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AMA NEWSLETTER 25 April 2013
Art Cologne returns to the champions league

Top stories
Page 4
Marie-Ccile Burnichon 30th anniversary of the FRAC. Page 6
Interview
Museums
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Galleries
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Julio Le Parc Page 17 Paco Sagasta artist Page 19 Page 20
Data
Interview
Taddaeus Ropacs booth Yes, Jack Pierson Photo: Stphanie Pioda
Artists
W ith the 47th edition which was held from 19 to 22 April 2013, Art Cologne was
promoted and once again entered the art fairs champions league. For the Swiss Thomas Salis, it was the best Art Cologne in 15 years. The daily edition of ARTINFO, diffused during the fair, ranked it next to the Frieze, the Armory Show and Art Basel, not to mention the FIAC and Art Brussels (that was held in parallel, from 18 to 21 April). Let us take it for granted, even though the FIAC were cast aside. It is true that this edition saw the comeback of blockbusters such as Thaddaeus Ropac, David Zwirner, Hauser & Wirth, Karsten Greve, Michael Werner, Annely Juda Fine Art, Hans Meyer, EIGEN + ART with no less prestigious newcomers: Helga de Alvear, Marlborough Contemporary and Axel Vervoordt. The insist-on-qualitystrategy of the fairs director, Daniel Hug, paid off. The grandson of Hungarian artist Laszlo Moholy-Nagy took over the fair in 2008, when it started to sink. It was way too big and collectors had the feeling of getting lost. Daniel Hug reduced the number of participants from 300 to 200 and placed them in 2 instead of 4 hangars. And it worked. The oldest contemporary art fair revived.
Auctions
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Laurent Bourdier Slick Art Fair Page 25
Interview
Fairs & festivals

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25 APRIL 2013

Price relativity and the effect of trends A real momentum is spreading out w h i l e o n e w a l k s t h ro u g h t h e pathways, lots of German artists are present at the stands (the majority being German galleries), brand-like signatures, which one recognises at a glance: Hirst, Warhol, Tom Wesselman and Julian Opie are the artists who constantly establish new sale records! The most eye-catching stand in this sense was the Thomass Gallery from Munich. At the Klau Benden Gallery (Cologne), a Wasselmans nude drawing, 14.7 8.5 cm was offered for 35,000, Warhols flower litograph, edition 1/300 (55.9 55.9 cm), was sold for 35,500, whereas a historic painting by Jean Gorin was offered for 57,000 at the Parisian gallery Lahumire. Price relativity and the influence of trends are part of the art markets DNA. For Anne Lahumire, this fair was very interesting because German collectors are passionate, very faithful, curious and openminded. They have artistic culture in their eyes along with the Bauhaus heritage. They do not want to hoard but show their collections. We sold a work by Ode Bertrand, the niece of Aurlie Nemours, to a German museum. Concerning historic artists, members of the ZERO group, that was founded in 1958 by Heinz Mack and Otto Piene, were quite well represented. In 2010, Sothebys spotlighted the group during the sale of the Gerhard and Anna Lenz collection in London. The assembly of 49 works fetched in total 54.07m. Among the fairs stands we might mention, the Samuelis Baumgarte G a l l e r y ( B i e l e fe l d ) w i t h works by Heinz Mack (from 25,000 to 150,000), the Moeller Fine Art with Veil of Light by Heinz Mack, drawings by Otto Piene at the Koch Gallery (Hanovre) and Perfect pudendum from 1978 ( 38,000), a burned gouache on paper by Otto Piene at the Maulberger Gallery from Mnich. Gnther Uecker, who joined the two founding members in 1961, was presented by the Axel Vervoordt Gallery (Anvers), the Walter Storms Gallery (Mnich) and the Dorothea V. D. Koelen Gallery. The latter exhibited delicate works on paper and, worth noticing, photographs capturing the artist painting or working on piece of jewellery. Surprises One of the fairs surprises was Burens presence, namely at two stands, at the Anne Lahumire Gallery and at the Hilario Galguera Gallery (Mexico), the latter was even more surprising. The artist and gallery owners know each other very well and Buren often goes to Mexico. Why choose Buren at Art Cologne, being a Mexican gallery? The strategy is simple: it is easier to highlight the gallerys international dimension with a renowned artist than to try and put Mexican artists at the international level. An option to gain immediate access to the global market. Buren was also there, on the side, at the Walter Storms Gallery, exhibiting his windows. The most photographed work on the fair was a changeable bear by Julien Salaud, exhibited at the Suzanne Tarasive Gallery (Paris), which also represented the artist during Art Brussels! The hybrid u n i ve rs e of t h i s yo u n g a r t i s t discovered at the Salon de M o n t ro u g e i n 2 0 1 0 , b e t we e n humour and oddness, fascinates with its atmosphere of 19th century curiosity cabinets. Two monumental photographs by Brois Mikhailov, an artist who gained undeniable recognition during the last edition of Paris Photo, marked a rupture with his previous
Suzanne Tarasives booth, Paris, Julien Salaud at the foreground, Boris Mikhalov aat the backgroundn Photo: Stphanie Pioda
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AMA NEWSLETTER 99
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t h e m a t i c . T h e a r t i s t c a p t u re d himself lying next to his wife. This was his first time exhibiting a selfportrait. Another surprise was a drawing by Robert Longo at the Thaddaeus Ropac Gallery, quite far from the artists usual subjects ($275,000). On the NADA level, Art Cologne hosted another fair that gathered young galleries at quite small stands, which did not allow exhibitions of more than 4, 5 pieces. Some of the galleries were successful, for instance, the Bischoff Projects Gallery (Frankfurt), that sold a photograph by Ryan McGinley for $40,ooo. A canvas by Carola Ernst was purchased from the Power Gallery (Hamburg) for 5,200. Others, mainly exchanged contacts, as the New York Derek Eller and the Martos Galleries. The AUDI Art Award for NEW POSITIONS was handed over to Czech artist Zbynk Baladrn, for his video installation Assemblages against Essences displayed at Pa r i s i a n g a l l e r y Jocelyn Wolff. The Maurice Lacroix Art Award for New Contemporaries awarded Corbett vs. the Dempsey Gallery from Chicago and the Art ColognePreis fr Kunstvermittlung honoured gallery owner Fred Jahn. The little downside might be an attendance level, 50,000 visitors in comparison to 60,000 last year, but there is no doubt that the energy of
Booth of the Klcer gallery, Munich, Sculpture by Bernardi Roig Photo: Stphanie Pioda
the 47 th edition will strongly influence Art Cologne 2014.
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AMA NEWSLETTER 99
25 APRIL 2013
Top stories
ARTICLE OF THE WEEK
Art or stock market? The Mei Mose index was designed to measure the productivity of investments on the art market in order to compare them with other markets. In the study conducted by the company, the average price of the works considered was $518,910, with a median price of $63,718. The considerable gap between these two indexes can be explained by their extreme value, which in this case concerns certain works that have reached record prices. The study shows that sales with prices that are not that high achieve a substantial annual productivity. In fact, sales amounting to less than $50,000 have a productivity rate of 7.48% with a gap of about 17.23% (measuring the gap between the results) while sales with prices set between $500,000 and $1m achieve a productivity of about 5.51 % with a gap of about 10.93%. Based on the study of about 3,100 lots, in 2012 Mei Moses calculated an annual productivity of 6.7% for the art market, compared to 6.8% for the S&P 500 index.
TRAFFICS
Stolen tapestry from the 16th century restored to Spain by the United States A religious tapestry dating from the 16 th century was stolen in 1979 from the cathedral where it was displayed, located in Aragon, a region in the northeast of Spain. It was found during an auction sale organised three years ago in the United States, for the sum of $369,000. The tapestry was given back to Spain by the United States on Wednesday 17 April 2013. In a statement, the immigration and custom services of the United States explained that special agents seized the artefact in November from a non-identified Texan store that had bought it. The tapestry is made out of silk and wool and represents the Virgin Mary and the Baby Jesus, and was noticed in a catalogue of the 2010 edition of the Brussels Art Fair. Belgian, Spanish and American investigators concluded that the artwork was acquired in 2008 by a gallery owner in Belgium and his two Parisian and Milanese partners. Since 2007, over 6,600 artefacts, namely paintings from Europe, manuscripts issued from Peru and cultural artefacts from China, Cambodia and Iraq, have been restored by the United Stated to their countries of origin, according to the immigration and customs services of the United States. Rhino horns stolen by three masked men at the National Museum of Ireland Three masked men stole eight rhinoceros horns from the National Museum of Ireland, worth about 500,000. The group of men succeeded in entering the building of the archives in Dublin. The security guard was tied but not harmed, and managed to escape and turn on the alarm, unfortunately after the thieves succeeded in escaping with the fruits of their larceny. Rhinoceros horns have greatly increased in value, as they are much sought after as ingredients used in traditional Asian medicine for their healing virtues. The police launched an investigation to find the thieves and closed the exhibition room of the museum in order to conduct scientific analyses. The number of rhinoceroses killed this year is estimated at about 200 in order to supply this lucrative market.
AWARDS
Philip Kennicott chosen as the laureate of the Pulitzer Prize for Criticism Washington Post critic Philip Kennicott, 47, has received the 2013 Pulitzer Prize for Criticism. He has been awarded for his article co m m e n t i n g t h e p h o t o g r a p h i c a l exhibition that was held at the Corcoran Gallery, as well as for his commentary on the work created by an architect on the National Building Museum. Kennicot joined The Post in 1999 as its head and art critic. He said that he was happy to receive this distinction at a time when art criticism is not at its best, referring to all the sta reductions in which many newspapers of the country are involved. The Photo Democracy Award 2013 The Photo Democracy Award for Fine Art Photography highlights the works of two photographers. The contest gives them the opportunity to sell their prints and considers the commercial success of their works as a criteria for the selection. Among the prizes: The Chris Beetles Award: an artist receives 2,000, the representation of h i s wo r k s by t h e C h r i s B e e t l e s Photographs Fine Art in London and the publication of his work during the exhibition The Photographers. The Photo Democracy Award: 20 artists are presented by the Photo Democracy and their works are spotlighted during the summer exhibition of the Chris Beetles Photographs Fine Art. The Mentorship Award: the laureate exhibits his work with the director of the Metro Imagining Steve Macleod. The People Choice Award: based on the vote of the public during the Photography Democracy Summer Show, the laureate receives a cheque of $500 to spend for prints at the Metro Print. The Beetles Photographs Fine Art gallery represents among others Steve McCurry, Michael Kenna, Bruce Davidson, Elliot Erwitt and Terry Oneill.
JUSTICE
Charge against art trader Helly Nahmad The art trader is suspected to have directed the American operations of an illegal high-stakes Russian gambling ring as well as illegal sports bets. He is thus being investigated by the FBI. Nahmad is one of the 34 individuals named as suspects in the case made public on Tuesday 16 April 2013. Among the suspects, there is the leader of the Russian mafia, Alimzhan Tokhtakhounov, who was previously charged for organising sports bets during the Olympic Games of 2002 in Salt Lake City. Tokhtakhounov is known for having organised this type of betting in Russia and for laundering money. A list of celebrities, athletes and bankers from Wall Street who have not officially been named are suspected to be involved in the supposed bets organised by Nahmad in New York and Los Angeles. Nahmad allegedly laundered $50m through illegal poker games. He was arrested in Los Angeles on Tuesday after his gallery in Manhattan was searched. The son of art trader and billionaire collector David Nahmad faces up to 92 years in prison if he is proven guilty. His art business is also marked by criminal activity. As a matter of fact, Nahmad and another suspect allegedly tried to defraud an individual with the sale of an artwork that they wanted to sell for $300,000, while the price was set at only $50,000.
AMA NEWSLETTER 99
25 APRIL 2013
Top stories
NOMINATION
Dan Fox appointed co-editor of the Frieze magazine The Frieze magazine announced the nomination of its new editor, Dan Fox. He is based in New York and will edit the magazine in partnership with his co-editors, Jrg Heiser and Jennifer Higgie, who are currently working in London. Dan Fox has been working for Frieze since 1999, more recently as a senior editor. He has been working at the New York office since 2009. In parallel, he has been hosting conferences at the Ruskin School of Drawing and Fine Art, at the University of Oxford. Fox said that he has journeyed a long way since he started his career. Throughout the years, as an editor, he has had the privilege of working with extraordinary artists and critics, as well as writers who engage in a great variety of current d e b a t e s . N e w Yo r k b r o u g h t h i m n e w perspectives on the worlds of art, culture and criticism, and he is privileged to work alongside an exceptional editorial team.
CULTURAL BUDGET
Obama in support of public financing for art in the United States Barack Obama wants to increase public financing for art in the United States. Last week, the president in fact stated an increase of the cultural budget by 10% for the financial period of 2013-2014. This increase should bring Americas cultural budget up to $1.58bn in total. The president suggested a budget of $154,5m for the National Endowment for the Arts and the National Endowment for the Humanities, which is an increase in financing of about 5.8%. The last decrease of funds allocated to these structures diminished their grant by $7.3m. For the financial period of 2012-2013, the budget dedicated to the financing of arts fell by 5%, from $1.51bn to about $1.44bn. The budget project presented by Obama is expected to cancel these decreases and grant a budget inflated by 4.5% compared to that of 2010-2011. The financing of these measures with be done through a decrease in tax exemptions, from which American taxpayers gaining more than $250,000 benefit when they donate to charity associations. The president wishes to see the level of annual tax deductions, from which the donators benefit, go from 39,6% to 28%.
TOP STORIES
The Green Canvas The COAL association, created in 2008, fighting for an alliance between art and ecology, is launching an internet platform with the help of the Ministry of Ecology, Sustainable Development and Energy. The internet website www.ressource0.com wants to promote and accompany contemporary artists and cultural structures investing in ecology, and favour collaborations between ecology and sustainable development professionals and artists. The website gives ongoing news about events that mingle artistic practices with ecology (exhibitions, initiatives, project openings). As of now, flagship projects such as Antarctica by Lucy + Jorge Orta, the development of the project of Stefan Shankland and his label HQAC, as well as an online form by artist Veit Stratmann are part of the special events. Finally, a section reuniting articles, portraits, videos by key figures and thematic events on the vast themes of art and ecology is also available. In addition to this content, the platform is also considered to be a practical tool. It offers a directory of art professionals who are already active in France and abroad (artists, institutions, art centres, residences, associations, galleries, research laboratories, NGOs, collectivities), references, tools, methods, examples of initiatives and adapted responses to art professionals (companies, NGOs, local collectivities, institutions, artists, art centres, foundations, research centres) willing to integrate sustainable development. Moreover, it diffuses and offers up for discovery some of the best labels, exemplary procedures and successful experiences, such as the Ecoprod software for audiovisual productions, as well as the Green Music Initiative for the music sector. Finally, it also offers commented bibliographical resources (historical and theoretical references, text references, theses, research reports, etc.). Warhol with bubbles On the occasion of the 150 th anniversary of sparkling water Perrier, an unlimited edition of bottles and cans will be decorated by visuals that the American artist created in the 1980s. In fact in 1983, Jean Davray, the Vice President and General Manager met the artist and convinced him to sign serigraphs for Perrier. The artist in fact made about 40. Warhols creativity and eccentricity are a great fit with Perriers brand personality so this was a natural way to bring the two together. Perrier has a long tradition of involvement in the arts so this is a fitting tribute in celebration of our 150 th anniversary explained Gauthier Gay, the marketing director of the company. In the past, other artists such as Sophia Wood, Paul & Joe and Agns b displayed their visuals on Perrier cans and bottles.
CALL FOR APPLICATIONS

