204 en

#204
28 May 2015
Busan Museum of Art

Credit: Matt Weibo
South Korean art:

an emerging scene or
a long-standing tradition?
#204 28 May 2015
Table of contentS
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south korean art: emerging

or traditionnal scene?
Top
Stories
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Museums
galleries
artists
newsha tavakolian
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Henri
Paul
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baART
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auction
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alice lebredonchel
This document is for the exclusive use of Art Media Agencys clients. Do not distribute.
giulio
paolini
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Fairs & Festivals

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south korean
art scene
he South Korean art scene has expanded

enormously in just over a decade. The
South Korean capital, Seoul, boasts several
artistic districts, each offering a different
backdrop for art lovers to discover the citys
increasingly rich artistic scene. Chinese art, despite remaining extremely popular, has nowadays
soared to extortionate prices, meaning that it has
become inaccessible to most collectors, relegating
it to the status of the emerging art scene of yesteryear. To cite but one example, a Ming dynasty
silk wall hanging was sold at Christies auction
house in Hong Kong last year for $45 million. This
explains why many collectors and art enthusiasts
alike are now turning towards the Korean peninsula, as South Korea currently offers high quality
works at far more reasonable prices compared to
their Chinese counterparts. The country has seen
the birth of a whole host of talented contemporary
artists, and galleries are popping up at a great frequency. Many of these galleries are also branching
out to other locations, establishing spaces in cities
such as New York, increasing their interest from
Western collectors. In an interview with the online
publication 9 muses news, Heashin Kwak, director
of Hanmi Gallery in Seoul and London, explained:
Korean Contemporary Art has established itself as
a cutting-edge and thoroughly contemporary essence in the global art arena. [] [The] Korean art
scene has been very vibrant in its own way for some
time, but due to the geographical placement of the
country it has not been exposed to a wider audience until recently.
Leeum, Samsung Museum of Art in Seoul

Credit: Connie
#204 28 May 2015
AOTW south korean art scene

A wealth of contemporary artists
Of course, important developments in any countrys artistic production must begin with the artists.
Multimedia artist Joonho Jeon has recently caused
a storm on the contemporary Korean art scene,
creating video works that feature bank notes such
as the Bank of Korea note and the US twenty dollar bill. Another internationally renowned Korean
video artist is Oh Yong-Seok, whose works comprise footage taken from mass media and popular
culture that are then transformed into new works
that appear to be entirely different creations. Of a
similar vein in terms of incorporating technology
into artwork are Han-Soo Lees cutting-edge works
featuring fluorescent paint and LED lights, which
aim to examine common issues and concerns in
contemporary Korean society. A similar energy can
be found in Suejin Chungs paintings, whose canvases are filled with vibrantly coloured characters,
depicting the hectic crowds of modern Korean society, and portraying how loneliness and isolation
can be acutely felt even among a multitude of fellow human beings. Multidisciplinary artist Sook
Yung Yees works play on the contrast between the
traditional and the contemporary. For example, her
series of vases entitled translated, comprises works
made out of traditional ceramic creations broken
up and reformed into new and different objects.
Galleries galore
New galleries have sprung up left, right, and centre to accommodate these emerging talents. One
such gallery is Gana Art Center, founded in 1983
and located in the residential district of Pyeongchang. A modern construction designed by architect Jean-Michel Wilmotte, this complex boasts
the largest exhibition space in South Korea. Having
hosted a few hundred exhibitions of international
artists, it has previously displayed the works of
prestigious figures such as Joan Mir, Roy Lichtenstein, and Pierre Alechinsky, and the institution has
also hosted the annual International Photo-Media
Festival since 2001. 2010 saw the creation of SongEun ArtSpace in the wealthy Gangnam neighbourhood (internationally popularised by pop
star PSYs Gangnam Style music video). Founded
by the SongEun Art and Cultural Foundation, this
space carries out the overall aim of the foundation
which is to promote contemporary art in Seoul. The
three-storey exhibition space also boasts a caf
and restaurant, as well as a function hall, and the
foundation runs the annual SongEun ArtAward,
which aims to support emerging Korean talents.
Gaehwasa temple
Jeong Seon
View of Seoul: a mix between

modern and tradition
Credit: Rhian Williams
The citys oldest art gallery, Gallery Hyundai, which

first opened its doors in 1970, is located on the socalled gallery street, at the heart of the rich artistic
scene that Seoul has to offer. The gallery, which has
represented several established Korean artists including Park Soo Keun, Joong Seop Lee, and Dai
Won Lee, has been largely responsible for developing the Korean art market and its international
recognition. It now holds two spaces in Seoul, one
in the Sagan-dong district and another in Gangnam, as well as the running of the Dugahun Gallery. Gallery Yeh, founded in 1978 and reopened
in 1982, has also been an instrumental force in establishing South Koreas mark on the international
art scene, by displaying the works of internationally
renowned artists such as Alberto Giacometti and
Raphael Soto, alongside those of Korean masters
such as Pon Ung Ku, Ok Yeon Kwon, and Hwan Ki
Kim. The gallery has above all popularised South
Korean art by representing Korean artists at international fairs worldwide. Another gallery that has
been making its mark on the vibrant art scene that
Seoul has to offer is Leeum Samsung Museum of
Art, Seouls most famous private gallery. The centre
exhibits a wealth of both Korean and international
art, with three separate sections dedicated to Korean traditional art, international and contemporary art, and special exhibitions, and is dedicated
towards portraying both Koreas rich artistic history
and its promising future.
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#204 28 May 2015
Busan: a thriving art centre

Seoul may be the key location as far as the South
Korean art scene is concerned, but Busan, South
Koreas second largest city is also firmly on track
to becoming an unmissable cultural destination.
The Busan Museum of Art, which opened in 1998
in Haeundae, has become an important centre for
the citys bustling art scene. The museum continues
to research Busan art history and to organise exhibitions of local art. Busan also offers a rich gallery
scene, with new galleries opening in Haeundae and
Dalmaji Hill. The Seoul Art Center, Gallery Serene
Space, Suhorom Gallery, and Asian Art Works have
all opened branches in Busan. Furthermore, many
Seoul-based auction houses and galleries have
extended their reach to the countrys second biggest city. Seoul Auction opened its Busan branch
in 2006, and Gana Art Busan, the Busan branch of
Gana Art Center, opened in 2007. The latter institution not only holds exhibitions but also hosts cultural events and has an artists workshop. The city
also hosts various art fairs such as Art Show Busan,
and the Busan Biennale is an important fixture in
the citys artistic calendar. The Busan Biennale 2014
took place last September with the theme Inhabiting the World, and was directed by Olivier Kaeppelin, a French art critic and director of Fondation
Maeght in Saint Paul de Vence, and had the aim
of building bridges between the local Korean art
scene and the international art market.
General View of Mt. Geumgang

Jeong Seon
View of Busan Biennal 2012

Credit: Elsara
Emerging: a problematic label

Whilst it is undoubtedly hugely positive that the
flourishing art scene in South Korea is being celebrated, one cannot help but question the general
practice of branding the countrys art scene as an
emerging one. First of all, the term emerging is
patronising and symptomatic of an infantilisation of
non-Western peoples. Indeed, Frantz Fanon condemned this mind-set in his anti-colonialist writing,
describing a colonised people under the control of
a colonising force as infantilis, opprim, rejet,
dshumanis, accultur, alin (infantilised, oppressed, rejected, dehumanised, acculturated, alienated). An article on modernedition.com reads:
Yet as greater numbers of Korean artists become
known to Western audiences, a sense of collective artistic merit is becoming ever more obvious.
This phrase is problematic, as it seems to suggest
that it is only when Korean artists become known
to Western audiences, after being exhibited in the
context of an international (i.e. Western) art fair for
example, and exhibited alongside Western artists,
that they can be seen as legitimate, or their sense
of collective artistic merit can be truly appreciated.
This discourse is one that asserts the supremacy of
the West and indicates that the South Korean art
scene only came into being once it was discovered
by the West, which is problematic as it seemingly
disregards millennia of national history. Again in the
same article on modernedition.com, a description
of the Korean artist Soo Koo Shim (born in 1949)
states: [His] practice reflects the Neo-Confucian
emphasis on nature and eloquent simplicity that
dominates traditional Korean art forms. At the same
time, his idiosyncratic approach and nod towards
western formalism is also entirely modern in tone.
This phrasing appears to propagate the view that
non-Western countries must bend to Occidental
art forms, as it equates Western formalism with
the term modern, perhaps suggesting that other
art forms are primitive and backward. The term
emerging does nothing but propagate this ideology, establishing a hierarchy within the art world,
implying that Western art is superior and advanced
in relation to the primitive art forms of non-Western
nations, whose artistic production can only be accepted and legitimated once their artists use Western forms, and only once their art has been seen by
Western eyes and approved by Western audiences.
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Credit: Severin Stalder
#204 28 May 2015

A rich artistic history
What is most problematic about labelling the
South Korean art scene as emerging is that it in
fact glosses over millennia of artistic history in the
country and important traditions that have already
been established for a long time. After all, it is the
countrys illustrious past of artistic tradition that has
led to it possessing such a booming art industry
today. Traditional Korean arts span a wide variety
of media, including pottery, painting, calligraphy,
ceramics, bronze art, silver art, jade carving, grass
weaving, bamboo pyrography, ox-horn inlaying,
and wood sculpture. Broadly speaking, Korean
artworks are largely characterised by the main
religious beliefs of their respective period. Over
the years, artistic production in the peninsula has
moved from Korean shamanist art, to Korean Buddhist art, and then to Korean Confucian art, and
more recently to encompass different forms of
Western arts. The history of Korean art reaches as
far back as 7000 BC, a period from which pottery
made from clay has been discovered. The Goryeo
Dynasty (9181392) saw an extremely large production of artistic material, especially pottery, and
Korean artists at this time were influenced by Chinese traditions, re-appropriating them into simpler
forms, artworks paying homage to the purity of nature through their artworks.
The Joseon Dynasty (13921897) was also a key

period in Korean art history, a time when artistic
production was characterised by the influence of
Confucianism. Painting styles during this period
tended towards realism, and the mid- to late-Joseon dynasty is considered to be the golden age of
Korean painting. It was a time when Chinese artistic
influence waned, allowing Korean art to come into
its own and become distinctive. Moving forward to
the 20th century, painting at this time was the main
medium of Korean artistic production, and abstraction as an art form became increasingly popular
from the 1930s onwards. From the 1960s, Korean
artists began to experiment with other art forms,
for example soaking canvas and ripping paper as
a means by which to challenge preconceived notions of ink painting or oil painting. This eventually
led to the formation of one of the most controversial of Korean artistic movements in the past century during the 1970s and 80s: Dansaekhwa, or
Korean monochrome painting.
Seoul Downtown
Credit: Mario Snchez Prada
It is clear that South Korea has seen a flourishing

artistic scene over the last couple of decades, but
it is equally important to consider the question of
whether South Korean art is an emerging scene or
a long-standing tradition. It is true that the artistic
scene is flourishing in terms of the growth in the
number of talented and highly promising contemporary artists and the proliferation of galleries,
art centres, and institutions; but is it not all really
a question of perspective? From a Western point
of view, the South Korean art scene is flourishing
in that it is rapidly gaining international recognition
and thereby steadily encroaching upon the international art market. But from a more local perspective,
perhaps the current artistic scene is disappointingly second-rate and aesthetically impoverished
compared to the heyday of Korean painting in the
Joseon dynasty. Only time will tell
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Credit: David Baron

