203 en

#203
21 May 2015
Paintings, posters and pamphlets:

propaganda and art
through the ages
Guernica (detail) (1937)
Pablo Picasso
Courtesy Museo Nacional Centro de
Arte Reina Sofia
Photo credit: Joaquin Cortes/Roman Lores
Sucesion Pablo Picasso
#203 21 May 2015
Table of contentS
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propaganda and art
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Stories
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Museums
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galleries
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Jerome cavaliere
ARTISTS
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Fairs & Festivals
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propaganda and art

through the ages
he relationship between art and propaganda is a long-standing, though often troubled one. It is said that a picture is worth a
thousand words, and indeed throughout
history visual arts have proved themselves
to be a powerful mode of communication, capable
of shaping perceptions and radically altering the
ways in which we see the world. It should come as
little surprise then, that political movements, governments, and other socio-political organisations
have long attempted to harness the potential of
visual arts as a form of propaganda. From war-time
posters featuring unflattering depictions of the enemy or issuing rallying cries to potential recruits, to
more subtle forms of persuasion, art has played an
important role in many of historys most important
propaganda campaigns, yet the line between politically-driven art and out-and-out propaganda is far
from clear. And although certain works of (more or
less overt) propaganda number amongst the most
iconic and widely reproduced images of all time,
many regard propaganda as the antithesis to great
art, stifling the creativity, personal expression, and
subversive undercurrents that form the basis of
many of our greatest artworks. Was Picasso right to
say that: art is something subversive. If art is ever
given the keys to the city it will be because its been
so watered down, rendered so impotent that its
not worth fighting for? Can works of propaganda
ever truly achieve artistic greatness? And at what
point does a work of art become a work of propaganda and vice versa?
Guernica (detail) (1937)

Pablo Picasso
Courtesy Museo Nacional Centro de
Arte Reina Sofia
Photo credit: Joaquin Cortes/Roman Lores
Sucesion Pablo Picasso
#203 21 May 2015
AOTW propaganda and art

What is propaganda?
In recent decades, the term propaganda has become a highly loaded one, conjuring up images of
the nationalistic, xenophobic, racist, and anti-Semitic
propaganda at the centre of some of the most tragic
and bloody conflicts of modern history. Indeed, the
Nazi and Soviet propaganda campaigns, the former
spearheaded by Joseph Goebbels, a figure now
synonymous with the most poisonous and insidious brand of propaganda, are ample evidence of
the potentially grim consequences of ill-intentioned
propaganda. The strong negative connotations carried by the term were remarked as early as 1928 by
American political scientist Harold Lasswell, who
noted that propaganda has become an epithet of
contempt and hate, and the propagandists have
sought protective colouration in such names as public relations council, specialist in public education,
public relations adviser. Prior to these conflicts,
however, the term propaganda was a more neutral
one, variously defined as a deliberate, systematic
attempt to shape perceptions, manipulate cognitions, and direct behaviour to achieve a response
that furthers the desired intent of the propagandist
(Garth Jowett and Victoria ODonnell, Propaganda
and Persuasion) or as a message sent on behalf of
a socio-political institution or cause to a socially significant group with the intention to persuade (Sheryl
Tuttle Ross, Understanding Propaganda).
From Egypt to Rome: were the Great Pyramids
great propaganda?
Casting aside the pejorative sense of the term, use
of the arts as a means of propaganda can be traced
back to the most ancient civilisations in human history.
We have learned much of what we know of Ancient
Egyptian society from observing its art and architecture, and the wealth of great monuments and dazzling landmarks built to glorify or commemorate the
all-powerful Pharaohs that ruled the vast empire. From
the iconic Sphinx of Giza to the Valley of the Kings and
the Great Pyramids, the Pharaohs clearly understood
the power of art and architecture to influence and control, making use of slave labour and immense riches
to create these enduring symbols of their power and
status. There exists no better example of the efficacy
of this particular breed of artistic propaganda than the
burial mask of Tutankhamen, a solid gold carved head
so iconic that it has informed hundreds of years of
popular culture depictions of Ancient Egypt. It is in no
small part due to this lavish mask that Tutankhamen is
amongst the best known of the Ancient Egyptian rulers, despite being a sickly and ill-fated boy-king that
barely made it into adulthood.
Henry VIII and Henry VII (detail)

(1537)
Hans Holbein the Younger
The Great Pyramids of Giza
The Ancient Egyptians were far from the only early

masters of propaganda, however, with savvy rulers
across the ages realising the potential of the arts for
self-promotion, either via statues glorifying military
triumphs (like Rome Trajan's Column) or portraits
depicting them draped in furs and jewels. Given
that until relatively recently the vast majority of artists relied on patronage, financial support given by
wealthy supporters, it is unsurprising that so many
great works of art bear the hallmarks of propaganda, though may not commonly be considered
as such. Hans Holbeins portrait of Henry VIII is a
notable example of a masterpiece that doubles as
highly effective propaganda. The painting depicts
the English monarch in a powerful stance, with vast
shoulders, arms akimbo, and a stern commanding
expression. Surviving armour worn by the king suggests that he was significantly shorter in reality than
he appears in the painting, as well as being older,
more haggard, and in worse health, having recently
suffered an injury. Yet it is this striking image that
has provided the most enduring image of Henry
VIII, even centuries after the original was destroyed
in the Whitechapel fire of 1698, thanks to the numerous copies that found their way into the salons
of dozens of other rulers and nobles, contributing
to Henrys legacy as a powerful and charismatic
ruler. It is clear that not all of the works created in
this period were such carefully executed pieces of
propaganda, and many patrons would have had
limited influence over works that they financed,
however many commissioned works would certainly have aimed to project a favourable impression of
the powerful individuals funding them.
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#203 21 May 2015

Posters and pamphlets: propaganda in military
conflicts
During the 19th century, technological advancements leading to the mass production of materials
saw the advent of tubes of paint (formerly prohibitively expensive and difficult to store and transport)
along with more affordable paper, brushes, and
canvas, allowing artists to break free of patrons, often embracing a more experimental, individualistic,
and anti-establishment approach to their work. This
evolution did not, however, spell the end of the long
marriage of visual arts and propaganda, but rather
saw propaganda diverge from fine art, not only in
terms of content but also medium and style. The
poster, cheap and easily reproducible, became the
medium of choice for many of the most important
propaganda campaigns of the 20th century. Though
such images were no doubt influenced by the trends
in fine art (cubist and Suprematist influences are clear,
for example, in many of the early Soviet propaganda
posters by artists like Valentina Kulagina and Strakov
Braslavskij), while abstraction and more experimental
styles were gaining ground in fine art, propaganda
posters tended to be highly realistic in style.
Many of the most famous propaganda posters in
history have arisen from wartime propaganda campaigns, whether aiming to recruit conscripts, garner
public support for a war, promote participation in a
broader war-effort, or simply propagate negative
stereotypes of the enemy. The iconic Lord Kitchener
Wants You poster, designed by little-known British
artist Alfred Leete, is amongst the most important
and well-known pieces of First World War propaganda, inspiring another major work of war propaganda
in the form of J.M. Flaggs 1917 Uncle Sam poster,
which reads I want you for the U.S. army. Though
arguably lacking in subtlety and even artistic merit,
these powerful compositions have nonetheless
gone down in history as symbols of patriotism and
nationalism. Indeed, many of the major international
conflicts of the 20th century were matched with similarly violent propaganda wars, many of which played
on existing national or racial stereotypes to foster
fear and hatred of given nations or groups in society,
such as Hans Schweitzers famous anti-Semitic posters released in Germany in the early 1940s. Though
these images have proved highly influential, with
many boasting enduring fame (or notoriety) close
to a century after their original publication, whether
such overt cases of propaganda should be considered works of art is less clear
Soviet propaganda poster
Kitchener WW I Recruitment poster

Alfred Leete
Mural La despedida (The Goodbye) on

the walls of the San Ildefonso College
in Mexico City by Clemente Orozco
Personal versus political

Though many artists of the 20th century relied on private sales for their primary income, there remained
nonetheless a number of artists for whom commissioned work, whether state or private, represented
the majority of their artistic output. One such example is American artist Norman Rockwell, who is
best known for his paintings that graced the cover of
the Saturday Evening Post for decades. His saccharine, pastel-hued images depict an idealised vision
of suburban and rural America, their sentimental
view of a bygone era of US history often criticised
for glossing over the social issues facing 1950s
and60s America, a period in which racial and class
tensions ran high. In addition to this more subtle
form of propaganda, Rockwell was also responsible
for more overtly ideological works such as the Four
Freedoms series, inspired by a speech by Franklin D.
Roosevelt, which was published in the Saturday paper in 1944. Later in life, Rockwell, dissatisfied with
the sugar-coated vision projected by his Saturday
Evening Post tenure, turned his attention to more
controversial topics, including race relations. These
later works, such as The Problem We All Live With, a
painting inspired by the story of African-American
schoolgirl Ruby Bridges and her struggle against
segregated education, are similar in style to his earlier paintings, but strikingly different in content, representing the antithesis to the gently conservative
message conveyed by his cover illustrations.
Amongst the most notable examples of politically partisan artists to face tensions between his own political
and artistic vision and that of his patrons is Mexican
painter Diego Rivera. Well known for his large-scale
mural paintings, many of Riveras most important artworks were state-commissioned, and dealt with highly
political themes. Returning to Mexico in 1921 after
a long stay in Europe, Rivera was commissioned by
then-Minister of Education Jos Vasconcelos to take
part in a mural programme, which kick-started the
Mexican muralism movement. Rivera, along with artists such as David Alfaro Siqueiros and Jos Clemente
Orozco, received state funding for their monumental
frescoes, many of which were painted on the sides of
civic buildings, and which aimed to glorify the Mexican revolution and convey various other nationalistic,
social, and political messages. Vasconcelos project
was, in essence, a large-scale propaganda campaign,
aimed at spreading the ideology of the revolution to
a largely illiterate population. However, though the
movement continued for close to half a century, and
saw the creation of many great artworks, its three main
artists, Rivera, Orozco, and Siqueiros, eventually came
into conflict with Vasconcelos over questions of both
artistic style and political content. While Vasconcelos
favoured a more classical, European style of painting,
the so-called Big Three began to create increasingly
experimental work, taking cues from Aztec art, and to
depart from classical proportion and figure, meanwhile struggling to express their more radical political
leanings under close government supervision.
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Uncle Sam poster (1917)

J.M. Flagg
#203 21 May 2015

Covert propaganda
Aside from these explicit examples of political
propaganda, it is not uncommon for visual artists
to be more tangentially involved with various social
and political causes, whether via support or funding by political organisations, or simply by association with a particular ideology or movement. There
has been much speculation on the involvement of
the US government with the Abstract Expressionist
movement during the Cold War. It has been argued
by revisionist historians that the CIA took an interest in the burgeoning artistic movement, seeking to
present America as a haven of free artistic expression, and challenge the Socialist Realism style of art
enforced in the USSR and other Peoples Republics.
A number of historians, including Frances Stonor
Saunders, author of Who Paid the Piper?: CIA and
the Cultural Cold War, assert that the Congress
for Cultural Freedom were responsible for funding and organising a number of Abstract Expressionist exhibitions from 1950until 1967. However,
since the works in question, by the likes of Jackson
Pollock, Barnett Newman, or Robert Motherwell,
are largely devoid of explicit political content, is it
fair to consider the works themselves as pieces of
propaganda?
Jackson Pollock in his studio
Number 23 (1948)
Jackson Pollock
Credit: Tate Gallery
Indeed, from the most overt forms of political propaganda to more implicit endorsements of social or
political causes, visual artists and their creations
have provided, and continue to provide, an important vessel for political messages. From Riveras
vast murals, to Pollocks abstract masterpieces, it is
clear that propaganda campaigns have brought
us some of our most valuable and iconic works of
art; yet in cases where artists personal artistic or
ideological perspective aligns less readily with that
of their patron, such pressures often prove stifling.
Moreover, whilst the world of propaganda is by no
means a barren wasteland of artistic mediocrity, it
is clear that great propaganda does not always demand great art; and indeed, much of historys most
powerful propaganda is one-dimensional, simplistic, and steeped in clich hardly the hallmarks of
artistic merit For centuries propaganda has embraced the good, the bad, and all-too-often, the
ugly side of the visual arts, and with the boundaries
between artistic propaganda and political art unclear, or even non-existent, the debate surrounding
art and propaganda is one with which artists will be
faced for generations to come.
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Mural showing the life in Aztec times in

the city of Tenochtitlan by Diego Rivera
Credit: Palacio Nacional, Mexico city
Indian Mexico
Diego Rivera
Credit: Palacio Nacional, Mexico City
#203 21 May 2015
Top stories
e-businessWeng Fine Art Group to launch E-Commerce platform
n 28 May 2015 the Weng Fine Art Group are to launch their new e-commerce platform, called Weng Contemporary. The launch of the online
platform is to be celebrated with an event in London.
The new platform will focus on fine art multiples, featuring a selection of more
than 100 works by major contemporary artists, the majority of which will be
priced at between $1,000 and $100,000. The current portfolio includes important figures in contemporary art including: Gerhard Richter, Andy Warhol, Jeff
Koons, Robert Longo, and Alex Katz. In addition to offering multiples, the web-
site will also publish editions.

