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Show and sell:
the added value of a
museum exhibition
How soon is too soon? Private collectors are selling off works
as little as a few weeks after lending them to high-profile shows
A
s the art world
gathers for the
annual Art Basel
fair, the talk is
inevitably turning
to the recent series
of auctions in New
York that racked up an astonishing
$2.7bn and produced some stunning
prices. Among these was the highest
ever third-party guarantee, at $150m,
given by the Nahmad family of dealers
for Modigliani’s sensuous 1917 painting
Nu couché (sur le côté gauche).
Sotheby’s sold the work for
$157.2m in New York on 14 May, but
the sale was not without contro-
versy. The languid nude had very
recently appeared in Tate Modern’s
blockbuster exhibition devoted to
Amedeo Modigliani, which closed on
2 April. The work, lent by a “private
collection”, was one of the highlights
of the London show, which included
another 11 nudes by Modigliani, now
one of the highest-priced artists in the
DAVID-OWENS.CO.UK. SUBOTZKY AND WATERHOUSE: COURTESY OF GOODMAN GALLERY
JOHNS: © JASPER JOHNS; LICENSED BY VAGA, NEW YORK; PHOTO: © DAVID OWENS;
THEART N EWS PA PE R . C O M
Art Basel: 12 June 2018
world. But some curators at the Tate
were apparently shocked to see the
swift appearance on the market of the
work, which had been lent by the Irish
racehorse mogul John Magnier.
The case is far from isolated. In
the same week, Sotheby’s New York
offered David Hockney’s Pacific Coast
Highway and Santa Monica (1990) in its
contemporary art sale. The work was
recently shown in the Metropolitan
Museum of Art’s Hockney retrospec-
tive, which ended on 25 February.
Estimated at $20m to $30m, again with
an irrevocable bid and a guarantee, the
work fetched $28.5m with fees, setting
a new auction record for the artist,
even though it fell short of its target.
A few months earlier, at Sotheby’s
London on 5 October, another work by
“Sometimes lenders
know exactly what
they are going to do”
/ D OW N LOA D THE FREE DA I LY A P P
Hockney, 15 Canvas Study of the Grand
Canyon (1998), sold for just over £6m
with fees (est £3.8m-£5m). The painting
had been shown in Tate Britain’s
Hockney retrospective, which ended
on 29 May 2017, but had not contin-
ued to New York—rather, it had gone
straight to the auction block. “Fresh
from the walls of the Tate,” announced
the auctioneer Oliver Barker as it came
under his hammer.
At Art Basel this week is another
work that recently appeared in a major
exhibition: Jasper Johns’s Disappearance
I (1960), which is on the New York-
based dealer Di Donna’s stand. The
folded canvas is covered with encaustic
and once belonged to the late Alfred
Taubman, a former owner of Sotheby’s,
but failed to sell in the auction of his
collection in 2015. More recently, it was
shown in a Johns retrospective that
opened at London’s Royal Academy
of Arts and closed at the Broad in Los
Angeles last month. The work is now
being offered with a price tag of $18.5m.
Apartheid revisited: San Francisco museum
snaps up South African photography project
THE DIRECTOR OF the San Francisco
Museum of Modern Art, Neal Benezra, says
that the museum “will be acquiring” Ponte
City (2008-14), a photographic series and
installation by the South African artist
Mikhael Subotzky and the UK artist Patrick
Waterhouse, for a six-figure sum. The
project, which is being shown by South
Africa’s Goodman Gallery in Art Basel’s
Unlimited sector, is due to go on display at
the museum in 2020 or 2021.
“We have collected work by South
African photographers such as David
Goldblatt and Zanele Muholi for a number
Lisa and “Pretty”, Ponte City (2008) is on
show with Goodman Gallery in Unlimited
/ @ THEA RTNE WSPA P E R /
Jasper Johns’s Disappearance I
(1960), priced at $18.5m with Di
Donna, was shown at the Broad
in Los Angeles last month
In general, it is considered unethical
to lend a work to a museum exhibition
and then immediately send it for sale—
but as Maurice Davies, the head of
collections at London’s Royal Academy
of Arts and a former policy director
of the UK’s Museums Association,
points out: “Common sense suggests
that display by a reputable museum
increases financial value… so museums
can’t but help make a sale somewhat
more likely.” He does question, though,
whether this can be proved.
of years, but we’ve always collected
individual works. We’ve never made a
commitment to such an extraordinary and
large body of work as this,” Benezra says.
The installation documents the history of
Ponte City, a Modernist high-rise apartment
block in Johannesburg. When the complex
was built, in 1975, it was intended to house
luxury condos for white people only. It
fell into disrepair at the end of apartheid,
becoming home to many refugees in the
1990s, before being bought in 2007 by a
development company that evicted half the
tenants. In 2008, the company went bust,
leaving the lower half of the building derelict.
Subotzky and Waterhouse started
visiting the site in 2008, photographing
@ T H E A RT N E WSPA P E R .O FFI C I A L
Nevertheless, museum directors
try to avoid this scenario by imposing
various types of contract on lenders.