Applications for ArtContest 2013 The ArtContest, supported by the Fondation Henri Servais, has launched its 9th edition and is calling upon young Belgian artists or artists residing in Belgium, aged less than 35. The purpose of this contest, founded and directed by Valrie Boucher, in line with the emerging artistic scene, is to discover, follow and accompany the work of young contemporary artists on the long term. Its philosophy consists in contributing towards t h e i r d eve l o p m e n t a n d favo u r i n g t h e reflections of their practices and positions as artists in todays society. ArtContest thus allows the artists, namely through intellectual exchanges, to think in a fundamental way about the specificity and role of their commitment to art. The jury includes Carine Bienfait, the director of JAP in Brussels, Catherine Mayeur, an art history professor, Liliane De Wachter, the curator of Mukha, Albert Baronian, a gallery owner, Claude Lorent, an art critic at La Libre Belgique, Dirk Snauwaert, the director of Wiels. The first prize includes: the Prix Fondation Henri Servais (6,000), the Prix Thallywood Artist Residency, a residence in Thailand (a grant of $3,000 on spot) and the Prix Muse dIxelles, an individual exhibition at the museum in 2014. The second place laureate will receive the Prix Fondation Henri Servais (4,000) while the third place laureate will be awarded the Prix Sabam (3,000). Applications are open since 1 April and the contest will end on Thursday 20 June 2013 at 6pm. The members of the jury will sit together and will attribute the prizes during a ceremony on Thursday 7 November 2013.
AMA NEWSLETTER 99
25 APRIL 2013
Interview
30TH ANNIVERSARY OF THE FRAC
INTERVIEW WITH MARIE-CCILE BURNICHON
The 23 Fonds Rgionaux dArt Contemporain (also called FRAC, the French Regional Funds for Contemporary Art) are celebrating their 30 th anniversary this year. A full programming under the title The Pleiades is scheduled for the cultural year in the regions and is coordinated by Platform, a structure formed by the totality of these institutions. On this occasion, the general secretary of Platform, Marie-Ccile Burnichon, had a long interview with Art Media Agency in order to highlight the contribution of the FRAC throughout the course of three decades of contemporary creation.
What are the messages that you would like to get around? We would like to bring out the diversity of the FRACs actions throughout the past thirty years, which are carried out very well on a daily basis but are not that well known by the wider public. The FRAC are very well identified by their users, who come from a singular public and from our education and animation partners. A strong loyalty has been made. But the FRACs action is centrifugal by nature. It simultaneously passes through several areas across the territory, often in places where few people go, for example in rural areas and social places such as hospitals and prisons, but also better k n ow n ve n u e s s u c h a s h i s t o r i c a l monuments, art centres and contemporary art museums. The FRACs objective is to bring art out of its usual environment and bring it to the pubic. This action dispersal is done with modesty and discretion, and is not necessarily accompanied by communicative actions.
Marie-Ccile Burnichon Photo: All rights reserved
contemporary creation, what would you stress on? The FRAC have been the catalysts of the emergence of a cultural landscape throughout the regions, by creating contemporary art collections and at the same time making associations throughout the territories. In my opinion, the DNA of the FRAC is found in their centrifugal and partnership dimension. Other artistic networks and associations emerged in the wake of their creation. They also favoured the appearance of art centres, even though they really existed before the creation of the FRAC. I like this catalyst idea because it carries the meaning of energy and ricochet. It is the result of a cultural, hyper volunteering policy that was made possible through grants, in comparison with the AngloSaxon world where momentum is due to mostly private initiatives. But this policy should be diversied at its base as grants are becoming fewer and local collectivities are reaching the limit of their budget possibilities. What is their role in regards to artists? The second main input of the FRAC is their valuable support of contemporary creation by putting together collections from both local and international origins. The FRAC are very good at looking for artists. Purchases are made in the average span of three to ve years after the date of the creation of a work. This shows the great reactivity of the FRAC. On the French scene, a great number of artists have passed through the FRAC. Thirty years of expertise The FRAC are key players in the democratisation of contemporary art. The main part of the programming happens outside walls, with the collaboration of heritage, social and education ocials, for a third of the rotating collections each year. More than 500 projects are organised yearly, mostly outside walls, and touch about one million and a half visitors. This is important since The Pleiades are also meant for responding to critics who could say that the collections
How did The Pleiades initiative come about? This project was conceived for the 30th anniversary of the FRAC. It was brought about by the joint initiative of the 23 directors who wanted to reunite themselves around a common project in order to stand together and spread a collective message. This situation was made possible through the Platform, that has strengthened itself since 2009, which has allowed it to have a solid base for the organisation of this event. The second element comes from the result of the 20th anniversary, that was mainly coordinated by the Ministry of Culture, which made the FRAC feel less associated. The strength of this network resides in the diversity of its structures, with very different points of view on creation.
But you also mentioned that the purpose of The Pleiades is to bring more visibility to the actions of FRAC as well? I speak of discretion in the sense that people are more concerned about action rather than communication. Actions must also be visible to the territorial partners that nance them in the rst place. On the occasion of The Pleiades, there is a global project both on the programming of the totality of the regions and on the co l l e c t i ve ex h i b i t i o n . S i n ce t h e i r establishment, there has not been any big exhibition of artworks. That was not the goal because the initial objective consisted in decentralisation, but at crucial times it is interesting to show acquisitions and to see how the directors work together. There will then be a collective exhibition called The Abattoirs i n To u l o u s e , a c c o m p a n i e d b y a publication and international projects. If you had to briey describe the main input of the FRAC in the landscape of
AMA NEWSLETTER 99
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Interview
do not travel, that the directors make acquisitions through opaque means, even though everything is done in a transparent manner. Most of the time, this criticism on the means of acquisition comes from artists themselves. Without even talking about misunderstandings, is there not something that could be done to set things clear with them? The means of acquisition is the same for all the FRAC. The functioning of the constitution of their collections is public. Each director puts a technical committee in place, the composition of which is communicated publicly and renewed every three to five years. The director chooses to work with such and such a person, some mostly on their regional ecosystem and others with a local and international mix. And some work with artists and others choose not to. The director is the one who decides on the way the collections should be composed. Then the list of purchases is also publicly revealed. The prices of the works are often not published, which is understandable. Well for example, if an artist considers that it is important for his works to enter the collections and that galleries keep following him around, there is often a means of negotiation at that time. It would be negative to publish a price in that case as this could affect the reputation of the artist. Coming back on the question of expertise, certain works that entered very early in the collections of the FRAC can no longer be acquired today because of the boom on the market. Thinking about Cindy Sherman, Jeff Koons or even Larry Clark, it would be impossible to buy their works today. Two o r t h re e co m m i ss i o n s a re gathered per year with a tight budget. And it is more interesting to focus on the donation that we are making for future generations. On that note, the largeness of these collections is also criticised from time to time Is it possible for the FRAC to create museums? It is important to know that there is not only one collection but 23 co l l e c t i o n s . E a c h co l l e c t i o n i s composed of between 1,000 and 3,000-4,000 works. The FRACs goal is to support contemporary creation. W i t h o u t p u rc h a s e s , s u p p o r t i n g artists as well as galleries since
Transformations 3349 Anish Kapoor,Full, 1983 (foreground) Sigmar Polke,Les Olgas, 1981 View of the exhibition Transformations, Collection IAC Institut dart contemporain by Vincent Lamouroux, 13 April 20 july 2013, Le Plateau Htel de la Rgion Rhne-Alpes Photo: Blaise Adilon ADAGP*, Paris, 2013
the FRAC buy from them too would not be possible. The regions are proud to have a heritage with an international resonance. The emergence of new buildings allows the FRAC to build upon their relationships with their territories. We are not looking to create museums, although there is a new equation to solve concerning the ability to go beyond walls and the dynamic programming that could also lead to competition with other structures. Can you tell us more about these new architectures? These infrastructures will allow the FRAC to better manage their territorial partnerships. The few FRAC that did not have their own buildings were more restrained, for instance when they wanted to organise artistic workshops. In terms of the museum issue, their exhibition spaces are between 600sqm and 1,000sqm, so that it is far from the dimensions of a museum. The FRAC Bretagne opened last July, the FRAC PACA on 22 March, the FRAC Franche-Comt just recently, the FRAC of Nord-Pas-de-Calais a n d Ce n t r e w i l l b e i n a u g u r a t e d i n September. There is a simultaneous blooming phenomenon with these six buildings. That gives the impression that all
this was planned for the 30th anniversary, but the chronology is in fact very different for each project! Lets say that this is a fortunate coincidence. For instance, the FRAC Bretagne has a history of ten years. But The Pleiades will allow a big spotlight on these structures. What about the budget and economic model issue? For the buildings, the regions are in charge. In Franche-Comt and Dunkerque, the agglomeration and urban communities are involved. In any case, the collectivities are the ones launching application calls. They mainly finance the buildings with contributions that are often larger than the States. It is an important investment. The budget issue concerning new buildings often s t i rs u n n e ce ss a r y co m m e n t s . Fo r instance, two FRAC are currently sharing their spaces with other structures, which are the FRAC Franche-Comt that was inaugurated on 5 April and the FRAC Aquitaine that is mutualised with two regional agencies, which also allows them to create cultural poles. As for the budget, for the buildings that are now ready, the FRAC Bretagne spent 18m
AMA NEWSLETTER 99
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Interview
for example. In comparison, this is around the budget for a big regional high school, far less that certain museum expansions that can cost up to twice as much So a major evolution in 30 years because the collections were not gathered to stay in one permanent place Well, the collections are just placed in a reserve area because they travel throughout the territory. It is more like a base camp In fact, most of the FRAC will not hold any permanent exhibitions. As for the programming, it really depends on the directors decision. They choose their own orientations, sometimes in very variegated ways. Each FRAC is free to compile and spread their collection. It would be risky to set customs for all the FRAC, seeing the protean characteristic of creation. Every FRAC has a general collection, except for two, the FRAC Picardie for contemporary drawing and the FRAC Centre for experimental architectures. The FRAC are not present during events dedicated to contemporary art. Do you think that carrying out actions with the private sector will improve the visibility of the FRAC? On the occasion of this 30th anniversary, we are planning on initiating two major partnerships with the Galeries Lafayette and with Gares & Connexions, a branch of the SNCF [Editor's note: the French railway company]. The Galeries Lafayette are patrons and open their windows to display the artworks of the FRAC, bringing together various publics. They will be like resonance partners. We will also work with about thirty train stations that will display created works or collection works. It will be a furtive but original encounter between the works and the public, and this mediation will encourage dialogue. They will be venues for transits, meetings, nomadism and itinerancy. It gives meaning to this link with the FRAC that describe themselves as agoras and forums. How are the partnerships between the FRAC being developed? Among themselves, the FRAC lend and borrow to one another very often. There are specific projects for passing artworks from FRAC to FRAC, coordinated by the Platform. In 2009, the project Voyage Sentimental was launched with the collections of the FRAC of Poitou-Charentes, LanguedocRoussillon, Provence-Alpes-Cte dAzur, as well as the works of the Institut dArt Contemporain de Villeurbanne and other associated partners. This year, on the occasion of The Pleiades, an important project called Ulysse started with Marseille Provence 2013 through the initiative of the FRAC PACA, which is associated with the FRAC Bretagne and the FRAC Languedoc-Roussillon, passing around their collections. Considering collections as raw materials is something that I truly believe in. It is the distinct feature of the FRACs work, and it helps them to both display their works an infinite number of times among themselves and to put in place innumerable projects with exhibitions, meetings, publications, residences, orders, which at the same time makes the collections look active and alive again.
View of the exhibition Spatial City, An Architecture of Idealism at the Hyde Park Art Center in Chicago, May 2010 Moving exhibition of the FRAC collection in USA Photo: Tom Van Eynde Courtesy Hyde Park Art Center
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Museums
ARTICLE OF THE WEEK
Online analysis tools tested by sixteen Dutch museums During a first workshop on museum analysis, in the framework of the Action Research Project, Jane Finnis presented the basis of the Lets Get Real research. Throughout the second part of the workshop, participants were invited by Rui Guerra to speak about their strengths and weaknesses in terms of museum organisation, by the means of online analyses and digital data interpretation. At the end of the event, the participants used the online analytics maturity model (OAMM) to evaluate their organisations. The key points brought up during the event are as follows: in order to understand the impact of putting museums online, it is necessary to collect statistics concerning the use of the internet in the Netherlands. In fact, a better understanding of the museums audiences online is important. To proceed with this research, it is recommended to use Google Analytics and correctly define the useful segments. Once the data are controlled, the museums can know if their number of online visits is superior to 20%. In this case, it is necessary to create mobile applications. Online targeting is considered as the strong point of the museums that were evaluated. In fact, the participating museums have a large online network platform on which they are active, including internet websites, social networks and blogs. However, reaching quite a vast target is not necessary and could lead to a disadvantage for a museums online strategy. It is thus recommended to try and target specific items instead, in order to give more value to the given information. Finally, the points needing improvement, among those that were brought up, deal with analysis techniques. In fact, museums seem to have a hard time dealing with processes and methods relating to the use of these tools on the internet. Hamel thus advised the participants to launch an analysis consisting in evaluating the results of only one online project. Based on this study, museums might as well rework their strategies.
NOMINATIONS
New president and new council members of the Boca Museum of Art The appointment is valid for 2013-2014. The museum announced the appointment of architecture designer and philanthropist Dalia P. Stiller at the position of Administration Council President, during its annual meeting held on 8 April. During the meeting, three other members, Kevin Cooper, Mady Friedman and Paul Miller were appointed as Council members. Stiller will replace the leaving President Paul Carman who celebrated this function for four years. Before the appointment, Stiller was an architectural consultant at Woolbright Development, Inc. In the official press release, she said that she was honoured with the appointment at the position of the Administration Councils President. We are very lucky to have such a cultural institution in our community. My ambition is to work on the collection enlargement and develop exhibition and educational programmes. Tanya Paul appointed curator at the Milwaukee Art Museum The Milwaukee Art Museum announced that from June 2013, Tanya Paul will work as the European Art Departments curator. Laurie Winters, who was in office, quit last year in order to become the director of a think tank ArtConsortium. Tanya Paul, since Autumn 2009, has been the European art curator at the Philbrook Museum of Art in Tulsa (Oklahoma). Among the exhibitions organised by the future Milwaukee Art Museum curator, we might mention: Scenes from Holland: Flemish and Dutch impressions from the Rembrandt era and Sinuous line: Jacques Callot and the printing Renaissance at the beginning of Modern Times in France. The Museums Head Curator, Brady Roberts, explained that Tanya Paul will enrich the institution thanks to her knowledge and experience. Nomination of Paul Hobson as the head of Modern Art Oxford Paul Hobson has been nominated as the director of Modern Art Oxford and will be replacing Michael Stanley, who deceased in 2012. David Isaac, the president of Modern Art Oxford, said that Paul is an excellent choice to lead Modern Art Oxford in this important phase of its history. The trustees and staff are thrilled with his appointment and are poised to work with him to shape the future of the gallery, and to ensure it continues to make a vital contribution to the development and understanding of contemporary art. Paul was the director of the Showroom gallery in London for five years. He also directed the Serpentine Gallery, the Royal Academy of Arts, as well as a private charity foundation that supported the works of emerging artists.