Headquartered in Zug, Switzerland, Weng Fine
Art is an art dealing and art service provider, operating subsidiary branches in Germany. Founded in 1994, the business specialises in works by
artists such as Picasso, Matisse, Warhol, Richter,
and Hirst, focusing on mid-range rather than
seven-figure price tags.
popularNew York residents have the right to
reject unpopular public art
he residents of New York now have the right to
complain about and block the installation of certain works of art in public spaces of the city, as a result of a new bill voted in by the municipal council,
DNA Info has reported.
My bill aims to enhance the Percent for Art program [the law which requires that one percent of
the budget for construction projects be spent on
public art] by giving New Yorkers the ability to have
a greater role in selecting public art projects that
truly reflect the diversity of our city, stated Jimmy
Van Bramer, the councillor of Long Island City who
introduced the bill. From now on, before being approved, works of art will be presented to the citys
residents for their approval.
The bill was inspired by Israeli artist Ohan Meromis
eight-foot-tall pink sculpture, that was to be constructed in Long Island City in 2016, and which was strongly
criticised by the citys residents. The bill has not yet been
signed by the Mayor of New York, Bill de Blasio.
patronA new management team for the association of patrons Admical

dmical, the association representing French
patrons now has a new management team,
composed of CEO Franois Debiesse, and two
supporting general representatives, Charlotte Dekoker and Sylvaine Parriaux.
Bndicte Menanteau left the job of general representative after six years of working for them and a
new organisational team, has consequently been created. Franois Debiesse, CEO since November 2014,
is working with Charlotte Dekoker, former director of
communications for the association, and Sylvaine Parriaux, former director of subscriptions is to take care
of new executive functions. He said: The issues for
patrons are nowadays fundamental before the growing needs of the general interest and the worries of
the professionalisation of patrons.
Founded in 1979, Admical is an association that is
recognised to be of public utility, which diffuses the
practice of patrons alongside companies and entrepreneurs, represents patrons alongside public
authorities and medias and works towards a larger
professionalisation of the patron.
vipSylvester Stallone retrospective in Nice

n 15 and 16 May 2015, Sylvester Stallone attended the opening of the exhibition Real Love:
paintings 1975/2015, a retrospective of the actor, director, and painters work which took place at the Museum of Modern and Contemporary Art in Nice.
The exhibition was accompanied by a press conference at which the artist, along with Mathias Rastorfer
of Zurich-based Gmurzynska Gallery, Christian Estrosi, the mayor of Nice, and Daniel Moquay, the curator
of the exhibition took questions from the large group
of journalists and fans present. The press conference
was followed by a celebratory dinner which took
place at the nearby Villa Massena.
Born in 1946, Stallone is best known for his lead
roles in the Rocky and Rambo film series. His paintings deal principally with his persona as an actor,
and his on-screen characters.
10
Sculpture with Colour (Deep Blue

and Red) (6) (1943)
Barbara Hepworth
The Hepworth Estate
moneyVisual artist to appear on new 20

note
he Bank of England has announced that it intends to choose a visual artist as to appear on
the new 20 note, which will come into circulation
in three to five years, replacing Scottish economist
Adam Smith who is currently featured.
Mark Carney, head of the Bank of England, has said
that the bank intends to honour the contribution of
visual artists to British culture. The nominees will be
selected by the public, and may be painters, sculptors, designers, architects, fashion designers, or
directors, on the condition that they are no longer
living. The Bank of England has assembled a selection committee, who will present their choice to the
president at early next year.
According to the BBC, Barbara Hepworth is the current favourite, alongside contenders such as William
Hogarth and Joseph Mallord William Turner.
View of Manhattan from

Long Island City
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#203 21 May 2015
Top stories
legalGuggenheims descendants in legal
battle
wo grandsons of the late philanthropist Peggy
Guggenheim, Sandro Rumney and Nicolas
Hlion, have contested the current management of
their grandmothers collection in Venice before the
Court of Appeal in Paris on 19 May 2015.
The grandchildren of Guggenheim, who died
in 1979, hope to have the Venice collection restored to its original state, and insist that the
organisation of her collection of modern art,
which contains masterpieces by Picasso, Pollock,
and Klee, has not been conserved according to
their grandmothers wishes, since it is exhibited
alongside works from other collections, such as
the Schulhof collection, and is thus likely to dilute
the philanthropes vision. The plaintiffs have
claimed that, of the 181 works exhibited, more
40% have no connection to the original collection. They have also called for protection of the
small garden that houses Guggenheims ashes,
as well as those of her dogs, where new plaques
dedicated to other collectors have appeared.
The Solomon R. Guggenheim Foundation in New
York, which owns the Venice collection, has ridiculed Rumney and Hlions claims, noting that the
grandchildren of Peggy Guggenheim are not her
heirs and were not mentioned in her will.
arrestBardo shooting: a suspect arrested in

Italy
he authorities in Italy announced on 20 May
2015 that a Moroccan man, suspected of having participated in the shooting in the Bardo Museum in Tunisia, has been arrested near Milan, in
the north of Italy.
22-year-old Abdelmajid Touil was arrested in the
flat in Gaggiano where his mother and brother,
reported the head of DIGOS (the police division
charged with investigating special operations and
terrorism) in Milan. According to the Italian police,
the suspect arrived in Italy by boat, where he was
arrested in response to an international arrest warrant sent out by the Tunisian authorities, who suspected that he had participated in planning and
executing the terrorist attack. 20 foreign tourists,
four Tunisians and one police officer were killed in
the attack. Among the terrorists, two of the three
were killed, and the third fled.
Since the attack on 18 March, the Tunisian authorities placed almost a dozen suspects in custody. The
reopening of the museum had been planned for
24 March, but took place on 29 March.
Solomon R. Guggenheim Museum

Photo credit: David Heald
Solomon R. Guggenheim
Foundation, New York.
View of Bardo Museum

Carthage Room
Credit: Cline Rabaud
installationNYPD criticise controversial art

installation
he New York City Police Department (NYPD)
have criticised the controversial new installation
by the artists Atif Ateeq and Roopa Vasudevan,
which is currently on show at the Flux Factory in
the citys Queens neighbourhood, reports nydailynews.com.
The exhibition, which is entitled Hands Up, invites
visitors to experience a simulation of being killed
by the police. Using motion detectors to trace the
movement of participants, the installation mimics
the experience of being shot with a gunshot sound
effect and a camera flash. Of his intentions for the
exhibition, Ateeq has said: I want people to walk
away feeling uncomfortable and for this experience to provoke thought [] This topic is about the
imbalance of power in society. Patrick Lynch, president of the Patrolmens Benevolent Association,
has expressed his concern over the piece, which,
he claims, perpetuates false and damaging notions
about the police and their use of force.
The artists were inspired to create the piece by the
recent arrest of Freddie Gray in Baltimore, shooting
of Walter Scott in South Carolina, the death of Eric
Garner, who was strangled whilst in police custody,
and the death of Michael Brown in Ferguson.
11
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#203 21 May 2015
Museums
DONATIONCharles White collection donated to Blanton Museum
he Blanton Museum, part of the University of Texple have presented a selection of documents which will be part of the Universitys
as in Austin, has received a generous donation in
Benson Latin American Collection library, as part of their growing collection of rethe form of a collection of works by celebrated Afsources on the African American diaspora. The Gordans collection traces Whites
rican American painter Charles White (1918-1979).
career of 30 years, and reveals the artists interest in African and African American
The works were donated by Dr. Susan G. and Dr.
history and culture. Highlights of the collection include the painting Homage to SterEdmund W. Gordon of Pomona, New York.
ling Brown (1972) and the famous drawing Awaken from the Unknowing (1961).
The pieces in question represent the most rich and exSimone Wicha, director of the Blanton Museum, has said: It is a tremendous
tensive collection of Charles Whites work, with drawhonor for the Blanton to be entrusted with this substantial gift of works by
ings, sketches, and major paintings amongst the 20
Charles White [] White was not only one of the most renowned draftsmen
works donated. In addition to this collection, the couof the 20th century, but also a distinguished educator and revered mentor.
AWARDICA and CAM Saint-Louis awarded the

AICA prize
he International Art Critics Association (AICA),
located in the United States, has awarded the
prize for Best Monographic Museum Exhibition to
the Institute of Contemporary Art (ICA) at the University of Pennsylvania and the Contemporary Art
Museum Saint-Louis (CAM).
The jury was impressed by CAM Saint-Louis exhibition
entitled Dear Nemesis, Nicole Eisenman 19932013,
assembled by curator by Kelly Shindler. For its part, the
Institute of Contemporary Art (ICA) at the University of
Pennsylvania secured its title with the same exhibition,
this time organised by Kate Kraczon.
The ICA is to accept the award during the AICAUSA Awards ceremony on 8 June 2015, at the Izhar
Patkin Studio in New York.
Views of the Blanton Museum

Credit: Kathleen Stimpert
returnCleveland Museum of Art returns Hanuman sculpture to Cambodia

n 12 May 2015, a Buddhist ceremony was held in
Phnom Penh to celebrate the return of Hanuman,
the Hindu monkey-god, handed over to the national
museum by the director of the Cleveland Museum of
Art, William Griswold. The Ohio museum acquired the
one-metre-high statue in 1982, but now believes that
it was in all likelihood looted from the capital of the
Khmer kingdom, Koh Ker, in the tenth century.
Late last year, the museums curator of Indian and
Southeast Asian art, Sonya Quintanilla uncovered
evidence that the works head and body were sold
separately in Bangkok in 1968 during the Vietnam
War, and in 1972 during the civil war. In February this year, the Cambodian authorities provided
evidence that the statue matched a pedestal excavated by French archeologist Dominique Soutif,
from the EFEO, in the east gate of the Prasat Chen
temple. They found fragments in situ, including the
right earring, missing from its head.
The Cleveland museum has signed a memorandum
of understanding with Cambodia to provide technical assistance and undertake joint projects, including
the loan of Khmer art for shows in Cleveland.
12
expansionBass Museum receives $7.5 million for an expansion

he Bass Museum of Art, in Miami, has just received a $7.5 million grant from the city for the
construction of an extension.
To accommodate a growing number of visitors, the
building dating from 1933 plans, with the agreement of the citys Historic Preservation Board, to add
almost 1,000 square-metres to its 3,250-square-metres, after its first extension in 2000. The museum recently closed its doors and will not reopen until the
works are finished, in the summer of 2016.
The Bass Museum of Art was founded in 1963 by the
city of Miami Beach following a donation from collectors John and Johanna Bass, in the 1930s buildings of
the former Miami Beach Library and Art Center. The
museum brings together works worldwide ranging
from the Renaissance to the contemporary era with
important painting collections from the 14th century,
and of contemporary and Asian art.
HRAnne Pasternak named new director of the

Brooklyn Museum
he Brooklyn Museum has announced that it has
appointed Anne Pasternak, the current president and artistic director of the New York-based
arts non-profit Creative Time, as its new director.
During the 20 years that Anne Pasternak spent at
the head of Creative Time, she was a true driving
force behind major public art projects presenting
hundreds of artists in New York, throughout the
United States, and abroad. She is to succeed Arnold Lehman at the Brooklyn Museum, who is to
retire after 17 years as its director.
Anne Pasternak commented that she is humbled
and deeply honored to follow in the footsteps of
Arnold Lehman, and promised to build on the museums assets in order to continue his mission.
T
View of the Bass Museum of Art
World Red Eye
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#203 21 May 2015
Museums Whats on
AustriATracey Emin at the Leopold Museum
ntil 14 September 2015, the Leopold Museum
in Vienna, Austria, is displaying the works of
Tracey Emin in an exhibition entitled Egon Schiele:
Where I Want to Go.
The exhibition features over 80 works by contemporary British artist Tracey Emin, an important
member of the Young British Artists. A selection
of drawings by Egon Schiele will be presented in
the exhibition alongside Emins works, allowing for
interesting parallels to be drawn between her work
and that of the Austrian Expressionist. Emins works
deal with themes such as unrequited love, suffering, longing, and desire, and the works on display
at the Leopold Museum range form acrylic paintings to installations made from neon lamps, wood,
metal, and textiles, as well as bronze sculptures,
videos, and photographs.
Born in Croydon, in the United Kingdom, in 1963,
Tracey Emin studied at both the Maidstone Art College and the Royal College of Art in London.
FRANCEIcnes amricaines at the Grand