Maxwell Anderson, the former director
of the Dallas Museum of Art, says:
“When borrowing one or two works
from private collectors, museums
sometimes include a condition in the
agreement that the loans not be sold
for a period of several months follow-
ing the close of the exhibition.”
The issue is a complex one, however.
CONTINUED ON PAGE 4 
every window, door and television set
in the building, and collecting discarded
photographs and documents (including
refugee-status applications and rejections)
from abandoned flats. “In Europe at the
moment, the refugee crisis is such a big
thing, but in South Africa, we have had an
influx of refugees for many years, so this
speaks very much to what is going on in
Europe,” Subotzky says.
The pair found stark parallels between
the “impossible dream of utopian
Modernism and the dystopian concept of
apartheid”, Waterhouse says. Subotzky says:
“The history of the country and of apartheid
can be spoken about through this building.”
Anna Brady
 2 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
NEWS
Europe
Giacometti’s
chaotic Paris
studio brought
back to life
Reconstruction at heart of new research centre
preserves spirit of artist’s cluttered creative space
F
or close to 40 years,
the Swiss artist
Alberto Giacometti
created his spindly
sculptures and
haunted portraits
within the 23 sq. m
confines of his studio in Montparnasse.
“There was very little space—he
almost couldn’t move,” says Catherine
Grenier, the director and chief curator
of the Fondation Alberto et Annette
Giacometti in Paris, which holds the
world’s largest collection of the artist’s
work. “He liked the chaos… he said it
was like the inside of his skull.” When
Giacometti died in 1966, without a will,
his widow, Annette, salvaged the entire
contents of the studio. More than half
a century later, the foundation that
inherited the trove is opening a perma-
nent reconstruction to the public.
The densely cluttered display will be
an “evocation” of Giacometti’s working
environment, rather than an exact
“There are so many
museums in Paris—
there was no need
for another”
London and Turin to hold joint Rakowitz survey
Artist continues
project to reconstruct
thousands of lost and
destroyed Iraqi artefacts
The Chicago-based artist Michael
Rakowitz, who is showing new work
in the Unlimited sector of the fair, will
be the subject of a major survey next
year at the Castello di Rivoli in Turin
(opening on 25 February 2019) and then
the Whitechapel Gallery in London. It
will be organised by Carolyn Christov-
Bakargiev and Iwona Blazwick, the
respective directors of the institutions.
Rakowitz, whose Assyrian winged
bull currently stands atop the Fourth
Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas,
UBS Art Collection, © 2018, ProLitteris, Zurich
replica of a particular day, Grenier
says. “It has the spirit.” This will be
the centrepiece of a new research
centre and exhibition space dedicated
to the artist’s work in the city’s 14th
arrondissement, less than a mile away
from the original studio premises. The
Institut Giacometti is due to open on 21
June in a listed Art Deco mansion that
was formerly the studio of the artist
and interior designer Paul Follot.
Refurbished by the architect Pascal
Grasso, the venue has just 350 sq. m
of space; visits will be by appointment
only, with fixed time-slots to prevent
overcrowding. The choice of the “insti-
tute” name, and the bijou location,
was deliberate. “There are so many
museums in Paris—there was no need
for another,” says Grenier, the former
deputy director of one of the biggest,
the Centre Pompidou.
She says that she sought “a new
model” to match the foundation’s
small budget, its primary research
mission and its active programme of
loans to exhibitions worldwide, which
it plans to continue. Single-artist
museums are also able to offer a “more
emotional” visitor experience in an
“intimate” setting, Grenier believes.
The studio presentation will rarely
change and there are no facsimiles,
Grenier says. The battered furniture
is the same that Giacometti hung on
to for years, and all the works—“from
all the periods of his career, finished,
unfinished and even broken”—are orig-
inal. On view behind a glass partition,
the inaugural installation will include
58 works, 95 other objects and even a
pair of painted walls.
“We prefer to restore instead of
making copies,” Grenier says. Visitors
will see newly conserved plaster sculp-
tures, which Giacometti regarded as full
works and “not only a stage before the
bronze”. The foundation has reassem-
bled several “that will be in the studio
and will not move because they are so
fragile”, Grenier says. The artist’s never-
before-exhibited final sculptures in clay
also required delicate restoration.
The layout is based on “thousands of
photographs of the studio” in the foun-
dation’s archives, starting in the early
years but mainly from the productive
Plinth in London’s Trafalgar Square, is
working to reconstruct thousands of
artefacts from the National Museum of
Iraq in Baghdad that have been listed as
missing, stolen, destroyed or “of status
unknown” since the US-led invasion
in 2003. He describes his work at Art
Basel—Room N, Northwest Palace of
