise deserted public spaces. Their presence is both disconcerting and ambiguous, with the artists images presenting the figures as both the victims and perpetrators of tranquility. Lucie & Simons work explores the phenomenon of dj-vu, referencing Roland Barthess theories on language, and undermining the latters understanding of the photographic image as a duplication of the real world. The pair load their images with series of codes, inviting viewers to complete their works with language derived from their own experience and imagination. The exhibition has received the Marcel Bleustein-Blanchet Foundation Prize, as well as a grant from Marseilles CICRP centre. Lucie & Simon, who are French and German respectively, live and work in Paris. White Cube Bermondsey travels Through Darkest America White Cube Bermondsey is to present Through Darkest America by Truck and Tank, an exhibition of new works by Mark Bradford, to take place between 16 October and 22 December 2013. The exhibition, which is the artists second with the institution, features Bradfords expansive, multi-layered collage paintings, produced using materials found in the urban environment. The title of the show is drawn from a chapter in the memoir of the former American President Dwight D. Eisenhower, in which he describes his experience as a member of the Transcontinental Motor Convoy in 1919. This role, coupled with the Presidents observations of Germany in the Second World War, contributed to the development of a nationwide highway system in the US in the 1950s. Used to deploy troops across the country, the project also ripped through communities an effect reflected in the ruptures, fractures, incisions and segregations across the artists works. Mark Bradford was born in Los Angeles in 1961, where he continues to live and work. He has participated in exhibitions at institutions including the Whitney Museum of American Art and the Cincinnati Museum of Art, and in Biennales including Koreas Gwangju Biennale (2012), the Istanbul Biennial (2011) and the Seoul Biennial (2010). Through Darkest America by Truck and Tank is accompanied by a fully illustrated publication, featuring a conversation between the artist and Susan May, Creative Director at White Cube and a text by Christopher Bedford, Director at the Rose Art Museum, Massachusetts. Art and Architecture collide in Oslo group exhibition The National Museum of Norway Museum of Contemporary Art is to present Inside Outside Architecture, a group exhibition which considers architectures status as an influential iconographic and conceptual source for contemporary art. Taking place between 14 September 2013 and 23 February 2014, the show is to feature pieces by ystein Aasan, Thomas Florschuetz, Olaf Holzapfel, Marte Johnslien, Ola Kolehmainen, Ingrid Lnningdal, David Maljkovi and Vibeke Slyngstad. A press release describes the exhibition as an investigation into the strategies which artists employ when relating to architecture, including examining construction processes, analysing architectural structures, and mapping space. Specific concerns include the deconstruction of modernist architectural icons, and the fragility of nomadic dwellings. Works on display include newly-commissioned, large-scale installations, wall paintings, photography, paintings, slide projection and collages. Inside Outside Architecture is a sister exhibition to Louis Kahn The Power of Architecture, held across the National Museums of Contemporary Art and the Museum of Architecture. Matisses Cut Outs at the Tate Modern After four years of preparation, Londons Tate Modern is to present an exhibition entitled Henri Matisse: the Cut-Outs. Billed as the most complete retrospective of the Henri Matisses late career, the exhibition is set to open on 17 April 2014. The show is to focus on works created between 1940 and 1954, with works on display ranging in size from small maquettes to compositions measuring around 3.5 metres. A total of 120 works are to feature in the exhibition, the majority of which have been sourced from private collections. Colour Cut-Outs form an integral part of Matisses work from the period, with the artist having stated Paper cut-outs allow me to draw in colour. For me it is a simplification. Instead of drawing the outline and then adding colour one modifying the other , I draw directly in colour, which is more measured as it is not put together. This simplification guarantees a precision in the joining of these two methods, which are no longer one. The artists Cut-Outs demonstrate a spontaneity, and are at once figurative and abstract. They also present a daring sense of confidence in what was a new form of artistic production. Commenting on the artists uvre, Nicholas Cullinan, Curator at New Yorks Metropolitan Museum of Art in New York, states that there was an incredible effervescence in Matisses late career, adding Matisse is not just adopting a new style but creating a new medium that is his own. Jean Paul Gaultier at the Brooklyn Museum Between 25 October 2013 and 23 February 2014, New Yorks Brooklyn Museum is to host an exhibition entitled The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, featuring original pieces by the French fashion designer. The exhibition explores Gaultiers poetic and playful universe, with the designer having produced a number of pieces inspired by the aspects of a diverse array of cultures which he believed to be beautiful. 140 haute couture and prt--porter pieces are to be displayed on models, whose faces have been made reactive through the use of audiovisual projections. The show is also to include performances, photographs and film excerpts, offering a broader exploration of the artists avant-garde ideas, within a social, sexual and aesthetic context. The exhibition is organised by the Montreal Museum of Fine Arts in collaboration with Maison Jean Paul Gaultier in Paris.
10 October 2013
Galleries
Article of the week
Pi Artworks hopes for artistic synergy between Istanbul and London The gallery Pi Artworks has officially whom hail from Turkey. Represented artists launched itself onto Londons art scene, include: Volkan Aslan, Nezaket Ekici, Susan with an exhibition entitled Pi: Housewar- Hefuna, Horasan, Nejat Sati, Gulay Semercioming marking the spaces arrival in the gly and Mehmet Ali Uysal. The opening exBritish capital. hibition Pi: Housewarming is taking place Pi Artworks is located on Eastcastle Street, in from 15 October until 7 December 2013. the heart of the Fitzrovia area. The gallery is Pi Artworks is one of the most prominent to feature exhibitions of works by both emer- contemporary art galleries in Istanbul. Opeging and established artists, a number of ned in 1998 by Yesim Turanli, Pi Artworks has led several Turkish artists to international recognition. The gallerys founder commented that The synergy between London and Istanbul works well, and I hope to both provide access to Turkish and international artists to existing collectors here in London, as well as introduce British audiences to the rich, original and dynamic art that is coming out of Turkey.
Opening
Rodolphe Janssen to open second space in Brussels Rodolphe Janssen Gallery has announced plans to open a second exhibition space in Brussels. The gallery, which was established in 1991, is to inaugurate its new space on 7 November 2013. The new gallery is located on the first floor of a building located across the street from the gallerys current space, and measures 200m, featuring a large exhibition area, as well as an office and store room. The gallery is to open with an exhibition of works by Jrgen Drescher and Sam Moyer, whose sculptures and paintings focus on the idea of substitution.
Signature
Anton van Dalen and Adam Putnam to be represented by the PPOW gallery The New York-based PPOW gallery has announced that it is to represent two new artists: Anton van Dalen and Adam Putnam. Anton van Dalen is a Dutch artist who has been living and working in New York since 1966. His narrative paintings reflect his neighbourhood, East Village, as a place of constant evolution. His thematic concerns include nature, daily life, memory, relationships, and artificial objects. He has been the subject of exhibitions at institutions including the Brooklyn Museum, the New Museum in New York and the Whitney Museum of American Art in New York. Adam Putnam engages with a variety of mediums, including performance, drawing and photography, with his work exploring the boundaries between architecture and his own body. Putnam has participated in exhibitions internationally, notably at the 2008 Whitney Biennial, the 2nd Moscow Biennale, and the Busan Biennale in South Korea. Wendy Olsoff, co-owner of the gallery, stated: We have taken two new artists into our gallery for which we are very proud and excited to be working with.
Human resources
Cline Hersant joins Galerie Applicat-Prazan The Applicat-Prazan Gallery, which specialises in Modern and Contemporary art, has announced that Cline Hersant is to join its team as manager of press relations, on 16 November 2013. Holding a Masters in Applied Economics from Universit Paris IX Dauphine, and a graduate of the cole du Louvre, Hersant was formerly in charge of communication and media relations at Christies France, a post which she held from 1993 to 2009. This year sees Applicat-Prazan celebrate its twentieth anniversary, with the gallery to present a monographic exhibition of Serge Poliakoff, to be held at the FIAC on 24 to 27October. This exhibition is to be presented in conjunction with a retrospective of Poliakoff, to be held at the Muse dArt Moderne de la Ville de Paris from 18 October 2013 until 23 February 2014.
Concept
The Paper Act: a cut above the rest Pariss Infirmires Galerie is hosting an ongoing, original concept art work, entitled Paper Act a display which first opened at the start of the year. Paper Act directly implicates visitors to the gallery into the process of creation. Viewers are invited to select and cut pieces from enormous art works, with their chosen segment then being numbered and signed. The creators of the idea, which has been filed with the National Institute of Intellectual Property, hope to take the Paper Act to a number of other galleries, contemporary art fairs, and even businesses. The concept has already appeared at Fracnes Lille Art Fair, Mia Encore in Miami, and at New Yorks Affordable Art Fair.