ACQUISITIONS
Masterpiece found at Ritz sold to Met in New York A masterpiece dating from 400 years ago was found at the Ritz during the renovation of the famous Parisian hotel. On Monday 15 April 2013, the work was sold to the Metropolitan Museum in New York for 1.44m, according to Christies. The painting was produced by 17 th century artist Charles Le Brun (1619-1690). The work was located at the suite occupied by Coco Chanel for over 30 years. It was found by expert Oliver Lefeuvre in July 2012. According to him, the Met in New York did not possess any works by Charles Le Brun and with this acquisition it will complete its 17 th century art collection. The painting will be exhibited at the end of May 2013. The sales proceeds will be handed over to the foundation created by the owner of the Ritz, Mohamed Al Fayed, commemorating his son Dodi, the last partner of Princess Diana. The oil painting is identified by experts as a work produced at the beginning of the artists career before he became Louis XIVs court painter and gained the reputation of a major figure of the 17th century artistic scene. The work depicts Polyxenas asassination, a Troyan princess who was involved in the Achilles murder. Major modern sculpture acquisition at the National Gallery of Art The National Gallery of Arts collectors committee made it possible for the gallery to receive several major modern sculptures on the occasion of its annual meeting in March. The following works now belong to the National Gallery of Art: Piano/Piano (1963-1965/2011), by Richard Artschwager, a great example of wood sculpting, namely with Formica strips; Plaster Surrogates (1982/1989), by Allan McCollum, the last series of large-scale works created by the artist; Condensation Wall (1963-1966/2013), by Hans Haacke, a revolutionary work in cinematic art created at the start of the artists career; A three-way sound system video installation, by Rineke Dijkstra; Stains (1969), by Ruscha, 75 sheets of paper, each with a different mark.
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WHATS ON
Palazzo delle Esposizioni visits New York From 23 April to 21July 2013, the Palazzo delle Esposizioni in Rome will exhibit works by Shadi Habib Allah among others, in the framework of an event titled Empire State. New York Art Now. Organised under the curatorship of Alex Gartenfeld and Norman Rosethal, the event is a group exhibition on the works of Michele Abeles, Uri Aran, Darren Bader, Antoine Catala, Moyra Davey, Keith Edmier, LaToya Ruby Frazier, Dan Graham, Rene Green, Wade Guyton, Shadi Habib Allah, Jeff Koons, Nate Lowman, Danny McDonald, Bjarne Melgaard, John Miller, Takeshi Murata, Virginia Overton, Joyce Pensato, Adrian Piper, Rob Pruitt, R. H. Quaytman, Tabor Robak, Julian Schnabel and Ryan Sullivan. This event asks artists how they would reimagine urban life, New Yorks future as an active city. Gathering transgenerational artists, issued from the city or its outskirts, the exhibition consists of works meditating on the city as a powers distribution channel. It all sums up to a certain point where people worriedly examine the cultural, economic and political role of the United States on the global scene. Contemporary art here becomes a tool allowing the discovery of the medias significance in contemporary cities. Sebastio Salgado at the Natural History Museum The exhibition of Brazilian photographer Sebastio Salgado just started its world tour at the Natural History Museum in London on 11 April 2013. It will be running through 8 September 2013. With over 200 spectacular black and white photographs, he explores the majesty of nature and the balance of relations between our fragile planet and human beings. The event, titled Genesis offers the fruit of an eight-year hard work and features images of wild landscapes, along with pictures representing human communities that continue to live with their own cultures and ancestral traditions. This exhibition is the third to thoroughly explore contemporary issues on a global scale, after his last event about Workers and Immigrations, which had proved a striking success. After London, the exhibition will travel to Toronto, Rio de Janeiro, Rome and Paris. Born in Brazil in 1944, Salgado was trained as an economist before he started to work for the International Coffee Organization and travelled to Africa on mission for the World Bank. In 1973, he abandoned his career in order to fully devote himself to photography. The art of glamour at Tate Liverpool From 8 February to 12 May 2013, Tate Liverpool focuses on the Glam style that invaded society in the 1970s, by strongly influencing music and visual arts. The event explores the artistic development of the beginning of the 1970s in the United Kingdom, Europe and North America through the prism of glamour and the effects of this movement on the entire cultural scene. Titled Glam! The Performance of Style, the exhibition set by the museum presents about one hundred works, videos, photographs as well as installations and performances signed by Andy Warhol, Richard Hamilton, Peter Hujar, Allen Jones, David Hockney as well as Cindy Sherman, and deciphers this excessive and provocative style of the 1970s. Ron Mueck not alone at the Cartier Foundation for Contemporary Art From 16 April to 29 September 2013, the Cartier Foundation for Contemporary Art is hosting Australian sculptor Ron Mueck. In addition to his six recent works, the exhibition features three sculptures specially created for the occasion. These works are the ideal representation of a sensitive art, as powerful as it is suggesting. Made out of resin, polyester and oil painting, they are reproductions of the human body in a realistic manner and play with changes through incredible scales. In 2002, his sculpture Naked Woman was bought by the National Gallery of Australia for $800,000. Born in 1958 in Melbourne, Ron Mueck started working as a puppet creator and animator for Jim Henson on the Muppet Show, as well as for the film Labyrinth. In 1996, he began to work on his first hyperrealist sculptures for commercials, before benefiting from the support of Charles Saatchi. His work Dead Dad, representing the dead body of his father at a 1/3 scale, did not go unnoticed and made him a reputation as a sculptor of disturbing works: characters larger than natural, mostly nude with supernatural expressions that are often frightening. His works have been exhibited at the Venice Biennale on the Plateau of Humankind in 2001 and throughout the world: Australia, United States, England, Spain, Japan and France. The Museum of Contemporary Art exhibits the works of Urs Fischer The event is scheduled from 21 April to 19 August 2013 at the MoCA in Los Angeles. It is the first retrospective at a museum of the works of Swiss artist Urs Fischer. Known as one of the most important contemporary artists, Fischer expresses himself on the plurality of the media and explores both the temporality of art and the human condition. The exhibition is shown in a 6,038-sqm space and is organised under the curatorship of Jessica Morgan. It presents the works that the artist created throughout the last decade and in fact reunites, for the first time side by side, his iconic works exhibited at flagship international collections, as well as recent creations. Urs Fischer was born in 1973 in Zurich, Switzerland. He studied photography at the Schule fr Gestaltung in Zurich and lived and worked throughout his career in Zurich, London, Los Angeles and New York. Fischer creates works in the United States, in Europe and in Asia and has been exhibiting since 1995. His installations and sculptures have been featured at group exhibitions throughout the world as well as at biennials. The Zimmerli Art Museum presents an exhibition on Russian photographs and videos created during the Perestroika The event titled Leningrads Perestroika: Crosscurrents in Photography, Video and Music will be observable from 20 April to 13 September 2013. It examines, through its viewings, the contribution of these artists during the last years of the dissolution of the Soviet Union in 1991, as well as the consequences of this dissolution. From 1985 to 1991, Mikhail Gorbachev, the last ruler of the Soviet, implemented a series of ambitious reforms known as perestroika (restructuration) and glasnost (opening), with the purpose of optimising the communist system rather than replacing it. With more than 60 photographs and videos, the exhibition will present at the same time works by photographers, video producers and musicians as the active members of a group rather than individual entities, in order to place emphasis on their common ambitions. Most of the works that will be exhibited during this event were created between 1985 and 1993, and have never been exhibited in the United States. Issued from Norton and Nancy Dodges nonconformist art collections of the Soviet Union, the exhibition will offer a highlight on the underground provocative scene that existed in Leningrad, the former name of the present city of Saint Petersburg.
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COMING SOON
Rhea Karam at the Dubai Downtown Pavilion An event titled Breathing Walls will be held from 16 May to 31 August 2013. It is a solo show of Lebanese artist Rhea Karam. The artist explores transitory life evidences left on the w a l l s i n E g y p t a n d n e i g h b o u r i n g co u n t r i e s . T h e photographs focus on details and constitute a kind of archive of the current fragility of this worlds region. Karam makes walls similar to windows reflecting conflicts happening around. The walls become a place of expression and communication for the members of the religious and social communities living in the area. In fact, they often become an efficient tool for establishing dialogues between the oppressed and the publics opinion. They contain history, absorb and reflect their environment, becoming witnesses of our lives. The project started in Lebanon, the artists homeland, and after the Arab Spring it continued in other countries where the walls played a major role in communication and expression. The artist wishes to continue her work on the archive of the Egyptian walls and in surrounding countries. Rhea Karam is a photographer based in New York, who was born in Beirut in 1982 and grew up in France. She graduated from the International Center of Photography in New York. She has exhibited internationally, including in the Middle East, both solo shows and group events. Photographs of Albert & Verzone at Bercy Village The event titled Seeuropeans is scheduled from 24 May to 2 September 2013. It is organised in collaboration with the agency VU that represents both photographers. The exhibition will offer a panorama of European towns, of their beaches and their residents, seen through the lens of the two Italian photographers, Paolo Verzone and Alessandro Albert, which is a total of more than 30 largesized portraits (140 177.94 cm). The event will thus show Europe through their eyes, with the help of a device and a common project, gathered from 1994 to 2002. These two artists work in rooms with black and white, a technique that produces an aesthetical documentary with a free tone. Among the works presented, a family vacation album including a mixture of caricatured images, genres, and geographical and cultural richness will thus be exhibited, but with one thing in common, the position of the swimmers. Instants Heureux by Flix Vallotton at the Kunsthaus Zrich From 5 July to 15 September 2013, the Kunsthaus Zrich will exhibit the work of Swiss artist Flix Vallotton. Titled Instants Heureux (Happy Moments), the exhibition will present 50 works, half of which will be from a private collection, thus completing the canvases of the Kunsthaus. Through these paintings, most of which were created between 1895 and 1912, spectators will be able to appreciate all the themes chosen by the painter, among which are the furtive clinches of lonely hearts, deserted landscapes, discrete and secretive adultery, beach scenes magically lighted, dreamy gazes and naked women playing cards. Among the works presented, Bain au soir dt (1892-93). It was deliberately decided that the canonical works of the artist will not be the only ones exhibited, but a broad view of his creation. That is the reason why some works, that were rarely presented until now, are now out of their reserves at the Kunsthaus and will be out in the light. Exhibition Kaleidoscope: variations on glass at the Muse National des Beaux-Arts du Qubec The event is scheduled from 16 May to 13 October 2013. This exhibition will explore contemporary glass in all its forms. It will thus highlight some thirty objects created by artists from Quebec. Several techniques will be illustrated, namely the techniques of making glass with blowtorches, blown glasses, engraved glasses, crystals, moulded glass with lost wax, shaped and polished, as well as the fusion of thermoformed glass. The event will be divided into four sections, each representing a theme. The following will namely be up for viewing: Chatoiement, 2008 by Susan Edgerley, and Circulation, 2007 by Maude Buissire in the section Transparency and Aura; Casque avec chevaux, 2008 by Donald Robertson, and Mes mille peaux de btes, 2009 by Michle Lapointe will illustrate the section History and Narration; the section Objects and Sculptures will namely feature the Vase Totem, 2005 by Bruno Andrus as well as Cerise, 2011 by Karina Guvin; and finally, the last section titled Nature and Life will present among others the works Vnus II, 2006 by Caroline Ouellette, as well as Fracture, 2005 by Carole Pilon. Mike Kelley at the Fondazione HangarBicocca From 24 May to 8 September 2013, the Fondazione HangarBicocca in Milan will exhibit the work of American artist Mike Kelley. Titled Eternity is a Long Time, the event will present installations, videos and sculptures from between 2000 and 2006. These works are very intense and represent the complex and visionary universe of the artist. With a mixture of cultural references and autobiographical memories, influenced by popular culture, Mike Kelleys work is centred on education, modernist architecture, painting and American literature. The originality of this project is the result of a collaboration between Mike Kelley and the Italian curator based in Los Angeles, Emi Fontana, with whom the artist has been working for the past fifteen years. Mike Kelley was born in Detroit in 1954. He studied at the California Institute of the Arts and at the University of Michigan. Numerous institutions have hosted his works with personal exhibitions, among which are the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art (1993), the Contemporary Art Museum in Barcelona (1997), the Tate Liverpool, the Kunst Stiftung Ludwig Modern Museum in Vienna (2004) and the Louvre Museum (2006). The artist died in Los Angeles in 2012. The machine by Jean Tinguely returns to Geneva From May 2013, the machine by Swiss painter and sculptor Jean Tinguely titled Cercle et carr clats will be back at the Museum of Art and History in Geneva. Purchased by the MAH in 1983, the installation is coming back to Geneva after five years in Basel. Dynamic, joyful, energetic, ridiculous, creaking will be welcoming visitors on the ground floor of the museums building. In March 1960, Nikki de St Phalle and Jean Tinguely installed the machine in the MoMAs garden. The construction was supposed to self-destruct in front of the public (and the camera). A great part of the artistic project was focused on this action: the machine, made of waste, became the medium incarnating movement, dynamics and aesthetical rules. The destruction was to became one of possible ways of creation. By the end of summer 2013, another machine produced by the Swiss artist will be on display at the museum. Titled Si cest noir, je mappelle Jean, it was created in 1960. Jean Tinguely was a Swiss artist born in 1925, who died in 1991. He is famous for creating sculptures using recycled automated materials. The artist started to learn painting at the Ecole des Arts Appliqus de Ble in 1940 and later in 1953 he settled in Paris.
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Galleries
ARTICLE OF THE WEEK
The Galerie Champaka arrives in Paris The Champaka gallery, based in Brussels for the past three years, will open a space in Paris in the district of Beaubourg. Located at rue Quincampoix, the 150-sqm gallery will be dedicated to Comic Arts. The renovation of the new exhibition space was done by architect Emmanuel Cros, who made a circulation based on a variation of visual settings for the gallery. On the occasion of this opening, the sites in Brussels and Paris will offer two retrospectives and complementary exhibitions dedicated to the work of Ted Benoit, one of the founders of the Nouvelle Ligne Claire (New Clear Line), which appeared at the end of the 1970s. About one hundred large-sized original comic strips and artistic prints will be combined for the retrospective, as an evidence of the constant renewal of the artists work. The exhibition is visible from 19 April to 18 May 2013 in Paris and from 17 April to 5 May in Belgium.
OPENING