Nimrud (2018)—as “a double icono-
clasm”, adding that “institutions like
the British Museum and others acquired
many of these reliefs. What remained
ended up being destroyed by Isis.”
The reconstructions were created
with help from the Cuneiform Digital
Library Initiative at the University of
California, Los Angeles, and curators
Michael Rakowitz with his work at Art
Basel, based on a relief from Nimrud
How do I see the bigger picture?
For some of life’s questions, you’re not alone.
6QIGVJGTYGECPƂPFCPCPUYGT
ubs.com/art
© UBS 2018. All rights reserved.
Giacometti’s tiny studio
was recreated using
thousands of photographs
last decade of Giacometti’s life. The
photographers Ernst Scheidegger and
Sabine Weiss, both friends of the artist,
took the lion’s share.
The archives are also the basis of
an immersive multimedia projection
of the studio at the Fondation Beyeler
in Basel, which is hosting the dual
exhibition Bacon/Giacometti (until
2 September). A companion installa-
tion is dedicated to images of Francis
Bacon’s studio at Reece Mews in
London, which has been preserved at
Dublin’s Hugh Lane Gallery since 1998.
Giacometti’s studio was immor-
talised by the writer Jean Genet, who
called it “the most important and
the most complete” of the artist’s
works—“his other self, the essence and
ultimate residue of his artistic contri-
bution”. Genet’s 1957 essay inspired the
institute’s first temporary exhibition
(21 June-16 September) on the friend-
ship between the two men.
Hannah McGivern
at the British Museum, London, and
the Oriental Institute at the University
of Chicago. The works are made using
Arabic newspapers and packaging
taken from Middle Eastern foods.
Meanwhile, the death of Tamir Rice,
the 12-year-old boy shot by Cleveland
police in 2014, has prompted Rakowitz
to launch one of his most audacious
schemes. He wants to rid Cleveland of
orange, the colour of the missing safety
tip that would have identified the gun
Rice was holding as a toy. An open call
last autumn asked local communities
to surrender orange toys, household
items and other ephemera, which
will be displayed at the Spaces venue
during the inaugural Front triennial (A
Colour Removed, 15 July-30 September).
Gareth Harris
Three cheers
for Zeng Fanzhi
HAUSER & WIRTH is to host concurrent
exhibitions this autumn of the Chinese
artist Zeng Fanzhi in Zurich, London and
Hong Kong. It is the first time the gallery has
mounted an exhibition of one artist across
three locations. Zeng was signed by Hauser
& Wirth in March, just as the gallery opened
in Hong Kong, but Gagosian and ShanghART
continue to co-represent him. He is best
known for his Mask series of paintings,
which depicts figures wearing white masks.
In 2013, Zeng’s painting The Last Supper
(2001) made $23.3m at auction, a record
for a contemporary Asian artist. Choosing
one of China’s best-known contemporary
artists for its first multi-venue global show
appears to be a statement of intent by the
gallery. But Iwan Wirth, Hauser & Wirth’s
co-president, says: “Working with Zeng on
this major presentation is not a strategic
move, but something that came about
organically and from the heart.” A.B.
William Kentridge honours
Africans in the Great War
A TASTER OF William Kentridge’s latest
project, which tells the story of the
hundreds of thousands of Africans forced
to work as bearers of weapons in the First
World War, is on show at Art Basel ahead of
its unveiling at Tate Modern in London next
month. The Pool Ahead (2018), a charcoal
drawing on display on Marian Goodman
Gallery’s stand, depicts a waterfall
surrounded by thick vegetation. It is part
of a new moving-image work by the South
African artist that will be projected inside
the Turbine Hall (11-15 July). The project,
The Head & the Load, which also includes
music, dance and mechanised sculptures, is
due to travel to the Park Avenue Armory in
New York and the Ruhrtriennale in northern
Germany later this year. A.S.
Olafur Eliasson’s Little
Sun teams up with Ikea
THE DANISH-ICELANDIC ARTIST Olafur
Eliasson and the Swedish furniture retailer
GIACOMETTI: © GIACOMETTI ESTATE (GIACOMETTI FOUNDATION/ADAGP). RAKOWITZ: GARETH HARRIS. ELIASSON: COURTESY OF LITTLE SUN
Ikea are teaming up to produce a range
of accessible and affordable products
that work without mains electricity and
can use renewable energy. Eliasson’s
Little Sun project, co-founded with the
engineer Frederik Ottesen in 2012, created
a solar-powered torch for the billion people
worldwide who live in areas without
mains electricity. It is now sold cheaply in
more than 600 African outlets. As well as
producing items for sale in Ikea stores, such
as solar-powered lighting, the collaboration
with the Swedish design company will
explore off-grid solutions for communi-
cations and clean water. At Art Basel, the
Berlin-based gallery Neugerriemschneider
is showing an early work by Eliasson. Moss
Wall (1994) is made of 35 sq. m of white rein-
deer moss, native to the Icelandic tundra.
Meanwhile, in Munich, the Pinakothek der
Moderne is showing Eliasson’s drawings in
an exhibition, Watercolours, that runs until
2 September. C.H.
 4 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018