Palais
ntil 22 June 2015, the Grand Palais is hosting
an exhibition of 49 important American works
from the second half of the 20th century, on loan
from the San Francisco Museum of Modern Art and
the Fisher collection.
The first joint presentation of the works from the San
Francisco Museum of Modern Art and the collection
of Doris and Donald Fisher, it brings together over
1,100 works, acquired between the years 1970 and
1990, currently held by the San Francisco Museum.
The exhibition brings together paintings and sculptures by 14 major American artists, mainly dating from
after abstract expressionism, such as Roy Lichtenstein,
Andy Warhol, Dan Flavin, and Cy Twombly.
The San Francisco Museum of Modern Art has
been undergoing extension works since 2013. The
exhibition can be seen as a European taster of the
new atmosphere that the museum will have after its
reopening, in the spring of 2016. Founded in 1935,
the institution was the first modern and contemporary art museum on the West coast.
Tracey Emin before

Egon Schiele's Seated Male Nude
Credit: Leopold Museum
13
spainASTRONOMY. Incursions into the cosmos at La Casa Encendida

he social and cultural centre La Casa Encendida
is hosting the exhibition ASTRONOMY. Incursions into the cosmos, until 30 August 2015.
The ambitious exhibition, curated by Danielle
Tilkin, immerses the viewer in the complex world
of the cosmos through its reflection on contemporary art. The fascination of members of the kinetic
art, cybernetics, and Zero group movements in Europe with outer space and the cosmos provides a
stimulus for the exhibition, with videos by Nicolas
Schffer, and Gyula Kosice as well as works by Paul
van Hoeydonck, who with his small sculpture The
Fallen Astronaut became the first artist to hold a
solo exhibition about the moon in 1971.
Based on over two years of research, the show is
a reflection on science fiction, space, and the universe through photographs, videos, paintings, and
sculptures by artists such as Alfonso Borragn,
Robert Dimatteo, Evrugo Mental State, Greatest
Hits, Keith Haring, Susan Hiller, Mike Kelley, Yves
Klein, Robert Llims, Isamu Noguchi, Tony Oursler,
Nicolas Schffer, Peter Stichbury, Angelo Vermeulen, and Michael Zansky, amongst others.
It's Not The Way I Want To Die (2005)

Tracey Emin
Courtesy Tracey Emin and White Cube
Bildrecht
La ciudad hidroespacial (still) (2003)

Gyula Kosice
Credit: Museo Kosice
SwitzerlandFlorian Graf at Kunst Halle

Sankt Gallen
unst Halle Sankt Gallen is to host an exhibition
of works by Swiss artist Florian Graf, entitled
Chamber Music, until 28 June 2015.
Especially interested in how we install ourselves
in a space and the effect that spaces have upon
us, Grafs concern with the emotional, intellectual,
and psychological aspects of space is expressed
through various media ranging from drawings,
sculptures, and films to interventions, installations,
and actions in public space. Chamber Music,
composed specifically for the premises of Kunst
Halle Sankt Gallen, examines the triad of public
space, private space, and natural space, with each
occupying one of the three exhibition halls.
Florian Graf, born in 1980 in Basel, studied at the
School of the Art Institute of Chicago and the Edinburgh College of Art amongst others. The artist currently lives and works in Basel. His solo exhibitions
include: Krasnoyarsk Museum Center, Krasnojarsk
(2014); Wettsteinplatz Basel, Art Basel (2013); Zeppelin Museum Friedrichshafen (2012); Curtat Tunnel, Lausanne; and Abbatiale de Bellelay (2011).
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#203 21 May 2015
Museums Coming soon

australiaPrivate
Archaelogy:
Marina
Abramovi at MONA
rom 13 June until 5 October 2015, Marina
Abramovi is to return to the Museum of Old
and New Art (MONA) in Hobart, the capital of Tasmania in Australia after 17 years with an exhibition
entitled Private Archaelogy.
The exhibition brings together works from the beginning of Marina Abramovis career and gives an
overview of the artists creations over more than
40years. It aims to demonstrate the way in which
her work can be reduced to a central ideology, what
she calls the art of the immaterial. Throughout the
exhibition, the artist and the public will use objects
and simple rituals to reinforce the consciousness of
the present moment for each participant. The title
of the exhibition refers to a series of four cabinets
each including personal objects selected by the
artist. The exhibition will include sound pieces, video works, photographs, sculptures, and interactive
works using the Abramovi Method.
Marina Abramovi was born in Belgrade in Serbia
in 1946. Part of the artistic movement Body art, she
studies the boundaries of physical and mental potential by using her own body in her performances.
In 2001, she moved to New York where she currently lives and works.
germanyCash for Gold: Nina Beier at Kunstverein, Hamburg

rom 23 May until 26 July 2015, the Kunstverein in
Hamburg is to host Cash for Gold, Danish artist
Nina Beiers first solo museum exhibition in Germany.
The conceptual artists exhibition intends to consolidate the negotiating space between representation
and value, whilst exploring the complex relationships
between objects and images. For his work, the artist uses materials from the public, private or natural
domains, such as Herms ties, natural hair wigs, and
nicotine chewing gum. The exhibited works explore
social and political issues of representation in order
to identify areas of contradiction and confusion, and
provide the viewer with a critical and humorous reflection on different models of society.
Nina Beier was born in Denmark in 1975 and her
work has been the subject of numerous solo exhibitions, such as at Metro Pictures in New York, DRAF
in London and at Kunsthaus Glarus in Switzerland.
In 2014, the artist was awarded the 44th edition of
the Bttcherstrasse Prize at Bremen.
Greens (500) (2013)

Nina Beier
Courtesy Croy Nielsen, Berlin
14
Tileables, Mass Dry Pharmaceutical

Plunge (detail)(2014)
Nina Beier
Courtesy Croy Nielsen, Berlin
Photo credit: Dawn Blackman
View of the exhibition Disguise:

Masks and Global African Art
Courtesy Seatle Art Museum
norwayAne Hjort Guttu at the Bergen Kunsthall

ating or opening a window or just walking dully
along, an exhibition dedicated to Ane Hjort
Guttu, the laureate of Bergen International Festival,
and organised by the Bergen Kunsthall, is taking
place from 28 May until 15 August 2015. The artist
will present her most recent projects and unveil her
latest film to date, Time Passes (2015), premiering
at the Bergen Kunsthall.
Ane Hjort Guttu is interested in social phenomena
and the artists place within society. Touching on the
themes of power, liberty, and the role and responsibility of art, as well as the possibilities and limits of
political art, she raises the question of public space
and its evolution, taking Bergen as an example. Time
Passes (2015), focuses on the current debate around
the ban on begging and the policies implemented
by Norway against its Roma population.
Ane Hjort Guttu was born in 1971 and currently lives
and works in Oslo. Her film Time Passes (2015) will also
be shown at the South London Gallery from 25 June,
as part of an exhibition dedicated to the artist.
UNITEDSTATESDisguise: Masks and Global

African Art at Seattle Art Museum
rom 18 June, Seattle Art Museum (SAM) is to host
Disguise: Masks and Global African Art, an exhibition celebrating 21st-century evolutions of the mask
and exploring contemporary forms of disguise.
The exhibition gathers together artists working in
Africa, Europe, and America. Ten artists were asked
to come up with new visions and sounds for the
exhibition, including eight commissions. Performance commissions are prominent in the exhibition, showcasing disguises being enacted in city
streets, in forests, and in museum galleries, with
one artist composing a soundtrack to set a base
pulse, and two others having enacted and documented their own masquerades in Nigeria.
Organised by SAM, Disguise will travel to the
Fowler Museum at UCLA from 18 October 2015until 13 March2016, and to the Brooklyn Museum
from22Apriluntil 11 September 2016, after its
presentation in Seattle. The exhibition is accompanied by an illustrated catalogue with statements by
all ten artists featured in the exhibition, an essay by
Seattle Art Museums Curator of African and Oceanic Art Pamela McClusky, and an interview with
Consultant Curator Erika Dalya Massaquoi.
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#203 21 May 2015
Galleries
ESTATEGalerie Thaddeus Ropac represents the estate of Emilio Vedova
alerie Thaddeus Ropac in Salzburg, Austria has announced that it now represents the estate of Italian artist Emilio Vedova (1919-2006).
The gallery has said that it is pleased to work with the Fondazione Emilio e Annabianca Vedova and to promote the artists work by highlighting
its importance in the contemporary art scene. To mark the beginning of
the collaboration between Thaddeus Ropac and the Fondazione Vedova,
the gallery is to host a joint exhibition of works by Emilio Vedova and new
closingMcKee Gallery, New York, to close

cKee Gallery in New York is to close permanently
in August 2015, The Art Newspaper has reported.
The founders and co-directors of the gallery, David
McKee and Renee Conforte McKee have decided
not to renew the lease on their gallery and plan
to retire from the art market, the current state of
which, they believe, threatens the viability of their
business model. Of their decision to close, the pair
have said: the art market has grown so vast that
our gallery model is in danger: the collectors private experience with art matters much less, as the
social circus of art fairs, auctions, dinners, and spectacle grows The value of art is now perceived
as its monetary value. The art world has become
a stressful, unhealthy place; its focus on fashion,
brands, and economics robs it of the great art experience, of connoisseurship, and of trust.
McKee Gallery opened its doors is 1974 with an exhibition of paintings by Philip Guston. The gallery represents artists including Vija Celmins, Richard Learoyd,
and Daisy Youndblood, and regularly collaborates with
the estates of Philip Guston and Harvey Quaytman.
REPRESENTATIONDavidson
Contemporary
now representing Boo Savill
avidson Contemporary gallery in New York is
now representing the artist Boo Saville.
Born in 1980 in Norwich, in the United Kingdom,
Saville studied at the Slade School of Fine Art, and
is known for her detailed drawings in biro. She is the
sister of artist Jenny Saville. Her work has been labelled in the past as New Gothic, preoccupied with
the macabre and the deathly. In an interview with
Dazed and Confused magazine, she commented
that My work is a response to the unknown aspects
of being human and how we manage the feelings
embodied in this. I am fascinated by superstition
and symbols and am trying to find images, which
can transcend and play with these ideas.
Founded in 2006 as a subsidiary of Maxwell Davidson
Gallery, Davidson Contemporary attempts to support
and promote the work of a range of artists including
Sam Messenger, Mel Rosas, and Kim Rugg.
15
paintings by Georg Baselitz. The artists were

long-term friends and valued each others artistic
practices.
Well-known curator and one of the directors of the
Fondazione Vedova, Germano Celant, referred to
Emilio Vedova as a contemporary futurist. The Vedova-Baselitz exhibition is to open on 23 May 2015.
...als ob... '83 - 6 (1983)

Emilio Vedova
Courtesy Galerie Thaddaeus Ropac
Fondazione Emilio e Annabianca
Vedova
Photo credit: Mussat Sartor
REPRESENTATIONRaebervonStenglin
now
represents Thomas Wachholz
urich-based RaebervonStenglin gallery is now
representing German artist Thomas Wachholz.
The artists abstract paintings are currently on display as part of the First Flush exhibition at the Bayer Kulturhaus in Leverkusen, Germany, until 28 June,
and in a solo exhibition entitled Whiteout at the
Nymphius Projekte in Berlin until 12 July.
Born in 1984, Wachholz specialises in works on paper. After studying design and communication at
the Dsseldorf University of Applied Sciences, the
artist studied in the citys art academy under Katharina Grosse and Marcel Odenbach. Wachholz uses a
diverse range of techniques and media in his work,
ranging from rubbing matches on paper to create
abstract designs, to his monochrome prints which he
alters using ethanol. This latter series was exhibited in
2014 at the Roberts & Tilton gallery in Los Angeles.
Rosso '84 (1984)

Emilio Vedova
Courtesy Galerie Thaddaeus Ropac
Fondazione Emilio e Annabianca
Vedova
Photo credit: Bruno Zanon
representationSMAC Art Gallery to represent Masimba Hwati

MAC Art Gallery, a South African gallery with
branches in Cape Town and Stellenbosch, is
now representing the artist Masimba Hwati.
Hwati is one of the three artists currently representing Zimbabwe in the Venice Biennale with the exhibition Pixels Of Ubuntu/Unhu, at the countrys national pavilion. His works have also been on show
as part of the exhibition Trek: Following Journeys
at the SMAC Art Gallery until 27 June.
Born in Harare, Zimbabwe, in 1982, Hwati studied at
the Harare Polytechnic from 2001 until 2003, specialising in painting and ceramics. His multidisciplinary work
explores postcolonial themes and associated symbols
and perceptions, re-appropriating archives and objects by presenting them outside their original contexts. His first solo exhibition, Facsimiles of Energy
was held at the Galerie Delta in Harare in 2011, which
recently hosted another solo show dedicated to the
artist. Hwati currently lives and works in Harare.
S
View of Galerie Thaddaeus
Ropac in Salzburg
Photo credit: Andrew Phelps
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#203 21 May 2015
Galleries Whats on
germanyWilliam Tucker at Buchmann Galerie
ntil 27 June 2015, Buchmann Galerie in Berlin is
hosting their second exhibition of works by the
sculptor William Tucker.
Tucker is a British-American artist who is commonly
associated with the New Generation group, which
was presented in the exhibition at Whitechapel
gallery in 1965, including artists Philip King and
Tim Scott. Although this group worked in abstract
sculpture, the work presented by Tucker in this exhibition focuses on the body, Tucker approaching
the distinctions between figuration and abstraction
in a fluid and open way. The shape of the pieces is
at first hard to discern, leading to multiple readings
and potential associations.
Born in Cairo in 1935, Tuckers work is found in the
collections of Tate Gallery in London, the Guggenheim Museum, the Museum of Modern Art New
York, the Metropolitan Museum New York, the
Nasher Sculpture Center Dallas and the Art Gallery
of New South Wales in Sydney.
chinaHan Qing: Tales of a Director at Red