Jannis Kounellis now represented by the Almine Rech Gallery Greek artist Jannis Kounellis will from now on exhibit his works at the Almine Rech Gallery in Brussels. Jannis Kounellis was born in 1936 in Piraeus, Greece. His first solo exhibition titled Lalfabeto di Kounellis was organised in 1960, at the Galleria La Tartaruga in Rome. He is involved in the movement called Arte Povera. Kounellis has participated in numerous international events such as the Paris Biennale (1967, 1969), Documenta (1972, 1977, 1982), the Venice Biennale (1972, 1976, 1978, 1980, 1984, 1988, 1993), the Istanbul Biennale (1993), and the Sydney Biennale (2008)). His work is presented at several museums: at the Centre Pompidou in Paris, at the Museum Boijmans Van Beuningen in Rotterdam, at the Tate Gallery in London, in New York, at Guggenheim and at the Museum of Modern Art. Opening of a new gallery in Chelsea by Mary Ryan and Jeffrey Lee Mary Ryan and Jeffrey Lee have come together to open a new gallery in Chelsea. According to the website galleristny, the Mary Ryan gallery is in the midst of reorganisation. In fact, the gallery owner, settled on West 26th Street, is collaborating with its former employee Jeffrey Lee in order to open a new gallery that will be called Ryan Lee. The space is currently under renovation. Jeffrey Lee, who has been collaborating with the Mary Ryan gallery since 2003, explained that he would like to distinguish himself from the other galleries of the sector by focusing on international artists that are not represented on the New York scene. He particularly plans to spotlight Korean artists. The new gallery will be renovated by the team of architectures from SO-IL that built the tent for Frieze New York. Secret art gallery at Bains-Douches 50 of the most famous street artists in the world were free to express themselves at the abandoned nightclub located in the centre of Paris. The Bains-Douches, which were initially public baths, were built in 1885. Then they were recently transformed into one the trendiest nightclubs of the Parisian nightlife. It has in fact become one of the most favourite spots of celebrities such as Mick Jagger, Kate Moss, Johnny Depp and Andy Warhol. But some of the projects launched by its director led the building to be considered as not in conformity with the current security regulations. As a consequence, it was ordered to close down in 2010. The following year, Jean-Pierre Marrois created La Socit des Bains in order to try and preserve the building and eventually confirm its future transformation into a concert hall in 2014. In the meantime, the Bains-Douches will house a residence for artists and the complete building will be offered as a giant canvas to a plethora of urban artists commissioned by Magda Danysz. Thus, since January and until 30 April 2013, 50 renowned street artists are expressing themselves in this space converted into a gallery of 3,000sqm, although it is not open to the public. Marois and the owner of the gallery, Magda Danysz, invited namely Futura, Space Invader and Sambre to use the materials of the building to try and capture its old time energy.
CLOSING
The Ex-Machina gallery in Geneva to close down In a statement, the Ex-Machina gallery announced that it will be closing down for financial reasons. The gallery was opened in 2008 by four artists: Lara Lemmelet, Fabrice Huggler, Ufuk Emiroglu and Philippe Maeder. The interdisciplinary exhibition space welcomed about 200 visitors throughout its operations. Five years after the opening of the site, the founders found themselves in need of financial support from the outside in order to maintain their activities, stating that Ex-Machina is the answer to a real need in the city of Geneva. They called upon the public for help but did not succeed in collecting the necessary funds from the government, and the gallery has decided to close down. In 2012, in preparation for the closing, the exhibition Etre/Vu, Ex-Machina espace en voie dex-tinction? (To Be/To See, Ex-Machina a space on the brink of extinction?) gathered more than 60 artists who had to artistically react in the event of the closing of the gallery. The Agnews Gallery to soon close down The 195-year-old gallery, located in London, recently announced that it will definitely close its doors at the end of April 2013. Specialised in old masters paintings, the gallery experienced a long decline before its current director, Julian Agnew, the sixth-generation art trader to work in the family business, announced the sad news. In 2008, the gallery sold its historical site located on Bond Street, which was opened in 1877 by his great-great-grandfather. The sale, which amounted to 25m, allowed the gallery to open a new smaller space at a further location. What was expected to be a new start with a new position on contemporary art prepared the way for a final fall. The establishment directed by the daughter of Mr. Agnew, Gina, did not succeed in facing the current difficulties brought about by the crisis. Gina eventually stopped managing the gallery last year to open her own gallery. The gallery made its last appearance during TEFAF in Maastricht in March. According to Julian Agnews interview published by the Antique Trades Gazette, the current director failed at his attempt to find a successor. As it is not an art supermarket as multinational auction houses Christies and Sothebys, the gallery ran out of funds to stay on the art market. Moreover, according to Agnew, the observable changes on the art market and in the new technology sector have led to the desuetude of the role of galleries.
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WHATS ON
Pierre Clice exhiibition at the Schiller Art Gallery From 18 April to 15 June 2013, the Schiller Art Gallery is exhibiting the works of painter Pierre Clice. Pierre Clice uses paper cut-outs that are pre-painted in acrylic on his canvases, as well as other papers covered with huge signs and unexpected motifs. These elements are composed little by little and nothing is really planned or anticipated: his solid and thick works are thus created spontaneously. Layer after layer, lines and coloured surfaces bring out visible structured compositions based on the balance and imbalance of forms. Pierre Clice creates works related to signs, pictograms, and the symbols of urban spaces. But more fundamentally in his works, rhythm, lines and ruptures can be seen as found in African and Oceanic art to which Clice has admitted his attachment. In parallel, primitive art masks and sculptures from different Af r i c a n e t h n i c g ro u p s f ro m p a r t i c u l a r B e l g i a n a n d international collections are also presented. Pierre Clice has exhibited his works across the globe, from Paris to Shanghai and Copenhagen to Milan. Several of Clices canvases are part of the collections of the modern art museum of the City of Paris, of the Tate Gallery in London and of the Fonds national dArt contemporain. Marnie Weber and Loredana Di Lillo at the Cardi Black Box Gallery From 23 April to 25 May 2013, Milanese gallery Cadi Black Box will be exhibiting works by Marnie Weber and Loredana Di Lillo. The event titled Mommy Puffy Daddy Monster features multimedia works by Loredana Di Lillo who explores issues of the past and lost innocence. Di Lillo also exhibits drawings, paintings, sculptures, photographs and videos concerning societal themes. She is interested in flaws and virtues, local history and identity. She looks into everyday existence by combining her works with her daily habits. Marnie Weber exhibits a film titled The Night of Forevermore that questions the relation between a young witch, played by the artists daughter Colette Rose Shaw, and an old witch who sold her soul to devil, played by the artist herself. The film is presented in parallel with large-scale collages. These romantic landscapes are filled with witches, monsters and other strange creatures, creating a surrealistic universe. Marnie Weber was born in 1959 and she works in Los Angeles. She graduated from the University of California. Among her solo shows we might mention: The Night of Forevermore at the Marc Joncou Contemporary in New York, The Autumn Bear at the Palais de Tokyo in Paris and LOST at the Municipal Art Gallery in L.A. Loredana Di Lilli lives and works in Milan. She graduated from the Academy of Fine Arts in Rome. She took part in the following group exhibitions: Ovovia Italia 61, un po darte in Turin, Calamitati da Gino at the Centro Italiano Arte Contemporanea de Foligno, among others. De Lillo was awarded the Talk to the City Prize (Milan) and the 13 Premio Cairo (Milan, 2012). Works by Ignacio Bahna at the Arana Poveda Gallery in Madrid The event titled Campos expansin is organised under the curatorship of Ximena Jordn. It is scheduled from 19 April to 29 May 2013. In this event, the relationship between nature and man is the cornerstone of questions asked by the artist through his sculptures. Ignacio Bahna was born in Chile in 1980. He studied Fine Arts at the University of Barcelona and currently divides his time between Barcelona and the United States. Since 2002, the artist has exhibited his work in numerous galleries, museums and institutions, including Chile, Spain and the United States. Elias Kafouros at the AD Gallery The event, titled A Thesis on the Shelf, will start on 25 April and will be running through 8 June 2013. This solo show features the works of Kafouros, composed of an intertwining of different stories. The relationship created between these individual forms originate in a creative process both rational and conscious, and instinctive and unconscious. Indeed, though the final image is organised around classical forms, it acquires an intense psychodelic personality. The structural complexity of the artists works allows him to produce blurred images and forms, with limits melted in order to give birth to new forms and associations. There are also some kinetic elements. A narrative emerges from these works where time, as defined by Kant as a linear progress, creates bonds between human perception and space. La Reine Margot unveils the facets of Eros Parisian gallery La Reine Margot will be welcoming the exhibition Eros in Antiquity from 26 April to 31 July 2013. La Reine Margot, the oldest archaeological gallery in Paris, is emphasising the myth of Eros, also known by the Romans as Cupid. The pieces on display aim to cover all possible interpretations: the god of love and desire, or as defined by Aristophanes, the primordial egg, the origin of the world and the gods. Is he, as the Ancient believed it, the primary vital power, both original and universal? Is he the son of Venus-Aphrodite, goddess of beauty, and Mars-Ares, god of war, who announces both love and life, as well as he foreshadows death, symbolical or real, and physical and moral destruction? Through about fifty marbles, bronzes, terracottas, glasses, faiences, gold and stone objects, the gallery La Reine Margot invites spectators to discover the multiple faces of Eros, a decoration motif from the Hellenistic period. He can be found on elements of interior decoration: lines, medallions and everyday objects such as oil lamps and t o r c h s Re p r e s e n t a t i o n s o f E r o s eve n e n r i c h t h e iconographic repertoire of jewellery: for instance, La Reine Margot is presenting an important collection of golden jewellery from the Hellenistic period, with a brooch depicting Eros bringing two lions for the wedding of Ariadne. On a chalcedony ring, the little god is holding a large butterfly symbolising the human soul. He can also adorn a pair of fine earrings Tony Cragg and Claire Adelfang at Thaddaeus Ropac From 25 April to 15 June 2013, the Thaddaeus Ropac gallery will be exhibiting the works of Tony Cragg and Claire Adelfang in Paris. The gallery will display the recent works of Tony Cragg, a major figure of contemporary sculpture, throughout this exhibition which will reunite fifteen new sculptures made out of steel, bronze, wood and stone. The event will be held just before the presentation of an ensemble of monumental works at the Muse dArt Moderne de Saint-Etienne Mtropole, which is scheduled to open in September 2013. As for Claire Adelfang, it is her second exhibition at Thaddaeus Ropac. The gallery has decided to spotlight her video work through the presentation of Les Forges, a film she created at the beginning of 2013.The previous exhibition titled Monuments was devoted to the photographic work of the young artists who graduated from the Ecole Nationale des Beaux-Arts in Paris. The Parisian public was able to discover this part of her work during the exhibition of the creations of the Prix Meurice finalists, on the occasion of which the artist also presented a video. Claire Adelfang has just been nominated for the Prix MasterCard 2013.
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WHATS ON
Alexander Calders works exhibited at the Pace Gallery The event titled Calder After the War offers the viewing of some 50 works created by the artist between 1945 and 1949, which is considered to be the most important period of his career. The exhibition is organised at the Pace Gallery in London, from 19 April to 7 June 2013. It is held at the first floor of the gallery, which was recently renovated, and features more than twenty paintings and gouaches rarely seen until now. Among the masterpieces, Baby Flat Top (1946), Little Parasite (1947), and Blue Feather (c. 1948) are up for viewing, as well as works such as Scarlet Digitals (1945), Red, White and Blue on Black (1948) and Louisas 43rd Birthday Present (1948), a collection of five miniatures. The creative spirit of the artist comes from his redefinition of art through compositions and materials, as well as the liberation of artworks from their static bases to their real integrations in a three-dimensional universe. The exhibition is accompanied by a catalogue titled Calder After the War, with an introduction written by Sir Norman Foster and a new essay written by American art historian Barbara Rose. The book includes illustrations of the works presented at the exhibition, as well as a chronology of the artists career, namely about a dozen original photographs with information on the artist, his studio and his practice. The Fine Line at the Identity Art Gallery The event scheduled from 24 April to 31 May 2013 will encompass works by British artists: Dale Adcock, Katrina Blannin, Gary Colclough, Corinne Felgate, Nick Hornby, William Stein & Sinta Tantra. The works gathered explore numerous possibilities that emerge from simple lines. Straight, parallel, cut, unstructured, all lines and motives featured in this event could be seen not only as simple tools of space delimitation but as ways of establishing relations between concepts and motives, structures and phenomenons. In fact, talking and writing are also imaginary and abstract ways of expression. A drawn line is an essence holding a primary function, which is an urgent need of expression. The Identity Art Gallery gathers artists who exist outside of conventions and main trends. They come from all around the world and express themselves in a surprising way through numerous media, having in common interest in beauty and the use of colour. Rodel Tapaya at the Arndt Gallery in Singapour From 5 April to 30 June, the Arndt Gallery in Singapore is exhibiting the works of Philippino artist Rodel Tapaya. The gallery, initially based in Berlin, opened its new space in Singapore in January 2013. The Philippino painter is presenting an event titled The Ladder to somewhere which is built around the issue of the intersections between different worlds: terrestrial and extraterrestrial and their mortal and immortal inhabitants. Tapaya is inspired by mythology and Philippino legends. He explores the connections between these stories and factual events. Rodel Tapaya was born in 1980 in Montalban in the Philippines. He won the Nokia Art Awards, a competition for artists issued from the Asia-Pacific region. He participated in the course of painting and drawing at the Parsons School of Design in New York and studied at the Helsinki University in Finland, before graduating from the University of the Philippines, College of Fine Arts. In 2011, he was awarded the Signature Art Prize founded by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. Currently, he lives in Bulacan in the Philippines. Ayyam Gallery Beirut hosts a solo show on Ginane Makki Bacho From 11 April to 31May 2013, the Ayyam Gallery in Beirut is exhibiting the work of Lebanese artist Ginane Makki Bacho. Titled Afterimage, the exhibition presents an assembly of very personal paintings. The artist, who was previously a writer, places narration in the centre of her practice. She uses personal photographs joined together to create flashs of her past that overlap and mix. Her paintings help to understand Lebanons historical influence, violence troubling the country and its impact on the artists life. Ginane Makki Bacho was born in Beirut in 1947, where she currently lives. She obtained her MFA in print making and painting from the Pratt Institute in New York and also from the American-Lebanese University in Beirut. Among her recent exhibitions, we might mention the event at the ArtCircle in Beirut (2010) and the group exhibition at the Fa Gallery in Kuwait (2012). Her work is present in numerous private and public collections, for instance at the Muse de Digne les Bains, the Cabo Frio Museum in Rio de Janeiro, the Arab League in Washington and at the Hariri Foundation in Washington, DC. Eugene Lemay exhibition at the Umm El Fahem Art Gallery in Tel Aviv Starting from 13 April 2013, artist Eugene Lemay will exhibit his works in Tel Aviv at the Umm El Fahem Art Gallery. The exhibition is titled Letter and will be organised in collaboration with the Zemack Gallery. Eugne Lemay was born in 1960 and grew up in a multicultural environment due to his Canadian, Lebanese, Syrian and French origins. His family converted to Judaism and moved to Israel in 1973, where he spent the rest of his adolescence in a kibbutz. He now lives and works in New Jersey. As a self-taught artist, Lemay has exhibited his works in Holland, Germany, Dubai and the United States. He recently established the Middle East Center for the Arts (MECA), an exhibition space accompanied by a programme of residences where Jewish and Arabic artists work and exhibit their works together. Retrospective of Alice Aycock in New York The Parrish Art Museum in New York presents an event titled Alice Aycock Drawings: Some Stories Are Worth Repeating, organised in partnership with the Grey Art Gallery. The exhibition redraws Aycocks career from 1971 to nowadays highlighting the artists major topics. Aycock is known for her large-scale installations and outdoors sculptures but her drawings capture the whole scale of her ideas and inspirations. Consisting of over one hundred of works, the exhibition will be presented in two different spaces. 55 works will be displayed at the Parrish Art Museum (from 21 April to 14 July 2013) covering the period from 1984 to nowadays during which the artist developed her increasingly complicated visual vocabulary partly due to the use of computer software. The second part of the event will be displayed at the Gery Art Gallery (from 23 April to 13 July 2013) featuring 48 works of the 1971 1984 period, including detailed architectural drawings, sculptures models and photographic documentation for her architectural projects. Born in 1946, Alice Aycock studied at the Douglass College and the Hunter College. She came to New York in the 1970s and her artistic approach illustrates the radical tranformations of this deceny. Her work was often exhibited in the 1970s and 1980s. Aycock had a profound inuence on following generations through both her works and her teaching. Since 1991, she is a professor at the School of Visual Arts in New York.