NEWS
Art market
Modigliani’s Nu couché
(sur le côté gauche)
(1917, left) at Sotheby’s
New York in May

 CONTINUED FROM PAGE 1
First, with such huge prices being
achieved in the market today, museums
and galleries have no alternative to bor-
rowing star pieces for their big shows.
In the case of Tate Modern’s current
exhibition, Picasso 1932—Love, Fame,
Tragedy (until 9 September), around
one-third of the exhibits come from
private collections, with a few from
art dealers. The show focuses on a year
that is within the artist’s most desirable
and highly priced periods. Without the
loans, the exhibition simply could not
have happened.
Second, museums cannot be too
difficult with lenders, otherwise they
might not get the works at all—so
they have to balance the need to get a
significant piece with the possibility
MODIGLIANI: COURTESY OF SOTHEBY’S
condition; they are not litigious.”
The Tate says that in the case of
the Modigliani, the institution’s loan
agreement “states that works lent
for exhibition must not be subject to
ongoing negotiations for sale”, and
that “the lender announced his deci-
sion to sell the work only after it had
been returned to his care at the close
of the exhibition”.
However, the alacrity with which
Magnier got his painting to market—
the press release announcing that it
was to be sold appeared less than three
weeks after the Tate’s show ended—
indicates that negotiations were
already well advanced while the work
was still hanging in the exhibition.
Magnier did not respond to a request
for comment.
It is seen as unethical
to lend a work, then
immediately sell it
artistic achievement that our visitors
would enjoy and deserve to see”. And
the Tate was anxious to underline that
loans enable the public to see works
of art that are generally hidden in
private collections.
Turning a blind eye
Maurice Davies says: “Circumstances
vary, and sometimes lenders know
exactly what they are going to do well
in advance—and maybe the museum
turns a bit of a blind eye because they
are so keen to have the loan. At other
Listen now
Conversation
& debate
from inside
the art world
was actually traded while still on the
walls of Denmark’s Louisiana Museum
and the Israel Museum in Jerusalem.
In 2014, Magritte’s Les chasseurs au
bord de la nuit (the hunters at the
edge of night, 1928) was sent for sale at
Christie’s London just weeks after the The Art Newspaper
work was shown at New York’s Museum
of Modern Art; other such instances Weekly podcast
have occurred regularly.
There is another way of looking at in association with Bonhams
this issue, however. Since museums
are unwittingly acting as showrooms
New episode every Friday,
for works subsequently sent for sale,
perhaps they should benefit when
available from wherever you listen
those works make big prices—with, to podcasts, including iTunes,
say, 1% of the price given to them. Stitcher, TuneIn, Soundcloud and
Vendors may not have a legal obli- theartnewspaper.com/podcasts
gation to do this, but they could have
a moral obligation. Their works of art