juliette lemontey
exhibition 17st of september - 26nd of october, 2013
3, rue Visconti 75006 Paris
- Tl : + 33 (0)1 43 26 64 71
infos@galeriegng.com - www.galeriegng.com
10 October 2013
Whats on
Three exhibitions on offer at the Millennium Gallery The Millennium Gallery in St Ives is simultaneously offering three exhibitions from 4 October to 5 November 2013. Artist Lisa Wright is to present Drawings, Carlos Zapata Iconos: Sagrado y Profano and Chris Anthem is offering his show Fledge. Wright is to present the collars, lace, bonnets and furs of children. She demonstrates the constant desire of children to appear more adult, to become grown-ups in the world. This reality has been established over centuries, and manifests itself within each different costume. Her drawings focus on children in a universal fashion, and unravel the mysteries of being a child. Viewers are able to reconnect themselves with the past. In the exhibition by Zapata, the artist explores the use of icons within his culture. He represents a variety of revered subjects, and makes references to the customs of South America. The artist is of Colombian origin and presents autobiographical narratives alongside legends and myths. The title of Anthems exhibition, Fledge, makes a reference to the act of caring, feeding and building a nest, but also to the creation of an arrow. Through his paintings, the artist presents a fragile and visceral image of the human condition. He works on paper that is used for making patterns for childrens clothing, and on animal skins, combining baroque and tribal art with ideas surrounding his own childhood. Sculptures and drawings of Peter Bonde in Copenhagen The SOD Gallery in Copenhagen is presenting the work of artist Peter Bonde, in an exhibition entitled Six Sculptures and Forty-Seven Drawings which is to take place from 4 October to 9 November 2013. The solo exhibition of the artist is offering as the title indicates a series of the artists new sculptures, and several of his drawings. The series Hands Off is to be presented, which is a study of the hand as an object, and on the sensitivity of the medium used pencil on paper. Also featured are references to the artists own life, through portraits of his friends such as Paul McCarthy and Jason Rhoades. Meanwhile, his sculptural works can be seen as a record of the artists continual work, and of the possibilities of painting over prolonged periods of time. Within his structures can be found the brushstrokes of his abstract painting. The paintings are perceived as three-dimensional objects, which integrate both space and the gaze of the viewer. Andrhn-Schiptjenko gallery in Stockholm presents Ridley Howard From 3rd October to 10 November 2013, the Andrhn-Schiptjenko gallery is presenting the gallerys first solo exhibition of artist Ridley Howard. It is the artists first major exhibition in Europe. The show is offering eleven new paintings which are at once figurative and abstract. In recent years, the artist has moved away from painting portraits and nudes, and more towards geometric and abstract forms. While travelling in Italy, the artist was inspired by 20th century artists such as Antonio Donghi and Gino Severini. The artist commented on this, stating: I love the scope of their work, ranging from classical figuration, to futurism, to Bauhaus-like abstraction. Seeing unexpected connections between different ways of thinking about painting really influenced new directions in my work. Its also interesting to see how 20th century Italian painting absorbed ideas and styles from other places and morphed it into something else. That seems related to the way a lot of painters think today. Manga characters of MR. at the Perrotin gallery in Hong Kong The Perrotin gallery in Hong Kong is presenting the exhibition SWEEET! of works by artist MR., which is taking place from 4 October to 9 November 2013. MR. is a self-proclaimed otaku, a person who dedicates a certain amount of time to indoor activity surrounding things such as manga, Japanese idols, and video games which are linked to Japanese culture. For this exhibition, the gallery is presenting ten new, unpublished paintings. At the centre of the artists contemporary works are characters of young girls, who are represented within abstract scenes, in which the artist incorporates the finer details of Japanese manga. The artist graduated from the Fine Arts department of the Sokei Art School in Tokyo in 1996, before becoming an assistant to Takashi Murakami. He has become one of the founding members Murakamis company, Kaikai Kiki.. Christophe Gaillard presents Tetsumi Kudo Pariss Christophe Gaillard Gallery is currently exhibiting works by Japanese avant-garde painter Tetsumi Kudo. Christophe Gaillard is the first European Gallery in twenty years to have presented an exhibition devoted to Kudo, who lived in France from 1962 to 1989. Kudo first began production with Tokyos Neo-Dada groups who, in the 1950s, sought to establish a harmony between performance art and installations, placing a new emphasis on the subject. Through works which are both serious and rebellious, yet always full of humour and poetry, the artist questions human liberty within a contemporary society shaped by supra-media. Kudo has defined his work as an attack on all the philosophies of powerlessness: bearing the hallmark of the trauma of Hiroshima, his work has considered ecology as a matter of utmost urgency since the 1960s. Jin Yu at the Yang Gallery in Singapore The Yang Gallery in Singapore is presenting a solo exhibition of Chinese artist Jin Yu, from 6 to 26 October 2013. Jin Yu was trained in the Fine Arts, and works in Songzhuang, Beijing a fashionable district in the contemporary Chinese art world. Over the past two years, the artist has been exhibited across Asia, particularly in China, Japan and Korea. He is an expert of oil painting, at the same time working as a professor at the Youth Political College in Beijing. On the international art market, his works have been acquired by several museums such as the Hengdu Art Museum, Fukuoka Art Museum, Jilin Art Museum, the Cartier Foundation, Siemens Ltd Germany, and the Times Organization Hong Kong.
10 October 2013
Whats on
Nature versus culture at the Ron Mandos gallery Amsterdams Ron Mandos Gallery is to present works by Daniel Arsham, as part of an exhibition entitled #TOMORROWPAST, to run from 12 October to 16 November. Arsham is an American multidisciplinary artist, known for his works which use a variety of media, including drawing, painting, sculpture and architecture. The exhibition at Ronn Mandos is to present the artists latest sculptures, which were produced especially for the gallery. Arsham presents modern cultural icons such as Mickey Mouse, or the polaroid photo in a manner which is at once intriguing and sinister. His work represents a battle between nature and architecture, with the artist simultaneously creating a sense of tension between nature and culture. Sculptures at Ron Mandos represent a popular culture that has been impacted by natural phenomena; a sculpture of Mickey Mouse has been burnt, emphasizing the insignificant nature of the natural world in the face of the potentially devastating power of the natural world. Acquavella Galleries presents Miquel Barcel New Yorks Acquavella Galleries is currently exhibiting work by artist Miquel Barcel. The gallery is presenting recent works by the Spanish artist, including two series: white textural paintings and dark portraits painted using bleach, chalk and charcoal. Barcels work, which is influenced by his travels around Europe and West Africa, devotes special attention to nature, a theme which appears across a number of his works. The artist describes his pices as seascapes that correspond to my previous series of white desert landscapes. Images in the exhibition are also influenced by spectrographs of the late 19th century, used by spiritualists looking for paranormal activity through the use of new technology trying to uncover that which was invisible to the naked eye. Object oriented ontology at the Quadrado Azul Gallery Lisbons Quadrado Azul Gallery is currently presenting The Gravity of Things, an exhibition to run until 16 November 2013. Chris Sharp, the curator of the show, is introducing the principles of OOO object oriented ontology, an idea of professor Graham Harman which redefined the fundamental relationships between objects in relation to cultural production. The exhibition explains that an object, be it an ant, a leaf or a person, is much more than a simple medium for a group of senses, but rather it should be considered for the relationships and processes that it gives rise to, as well as the way in which meaning is intertwined with its own materiality. The exhibition presents objects as things which possess a certain gravity, which organises and shapes the space around them. In the corridor of the gallery are old pieces of armour floating in the air, suspended as though an apparition. Sculpture is considered both as a concrete object and an image which influences human action and thought, in a manner which frees works from the rational, or conventional notions of perception. Masaya Yoshimura at the Tomio Koyama Gallery From 9 to 21 October 2013, the Tomio Koyama Gallery in Tokyo is presenting White and Black, an exhibition of works by Masaya Yoshimura. At 75 years of age, the artist is known for his ingenuity. Working with blue and white varnish his works have been said to have a beautiful radiance. His ceramic works are very rigid, and are used by many famous restaurants. His newest technique uses a combination of clay and charcoal in the firing and preparation of his works.
VANITY, IS YOUR NAME WOMAN?