Credit: Revelateur Studio
#204 28 May 2015
Top stories
POLiticsFormer director of the INA Agns Saal reinstated to the Ministry of Culture
he former director of the INA, Agns Saal, has been reinstated to the Mining given to Agns Saal. With regard to those who
istry of Culture. She had been dismissed on 28 April 2015, following the
might be outraged by this reinstatement, she added:
scandal caused by the expenditure of 40,000 of public money on taxis.
I must not give the impression that Agns Saal has
Saal has been given the role of director of strategic workforce planning, while
not been punished. She has been punished, since
a disciplinary inquest is still underway. Minister of Culture Fleur Pellerin, when
she used to be president of the INA, and is now a
questioned on RTL on 21 May, stated: I understand the emotion that this reinproject manager [] a disciplinary council is due to
statement provokes, even if, in reality, it is only a case of civil service law being
give a ruling on what the repercussions of the inquiry
followed [] it has nothing to do with the creation of a post, nor is a privilege bethat is currently being carried out should be.
missingA Rembrandt and a Drer missing

from Boston Public Library
ince 8 April 2015, an engraving by the German
Renaissance artist Albrecht Drer and an etching
by the Dutch artist Rembrandt have been missing
from the collection of the Boston Public Library.
Adam and Eve (1504) by Drer, estimated to be
worth $600,000, and Self Portrait with Plumed Cap
and Lowered Sabre (1634) by Rembrandt, valued at
between $20,000 and $30,000, are no longer where
they are expected to be, though the reason for this
absence remains unknown. In a statement released
by the Boston Public Library, the President, Amy
Ryan, remarked: It is our hope that these two significant pieces have simply been misfiled. However,
she also raised the possibility of theft: The curators
and department staff are currently conducting a detailed search of the collection, and we are working
with the Boston Police Department to determine if
there is the possibility of criminal activity.
While the police investigation continues, the library
has announced that it is conducting an independent security review.
liquidityMillionaire Hugh Levey settles his

debts with works by Jasper Johns and Lichtenstein
Supreme Court judge has ordered that millionaire investor Hugh Levey pays $2 million in debt
with works of art, including paintings by Jasper Johns
and Roy Lichtenstein, antiques, fur, and jewellery.
The co-founder of the investment company Gruppo
Levey has almost no money to speak of. His fortune
comprises a Manhattan apartment worth $15 million,
a $5 million home in Greenwich, Connecticut, and
millions in various trusts and personal items. Levey
had earlier opted to have his divorce documents
made public, rather than pay damages to Pensmore
Investments LLC, Levey had accepted the court to
make public all documents his divorce, including
proof of his long-term affair with his business partner
Claire Gruppo. In February 2015, the court ordered
the sale of Leveys personal items, a ruling that his exwife Wendy objected to, as some of them belonged
to her. This time, the police are authorised to seize the
goods, should Levey refuse to pay his debt.
Boston Public Library reading room

Brian Johnson, 2013
10
discoveryGerman police uncover Nazi

sculptures
n 20 May 2015, German police seized sculptures
realised by Nazi artists commissioned by Hitler
and presumed lost or destroyed for decades.
In a large-scale operation, police searched apartments
and houses across Bavaria, North Rhine-Westphalia,
Rhineland-Palatinate, Schleswig-Holstein, and Berlin.
At the home of a collector in Bad Durkheim, police
discovered Schreitende Pferde, a life-size sculpture by
National Socialist Josef Thorak from 1939, which was
intended to decorate the new chancellery of the Third
Reich. Investigators also seized two female sculptures
by Fritz Klimsch, which were displayed in the garden
of Hitlers government headquarters, in addition to a
large relief by Hitlers favourite sculptor, Arno Breker,
which was intended for the triumphal arch of the
planned Nazi capital city, Germania. The majority of
these sculptures, for which illegal art dealers had reportedly asked for up to $4.4 million, have been offered on the black market for about two years.
oups!Latvian artist crucifies effigy of Putin

n the European Night of Museums on 16May,
a crucified puppet ressembling Vladimir Putin
made by an anonymous Latvian artist was installed in
the courtyard of the former KGB headquarters in Riga.
For this exhibition, the artist invited visitors to hammer the nails into the puppet, N-TV reported. While
some where happy to do so, others tried to pull the
nails out of the sculpture. Putins spokesman Dmitry
Peskov told journalists: This is bad. This is on the conscience of whoever did this. Unquestionably, it does
not reflect a very high level of culture. The Russian
embassy filed an official complaint to the Latvian government, despite a spokesperson for the Latvian foreign ministry insisting that the effigy did not resemble
the Russian president. The anonymous artist has since
publicly apologised for the stunt and confirmed that
the puppet was not intended to resemble Putin.
The artwork was removed the following day after
a gang destroyed it and assaulted two security
guards patrolling the former KGB headquarters.
O
Fleur Pellerin
Lionel Allorge
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#204 28 May 2015
Top stories
solidaritySuccess for Urban art auction for
the benefit of Emmas
n 20 May 2015, the Grande Halle de la Villette held
an Urban art auction for the benefit of Emmas, in
partnership with Artcurial, Claude Kunetz from Galerie
Wallworks, and the tablissement Public du Parc et de
la Grande halle de la Villette. 83 canvases were put up
for auction, and the sale amassed a total of 278,000.
Each canvas was offered at the starting price of 500,
with the majority being sold to enthusiasts as well as
collectors. The auction was held to mark the end of
the exhibition Urban art au profit dEmmas, which
attracted 8,000 visitors. It was part of the second edition of the Villette Street Festival, which took place
from 4 until 20 May2015. Highlighted lots included
a canvas by JonOne, which sold for 16,800, another by Speedy Graphito, which sold for 13,000, and
two others by Mist and Crash, which sold for 9,000
and 9,500 respectively. JonOne, alias John Andrew
Perello, is a New York Street artist born in 1963, who
currently lives in Paris. Speedy Graphito, the pseudonym of Olivier Rizzo, is a French artist, born in 1961,
whose works span a variety of media ranging from
painting, photography to video art. Mist is a French
Street artist, born in 1972, who has exhibited in private
galleries in France, the United States, the Philippines,
Morocco, and Japan. Crash is the pseudonym for the
American Street artist John Matos, who was born in
the Bronx, in 1961. His works are held in collections at
MoMA and the Stedelijk Museum.
11
returnThe United States returns antiquities

stolen from Italy by smugglers
n 26 May, the United States returned antiquities
stolen from Italy by an international ring of smugglers that were then discovered on American soil, at an
official handover ceremony at the US Embassy in Rome.
Following a series of collaborative investigations,
which began in the last decade, the Italian Carabinieris art theft squad (TPC) and the American Immigration and Customs Enforcement unit uncovered and repatriated 26 artefacts looted from Italy and smuggled
into the United States in recent decades. According
to The New York Times, the objects were recovered in
the museums, auction houses, private collections, and
even a university of American cities such as New York
City, Buffalo, Baltimore, Boston, Miami, and San Diego.
The stolen antiquities include a 1,800-year-old Roman
marble sarcophagus lid seized in Eastern New York
and a 17th century Venetian bronze cannon seized by
customs officials in Boston, among others. A fifth-century Etruscan Kalpis vase was also recovered from the
Toledo Museum of Art in Ohio, acquired in 1982 from
the antiquities dealer Giacomo Medici, who provided
the museum with false provenance documentation.
These are but a fraction of the cultural objects that
are circulating on the illicit market today, warned
the American ambassador, John R. Phillips. However, every victory, every piece that is returned, every
bit of cultural history that can be restored to its rightful home is a measure of progress.
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Cultural policy
and influence
olitics and culture took centre stage at

AMAs latest speaker event on 18 May at
the Club de la chasse in Paris. Henri Paul,
former cabinet director under Culture
Minister Renaud Donnedieu de Vabres,
and current Rapporteur-General of the French
Court of Auditors, spoke about the role of the state
in promoting the arts, and harnessing the power of
culture
View of former Minister Frdric

Mitterrand's office at the Ministry
of Culture
#204 28 May 2015
report henri paul

Henri Paul opened by recalling the bold political move of former French President Charles de
Gaulle to accord greater importance to the arts by
appointing the countrys first ever culture minister,
Andr Malraux, ushering in an era in which the notions of exporting French culture abroad and of
a broader democratisation of culture were at the
centre of the political discourse around the arts
A progressive and firmly un-elitist vision, but one
that to some, Paul noted, appeared to be a oneway street, transforming culture into an ideological
tool for the state
The discussion then moved onto the Mitterrand
era, during which: the Culture Minister, Jack Lang,
held his post for ten years, saw the budget double,
and effected significant change a period defined
by a will to do more, all the time, everywhere, with
the result that the world of culture was drowning
under public subsidies to the extent that government arts subsidies accounted for more than half
of the countrys total cultural spending. Next came
Jacques Chirac and Nicolas Sarkozy, who tried to
follow in Langs footsteps [] but with slightly less
influential a choice of ministers and a political will
to cut spending in certain areas [] by providing
operators with individual spending targets, a sporadic approach which revealed the contradictions
within the system.
Noting the way in which the advent of digital
technology destabilised all branches of the cultural sector, Paul explained that the cultural sectors contribution to the French economy rose from
close to 2% in 1995 to 2.5% before falling to 2%
in 2012, remarking that cultural excellence came
under attack from all sides. The year 2007 brought
a nasty shock with a Time magazine front cover
proclaiming the Death of French culture, and an
accompanying article noting that none of the 20
most important artists in the world were French.
On top of that, Paul explained, the culture sector
came under threat from a president who no longer
wished to be at the centre of cultural policy and
who had a less-than-amicable relationship with the
Culture Minister, whose budget was reduced from
7.4billion in 2013 to 7.2 billion in 2014 and 7
billion in 2015.
13
Andr Malraux (1974)

Credit: Roger Pic
View of the French Ministry of

Culture - Salon Jrme
The discussion then shifted to the way in which

institutions are falling into the clutches of corporations and private sponsors, Paul citing the example
of the astronomical sum donated by LVMH (in the
millions) for the Yves Klein exhibition at the Centre Pompidou. The whole system has been turned
on its head, explained Paul, the dependence on
private funding means that our museums are more
like private patrons or corporate sponsors than
public institutions. [] Its a serious problem, and
it means that power is changing hands. Worst of
all, for Paul, is the way in which gimmicks and special events are increasingly dominating the cultural
sphere. Well end up with hip hop performances
on the grave of Jean Moulin at the Pantheon []
the monuments themselves are no longer enough.
And more worrying still is the fact that people are
less and less willing to pay for cultural experiences,
which undermines cultural institutions. For culture to exist, it must come at a price, says Paul, if
not, how can artists earn a living? With disagreement from some audience members, Paul conceded that the issue is a very difficult one for the
Ministry, not least because the digital age makes it
easier to access everything for free.
Paul concluded by underlining the importance
of an international, outward-looking perspective,
particularly in a time of growing globalisation and
budgetary restrictions. Citing the example of the
Louvre Abu Dhabi, Paul explained we made use
of our international expertise to land a 1.4 billion
contract. The annual budget for culture was 3 billion, and from one project alone, we earned as much
as half of the ministrys annual funding. Whilst we
were expanding in Abu Dhabi, he continued, we
also created France Museums, an organisation that
aimed to export French museums expertise to foreign institutions. Lamenting the way in which this
initiative fell by the wayside after his departure from
the ministry of Culture, Paul commented: Museums
have regained their autonomy, which is one thing a
weak minister will always ensure. Paul concluded by
wondering whether the ministry will survive, as digital technology is poised to fulfil its primary mission:
cultural democratisation.
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#204 28 May 2015
Museums
DONATIONCentre Pompidou acquires five new works thanks to Chinese donors
hanks to donations by Adrian Cheng, Mr and Mrs
tions: Appearance of crosses 94-11 by Ding Yi, a leading figure in the renewal of
Budi Tek, David Chau, William Zhao, and Andrew
Chinese painting in the 1980s, The Water (10) (2014) and The Material (2014) by
Xue, the Centre Pompidou, Frances national muZhang Enli, and Spring, by Zhao Yang. Lastly, the installation Corporate (4 knives
seum of modern art in Paris, has acquired five new
Group) will allow the public to see Xu Zhen, founder of the label Made In, alongside
contemporary Chinese works. While the collections
other great names of the modern and contemporary Chinese art scene already
of the Centre Pompidou already contain 128 Chipresent in the collections, such as Zhang Peili, Chen Zhen, and Ai Wei Wei.
nese works, these acquisitions mark the entry of four
President of the Centre Pompidou, Serge Lasvignes, commented: The Centre Pomnew artists into French national collections.
pidou is increasingly open to globalisation and diversity in the art world. It is better
Testifying to the diversity of Chinese artistic traditions,
to learn and to establish a dialogue. The Chinese art scene is especially rich and full
four new paintings are to enter the museums collecof vitality. [] This exceptional donation is a chance to further raise its profile.
hrWhitney Museum increases its management team

he director of the Whitney Museum, Adam D.
Weinberg, has announced the appointment of
Donna De Salvo as director of international initiatives and senior curator, and Scott Rothkopf as director for programmes and chief curator. They will
assume their posts as of 1 July 2015.
These appointments will increase the museums
management team in response to the development
of its structure following its new premises, which will
present new opportunities in terms of programming
as well as international outreach. Former curator in
chief and director for programmes Donna De Salvos main task is to define more precisely the place
of American artists in contemporary international
culture and to organise the museums international
outreach programmes. She will also be in charge
of exhibitions, professional exchanges, and institutional development. Currently a curator and associate director of programmes, Scott Rothkopf joined
the Whitney Museum in 2009. Within his new role,
Rothkopf with supervise the programming as well
as the management of the museums collections.
closingClosure of PRAXES Center for Contemporary Art, Berlin

he PRAXES Center for Contemporary Art, located in St. Agnes Church in Berlin, Germany, has
announced that it is to close in June 2015.
PRAXES, a non-profit space dedicated to international contemporary art and research which has established itself as one of the citys key art centres, will
close after two years of exhibitions, publications, lectures, conferences, screenings, and performances.
Rhea Dall and Kristine Siegel, the centres founding
directors, revealed that they will join the 2016 Bergen Assembly in Norway as co-conveners.
Founded in August 2013, the institution has hosted
exhibitions and events with artists such as Gerard
Byrne, Matt Mullican, Jason Dodge, and Jutta
Koether, among others. Until 13 June, the centre
is hosting an exhibition of works by Chris Evans
and Rimini Protokoll, which will be honoured with
a grand closing ceremony.
Views of the Centre Pompidou