that it may appear on the market
soon afterwards. They do not want
to alienate lenders and so jeopardise
future relationships, which is why, as
Maxwell Anderson says: “Museums are
unlikely to hold a lender to [such a]
As for New York’s Metropolitan
Museum, it sidestepped the issue,
merely saying that “the Hockney—
and all works of art at the Met—was
displayed because our curators deter-
mined it to be a worthy example of an
times, they are approached by an agent
when the work is on display.”
The Modigliani and the Hockney
are far from the sole examples of such
“show and sell”. Back in 2008, the Estella
collection of Chinese contemporary art
benefit from exposure in public shows,
so perhaps the museums involved
should benefit too. This would be good
theartnewspaper.com
for museums’ budgets—and should not
be too hard on the vendor.
␣ 
Georgina Adam

THE MAYOR GALLERY

Carlos Cruz-Díez, Physichromie 1910௵७௻௹௺௽௵७3K\VLFKURPLH७RQ७DOXPLQLXP௵७௺௹௹७[७௺௹௹७FP௵७௼ం७Ȥ७[७௼ంȤ७LQFKHV

Art | Basel
STAND A4
BILLY APPLE / WIFREDO ARCAY / IMRE BAK / JOOST BALJEU / ALBERTO BIASI / CHARLES BIEDERMAN
CARLOS CAIROLI / MIGUEL CHEVALIER / GIANNI COLOMBO / BRUCE CONNER
WALDEMAR CORDEIRO / JOSEPH CORNELL / CARLOS CRUZ-DÍEZ / herman de vries / AD DEKKERS
MAX ERNST / WOJCIECH FANGOR / STANO FILKO / LUCIO FONTANA / JEAN GORIN
WALLY HEDRICK / ANTHONY HILL / GYÖRGY JOVÁNOVICS / ATTILA KOVÁCS
TADAAKI KUWAYAMA / WALTER LEBLANC / RAÚL LOZZA / HEINZ MACK / ROBERT MALLARY
CHRISTIAN MEGERT / FRANÇOIS MORELLET / OTTO PIENE / SIGMAR POLKE / MIRA SCHENDEL
JAN SCHOONHOVEN / GEORGE SEGAL / TURI SIMETI / KLAUS STAUDT / SHINKICHI TAJIRI
LUIS TOMASELLO / GERHARD VON GRAEVENITZ / CAREL VISSER
Visit Pace at
Booth A5
June 14 – 17, 2018