Gate Gallery
ntil 14 June 2015, Red Gate Gallery in Beijing is
hosting an exhibition of the works of Han Qing,
entitled Han Qing: Tales of a Director.
The exhibition presents a series of paintings inspired
by the film Blow-Up (1966), directed by Michelangelo
Antonioni which should, according to the artist, express a personal psychological experience or a mental scene. The artist has said of his work: My eyes
caught the diffuse light in the park and stimulated my
eye-sight. The green color of the lawn was floating
in the air. Everyone had gone. At that moment, I felt
something very familiar and yet strangely unfamiliar
about this sweep of quiet and empty lawn. It was like
dj-vu. Where had I encountered this scene before?
It must be Antonionis lawn I thought.
Born in the Sichuan province of China in 1968, Han
Qing studied at the Sichuan Institute of Fine Arts in
Chonqing, graduating in 1992. He has had group
and solo exhibitions in China, Europe, South America, and Australia. Han Qing: Tales of a Director is
his third solo exhibition at Red Gate Gallery.
francePainters at Galerie Patricia Dorfmann

ntil 20 June 2015, Galerie Patricia Dorfmann,
Paris, is holding the exhibition Painters, displaying the works of Mohamed Ben Slama, Mathieu
Boisadan, and Raphalle Ricol.
All three artists are self-taught painters, and have
strayed away from their personal life and their observation of the world to create introspective works, in
the case of Mohamed Ben Slama, whilst the works of
Mathieu Boisadan deal with the life of the artist in a
war-torn country, and the works of Raphalle Ricol depict movements as quick as the moods of their creator.
Born in Tunis in 1974, Mohamed Ben Slama learned
painting in various art centres, including the Cit
Internationale des Arts de Paris, where his work
has been exhibited. Mathieu Boisadan has undertaken residencies in cities such as Strasbourg, Sarajevo, and Berlin, and has seen his works exhibited
in various galleries in Strasbourg and in Galerie
Trafic, Paris, in 2011. Raphalle Ricol was born in
1974 and studied Graphic Design at the ESAG Pennighen. Her work was exhibited in the Palais de Tokyo, as part of the exhibition Dynasty, in 2010.
View of the installation Amerikkka

(1991-2013) at Fondazione Hangar
Bicocca in 2014
Cildo Meireles
Photo credit: Agostino Osio
16
unitedstatesCildo Meireles at Galerie Lelong

ntil 27 June 2015, Galerie Lelong in New York is
hosting the first solo exhibition of Brazilian artist
Cildo Meireles in the United States for ten years.
The gallery is displaying the monumental installation Amerikkka (1991/2013), exhibited for the first
time in the United States. The installation consists
of a ceiling composed of 40,000 bullets suspended over a slab composed of 20,000 egg whites
made of wood. Visitors are invited to walk on this
slab. The exhibition is also displaying Virtual Spaces (1967/2015), another work that invites visitors to
participate, alongside several recent works.
Born in Rio de Janeiro in 1948, Cildo Meireles is
one of the first Latin-American artists to be known
internationally. His works were exhibited in the exhibition Information at the MoMA in 1970. Working in the context of the Brazilian dictatorship at
the time, he is known as one of the pioneers of
politically engaged conceptual art. His works were
recently displayed in a retrospective at the Museo
Reina Sofa in Madrid, and have also been exhibited in other prestigious museums such as: Tate
Modern, London, and Museu de Arte Moderna,
Rio de Janeiro. Meireles has also received the Velzquez prize from the Ministry of Culture in Spain.
He currently lives and works in Rio de Janeiro.
Untitled (2014)
Raphaelle-Ricol
Courtesy Galerie Patricia Dorfmann
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#203 21 May 2015
Galleries Coming soon

CHINABalthus exhibition moves to the Gagosian Gallery in Hong Kong
rom 28 May until 15 August 2015, the Hong Kong
branch of the Gagosian Gallery is holding the exhibition Balthus, a retrospective dedicated to the
work of the modern Polish-French artist Balthasar
Klossowski, known by the pseudonym Balthus.
The exhibition follows Balthus: The Last Studies,
presented at the Gagosian Gallery of New York in
2013-2014, and Balthus, at the Gagosian Gallery
in Paris from 14 January until 28 February 2015,
marking the first presentation of his works in Hong
Kong for 20 years.
Born in Paris, Balthasar Klossowski (1908-2001) is a
self-taught figurative painter, known for his erotic depictions. The artist rejects all attempts at analysis of his
work, declaring that his works simply depict some instances of infantile sexuality and the loss of innocence.
His first exhibition, in the Galerie Pierre, Paris, in 1934,
was a scandal. His works, comprising paintings, drawings, and watercolours, have been included in various
important public and private collections.
FranceJulije Knifer at Galerie Frank Elbaz

rom 23 May until 31 July 2015, the Parisian gallery Frank Elbaz is to host a solo exhibition dedicated to the paper works of Julije Knifer.
The exhibition will present representative examples
of the creative production of the artist whose work extends over four decades, from the beginning of the
1960s until 2004. For each decade, a painting, sketches, preparatory drawings, and finished drawings illustrate how Julije Knifers artistic technique has evolved
and changed over the years. Although he has significantly reduced his visual language, in this limited
framework, he demonstrates a remarkable ingenuity
in managing to never repeat the same form. He said
of himself: The meander is a form of my freedom.
Born in Osijek, in Croatia, in 1924, Julije Knifer died
in Paris in 2004 after an artistic career encompassing
Croatia, Germany, Italy, and France. In addition, he
represented Yugoslavia in 1976 and Croatia in 2001
at the Venice Biennale, and a complete retrospective was dedicated to him in 2014 at the Museum of
Modern Art in Zagreb, the Croatian capital.
Julije Knifer
Courtesy Galerie Frank Elbaz
F
Rambling Vine (detail) (2015)
Aida Mahmudova
Courtesy Aida Mahmudova and
YAY gallery.
17
ITALYHsiao Chin retrospective at Robilant + Voena gallery

rom 28 May until 10 July 2015, the gallery Robilant + Voena, situated in Milan, Italy, is to host a
retrospective of works by the artist Hsiao Chin.
The exhibition gives an overview of the artists
work, ranging from creations from the end of the
1950s to more recent works. His first works, realised
between the end of the 1950s and the beginning
of the 1960s, are to be presented, with examples
such as Fu-109 (1961) and those taken from the extraordinary series of works on paper, based around
the theme of meeting. Next come the most analytically colourful offers, made in the 1970s, such as
Verso la luce 4 (1976), and the monumental and
characteristic waterfalls and effusive colour plays
of the 1980s, when the spectacular Senza titolo
(1985) was created. Finally, masterpieces from the
last decades will be shown, featuring explosions of
light, such as Luniverso di grande luce (2007) and
Energia delluniverso (2008).
Created through the synthesis of Oriental spiritualities and Western abstraction, the work of Hsiao Chin
is particularly rich in meaning. The retrospective highlights the challenges that represent the dialogue between the cultures already opposed in the period of
the Cold War, and which have crossed ideological
and human conflicts in the decades that followed.
The Universe of Great Light (2007)

Hsiao Chin
Courtesy Robilant + Voena
UnitedSTATESAida Mahmudova at Leila Heller Gallery

eila Heller Gallery is to host an exhibition of
works by Aida Mahmudova entitled Passing
By from 28 May until 3 July 2015, marking the
artists first solo exhibition in the United States.
The exhibition will feature eight new paintings
that build on the themes of nostalgia and memory found in her past work, and draw inspiration
from the landscape and architecture of Azerbaijan
where she currently lives and works. She explains,
The scenes in my paintings have a strong personal resonance, combining places within Baku
with those remembered and imagined. Each view
captures a moment of stillness against a backdrop
that is constantly changing. This tension between
fiction and reality in her paintings is recreated by
merging abstract and figurative forms, creating images that are both inviting and disorientating.
Born in Baku, Azerbaijan in 1982, Aida Mahmudova
currently lives and works there. Mahmudova has
exhibited widely, and will be showing seascapes at
the 56th Venice Biennale as part of the VITA VITALE
group exhibition curated by Artwise. Mahmudova is
the Founder and Creative Director of YARAT, which
was founded with a group of artists in 2011, and recently commissioned The Union of Fire and Water, a
collateral project at the 56th Venice Biennale.
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fiction within
reality
erome Cavaliere is a young artist from Marseille, who was selected for the 60th edition of the Salon de Montrouge, which is
currently taking place until 3 June 2015. A
former member of the French national archery team, the artist takes his inspiration from his
sporting lifestyle and the electrifying atmosphere
of the Phocaean city. Art Media Agency spoke to
him about his experience of presenting at the Salon de Montrouge for the first time.
Competitions are for horses, not

artists (detail) (2015)
Jerome Cavaliere
Courtesy Jerome Cavaliere
#203 21 May 2015
Interview jerome cavaliere

The Salon de Montrouge is your first salon
What are your impressions of it?
Yes, its my first salon and Im very satisfied with it as
the exchanges have been very positive ever since
the first evening. Its possible to meet people who
are usually not very accessible, such as people who
work in art centres, critics, journalists, and collectors. There are some people who are in very high
demand today and who, for this occasion, have
come to see our work. I think that the Salon gives
a certain credibility to the work because its a salon
that has proved its worth over the years, helping
many emerging young artists who, after exhibiting
at this salon, have gone on to pursue an established
artistic career. I am happy as one of my videos succeeded in making the audience laugh on the first
evening, which is the aim of my work.
Why did you decided to present at the Salon de
Montrouge?
Its one of the most important salons for young
French artists, along with Jeune Cration, among
others. I plumped for Montrouge because enrolling is free for artists, entrance is free for visitors,
and its principle supports equality of opportunity,
which I approve of. Financial questions are always
present in my work; my means are not unlimited,
so sending documents can be quite costly. Here,
applications can even be sent over the Internet, so
I didnt have any excuse not to get involved. The
Salon is also associated with the Fondation Culture & Diversit which helps people from humble
backgrounds access art. The diversity of the works
presented means that nobody can leave the salon
without having liked a single work.
Are there any works you really loved?
The salon offers a large variety of works so I can appreciate them all together. There were some works
that I really loved however, which I think is more
of a question of artistic affinity. One of these was
a work by NIETO, who enjoys playing with the morbid side of things, and who created a piano whose
keys, when pressed, emit the sounds of small dead
mice. I really like this type of black humour. I also
like Jan Vandermes videos from the series Jaime
pas, they portray a very humorous attitude. What
pleases me are above all works that I can relate to,
in terms of humour and self-mockery.
19
Entretien avec une uvre d'art Essais #01, #02 et #03 (still) (2012)
Jerome Cavaliere
Competitions are for horses, not

artists (2015)
Jerome Cavaliere
Could you tell me about your two video installations exhibited at the salon?
The first, Competitions are for horses, not artists, is
composed of a small cathodic screen on a support,
as seen in a hotel or a hospital. Next to it, I placed
two big shelves with samples of blood and urine on
them. These two elements communicate with one
another. The television broadcasts a report on an
anti-doping centre which tracks down artists so that
there can be clean exhibitions and so that artists
dont use illegal substances to improve their performance or their creativity. The report resonates
with the shelves and with the samples. The public
can therefore think what they want about it Is it
really blood and urine? To whom does it belong to?
To the artist? The idea of this piece is to create a fiction in the minds of the public and to create a new
reality of time of a few seconds in the manner of an
absurd work. Its possible but its absurd
So, is it really urine and blood?
Thats a professional secret!
What inspires your artistic practice?
I draw my inspiration from my sporting past. From
the age of 9 to 18, I did archery at a high level, I was
in the French team and I participated in international championships. I had to take many anti-doping
tests for this. I stopped due to an injury and studied
for five years at the lcole suprieure dArt et de
Design in Grenoble.
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#203 21 May 2015

After this, I took up archery again and wondered
how Id be able to integrate my sporting lifestyle
with my artistic practice. These thoughts gave birth
to Entretien avec une uvre dart. For this work, I
threw around a hundred arrows, from different
distances 30, 50, and 70 metres onto fake Oliver Mosset paintings depicting a black circle on a
white background. The concept refers to the young
generations of artists who would prefer that the
older ones leave them alone, and who are attempting to break away from all forms of surveillance.
Regarding doping, I wanted to evoke this issue because I am currently faced with very down-to-earth
problems. Having an eye problem leads to the use
of eye drops containing beta blockers, and I have
to ask for permission to use these drops solely for
medical purposes as, if I test positive, I will be suspended. But the quantity of these beta-blockers
is so tiny that this has become ridiculous. It is this
slightly excessive absurdity in the desire to be fair
and ethical, at the point of neglecting ones health,
which inspired me to make Competitions are for
horses, not artists because if the tests took place in
the art world I wondered what would change in
art and art history if artists werent allowed to use
certain substances
You have a slightly different stance on cheating
In contemporary art, a section of the audience is disappointed and thinks that it is deceitful to present
work carried out by the artists assistants as the artists own work, when they have merely coordinated
the production. The audience is under the impression that an artist creates things with his hands, implementing a technical prowess. For me, this isnt
very important. Its as irrelevant as asking an architect to build a house. These things are carried out
within a team and its better to work with competent
people who allow you to realise your ideas.
20
Dsaccords (still) (2015)

Jerome Cavaliere in collaboration
with Stphane Dplan
Dsaccords (still) (2015)

Jerome Cavaliere in collaboration
with Stphane Dplan
Is this true of your installations?