Credit: Jean-Pierre Dalbra
14
View of the Museion Bolzano
fundingEgyptian museum faces funding crisis

he construction of the Grand Egyptian Museum
in Giza, which was due to open this summer, has
widely exceeded cost estimates, and requires another
$300million for completion.
Construction of the museum, which is to be Egypts
largest, began in 2012. Situated on a 117-acre
plot near the Giza Pyramids, by the time the new
museum opens it will have cost a staggering total
of $1.1 billion. The countrys Antiquities Minister,
Mamdouh Al-Damaty, blames the ballooning cost
of the project on the weakness of the Egyptian
pound relative to the US dollar. So far the Egyptian
government has provided $37 million to the project, whilst the Japanese Agency for Development
has provided an additional $140 million.
The museum, which organisers claim will have universal human value, has previously been subject to controversy, when, in March of this year, the throne of King
Tutankhamun was damaged whilst being transferred
to the site from the Egyptian museum.
HRLetizia Ragaglia to continue as director of

the Museion of Bolzano
etizia Ragaglia is to continue to carry out her duties as director of the Museion, The Museum for
Modern and Contemporary Art of Bolzano, Italy,
after recently being re-elected by the museums
administration committee.
Under the direction of Letizia Ragaglia since 2009,
the Museion has hosted a series of solo exhibitions
of artists whose works are perfect examples of the
current trends in contemporary art. The museum
organised the first solo exhibitions in Italy of artists such as Carl Andre, Rosemarie Trockel, and Isa
Genzken, alongside more contemporary artists such
as Monica Bonvicini, Klara Lidn, Rossella Biscotti,
Danh Vo, Ceal Floyer, and Tatiana Trouv.
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#204 28 May 2015
Museums Whats on
chileAbdul Vas at the Santiago Museum of
Contemporary Art
ntil 19 July, the Santiago Museum of Contemporary Art, Chile, is hosting a solo exhibition of the
artist Abdul Vas, entitled Hell Aint A Bad Place to Be.
Through his paintings, drawings, and visual installations, Vas presents an unusual vision of contemporary art, taking inspiration from rock n roll and
baseball culture. In his works, the imagery of American mass culture is transfigured through surprising
and incongruous associations. These compositions,
which are at times shocking or frightening, reconstruct the policed hell of our daily life. Inspired
by the dissonant rhythms charachteristic of groups
such as the Rolling Stones, Muddy Waters, Slayer, or
AD/DC, Abdul Vas invited young Chilean musicians
to participate in his project, by hosting a concert
within the museum, thanks to a collaboration with
the legendary Schools of Rock.
Abdul Vas was born in Maracay, Venezuela, in 1981.
he is currently based in Lisbon and Madrid, and he
has worked in Suriname, Wales, and Belgium. His
works, the result of a practice involving photography
and fanzines, have been exhibited in Europe, Asia,
and his native Latin America.
germanyCody Choi at the Kunsthalle Dsseldorf

ntil 2 August 2015, the Kunsthalle Dsseldorf is
hosting the first international retrospective of Korean conceptual artist Cody Choi, entitled Culture Cuts.
Cody Chois practice is marked by a critical regard
for the idea of civilisation, as well as a wish to offer a
dialogue between cultures. The title of this exhibition refers to his prints of cultural wounds. He depicts these physical metaphors by introducing his
themes through bodily images: that of metabolism
and stored energy. Through his paintings, sculptures, installations, ink drawings, digital drawings,
and neon texts, he questions the human condition
and the quest for cultural identity.
Raised in Seoul, Cody Choi left South Korea with
his family to live in the United States in 1983. After having studied sociology in Seoul, he moved to
Los Angeles, where he began studying art. It was
his mentor and friend, the artist Mike Kelley, who
introduced him to post-colonial theories as well as
to intercultural differences.
Raumzeichnung (PoyrazLodos)(2015)
Monika Grzymala
Courtesy Monika Grzymala
Photo: Aras Selim Bankolu
15
turkeySpaceliner at Arter Istanbul space

for art
ntil 2 August 2015, the art centre Arter, in Istanbul, is holding Spaceliner, a group exhibition
bringing together some of the most important figures in contemporary drawing.
Their works, which lie somewhere between drawing
and installation, provide a reflection on the relationship
between drawing and space, through a variety of media
and techniques. Directed by Barbara Heinrich, the exhibition emphasises both the ever-changing nature of
contemporary graphic creation, and the use of movement as a source of inspiration for the body of work presented. Furthermore, all of the works share an interdisciplinary desire, directed outwards as much as inwards: to
understand the constructed spaces in which we live, as
well as those which define our interior visions.
Lastly, with the majority realised specifically for the exhibition, Spaceliner demonstrates the potential that
drawing has as a means of contemporary expression,
capable of expanding our field of vision through the
use of extraordinary techniques and materials.
unitedstatesRob Pruitt's Obama Paintings

at the MOCAD
ntil 2 August 2015, the Museum of Contemporary Art Detroit (MOCAD) is exhibiting the
works of Rob Pruitt, as part of his projects The Obama Paintings and The Lincoln Monument.
The works are being exhibited for the first time since
2009, when Rob Pruitt began to paint one event a day
from Barack Obamas presidency. Borrowing from
the iconography found in the press and the media,
The Obama Paintings act as both performance and
ready-made art. Using these materials, images which
are omnipresent in daily life of Americans, he invites
the spectator to discover a visual summary of the
presidency, rearranging his paintings in a random
order and forming a new interpretative framework
for both historical and social facts. This series, once
complete, will comprise some 2,922 paintings. The
Lincoln Monument also plays on codes of representation of presidents, this time by using pennies to
fill stacked lorry tyres painted bronze. The artist thus
turns away from the traditional form of the fountain,
which is symbolic of public monuments.
Due to the state of Detroits economy during Obamas presidency, which has been both critical and
sensationalised, MOCADs choice of Rob Pruitt for its
first retrospective is by no means insignificant.
U
The Obama Paintings (detail)
Rob Pruitt
Courtesy Rob Pruitt, Gavin
Brown's enterprise, and MOCAD
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#204 28 May 2015
Museums Coming soon

netherlandsGlobal Imaginations at The
Museum de Lakenhal, Leiden
rom 27 June until 4 October 2015, the Museum
de Lakenhal in Leiden, the Netherlands, is hosting an international contemporary art exhibition
entitled Global Imaginations.
For the exhibition, 20 major artists from the international contemporary scene have been invited to exhibit their works or to create a new work reflecting their
vision of the globalised modern world. The exhibition
allows artists from around the world to share modern
perspectives that are both rooted in their own cultures
and traditions, and a part of the same modern global
village. The exhibition is to take place in De Meelfabriek in Leiden, an abandoned flour factory that reflects
the citys industrial past. Exhibiting artists include: Singaporean artist Simryn Gill, Lebanese artist Mona Hatoum, Anglo-Argentine couple Lucy and Jorge Orta,
and Indonesian artist Tintin Wulia.
Global Imaginations will be accompanied by a
series of events, such as a university symposium,
a conference, and numerous presentations organised throughout the Dutch city, notably at the heart
of the former university library Rapenburg. The
exhibition has been arranged to coincide with the
440th anniversary of the Leiden University.
norwayHannah Ryggen at the National Gallery

rom 12 June until 4 October 2015, the national museum of Norway, the National Gallery, in
Oslo, is to host a solo exhibition of Swedish-Norwegian artist Hannah Ryggen, entitled: Hannah
Ryggen. Weaving the World.
Hannah Ryggen is known for her strong socio-political engagement. Since the beginning of her career,
she has expressed her revulsion towards the horrors
of the Nazi and Fascist movements. As a result, she
explores the themes of violence, exploitation, and
abuse of power, which are recurrent in her black-andwhite works from the 1930s. At times, her approach
resembles that of modern paintings, in the tradition
of Francisco Goya and Edouard Manet, and several
of her tapestries are comparable to Picassos Guernica (1937). Her tapestry entitled Vi lever p en stjerne
(We Live Upon a Star) (1958), has now been restored
following the terrorist attack in Oslo on 22July2011,
but still retains its highly emotive quality.
The exhibition is to be entirely dedicated to major
Scandinavian artist of the last century, Hannah Ryggen,
who died in 1970. The initiative was made possible by
the collaboration between the National Museum of Art
in Norway and the Moderna Museet in Sweden.
Back to Fullness, Face to Emptiness

(1997-2009)
Chen Zhen
Collection Yuz Foundation
Courtesy Galleria Continua
Photo: Ela Bialkowska.
16
unitedkingdomCarsten Hller at Hayward

Gallery
rom 10 June until 6 September 2015, the British
gallery Hayward Gallery, in London, is hosting a
solo exhibition dedicated to the works of Carsten
Hller, entitled Carsten Hller: Decision.
The artists first exhibition in the United Kingdom of
such a large scale, visitors will be given a series of
choices through mirrors, disconcerting duplicates,
and mysterious objects which, brought together,
create the impression of a world where nothing is
as it seems. Over the last 20 years, Hller has realised experimental installations, participative artworks, and immersive environments. These works
often feature disorientating architecture and perception-altering devices, which the artist refers to
as artificial limbs for parts of your body that you
dont even know youve lost.
Born in Belgium to German parents, Carsten
Hller studied science, graduating with a degree in agricultural entomology, before devoting himself to an artistic career.
UNITEDSTATESJacqueline Humphries at the

Carnegie Museum of Art
rom 11 June until 5 October 2015, the Carnegie
Museum of Art in Pittsburgh is holding an exhibition of works by the artist Jacqueline Humphries.
In her first solo museum exhibition for ten years, curated by Amanda Donnan, Humphries will present
a new body works, which have been created specifically for the space at the Carnegie Museum of Art.
In this new series, the artist continues her experimentation with metallic pigments and painting in
black light. Aware of the ever-changing nature of
the medium of painting, this series' abstract works
addresses the digital world, which is now an integral
part of daily life. Using a stencil-cutting technique,
with which the artist has been experimenting for
several years, she draws over her canvasses, creating an immersive environment.
With her black light paintings, which have fluorescent
pigments that are only visible in the dark, Humphries
offers a similar experience to her visitors. By making
them approach this specific, spectacular environment
in the darkness, she intensifies the phenomemon of
vision: that of seeing as well as being seen.
F
World Under Pressure (2014)
Batoul S'Himi
Courtesy Batoul S'Himi
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#204 28 May 2015
Galleries
collaborationWhite Cube Gallery and the Glyndebourne announce collaboration
hite Cube Gallery, a well-known London-based gallery, has announced its
ing numerous solo exhibitions of contemporary artists
collaboration with the Glyndebourne Festival Opera.
such as Sean Henry, John Stezaker, and Michael CraigIts pop-up space, situated at the festivals site in Glyndebourne in East Sussex, is to host
Martin, with the added benefit of the gallerys roster.
a solo exhibition dedicated to the German artist Georg Baselitz, which is to take place
The custom-designed space to house the exhibifrom 21 May until 30 August. The gallery commented that: White Cube at Glyndetion was created by the award-winning Londonbourne [] is a unique opportunity to present the work of acclaimed international
based architectural studio Carmody Groarke,
artists to new audiences, as part of Glyndebournes world-renowned programme.
which became well known in 2011 and 2013 for its
The festivals collaboration with the gallery will allow it to continue its tradition of hostdesign of the Frieze London fair spaces.
REPRESENTATIONLisa Cooley now represents