Robert Rauschenberg
Soaring Dribble Glut 1992
aluminum, steel, electric lights and timing device
297.2 x 83.8 x 30.5 cm | 9' 9" x 2' 9" x 1'
© 2018 Robert Rauschenberg Foundation /
Licensed by VAGA, New York
 6 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
DIARY
Basel
Way out West meets urban chic:
Calvin Klein’s barnstorming installation
Not your average rodeo
Yee-haw! Country girls and guys can get
down in an all-American barn installed at
Design Miami/Basel by none other than
Calvin Klein. The US fashion titan’s special
installation, reconstructed from reclaimed
19th-century wood, is one of several built
for the Calvin Klein Fall 2018 catwalk show.
The rustic reconstruction is decorated with
images of Andy Warhol’s Electric Chair and
surrounded by Cassina Feltri armchairs, de-
signed by the Italian architect and designer
Gaetano Pesce (more than 40 armchairs
were sold during the VIP preview). Late last
year, Raf Simons, the creative director at Cal-
vin Klein, entered into a four-year licensing
agreement with the Andy Warhol Foundation
for the Visual Arts that will allow the fashion
brand to use Warhol’s images; in return, the
foundation gets a chunk of funding for its
endowment. Sounds like a marriage made in
cowboy heaven.
Party like
it’s 1699
We would like
to wish one of
the art world’s
most venerable
gallerists, Marian
Goodman, a happy
90th birthday.
Photographs posted Birthday girl
on social media Marian Goodman
show that the New
York-based dealer
was treated to a huge birthday bash last
week, at the Palace of Versailles, outside
Paris. One commentator uploaded a picture
of fireworks cascading over the plush chateau
once inhabited by Louis XIV; #whatanight
featured among the hashtags. In 1977, Good-
man opened her gallery in New York with an
exhibition of James Lee Byers and Marcel
Broodthaers. At Art Basel, her gallery is show-
ing works by Jeff Wall and Nairy Baghramian,
among others. Many happy returns.
KIMIYO MISHIMA
PAINTINGS AND SCULPTURES
June 8 – July 13, 2018
Malzgasse 20 4052 Basel Switzerland
mail@annemoma.com www.annemoma.com
Holy crap!
An exhibition of faecal matter, currently on show at the
Museum Boijmans van Beuningen in Rotterdam, is
making people think about the taboo subject of turds. These
enormous excrement pieces—part of the show Vorm, Fellows,
Attitude (until 12 August)—were made by the Vienna-based art
collective Gelitin. Visitors can, if they wish, dress up in special
naked suits to admire the four poo-inspired sculptures; it is all
Artoon by Pablo Helguera
“I know that, for a young artist, competition is
daunting, but just keep in mind that there are
way more biennials than artists.”
Phone +41 (0)61 271 71 83
Relief all round: there will be
no super-sized excrement,
or nude suits, at Art Basel
Urara Tsuchiya undertook a marathon
train journey to deliver her latest work
No sleep ‘til… Basel
At the opening of Liste art fair yesterday, the
Japanese artist Urara Tsuchiya caused quite
a stir with a catwalk performance featuring
scantily clad models on the stand of London’s
Union Pacific gallery. Some of the more
upstanding collectors simply did not know
where to rest their eyes. The performance
accompanied a display of Tsuchiya’s intimate
ceramic bowls, which, on closer inspection,
featured orgy scenes between humans and
other creatures. The artist herself took part
in the performance despite an exhausting
train journey lasting more than 24 hours,
from Glasgow to Basel via London, Brussels,
about going back to basics, apparently. “This is a show for all of Cologne and Frankfurt. One of her new
those who think contemporary art is shit,” Gelitin says. “They large-scale ceramics could not be shipped in
should come and see this shit show. They will be satisfied.” time for the fair’s opening. and was too big
Meanwhile, the art collective is showing the work Untitled to carry on the plane—so the plucky artist
(2018) with Massimo De Carlo at Art Basel this week. The piece decided to board a train in London at 4am to
is a mirror work; visitors may be relieved to hear that there is begin her odyssey. From courier to catwalk
no poo on the gallery’s stand. model in just a day…
GELITIN: JASON SCHMIDT. KLEIN: COURTESY OF CALVIN KLEIN/DELFINO SISTO LEGNANI. GOODMAN: THOMAS STRUTH. TSUCHIYA AND TOILETS: JOSÉ DA SILVA
For fair-goers with
no reservations
Keeping with today’s scatological
theme, the toilets in the main fair
have a cubicle reserved especially for
exhibitors, lest the collectors and the
public occupy all the stalls, leaving
exhibitors caught short when they
need to take a comfort break. But
during yesterday’s installation at
Art Basel—when
technicians,
dealers and
artists were hard
at work—some-
one had cheekily
customised one of
the cubicles for an-
other type of, shall
we say, activity.
It’s a fair cop-off: Art
Basel’s repurposed
toilet cubicles
Magazine, oil on canvas, 130 x 92 cm ( 51 1⁄8 x 36 1⁄4 in. )
Work 60-B (detail), 1960
London Hong Kong New York