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COMING SOON
Philip Mueller exhibits at the Carbon 12 gallery in Dubai An event titled My father was Many and I am Happy as a Sailor will be held from 6 May to 8 June 2013. It will be the second solo show of the artist in the Carbon 12 gallery in Dubai. The work by Mueller could be described with one word: monumental. As suggested in the title, the exhibition sails through unknown regions and invites the spectator to an intimate voyage. This event is the second part of the trilogy launched by the artist during the Art Cologne. The third part will encompass Muellers first monography. The trilogy is a triptych of epic dimensions that gives the artists credit for his overproductivity and allows him once again to reviews his boundaries. The artists studio is his donjon where the artworks creation becomes a shamanic ritual, where the canvases go through a rite of passage. The exhibition My father was Many and I am Happy as a Sailor is a quest that may seem peculiar but asks in fact a universal question: Where do I come from and where am I going? Not only in art but also in life. According to the artist, the answer lies within creative process, in accepting the narcissism and irony that belong to it. Chaos and structure, excess and aesthetism become coordinates, the artist is a sailor changing constantly the day into night and vice versa. Philip Muelles was born in 1988 in Vienna where he currently lives and works. The 1839 Little Gallery to exhibit the works of Chie Murakami The event titled Japanese Girls (4/27 to 5/26) is scheduled from 27 April to 26 May 2013. The artists career took off in 2008, when she began as a freelance photographer, with the exploration of the world of fashion and the creation of portraits for children. Here she explores the ambiguity of young Japanese girls adopting adult mimics. In this project, she then photographed Japanese girls aged 3 to 11, dressed in adult costumes and kimonos. The exhibition is sponsored by the Cultural Affairs Department of the City of Taipei. A part of this project was exhibited by NYPH (New York Photograph) and the South Lee Etoiles Gallery NY in 2011. Liang Changsheng exhibition at the Red Gate Gallery From 27 April to 15 May 2013, the Red Gate Gallery will be exhibiting the work of artist Liang Changsheng. The exhibition titled Bizarre World will be the artists first personal exhibition at the Red Gate Gallery. On this occasion, the artist will present his works created with paper, drawings and sculptures, some of which were created specially for this exhibition. The artist creates monsters, half-witch beings, halfbeasts. His works are centred on the barriers between good and evil, heaven and hell. These imaginary beings appear as images reecting mankinds complexity. This work pushes viewers to consider their inability to escape from their terrestrial obligations. Liang Chang Sheng was born in Beijing in 1967. He studied at the Professional Art School of Beijing (1983-86), then continued to specialise in decorative arts at the University of Peli. In 1994, he entered the Central Beijing Art Academy. Moretti Fine Art in New York exhibits 17th century Italian masterpieces From 7 May to 7 June 2013, on the occasion of the 6th annual Italian Masters exhibition at the New York Gallery, Moretti Fine Art, two recently discovered Venetian masterpieces will be put on display. Both precious works will be exhibited separately, so that no other piece distracts the viewer, and both will be accompanied by a publication. Few artists were as successful as Antonio Corradini (1668-1752), whose most famous works are veiled figures. The exhibition will feature Endymion , circa 1725, a marble sculpture, until now unknown, which is one of the most important works by the Venetian artist. It was produced in order to decorate the garden of the Emperor Peter the Great. In Italy, around 1720, the myth of Endymion was very trendy. In Greek mythology, Selene, the Moon goddess fell in love with a mortal man, Endymion. She asked Zeus to make her fall in an eternal sleep to dream of her beloved one. The death of the Emperor in 1725 is one possible explanation why the work never reached Russia. This Endymion depiction is a missing piece between Bernini and Canova. The second work put on display is The Victory of David over Goliath. This masterpiece was produced by Sebastiano Ricci (1659-1734), an important figure on the Venetian scene. David was the second king of Israel. His life plays an important role in Judaism and Christian history because Joseph, Jesuss adoptive father, was his descendant and in Islam he is considered as a prophet. Born in Belluno, Ricci came to Venice at the age of fifteen but left soon after making two women pregnant. He fell in love with the daughter of a landscape painter, Antonio from Bologne. He ran away with her to Turin and left her and his daughter shortly after. He was charged with bigamy, arrested and sentenced to death. Thanks to the intervention of the Duke of Parma, the death penalty was changed to banishment from Turin. Ricci worked in numerous Italian cities but also in London, Paris and Vienna. The majority of his works made in England were lost or damaged and the only relic from that period is a resurrection fresco at the Chapel of the Royal Hospital (Chelsea). He came back to Venice in 1717. Anthony Goicolea at the Ron Mandos Gallery The event titled Permanent Marker will take place from 3 May to 1 June 2013. It will feature the works of CubanAmerican artist Anthony Goicolea, who specially created photographs, paintings, drawings as well as installations in situ for the event. During this exhibition, some mysterious and risky architectural structures made out of less solid objects and materials such as bottles, plates, sheets and cords will be presented. Among the works presented, there will be Temporary 2013, Invisible 2013, Drift Wood 2013, Stained Glass 2013, Monument 2011 as well as Sleeping Giants 2011. Spotlighting Russian creation in Paris The first edition of the Annual Meeting with Russian Artistic Creation in Paris will be taking place from 15 to 31 May 2013. On the occasion of this event nicknamed The Russian Palette by its organisers, a thematical tour of Russian contemporary creation will be organised. Parisian galleries who regularly work with Russian artists will present to the public a selection of works, classified by artistic movements. The painters of the School of Paris will be presented by the Galerie Fleury and Le Minotaure, contemporary abstraction by the Galerie Drouard and the Galerie Visio DellArte, Russian expressionism by the Galerie Michele Hayem Ivaselevitch, the Galerie Russkiy Mir and the Galerie Frangulyan, conceptual art by the Galerie Albert Benamou and the Galerie Rabouin Moussion, figurative art by I-Gallery, the Galerie Saphir and the Galerie Nathalie Boldyreff. The organisers aim to stress the importance of Franco-Russian artistic collaboration. Since the end of the 20 th century up to now, a great many Russian painters have lived and worked in France.
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COMING SOON
Arnault Joubin photographs at the VOZGalerie The event exploring the themes of intimacy and the body will be held from 17 May to 20 September 2013. It will feature works of the world famous portrait photographer through an original scenographic presentation. Among the photographs that will be up for viewing are those of the series Portraits. In this series, the artist captured a great number of celebrities through his lens, from Woody Allen to Cesar and Mario Vargas to Charles Trenet. The photographer proceeds here in the manner of a lmmaker in order to develop his work on the theme of the body. The series Doudous will also be exhibited, in which the artist sets his dcor in black and white, the emblematic colours of memories. The artist thus explores the universe of plush toys through the eyes of toddlers. In fact, each one of the teddy bears photographed tells the story of a person who met with the photographer. Finally, the last series to be presented is titled Natural Landscapes. In this series, the artist highlights black and creates a harmony between the softness of velvet and the brutality of charcoal, profound black and luminescent white. On the occasion of this exhibition, the artist wishes to pay tribute to photo-reporter Leroy Woodson Jr. by presenting a black and white portrait of John Lennon and Yoko Ono in the midst of the exhibition, a photograph taken in 1971 and emblematic of his photographic work. Middle-Age and current masterpieces exhibited at Moretti Fine Art in London The event titled Gold: Status and Glory is organised in collaboration with art trader Adrian Sassoon. It is scheduled from 2 to 31 May 2013 and will present fifteen objects created by Italian contemporary craftsman Giovanni Corvaja, in line with the golden background Italian devotion paintings of the 14th and 15th centuries. Giovanni Corvaja has been fascinated and inspired by metals and especially by gold since his childhood. His jewellery is exhibited in the most renowned public collections. Although he works following an ancient tradition in his Todi workshop in Italy, he has developed talents and techniques that have surpassed all limits. The legend of the Golden Fleece inspired Giovanni in the creation of his recent works. Among the fifteen objects in 18-karat gold that will be exhibited, a Golden Fleece brooch, a sophisticated bracelet, a sinuous necklace and a diadem. In parallel, there will be an exhibition of works by Neri di Bicci (Florence, 1418-1492), St Lawrence in Glory with four angels, Crucifixion and Annunciation, circa 1380-90, by an anonymous artist from Verona, and The Coronation of the Virgin, with Saints Nicholas of Bari, Anthony Abbot, John the Baptist, Francis of Assisi, Phillip and Zanobi, by Maestro Francesco (active in Florence between 1380-1400). Giovanni Corvaja was born in 1971 in Padua and studied with famous goldsmith Francesco Pavan. He started working with gold at the age of 13 and immediately gained the recognition of his peers. He completed brilliant studies and is now settled in Tobli, a historical Etruscan city. First exhibition of Andreas Eriksson at the Stephen Friedman Gallery The event titled Coincidental Mapping will be held from 27 April to 25 May 2013 at the Stephen Friedman Gallery. This will be the first solo show of the Swedish artist, born in 1975. This exhibition follows his display at the Nordic Pavilion at the Venice Biennial 2011. Paintings, tapestry, sculpture and photography by the artist reflect the profundity of his everyday life and depict Scandinavian landscapes. His work is situated between the abstract and the figurative, creating an enigmatic window on the outside world, which is at the same time familiar and mysterious. Erikssons work is inspired by the Nordic romantic tradition, started by Caspar David Friedrich, developed by Wassily Kandinsky, Paul Klee, Barnett Newman and Mark Rothko. While, contrary to the others, Eriksson does not consider his relationship with nature as a religious bond, his works transmit a similar atmosphere of calm. This exhibition will feature a group of new paintings of various sizes. New tapestries, of rich texture and intense colours will be presented as well. Furniture and art objects from the 18 th century on sale in London From 18 June to 20 July 2013, art and antique traders Mallett and Colnaghi will feature The Age of Elegance: Treasures from the City House of the 18th century. In the framework of the Ely House, furniture, objects and artworks will be presented to visitors. Among the major pieces: Twelve George III armchairs attributed to French designer Franois Herv and ordered by George John (1791), offered for 300,000; Portrait of Charles Grant, viscount of Vaux, in the Kings guard Lieutenant-Colonel uniform (289 by 206cm) by French artist Louis-Rolland Trinquesse (1745-1800), on offer for about one million pounds; A floral painting by Jan Brueghel II (1601-1678) (30 by 20cm), on sale for 740,000; A pair of sofas in golden wood with backs in the form of 1775 English serpentine, in the style of Thomas Chippendale, offered for more than 400,000; A p a i r o f m a rq u e t r y co m m o d e s ( 1 7 7 5 ) a t t r i b u t e d t o cabinetmakers Mayhew & Ince, on sale for about two million pounds; A pair of paintings by 18 th-century Venetian painter Giovanni Antonio Pellegrini (1675-1741), Susanna and the Elders and Sophonisba receiving a cup of poison, offered for 580,000. Marianne Maderna exhibition at the Contemporary Art Gallery of Lower Austria The event titled Humanimals will take place from 9 June to 13 October 2013 at the Dominican church in Krems. It is part of the contemporary art project launched in 2012 by the Zeit Kunst Niedersterreich. The event will be the artists second solo show. It will feature thousands of drawn animations similar to pictograms. These represent animals with traits that resemble humans through their positions and attitudes. Therefore, these Humanimals will animate the church, transforming it into a three-dimensional installation through which spectators can walk. The different sections of the event will question themes often explored in the world of art, namely progressive social systems, power structures as well as dialogues between the sexes. For this event, the artist will combine sculptures, drawings and films. The figures that will then be presented will evoke associations referring to the Last Judgment. The artists goal is not to create an installation telling a story, but rather to incite spectators to think about their own interpretations. For an optical illusion effect, the 3D animation will be observable through polarised glasses. The course will last about 40 minutes and will be divided into several sections, each composed of different sketches.
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Julio Le Parc
Julio Le Parc was born in 1928 in Mendoza, Argentina. He studied at the School of Fine Arts in Buenos Aires. He was interested in the Arte Concerto-Invencin group and Spazialismo of Fontana. He moved to Paris in 1958, where he got inspired by tachism, works by Vasarely, texts by Mondrian as well as constructivism. In 1959, he began to create paintings representative of geometrical abstraction, based on a predetermined system, first in black and white and then in colour. In 1960, he founded the Group of Visual Art Research with Morellet, Sobrino and Yvaral. The same year, he produced his first reliefs and Continual Mobiles, putting his works in three dimensions, incorporating movement and light. Numerous works from 1962 explore this issue and apply projected, moving, reflected or pulsated light. His works from 1964 deal with deformation achieved by the use of mirrors combined with the movements of spectators. This interest in the viewer's involvement materialised with the introduction of labyrinths and games. His first solo show was held in 1966 at the Howard Wise Gallery in New York. The same year, the artist received the main prize of the Venice Biennale. Currently, Julio Le Parc lives in Paris. He was recently invited by Patrick Javault and Dean Inkster, an art critic and a curator, to participate in a meeting-conference organised by the Fondation d'Entreprise Ricard, titled Libert d'action (the Freedom of Action). This event took place on 23 April 2013. Julio Le Parcs works are also exhibited at the Grand Palais in the framework of the exhibition Dynamo. Un sicle de lumire et de mouvement dans l'art (1913-2013) and will take part in two upcoming conferences held in the Auditorium of the Grand Palais, on Thursday 24 April 2013, and during the closing of the exhibition at the Palais de Tokyo, on Monday 13 May 2013. Among the 500 lots of Julio Le Parc put on sale, 41% are paintings, 26% sculptures and 23% multiples. The turnover distribution shows that painting represents 45% of the total income ($1.6m from a total of $3.6m) in comparison with 50% of the turnover made by sculpture ($1.7m). According to this difference, of the assembly of all the lots sold on auctions, the average lot price is $7,200 ($7,800 for a painting and $13,200 for a sculpture). Geographic distribution is as follows: the United States, 47% of the turnover for 12% of lots; France, 13% for 28% of lots; Italy, 15% for 26% of lots. While Le Parc's works are offered at different auction houses, Christie's made 32% of the total turnover with 17% of lots, Sotheby's 28% with 14% of sold lots. Of the 500 lots put on sale, 68% found buyers. The unsold rate is 32%. It is quite a high rate which can be explained by the appetite of collectors for works produced during a particular period, between 1966 and 1974, with a peak interest between 1968 and 1971. In fact, 1966 is the year when the artist was awarded at the Venice Biennale and had his first solo show in New York. In addition, because of the issues of May 1968, he was expelled from France and during five months, until his residence ban was removed, he travelled around Europe. It is during this stormy period that the artist was at his best and came to productivity and success on the market. Unsold ratio by lots
Art Analytics
Mediums by turnover
9% 23% 26%
Paintings Multiples
3% 41% 50% 45%
Sculptures Others
Countries by lots by turnover
13% 35% 28% 25% 15%
12%
26%
47%
France USA
Italia Others
Auctions by lots by turnover
17% 55% 14% 14% 37% 32% 3%
28%
Christie's Sotheby's
Cornette de Saint Cyr Others
Turnover and number of lot in relation to year of creation
32% 68%
$ 500 K 50
$ 250 K 25
0 Sold Unsold
1965 1968 1971 1974 1978 1981 1984 1987 1990 1997 2000 2004 Turnover lots
Auction result from Artprice.com
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Julio Le Parc
$ 1,000 K 70 Turnover evolution
Art Analytics
100 %
$ 500 K
35
1989
1991
1993 Turnover
1996
1998
2000
2002
2004 Sold
2006
2008 Unsold
2010
2012
0%
Number of lots
Institutions
Sort of exhibition
Exhibition by countries
Articles by language
15% 32% 49%
23% 15% 85% 13%