Jennifer West
ew York-based gallery Lisa Cooley has announced that it now represents the Californian
artist Jennifer West.
West, born in Topanga, California, realises works that
incorporate the language of American popular culture, for example through references to Jaws, Western films, the Hollywood sign, Snickers, Jack Daniels,
beach parties, and campfires. Her work primarily
takes the form of films and filmstrip installations, realised through unusual techniques such as soaking film
in salt water, carrot juice, or coffee, scratching it with
sharks teeth, and writing on it with eyeliner.
The artist is currently a resident at EMPAC, Rensselaer Polytechnic Institute, New York, and her work is
included in numerous collections, including the Los
Angeles County Museum of Art, California, and the
Saatchi Gallery, London. Upcoming exhibitions include a solo exhibition in Plovdiv, Bulgaria, in 2015,
as part of AMERICANA ESOTERICA, and a solo exhibition at Tramway, Glasgow, in 2016.
N
bye!Eric Fischl leaves Mary Boone Gallery after 30 years
ric Fischl has left Mary Boone Gallery after
30years, after having expressed disappointment with the art market.
Fischl is a painter, sculptor, and printmaker from New
York. Mary Boone Gallery was founded in New York
in 1977, and has represented many notable artists,
such as Ai Weiwei, Jean-Michel Basquiat, Anselm
Kiefer, Jeff Koons, Barbara Kruger, and Sigmar Polke.
Fischl revealed in an article in Interview magazine
that he had wanted to join Boones gallery, as it had
a glow about it of something really new and fresh. It
felt like something different was starting to happen.
He also complained that the current art market stifles
young artists creativity, and that artists are treated
more like brand names.
Fischl himself has not yet commented on his departure from Mary Boone Gallery, but Ron Warren, a director and partner at Mary Boone, stated:
I think he has decided that the art world and the
market have changed so much that he wants to
concentrate on making his work, and distance himself from being represented by a gallery.
Glyndebourne Festival Opera

Credit: David Hawgood
T
Twittering (Gezwitscher) (2014)
Georg Baselitz
Courtesy White Cube
Photo Jochen Littkemann
successionAlexander Gray Associates now

represents the estate of Jack Tworkov
he gallery Alexander Gray Associates has announced that it now represents the estate of Abstract Expressionist artist Jack Tworkov.
Gray, who is known for championing underrepresented artists, commented: [Tworkov is] one of
these figures who is often on the margins [] he
was not afraid to change position and be skeptical
about commodification and cult of personality and
all of the plagues of our current art world. The gallery has already scheduled a small retrospective of
the artists work for September 2015.
Born in Biala, Poland, in 1900, Jack Tworkov was a
key member of the first generation of Abstract Expressionists, alongside major artists such as Rothko
and Pollock, and in 1949 was a co-founder of the
Eighth Street Club, one of the central meeting
points of the movement. In spite of this, Tworkov
later broke away from the style, and turned towards
geometric abstraction. He died in 1982 at his home
Massachusetts, at the age of 82.
17
hrJames Green joins David Zwirner Gallery in

London
he London branch of David Zwirner Gallery has
announced that James Green is to join its management team.
James Green, the former manager of Londonbased gallery Stephen Friedman, left his post to
join David Zwirner Gallery as its deputy director.
Before arriving at Stephen Friedman, he was the
manager of Rebecca Hossack Art Gallery, also in
London. David Zwirner Gallery is a contemporary
art gallery that was founded by David Zwirner.
Based in New York since 1993 and in London since
2012, it is active in both the primary and secondary
markets. In 2010, ArtReview ranked David Zwirner
in fourth place in a list of the 100 most important
people in the art world. In 2012, he was classed in
second place by Forbes magazine in their list of
The most powerful American art traders.
The London branch of David Zwirner is located in
the heart of Mayfair, next to Berkeley Square. Until 13 June 2015, it is displaying the works of Yayoi
Kusama in an exhibition entitled Give Me Love,
and the works of Richard Serra until 24 July 2015,
in an exhibition entitled Equal.
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#204 28 May 2015
Galleries Whats on
franceDouble Eye Poke at Galerie Kamel
Mennour
ntil 25 July 2015, the gallery Kamel Mennour in
Paris is hosting an exhibition of contemporary
art entitled Double Eye Poke.
The exhibition will display the works of four major American artists: Lynda Benglis (born in 1941),
Dan Flavin (193396), Sol LeWitt (19282007), and
Bruce Nauman (born in 1941). Various minimalist,
post-minimalist, and conceptual art forms will be
on display, bringing together phenomenon-works
inspired by the human figure. This figure, often
fragmented and sometimes completely abstract,
takes the form of the face through the use of raw
material for Lydia Benglis; that of an entire body
with the amateur choreography of Bruce Nauman;
that of physical traces for the artist-creator Sol LeWitt; and evanescent structures inspired by tutelary
figures in art history for Dan Flavin.
Batrice Gross, New York-based art critic and
independent exhibition curator is in charge of
directing this event. She is currently planning an
exhibition of the LeWitt Collection at the Drawing Center in New York, and is working with Senior Curator Claire Gilman.
chinaPunctuation The First Time: Shen

Fan at ShanghART Gallery
hanghART Gallery in Shanghai, China, is hosting a solo exhibition of works by the Chinese
abstract artist Shen Fan, entitled Punctuation The
First Time, until 14 June 2015.
The exhibition brings together Shen Fans latest paintings and mixed-material paintings and installations,
realised between 2014 and 2015. At the end of the
1990s, the tensions in his paintings gradually disappeared to make way for a pictorial language, which
lies between early decorative art and Chinese aesthetics. After removing the characters contained within his
paintings, they seem to resemble Morse code, illustrating a sense of continuation of abstraction. The remaining punctuation that emerges from his works is punctuated by serene declarations protesting the authority
of characters. Through these works, the artist hopes to
reveal a new language to their audience.
Shen Fan was born in 1952 in Shanghai, where he still
currently lives and works. His works are found in the
collections of the The National Art Museum of China,
the M+ Collection, and the Shanghai Art Museum.
CHINAZhang Dali at Pkin Fine Arts, Hong

Kong
ntil 23 August 2015, Hong Kong-based gallery
Pkin Fine Arts is to host an exhibition dedicated to the works of Zhang Dali, entitled Zhang Dali:
Under The Sky.
In celebration of Zhang Dalis first solo exhibition,
the artists latest cyanotypes and figurative sculptures are to be presented to the public. The graffiti artist, best known in China, stopped tagging
buildings marked for demolition and construction
in 2006, but has continued his fascination with the
immediacy of the street, using a variety of mediums such as photography, cyanotype, resin, and
fibreglass life-size body-cast sculptures.
Zhang Dalis practice is research-based, recording
his daily encounters with the urban space around
the neighbourhoods where he lives and works, situated on the outskirts of Beijing, and surrounded by
vacant lots scheduled for urban redevelopment.
18
View of the Zhang Dali's exhibition

Courtesy Pkin Fine Arts
unitedkingdomLee Madgwick exhibition

at Byard Art gallery, Cambridge
or his third solo exhibition at the gallery Byard Art
in Cambridge, United Kingdom, Lee Madgwick, a
former student of Lynn, and an award-winning East
Anglian artist, is to present a selection of some of his
most recent paintings until 14 June 2015.
A recently elected member of the Royal British Society of Artists, Madgwicks exhibition unveils the
British countryside through depictions of isolated
ivy-clad houses, thickets, and woodlands, as well
as a bizarre singular tower block in a remote valley
and a house ablaze on stilts. One of the common
threads connecting his works is the way in which
he imbues his paintings with a mysterious haunting
quality, often suggesting a scene captured in the
moment, frozen in action, provoking the viewer to
determine what might happen next.
After taking his BTEC Diploma in Art & Design at
the College of West Anglia, Lynn, Madgwick studied graphic design at Norwich University College
of the Arts. He has been working professionally as
a painter since graduating in 2003.
Kamel Mennour Gallery in Paris

Credit: Fabrice Seixas
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#204 28 May 2015
Galleries Coming soon

CHINAWang Huangsheng at Pearl Lam Galleries
hanghai-based Pearl Lam Galleries is to host a
solo exhibition dedicated to the work of Wang
Huangsheng, entitled FLUX Wang Huangsheng
Solo Exhibition, from 1 June until 20 July 2015.
The exhibition will present the artists most recent
works since his solo exhibition in 2010, in order to
highlight the developments in his experimental technique, using continuous fine lines drawn in ink. FLUX
Wang Huangsheng Solo Exhibition brings together
ink works on paper and multimedia installations, unveiling a range of expressive artwork, brought to life
by an expansive and creative energy.
Curated by Dr. Katie Hill, FLUX offers an overview
of Huangshengs latest experiments in linear painting. Inspired by the phenomena of magnetism, the
artist intends to reinvent xie yi traditional painting, using the language of contemporary art.
FranceWin Knowlton at Galerie Minsky

rom 4 June until 1 August 2015, Galerie Minsky,
situated in Paris seventh arrondissement, is to
host an exhibition of the works of American artist
Win Knowlton.
Knowltons works, anchored in a dream-like world,
are above all marked by a distinct taste for nature,
which the artist evokes through his cloudy compositions, marked by particular rhythms. In his large-scale
works, the eye never stops but engages in a series
of passages throughout the course of the very structured lines freeing up the form of every box or constraint. Being a sculptor as well as a graphic designer,
Knowlton is to present to the public aa set of 20 works
on paper, accompanied by seven sculptures.
Born in Boston in 1963, and graduating from the
Winchester College of Arts as well as from the Parson
Schools of Design in New York, Win Knowlton considers himself above all as a gardener. However, his
works are held in the collections of some of the most
important American museums, such as the Brooklyn
Museum, MoMA, and the Whitney Museum. He has
been represented by Galerie Minsky since 2001.
19
ITALYPiero Golia at Romes Gagosian Gallery

rom 9 June until 30 July 2015, the Rome branch
of the Gagosian Gallery is to host an exhibition
of works by Piero Golia, entitled Piero Golia: Intermission paintings.
The series Intermission paintings (2014) is a by-product of the first phase of his Comedy of Craft trilogy,
a sculptural performance in three acts. Golia used
foam offcuts from the exact-scale replica of George
Washingtons nose on Mount Rushmore that he had
used in the first act of Comedy of Craft. He then embedded them in a hard layer of polymer and painted
them with the same iridescent nano-pigments used
in security ink for printing bank notes.
Born in 1974 in Naples, Italy, Piero Golia is a conceptual artist. His works have been exhibited in
major exhibitions in Europe and the United States,
such as Uncertain States of AmericaAmerican
Art in the 3rd Millennium at the Serpentine Gallery, London (2006); The Gold Standard, at P.S. 1
Contemporary Art Center, New York (2007); Premio Italia at the Museo MAXXI, Rome (2011); and
Made in L.A. at the Hammer Museum, Los Angeles (2014). He also had a solo exhibition, Double
Tumble or the Awesome Twins, at the Stedelijk
Museum, Amsterdam, and his work was exhibited
at the 55th Venice Biennale in 2013.
F
Left: 2015.010 (detail)
Right: 2015.001 (detail)
Win Knowlton
Courtesy Galerie Minsky
Left: Intermission painting #60 (2015)

Right: Intermission painting #6 (2014)
Piero Golia
Courtesy Gagosian Gallery
singaporeMit Jai Inn at Yavuz Gallery

rom 30 May until 19 July 2015, Yavuz Gallery in
Singapore is displaying the works of Mit Jai Inn,
in a solo exhibition entitled Patchworlds.
The artist is to present a series of symbolic paintings, a large proportion of which are to be exhibited in Singapore for the first time, as well as paintings created specifically for the event. Due to both
their form and their function, the works exhibited in
Patchworlds exemplify the non-Orthodox artistic
approach adopted by Mit Jai Inn. One of the pieces
in the exhibition requires interpretation and participation on behalf of the spectator: Untitled (Patchworks) (2000) was made from 100 components of
free-form canvases measuring 30.5 by 30.5 cm.
Each piece is divided into four coloured squares
and carefully cut to create gaps that allow the work
to be folded, curved, and shaped.
Born in 1960 and currently based in Chiang Mai in
northern Thailand, Mit Jai Inn is a key figure of Thai
contemporary art. At the end of the 1980s, he lived
in Vienna, Austria, where he studied at the University of Applied Arts and worked in the studio of renowned abstract artist Franz West. Upon returning
to Thailand, he co-founded the Chiang Mai Social
Installation, an artistic project and a festival with the
aim of leading art outside of its traditional, institutional, and commercial constraints.
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young artists
in china
ounded in 2011, Beautiful Asset Art Project

is an innovative gallery based in historic Beijing dedicated to promoting Chinese artists
both domestically and internationally. In
order to achieve this, the gallery has developed a project, entitled China Young Artist Project
(CYAP), that will be implemented over several years.
Art Media Agency had the chance to speak with
Chen Chang, one of the gallerys directors.
798 Art Disctrict in Beijing
#204 28 May 2015
Interview beautiful asset art project

Could you introduce Beautiful Asset Art Project
to us?
Our gallery was founded in November 2009, after
five years of development, and our services now
include arts services, such as artwork storage, art
promotion, art finance, and art charity. With strong
academic and marketing resources online and
offline, we provide a full range of services to artists, collectors, businesses, and art enthusiasts. In
China, we have a unique competitive advantage in
this industry. Compared with an ordinary gallery,
we have more to offer. For example, we have the
CYAP project, which is supported by the Chinese
government. We also have an exhibition space in
Beijing, as well as plans to build another gallery in
798, so we hope to accumulate more customers
and collectors.
What is CYAP?
China Young Artists Project (CYAP) is a five-year
plan that forms part of our companys important
public arts project. CYAP's aim is to discover and
support China's new generation of artists, promoting them through exhibitions and exchange
programmes around the world. We demonstrate
the status quo of creation for young Chinese contemporary artists with professional standards, and
allow young artists to display their talents on the
international stage.
21
Do you represent these artists at art fairs, for example?