The gallery is proud to feature Les Infirmires: a group of contemporary female artists. Beyond the tight frame of feminism, they portray todays women as being seductive and busy, maternal yet governing. Vanity, is your name woman ? will be the first exhibition of the group in Paris.
M a g d a l e n a L AM R I Aurlie MANTILLET
M a r i e O L L AG N O N
From October 18th to November 13th,2013
Opening on Thursday, October 17th - 7pm

N
E
E
0
S
S
I
N
M
E
I
R
R
U
S
R
A
I
E
E .
R
A
I
O
10 October 2013
Coming soon
David Roberts launches exhibition with performances contemporary artists Londons David Roberts Art Foundation is to present Orpheus Twice, an exhibition of works by Juliette Blightman, Marcel Broodthaers, Jason Dodge, Flix Gonzlez-Torres, Rodney Graham, David Maljkovic, Bruce McLean, Katrina Palmer, John Stezaker and Danh Vo. The exhibition is to be preceded by an evening of performances, to take place on 17 October, with artists Florence Peake, Michael Dean, Juliette Blightman and Rodney Graham. Curated by Vincent Honor, Orpheus Twice takes its name from a work by Flix Gonzlez-Torres, and considers the relationship between artworks and their often fragmented, forgotten, or remote origins and sources. The show considers the particular moment at which absence or loss becomes a image, and the moment when image turns into an absence. The David Roberts Art Foundation is an independent, non-profit foundation founded by collector David Roberts in 2007, and curated by Vincent Honor. Julie Poncets exposed body From 2nd to 23 November, Aix-en-Provences Franck Marcelin Gallery is to present Stnocorpe, an exhibition of self portraits by artist Julie Poncet. The artists work engages with the female body and notions of exposure, with Pincet said to have been inspired by Louis Blancs photographic series cORpuS, which features nude self-portraits of Blanc in black and white. Though Pincet digitally produces her works, her technique is evocative of traditional pinhole photography, with the artist using a camera with a body cap. Commenting on her work, which is described as a dialogue woven through the female form, Poncet states: I love the gentle and soft outcome that is produced using a pinhole camera, as it produces nude photographs which still retain a certain modesty, a velvety look. Daniel Templon to Asim Waqifs first solo show From 9 November to 21 December 2013, Pariss Daniel Templon is to present works by Indian artist Asim Waqif. The artists first solo exhibition in France is to feature a site-specific installation. A year after Waqifs performance piece Bordel Monstre performance, the artist has created an immense, interactive bamboo structure entitled Venu, featuring sensors that respond to light, touch, and sound. Also featured in the show, Exploration, a piece which merges sculpture and photography, pays tribute to the Mausoleum project, a reclusive artists residency programme which was established by graffiti artists Lek and Sowat in 2010. Located in an abandoned supermarket in Northern Pariss Porte de la Villette, the Mausoleum has come to be recognised as a major centre for underground art. Born in Hyderabad (Andhra Pradesh) in 1978, Waqif lives and works in New Delhi. The artist recently held a residency at SAM Art Project, and has exhibited at the Palais de Tokyo, the Kiran Nadar Museum of Art (Noida, 2012), the Dr Bhau Daji Lad Museum (Mumbai, 2012) and the Still Life Gallery of New Delhi (2013). Gagosian Athens: A disconcerting glimpse of the familiar and the strange Gagosian Gallery Athens is to present an exhibition of photographs by Inez & Vinoodh. Running between 10 October and 18 December 2013, the show follows exhibitions at Gagosians spaces in Paris and Los Angeles earlier this year. Partners in both work and life for 25 years, Inez & Vinoodh were amongst the first photographers to use digital manipulation as a vehicle through which to portray the human condition. Their works offer contemporary interpretations of classical genres including nudes, portraits and still lifes and draw inspiration, both from the flower paintings of their Dutch heritage, and the heightened mannerism of photographers such as Karl Blossfeldt, Robert Mapplethorpe, and Nobuyoshi Araki. Combining the beautiful with the bizarre, their works seek to unsettle the real and make the familiar strange. Inez & Vinoodh were born in 1963 and 1961 respectively, in Amsterdam, The Netherlands. They met whilst studying art and photography, and first began to work together in the late 1980s, producing images for leading international luxury and fashion brands, as well as editorial features for magazines including i-D, Interview, Purple, Pop, Vanity Fair, Vogue USA, Vogue China, Paris Vogue, Vogue Hommes International, and Vogue Italia. The pair currently live and work in New York. Quentin Shih exhibited at Inception in Paris Pariss Inception gallery is to present an exhibition of works by Quentin Shih whose real name is Shi Xiofan to run from 31 October to 14 December 2013. The Chinese photographer works between New York and Beijing, and combines cinematography with the imaginary in a composition that is almost documentary in style, drawing inspiration from the work of Edward Hopper. The sharp edges and vast sets which feature in his image aim to be loaded with feeling, at once realistic and fantastical. The artist is considered to be one of the most promising photographers of his generation. Discussing his works, Shih states: Through photography, we can tell a story. We can paint with light. I like my photography to be dramatic, but to also have a narrative. Sherin Guirguis at the Third Line Gallery The Third Line Gallery is to host the first solo exhibition of works by Sherin Guirguis to be held in Dubai. The show is entitled Passages // Toroq, and is to take place from 30 October to 5 December 2013. Third Line Gallery is to present two series which explore the notion of identity, within the context of the period following the Arab Spring. The title of the exhibition is a reference to the historical and social movements Toroq which were established by the revolution, challenging the political norms which were imposed and developed by colonisation. Guirguis focuses her work on post-colonial political, cultural and social themes. She depicts feminist activism within the context of the Egyptian diaspora, whilst at the same time broadening concepts of culture and identity within public and social spheres, evoking different Egyptian identities and their contradictions. Zhou Jirongs uncertain landscapes depict a changing Beijing Beijings Red Gate Gallery is to present Uncertain Landscape an exhibition of new paintings by Zhou Jirong, to take place between 12 October and 3 November 2013. Jirongs work directly engages with the urbanisation of present-day China, with his latest pieces acknowledging Beijings status as both an ancient city, and as a place of rapid, often dramatic, development. For the artist, the city is an axis which condenses several centuries of history. His latest canvases are described as colder and more objective than previous works, with layered images resulting in compositions which appear to have been captured with an unfocused lens a technique which aims to echo the approach to objects in traditional Chinese painting. Zhou Jirong was born in Guizhou in 1962, and received his BA from the China National Academy of Fine Art. He has exhibited at institutions including Berlins Chinese Contemporary Printworks (2008), the Seoul Art Centre, Korea (2007), and the 11th International Printmaking Biennial, Canada (2006). www.artmediaagency.com
10 October 2013
Artists
Article of the week
Painting by Leonardo da Vinci thought to have been found in Switzerland Experts have identified a painting by Leonardo da Vinci in a private Swiss collection, which had, until now, been believed to be missing. Italian researchers have confirmed the discovery of a painting which represents Isabella dEste a noble woman of Lombardy. The portrait possesses the same enigmatic smile of the Mona Lisa and has reportedly been painted using the same pigments, and carbon dating has shown it to date from the early 16th century. The work has been lost for around 500 years. The painting is the final version of a famous preparatory sketch of a portrait of Isabella dEste, which is exhibited at the Louvre. A historical index suggests that the artist had actually finished the painting. In 1517, Leonardo showed a series of paintings to Cardinal Luigi dAragona and asked his assistant to write: There was a painting in oil depicting a certain Lombardy lady. It is now three years that Carlo Pedretti emeritus professor of Art History at the University of California has been studying the portrait. He commented on the finding, stating that There are no doubts that the portrait is Leonardos work. If the painting is confirmed as authentic, and experts can come to the agreement that it was painted before the Mona Lisa, this finding could disrupt previous studies that have been made on the most famous painting in the world.
street
Banksys New York graffiti vandalised On 1st October 2013, street artist Banksy announced plans to produce a new series of graffiti works in New York via his website, as part of a project entitled Better Out Than In. The initiative, however, has not been well-received by all of New Yorks inhabitants. The New York Daily News, which writes Banksy has struck again but this time, someone struck back, reports that one of the graffiti works by the famous British artist, whose identity remains unknown, was vandalised only a day after its first appearance. The piece, which depicts two boys around the previously graffitied words Graffiti is Crime appeared on Allen Street in Manhattans Lower East Side. A second work by the artist, which appeared in Chelsea on 2nd October, and which was produced during a months stay in New York, was also vandalised. On 3rd October, Banksy produced a third work, again in the Chelsea district of Manhattan. The image depicts a labrador urinating on a fire hydrant, the latters thoughts shown with the words You complete me.
Awards
Carrie Mae Weems wins MacArthur Fellowship 2013 Photographer and video artist Carrie Mae Weems has been named as one of 24 winners of the 2013 MacArthur Genius Award. The MacArthur Prize (also known as the MacArthur Fellowship) is awarded by The John D. and Catherine T. MacArthur Foundation, which provides a grant of $625,000, received over five years. Winners (who are all citizens or residents of the United States) are selected based on the identification of a special creativity, and are expected to use the grant to pursue and develop their artistic practice. Born in 1953, Carrie Mae Weems produces works which engage in themes including familial relationships, racism, sexism and discrimination between social classes. She is represented by New Yorks Jack Shainman Gallery. Neil Beloufa awarded Meurice Prize for Contemporary Art 2013/2014 French artist Neil Beloufa has received the sixth Meurice Prize for Contemporary Art, which was awarded at an evening ceremony at the heart of the prestigious hotel Le Meurice on rue de Rivoli, Paris. The judging panel, composed of Montse Aguer, Director of the Centre for Dalinian Studies in Figueras, Colette Barbier, Director of the Fondation Ricard, Nicolas Bourriaud, Director of the cole Nationale des Beaux-arts in Paris, Philippe Dagen, writer and professor at the Universit Panthon-Sorbonne, Jennifer Flay, Director of the FIAC, Marta Gili, Director of Jeu de Paume, Franka Holtmann, Managing Director of the Htel Le Meurice, and Chairman of the panel, Jean de Loisy, President of the Palais de Tokyo, Henry Loyrette, former President of the Louvre, Maryvonne Pinault, collector, Alexandre Singh, Artist, and winner of the 2012/2013 prize, has awarded the grant of 20,000 to the winning artist and the Galerie Balice Hertling. Born in 1985, Neil Beloufa lives and works in Paris. For the competition, he presented the work Les arabes et les services, an installation piece centred on representations of information systems and mass media. The work is composed of two video pieces. Alexia Websters depictions of poverty win first Artraker Prize Alexia Webster has been named the winner of the inaugural Artraker Prize the first award to recognise works of art on the subject of conflict. Webster received the award for her photographic depictions of South Africans living in poverty on the outskirts of cities including Cape Town and Johannesburg. Describing her method, Webster said I set up an outdoor photographic studio on a street corner with a portable photo printer. We invited anyone who wanted to sit and pose for free, and then we gave them the photograph. The artist received an award of 2,500 on 21 September, with the prize held on the United Nations International Day of Peace. The artists entry was selected from 300 entries from 90 countries, with other shortlisted artists having worked in Colombia, Bosnia and Herzegovina, and Syria. The prize was founded in 2012 by Indian-born graphic-designer and artist Manali Jagtap-Nyheim through her business International Conflict and Security Consulting.
Lecture
Talk by Faith Ringgold to be held at the National Museum of Women in the Arts The National Museum of Women in the Arts in New York is holding a lecture presented by artist Faith Ringgold. Entitled Faith Ringgold: More Than 50 Years, the event is to take place on 28 October 2013. Ringgolds discussion is centred on her artwork and the political context of the 1960s. She is to begin the lecture with an explanation of the political imagery of the early sixties, particularly the illustrative work based on civil rights of the series American People (1963-1967). She is to continue with a discussion on the series Black Light (1967-1971) and the use of political posters. Finally, she is to look at images such as The Flag is Bleeding (1967), Die (1967), For the Womens House (1971) and The United States of Attica (1971-1972). As an artist, author, professor, activist and mother, Ringgold is to recount the incredible evolution of her life and work. A question and answer session is to be held at the end of the talk.