I realised the installation for the Salon myself, but
it was with the help of the Atelier Ni in Marseille,
which does production work for artists who lack the
technical abilities or resources. I went there to use
their tools, and took on their advice. But if I had had
the means, I would certainly have realised it in this
way so it was perfectly true to my idea. For this sort
of work, it is not so important to know whether the
artist made it themselves, so much as whether it reflects the wishes of the artist. It is the intention which
is important. The rest is about collaboration.
The open aspect and internet sources both interest you
In fact, for the second work that I am presenting
in the Salon, Dsaccords, which I realised with the
artist Stphan Dplan, we found some videos from
the internet, added some subtitles, and put them
back online. These days, with the internet, we have
access to images, texts, a new form of collaborative learning. Very interesting, but also a little perverse its veracity is never certain. On the other
hand, books dictionaries and encyclopaedias
act as references, and we can say that they contain
the truth. Wikipedia, on the contrary, is very widely
read, but at the same time, doubt remains: what is
true and what is false? That idea is presented in our
subtitled videos, which absolutely do not translate
the original film. And the interest in putting them
back on the internet afterwards is in response to the
current imperative for speed: information to hand,
distributing it immediately without verifying sources. In the context of an exhibition, the audience
understands that an artist created the subtitles. But
once it is on the internet, and video is swept away
in the sea of information, these dialogues appear
true. Some people I met at the openings admitted
to me that they had seen the video on the internet,
and that they really believed that two artists had
been kicked out of an exhibition and that they were
fighting because of that. That is completely untrue.
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#203 21 May 2015

And keeping with this open source theme, you
created Art at Home
Yes, it's a free website where you can download
files which describe how to reproduce art works
in practical terms. The ideas of open source, copyright, and free distribution come into it, because I
do not ask for money, nor for any authorisation. I
analyse a work by a known artist, to see how they
created it, and I write out an explanation so the
public can reproduce it at home. All this is because
I loved certain works, but I could not afford them. I
have a little anecdote: once, an artist contacted me
himself to tell me that I was wrong about how his
work was made, and that his personal technique
is on the site. For an artist, it is quite satisfying to
know that somebody appreciates your work and
wants to have it themselves. I am also looking for
an editor to publish the content of the site in the
form of a book. What matters to me is not the materiality of the work, but rather what it gives off and
what it means. It is also an interesting way of fostering dialogue. Having said that, I do not necessaryily always believe in fostering dialogue, insofar as I
do not necessarily like commentaries on art. I find
it problematic as a way of subsituting the work with
commentary. So I would rather call it raising awareness of art through appropriation. It is a gateway
into the work of an artist.
You come from Marseille, a city with a very active
art scene. Can you tell us about that?
Marseille is already well established from an artistic
point of view. Marseille 2013 [European Capital of
Culture] has granted the city a good visibility, but
it was very active before that as well. The city has a
lot of energy, and a significant cultural community,
which allows local artists to exhibit fairly regularly,
practically with free rein. This allows an artist to be
very experimental, even if the exhibition is short.
21
Marseille is also a fairly cheap city, so it is possible to give large workshops and to produce works
with materials found on the street you can find a
lot there. On the social side, Marseille is a bit of a
harsh city, very Mediterranean, pregnant with a sort
of latent violence, since the residents are very hot
headed. This tension is very interesting.
Entretien avec une uvre d'art Essai #04 (30m) (still) (2013)
Jerome Cavaliere
Entretien avec une uvre d'art Essais #01, #02 et #03 (still) (2012)
Jerome Cavaliere
And in terms of events?

There are a number of events, such as ART-O-RAMA, which aims to promote the arts in the wider
international scene, and to show a different side to
the city. There is also the Spring of Contemporary
Art, which takes place in May, in which all public
and private venues will host events and openings.
What are your future projects?
I am working on a two-metre-long, radio-controlled, origami boat, with a huge motor, entitled
The radio-controlled origami boat, the biggest in
the world. The boat is made of wood, and I have
worked with a naval architect on the plans, so it is
fast and makes a lot of noise and smoke, in stark
contrast to the appearance of the boat. I want to
create an urban myth. I'm planning to take it to
places with a lot of tourists like the Old Port, the
gulf of Saint-Tropez, and so holidaymakers will be
able to see an origami boat pass at full speed, making huge ripples. This will not be an event, there
will not be any adverts, but there will be rumours.
The idea is to create a fiction within reality. This is
not a performance either, because performances
are advertised, it is more of a happening. My process can be considered as an attempt at desecration, and an endeavour to deconstruct stereotypes.
After all, this boat recalls childhood, an innocence
which is easily carried by the tide. My boat is big, it
will make noise. The idea is to destroy its image as
a nice little boat
You plan to recount its travels
The next stage will consist of a film relating the journey of this boat, especially in the Gorges du Verdon,
with some aesthetic designs. The idea is to personify it, to give it a soul, as if it chooses its destination.
Quentin Dupieuxs work, Rubber, was a great influence. It is about the story of a serial killer tyre which
travels around and, when it sees a human, it vibrates
and the person explodes. It is a nonsensical idea, but
its aim, if I understand it correctly, pivots on the idea
of fiction. It is enough to believe it for it to work. That
is how we step into fantasy and creativity.
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#203 21 May 2015
Artists
residencyDan Llywelyn Hall, first artist in residence at Cannes Film Festival
rom 13 to 24 May 2015, Cannes Film Festival is welcoming its first artist in resiexhibited next year in Paris and London.
dence. The British artist Dan Llywelyn Hall has the task of reporting on the event
Born in Cardiff in 1980, Dan Llywelyn Hall studied
through drawings and watercolours, on behalf of the festival and the BBC.
at the University of Manchester. His works are mainAs the official artist of the festival, Dan Llywelyn Hall has access to all the ceremonies,
ly exhibited in Cardiff, London, and various cities
private parties and luxury hotels, will aim to capture the most significant moments.
in the United Kingdom. His works feature in collecHe explains his work: Ill be drawing and painting the sights and surrounds of the
tions such as those of the Museum of Modern Art
festival itself, and really exploring the phenomenon of what makes this very big fesWales, the Imperial War Museum, London, and the
tival such an attraction for so many people across the world. [] Its very important
Victoria Art Gallery, Bath. Dan Llywelyn Hall is notato see it from every perspective. To a certain degree you have to be incognito. You
ble for having been the youngest artist to create a
cant allow yourself to be too visible. The works created during the event will be
portrait of Queen Elizabeth.
AwardMassinissa Selmani receives a special

mention from the Venice Biennale jury
lgerian artist Massinissa Selmani has been honoured with a special mention by the jury of the
56th Venice Biennale.
Massinissa Selmani was presented with this award
alongside the Syrian Abounaddara collective, who
withdrew from the biennale following a disagreement with the organisers; German artist Harun Farocki, who exhibited at the Arsenale; and American
artist Joan Jonas, participating at the fair at almost
80 years of age, with her video installation They
Come to Us Without a Word, at the American Pavilion. Massinissa Selmani exhibited her series of drawings A-t-on besoin des ombres pour se souvenir ?
(2013-2014), capturing daily life in its harshness and
absurdity, and the work 1000 villages (2015), which
evokes the agrarian socialist experiment undertaken
by the Algerian government in 1973.
Born in 1980 in Algiers, Massinissa Selmani is a graduate of the cole suprieure des Beaux-arts de Tours,
in France. He currently lives and works in France.
obituaryArtist Menashe Kadishman passes

away aged 82
he Israeli painter and sculptor Menashe Kadishman
passed away on 9 May 2015 at the age of 82.
Born in 1932 in Tel Aviv, Kadishman studied art in Israel
before continuing his studies at the prestigious Saint
Martin and Slade schools of art in London. He married
and had several children before returning to Israel in
1972 to serve for his country. A member of the kibboutz
Maayan Baruch in the north of the country, he worked
as a shepherd and became known for his legendary
sheep heads in an array of different colours. In his early
minimalist works played with the notion of gravity, using materials such as stone and iron, before moving
to work on larger-scale pieces. Kadishman went on to
win the Israel Prize and became a national and international success. He participated in Documenta in Kassel
in 1968 and the Venice Biennial in 1978, where he exhibited a flock of live colour-dyed sheep and told the
press that the sheep are a part of me.
Three Phases of an Evening (detail)

(2015)
Dan Llywelyn Hall
Dan Llywelyn Hall
A minute ago (still) (2014)

Rachel Rose
Courtesy Rachel Rose and
Pilar Corrias
ReleaseArtyom Loskutov released from Prison

ussian contemporary performance artist and
activist Artyom Loskutov, who was declared a
prisoner of conscience by Amnesty International
following his 1 May arrest in Novosibirsk, Russias
third most-populous city, has been released.
Loskutov has been jailed by Russian police for organising Monstration, an absurdist parade meant
to counteract the countrys official May Day celebrations, with participants holding signs with messages
such as Lord, forgive us. The artist had refused local
authorities offer to hold the carnival-like procession
on a river bank rather than the Siberian citys centre.
The artist was formally charged with spearheading
a post-march gathering in front of the mayors office. After the parade, one court sentenced Loskutov to ten days in prison and another levied a fine
of 5,000 rubles (about $96). Loskutov told Dozhd
television station that he would be appealing these
verdicts, all the way to the European Court of Human Rights if necessary.
Loskutov first created Monstration in 2004 and won an
Innovatsiya (Innovation) prize in 2011 for the event.
22
awardRachel Rose named winner of the

Frieze Artist Award 2015
merican artist Rachel Rose has been announced
as the winner of the Frieze Artist Award 2015.
The prize allows the emerging artist to realise a
work of art specially for Frieze London, which is to
take place from 14 until 17 October 2015.
Rachel Roses artistic project was selected out of
1,200 applications from international artists. The
selection committee comprised Bonnie Camplin
(artist), Raimundas Malaauskas (curator and writer),
Hans-Ulrich Obrist (Co-director of Exhibitions and
Programmes and Director of International Projects
at the Serpentine Gallery in Londno), and Nicola
Lees, (curator of Frieze Projects), under the chairwomanship of artistic director Jo Stella-Sawicka. For
the fair, Rachel Rose has proposed to create a scale
model of the fair, in which the sound and lighting
will simulate various audible and visual frequencies
that animals living in Regents Park use to communicate amongst themselves. Through this installation,
the artist invites the fairs visitors to discover and experience the sensory world of the London park.
Rachel Rose currently lives and works in New York. Her
next solo exhibitions are to take place at the Whitney
Museum of American Art in New York, the Castello di
Rivoli in Turin, and the Aspen Art Museum.
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the voile au vent
orn in 1973, Niloufar Banisadr is a

Franco-Iranian artist who describes
her work as abstract, narrative, contrasted, harmonious, and aesthetic.
Art Media Agency spoke to Banisadr
about her work, her inspirations, and her homecountry of Iran.
Sexy Windows (2012)

Niloufar Banisadr
Courtesy Niloufar Banisadr
#203 21 May 2015
Interview niloufar banisadr