Over the past three years, we have taken part in
several fairs, such as Scope Miami Beach and Art
Stage Singapore. We joined Art Paris last year as
a guest of honour, and this year we presented artwork from ten different artists. These young artists,
who also form part of our CYAP, represented two
different artistic types: new ink art and oil painting.
The new ink art works demonstrate the development of traditional Chinese art in a contemporary
social context. Some of the artists have studied art
in France and so attempt to present their Chinese
experience and cultural background by re-appropriating Western techniques.
798 Art Disctrict in Beijing
What are the differences between the European, Asian, and the American art markets?
These three markets are very different. The American and European art markets are very mature. In
the American market, especially that of the United
States, collectors are very powerful, and they have
a lot of capital investment in the art market. The
European market is more academic, and collectors
are very introverted. In France, for example, the art
market is very stable; most of the collectors here
are art experts.
Credit: Lee Luv
In contrast, the Asian art market is still growing, whether

it is in China, Singapore, or India. In Chinas current condition, the primary market (galleries and art fairs) is not
mature enough; capital is concentrated in the secondary market, such as auction houses. Collectors in China
who deal in several collection disciplines are rare. Most
people buy art primarily for decoration or investment;
they may not pay attention to the message of the work
itself. In the European art market, the collectors remain
passionate about the art, while also trying to find the
story behind the artist and the work. They then search
for link between the artists works and themselves, and
finally secure a collection. This is the process that Chinese collectors need to learn from.
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#204 28 May 2015
Artists
vipJay Z defends himself against Marina Abramovis accusations
he rapper Jay Z has responded to the claims made by the performance artist
Marina Abramovi, who accused him of having violated their contract.
Marina Abramovi had allowed the singer to adapt and to feature in one of
her performances for the music video of his song Picasso Baby, in return for a
donation to support the construction of her performance art institute in Hudson, New York. Abramovi then accused the singer of not having made the
donation he had promised. I will never do it again, that I can say []. I was
really nave in this kind of world. It was really new to me, and I had no idea that
this would happen, she explained to Spike magazine. But Jeanne Greenberg
Rohatyn, Jay Zs artistic advisor, who contributed to

shooting the film, defended Jay Z, claiming to have
read the acknowledgment of receipt which stated:
Thank you for your donation.
The Marina Abramovi Institute in Hudson has just
apologised to Jay Z and to Marina Abramovi, explaining that when she did the interview with Spike magazine in Brazil, the artist had not been informed of the
donation that the rapper made two years ago.
AwardSamson Young named first BMW Art
Journey winner
rt Basel and BMW have announced that Samson Young has won the first ever BMW Art
Journey, after the 2015 edition of Art Basels Hong
Kong show at the end of March.
Young was one of three shortlisted artists, along with
Mika Tajima and Trevor Yeung, in the Discoveries
section of Art Basel Hong Kong this year. With this
prize, Young will be able to travel across five continents. For his project, entitled For Whom the Bell
Tolls: A Journey Into the Sonic History of Conflict,
he will tour the world, exploring bells and military
technology, and he will create visual works and musical compositions based on these experiences. This
study will lead Young to travel to Myanmar, Kenya,
Austria, Cologne, Morocco, Sicily, South Korea, Australia, the United Kingdom, and the United States.
Young was born in Hong Kong in 1979. He studied
Music, Philosophy, and Gender Studies at the University of Sydney, and has obtained a PhD in Musical Composition from Princeton University. In 2013,
he was named Artist of the Year by the Hong
Kong Arts Development Council (ADC).
awardFinalists of Kubus. Sparda Art Prize announced

he three finalists of the second edition of the
Kubus. Sparda Art Prize, awarded by the Sparda
Baden-Wrttemberg bank and the Kunstmuseum
de Stuttgart, are: Nevin Aladag, Peter Vogel, and the
pair of artists Discoteca Flaming Star.
Turkish-born Nevin Aladag presented the work Traces
(2015), a video featuring traditional Eastern European
musical instruments which appear to be played not
by musicians but by the environment itself. Peter Vogel, a Fribourg-born electronic music pioneer creates
interactive sculptures in which electronic components
and musical instruments respond to the movements
of visitors. The Discoteca Flaming Star duo, Cristina
Gomez Barrio and Wolfgang Mayer presented an installation featuring footage from Pasolinis Uccellacci
e uccellini and Jules Dassins La Rptition along with
images and documents relating to performances by
the duo in a former military complex in Madrid.
The Kubus. Sparda prize is an open competition for
emerging and more established artists with a link to the
Baden-Wttemberg region. The theme of this years
edition of the competition was art and music.
Traces (still) (2015)

Nevin Aladag
Nevin Aladag/VG Bild-Kunst
Photo: Frank Kleinbach
The Artist is present (2010) at MoMA

Marina Abramovi
obituaryRosemarie Castoro dies aged 76

ew York-based Minimalist artist Rosemarie Castoro died at the age of 76 of unknown causes,
announced her gallery Broadway 1602.
Rosemarie Castoro is a central figure, and one of
relatively few female artists, in the New York Minimalist movement. At the start of the 1960s, she
studied at the Pratt Institute, where she took inspiration from modern dance, and worked alongside
Yvonne Rainer, a guiding force in experimental
dance, theatre, and film. Later, Castoro focused
on sculpture and installations, exploring materials
such as concrete, wood, graphite, and metal. The
artist also taught at the School of the Museum of
Fine Arts in Boston, the University of Syracuse in
New York state, the University of Colorado, the Pratt
Institute, and Hunter College. Her work appears in
collection in the MoMA and the National Gallery of
Australia, as well as in corporate collections.
22
sculptureAlexandra Pirici to perform her

Monument to Work in Gteborg
rom 28 until 31 May 2015, the artist Alexandra
Pirici is presenting her living sculpture Monument to Work, commissioned by the government
agency Public Art Agency Sweden.
Alexandra Pirici has drawn inspiration for the choreography of the performers in Monument to Work from the
rhythmic sequence of movements that have marked
the days of industrial workers from the 1970s to the
present day. Her creative process is based in part on
the numerous interviews she has conducted with industrial workers of different generations, concerning
the movements they carried out over the course of
their working lives. These interviews were organised in
close collaboration with the workers union Verkstadsklubben at the ball bearing factory SKF, in Gteborg.
Alexandra Pirici currently lives and works in Bucharest. She participated in the Romanian pavillion for
the 55th Venice Biennale, with a project called An
Immaterial Retrospective of the Venice Biennale, realised in collaboration with Manuel Pelmus.
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Photojournalism
in the spotlight
ith an exhibition currently underway

at the Chapelle de Beaux-Arts in Paris, work on show at the 56th Venice
Biennale, and the prestigious Fondation Carmignac photojournalism
prize under her belt, Iranian photographer Newsha
Tavakolian has had a busy year! Art Media Agency
met with the artist to discuss her work, her inspirations, and the changing face of photography
Mehdi a singer and performer, leaving his

usual practice place, an abandoned swimming pool, in the hills near his house
Newsha Tavakolian for the Carmignac Foundation
#204 28 May 2015
Interview newsha tavakolian

You began working in journalism aged 16 could
you tell us about your career background?
I was born and raised in Iran, and have spent my
whole life there, however I have never felt cut off
from the rest of the world. As a young girl working in the Iranian media, I witnessed many women
give up, but I was so focused on my goals that I
never really noticed the problems that we faced. I
was my own harshest critic, and I always wanted my
work to be good enough that I could gain recognition outside of Iran and be involved with larger
international projects. Im glad that I chose the long
road rather than the short road, and focused on my
long-term goals rather than jumping on the first
opportunity that presented itself.
How did you come to be selected for the Fondation Carmignac prize?
I had never applied for a grant or prize before, but
when I heard about the prize I realised that it would
give me the opportunity to work on a subject that
Ive always been interested in, but have never
had the chance to pursue: the middle class youth
of Iran. For a long time Ive wanted to pursue the
theme of the middle classes, but it isnt something
that Iranian audiences are particularly interested in.
Did you begin the project with the idea of an
album in mind?
No, the starting point for the project was the middle class. My work always starts with a raw idea or
concept, which takes shape as I work and discover
new things. You can never be sure exactly what direction a project will take before you start. I began
by looking for characters. I wanted to find normal
people, with nothing to set them apart or make
them special; people that no one cares about.
That was the real challenge. Then I began visiting
peoples homes and speaking to them, and for
some reason I would always end up asking for their
photo albums. I had a real obsession with photo
albums since, as a middle child, I never had my
own photo album as a child. My younger brother
was born when I was nine months old, and so my
parents never took photos of me! Subconsciously
I was attracted to family photo albums, so the idea
of making a photo album as part of the project was
a natural one for me.
24
Newsha Tavakolian
Courtesy Carmignac Foundation
Girls smoking during a break between classes at a university campus

Newsha Tavakolian for the
Carmignac Foundation
How is the exhibition at the Chapelle des BeauxArts laid out?

The exhibition is in an old chapel, and given the
nature of the space, we felt that rather than simply hanging 20 pictures in a row we needed to
do something different with the layout in order to
bring out the subtle connections between the images. Each story is presented separately. Essentially, the exhibition focuses on nine characters that
are representative of contemporary Iranian culture.
The images deal with complex issues that are not
necessarily apparent at first glance, so we had to
do something a little more interesting with the
hanging.
How do you feel about the exhibition?
Im really exited about the exhibition. Everyone has
worked very hard on it, but there is always an element of worry. Its so exciting to see an idea come
to completion but at the same time its a bit nervewracking.
Could you tell us more about your show at the
Biennale?
It is essentially the same work, but rather than showing the films on different TVs, we use a single channel, in which the videos fade in and out. It emphasises the ways in which the stories are connected.
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#204 28 May 2015

Tehran is home to a vibrant art scene
Absolutely! A few days ago Tehran became the
biggest exhibition in the world. The mayor of the
city decided to replace the billboards and advertisements around Tehran with works by great artists
such as Picasso, Van Gogh, and also Iranian artists.
Over 1,700 pieces were hung in total.
The art scene is very lively. Tourists that come to the
city are shocked, since it is so different from the way
Tehran is portrayed abroad, but residents no longer get excited about the opening of a new gallery.
Like any city with a large young population, Tehran
is a very exciting place to be.
The Iranian middle class forms the principal subject of your current exhibition how important
are the middle classes in Iranian society?
The middle class currently makes up more than
80% of Iranian society, but they are shrinking quickly. As in many other countries, the rich are becoming richer and the poor poorer, especially because
of international sanctions against Iran. With power
and influence behind you it is possible to bypass
the sanctions, which can generate a lot of wealth.
Nonetheless, the middle class is very important in
Iran because they are in a position to bring about
change. They are not so rich as to be careless, or so
poor as to have to focus all their energy on having
enough to eat.
Does your own family belong to the Iranian
middle class?
Yes. My father lost his job, which involved export
and import to and from Europe, though fortunately
he didnt become poor. There are so many good
middle class families in Iran that are suffering at the
moment. They all live in beautiful villas with swimming pools, but the quality of life isnt always high.
A taxi driver in his car on a rainy day.

Behind him a poster of an upcoming
performance of Samuel Becketts
play Waiting for Godot
A view of a microphone and an

empty stage in Tehran
How do you expect Iran to change in the coming years?