10 October 2013
Auctions
Article of the week
Record sales for Sothebys in Asia Though Sothebys is currently in the middle of a reorganisation process, following Third Points attempt to make major changes to board, the auction house could not have hoped for a better way to celebrate forty years of its presence in Asia. Sales of Contemporary and Modern art which took place in Hong Kong between 4 and 8 October, helped the company to realise a turnover of $542 million, a new record for an Asian auction house. Sixteen records were realised across a sale comprising nearly 3,500 lots, with the sale epitomising the fervour for the art market in Asia, and particularly in China. Commenting on the results, Patti Wong, Chairman of Sothebys Asia, stated: Weve taken the pulse of the Asian art market its racing and we are racing with it, adding that the result demonstrates the importance of Hong Kong as an international selling center. Sothebys also stated that the buyers were from 41 different countries, and 15% of them were new, coming mainly from China. Some of the headlining lots which were offered include, The Last Supper by Zeng Fanzhi, which fetched $23.3 million, a white diamond which sold for $30.6 million, and a bronze Shakyamuni Buddha from the Ming Dynasty was bought for $30 million by a Chinese collector. The auction house has also announced that it is to hold a sale of Modern and Contemporary art in Beijing on 1st December 2013.
Governance
Sothebys devends with poison pill after public attack by Dan Loeb Sothebys has made important changes to its shareholder rights plan, which are to make it more difficult for an investor to gain control of the company by diluting the value of said investors shares. The move comes two days after activist investor Daniel Loeb wrote to Sothebys CEO, president and chairman Bill Ruprecht, urging for the latters resignation. Loeb, who is the founder and CEO of hedge fund Third Point, recently raised his stake in Sothebys from 5.7 to 9.28%. Sothebys new investment fund scheme aims to prevent any single investor from owning more than 10% of the company. In order to do this, Sothebys have adopted what is known as a poison pill which makes it incredibly expensive for any one person or entity to buy more that 10 or 20% of their stock. The auction houses Board of Directors have formed a shareholder rights plan and declared a dividend distribution of one preferred share purchase right on each outstanding share of the companys common stock. Bill Ruprecht, Sothebys chief executive, underlined that the rights plan in response to the recent rapid accumulations of significant portions of Sothebys outstanding common stock, including through the use of derivatives. In practice, these rights would be exercised only if a person or group acquires 10% or, in the case of investors who are eligible to report, and do report, their holdings on Schedule 13G, 20% or more of Sothebys common stock. Filing a 13G means that the acquiring party will never own more than a 20% stake in the company, and will only act as a passive rather than active investor, exerting no control over the companys actions. In the instance that a person or group should seek to acquire 10 or 20% more of Sothebys outstanding common stock, each share holder (excluding said person or group) will be entitled to purchase a number of Sothebys common shares, for $200, with these shares consequently doubling in value. The rights plan will not prevent a takeover, but should encourage anyone seeking to acquire the company to negotiate with the Board prior to attempting a takeover. Discussing plans on Friday, Bill Ruprecht, Sothebys chief executive, said that the shareholder rights plan is designed to protect the interests of all of our shareholders. The plan is currently set to expire in twelve months, unless otherwise approved by shareholders.
Online
New lots at The Curators Eyes The Curators Eye has announced its new selection of works. The company works with some of the biggest names in art dealership in order to offer to collectors some of the best collections of artwork. The new pieces being offered include a Huari from South America painted on a textile panel dating from between the 7th and 9th centuries. The multicolored artwork presents an abstract anthropomorphic central figure surrounded by mythological zoomorphs. Also proposed in the selection is a statue from Indonesia of an ancient Nias Chief, produced between 1880 and 1920. On quality hardwood, the work is a representation of ancient Chief Siraha Salawa. The statue was used for protection and was therefore placed in the Chiefs house. The Curators Eye is also offering an antique carpet from Cairo, Egypt, dating from the 16th century. It was woven in the Turkish Ottoman Empire and is considered to be one of the most luxurious carpets of the Classical Period. Finally, a portrait by Edward S. Curtis of Black Eagle, of the Assiniboine people, dating between 1900-1905, is on offer.
Art work
Portrait of Napolean thought to be a Jacques-Louis David A portrait of Napoleon Bonaparte, sold at auction in 2005 for 15,000 to a private collector in New York, is now thought to be worth 2 million, with a thorough cleaning of the piece suggesting that it may have been the work of painter Jacques-Louis David (1780-1825). The portrait had long been lost, until it was registered in a family collection in Scotland, before being handed over to the Royal Scottish Academy. According to The Independant, the latter sold the painting to a private collector in 2005, for what was described as a pittance, considering the real value of the work. The portrait had, until now, been described as dull and lifeless. However, an academic at the University of Reading studied the painting after it was cleaned and stated that he was convinced that Jacques-Louis David who produced La Mort de Marat and Le Sacre de Napolon, today hanging in the Louvre had painted the work. Commenting on the piece, Dr. Simon Lee, from Reading Universitys Art History department, said People thought it was a copy because it was so dirty. The painting shows Napoleon in the uniform of the National Guard in 1813, a time when the British and Prussians were threatening to invade France. Despite Dr. Lees research, the National Museum of the Chteau de Malmaison is not convinced by the academics arguments. According to Le Figaro, the Museum is not prepared to include the work in a catalogue raisonn. In addition to this, collector and art expert Pierre-Jean Chalenon, who has already rejected the work in the past, maintains that the painting was by Davids assistant, Georges Rouget. The most recent sale of a work by David, in 2006, realised 2.1 million.
10 October 2013
Records
Zeng Fanzhi sets new record for a contemporary Chinese artwork On 5 October 2013, at a sale held to mark Sothebys forty years in Asia, Chinese artist Zeng Fanzhi set a new record price for the sale of a contemporary Asian artwork. Reaching $23.3 million, the artists The Last Supper, a modern version of Leonardos masterpiece, saw the artist beat the previous record, held by Japanese artist Takashi Murakami with his sculpture My Lonesome Cowboy, which sold for $15.1 million at Sothebys in 2008. Valued at $10.3 million, Fanzhis work was put up for sale by Belgian Baron Guy Ullens, who has formed one of the biggest collections of contemporary Chinese art, as well as opening the UCCA art centre in Beijing. The identity of the buyer has not been disclosed. Nick Simunovic, director of Gagosian Gallery, Hong Kong which represents the artist told the Wall Street Journal that he had been speechless with that price [...] It was questionable to me if the market could absorb so much quality material, but clearly it did. The auction also saw abstract Chinese painter Zao Wouki beat his previous auction record, with the sale of a triptych realising $11 million. Meanwhile, a work by Juan Luna fetched $3.3 million, a painting by Pan Yuliang sold for $2.25 million, the painting Red Shadow by Rudi Mantofani sold for $470,000, a work by Walter Spies sold for more than $4 million, and a buyer acquired an abstract work by Chen Wen Hsi for $1.71 million. Of the 61 lots on offer, 55 were sold for a total of $145 million. White diamond sells for $30.6 million at Sothebys A white diamond the size of a small egg sold at auction for $30.6 million at Sothebys Hong Kong. It is an international record for a jewel of this kind. The 118 carat oval diamond flawless in clarity was acquired by an anonymous buyer from Asia. It is the largest diamond to ever be put up for auction. David Benett, director of the jewellery department at Sothebys in Europe and the Middle East, told CNN that diamonds are either bought as an investment or simply for a love of rare and precious objects. The previous record for a white diamond was $26.7 million, achieved last May at Christies in Geneva. A Shakyamuni Buddha sells for $30 million at Sothebys Hong Kong The Fine Chinese Ceramics and Works of Art sale, which took place at Sothebys Hong Kong on 8 October, saw the sale of a bronze Shakyamuni Buddha dating from the Ming dynasty. The piece sold for $30 million, establishing a new record sale for a Chinese sculpture. The Buddha, from the 15th century Yongle period, was purchased by Chinese collector Zheng Huaxing, a Tibetan Buddhist with a strong interest in Buddhist sculptures. He attended the auction in person, commenting that I would have paid any price for this sculpture. I am glad that it can finally be returned to its rightful place in China. The statue, measuring 54.5 cm in height, bears the inscription Da ming Yongle nianshi (bestowed in the Yongle era of the great Ming).
Coming soon
Presentation of Asian Art Week at Christies New York From 17 to 20 September, Christies will host the Asian Art Week in New York, during which eight sales will be organised. Through works and objects issued from several major private collections, it will be possible to acquire Indian contemporary works, jade sculptures and ancient bronzes. Among the lots on offer, there will be works on canvas and paper by Nandalal Bose (1882-1966), Vasudeo S. Gaitonde (1924-2001) and Zhao Shaoang (1905-1998), a bronze by Parvati, dating from 1100 and valued between $800,000 and $1.2m, as well as porcelain and jade pieces. In addition, in parallel with this sale, there will be Super/Natural Contemporary Korean Art, a private sale organised from 12 to 27 September. This event will feature the works of four artists interested in nature and hyperrealism. A study of Pont de lEurope by Gustave Caillebotte for sale at Artcurial On 2nd December 2013, Artcurial is putting up for auction a study of the Pont de lEurope by painter Gustave Caillebotte. The sale of the work by Caillebotte, whose paintings are very rare on the market, is highly-anticipated. The oil painting, dating from 1876, is valued between three and four million euros. The event is significant if we take into account the fact that previous sales of Caillebotte works in the United States have fetched large sums Le Pont dArgenteuil et la Seine sold for $18 million at Sothebys New York in 2011, and LHomme au balcon sold for $14.3 million at Christies in 2000. The painting is one of five studies produced for the final painting, which is currently at the Petit Palais in Geneva. According to Olivier Berman, auctioneer at Artcurial, the study that we are selling is the largest in size, measuring 73 60 cm, and the best quality. And it is the only one of the studies which is signed. Serge Lemoine, former Chairman of the Muse dOrsay, added that is it one of the most famous representations of the modern city of Paris, produced at a time when the city was taking its modern form, thanks to the work of Baron Haussmann. Sothebys: the most important Courbet painting ever to be presented at auction Sothebys New York is to auction a work by Gustave Courbet (dating from 1870), during sales taking place in the city on 6 and 7 November. Entitled Les Falaises, the work forms part of the Zieseniss collection, but is especially remarkable for its significant size and rich use of colour. The piece, which depicts the cliffs of Etretat in Normandy, has an estimated value of 1.5 to 2.3 million, and was formerly owned by Christian Otto Zieseniss. According to Sothebys, the painting is the most important Courbet painting ever to be presented at auction. The piece is to be presented alongside canvases by Sisley and Pissarro, with total sales estimated at 8 to 13 million. Prestige auction to take place at Dorotheum Auction house Dorotheum is to hold its prestige sales in October 2013 in Vienna. From 14 to 16 October, works on offer are to include antiques (furniture, carpets, sculptures, glassware, porcelain), works by old masters, 19th century paintings and jewellery. Paintings on offer include Fortuna avec une bourse, an oil on canvas by Guido Reni, valued 800,000 and 1,200,000; La mort dAdonis by Givanni Francesco Barbieri valued between 300,000 and 500,000; and La lettre damour by Ferdinand Georg Waldmller, valued between 200,000 and 250,000. Also available at the sale are works by Franz Xaver Petter, Viktor Zarubin, and Bernardino de Conti.
10 October 2013
Fairs & festivals