France USA Germany Others
12% 48% 13% 16%

Spanish English German French Portugese Others
58%
Museums Others
Galleries Bienniales
Group Solo
Interest in his later works is weaker in spite of the peaks observed in 1978, 1987 and 1990. Until 2002, Le Parc's success at auction sales was relatively limited. It was not until 2010 that the period of prosperity started ($1m of the total turnover for 2010). From 2012 until now, the slowdown is being noticed. The successful period is related to the number of exhibitions and publications on Julio Le Parc. Among the events presenting Julio Le Parc's works, 85% are group exhibitions, 58% of which were held in museums and 32% in galleries. 49% of the exhibitions took place outside of France, Germany and the United States. This explains the articles, 48% of which are in Spanish, the artist's native language. Accordingly, La Nacin is the newspaper with the most publications on the artist, followed by El Norte and Clarin.
Exhibition annual progression 20 13 7
1966 1971 1976 1981 1986 1991 1996 2002 2007 2012
Annual publicity progression La Nacin El Norte Clarn 80
40
Top publication
aaa
1996
1998
2000
2002
2004
2006
2008
2010
2012
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Interview
THE LUMINOUS UNIVERSE OF PACO SAGASTA
INTERVIEW WITH THE ARTIST
Paco Sagasta, settled in a small village in the South of France, invents playful and sparkling creative universes. With bronzes, resins and terracottas, the artist produces his characters and bestiary in mediums and sizes that have no limit but his own imagination. Art Media Agency met with him in order to ask about his background, artistic approach and current activities, but also his views on the regional artistic ecosystem.
Your creations feature a broad variety of styles and mediums. How would you describe your artistic approach? Some artists are obsessive. As for me, I like to have fun and enjoy my creations. I daresay I dont like to labour the point over and over. For instance, my bird series were a great success, but I did not want to do only this. I work on dierent projects, at various times of the year. All year round I can make sketches or model clay, but in the spring I long for gaiety, and then I make birds. It is not boring this way. During the summer, I prefer to work on resin sculptures, outdoors, because they are too toxic to be worked on in the studio. My works are colourful and playful, while I am a rather a melancholic sort of man. I try to convey a colourful representation of the world, to dispel stress and angst. I try and transform them into something positive, rather than explore them in my work. You have settled in a place that enables you to create with serenity I work at home, in my studio. My production is intense, since this brings me positive energy and condence. I do not suer from creators block. I like spontaneous paintings and colouring. In fact, when people ask me if I am a painter, I say not really, I am rather a colourist. Sculpture takes time. You have to be in love with what youre doing. And like in all love aairs, sometimes you come to care less. But your creation must be completed to the end.
What brought you to become an artist? I am an autodidact. I started 20, 25 years ago. Before, I worked as a craftsman, I produced unique pieces, masks and marionettes. As for volumes, I rst started to produce basreliefs, gures imposed with constraints. This was my own academy. I learned from my mistakes, gradually. This is what I like. I just do it with incredible passion, I am never bored. And this can also be negative for me, because I am not the man of one single style, one single thing, while purchasers want precise marks. But I will not ght against my own nature. Can you describe your relationship with your collectors? Being as dispersed as I am is not good for business and fame, people just cannot follow you. But I have always worked a lot. The variety my works oer is no commercial strategy, but in the end it has served me well. My motto, my one richness, is my freedom. I have much worked with a network of buyers. To tell you the whole truth, my other passion is gastronomy. I have many friends here in the country who are starred chefs. I have often displayed works in their restaurants, and gradually some of their clients became collectors of mine. Do you also work with galleries? I h a ve a l s o w o r ke d w i t h galleries, but I did not care much about it, because I had enough work with my network of collectors. In fact, my work has not often been publicly
Petite lle au chien Paco Sagasta
RhynoNew1 Paco Sagasta
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Interview
THE LUMINOUS UNIVERSE OF PACO SAGASTA
INTERVIEW WITH THE ARTIST
displayed, for when I produced a work most of the time it was sold at once. I might say 70% of my artistic production were sold directly from the studio. But as other artists I have also felt the consequences of the crisis over the last year. How do you explain this? I am not speaking of collectors, for they always manage, but of some middleclass buyers who enjoy acquiring an artwork now and then; today they are becoming more and more cautious. As a consequence, the whole artistic system is forced to stop: for instance my founder, with whom I have always worked, has lesser and lesser work, and small galleries struggle to survive. Ten years ago, my works were present in about ten galleries of the region, today
in only two or three. I have long had this luxury of depending of nobody but myself, and the results on my sales have been reinvested directly into my work. Recently I went to the Galerie du Domaine in Saint Clment near Montpellier, a really beautiful gallery that has just opened. But times are difficult also for debuting galleries, they cannot always afford to go on major fairs. Do you think you will go to galleries outside the region? I worked for a few years with a Parisian gallery. I will maybe have a look on that side. I began to sell on the art market at the age of 40. I created my website, but I just could not believe it. In the galleries of the region, they just manage their regional business, they rarely go further than the s c h o o l s of N i ce and Armanon the other hand, important galleries dont want to take risks, and if they do they chose rather conceptual art and installations, which can be amazing artworksbut there is nothing else than this. Do you work with other artists? I do not work as a collective with other artists. I love major movements such as COBRA and the Surrealists. But when you reunite artists with oversized ego, you have chaos! For me art is a solitary process. What about your current artistic activity? I take part in the e x h i b i t i o n To re r i a a t t h e Chapelle Sainte
Anne in Arles (editors note: an event held this year as of 16 March, for which t h e a r t i s t h a s wo n t h e P r i ze of Sculpture 2013), a collective exhibition featuring twenty artists within the framework of Marseille European Capital of Culture, emphasizing the theme of bullfighting. I am no specialist of this discipline, unlike some of the other exhibitors, but maybe I do have a specific sensibility to the art of corrida that has to do with my Spanish origins. Some years ago I produced monumental bronze bulls, and now I am presenting some bronze sculptures, of both small and large sizes. There will be different things, photography, and other beautiful achievements, as for what I have seen. To tell the truth I did not even know the ex h i b i t i o n w a s p a r t of M a rs e i l l e Provence 2013! What do you think Marseille Provence 2013 will bring to the region? I have not explored the subject, but I believe promoting culture and helping young artists make a name for themselves is always a good thing
L'homme au chapeau Paco Sagasta
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Artists
ARTICLE OF THE WEEK
The influence of Ed Ruscha American artist Ed Ruscha appears in the list of Time Magazines 100 most influential people in the world, along with celebrities such as Jay-Z, Steven Spielberg, Kim Jong Un, Justin Timberlake as well as Lebron James. The American artist is the only visual artist to be part of this prestigious list. Moreover, architect Wang Shu is also present in the ranking of the American magazine. Ruscha is currently exhibiting his work in New York at the Gagosian Gallery. Time magazine wrote concerning him that even if Ruscha never met a word he couldnt unsettle, lets hang on to the one we need sometimes to describe him: genius.
AWARDS
Javier Manzano laureate of the Pulitzer Prize Mexican photographer Javier Manzano received the 2013 Pulitzer Prize on 15 April 2013 for the category photography magazine. Manzano won the prize thanks to a photograph featuring two Syrian rebel soldiers in their sniper positions in Alep. In this snapshot titled Shafts of Light, taken in October 2012, the men are lit up by rays of light passing through a wall filled with bullet holes. This photograph further illustrates the risks taken by journalists and photographers covering the Syrian conflict over the past two years. The AFP photographer was born in Mexico and is now based in the United States. Javier Manzano had already been awarded this year by WorldPress. Jon Cattapan laureate of the 2013 Bulgari Art Award The Bulgari Art Award rewards the chosen artist by financing the purchase of one of his artworks by the Art Gallery of New South Wales, with an amount of $50,000. It also offers to the laureate a residence in Italy of a value of $30,000. The winner is selected by the Art Gallery of NSW and by the curator of Australian Art. The theme of predilection of the artist chosen this year is the contemporary city: its architecture, organisation and the way men live within it at the same time. His urban representations are layered with an abstract motive that is similar to the digital matrixes through which information passes. Cattapans work that was chosen by the jury is a triptych titled Imagine a Raft (Hard Rubbish 4+5) 2012. Jon Cattapan is an artist who is based in Melbourne with numerous exhibitions both in Australia and abroad. His work is present in all the collections of the Australian national museums, among which are the National Gallery of Australia and the Contemporary Art Museum of Sydney. Ceremony of the Whitney Museums American Art Awards On 16 April 2013, the Whitney Museum located in New York gave away different prizes during the ceremony of the Whitney Museums American Art Awards. The event saw the awarding of designer Reed Krakoff, of collector Martin Z. Margulies, of the Robert Mapplethorpe Foundation and of the figure of the art market attributed to Michael Ward Stout, for their contributions to the arts. The laureates received a prize designed by Anne Collier. Designer Reed Krakoff expressed his reaction on the site of ArtInfo: It was one of the greatest honours I have received to-date. As an American designer, I am inspired in my daily life by many of the artists, whose work makes up the Whitneys collection, so it was a very personal recognition. Zbynek Baladran laureate of the Audi Art Award 2013 Zbynek Baladran has won the Audi Art Award given on the occasion of the fair Art Cologne 2013. The Czech artist, who is represented by the Galerie Jocelyn Wolff in Paris, received 10,000. Moreover, his work will be presented at Artothek during the summer of 2014. The artist was awarded for his video work Assemblages Against Essences (2009), exhibited at the stand of the Galerie Jocelyn Wolff. In his installation, images and drawings are projected on the ceiling on regular white piles of paper. A hand seemed to pick up the sheets of paper one by one, progressively revealing images hidden under the pile. Baladran is one of the two artists selected to represent the Czech Republic during the 2013 Venice Biennale.
OBITUARY
Ellen Cantor (1963-2013) According to ArtReview, artist Ellen Cantor, born in 1963 in Detroit, United States, has passed away. The sad news was announced by her friend and collaborator, curator Pablo Leon de la Barra. The artist is known namely for her feature film titled Pinochet Porn, in which the artist describes in the form of a soap opera the story of a 5-year-old who grew up under the Pinochet regime, from childhood to adulthood. Filmed in stages, according to the funds granted and with a super-8 reel, the film is a melodrama that is as comical as it is tragic and explicit. Based in London and New York, Cantor exhibited her works at the Serpentine Gallery in London, at Participant Inc. in New York, at Kunsthalle in Vienna, at Transmission in Glasgow, at the Delfina Foundation in London, at Feigen in Chicago, at Cabinet in London, at Postmasters in New York, as well as at the Edinburgh International Film Festival and at Rotterdams International Film Festival.
DOODLE
Googles tribute to Norman Parkinson On the occasion of the 100th anniversary of the birth of photographer Norman Parkinson, the American search engine put a logo dedicated to him online. Parkinson is known as the father of modern fashion photography. He was nicknamed The G man. He started his career in 1931 as an apprentice at the Court photographers Speaight and Sons Ltd. In 1934, he opened his own studio with the help of Norman Kibblewhite. From 1935 to 1940, he worked for the Harpers Bazaar and the Bystander magazine. Then during the Second World War, he served as a photographer for the Royal Air Force. Between 1945 and 1960, he was a f a s h i o n p h o t o g r a p h e r f o r t h e Vo g u e magazine, then until 1964, he worked with the Queen magazine. His work revolutionised the world of British fashion photography in the 1940s, by innovating thanks to a change of dcor. Fashion models went out of their studios to p o s e o n t h e o u t s i d e , i n a l e ss r i g i d environment. In 1981, he received a medal from the Royal Photographic Society. His work had a big influence on the young generation of photographers, such as David Bailey.
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Auctions
ARTICLE OF THE WEEK
Arab, Iranian and Turkish modern and contemporary art at Christies Dubai: results On 16 and 17 April 2013 were organised sales devoted to modern and contemporary Arab, Iranian and Turkish art at Christies Dubai. While the presale estimate priced the 103 lots on offer at about $5.5m, the total turnover achieved by the two sessions amounted to $6,384,750. 93% of lots were sold, five of which for record prices. Among the key sales of the event: Best-seller The secret garden , 2009, by Farhad Moshiri, sold for $987,750; Le Chemin dAlep by Lebanese painter Chafic Abboud (1926-2004), sold for $387,750; Untitled , painting by Syrian artist Fateh Moudarres (1922-1999), sold for $315,570; An acrylic painting by Syrian artist Safwan Dahoul (1961) titled Rve 16 , sold for $219,750; BLACK + BRICK , by Iranian artist Farhad Moshiri sold for $195,750; TCH + TCH + TCHH by Iranian painter Charles Hossein Zenderoudi, sold for $195,750.
RESULTS
Results of the contemporary art sale at Sothebys Doha The contemporary art sale was held on 22 April 2013, with a total gain of $15,199,750 compared to the initial estimate set at about $11.1m to $16.1m. This sale is thus a record for a contemporary art sale devoted to the region of the Middle-East. 89% of the lots were sold. Records were set for nine artists, namely: The work Untitled (Bernstein 90-01), by Donald Judd, with a total gain of $3,525,000; The work of Ethiopian artist Julie Mehretu titled Rising Down, sold for $3,077,000, which is more than its initial estimate of $3m; The monumental work by Chant Avedissian, Icons of the Nile, with a total of $1,565,000, which is a record for a living Arabic artist; The series of paintings created by Mohammed Ehsai, titled Eshgh, sold for the price of $437,000; Suspended Together, by Manal Al Dowayan, with $329,000, after being estimated between $100,000 and $150,000; Yaillahi (Dear God), by Ayman Baalbaki, a new sale record for the artist with the acquisition of the work for $377,000 instead of its initial estimate of about $100,000 to $150,000; Lastly, the portrait created by Mahmoud Said, titled Prole, with a total of $125,000, compared to its initial estimate of $50.000 at most. Results of the Contemporary Art sale organised by the Cornette de St Cyr On 22 April 2013, auction house Cornette de St Cyr organised a sale devoted to contemporary art. Under the hammer of the auctioneer, the sale reached a total of 918,750. Among the main lots: Curve 1, 1981, by Richard Serra, an oil pastel on paper, sold for 137,500; Four triangles within a square, 1976, by Robert Mangold, an acrylic and graphite on canvas for 131,250; Untitled, 2003, by Wim Delvoye, a tattooed skin for 93,750. 450,000 for a Soulages A canvas by Pierre Soulages, Peinture du 3 novembre 1955, was sold for 450,000 on 21 April, during a sale organised by the Etude GalateauPastaud in Limoges. During this auction sale, more than 200 lots were oered, including the artwork by Pierre Soulages, an oil on canvas dated 1955 (60cm x 81cm). The painting came from a private collection and was purchased for 450,000, while its estimate was at about 400,000 to 500,000. The painter from Aveyrons record, known in particular for his use of reections with the colour black, was set in March 2013 at Christies London, when one of his works was sold for 3,812,240. AMA
RECORDS
Record sale for Hans Makart at Dorotheum The auction sales organised by auction house Dorotheum Vienna between 16 and 18 April 2013 allowed a record to be set for Hans Makart, with the sale of The Death of Cleopatra, for 757,300. The work was created in 1875 and represents the dramatic moment that followed the deadly bite of the snake. The oil was estimated between 70,000 and 90,000. Hans Makart (1840 1884) was one of the most prominent and influential painters of the ending of the 19th century, and spread his name through a whole period of Viennese art history, the Makart period. Among the other sales held during these transfers were: Jusepe de Ribera (1591-1652), The Mocking of Christ, sold for 711,300; Giuseppe Maria Crespi (1665 1747), Portrait of a Lady as an Allegory of Abundance, for 366,300; Jan Brueghel II (1601 1678), Village Scene, for 317,500; John William Godward (1861 1922), Eighty and Eighteen, for 268,700; Alessandro Magnasco (1667 1749), Joseph Interpreting Dreams, sold for 253,330. Records at Freeman for an American ag and an Olympic medal On 18 April 2013, auction house Freeman offered an American flag with only thirteen stars and an Olympic medal dating from 1904. The ag, dating from the time when the United States was only composed of thirteen states, was sold for $212,500 while the Olympic medal, dated 1904, was sold for $31,300. This great price is explained by the weak participation at the time of these Olympic Games. Medals were then very rare in those days. We are happy to have reached a new auction sale record for this rare flag as well as a record for an Olympic medal. We are honoured to offer these historical objects at the oldest American auction house said the president of the auction house, Samuel Freeman.