I am not a politician, and even politicians cannot really predict the future of Iran. Many Iranians are not
looking for radical change; they just live their lives.
There is a sense in Iran that people have become
tired of politics, and even young people often do
not engage in those issues.
The news media is facing a difficult period, has
this affected your work?
Personally, Im constantly being offered more and
more work. People want to be surprised, and to see
something new, whether it is a new subject or simply a new perspective on an old subject. In the past
there were far fewer photographers, especially
since not everyone could afford a camera. To be a
photographer was something very special. Today,
photography has become much more accessible.
Cameras are cheaper, as is travel, and so weve
seen a real democratisation of the medium. There
is much more competition today, so to survive as
a photographer you must bring something new to
the table. It is no longer enough to take beautiful
pictures; there must be an element of creativity,
and an idea behind your work. A camera has become like a pen: anyone can write, but not everyone can be a great writer.
From a European perspective, Iran has an incredibly rich culture. Have international sanctions, and Western perspectives on Iranian politics posed a threat to this?
No, Iranian culture is continuing to develop irrespective of the West. Iranian artists, directors, and
filmmakers are increasingly moving away from
what the West expects of them. So many directors
have made films that are interesting from an outsider perspective, but which, for an Iranian audience,
are just more of the same. The Iranian art world
has greatly expanded its horizons over the last few
years; artists read more, travel more, and are exposed to a wider variety of art works. It is no longer
the bubble that it was 20 years ago. In the past, Iran
was very isolated, but with the Internet everything
has become much more connected. Audiences are
more critical; you can no longer make work for the
sake of it.
25
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#204 28 May 2015

So you are looking for a new vision in your
work
Yes, I never want to repeat what others have done.
Of course people want to see beautiful pictures,
but a beautiful picture alone is not enough. What
really counts today is the thought that goes into
a photograph. There is no longer a demand for
amazing technical photographers that lack vision,
or whose images are superficial. More and more,
newspapers and magazines are looking for photographers with vision, as well as skill.
A laborer working on a new ventilation shaft, on a wall in Tehran

Does new media play a major role in your work?

I try not to limit myself in my work. I use different
media, be it photography or film, to tell my stories.
In the past, photojournalists were confined to the
field of photojournalism, which is no longer the
case today. In the project Ive created for the Fondation Carmignac Award, each series is accompanied by a video installation. Playing with the medium of film is important to me because it provides
different layers to a work.
26
A portrait of Somayyeh, a 32-year

old divorced teacher
What projects do you have on the horizon?

When I return to Iran I have another big project
coming up. Ill be working for a newspaper for
three weeks, documenting the landscape of Iran.
After that I have exhibitions in London, New York,
and Dubai. Other than that, I dont have any specific
plans, but I intend to keep working on this project.
Id love to include more characters, not just from
Tehran but from all over the country, and eventually
create a full photo album. I think its important to
have a book about contemporary Iran.
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Giulio Paolini
orn in Genoa in 1940, Giulio Paolini is

an Italian artist who currently lives and
works in Turin. His artworks involve a variety of different media, including photography, painting, sculpture, collage,
plaster casts, and drawing.
He studied at the Giambattista Bodoni State Industrial Technical School of Graphics and Photography, graduating in 1959. His first work Disegno geometrico was created in 1960, and is a
canvas painted with white tempera and ink, an
artwork that would set the tone for the rest of his
work that was to follow.
His first solo exhibition was held in 1964 at Gian
Tommaso Liverani's La Salita gallery in Rome. He
became associated with the Arte Povera movement between 1967 and 1972 when art critic
Germano Celant invited him to take part in Arte
Povera exhibitions. During this period, he realised
works that reproduced details of Old Masters'
paintings, as well as works containing references
to Argentine writer Jorge Luis Borges and Italian
artist Giorgio de Chirico.
Taking part in the Venice Biennale in 1970, he became increasingly internationally renowned in the
1970s, with works displayed in exhibitions around
the world, securing himself an important position
in the international avant-garde art scene.
Paolini is also well known for having worked in
theatre, making sets and costumes, contributing to
shows including: Vittorio Alfieri's Bruto II directed
by Gualtiero Rizzi and Wagner's Die Walkre and
Parsifal, both directed by Federico Tiezzi. The artist
is known for accompanying his creations with written explanatory texts, such as: Idem, Quattro passi.
Nel museo senza muse, and Dall'Atlante al Vuoto.
L'Altra Figura (detail) (1984)

Giulio Paolini
#204 28 May 2015
Art Analytics
Data Giulio Paolini

Paolino has had solo exhibitions at many institutions and galleries around the world such as:
Marian Goodman Gallery, New York; Galleria
Studio G7, Bologna; Whitechapel Art Gallery,
London; Tucci Russo Contemporary Art Studio,
Turin; Yvon Lambert, Paris; Galleria Christian
Stein, Milan; Annemarie Verna Gallery, Zurich;
Kunstmuseum Winterthur; Kewenig Galerie, Cologne; Fundao Calouste Gulbenkian, Lisbon;
and MoMA, New York.
Evolution of the number of

exhibitions by type
His work is also found in the collections of numerous institutions, including: Art Gallery of New
South Wales, Sydney; Fondation Cartier pour l'art
contemporain, Paris; Muse d'Art Moderne de la
Ville de Paris; Kunstpalais Erlangen; Museo Sperimentale d'Arte Contemporanea, L'Aquila; Stedelijk Museum Amsterdam; Muse d'Art Moderne et
Contemporain, Geneva; and Tate Britain, London.

exhibitions by type of venue
40
30
20
10
0
1970 1973 1976 1979 1982 1985 1988 1991 1994 1997 2000 2003 2006 2009 2012
group shows
solo shows
40
30
20
10
0
1970 1973 1976 1979 1982 1985 1988 1991 1994 1997 2000 2003 2006 2009 2012
gallery
museum
biennials
other
View of the exhibition Poor Art Rich

Legacy
28
Courtesy Nasjonalmuseet
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#204 28 May 2015
Art Analytics
Data Giulio Paolini

Unsurprisingly, it is in his native Italy where Giulio Paolini has been most frequently been exhibited, ahead
of the United States, Germany, France, and Switzerland. Artists with whom he has been most exhibited
include: Mario Merz; Michelangelo; Pistoletto; Jannis
Kounellis; Alighiero Botti; and Giuseppe Penone.

exhibitions by country
He has been most frequently exhibited at the following institutions and galleries: Castello di Rivoli
Museo d'Arte Contemporanea; Lisson Gallery;
Annemarie Verna Gallery; Galleria In Arco; and
Neue Galerie Graz Universalmuseum Joanneum.
40
30
20
10
0
1970 1973 1976 1979 1982 1985 1988 1991 1994 1997 2000 2003 2006 2009 2012
Italy
6%
Distribution by exhibition type
37%
88%
museum
other
other
Distribution by venue type
group shows
solo shows
The top four authors whose works have addressed

Giulio Paolini are: Lea Mattarella (La Repubblica);
Marina Paglieri (La Repubblica); Nicoletta Castagni (ANSA); and Carlo Alberto Bucci (La Repubblica). Unsurprisingly, Italian is the most common
language in which he has been written about, with
the top three publications in which he has been
written about being Italian publications (La Repubblica, Corriere and La Stampa), followed by articles
written in English and German. Naturally, most articles about Paolini have been published in Italy, but
also in Germany, France, the United Kingdom, the
United States, and Switzerland.
29
United States
12%
30%
60%
gallery
events
Germany
39%
Distribution by country
12% 12%
Italy
United States
Germany
other
View of Qu'est-ce que la Photographie at Centre Pompidou

articles about Giulio Paolini
180
120
60
0
1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012 2014
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#204 28 May 2015
Art Analytics
Data Giulio Paolini
Photography represents a negligible portion of both

lots offered and turnover realised. Interestingly, despite the fact that the majority of lots (62%) were offered in Italy, it was in the United Kingdom, where
only 21% of lots were offered, where the highest
turnover was realised (58%). 8% of lots were offered
in France, where 5% of the turnover was realised.
The average price of a sold work in Italy is $16,623,
and the unsold rate in this country is 32%.
At auction, Giulio Paolini's work has totalled over

$32 million, averaging $62,845 per lot offered and
$96,105 per sold work.
The record for the artist's highest-selling work was
set at Christie's auction house in London in February
2014, when the work Antologia (26/1/1974) (1974)
was sold for $459,396. This record comes just above
another work Le Tre Grazie (1978), which was also sold
at Christie's in London in October2006 for $389,865,
far above its high-end estimate of $232,062. Another
important sale of Paolini's work took place at Christie's
in Milan in May 2007, when Lo Studio (1968) sold for
$364,878, above its high-end estimate of $202,710.
Drawing represents 38% of lots offered at auction,
but only 21% of turnover realised. On the other
hand, sculpture and painting each represent 37%
of turnover realised, but only 12% and 15% of lots
offered, respectively. Multiples represent 30% of
lots offered but a negligible portion of turnover
was realised from the sale of works in this medium.
Works created in 1975 generated a large proportion of the artist's turnover in public sales
($1.1million), and a relatively high number of
around 55 lots were offered in this year. On the
other hand, 1990 saw around 25 lots offered for
sale, but less than $200,000 of turnover was realised in this year. The unsold rate appears to be
relatively unstable, with the years 1989 until 1997
having very low unsold rates, followed by a sharp
decrease in sales in 1998 which increased the unsold rate to 50% and then to around 60% in 1999.
However, an increase in sales made the unsold
rate relatively stable between the years 2001 and
2009, before another decrease in sales in 2010.
Distribution of lots by
medium and revenue
Distribution of lots by
country and revenue
4%
12%
38%
15%
10%
8%
21%
37%
5%
21%
62%
58%
37%
30%
Drawing
Sculpture
Mutiples
Photography
Painting
Italy
France
United Kingdom
other
Rate of sold lots vs. bought-ins

Distribution of lots and revenue
by auction house
30
11%
25%
34%
43%
50%
16%
66%
43%
9%
sold
Evolution of unsold rate
bought in
32%
Sothebys
Christies
Finarte
other
100%
75%
50%
25%
0%
1989
1991
1993
1995
1997
1999
2001
sold
2003
2005
2007
2009
2011
2013
bought in
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#204 28 May 2015
Art Analytics
Data Giulio Paolini
31
Evolution of the
number of lots
60
40
20
0
Evolution of
the yearly
turnover
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
$80k
$60k
$40k
$20k
$0k
Evolution of the
average value
per lot
$1,800k
$1,200k
$600k
$0k
> $50k
$20-50k
34
$10-20k
< $2k
53
Turnover and number of lots

by price range
42
$5-10k
$2-5k
50
45
77
$0m
$2m
$4m
$6m
$8m
Rate of unsold lots

by estimates range
> $50k
$20-50k
$10-20k
$5-10k
$2-5k
< $2k
0%
25%
50%
sold
75%
100%
bought in
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#204 28 May 2015
Art Analytics
Data Giulio Paolini