Article of the week
Results of Fotofever Brussels 2013 From 4 to 6 October, the former industrial site Tour & Taxis, Brussels, hosted the second edition of Fotofever, the art show dedicated to contemporary photography. The organisers who described this years event as convincing welcomed more than 11,000 visitors and collectors across five galleries, which each presented an artist of under forty years of age, or recent photos (dating from 20122013), alongside older photographs. Over a three-day period, participants displayed the work of 150 Hungarian, Moroccan, Latin-American, British, Belgian, French and Japanese artists, giving the show a very much international feel. Also present at the fair were numerous figures from institutions including the Muse de la Photographie in Charleroi, the FotoMuseum of Antwerp and the Bozar in Brussels, which were invited to the fair by Ccile Schall, Fotofevers founder. Highlights of the event included the prize-giving ceremony of the Fotoprize, which was awarded to Belgian artist Saartje Van De Steene. The prize aims to help young graduates to break into the art market. Before the next edition, which is planned for 3rd to 5 October 2014, the Parisian version of the fair is to take place from 15 to 17 November 2013 at the Carrousel du Louvre.
Whats on
Fourth edition of Photoquai in Paris The fourth edition of Photoquai the photography biennale is currently underway in Paris, along the banks of the Seine and in the garden of the Muse du Quai Branly. The event, which is set to continue until 17 November, brings together the work of forty European artists from outside Europe, all focusing on the theme of the human face. The biennale is emphasising portrait and the emotional power of a picture. China, paradise, hope, and optimism are all ideas that have been translated into images. Artists featured in the biennale include Rongguo Gao, Qingjun Huang, Gustavo Lacerda, Anastasia Rudenko Kein Kuhn Oh and Andres Figueroa. According to Le Figaro, [] this media hero [Frank Kalero, the artistic director of the event] has managed to get rid of the conceptual overflow, something which often occurs in contemporary art, in order to continuously renew the artistic current.
Coming soon
Kabinett reshuffle: Art Basel Miami Beach The list of galleries participating in Kabinett, a component of Art Basel Miami Beach has been released, with the fair due to take place from 5 to 9 December. Established in 2005, the section brings together 25 established and emerging galleries which demonstrate strong curatorial direction, and is to feature both solo and group shows. Participating galleries include: Kavi Gupta, to present work by Theaster Gates; Henrique Faria Fine Art to present pieces by Yeni and Nan; the Luciana Brito Galeria to present work by Marina Abramovich; Hirschl & Adler Modern to display pieces by James Edward Deeds; Francis M. Naumann Fine Art, to present pieces by Man Ray; the Valerie Carberry Gallery, to dedicate its space to Leon Polk Smith; Yvon Lambert to exhibit works by Damir Oko; and Alexander Gray Associates to present pieces by Luis Camnitzer. A number of participating galleries are to focus exclusively on works by latin-american artists: the 1900-2000 Gallery is to present works by Marius de Zayas; Thomas Schulte Gallery is to focus on Danilo Dueas; A Gentil Carioca is to host a show of works by Raymundo Colares and Jos Bento; whilst the Rhona Hoffman Gallery is to dedicate a stand to works by Luis Gispert. Also featured at Kabinett is work by Sam Francis, presented by Van Doren Waxter, Sean Scully, at Lelong Gallery, and Mel Kendrick at David Nolan. The San Francisco Tribal & Textile Arts Show (SFTTA) 2014 in San Francisco The forthcoming edition of the San Francisco Tribal & Textile Arts Show (SFTTA), an event which continues to attract art collectors, curators, critics and investors, is to take place from 6 to 9 February 2014. The 28th SFTTA is one of the most highly-anticipated tribal art events in the world. It is to take place at the Fort Mason Center in San Francisco, and will present a selection of tribal art and textile pieces from Asia, Africa, Europe and America. Featured at the event are around one hundred art dealers, offering ancient and contemporary arts and crafts from around the world. This year, works include pieces from the Morobe Province in Papua New Guinea, presented with the support of Michael Hamson Oceanic Art, textiles from Turkmenistan, from Hagop Manoyan Antique Rugs, and a selection of textile artworks and baskets from the Congo, from Andres Moraga Textile Art.
Coming soon
News on the Works on Paper Fair The art fair Works on Paper is to make a come back at the London Science Museum from 6 to 9 February 2014. Lucy Russel, Fair Director, commented that This Art Fair has a clear identity with a long and established history, a well-defined brief and clear vision for the future. [...] We aim to present a stimulating and diverse range of Early, Modern and Contemporary watercolours, drawings, prints and photographs covering four centuries of art, from 18 th to 21st century. The name of the fair is now Works on Paper Fair, and exhibitors have responded positively to this change of title, as the old name The Watercolours+Works on Paper Fair had for a long time been associated only with watercolours. The new name acts as a generic title and the fair now has clear subtitles: watercolours, drawings and engravings. With six months still to go before the opening of the fair, which supports contemporary artists, 45 exhibitors have already signed up. In 2013, 9751 visitors from the United Kingdom and abroad came to the fair to observe and purchaseartworks.
10 October 2013
Report
Fine art asia Between tradition and modernity, East and west
For its ninth edition, which took place between 3 and 7 October, Fine Art Asia 2013 brought together more than one hundred galleries of international renown, presenting more than 6,500 artworks to visitors and collectors from across the globe. Featuring pieces with a combined total value in excess of 2.5 billion, the show presented Western and Asian artworks in equal measure, as well as jewellery, furniture, oil paintings and Chinese calligraphy. Works such as La Seine Bougival by Claude Monet (valued at 6.6 million), La guitare accroche au mur by Pablo Picasso (6.3 million), and a Van Cleef & Arpels brooch (440,000) were displayed alongside Asian masterpieces including an impressive 18th century Tibetan statue (4.5 million). If the collection of works on offer seemed somewhat eclectic, several exhibitions, created as part of the event, were used as a way of defining the direction and philosophy of the fair. The exhibition Rooted displayed works by masters of 20th century Chinese ink painting such as Zao Wouki, Ma Desheng and Chen Guangwu, while leading Chinese realist painter Ai Xuan also presented his own solo exhibition. Following the success of the Asian Pavilion at the Masterpiece London 2013, Fine Art Asia in turn presented a pavilion of European treasures; ultimate proof of the exchange between the East and West, an idea which is integral to this years fair. The 9th edition of Fine Art Asia was deemed to be a resounding success. With more than 35,000 visitors in four days, this years fair beat all previous attendance records. The number of sales was also particularly pleasing, with a total sales of 45 million. Held at the Convention Center in Hong Kong, in parallel with a Sothebys exhibition, Fine Art Asia 2013 benefited from an influx of collectors of quality art from across the globe. Despite presenting a mix of various objects, from art deco lamps to an antique Chinese tripod, which may have made it appear that there was some confusion in terms of organisation, the event was in fact well-planned, leaving nothing to chance. Fine Art Asia 2013 was also an occasion which showcased artists such as Ai Xuan and Zhang Yu, as well as many European treasures, through a series of exhibitions which was organised especially for the event. According to gallerists present at the fair, the quality of the works presented at Fine Art Asia has been improving year after year, turning the fair into an unmissable date on the calendars of internationally-renowned galleries, which offer museum-quality artworks. This excellent result is a good omen for the 2014 fair.
Fine Art Asia 2013 Fine Art Asia
Fine Art Asia 2013 Fine Art Asia
10 October 2013
Report
Fine art asia Rooted
Following a current trend for contemporary Chinese ink work in the Asian art market, Fine Art Asia 2013 presented a unique exhibition which brought together work by a number of famous Chinese artists. The exhibition, entitled Rooted, was offered as part of the Cultural Heritage and Arts Festival and was, above all, intended to offer a deeper understanding of this rapidly growing movement. Works by Ma Desheng, Zao Wouki and Kan Tai Keung were brought together for a single purpose: Chinese tradition and celebrate the cultural heritage attached to Chinese ink work. Private collectors and galleries were asked to provide works, which would offer visitors a complete overview of the movement. Combining pieces by emerging artists with those of established masters, the exhibitions programme was highly ambitious, yet did not lose its accessibility. Calvin Hui, curator of Rooted explains The exhibition allowed for the creation of an environment that was supportive of galleries offering this type of work, whilst at the same time ensuring that its key aim the promotion of contemporary Chinese ink works gained the attention of a large audience. In this way we fully achieved the objective that we set ourselves.
Rooted Fine Art Asia 2013 Fine Art Asia
10 October 2013
Interview
An in-depth look into Chinese Realism Interview with Ai Xuan, Artist
As the elder son of the prominent poet Ai Qing, Ai Xuan is renowned for his realist paintings, which feature the people and the landscape of Tibet. Fine Art Asia 2013 showcased the work of this master of contemporary Chinese art, holding a solo exhibition which featured eight of the most important oil paintings from the artists studio, in total valued at around 10 million. Art Media Agency met with Ai Xuan, an artist whose works are subtle yet passionate, and who is one of the founding members of the Chinese Realist movement. What career path did you originally hope to follow? Did you always want to be an artist? As a young child, I didnt know what I wanted to be. But once I began to paint, it made me feel so happy. I became an artist from around the age of 23, having studied at the Central Academy of Fine Arts Preparatory School, which is where I learned how to paint. Once I finished high school, the Cultural Revolution began in China, during which time I was sent to Hebei province for agricultural work. Four years later, I was transferred to a division of the army, and was stationed close to Tibet. This was the starting point for my career in painting, as well as my first introduction to Tibet. Since 1973, I have visited Tibet many times. The majority of your paintings are representations the people of Tibet. How have you chosen to represent this people? Each time I stayed in Tibet, I devoted all my time to getting to know the people, to developing an understanding of their background, their history, their culture and their philosophy, as well as capturing the distinct landscape of the region. Upon my return to Beijing, I began to draw a lot of sketches, which were based on not only what I was seeing, but also what I was feeling. The experiences that I gained from my visits to Tibet gave me an endless source of inspiration in terms of what to paint and how to do it. After I had a more developed idea in mind, I would go back to Tibet and find the people and surroundings necessary to complete my work; I would need the right girl, the right house the entire scene had to fit. I needed the exact details to be perfect, right down to the correct design and quality of a table, or a window. I could not even start to bring all the elements together to create a painting until the entire scene was exactly to my satisfaction. Another key element is the lighting. Finding the right type of lighting for a scene is a big challenge. After the carefully-planned backdrop has been set up, I take a lot of photographs. With these, I can go back to my studio in Beijing and begin to paint. In fact, I work much in the same way as a film director. There are many steps in the process between the starting point, with a general idea, to the stage of turning these ideas into specific scenes, each with exacting detail. There are many things to consider; not only, as I have mentioned, the lighting, but also the design and the selection of surfaces, materials and perspectives. I aim for perfection in my paintings, so I have to adhere strictly to specific rules. Setting very high standards is the only way to achieve the ultimate goal: great realist paintings.