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COMING SOON
Sale of video games at Millon On 13 June 2013, auction house Millon will inaugurate its popular Arts and Culture department with the organisation of a video game sale. Expert Camille Coste will oer for the rst time on auction the most complete ensemble of objects relating to video games ever compiled to this day. From the rst Magnavox Odyssey player, created in 1972, to the Atari players, including video arcade machines and other mythical games, this inaugural sale will disperse, under the hammer of Alexandre Millon, more than 300 lots from the best private collections, including that of David Winter, a former collaborator of Ralf Baer, the inventor of Odyssey. Known as one of the most memorable society phenomena of the 20th century, video games have now entered into the category of popular arts and culture. Bringing together in a single media, images, sounds, scenarios and animations, just as art they develop their own language, an interactive language called gameplay. Nourished by all forms of art and nourishing art in return, video games have fashioned heroes that have been part of the pantheon of pop culture for a long time. Video games can thus be recognised as the 10th art. Among the lots on oer: The prototype of the game Dino Force, 100% complete but never sold. Estimated between 7,000 and 10,000, there are only 2 known copies today; The Console Magnavox Odyssey (USA), presented in its 1972 original version, complete and in its box. The original version was only produced for ve months, with about 140,000 copies; The Videomaster Home T.V. Game VM-577, made in England in 1974, may also stir a lot of greed. As the rst European console produced after the Magnavox Odyssey, only 10,000 copies were produced; A yellow test cartridge for the game The Legend of Zelda. Presented here in its USA version it is estimated at about 800 to 1,000; A Nintendo 64 console, The Legend of Zelda Ocarina of Time, presented in an exclusive version by Sweden, PAL SCN. The lot includes the console and the games Mario 64 and Zelda 64 with their instructions, estimated between 1,200 and 1,500; Another rare piece from the Nintendo universe is the game Castlevania Legacy of Darkness on N64, PAL version, in rigid blister. Not found anywhere today, it is estimated at 2,500. Sale of Modern Posters at the Swann Auction Galleries New York The event is scheduled on Tuesday 13 May 2013. It will offer a total of 253 lots, namely: Delftsche Slaolie, 1895, 89 58 cm, by Jan Toorop, estimated between $8,000 and $12,000; Deutsches Theate r, 1910, 121 89 cm, by Walter Schnackenberg (1880-1961), estimated between $12,000 and $18,000; Imperial Airways / Map of Empire Air Routes, circa 1935, 63 100 cm, attributed to Lszl Moholy-Nagy (1895-1946), estimated between $12,000 and $18,000; Grand prix dendurance de 24 heures / Coupe RudgeWhitworth, 1923, 59 88 cm, by H.A Volodimer, estimated between $12,000 and $18,000; Triplex, 1931, 119 80 cm, by Adolphe Mouron Cassandre (1901-1968), estimated between $15,000 and $20,000; Lart dcoratif & la peinture moderne franaise / Lord and Taylor, 1927, 29 17 cm, by Adolphe Mouron Cassandre (1901-1968), estimated between $25,000 and $30,000; Grand-Sport , 1931, 96 58 cm, by Adolphe Mouron Cassandre (1901-1968), estimated between $15,000 and $20,000; Kleine Dada Soire, 1923, 30 30 cm, by Kurt Schwitters (1887-1948) & Theo Van Doesburg (1883-1931), estimated between $20,000 and $30,000. Masterpiece by Barnett Newman on sale at Sothebys New York The contemporary art sale at Sothebys New York is scheduled on 14 May 2013. Among the masterpieces put on sale, the key piece is Onement VI from 1953, by Bernett Newman, a representative work of Abtsract Expressionism. It is the biggest of the six works creating a series and one of the two that are still in private hands. The painting holds an estimate between $30m and $40m and will be exhibited at Sothebys New York on 13 May 2013, during the sales preview. Barnett Newman is as considered one of the most independent and courageous artists of the 20 th century. He was deeply admired by his colleagues and as an exhibition organiser at the Betty Parsons Gallery, he played a critical role in his friends careers, namely Mark Rothko, Jackson Pollock and Clyfford Still. His paintings influenced the following generation of artists, for instance, Frank Stella. This particular painting was produced by Newman for his wife Annalee in December 1953. The work remained in a private collection for almost a decade and in 1961 was purchased by collectors Frederick and Marcia Weisman. From the six paintings composing the cycle, four are owned by major museums: two belong to the collection of the Museum of Modern Art in New York, one to the Wadsworth Atheneum in Hartford and one to the Allen Memorial Art Museum in Ohio. The last work belongs to the private collector and was purchased at auction in 2012, establishing the painters record. Barnett Newman died in 1970. Sale of an Alfred Dreyfus letter at Sothebys Paris Auction house Sothebys Paris is offering a letter by Alfred Dreyfus to the French Minister of Interior, Georges Leygues, written in prison on 26 January 1895. The item is estimated at about 100,000 to 150,000 and will be present during the sale on 29 May 2013. It is a historical document dating from the time of the Dreyfus scandal. As a matter of fact, the letter was written in prison one month after his sentencing for treason, and three weeks after the generals sadly renowned degradation. In 1900, the letter was restored by the penitential administration to Alfred Dreyfus, after he was pardoned. It was afterward transferred by his grandson to the Bibliothque Nationale de France. Then, after the war, the letter was restored to the Dreyfus family. The current owner of the historical document acquired it at Charavay, a Parisian family bookstore co-owned by Marin-tienne Charavay, who was one of the experts to testify at the trial. A Basquiat on offer at Christies The work titled Dustheads is considered one of the greatest achievements of the artist. It will be offered on the occasion of the Post-war and contemporary art sale scheduled on 15 May
2013. Produced in 1982, at the apex of the artists creativity, this ambitious work is a revelatory example of his style. Estimated between $25m and $35m, this work might well break the record of a work by Basquiat, currently set at $26.4m since a sale occurred at Christies in November 2012. Dustheads has remained in the same private collection for almost twenty years and was presented on the occasion of the Basquiat exhibition held at the Beyeler Foundation in Basel in 2010. It subsequently travelled to the Muse dArt Moderne de la Ville de Paris. It will be on view in London on 16 April 2013 and in New York on 15 May 2014, on the occasion of the presale exhibition.
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COMING SOON
Sale of prints by Old and Modern Masters at the Swann Auction Galleries The sale to be held on 1 May 2013 will offer on auction works by American and European engravers of the 20th Century. Over half of the sale is devoted to prints by Old Masters, starting with forerunners: A Bishops Crozier, circa 1475-80, a fine example of the technical virtuosity of the artist in the creation of curious three-dimensional objects. This piece is estimated between $40,000 and $60,000; A 20 th century group of ten metal engravings and seventeen wood engravings, coloured with gouache and watercolour, illustrating The Passion of Christ, by Israel van Meckenem the Elder, circa 1450 70, estimated between $40,000 and $60,000; A pair of engravings by Albrecht Drer, titled Melencolia I, 1514, estimated between $120,000 and $180,000; Works by Rembrandt van Rijn, among which his biblical works like the Christ before Pilate: Large Plate and Christ Healing the Sick (The hundred Guilder Print) prints, circa 1643-49, estimated between $40,000 and $60,000 each; Secular works, as the Self Portrait Leaning on a Stone Still, 1639, estimated between $20,000 and $30,000, Landscape with a Cottage and a Large Tree , 1641, estimated between $60,000 and $90,000 and The Windmill, 1641, estimated between $40,000 and $60,000; Cain Killing Abel, wood engraving by Jan Gossaert, called Mabuse, circa 1520, estimated between $30,000 and $50,000; Engravings by Bruegel and Giovanni B. Piranesi, 16th century; a lithography by Francisco Jos de Goya titled Dibersion de Espaa, 1825, estimated between $70,000 and $100,000; The section devoted to the 19th century offers works by James A.M Whistler, such as The Piazzetta, 1880, The Rialto, 1879-80 estimated between $15,000 and $20,000 each, The Little Nude Model, Reading, a lithography dated 1889-90 and estimated between $40,000 and $60,000. The major American and Latin-American pieces are: A stag at Sharkeys, a lithography by George Bellow dated 1917, estimated between $80,000 and $120,000, Night Shadows by Edward Hopper, 1921, estimated between $30,000 and $50,000, Two A.M., a view of New York by night by Martin Lewis, 1932, estimated between $15,000 and $20,000, a lithography by Grand Wood titled Sultry Night, 1939, estimated between $15,000 and $20,000 and the lithography representing the portrait of Frida Kahlo titled Desnudo sentado con brazos levantados, 1930, by Diego Rivera, estimated between $8,000 and $12,000; By Henri Matisse, Nu Etude de torsion du corps, lithography dated 1926 estimated between $30,000 and $50,000, Bdouine au grand voile, 1947, estimated between $20,000 and $30,000 and Jazz: The Whorse, the Rider and the Clown, 1947, estimated between $25,000 and $35,000; Expressionism is represented by The Privateet (Der Reeder) by Lyonel Feininger, 1911-12, estimated between $6,000 and $9,000, Maria, a wood engraving dated 1918 by Karl SchmidtRottluff estimated between $8,000 and $12,000, Mutter mit Jungen, a lithography dated 1933 by Kthe Kollwitz, estimated between $7,000 and $10,000 and Max Beckmann portfolios title Day & Dream, including fifteen lithographs made in 1946, estimated between $30,000 and $50,000; The sale will end with Picassos works Femme au fauteuil II: Dora Maar, 1939, estimated between $35,000 and $50,000, Tte de Taureau, tourne droite, a lithography from 1948 estimated between $15,000 and $20,000, LAtelier du Vieux Peintre, a coloured lithography dated 1954, estimated between $15,000 and $20,000 and Femme couche et Homme la guitare, 1959, estimated between $20,000 and $30,000. The presale exhibition will be organised at the Swann Galleries from 25 to 27 April then on 29 and 30 April 2013. Dr Mona Ackerman collection on sale at Christies In May 2013, Christies will organise a sale of Dr Mona Ackermans collection, which includes works by Giacometti, Picasso, Egon, Schiele and Arp. During the session devoted mainly to Impressionism and Modern art scheduled on 8 May, there will be on offer: Mandoline et porte de musique by Pablo Picasso (1923), estimated between $8m and $12m; Marble sculpture, Lily or Elephants Tusk, (1958), by Jean Arp (1886-1966), estimated between $1.2m-$1.8m; Apollos marble torso (1st century B.C.), estimated between $200,000 and $300,000; Marble sculpture, The Triumph Of Truth Over Calumny by Agostino Fasolato (1714-1787) circa 1725, estimated between $200,000 and $300,000. In the part of the sale devoted to Impressionism and Modern works of paper scheduled on 9 May, we might mention: Portrait of a Child (Anton Peschka, Jr.) by Egon Schiele (1890-1918), estimated between $300,000 and $500,000; Homme Assis (John Rewald), 1960, by Alberto Giacometti (1901-1966), estimated between $300,000 and $500,000. She was an extremely intelligent woman and her collection depicts a true diversity of works while keeping aesthetical unity said Paul Provost, the vice-president of Christies about Dr Mona Ackerman. Sale of Comics at Millon On 2 and 16 June 2013, auction house Millon will organise two sales of comic strips in Paris and Brussels. About 200 albums and 350 original works will be offered during these sales, honouring historical creators and contemporary authors such as Uderzo, Franquin, Herg, Bilal, Morris, Francq and Manara. Sunday 2 June 2013 will be reserved for ancient Albums & Editions: An album of Tintin in America, published in 1934, a rare black & white edition with few copies at the time of its publication, not found anywhere on the market today, estimated between 6,000 and 8,000; A Spirou collection as well as a child Spirou costume dated 1947 and estimated between 1,500 and 2,000; Cardboards of the rst three adventures of Astrix, estimated at 1,500 each, as well as rare original editions, looking new, some with signings from great authors such as Herg, Franquin, Jij, Morrisou and Giraud. Sunday 16 June 2013 will be reserved for Comics Strips and Original Works: A mythical comic strip by Uderzo, created in 1969 for the album Astrix in Hispania, in Chinese ink dedicated to a close collaborator, estimated at 90,000; An autographed work by Herg, exceptionally representing the Dupond/t, dated 2 January 1959, as well as a comic strip by Jacques Martin, illustrating the exploits of Alix on The Cursed Island and estimated at 9,000; Amateurs of the XIII series will be able to discover a comic strip by VANCE, an extract from the album There Goes the Indian, published in 1985 and estimated between 7,000 and 8,000, as welll as a work in Chinese ink and ecoline created for the cover of the 25th anniversary collectors series edition. Double signed and dated 1994, this lot is estimated between 10,000 and 12,000; Comic strip no.60 of the album Enki Bilal Hunting, published in 1983, made out of Chinese ink, in graphite and gouache, this lot is estimated between 25,000 and 30,000; The work of Jean Giraud will also be spotlighted during this sale. Particular attention will be drawn on a largesized acrylic on canvas, signed GIR, titled The Pencil and estimated at 40,000.
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Interview
ON THE OTHER SIDE OF THE FAIR
INTERVIEW WITH LAURENT BOURDIER, ARTISTIC DIRECTOR OF THE SLICK ART FAIR
Art Media Agency interviewed the artistic director of the Slick Art Fair in Brussels, a contemporary art fair which was held from 19 to 21 April 2013. This year, the fair aimed to find balance between the vitality of young galleries and the experience of those established, by featuring renowned artists and spotlighting future figures. Laurent Bourdier takes us to the fairs backstage
What is your state of mind concerning this edition? It is the opening of the second year, that is how I see it. Obviously when we launch an art fair we hope it will last, that is why the rst edition is the most signicant, and at the same time it is the most dicult because it somehow denes the following ones. Another advantage is last years positive feedback from important collectors who visited the fair, though they did not have an idea of what it had to oer or to which direction it went. After the satisfactory reaction, we decided to base on the successful features and improve them. Could you tell us something about yourself? What brought you to the position of artistic director of the Slick Art Fair? I am an art critic and working on a fairs organisation is a bit of a coincidence. What encouraged me to take part in this event is that the Slick Art Fair has a very dynamic and well settled team, which I could enrich with my artistic expertise and deep down I just liked the job. Previously, for three years, I managed the contemporary drawing fair. After I left, I wished to nd a trustworthy and dynamic team to work with and I found it here. I organised two editions at the Palais de Tokyo and one at the Marais district last year, as for Parisian editions. And recently, the edition in Brussels held in April 2013 with some innovations and slight modications. For instance, I very much insisted on projects. In fact, I think it is primordial to present solo shows or works produced especially for the fair. How do you convince galleries to take part in the fair? Isnt it a bit risky for galleries to present only one artist at an event of that size? The most convincing is the special price that we oer. The rest is a dialogue, we see artworks or we know an artist, but in general it is for the gallery owner to decide. It is a conversation between me and the gallery owner.
What makes an art fair exceptional is the trace that it leaves in the visitors memory. Sometimes I am a bit negative towards art fairs that are too cautious, but on the other hand it is dicult not to act this way nowadays. I do not want it to be the case of this fair. I wish that it will host exceptional propositions. Maybe this vision coincides with the one of the new contemporary art fairs? We do not organise an art fair in comparison with another one, we make an art fair according to how we see it. The risk is dierent for every fair. In my opinion, an art fair is not only a business place. It is a meeting place for curators, collectors, museum directors, foundations and art critics as well. Furthermore, an art fair is a way to introduce important artworks to all kinds of intellectually, spiritually and commercially active members on the art market. Do you line up your fair with the needs of one precise group? No, I wish to interest and inuence everybody, create a meeting place for all the professionals of the art market, but there is still a lot to be done. There is strong competition and we cannot deny the markets economic diculties, which inuence most young galleries. Anyway, what I am trying to do in reality is to rely on my taste and not necessarily create a regimented and overpowering vision. We know perfectly well that what one can see in a gallery diers according to the country, and it is the same with institutions. At the end, it all ows very well and I would like it to ow better and better at the Slick. What brought you to Brussels? Brussels is a very dynamic city that harmonises all European cultures. In addition, I like the idea of balance between the generations, that is why we present an important group of young, energetic galleries (the majority are less than ve years old) accompanied by renowned ones.
Laurent Bourdier photos : droits rservs
How would you explain this Belgian dynamism momentum? Currently, when it comes to establishing a gallery, Brussels is much more accessible than Paris, namely in terms of costs. Apart from that, there are educated, intelligent collectors that trust their taste. That is an ideal environment for galleries that wish to conrm their choices, ideas or new aesthetics.
AMA NEWSLETTER 99
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25 APRIL 2013
Fairs & festivals