Sothebys
25%
35%
40%
23%
29%
Christies
Finarte
38%
19%
38%
32%
48%
33%
Percentage of works sold below, within,

and above estimates per auction house
Percentage of works sold

below, within, and above estimates
25% of Paolini's works sold at auction went for under

their low-end estimate; 35% within their estimate;
and 40% were sold above their high-end estimate.
A higher proportion of the artist's work sold within
its estimate at the auction house Finarte than at Sotheby's or Christie's, the predictions made by the former auction house more accurate than the latter pair.
Number of lots presented, and

sales figures by year of creation
60
$1,200k
40
$800k
20
$400k
1959
1962
1965
1968
1971
1974
1977
1980
1983
1986
lots
1989
1992
1995
$0k
1998
turnover
Auctions results
from Artprice.com
Paolini's work is currently on display in the following

group exhibitions: Poor Art Rich Legacy. Arte Povera and parallel practices 1968-2015 at The Museum
of Contemporary Art Oslo until 28February 2016;
Qu'est-ce que la photographie at the Centre Pompidou, Paris, until 1 June 2015; and Nice to See you!
160 Works from the Collection at Kunstmuseum
Leichtenstein, Vaduz, until 23 August 2015.
32
39%
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#204 28 May 2015
AUCTIONS
hrStanislas Gokelaere joins Christies African & Oceanic Art Department
hristies has announced the appointment of
well as enthusiasts of other art forms such as Impressionist, Modern, and
Stanislas Gokelaere as European consultant
contemporary art, provides a strategic growth opportunity for Christies.
within their African & Oceanic Art Department.
The auction house intends to meet this demand by organising two annual
Based in Paris, Stanislas Gokelaere is to work
sales in Paris in June and December 2015.
with Susan Kloman, international director of the
Raised in a family of modern art dealers, Stanislas Gokelaere has been perdepartment and Pierre Amrouche, international
sonally collecting African and Oceanic art for over 20 years. Christies new
consultant. His appointment aims to strengthen
employee has also worked in the private equity field and co-founded and
the departments activity in Europe, boosting Padirected the Art Collection Fund, an art investment fund whose objective is
risian sales in particular. The growing demand for
to bring together a collection of high-quality modern and contemporary art,
African and Oceanic art, both from collectors as
as well as African and Oceanic tribal art.
hrLeon Benrimon named head of modern and

contemporary art at Heritage Auctions, New York
eritage Auctions, whose head office is in Dallas, Texas, has named Leon Benrimon as Director of Modern and Contemporary Art of its
New York office.
Benrimon is the former owner of Benrimon Contemporary in New York, selling blue-chip artworks
in association with historical exhibitions, while
representing and supporting a variety of contemporary artists. He received a Masters degree from
Christies Education in New York and worked in
family-owned galleries. In his new role, Benrimon
will work with new collectors and post-war artists
such as Warhol, Lichtenstein, Prince, Basquiat, Longo, Kusama Haring, Murakami, and Hirst.
Heritage Auctions is the largest collectibles auctioneer and third largest auction house in the world. It
recently announced that it is to double its space in
Manhattan, New York. Greg Rohan, President of Heritage Auctions, said of Benrimons appointment: As
a company we anticipate great things from [Benrimon] as we continue competing for and auctioning
the best available material in New York.
designDesign sale at Sothebys Paris amasses 7 million

n 21 May 2015, Sotheby's design sale held in
Paris amassed 7 million, with 75% of lots selling below their high-end estimate.
The most important lot established a new world record for a pair of armchairs by Jean Royre, with
the armchairs Ours polaire, dating from 1949-1950,
selling for 543,000 against their high-estimate of
150,000. This lot was followed by a bronze-plated
and galvanoplastie coffee table with a glass top by
Claude Lalanne, a unique piece dating from 1972,
which almost quadrupled its high-estimate by selling for 471,000. Moreover, with the fourth lot exhibited selling for the highest price, designer Marc
du Plantier established a world record with his
wooden desk covered in vellum, dating from 1957,
selling for 339,000, three times its high-estimate.
Ccile Verdier, European director of Sothebys design
department and the sales auctioneer, commented:
The common thread was probably poetry, refinement,
and quality whether it be Galls glassware, furniture
by Royre or works by Rousseau, Ruhlmann, Gruber,
du Plantier, Lalanne, Giacometti, and Branzi.
Desk (1957)
Marc du Plantier
339 000
Photo: Sotheby's/Art Digital Studio
33
Stanislas Gokelaere
Courtesy Christie's
EveningChristies Impressionist and Modern

evening sale amasses $202 million
n 14 May 2015, Christies held an evening sale
of Impressionist and Modern Art in New York,
including works from the John C. Whitehead Collection, amassing a total of over $202.6 million.
The first lot, Composition No. III (Composition with
Red, Blue, Yellow and Black) (1929) by Piet Modrian,
set the artists world auction record at over $50.5
million, more than twice its estimate. La Communiante (La Marie) (c. 1924) by Chaim Soutine sold
for over $15.6 million, three times its original estimate. Other high-selling lots included Fernand
Lgers Le corsage rouge (1922), Claude Monets
Les Meules Giverny (1885), and Amadeo Modiglianis Beatrice Hastings (1916), amassing over $16.9
million, $16.4 million, and $16 million respectively.
Maurice Denis La Cuisinire (1893) also set a world
auction record for the artist, selling for over $2.6
million, more than three times its estimate.
The auction was part of Christies week of Impressionist,
Modern, Post-War, and Contemporary Art sales in New
York, which amassed a record of over $1.7 billion.
L.A.Successful Modern Art & Design Auction

at LAMA
he auction house Los Angeles Modern (LAMA)
amassed a sum of $3 million for its Modern Art
&Design Auction sale held on 17 May 2015.
The most important lot was Alexander Calders
Quatre Blancs (1976), which exceeded its high-end
estimate of $700,000, selling for $826,250, a price
that corresponds to the total realised in New York
for a work by the same artist a few days previously.
Two other key pieces featured in the sale, $ (1982)
by Andy Warhol, estimated to sell for between
$35,000and $45,000, selling for $43,750, and the
ceramic Bull (1955) by Pablo Picasso, estimated
at between $50,000and$70,000, which sold for
$68,750, also boasted similar results to works from
the same series sold in New York a few days earlier.
Campbells Soup, a complete set of ten silkscreen
prints dating from 1968, estimated at between
$400,000 and $600,000, brought in $481,250.
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#204 28 May 2015
Auctions Coming soon

Red-lacquered box sculpted on
black background
Qing Dynasty - Qianlong Era
Artcurial
franceGreek works on offer at Piasa auction

n 3 June, the Parisian auction house Piasa is to hold
its fifth sale dedicated to contemporary Greek art.
Around 100 works by artists such as Takis, Pavlos, and
Theodoros Papagiannis are to be offered.
Amongst the highlights of the auction will be Takis
Mur Magntique (1991), a contemporary masterpiece currently on show at the artists retrospective
at the Palais de Tokyo. The lot is expected to fetch
30,000 40,000, and is one of 12 pieces by the
Greek artist to be offered during the sale. A larger
scale work, Mur Magntique IV, which measures over
3 metres, is estimated to fetch 60,000 70,000.
Works by Athens-born artist Pavlos will also form
highlights of the sale, with the work Sans Titre (1963),
created in the artists typical style using strips of posters, estimated to fetch 40,000 60,000. The work,
executed during the height of the artists career, was
created shortly after he first met Pierre Restany.
A younger generation of Greek artists is represented
by Theodoros Papagiannis, Costas Varotsos, and Alexandra Athanassiades, amongst others. One such work,
the sculpture Armure (2006) by Alexandra Athanissiades, is estimated to fetch 18,000 20,000.
franceAsian art sale at Artcurial

n 8 June 2015, Artcurial in Paris is to host its
annual sale of Asian art. The sale is to offer a
selection of 232 lots of Chinese decorative art, including a selection of Chinese pieces realised during the Qing dynasty.
Highlighted lots include a finely sculpted rare red
lacquer box on a black stand, decorated with Shou
characters, peaches, bats, and Lingzhi mushrooms.
Dating from the Qianlong dynasty (1736-1795), it is
estimated to sell for between 20,000 and 30,000.
Other major pieces in the sale include two libation
vessels made out of rhinoceros horns, representing naturalist themes inspired by legends or famous
paintings dating from the Qing dynasty. The first,
decorated with trees, rocks, a waterfall, and a stream,
is estimated at between 40,000and60,000 whilst
the second, which depicts a mountainous landscape,
is estimated at between 60,000and80,000. The
sale is also to offer a rare set of sculptures made of
zitan (a type of wood) and ivory representing a Buddhist lion, estimated between 20,000and30,000.
Finally, a porcelain cup on a base of white and copper-red porcelain, bearing the signature of the Emperor Yongzheng, is estimated to sell for between
50,000and70,000.
UNITEDkingdomMarina Picasso collection

for sale at Sothebys London
n 25 June 2015, Sothebys is to host a sale of the
Marina Picasso collection of Pablo Picassos ceramics in London. The collection consists of 126 lots,
including plates, cases, tiles, and sculptures, dating
from 1947-1948 until the end of the 1960s, and is estimated to be worth 4.5 million (6.3 million).
Highlighted lots include Vase Ngatif Positif (1954),
estimated at between 180,000 and 200,000,
Abstraction Vase (1953), estimated at between
150,000 and 200,000, and Chvre au repos, estimated at between 120,000 and 180,000.
Guillaume Cerutti, CEO of Sothebys France and
Deputy Chairman of Sothebys Europe, commented on the sale: In recent years we have had the
privilege of working with Marina on the sale of a
number of Picassos paintings and drawings, as well
as an exhibition of fifty drawings by her grandfather
from her private collection. This forthcoming sale
provides a wonderful opportunity for art collectors
and connoisseurs to explore one of the most original aspects of Picassos genius.
O
Vase Ngatif Positif (1954)
Picasso
Sotheby's
34
UNITEDkingdomSothebys offers first painting from Cornelius Gurlitts trove of art

othebys has announced that the first painting
from the Cornelius Gurlitt art trove will be put up
for sale in its Impressionist & Modern Art Evening
Sale in London on 24 June.
The painting, Zwei Reiter am Strand nach links (Two
Riders on a Beach) (1901), by Max Liebermann, was
found in good condition in Gurlitts possession, and is
estimated to fetch between $540,000 and$850,000.
David Friedmann, a Jewish art collector from Breslau,
owned the painting until 1938, when he was forced
to hand over his estate to Nazi authorities. The painting was bought in July 1942, four months after David
Freidmanns death, and then sold on to Hildebrandt
Gurlitt. The painting was seized by the allies Monument Men in 1945, but since the Nazis had destroyed
most of its documentation, it could not be traced to
its original owner, and it was returned to Hildebrandt
Gurlitt. It was only returned to Friedmanns heirs in
May 2015, after it was found in 2012 in the possession of Hildebrandt Gurlitts son, Cornelius Gurlitt,
alongside more than 1,400other works, by artists
such as by Pierre-Auguste Renoir, Marc Chagall, and
Emil Nolde.
Abstraction Vase (1953)

Picasso
Sotheby's
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an evening stroll
n 4 June 2015, galleries in the Marais

area of Paris are to host the fourth edition
of Jeudis Arty, marking the first anniversary of the night-time event, created by
Alice Lebredonchel two years ago. Art
Media Agency had the chance to meet this energetic
young woman and culture enthusiast
First Edition of Jeudis Arty at

Galerie Intuiti
Credit: Photo vnement
#204 28 May 2015
Interview alice lebredonchel

What is the added value of the French version?
The mediation aspect does not exist, or it is very
limited, in the London version. Through Jeudis Arty,
we offer an introduction to contemporary art for
novices as well as more advanced experiences for
professionals in contemporary art. This supporting
role is made possible through our guided tours. I
added a social aspect by limiting the number of
galleries to 400 compared to the one hundred
galleries participating in First Thursdays and we
also organise a closing party to develop the interpersonal aspect.
How does a Jeudi Arty event unfold?
The evenings vary depending on their individual
aims. The main principle is to walk from gallery to
gallery and see what is happening in each one.
You can meet artists talking about their exhibition,
gallerists conducting guided tours, or discover ingallery performances. The programme is available
online on the website as well as on Facebook. A
printed programme will be available in the participating galleries as of this weekend.
What methods do you use to publicise the project?
From the outset, Time Out has been a privileged
media partner due to our similar aims, while also
sharing our views on the value of conviviality. This
is necessary in order to break certain rigid patterns
surrounding contemporary art. We communicate a
lot via social media and through networking: galleries can call upon their own networks and we ourselves have established a network of relationships
throughout the various editions.
When was the first Jeudis Arty?

The first edition of Jeudis Arty took place on 5
June 2014 and the fourth edition will take place
on 4 June this year. The event takes place every
four months: in June, October, and February. After
speaking with the galleries, these seemed to be
the best times as they correspond with a peak in
activity, in terms of fairs and other artistic events.
The idea was to go against pre-existing models to
attract as many people as possible.
Is your concept imported from across the channel?
I helped with First Thursdays in London, which took
place on the first Thursday of each month. I was
only loosely inspired by this as it is a gallery (the
Whitechapel Gallery), which organises the event.
But my idea of creating a convivial event in galleries, reoccurring throughout the year, comes from
there. Unlike First Thursdays, we do not organise
an evening every month as we want to provide a
more impressive edition every four months and
avoid risking letting the concept losing momentum or over-stretching the galleries. This decision
allows us to offer high-quality events with a specific
programme for each edition.
36
Alice Lebredonchel
Sebastien Bonaim
Who is your audience? And how do you attract

people to attend the event?
We welcome various kinds of audiences ranging
from collectors to people who have never entered
an art gallery and who have come out of curiosity.
This is the audience that we hope to retain. In order to achieve this, we have set up a webzine. Every
Thursday, you can discover an artist from one of the
galleries we work with, thanks to our team of reporters. The idea is to discover an artists governing
principal, career, and their works. We aim to demonstrate that contemporary art is accessible and
that it can be spoken about in simple terms. This is
why we opted for the meeting format. We do not
position ourselves as art critics; instead we come to
understand the artists work through his or her own
words and our audience forges their own opinions.
Third edition of Jeudis Arty
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#204 28 May 2015
Interview alice lebredonchel

How have the galleries responded?
I began to think about the project two years ago and
I consulted galleries located in the Marais such as
Claudine Papillon, Polaris, and Alain Gutharc They
are experienced galleries and it seemed that they
would be good advisors for developing this type of
project, to warn against the pitfalls and to remember
what is essential to put in place. These galleries have
been supporting us from the beginning.
Why did you choose the Marais?
There are almost 200 galleries located in the Marais
and they are quite young and full of energy. This kind
of initiative did not exist, or at least not in this form,
whereas in Saint-Germain-des-Prs this was not the
case. Given all of these factors, the Marais seemed to
be the right place. The resulting meeting with the galleries then convinced me that it was the right choice.
Are you going to introduce new features?
To a certain extent, I would like to introduce live performances in line with the exhibitions being presented.
This requires a review of the programming as well as
discussions with the galleries involved. After all, when
you attend an evening based on experience, conviviality, and the present moment, performance can lead to
the breaking of certain barriers and to the introduction
of a more engaging aspect than a single exhibition.
37
Third edition of Jeudis Arty in

Rue Chapon
Galerie Fatiha Selam in Rue Chapon

Credit: Ghizelene Lachachi
Finally, could you tell us a little about yourself?