Ai Xuan Ai Xuan
10 October 2013
Interview
Critics describe you as a realist painter, but do you actually consider yourself one? I think that this idea of labelling an artist is a by-product of the Western perspective. Chinese painting has always had its own, individual characteristics, which are outside the boundaries of Western criteria. Of course, the most important part of a work is its quality, not how it is classified. Some artists use inspiration from others to create their own style. What artists have influenced you? How did you create your artistic style? For a long time, when China was not as open as it is today, I didnt have much contact with artists who were outside the country. I was influenced mainly by traditional painters within the country. In China, we have a lot of great masters and I learned from their masterpieces, which were available in museums. My second main source of inspiration is probably the American artist Andrew Wyeth. He is the only living artist from the West with whom I have had the opportunity to exchange ideas about painting. In the late 1980s, I went to New York to visit his studio, discuss our work with him, and study his artworks. The paintings of Velasquez also inspired me. As well as this, there was a period of time when China was very close to Russia, so the Russian artists with whom I was able to make contact were also an inspiration, for example Konstantin Maksimov. While I did study and reflect upon the works of these artists, I created my own style my art cannot be directly tied to that of any other artist. It terms of your actual work, you create a very melancholic yet peaceful atmosphere, as if the people in the paintings have found inner peace. Is this a reflection of your state of mind when you are in Tibet or Sichuan? When I was there, the emptiness of the landscape deeply affected me. My paintings are very quiet and peaceful. But what is the most important thing for me is that they express a sensitivity. When you look at the characters, you have an insight into their minds, their thoughts. In fact, you could say that the Tibetan landscapes are, in a way, holy. Perhaps it is because when you go there, you feel very small, surrounded by such a huge emptiness.
Cold Fog (2012) Ai Xuan oil on canvas 180 150 cm Ai Xuan
Migrating Birds (2012) Ai Xuan ink and colour on paper 105 70 cm Ai Xuan
The Stranger (2006) Ai Xuan oil on canvas 130 100 cm Ai Xuan
10 October 2013
Interview
In my paintings, I try to capture the relationship between humans and their environment. The force of nature there is so powerful that it is very humbling. You realise how passive and helpless you are. But the people there are able to stay proud. Even though they barely know what they will have to face the next day, hope is always their driving force. The portrait part of my paintings is always the centre of attention for the audience, but in fact it is the relationship between the character and their environment which is the core element of my paintings. You paint a lot of children, is there a particular reason for this? What do they represent to you? For me, children embody a kind of purity. The childhood period is a very special part of our lives. In Tibet, there are always a lot of snowstorms during winter; is it the natural world that sets the rules. Children are vulnerable, so they have to grow up very fast in order to gain the strength to survive the tough environment. They are not able to remain innocent for very long. They have to learn how to adapt and make compromises. Childhood purity is a fleeting moment for them, so it is important to capture that in my paintings. Some people think that the work of an artist is always evolving, but there others who believe that you might reach your artistic peak, so to speak. What is your opinion of this? I can never say that I have reached the peak of my work, as I still have a lot of ideas for the future. What I can do is tell you how happy I am with a piece I have just finished, entitled The Stranger. I really feel that I have fully captured the feelings of the girl. Once I had finished the painting, I was overwhelmed by emotion. I listened to Mozart while painting it, music which was a perfect reflection of the inner world I which present in the painting. The whole process was very sensory. This year you have had a solo exhibition, and Fine Art Asia put a strong emphasis on your work, how does it feel? This is the second time that I have had a solo exhibition with a gallery, the first one was in 1987 in New York. I do not actually like the idea of producing paintings specifically for an exhibition. I do not like being bound by a deadline, I would rather have the freedom of finishing a painting at my own pace. In my latest exhibition, most of the paintings are borrowed back from the collectors who acquired them. The process of completing a work to perfection takes a long time; sometimes it takes me a year to finish one painting. Therefore, it has been difficult in the past to put together a collection of my paintings side by side. I think that we should be grateful for this exhibition, as it provides a very rare opportunity for a comparative study of a large number of my most important works.
Lonely Swamp (2012) Ai Xuan Ink and colour on paper 70 70 cm Ai Xuan
10 October 2013
Interview
Ink painting Interview with Daphne King Yao, Alisan Fine Art
Founded in Hong Kong over thirty years ago by Alice King, a charismatic figure on the Asian arts scene, Alisan Fine Art primarily seeks to promote the work of established Chinese artists abroad. For the 2013 edition of Fine Art Asia, Alisan Fine Art chose to present works by artist Lui Shou Kwan (1919-1975). Art Media Agency met with Daphne King Yao, Alice Kings daughter, who works with the gallery, upholding its traditional ambitions, whilst turning its focus towards Chinese ink paintings. Could you describe the philosophy of your gallery? Alisan Fine Art was created in 1981 by my mother, Alice King. Its now been open in Hong Kong for over twenty years, and, from the very beginning, placed a real focus on presenting works by contemporary Chinese artists. Our gallery was the first which really dared to do this to promote artists who werent especially well known at the time. Which artists have you followed since the very beginning, and which artists have contributed to the gallerys current renown? Our gallery represents Zao Wouki, Chu Teh Chun and Walasse Ting, to list just a few of the bigger names. Notably, we were one of the first galleries to work with Zao Wouki; he became like family to us, and was very good friends with my grand father C. Y. Tung. My grand father was a businessman, who has always travelled very widely across the world, and had a particular fondness for the work of exiled artists. He was able to meet Zao Wouki on a trip to Paris, and offered to support the artist, who was well-known at the time. For my grand father, it was also important that his family could join him on these business trips. It was in this way that my mother at a very young age was able to get to know Zao Wouki. Quite naturally, my mother began to work with artists who she had always got along well with, and who, in her opinion, were not given the recognition they deserved.
Daphne King Yao Alisan Fine Art
10 October 2013
Interview
Your gallery seems to present a large number of Chinese artists issued from the diaspora; why did you not choose to also promote the work of artists living and working in China? The response is incredibly simple, and it is intricately linked to the historical evolution of China and Hong Kong. In the 1980s, it was still particularly difficult to enter China and travel within the country, to such a degree that the country was nearly completely closed. It was still more difficult to identify artists working in the country. The gallerys direction was consequently established in favour of artists issued from the diaspora. These exiled artists were also creating works which were completely new, at a crossroads between purely traditional Chinese art, and the artistic styles of their adoptive countries. This pioneering art was often little known to the Western or Asian public. Nevertheless, as China became more open, it also became possible to rapidly turn our interests towards established Chinese artists in Beijing and Shanghai. In 1987, my mother also organised the first exhibition of contemporary Chinese art, an event which saw her transport works by little-known young Shanghai artists to Hong Kong. It was at this moment, too, that the Chinese market started to open up to the rest of the world. Your gallery has always been based in Hong Kong one of Chinas most successful art centres. How have your clientele perceived and responded to works by new artists? Even in Hong Kong, the art market has evolved incredibly rapidly. In barely twenty years, it has gone from being an artistic desert to the city with the flourishing art market that we recognise today. Collectors have followed the development of the Hong Kong market, and have also begun gradually to change their own habits.
Taiwan landscape Ali Shan Alisan Fine Art
Zen Painting (1963) Ali Shan Alisan Fine Art
Zen Painting (1974) Ali Shan Alisan Fine Art
10 October 2013
Interview
And how has your own gallery evolved? Have you continued to promote the work of artists issued from the Chinese diaspora? The identity of our gallery has changed very little with regard to our choice of artists, who remain principally exiled Chinese citizens. Obviously, our portfolio has somewhat expanded, especially with artists such as Li Shan. The gallery has also progressively developed a predilection for Chinese ink works, which my mother developed an affection for. Whilst we may initially have focused our attentions on oil paintings, today we have a significant number of Chinese ink pieces. Following this interest, my mother also created a charity called the Ink Society in 2003, whose mission is to promote both modern and contemporary works by artists whose practice is inspired by traditional Chinese ink works. For the 2013 edition of Fine Art Asia, your gallery has chosen to present works by Lui Shou Kwan only; why this artist over others? Its been a very long time since Lui Shou Kwans last exhibition in Hong Kong, even though the artist is very well known here. In my opinion, he seemed to be a very developed artist who merited wider visibility. In the 1950s, he was a pioneering figure in Chinese art paintings. Initially producing traditional landscape paintings, he subsequently began to evolve towards a more abstract practice, with Zen Paintings, which displayed a strong sign of Western influence. He was profoundly inspired by the work of J.M.W Turner (1775-1851), in the way that the artist treated both nature and light. He was amongst the first in Hong Kong to engage in these themes. He nevertheless remains relatively unknown to the broader public, despite the fact that several of his works form part of major collections in museums in Hong Kong and the UK. What, approximately, is the price of the works that you will be selling? And what has been your general impression of Fine Art Asia 2013? We are really very satisfied with the results for this year. We have seen some strong sales, and collectors have been interested in our work. Regarding the prices of works weve offered for sale, theyve varied from around 20,000 euros for the smallest works, to 200,000 for the most elaborate which are completely affordable prices for museum-quality works!