Firstly, can you tell us a little bit about yourself?
I am Iranian but have been living in France for the
last 12 years. I studied photography at the Azad
University in Iran where my practice complemented the more traditional aesthetic. My work was
more classical, and mainly focused on portraiture,
using women as my subjects. I occasionally worked
on my own personal projects but was not interested in publicly exhibiting my works. In 2001 I
graduated from my course and I decided I wanted
to travel, to see a bit more of the world. I travelled
around the USA and around Europe, eager to understand Western culture. 12 years ago I moved to
France and enrolled myself in SPEOS, which is the
Paris London Photographic Institute. My degrees
focused on the visual arts (for two years) and on
digital photography (for one year). Once graduating I found myself a job teaching black and white
analogue photography in the darkroom, and continued my own practice in my free time.
How would you say your practice initiated, and
how has it developed?
I started my practice in France by taking a series of
self-portraits. I refused to show my work publicly as
I wanted to go back to Iran at some point. There is
a certain aesthetic benchmark which helps classify
all works in Iran and some of my works would not fit
very well with that criteria of acceptability. Iran has
a certain level of censorship, so going back to Iran
now would be a risky move to make. Nonetheless
in 2013 I decided to showcase my work. My series
Freud, which is also on display here today, was the
project I decided to to exhibit, which I worked on
in 2004. It reflected my situation, focusing on the
duality of East and West, and was displayed as a
collective of self-portraits.
24
Khayaam
Niloufar Banisadr
Can you describe a few more of the projects you

have worked on?
In my work I've been exploring the themes of fabrics
and their texture. The use of fabric acts as a substitute
to the human body. In my project Imprint, I would ask
people to go and lie down on the towel, however they
felt most comfortable. I would then ask them to get up
and leave the towel where it was. I would then photograph the imprints; the traces their bodies made on
the fabric. In this way I censored the body. Likewise, on
my travels, I decided to start photographing the different coloured tarpolins, used to cover buildings while
under construction. In Iran the colour chosen is either
pink or blue; in Paris its transparent and in Barcelona
its yellow. Its an indication of culture and a way of anticipating the future.
What is the story of the series titled Sexy windows?
This is a title the gallery owner gave the work. I really dont like it. I had named it voile au vent, which
translates to veil in the wind. Its a photo of my window taken from outside. Its a series which is open
to interpretation. Its completely subjective.
Sainte Chapelle
Niloufar Banisadr
How long have you been represented by the

55bellechasse gallery for?
I met the gallery owner, Bertrand Scholler in 2013.
He asked me whether I would be interested in
holding a retrospective of my work. It took me six
months to think about it. I knew that if I showed my
work, I would have to stay here for a while. I decided to say yes and my show was a success. The work
on display showed works I had worked on during
different projects from 1998-2013.
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#203 21 May 2015
Interview niloufar banisadr

Do you still intend to go back to Iran at some
point?
Yes I do but I think im going to have to wait another
10 years or so. I would need to stay off the internet
and prevent as much circulation of my practice online as possible.
The Imprint (2010)

Niloufar Banisadr
What is the general state of Iran now?

Its doing really well. Since I left actually, so 12 years
ago, we have had a good political leader and a
dynamic art scene. There are plenty of auctions
and fairs but there is a limit. Artists are keen to express themselves through their art, whether it be
privately or publicly. There are also major gallery
meetings; days when all the galleries are open on
the same day. Its fantastic.
You mentioned you wanted to be represented in
different places. Which places are these?
I am represented by the 55Bellechasse Gallery in
Paris, and also by the Cuadro Gallery in Dubai. I
love Dubai. It's a real hub for the Middle Eastern art
scene, especially Iranian art.
What is the art aesthetic of Iran?

It has a narrative but its not decorative. Artists may
use a lot of calligraphy, as I do, but essence is the
means of expression. It was difficult at first because
their choice of subject matter was closely tied to
the Middle East. Transitionning to a more international approach takes time.
Have you displayed your work in Iran before?
Yes I have exhibited my work twice before in Iran,
although I dont have a gallery representing me
there. I have always wanted to be represented in
different places. The people are different. When
you are not in Iran, people forget about you. Here,
in Europe, the work is a lot more contemporary.
25
Body of the Lady (2012)

Niloufar Banisadr
Do you have any projects that you are currently

working on?
I am still in the process of finishing a project which
is very personal to me. I am working with letters my
grandmother wrote to her friend here in Paris. She
was a French lady living in Iran, and they wrote letters
to each other for 65years. The project elaborates on
their correspondence, and the image and memory
of her. I asked my different family members to write
down what the they remember about her. Its a work
in progress. Its really precious to me. I have to do it.
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Nan Goldin
orn in 1953 in Washington D.C., Nancy

"Nan" Goldin is an American photographer currently living and working between New York, Berlin, and Paris.
Goldin was introduced to photography in
1968 whilst studying at the Setya Community School
in Lincoln. Her work at this time dealt extensively
with the gay and transsexual communities and she
was especially interested in photographing drag
queens. Goldin has said about the depiction of the
queens in her work: "My desire was to show them as
a third gender, as another sexual option, a gender
option. And to show them with a lot of respect and
love, to kind of glorify them because I really admire
people who can recreate themselves and manifest
their fantasies publically. I think it's brave".
After having studied at the Museum of Fine Arts in
Boston, however, her interest in photographing these
people faded, and her work from this period is associated with the Boston School of photography.
Goldin is also known for having documented the
post-punk new-wave music scene in New York, as well
as the city's gay subculture of the late 1970s and early
1980s. Since then, she has photographed for various
fashion brands, such as Scanlan & Theodore and Bottega Veneta, both for their respective spring/summer
2010 campaigns, Jimmy Choo in 2011, and for Dior
in 2013 for their campaign entitled 1000 LIVES.
Her works have caused some controversy, and she
has notably been accused of glamorising heroinuse and drug culture in her works. Indeed, one of
her exhibitions that was due to open in Brazil was
censored because of the sexually explicit nature of
some of her works.
She has received the following awards: the French
Legion of Honor (2006); the Hasselblad Award
(2007); and the 53rd Edward MacDowell Medal,
from the MacDowell Colony (2012). She has been
represented by Matthew Marks Gallery in the United States since 1992 and is also represented by
Yvon Lambert Gallery in Paris.
Island Seas (detail) (2011-2014)

Nan Goldin
Nan Goldin
#203 21 May 2015
Art Analytics
Data Nan Goldin

Goldin has had solo exhibitions at many institutions and galleries around the world such
as: Fraenkel Gallery, San Francisco; Museu de
Arte Moderna Rio de Janeiro; Matthew Marks
Gallery, New York; Galerie Guy Brtschi, Geneva; Berlinische Galerie, Berlin; Nederlands
Fotomuseum, Rotterdam; Rebecca M. Camhi
Gallery, Athens; Galeria Javier Lpez, Madrid;
Meessen De Clercq, Brussels; and Kulturhuset
Stockholm, among many others.
27
Evolution of the number of

exhibitions by type
exhibitions by type of venue
Her work is also found in the collections of numerous institutions, including: Museum Moderner Kunst Stiftung Ludwig, Vienna; Muse
d'art contemporain de Montral; The National
Museum of Photography, Copenhagen; Muse
d'art contemporain, Bordeaux; National Museum of Contemporary Art, Athens; Fondazione
Morra Greco, Naples; and Collection of Modern
and Contemporary Art, Lisbon.
60
40
20
0
1981 1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
group shows
solo shows
60
48
36
24
12
0
1981 1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
gallery
museum
biennials
other
The Nap (2010)

Nan Goldin
Nan Goldin
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#203 21 May 2015
Art Analytics
Data Nan Goldin

Unsurprisingly as an American artist, it is in the United
States where her work has been most frequently exhibited, ahead of Germany, France, Italy, and Switzerland. Artists with whom she has been most frequently
exhibited include: Cindy Sherman; Andy Warhol;
Thomas Ruff; Robert Mapplethorpe; and Larry Clark.
She has been most frequently exhibited at the following galleries: Fraenkel Gallery; Galerie Guy
Brtschi; Collection Lambert; Fotomuseum Witerthur; and IKON Ltd.
exhibitions by country
50
40
30
20
10
0
1981 1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
United States
7%
Germany
31%
44%
66%
gallery
events
89%
museum
other
group shows
solo shows
The top five authors whose works have addressed Nan

Goldin are: Michel Guerrin (Le Monde); Sean O'Hagan
(The Guardian); Joanna Pitman (The Times); Valrie Duponchelle (Le Figaro); and Caroline Stevan (Le Temps).
Unsurprisingly, English is the most common language
in which she has been written about, followed by German, French, and Spanish. However, interestingly, the
French publications Le Monde, Libration, and Le Figaro are amongst the top five publications that have
featured writings about Goldin. The country in which
works about Nan Goldin have most frequently been
published is in her native United States, ahead of
France, Germany, and the United Kingdom.
28
other
Distribution by venue type
11%
26%
France
9%
Distribution by exhibition type

Distribution by country
15%
United States
France
Germany
other
Nan Goldin

articles about Nan Goldin
600
400
200
0
1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
Subscribe for free.
#203 21 May 2015
Art Analytics
Data Nan Goldin
Interestingly, despite the fact that 21% of lots were

offered in Germany, only 6% of the turnover was
realised there, whilst 16% of lots were offered in
the United Kingdom, and 18% of turnover was realised there. The average price of a sold work in the
United States is $8,540, and there is an unsold rate
of 25%. The top cities in the United States where
Goldin's works have been exhibited are: New York,
followed by San Francisco and Los Angeles.
At auction, Nan Goldin's work has totalled over

$19million averaging at $12,697 per lot offered
and $20,572 per sold work. The record for the artist's highest-selling work was set at Christie's auction house in New York in May 2012, when the photograph Ballad Triptych (1981) sold for $180,000,
above its high-end estimate of $150,000. This record comes far above another photograph, Cookie Mueller (1989), which sold at Phillips de Pury
& Company in New York in November 2004 for
$88,000, above its high-end estimate of $80,000.
Another important sale of Goldin's work took place
at Phillips de Pury & Company in New York in November 2012, when Royal Flush 1991-92 (2000)
sold for $70,000.
Unsurprisingly, photography represents 98% of
turnover and 100% of lots offered at auction. A
large number of lots were offered in the United
States (38%), and expectedly, it was also in the
United States where the highest turnover was
realised (58%).
Works created in 1991 generated a large proportion of the artist's turnover in public sales, and this
was also the year that a large number of lots (250)
were offered, generating over $1 million of turnover. This is slightly surprising considering that the
artist's highest-selling work by far was created in
1981. On the other hand, 1999 saw nearly 100 lots
offered for sale, but less than $250,000 of turnover
was realised that year. The unsold rate appears to
be relatively stable.
Distribution of lots by
medium and revenue
Distribution of lots by
country and revenue
Most of the lots offered and turnover realised were

carried out at the auction houses Phillips, Christie's,
and Sotheby's.
10%
15%
38%
16%
98%
18%
Mutiples
58%
6%
21%
100%
Photography
12%
United States
France
Germany
other
United Kingdom
Rate of sold lots vs. bought ins

Distribution of lots and revenue
by auction house
29
20%
38%
62%
50%
24%
16%
13%
Evolution of unsold rate
sold
bought in
2001
2003
Christies
Sothebys
19%
33%
24%
Phillips
other
100%
75%
50%
25%
0%
1995
1997
1999
sold
2005
2007
2009
2011
2013
bought in
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#203 21 May 2015
Art Analytics
Data Nan Goldin
30
Evolution of the
number of lots
180
120
60
0
Evolution of
the yearly
turnover
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
$12k
$9k
$6k
$3k
$0k
Evolution of the
average value
per lot
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
$800k
$600k
$400k
$200k
$0k
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
> $20k
Turnover and number of lots

by price range
18
$10-20k
108
$5-10k
334
$2-5k
243
141
$1-2k
188
< $1k
$0m
$1m
$2m
$3m
Rate of unsold lots

by estimates range
> $20k
$10-20k
$5-10k
$2-5k
$1-2k
< $1k
0%
25%
50%
sold
75%
100%
bought in
Subscribe for free.
#203 21 May 2015
Art Analytics
Data Nan Goldin

Christies
30%
32%
39%
Phillips
Sothebys
32%
36%
25%
31%
42%
23%
44%
31%
Percentage of works sold below, within,

and above estimates per auction house
Percentage of works sold

below, within, and above estimates
30% of Goldin's works sold at auction went for below their low-end estimate;
32% within their estimate; and 39% were sold above their high-end estimate. A
higher proportion of the artist's work sold within its estimate at Sotheby's than
at Phillips or Christie's, suggesting that the predictions made by the former
were more accurate than the latter auction houses. However, 31% of lots sold
for over their high-end estimate at both Christie's and Sotheby's, whilst only
23% sold above their high-end estimate at Phillips.
Number of lots presented, and

sales figures by year of creation
300
$1.5m
200
$1m
100
$0.5m
1972 1974 1976 1978 1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2007 2009
lots
$0m
turnover
Auctions results
from Artprice.com
Goldin's work is currently on display in the following group exhibitions: America