Carol Bove Suzan Frecon Marlene Dumas

8 June–4 August 23 May–30 June Myths & Mortals
28 April–30 June

Richard Serra
Fairs Drawings Jordan Wolfson
23 May–30 June Riverboat song
2 May–23 June
Unlimited
11–17 June
Projects by Francis Alÿs,
Carol Bove, and Fred Sandback

Art Basel
12–17 June
Booth G8

David Zwirner
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018 9

FEATURE

VENICE: © FOTO SHOP PROFESSIONAL DI JACOPO SALVI

WORLD:

320
Documenta 14 showed

Is the biennial model Biennials across

more than 200 artists
in 82 venues in Athens
and Kassel, Germany.
By comparison, São
Paulo almost looks

BUSTED?
modest: it typically fills
the globe a 25,000 sq. m exhibition
space. (That is almost
double the permanent and
temporary exhibition spaces in
London’s Tate Modern and its new exten-
sion combined.)
Size does not matter, of course, if there
is enough work, curators and money to
mount good shows—and visitors keen
to attend. The fear is that this is not the
case. “There’s been a huge proliferation of

W
ith the Biennial; Ralph Rugoff, the next director Crowds gather in biennials, for all kinds of strange reasons:
Riga, Bangkok, exception of
Venice, few
of the Venice Biennale; and Eva González-
Sancho, who will next year launch the first
the Arsenale for the the market, the desire to make spectacles,
create visibility for a region,” Pérez-Barreiro
Venice Architecture
São Paulo—every international
biennials have
Oslo Biennial.
Research by Zurich University of the
Biennale this year says. “I think very few [new biennials] came
from people committed to advancing the
modern city wants the prestige of
the Bienal de
Arts, gathered under the direction of Patel
and Ronald Kolb, has found that there are
conversation on contemporary art.”
The experience a biennial offers is
São Paulo, which opens its 33rd edition in now 320 biennials. The data, which is due the source of much debate. There are the
a biennial. But September. When it began in 1951 it was to be published this month in the online major, “must-see” world events: Venice,
one of just two: now it fights for attention journal On Curating, reveals that there were Documenta, São Paulo and Gwangju. There
is this good for among 19 in South America alone. So, it
may come as a surprise to hear its director,
fewer than 30 biennials in Europe in the
late 1980s—now the continent boasts 136.
are those that have animated and revealed
the culture of a region: Sharjah, Kochi-
contemporary Gabriel Pérez-Barreiro, argue that it is time
to downsize. Too many biennials, he says,
In Asia, there were around 20 at the end of
the 1990s, now there are 82. And the
Muziris and Havana. Between these, there
are many biennials that are mediocre. There
are stuck in what he calls “curatorialism at launches continue: new events are “a lot of questions looming, curatori-
art? Leading its grandest”, where “the bigger the bien- this year include Riboca in ally speaking,” says András Szántó, a New
nial, the more artists you have, the better”. Riga, Latvia, the Bangkok EUROPE: York-based cultural strategy consultant who
curators join