ARTICLE OF THE WEEK
Presentation of the Icelandic Pavillon in Venice On the occasion of the 55 th Venice Biennale, organised from 1 June to 24 September 2013, Icelandic artist Katrn Sigurdardttir has created a large-sized sculpture titled Foundation for the LavanderiaThe Old Laundry. The artist has also created a floating Baroque style platform, measuring about 90sqm. The contour of the architectural structure is formed according to the style of a typical pavilion from the 18 th century. This piece deals with a recurrent theme found in the work of Sigurdardttir, the theme of scale manipulation. After the Venice Biennale, the piece will be installed at the Reykjavk Art Museum, then at the Sculpture Center of Long Island City, in New York. Sigurdardttir worked with two curators to created this exhibition, Mary Ceruti and Ilaria Bonacossa. Ceruti is the director of the Sculpture Center, and Ilaria Bonacossa is the director of the Museo DArte Contemporanea Villa Croce in Genoa, Italy. Katrn Sigurdardttir was born in Reykjavik in 1967. She has been living between Iceland and the United States for 25 years. Her works have been exhibited in Europe and the United States, and are part of numerous public and private collections. She made solo exhibitions at the Metropolitan Museum of Art, New York (2010); MoMA PS1, New York (2006); Frac Bourgogne, Dijon, France (2006); Sala Siqueiros, Mexico (2005); Fondazione Sandretto, Turin, Italy (2004); and at the Reykjavk Art Museum (2004, 2000). Her most recent shows were presented at the Eleven Rivington Gallery in New York, and Meessen De Clercq in Brussels, in 2012.
TOP STORIES
First results of Art Cologne The event was held from 19 to 22 April 2013 and was a great success. Newspaper ArtInfo has listed some of the first results. Among the great sales, the Thaddaeus Ropac Gallery ceded a Robert Longo and reserved a work by James Rosenquist, estimated at 900,000. The Marlborough Contemporary Gallery sold a painting to a British client for the price of 100,000 and reserved one of its canvases, estimated at 38,000. Johann Koening found a buyer for a work by Justin Matherly, for a total of $16,000, as well as a new work by Alicja Kwade, titled Eadem Mutata Resurgo (2013), for 18,000. Peres Projects separated itself from three large-sized paintings by David Ostrowski, for 12,500 each. The Alexander Ochs Galleries sold an oil painting titled Twilight Wanderers (2013) by Lu Song for the price of 9,000 to a German collector. Finally, the V1 Gallery ceded a work titled Friendly Skirmishes (2013) for 5,100 to a Danish collector. Exhibition Airborne at the Virginia Arts Festival The event features an interactive video-projection created by Rafael Lozano-Hemmer for the occasion of the Virginia Arts Festival. This event curated by the Chrysler Museum of Art is scheduled from 19 to 28 April 2013. Airborne transforms an exterior wall of about 557sqm into a romantic shadow projector. Participants are thus invited to project their shadows on the wall. These shadows are controlled by surveillance systems programmed on computers, puffing smoke from the shadows. Moreover, through the puffs of smoke, poetry describing the effects of shadows and lights can be seen. Artist Rafael Lozano-Hemmer was born in Mexico in 1967. He now lives and works in Montreal, Canada. His interactive installations explore the interdependences between architecture, electronics and art performance. He is particularly interested in art creation with public participation. The artist was commissioned in order to create installations throughout the world, from Mexico to Dublin, including Vancouver, Rotterdam and New York. He is the first artist to have officially represented Mexico at the Venice Biennale. The Other Art Fair announces its programming The event will be held from 25 to 28 April 2013 at the University of Westminster in London and is organised in partnership with creative companies, namely CultureLabel, Jotta, Aesthetica and Sipsmith. This year, the artists participating in the event were selected by the laureate of the Turner Prize, Yinka Shonibare. Thus, one hundred of the best artists who are not represented, from countries all over the world, will be presented at the fair. As an exclusive this year, the fair will also work with tattoo artists, namely Mo Coppoletta, who will be performing live and will sell limited editioned prints of his new designs. The event will also include concerts by some of the best new groups in London, film screenings as well as a creative space for children. Finally, the works that will be presented will be affordable since the first prices are set at 50.
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AMA NEWSLETTER 99
27
25 APRIL 2013
Fairs & festivals

TOP STORIES
Assessment of Drawing Now 2013 From 11 to 14 April 2013, the 7th edition of the Salon du Dessin Contemporain Drawing Now was held at the Carrousel du Louvre in Paris. The 85 galleries from 13 countries exhibited the works of 430 artists. Among the two thematic platforms, the Emergence platform received 50% of foreign galleries, and the Reference platform was occupied by 45% of new galleries. 19,000 visitors entered the doors of the venue, among whom were a great number of Swiss and German professionals attracted by the highlight of Swiss creation. The organisers announced a great level of sales, with 50% of galleries claiming that the event was a great commercial success. Among these sales, for Christian Berst, several PLNYs were thus sold for 14,500; the A.L.F.A. gallery sold a triptych by Davor Vrankic for 80,000; Gourvennec Ogor sold an artwork by Martine Feipel & Jean Bechameil for 3,800; the Eric Mircher gallery sold a work by Xue Sun for 4,000; the Gowen Contemporary gallery ceded a monumental work by Yifat Bezalel for 15,500; and Eva Hober also ceded a Jrme Zonder for 12,000. Franois Dournes from the Galerie Lelong explained that the event has gained maturity, and you can feel it through its organisation, its partnerships, the programmes of the fair, but especially through the attitude of the collectors that came to the fair. We also noticed a more international presence than in the previous years, fairgoers who are used to big European fairs specially marked Drawing Now Paris and the Salon du Dessin de la Bourse in their agendas. Commercially speaking, we experienced the best Drawing Now Paris since we became involved in the event. Salon du Dessin 2013 results An event announcing the Spring arrival for 22 years, the Salon du Dessin was held from 10 to 15 April 2013 and welcomed around 13,000 visitors at the Palais Brongniart in Paris. The attendance level remained stable in comparison with 2012 and allowed to classify the event as a reference point on the art markets scene. The fair gathered 39 exhibitors, including 20 French and 19 international. The majority of sales concerned works worth less than 15,000. Among the main sales, we may mention: The Destruction of Pharaohs Host (1836), sold for about 1.5m on the opening night by Jean-Luc Baroni; Untitled (1940), gouache by Yves Tanguy, sold for about 300,000 by Galerie Zlotowski; Femme coiffe dun turban tenant une jarre, by Cornelis Pietersz Bega (1631/32-1664), purchased by an American museum from Bob Haboldt; Casino dOstende , by Lon Spilliaert (1908), sold by the Patrick Derom Gallery; Paysage bois avec une charrette, by Thomas Gainsborough (1727-1788), sold by the Stephen Ongpin Fine Art; tude de pins et roche, by Caspar David Friedrich (1774-1840), acquired by the J. Paul Getty Museum at the Bellinger & Colnaghi; Apart from the major purchases, some galleries made important sales as well. For instance, the Galerie De Bayser which sold twelve pieces, the Claire Kunst with seven sales, including Un faubourg de ville by Camille Corot at the Foundation Custodia, the Talabardon & Gautier Gallery which sold six drawings including Sapho by Edgar Maxence, the Applicat-Prazan Gallery which sold all of its Maurice Estve drawings for about 60,000 each, Jean Franois Baroni who sold nine works, among which is one by Joseph Parrocel and a large-scale watercolour by Harpignies. Finally, the Chantal Kiener Gallery which sold Marais Pontins by Auguste Clsinger to the British Museum.
AMA NEWSLETTER 99
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25 APRIL 2013
Fairs & festivals

TOP STORIES
The Young Belgian Painters Award freshens up The former Young Belgian Painters Award changed its name to the Young Belgian Art Prize. By choosing a new name and logo, three partner-organisers opted for a brand new image of the most important young artists award in Belgium. In fact, this prize goes to creators under 35 years old, Belgians or artists who have been living in Belgium for at least a year before their application. The prize concerns all the disciplines of contemporary art. Participants will compete for five prizes in different categories. The prize was founded in 1950 by the Young Belgian Painter / Jonge Belgische Schilderkunst association and group of collectors and art enthusiasts. The name was changed in order to make it more compatible with the current contemporary scene and the new logo was designed by Codefrisko. The choice of an English name allows the emphasis of an international dimension of the prize and makes it become an important point of reference, such as the Turner Prize in the United Kingdom. The choice of the word Art stresses its openness to all the disciplines of visual arts. Not only the name and looks of the prize changed but also the content. The selection process will be different because applications will be pre-selected in order to facilitate the work of the international jury. Since 2013, the Public Prize has been added to the four existing categories, which aim to involve the public, make people participate, visit exhibitions and vote for their favourite artists. Voting will be possible online on the website, active throughout the month of June 2013. This Public Prize of 6,250 will be handed over during the closing ceremony and will serve to support the future exhibitions of awarded artists along with a catalogue and book publication. Another innovation is a special exhibition space, the Centre of Fine Arts established by ING and Art Brussels, from 17 to 21 April, where all nine finalists will be exhibited. The other four prizes are: the GillionCrowet Prize (25,000), the Emile and Stephy Languy Prize (12,500), the Bozar Prize (12,500) and the ING Prize (12,500). This years finalists of the Young Belgian Art Prize are: Flicia Atkinson, Jean-Baptiste Bernadet, Cline Butaye, Shelly Nadashi, Fabrice Pichat, Jasper Rigole, Helmut Stallaerts, Adrien Tirtiaux and Philippe Van Wolputte. The award ceremony will take place on 26 June 2013, the exhibition will be held from 27 June to 15 September 2013, and the closing ceremony with the Public Prize handing over will take place on 15 September 2013. Vichy to welcome Portrait(s) From 14 June to 1 September 2013, the city of Vichy will host a new event devoted to portrait photography. For its rst edition, the event will feature artists who, through their very dierent approaches, face realities that inspire, outrage and intrigue them. This festival will spotlight the works of eight photographers who will simultaneously exhibit their snapshots throughout dierent spots in the city. Among the artists, Jrme Bonnet makes portraits of celebrities on order. As for Dorothe Smith, she focuses on identity issues, the genre of identity for the young photographer whose image atmosphere brings up lots of contemporary questions. From New Caledonia, Denis Rouvre wants to apprehend a geographically distant reality and have a look at foreigners views on their homelands. Pascal Aimar, on the other hand, sets himself on the opposite side of car windows and invades the privacy of ordinary drivers his photos of incarcerated souls draw watermarks of portraits that are common to all. The media-centred Liu Bolin has chosen the spectacular and paradoxical performance of disappearances to draw attention to the vulnerability of men in regards to the devastating eects of the economic and urban development of their countries. Sarah Moon presents a narrative account through the images of the life of a ction character that becomes a part of reality. Vanessa Winship gracefully looks at school children from Anatolia, through simple but touching poses, in spite of their tough and often inhospitable environment. And as for Sylvie Meunier, she is not a photographer but she has been collecting anonymous photographs for a great number of years. She turns them into little exhibition and edition objects in a poetic and plastic manner. Her last creation, Photomemo, is a memory game composed of 24 moving portraits of anonymous individuals taken in photograph booths. Furthermore, the Third edition of the contest Flash Expo on the theme of portraits will present the snapshots of the participants to the jury presided by Jrme Bonnet. The selection of the artists participating in the event includes Fany Dupchez, the artistic director & commissioner, Karim Boulhaya, the director of cultural centre Valery-Larbaud & commissioner, and Charlotte Benoit, the deputy mayor and delegate for cultural affairs. Launching of the London Book Fair Week From 8 to 16 June 2013 will be held in the British capital, the reunion of seven book fairs in one event. This is thus the setting for the London Book Fair Week, which will be celebrating its rst edition. Among the pieces offered to the public, antiques, rare books, cards, manuscripts, embossments, posters, ephemerals and photographs. The fair will gather in one place the former London International Antiquarian Book Fair, PBFA London International Summer Antiquarian Book Fair, London Map Fair, Ephemera Society London Fair, Bloomsbury Summer Book Fair, Bloomsbury Summer Ephemera Fair and London Photograph Fair. This event is geared to be the biggest organised in honour of the selling of books and paper works.
COMING SOON
Sea Art Festival 2013 at the Busan Biennial This year, the event will be held from 14 September to 13 October 2013 at Songdo Beach, with the main theme With Songdo: Remembrance-Marks-People. It will present works by 35 artists. The Sea Art Festival in Busan was founded in 1987 and it organises exhibitions built around the sea, a natural environment and contemporary art thematic. The works presented are created by hitech tools. Celebrating its 26 th anniversary this year, the event will become a live presentation of art history in Busan. The Sea Art Festival is this year integrated in the framework of the Biennial, but for many years it was organised outside of the main event. It thus became a new cultural meeting representing the city of Busan. The event is organised under the curatorship of its artistic director Tae-Won Park. The objective is to spotlight the history of Songdo Beach, which is celebrating its centenary, through the history of its residents and their traces left in the area. The exhibition is built around three words, Remembrance, Marks, People; and will encompass paintings, photographs and videos. A contest for the participating artists will be held as well. In fact, 20 works were selected to compete for the Grand Prize consisting of a 10,000-cash prize. The winner of the Excellence Prize will be awarded a 7,000-cash prize. The competition is open to national and international contemporary artists with no medium restictions.

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AMA NEWSLETTER 25 April 2013

Art Cologne returns to the champions league

Marie-Ccile Burnichon 30th anniversary of the FRAC. Page 6

Julio Le Parc Page 17 Paco Sagasta artist Page 19 Page 20

Taddaeus Ropacs booth Yes, Jack Pierson Photo: Stphanie Pioda

Laurent Bourdier Slick Art Fair Page 25

Fairs & festivals

Art Cologne returns to the champions league

Art Cologne returns to the champions league

the 47 th edition will strongly influence Art Cologne 2014.

CALL FOR APPLICATIONS

3% 41% 50% 45%

Countries by lots by turnover

13% 35% 28% 25% 15%

Auctions by lots by turnover

17% 55% 14% 14% 37% 32% 3%

Cornette de Saint Cyr Others

Turnover and number of lot in relation to year of creation

15% 32% 49%

23% 15% 85% 13%

12% 48% 13% 16%

Exhibition annual progression 20 13 7

Annual publicity progression La Nacin El Norte Clarn 80

Petite lle au chien Paco Sagasta

RhynoNew1 Paco Sagasta

L'homme au chapeau Paco Sagasta

Pierre Naquin Antoine Cadeo de Iturbide dropbox@artmediaagency.com www.artmediaagency.com

Fairs & festivals

Fairs & festivals

Fairs & festivals

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