Abstract Landscape (1962) Ali Shan Alisan Fine Art
10 October 2013
Interview
Multifaceted Interview with Calvin Hui
Calvin Hui took on many positions during the 2013 edition of Fine Art Asia: the director of the fair, he also acted as curator for the exhibition Rooted which was presented as part of the Cultural Heritage and Arts Festival, (an event which he also co-founded), as well as being present as a representative for the 3812 Contemporary Art Project gallery. It is within the context of this last project that Art Media Agency met with Hui in order to find out more about this role and his choice of artists for Fine Art Asia. What is 3812s philosophy and direction? This year, the 3812 Gallery decided to focus on contemporary Chinese ink works, a medium which has seen a recent surge in popularity. We selected three artist who seemed to be particularly interesting to us, including Lin Guocheng. Ink is a medium which is often found in traditional Chinese art in fact, its what of the key elements of works from the area. Contemporary Chinese ink works engage with this traditional approach to production, whilst exploring innovative new ways to employ the medium. So the ink in fact acts as a bridge between the traditional and the contemporary.
Incarnation of Wang Wei (2013) Lin Guochen Pen and Chinese ink on paper 110 160 cm 3812 Contemporary Art Projects
Youve placed a particular focus on works by Lin Guocheng. Why did you decide to do this? We felt that Lin Guocheng was creating a unique language, combining traditional Chinese ink with a contemporary approach to production. The artist has routinely produced works using only a simply black ink pen, consistently focusing on subjects including trees, evolution, and nature. His register lies midway between very traditional ink works and Western artworks. In his compositions, we see white or empty spaces which leave room for the imagination and freedom of interpretation but in equal measure there is an emphasis on perspective, an element which is rarely seen within Chinese art. Guocheng plays hugely on these contrasts, the division between space and geometric, almost architecturally-formed figures. His pieces create a constant dialogue between East and West, ancient and modern. Buddhist and Zen philosophies are also integral to the work of this artist, and he regularly integrates calligraphy into his pieces, as well as verses of Chinese poetry which are chosen specifically for, and adapted to the work. The artist interprets the past according to his own perspective, making very subtle references to his personal experiences. We believe that Guocheng has enormous potential. And, apart from anything else, his works are at once appealing to collectors both from the East and from the West. You only recently began to represent Lin Guocheng, yet the artist already seems to be a central part of what you do. How do you hope your relationship with the artist will develop? We began working with Guocheng at the start of last year, and really feel that he is a very promising artist, who dedicates himself to his work entirely. He is calm and focused, especially when it comes to dealing with challenges. Were planning a number of exhibitions of his works, particularly in Europe, and this is something which is going to demand a lot of preparation on his part. Hes a very efficient worker, but he also undertands the importance of taking the time to allow a piece to mature. Some of his most significant pieces have taken two years preparation. In general, a work evolves with him, as his emotions start to mature. It is a magical and very poetic process. This document is for the exclusive use of Art Media Agencys clients. do not distribute. www.artmediaagency.com
10 October 2013
Interview
Multifaceted Interview with Calvin Hui
What have been the results of this collaboration so far? Have any collectors shown an interest in the artist since you began to represent him? I did in fact just meet with a collector who had bought a work by Guocheng. In just a year, he has noticed that interest in the artists works has increased, and is delighted to have made an investment. It really highlights Guochengs status as an artist whose recognition is still growing. What sort of price do you expect for one of his works? And who typically shows interest in, or collects pieces by Guocheng? Guochengs smallest works sell for around 5,000 to 7,000, whilst his larger pieces which are significantly more detailed and elaborate sell for around 20,000. In terms of the buyer profile: those who purchase Guochengs works are typically buyers or collectors who are very sure of their tastes. And we see equal interest in the artist from both Asian and Western clients. Especially since participating in Masterpiece London, weve found that the Western public has become increasingly interest in Guochengs works. Your gallery attracted particular attention throughout this edition of Fine Art Asia; what impact has this had on your sales? What conclusions can you draw from this years fair? All the artists that we presented in our gallery were extremely well received by visitors. The works that we exhibited enjoyed excellent exposure. Naturally, this has affected our sales; all our works by Lin Guocheng were sold, as well as three pieces by Lin Guofu, so now we only have five of his works left. The 2013 edition of Fine Art Asia was really exciting!
The Landscape that is Impossibly Accommodated II (2013) Lin Guochen Pen and ink on Paper 110 200 cm 3812 Contemporary Art Projects
10 October 2013
Schools
Article of the week
New childrens art school receives backing from major international artists An experimental childrens art school is due to open in East London later this year, after a successful funding campaign raised enough money for the project to find a permanent location. The project has been launched by The House of Fairy Tales, a group which began as a charity in 2006, under the direction of artists Gavin Turk and Deborah Curtis. A successful Kickstarter campaign allowed the charity to raise 60,241 towards the scheme, which is supported by a match-funding scheme. Commenting on the development via their Kickstarter page, the group stated: We aim to re-imagine and re-invent education within the UK and throughout the world. At the heart of our ethos we value play and playfulness as the direct root to curiosity, empathy and a deep love of life. The project is said to be supported by an international group of artists, including Marina Abramovic, Peter Blake, Damien Hirst, Jeremy Deller, and Rachel Whiteread. Former activities by The House of Fairy Tales have been held in a peripatetic manner, with events such as a travelling art circus having made a four-day appearance at Londons Tate Modern.
Public policy
Contemporary art directed towards schools and colleges On 27 September, the French Ministers for National Education, Vincent Peillon, and for Culture and Communication, Aurlie Filippetti, signed a national framework agreement in Toulouse. Together with the Association des rgions de France and the Centre national de documentation pdagogique, the agreement is to launch the programme un tablissement, une uvre (An establishment, an artwork). The agreement details pans to exhibit artworks from the Regional Fund for Contemporary Art (FRAC) within schools and colleges, with the aim of increasing an awareness of contemporary art among students who are often far-removed from it. Its objective is to develop and systematise the projects led by leaders within the field, by directing them more towards projects associating colleges and schools. The 2013-2014 project is to launch in as many colleges as possible, focusing on establishments which are situated in Priority Education Zones, as well as isolated rural areas.
Exhibition
The art of cooking at the Palais des Beaux-Arts in Paris From 18 October 2013 until 9 January 2014, the Palais des Beaux-Arts, the exhibition space of the cole des Beaux-Arts, is offering an exhibition entitled Cookbook. Culinary creation is in the process of being recognised as an art in itself, a form of expression rooted in the contemporary world. The exhibition, which is the second to be held at the Palais des Beaux-Arts, is offering an exploration into the artistry of culinary creation, and the common processes used in the transformation of the materials. In 2007, Catalan chef Ferran Adri was invited, as an artist, to the dOCUMENTA in Kassel, however his participation was limited to the invitation of a few visitors to the exhibition in his restaurant elBulli in Roses. The Palais des Beaux-Arts draws upon the ideas of Claude Lvi-Strauss in the study of raw, roasted and boiled foods, not only three ways of treating the material, but also three aesthetic categories. The exhibition also includes a historical element, with featured works issued from Fine Arts collections, in this case from the personal exhibition relu (reread) by Gianfranco Baruchello, while the Belvdre is to present undergraduate and graduate projects of students at the school. Culinary events, particularly dinner-exhibitions, are to be held throughout the event across diverse artistic spaces within Paris.
Programme
Training in art and design offered at the Welch School The Ernest G. Welch School of Art and Design based in Atlanta, is making a call for applicants for its MA in Art History, its MAED in Art Education and its MFA in Studio Art with a focus on Ceramics, Drawing and Painting, Graphic Design, Interior Design, Photography, Printmaking, Sculpture and Textiles. The Welch Foundation supports the graduate programme at the school by sponsoring the Welch Symposium and Residence. The residence programme was opened by Ayanah Moor in the spring of 2013, while the school itself also regularly hosts artists. Its latest guests include Nicole Eisenman, James Elkins, Susan Faludi and Mark Dion. The Welch School Galleries organise exhibitions and provide a space for solo exhibitions of PhD students.
Art Media Agency (AMA) Art Media Agency (AMA) is published by the A&FMarkets company, Limited company with a registered capital of 40,000, incorporated in the Company and Trade Register of Paris under the n530512788. 267rue Lecourbe, F-75021 Paris, France. artmediaagency.com is hosted by the OVH company, Simplified joint stock company with a registered capital of 10,000,000, incormporated in the Company and Trade Register ofRoubaix-Tourcoing n424761419. 2rue Kellermann, F-59500 Roubaix, France. Director of publication: Chief editor: Contact: Distribution: Pierre Naquin Antoine Cadeo de Iturbide dropbox@artmediaagency.com 100,000 subscribers