Is Hard to See at Whitney Museum of American Art, until 27 September 2015; Da
un'importante collezione veneziana di fotografia at Galleria L'Elefante, Treviso, until 23 May 2015; Private View at Stdtische Galerie Villingen-Schwenningen until
28 May 2015; Personal Recollection: Gifts from Robert Dannin & Jolie Stahl, at Davison Art Center, Middletown, until 24 May 2015; HE: The Hergott Shepard Photography Collection at the University of Michigan Museum of Art, Ann Arbor, until
14 June 2015; and Eu (ttulo em construo) at Espao Novo Banco, Lisbon, until
10 September 2015. From 19 June 2015 onwards, a solo exhibition displaying the
works of Nan Goldin, entitled kestnergesellschaft, is to be held in Hannover.
31
37%
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#203 21 May 2015
AUCTIONS
onlineFashion billionaire Bernard Arnault invests in online auction site Auctionata
nline auction house Auctionata has received
total amount raised from investors since its inception in 2012 to approxifinancial backing from Groupe Arnault, the
mately $95.7 million, according to The New York Times. We are pleased to
controlling shareholder of luxury giant LVMH Mot
announce that Groupe Arnault, the controlling shareholder of French luxury
Hennessy Louis Vuitton chaired by Bernard Argroup LVMH Mot Hennessy Louis Vuitton, has invested in Auctionata, the
nault. The undisclosed sum comes in addition to
company wrote on their Facebook page. Another step towards becoming
the $45million of round C funding that the Berlinthe global destination for livestream auctions.
based company received in April.
Bernard Jean tienne Arnault is a French businessman, philanthropist, and art collecArnaults decision to back the company takes its
tor. He has been the chairman and Chief Executive Officer of LVMH since 1989.
collectorsChinese collectors spend $116

million at Sothebys New York
hree wealthy Chinese buyers have spent a total of
$116.67 million during an Western art auction sale
on 5 May 2015, hosted by Sothebys in New York.
On this occasion, they have acquired three out of the
five most expensive lots that the well-known auction
house offered during its modern and impressionist
art evening sale. The sale represents one of the most
lucrative in Sothebys history, raising $368million
during its last edition, indicating that the Chinese
buyers alone generated almost a third of the turnover. The three works concerned are Lallee des Alyscamps by Vincent Van Gogh, selling for $66.33 million; Femme au chignon dans un fauteuil, by Pablo
Picasso, sold to Chinese entertainment giant Wang
Zhongjun, for the sum of $26.93 million; and Bassin
aux nymphas, by Claude Monet, purchased by the
Dalian Wanda Group for $20.41 million.
evening1Sothebys Contemporary Art Evening Sale in New York totals $380 million
he Contemporary Art Evening Sale at Sothebys New York held on 12 May 2015 totalled
$379,676,000, the second-highest sum reached by
a sale of this type at the American auction house.
87.3% of lots were sold, marking the 13th time that
an auction at New York exceeded a sold rate of over
80%. The sale featured works hailing from 11countries, and attracted bidders from 40 different countries, including many from Latin America and Asia.
The highlighted lots were: Untitled (Yellow and Blue)
by Mark Rothko, which had been in the collection
of Mr and Mrs Paul Mellon for 30 years, which was
sold for $46.45 million; The Ring (Engagement) by
Roy Lichtenstein, from the collection of Stefan T. Edlis, which went for $41.69 million; Untitled (RIOT) by
Christopher Wool, which had been in the same collection since 1991, sold for $29.92 million, establishing a new auction record for the artist; Dschungel
(Jungle) by Sigmar Polke, which went for $27.13 million (estimated to sell for around $20 million); and
Superman by Andy Warhol, which sold for $14.36
million after having been sought-after by seven international buyers, and which had been estimated
to sell for between $6 8 million.
The Ring (Engagement) (1962)

Roy Lichtenstein
Courtesy Sothebys
Evening2Christies contemporary sale fetches $658.5 million

hristies New Yorks post-war and contemporary
evening sale, which took place on 13 May2015,
saw turnover of $658.5 million, with several bluechip works fetching astronomical sums.
The sale, which included works by the likes of Francis
Bacon, Cy Twombly, Jean-Michel Basquiat, and Robert Rauschenberg, saw three pieces fetch in excess of
$50 million, eight more than $20 million, and 20 more
than $10 million. The most expensive lots were Mark
Rothkos No. 10 (1958), which sold for $81,925,000;
Andy Warhols Coloured Mona Lisa, which fetched
$56,165,000; and Lucian Freuds Benefits Supervisor
Resting, which also fetched $56,165, 000. Of the staggering results of the sale, New York dealer Francis Beatty commented: fifty million is the new normal.
The sale saw eight new auction records were set,
including for Anselmo, Carroll Dunham ($509,000),
Lucian Freud ($56.2 million), Hans Hoffmann ($6.3
million), Robert Ryman ($20.6 million), Sturtevant
($5 million), and Rudolf Stingel ($4.8 million).
32
collectionSothebys Tsuneichi Inoue Collection sale results

n 13 May 2015, the sale of the Tsuneichi Inoue Collection by Sothebys, entitled The Soul of Japanese
Aesthetics, amassed 7.91 million (11.01 million). The
sale brought together 69 lots of objects and works of
Chinese and Japanese art collected in Japan during the
first half of the 20thcentury. The result greatly exceeded
its estimation, along with several individual lots.
Highlighted lots included a blue and white Xuande
vase, selling for 3.84 million, five times its high-end
estimate of 250,000; a Beishoku Guanyao vase from
the Southern Song Dynasty, selling for 1.08 million,
double its low-end estimate of 500,000; and a painted earthenware Dogu buste, from the Jomon period
in Japan, selling for 1.01 million, 11 times its high-end
estimate of 90,000. In addition, a green-glazed pottery box and its cover from the Han Dynasty, sold for 50
times its high-end estimate in amassing 100,000.
O
Dogu Earthenware Figure Bust
from Tsuneichi Inoue Collection
Courtesy Sotheby's
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#203 21 May 2015
Auctions Coming soon

5.5.60 (detail) (1960)
Zao Wou-Ki
1,400,000 2,000,000
Courtesy Sotheby's
chinaAsian 20th Century & Contemporary Art

sale at Christies Hong Kong
n 30 May 2015, Christies Hong Kong is to offer works by modern masters and leading
contemporary artists from Eastern Asia, Korea, and
Indonesia during their Asian 20th Century & Contemporary Art evening sale.
Works by Chinese masters such as Chu Teh-Chun, Zao
Wou-Ki, Sanyu, and Liu Haisu; Japanese Gutai artists
such as Kazuo Shiraga, Tsuyoshi Maekawa, and Shuji
Mukai; Korean modern artists such as Lee Ufan, Nam
Kwan, and Chung Sang Hwa; Indonesian modern artist Affandi; and Asian contemporary artists such as
Zeng Fanzhi, Liu Wei, Yoshitomo Nara, and I Nyoman
Masriadi are to be offered at the auction.
Highlighted lots include 12.04.60 (1960) by Zao WouKi, estimated at between MHK $25 andMHK$35
(USD $3.23 $4.52 million); Mask Series, by Zeng
Fanzhi, estimated at between MHK $14 andMHK$18
(USD $1.81 $2.33 million); Monte Hivernale (Winter Surge), by Chu Teh-Chun, estimated at between
MHK $12 and MHK $18 (USD $1.55 $2.33 million).
The lots are to be exhibited from 28 May.
CzeckrepublicPainting,
drawing,
and
sculpture sale at Vltavin Aukcni Sin Vltavin
n 24 May 2015, the auction house Vltavin Aukcni Sin Vltavin is to host Sale 130, bringing together paintings, drawings, prints, and sculptures from the
14th and 20th centuries, in Prague, the Czech Republic.
Highlighted lots comprise Woman with stroller (1908)
by Bohumil Kubita, an oil canvas estimated at around
390,000; Guitarist (1912) by Emil Filla, another oil canvas estimated at around 300,000; and Still-life with fish
head (1925), by the same artist, a tempera oil painting
on plywood, estimated at around 230,000.
Bohumil Kubita (1884-1918) studied in Prague
and Florence before developing his own style, influenced by Van Gogh, Czanne and, later, by Cubism. In around 1906, he founded the artistic group
Osma, inspired by Expressionism, with Emil Filla
(1882-1953). The latter, one of the first Cubists, became a leading artist of the avant-garde in Prague
during the interwar period.
franceContemporary art and Impressionist

& Modern art sales at Sothebys Paris
n 2 and 3 June 2015, Sothebys Paris is to host its
contemporary art sale, while its sale of impressionist and modern art is to take place on 3 June.
The contemporary art department of Sothebys
France, which celebrates its tenth year this year, is
offering at auction a selection of works by both major and rare international artists, several of which will
surpass one million euros in value. Highlighted lots
include M.C.5 (Mariale) (1962) by Simon Hanta;
Polygones noirs (1953), by Alexander Calder; and
Turtle Creek (1985), by Jean-Michel Basquiat, each
estimated at between 1.5 million and 2million.
The Impressionist and Modern Art sale recounts the
history of the Western avant-garde, with Surrealism in
the place of honour, presenting works by artists such
as Picasso, Modigliani, Giorgio de Chirico, Oscar
Dominquez, Man Ray, Duchamp, Magritte, Chagall,
Fernand Lger, Kees van Dongen, and Rodin. Highlighted lots include Homme au Maillot (1965) by Picasso, estimated at between 1.8 million and 2.5
million; Bords du Loing (1890), by Alfred Sisley, estimated at between 750,000 and 950,000; and Bouquets dans lAtelier de Saint-Paul (1972) by Chagall,
estimated at between 700,000 and 900,000.
UNITEDStatesLatin America: The Legacy of

Abstraction at Sothebys
n 26 May 2015, Sothebys New York is to host
the sale Latin America: The Legacy of Abstraction, dedicated to the essence and impact of abstraction in Latin America.
Highlighted lots include the sculpture Relogi
de Sol (Sundial) (1960-1963) by Brazilian artist Lygia Clark (1920-1988), estimated at between
$700,000and$900,000; Salon de mai (1975) by Venezuelan artist Jess Rafael Soto (1923-2005), estimated
at between $600,000 and $800,000; and the painting Port constructif avec ciel bleu (1930) by Joaqun
Torres-Garca (1874-1949), estimated at between
$400,000and $600,000. Among the works with affordable estimates, bidders can discover an untitled
painted sculpture by Cuban artist Lol Soldevilla (19011971), estimated at between $20,000 and$30,000,
and Primer Coplanal by Luis Guevara Moreno (19262010), estimated at between $30,000 and $40,000.
Still-life with fish head

Emil Filla
Auction House Vltavin
33
12.04.60 (detail) (1960)

Zao Wou-Ki
CHRISTIE'S IMAGES LTD.
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Venice Biennale:
Luxemburg Pavillon
he artist Filip Markiewicz is representing

Luxembourg at the 56th edition of the Venice Biennale, which is taking place until
22November 2015. His exhibition, entitled Paradiso Lussemburgo which refers
as much to the history of art as to cinema and the
Luxembourg tax haven is the product of French
curator Paul Ardenne. Among other roles, Paul Ardenne is also a critic, essayist, and museologist. Art
Media Agency met with him in order to decipher
the meaning behind the Luxembourg Pavilion
View of the exhibition Antichamber section (2015)

Filip Markiewicz
Photo credit: Christian Mosar
#203 21 May 2015
Interview paul ardenne

Does this stance draw attention to the Luxembourg Pavilion?
I think it goes beyond that. It could be a transposition of civil societys position in political life that
demands accountability. I have the impression that
the jury behaved as an NGO concerning the issues
of human rights; I see it more like that.
How did the project come about?

Its quite unusual since I did not know Filip Markiewicz
personally. In fact, the artist approached me a year
and a half ago about being the curator of his project and thus applying for the Luxembourg Pavilion
together. After discovering his work, I finally agreed.
Journey to the end of an identity

(still) (2015)
Filip Markiewicz
What lead you to accept his request?

I accepted because it is a political work. Not that
we do not have political works today, but they do
not have much visibility, or the artists who present
themselves as such dont subvert anything! I was
immediately interested in him as he works with history and on the question of the political identity of
the European continent, and more widely on the
question of the identity of an individual who was
born and raised in Luxembourg to Polish parents,
and no longer living in Luxembourg itself, since
Filip Markiewicz lives in Germany. I was convinced
that this bid project would lead to a significant
amount of important work for a contest that we
would not win, since the artist attacks the tax issue
in Luxembourg head on
So the jurys decision must have been a real surprise!
I must acknowledge a certain amount of courage,
as the Mudam jury accepted the situation in Luxembourg laid out bare in an international framework. One cannot imagine the same thing happening in France, despite all the talk about freedom of
expression!
Does this lead us to think that art should be politically engaged?

No, of course not, it can also be unengaged, indifferent, narcissistic Do not expect me to say that
there is a truth in art, and that there is a historical
progress of art, or say that art is this or that. I want
to say that art is what it is. All artists do not share
identical positions. Much of contemporary art is
generally more focused on the individual than on
social issues, and when it is the opposite, we are
in consensual dispute surrounding the question of
the image, the media, the relationship with reality,
the society of spectacle and entertainment, things
we have fallen back on since Pop art or the Situationists of the late 1940s!
So its a project that gives back some content
and depth...
Yes, it gives a lot of content and depth concerning
its chosen issue, Luxembourg as a country as far
as a contemporary artist can understand it, that is,
someone of 35 years of age who takes this country
as it is, head on, the comforts of living there and
the embarrassment that can result from being in a
State that does not adhere to economic, fiscal, and
even political fairness.
Europe Love (2015)

Filip Markiewicz
You will see that Filip Markiewicz has built this pavilion a hallway and five bathrooms to resemble a
psychological space he calls limbic theatre. It is as
if you were somehow inside the artists mind, and
that each room corresponds with an aspect of Luxembourg. He speaks of Luxembourg in this world
of post-colonial competition between nations, for
you and I both know that the Venice Biennale is a
huge national showcase for all countries. Its like
the Universal Exhibition in Milan.
What is particularly subversive about the project?