After graduating from Sciences Po and studying
cultural management at business school, I shifted
towards the culture sector, as it is my passion. I
established the Fte de la musique in Stockholm
when I was a cultural attach at the French Embassy and I have also been a sponsorship consultant.
I currently work at the Ministry of Culture but obviously my work and Jeudis Arty are two elements of
my life that I wish to keep very separate.
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#204 28 May 2015
Fairs & festivals

oups!Stolen Instagram photos sell for $90,000 at New York Frieze
m not gonna go after him... Doe Deere, an American woman whose Instagram photographs where appropriated, exhibited, and sold for more
than $90,000 by the artist Richard Prince at Frieze Art Fair (which took place
from14until 17 May 2015), wrote in a recent Instagram post.
Born in 1949, the American artist, whose New Portraits presented at Frieze comprised 37 screenshots of Instagram photos, has become a controversial figure after
exhibiting an ensemble of his own works and works that he appropriated, without
distinguishing between the two. Prince said of this matter: I dont see any difference now between what I collect and what I make. His re-appropriation of Insta-
biennaleJoan Jonas exhibition for the American Pavilion in the Venice Biennale
he American Pavilion at the 56th Venice Biennale
comprises of an exhibition by the artist Joan Jonas, entitled They Come to Us without a Word.
Created especially for the United States Pavilion, the
exhibition is curated by Ute Meta Bauer, director of
the NTU Centre for Contemporary Art Singapore,
Nanyang Technological University, and Paul C. Ha,
director of the MIT List Visual Arts Center, in co-operation with the US Department of State. The artists
work occupies the entirety of the pavilion, with video
installations involving drawings and sculptures. The
exhibition focuses on the fragility of nature in a rapidly-changing world. The majority of the videos were
realised during the winter of 2015, by filming children
aged between five and 16 against backdrops of landscapes of Nova Scotia, Canada, and Brooklyn. As a
part of the Venice Biennale, Jonas is to also give a
performance in the Teatro Piccolo Arsenale, accompanied by the pianist Jason Moran, in July.
Born in 1936 in New York, where she currently lives
and works, Joan Jonas is considered to be a pioneer
of video and performance art. She is represented by
several galleries around the world, including Yvon
Lambert (Paris and New York), Rosamund Felsen (Los
Angeles), and Galerie Samuel Lallouz (Montreal).
gram photos was severely criticised in 2014, during an

exhibition at the Gagosian gallery in New York, partly
due to their depiction of nude women in compromising poses, such as a candid selfie in a gynaecologists
office. Deere has decided not to take legal action.
Frieze Art Fair was launched in London in 2003, establishing its New York edition in 2012. Frieze New
York hosts around 200 major galleries worldwide,
60 of which are based in New York.
biennaleChristodoulos Panayiotou to represent Cyprus at the 56th Venice Biennale

or the 56th Venice Biennale, which is taking place
until 22 November 2015, Christodoulos Panayiotou is representing Cyprus with a solo exhibition
entitled Two Days After Forever, curated by Omar
Kholeif, at the Palazzo Malipiero.
Two Days After Forever represents a multidisciplinary approach, including architecture, choreography, and text. Through his work, Panayiotou intends
to identify and uncover the hidden stories of history and time. The artist begins with the invention
of archaeology and its central role in the creation
of a narrative matrix of history in order to examine the formal structure of antiquity, making possible the emergence of new spaces of imagination.
The project is characterised by a series of artistic
interventions related to architecture and a series
of performances, including The Parting Discourse
and Levant U-Turn, which took place during the first
opening days of the Biennale.
Christodoulos Panayiotou was born in 1978 and
lives and works in Limassol, in Cyprus, and in Paris.
His works have been exhibited in numerous solo
exhibitions in Europe and the United States.
38
Untitled (2015)
Christodoulos Panayiotou
Photo: Aurelien Mole
Courtesy Cyprus Pavilion
They Come To Us without A Word

(Nine Trees) (2015)
Joan Jonas
Photo: Moira Ricci
Courtesy the U.S. Pavilion
debatesDiscussions at the Venice Biennale's

Research Pavilion
he Research Pavilion, located in the Sala del
Camino in the 56th Venice Biennale, is to hold
three open dialogues that will take place on
30and 31May, and 27 and 28 June.
The first in this series of debates is entitled Exhibition/Non-Exhibition, and is organised by researchers
and students at the Valand Academy in Gteborg,
Sweden. They aim to reconsider the meaning of NonExhibition, as a manifestation of disappearance and
metaphorical replacements, rather than a mere refusal to exhibit. This discussion will be developed by
a conference on 27 June, entitled Exhibition/NonExhibition: Stretched Out. The final conference, Curatorial Memory and Exhibition Amnesia, co-hosted
by the PARSE Journal of Artistic Research, will as the
title indicates be dedicated to curatorial memory, as
well as the constant procession of exhibitions in the
same place, which then leave without a trace.
The Research Pavilion, organised by the University of
the Arts Helsinki, is the first pavilion of its kind at the
Venice Biennale. Its exhibition features Finnish as well
as international artists, such as Tiong Ang & Alejandro
Ramirez, Magnus Brts, and Henna-Riikka Halonen.
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#204 28 May 2015
Fairs & festivals Coming soon

unitedkingdomBlock Universe festival to
celebrate performance art
rom 8 until 14 June 2015, the inaugural edition
of the performance festival Block Universe is
to be held in central London. The festival works in
partnership with various London sites, such as the
Fig.1/ ICA studio, the Royal Academy of Arts, Somerset House, and Stationers Hall.
Block Universe aims to promote interest in performance art, and to establish it firmly within the British
art scene. By commissioning local and international
artists, it has allowed some artists to have their works
exhibited in London for the first time. The theme of
the first edition focuses on the legacies of pioneering performance artists: Brittany Baileys performance, for example, draws upon archival documents
to achieve a true representation of the character of
Louise Bourgeois. Artists participating in the festival
include Alex Baczynski Jenkins, Cecilia Bengolea +
Francois Chaignaud, Nicola Conibere, and Ellie Ga.
Through its partnership with The Kitchen, a historic
venue for experimental performance in New York,
Block Universe intends to establish itself as a key
player in the international performance art scene.
greeceThe Thessaloniki Biennale of Contemporary Art 2015

he fifth edition of the Thessaloniki Biennale of
Contemporary Art is to take place in the Greek
village from 23 June until 30 September 2015.
The fair, organised under the artistic direction of
Katerina Koskina, is entitled Old Intersections
Make it New III, and its main exhibition Between
the Pessimism of the Intellect and the Optimism
of the Will, mainly focuses on the theme of the
Mediterranean. Throughout the fair, the city will
host exhibitions, art events, a performance festival,
workshops, symposiums and conferences, guided
tours, and educational programmes. Participants
include international emerging and established
artists such as Spanish artist Carlos Aires, Colombian artist Ivan Argote, Americain artist Marwa Arsanios, and French artist Bertille Bak.
This biennial marks the final part in a three-part programme which began in 2011 and is funded under
the Operational Program Macedonia-Thrace 20072013, co-financed by the European Union (European Regional Development Fund) and Greece.
japanEchigo-Tsumari Art Triennial 2015

rom 26 July until 13 September 2015, the Niigata prefecture in Japan is hosting the sixth edition
of the Echigo-Tsumari Art Triennial, an international
festival of contemporary art.
For the sixth edition of the Echigo-Tsumari Art Triennial, whose artistic director is Fram Kitagawa, the
works of international contemporary artists are to
be exhibited throughout a 760 kilometre-squared
region, occupying communities, rice fields, abandoned houses, and closed schools. As well as over
200 artworks created and installed during previous triennials, this edition is to display a selection
of around 100 artworks highlighting creative approaches as well as ancient techniques and ways
in which to appreciate art developed over the
generations, aiming to constitute a type of alternative art that goes beyond the limits of the existing
definitions of art. The artists explore the sites and
local environment through their works, whilst supporting the assets of the region and revealing the
challenges of the Japanese landscape. The majority of the participating artists are Japanese, such
as Akuma No Shirushi and Noe Aoki, but several
exhibitors are also Indonesian, Taiwanese, Chinese,
Australian, American, and Russian.
39
Faire le Mur (still) (2008)

Bertille BAK
Production: Le Fresnoy, Studio
National des Arts Contemporains
& Photo credit: Bertille Bak
Courtesy Galerie Xippas
unitedstatesNEWD Art Show to return to

Bushwick
EWD Art Show is to return to The 1896 in Bushwick
in Brooklyn, New York, as a part of Bushwick Open
Studios, a three-day arts and culture festival taking
place from 5 until 7 June 2015. This will be the second
edition of NEWD, and will feature 11 exhibitors.
NEWD brings together local exhibitors, including artist
collectives, project spaces, non-profits, and artist-run
galleries. It seeks to offer an artist-centric alternative
to other fairs, supporting grassroots initiatives, and
featuring diverse, ambitious, and experimental work.
Highly aware of the realities of the art market and
problems facing emerging artists, NEWD also hosts
talks addressing the financial situation artists. Past talks
include the panel discussions: Emerging Artists in the
$1 Billion Contemporary Art Market and Sustaining
Art Communities in the Face of Gentrification.
American Medium Booth

Courtesy NEWD
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#204

Busan Museum of Art

South Korean art:

#204 28 May 2015

south korean art: emerging

Fairs & Festivals

he South Korean art scene has expanded

Leeum, Samsung Museum of Art in Seoul

#204 28 May 2015

AOTW south korean art scene

View of Seoul: a mix between

The citys oldest art gallery, Gallery Hyundai, which

#204 28 May 2015

AOTW south korean art scene

Busan: a thriving art centre

General View of Mt. Geumgang

View of Busan Biennal 2012

Emerging: a problematic label

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Leeum, Samsung Museum of Art in Seoul

#204 28 May 2015

AOTW south korean art scene

The Joseon Dynasty (13921897) was also a key

It is clear that South Korea has seen a flourishing

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Leeum, Samsung Museum of Art in Seoul

Leeum, Samsung Museum of Art in Seoul

#204 28 May 2015

missingA Rembrandt and a Drer missing

liquidityMillionaire Hugh Levey settles his

Boston Public Library reading room

discoveryGerman police uncover Nazi

oups!Latvian artist crucifies effigy of Putin

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#204 28 May 2015

returnThe United States returns antiquities

Subscribe for free.

olitics and culture took centre stage at

View of former Minister Frdric

#204 28 May 2015

report henri paul

Andr Malraux (1974)

View of the French Ministry of

The discussion then shifted to the way in which

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#204 28 May 2015

hrWhitney Museum increases its management team

closingClosure of PRAXES Center for Contemporary Art, Berlin

Views of the Centre Pompidou

View of the Museion Bolzano

fundingEgyptian museum faces funding crisis

HRLetizia Ragaglia to continue as director of

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#204 28 May 2015

germanyCody Choi at the Kunsthalle Dsseldorf

turkeySpaceliner at Arter Istanbul space

unitedstatesRob Pruitt's Obama Paintings

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#204 28 May 2015

Museums Coming soon

norwayHannah Ryggen at the National Gallery

Back to Fullness, Face to Emptiness

unitedkingdomCarsten Hller at Hayward