123 en

Diunggah oleh

Informasi Dokumen

Judul Asli

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

123 en

Diunggah oleh

Hak Cipta:

Format Tersedia

123

From Canvas to Computer: The New Age of Digital Art

Maurizio Bolognini interactive installation at Art Palace, Cairo (2010)

AMA Newsletter 123 2

From Canvas to Computer: The New Age of Digital Art

AMA Newsletter 123 3

From Canvas to Computer: The New Age of Digital Art

AMA Newsletter 123 4

From Canvas to Computer: The New Age of Digital Art

AMA Newsletter 123 5

From Canvas to Computer: The New Age of Digital Art

La Cne (1480) Domenico Ghirlandaio Fresque 400 810 cm

Programmed Machines (1998) Maurizio Bolognini

Paris Art Week

advertising and distribution

info@artregie.com +33 (0) 1 75 43 67 20

AMA Newsletter 123 8

1983 group shows

1998 solo shows

AMA Newsletter 123 9

group shows solo shows

United States United Kingdom France

Germany Switzerland other

Evolution of the number of articles published on Carl Andre

The New York Times The Guardian Financial Times 0 123

14% 8% 21% 57%

94 50 100 150 200 250 300 350

AMA Newsletter 123 10

AMA Newsletter 123 11

United States France

United Kingdom other

Rate of sold/unsold lots Distribution of lots by auction house and revenue

18% 48% 77% 34%

Rate of unsold works by price

Total sales by price of works

AMA Newsletter 123 12

Evolution of unsold lots

Number of presented lots and revenue by creation year

Auction results from Artprice.com

TWICETOLDTALES TWICETOLDTALES Opening Saturday 12 october 6pm

AMA Newsletter 123 14

Out of the ordinary

AMA Newsletter 123 15

AMA Newsletter 123 16

AMA Newsletter 123 17

AMA Newsletter 123 18

AMA Newsletter 123 19

AMA Newsletter 123 20

AMA Newsletter 123 21

AMA Newsletter 123 22

AMA Newsletter 123 23

3, rue Visconti 75006 Paris

AMA Newsletter 123 24

AMA Newsletter 123 25

VANITY, IS YOUR NAME WOMAN?

From October 18th to November 13th,2013

Opening on Thursday, October 17th - 7pm

AMA Newsletter 123 26

AMA Newsletter 123 27

AMA Newsletter 123 28

AMA Newsletter 123 29

AMA Newsletter 123 30

Fairs & festivals