The project involves weighing the notion of paradise, a kind of model of Western life, and the tax
haven that is Luxembourg, a kind of parasitic state
that lives on the back of the European and worldwide community with its illicit practices as we
have seen recently with Netflix and, more broadly,
it addresses the issue of integration and the need
for this type of State. Why do they exist? We can
define the pavilion, christened Paradiso Lussemburgo (referring to Dantes Paradise, or Cinema
Paradiso), as an attempt to aesthetically identify
a State. Through an exhibition, a picture is created
of a country and its multiple meanings: its memory,
its socio-economic reality, its politics, its workings,
its dysfunctions
35
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#203 21 May 2015
Interview paul ardenne

Does it still make sense to have national pavilions, now that art has become so globalised?
Yes and no, although most artists are not still working where they grew up, nations still exist, and
as long as they exist, they must continue to have
cultural value. From an informative point of view,
it helps to identify if there is a local or national specialty. If you take the Israeli Pavilion or that of Russia, there is always a specificity linked to the individual history of these states. This is less the case for
the United States or England, as we are in a form
of artistic discourse that recycles all the aesthetic
problems of modernity and postmodernity. Illusion
has a greater effect.
This year, Im taking care of the Kazakhstani Pavilion, which does not exist and which is called the
invisible pavilion. In fact, there is no pavilion,
were organising a workshop with seven artists.
That seems more interesting to me than a lavish
predetermined presentation, in which the awarding of prizes is extraordinarily diplomatic and adheres to protocol.
36
The Paradiso Lussemburgo project causes us

to reflect on the overlapping nature of mediums. Is creating projects without technical borders in line with current trends?
No, I do not think its a current trend. Filip Markiewicz is an artist who works in multimedia fashion, a
combination. He is first and foremost a designer,
but this is not enough for him, he is interested in
film the same film with different points of view ,
installation, and sculpture; he is also a musician,
produces sound-based performance In his case,
he is not the result of an attitude that discerns that
art today must be transversal, its in his nature.
Is it an immersive project, an artistic experience?
Its exactly that, its a work of art that we can enter
into. We are in a psychological representation of
Luxembourg and we walk around inside it.
View of the exhibition Antichamber section (2015)
Filip Markiewicz
Photo credit: Christian Mosar
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#203 21 May 2015
Fairs & festivals

hrHenri Loyrette announced as president of the Biennale Internationale des Antiquaires 2016
he Syndicat National des Antiquaires has named Henri Loyrette, president
ships of the Biennale with cultural institutions and
and director of the Louvre from 2001 until 2013, as president of the Biennale
its international standing.
Internationale des Antiquaires 2016.
The first edition of the Biennale Internationale
He is to direct the commission in charge of the admission of exhibitors to the
des Antiquaires was held in 1962, focusing on
famous show, welcoming the most prestigious art and antiquities galleries and
the most important French and international anof fine jewellery to the Grand Palais. The commission will be in charge of identiques, decorators, jewellers, and booksellers,
tifying the best projects and new talents amongst antiques and art galleries, in
in a magical decor featuring pavilions, gardens,
France and abroad. Henri Loretta is to also contribute to reinforcing the partnerand fountains.
programmeThe Biennal of the Americas

2015 announces its programme and artists
he Biennal of the Americas: NOW! which is to take
place from 14 July until 30 August 2015, in Denver,
Colorado, has just announced its artistic programme
and the artists participating in this years edition.
The biennial is to invite artists from Central, South,
and North America as well as the Caribbean in order to exhibit visual art, musical performances, and
dance shows to try to respond to the current problems and issues of the world. Through their works,
the artists question the situations in their personal
environment but also focus on common worries
such as violence, ecology, technology, and social
justice whilst honouring the city of Mexico. The
central exhibition is to take place at the Museum
of Contemporary Art Denver with a particular focus on the Western hemisphere, whilst the exhibition OD EL SUEO DE UNA PALABRA / LISTEN
TO THE DREAM OF A WORD is to take place at
the Biennial Pavilion. Four new projects realised by
the artists Matt Scobey, Melissa Furness, Cristbal
Gracia, and Daniel Monroy Cuevas are to be displayed at the McNichols Civic Center for residency
exchanges between Denver and Mexico in 2014.
Works by Mexican artists Erick Meyenberg and
Marcela Armas are also to be displayed. Furthermore, the biennial has planned symposia as well as
special evenings and for the first time, roundtable
discussions, workshops, and performances.
37
Baz Bahadur and Rupmati Out

Hunting (1760)
Lucknow, India
Courtesy Art Passages
biennaleThe Polish Pavilion at the 2015 Venice Biennale

or the 56th Venice Biennale, which is to taking
place until 22 November 2015, Poland is being
represented by artists C.T. Jasper and Joanna Malinowska with Halka/Haiti 184805N 722301W
at the Giardini della Biennale.
Modelled on the film Fitzcarraldo by Werner Herzog, which comprises an opera in a tropical forrest
in Peru, the artists decided to bring Halka, the national Polish opera by Stanisaw Moniuszko that recounts the tragic story of love destroyed by differences in social class, to a Haitian village inhabited
by descendants of Polish soldiers. The entire performance, which features the collaborative process
between the Polish opera and Haitian musicians
and dancers, will be exhibited as a cinematic installation at the Polish Pavilion.
The exhibition is complimented by a book recounting the conceptual framework for the staging of C.T.
Jasper and Joanna Malinowska, as well as a detailed
account of their exceptional project. The book also
includes an introductory essay by curator Magdalena
Moskalewicz and an interview with the two artists.
Polish Pavilion
at Venice Biennale 2015
Courtesy Polish Pavilion
hrLark Mason appointed president at Asia

Week New York
sian arts expert Lark Mason has been appointed president of Asia Week New York.
Lark Mason is both a television presenter known for
the series The Antiques Roadshow on PBS and the
founder and director of iGavel, an international online network of auction houses specialised in fine arts
and decorative arts. As an expert of Asian art, he was
vice president of the department of Chinese works at
Sothebys and director of online sales for the auction
houses website. He is the author of several articles on
Asian art, one of them being a guide entitled Asian
art. He also teaches about the art market at New York
Universitys School of Professional Studies.
Asia Week New York was founded in 2008, and is
an event that lasts nine days, bringing together five
auction houses, around 50 international galleries,
and New York-based museums and institutions
that specialise in Asian art. Exhibitions are to be arranged for the event, as well as conferences and
special events focusing on art from China, India,
Southeast Asia, Tibet, Nepal, Japan, and Korea.
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#203 21 May 2015
Fairs & festivals Coming soon

Berenice (1948)
Ren Magritte
Courtesy De Jonckheere Gallery
franceMtamorphoses: 38th edition of the

spring event at Carr Rive Gauche
rom 3 until 7 June 2015, the association of art
galleries and antiquities Carr Rive Gauche, in
Paris, is to organise the 38th edition of its spring
event, which will be entitled Mtamorphoses.
The title refers to artists and artisans who transform the
certain aspects of artworks, technical metamorphoses from sand into glass from the pedestal table
into an inkwell and metaphors in the works of Dal.
Archeological pieces, ceramics, textiles, furniture, objets dart, design pieces, and 20th-century decorative
arts, as well as paintings, drawings, and old, modern,
and contemporary sculptures will be on display at the
event. The inauguration will take place on 2 June.
Since 1977, the association Carr Rive Gauche has
brought together over 120 art galleries and antique dealers located in the sixth and seventh arrondissements of Paris.
franceThe 13th Biennale de Lyon: la vie

moderne
he 13th edition of Lyons Biennale dart contemporain, entitled la vie moderne opens a new
trilogy which is to take place from 10 September
2015 until 3 January 2016.
The Biennale dart contemporain which is to last
for several months is to move around three key
exhibitions: La vie moderne in La Sucrire, at
the Muse dart contemporain and the Muse
des Confluences, Ce fabuleux monde moderne
at the Plateau, and finally Rendez-vous 15 at the
Institut dart Contemporain de Villeurbanne in the
Rhnes Alpes. Other exhibitions, performances,
concerts, screenings, and shows are to take place
on two platforms in the same region: Veduta and
Rsonance. Under the guidance of artistic director Thierry Raspail and guest curator Ralph Rugoff,
these events will bring together artists form 28 different countries such as Michael Armitage, Kader
Attia, Darren Bader, Sammy Baloji, Yto Barrada, and
Hicham Berrada. They will explore the contradictory and contingent character of the modern project
as it is developed in different regions of the world,
both aesthetically and philosphophically as well as
in terms of social formations and technology.
The Biennale dart contemporain de Lyon was founded
in 1991 by Thierry Raspail and Thierry Prat and takes
place on odd years, alternating with the Biennale de la
danse de Lyon, which was founded in 1984.
monacoPoint Art Monaco & Jewels of the

World 2015
rom 22 until 26 July 2015, the Grimaldi Forum,
in Monaco, is to host the fifth edition of Point Art
Monaco, associated this year with the fine jewellery
fair Jewels of the World, which is to simultaneously
take place in the same location.
The event, which brings together 16 art galleries both
from Monaco and abroad, as well as five major jewellery brands, is to be called Point Art Monaco & Jewels
of the World. Visitors will be able to discover pieces
of archeology, works by both modern and old masters, antiquities, furniture, and fine jewellery.
Under the patronage of S.A.S. Prince Albert II of Monaco, Point Art Monaco was launched in 2011 to follow
on from the Biennale de Monaco and the Monte-Carlo
International Fine Art & Antiques Fair, and so that the
Principality could regain its place on the international
art scene. The salon Jewels of the World was founded
in 2013 by Valentina Vassileva, an international specialist of art salons and luxury, in Bakou, Azerbaijan.
38
italyArtissima 2015
rtissima, the International Fair of Contemporary Art, has announced that its 2015 edition is
to take place at the Oval Lingotto Fiere in Torino
from 6 until 8 November 2015.
Artissima features six major sections: Main Section,
which includes the most representative galleries on
the international art scene; New Entries, devoted
to interesting young galleries; Present Future, a
section by invitation characterised by solo shows
from young international emerging artists; Back to
the Future, a presentation of solo exhibitions by artists active in the 60s and 80s and selected by a jury
of renowned museums directors and curators; and
Art Editions, devoted to galleries and other spaces
presenting edition works, prints, and multiples by
contemporary artists. In 2014, Artissima launched
Per4m, a new section devoted to the presentation
of performative works.
Each year, Artissima attracts the interest of art professionals, the general public, and the media, with
50,000 visitors and over 1,500 accredited journalists attending the fair in 2014.
Chevaux et Jockeys sur la Pelouse (1933)

Raoul Dufy
Courtesy Trinity House, London
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#203

Paintings, posters and pamphlets:

#203 21 May 2015

Fairs & Festivals

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propaganda and art

Guernica (detail) (1937)

#203 21 May 2015

AOTW propaganda and art

Henry VIII and Henry VII (detail)

The Great Pyramids of Giza

The Ancient Egyptians were far from the only early

#203 21 May 2015

AOTW propaganda and art

Soviet propaganda poster

Kitchener WW I Recruitment poster

Mural La despedida (The Goodbye) on

Personal versus political

Uncle Sam poster (1917)

#203 21 May 2015

AOTW propaganda and art

Jackson Pollock in his studio

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Mural showing the life in Aztec times in

#203 21 May 2015

site will also publish editions.

patronA new management team for the association of patrons Admical

vipSylvester Stallone retrospective in Nice

Sculpture with Colour (Deep Blue

moneyVisual artist to appear on new 20

View of Manhattan from

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#203 21 May 2015

arrestBardo shooting: a suspect arrested in

Solomon R. Guggenheim Museum

View of Bardo Museum

installationNYPD criticise controversial art

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#203 21 May 2015

AWARDICA and CAM Saint-Louis awarded the

Views of the Blanton Museum

returnCleveland Museum of Art returns Hanuman sculpture to Cambodia

expansionBass Museum receives $7.5 million for an expansion

HRAnne Pasternak named new director of the

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#203 21 May 2015

FRANCEIcnes amricaines at the Grand

Tracey Emin before

spainASTRONOMY. Incursions into the cosmos at La Casa Encendida

It's Not The Way I Want To Die (2005)

La ciudad hidroespacial (still) (2003)

SwitzerlandFlorian Graf at Kunst Halle

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#203 21 May 2015

Museums Coming soon

germanyCash for Gold: Nina Beier at Kunstverein, Hamburg

Greens (500) (2013)

Tileables, Mass Dry Pharmaceutical

View of the exhibition Disguise:

norwayAne Hjort Guttu at the Bergen Kunsthall

UNITEDSTATESDisguise: Masks and Global

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#203 21 May 2015