Pérez-Barreiro believes it is time to rethink
the biennial, refocusing on artists and the
the hot debate. experience of art.
Barreiro is not alone. This week, a
group of leading curators will debate the
By Jane Morris future of the biennial at Art Basel. The
speakers include Shwetal Ashvin Patel, the
co-founder of the Kochi-Muziris Biennale;
Zoe Butt, the co-curator of the 2019 Sharjah
136
Biennial, and a new trien-
nial, Front, in Ohio.
Meanwhile, some of
the most established
exhibitions have
become super-sized. The
2017 Venice Biennale was
one of the largest in the
event’s 122-year history, and
is moderating the Art Basel talk. “Can you
do a presentation that isn’t just offering up
bromides and anodyne categories? Must
you have a hard conceptual framework into
which all works just have to fit? Can you
provide curation that is both serious and
Biennials, making also experientially compelling?”
it the leader in Zoe Butt is a Vietnam-based curator with
such events CONTINUED ON PAGE 10 

AUGUST 2-5, 2018

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seattleartfair.com
 10
FEATURE
The future of biennials
 CONTINUED FROM PAGE 9
Donna Kukama performs
I’m Not Who You Think
I’m Not (2017) at the
tenth Berlin Biennale
more than a decade’s worth of experience of
working with emerging spaces in South East
Asia. She admits to being “highly critical of
the biennial model”. But she has agreed to
co-direct her first, in Sharjah, next year. “It’s
been amazing that in Sharjah a government
entity will fund something with a global
vision for a local population,” Butt says. “If
you look at one of the biennials in Thailand,
it’s all about promoting Thailand. I question
whether tourists are the best people to put
local citizens’ interests at heart, although I
see it is considered an acceptable model for
contributing to GDP.”
“Biennials are the
way in which lots of
artists emerge on the
international scene”
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
ASIA:
82
The second largest
number and one of the
fast-growing regions
for biennials
She remains concerned, however, about
the endless churn the biennial circuit
creates. “People say to me: ‘You’ll be doing
another very soon.’ My gut reaction is: I
don’t know how I could. I’m drawing on ten
years of research to put this one together.”
The same, she says, applies to artists. “I’m
wary of the factory of production these
exhibitions generate,” she says. “To what
extent are we expecting artists to produce
significant works, when, in many cases,
they have just a few months to do it?”
Patel is also wary of the growth in
biennials. “A certain international curatorial
language and artistic practice is dominating;
there’s ‘biennial art’,” he says. “And in the
global south, that really matters because
biennials are the way in which lots of artists
emerge on the international art scene. [But]
if we carry on as we are, what we will get is
much of a muchness, it’s homogeneity and
it’s flattening.”
BOOK YOUR TICKETS
28 JUNE – 4 JULY
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Tony Joseph’s pavilion
for the 2016 edition
of the Kochi-Muziris
Biennale in Kerala. The
event has animated the
Indian region’s culture
In 2016, the speed
of globalisation—and
by inference the growth
in contemporary art it
sustains—was predicted to
slow. There have been a few
indicators: the Marrakech Biennale
in February was cancelled after sponsors
withdrew from the event. A month later,
the Montreal Biennial folded with debts of
$180,000. But despite this, it is too early to
say the overall trend is reversing. In fact,
over the past 50 years, fewer than 20 bienni- THE BEST OF THE REST IN 2018
als have disappeared. Like building contem-
porary art museums, a biennial remains on 10th Berlin Biennale is focusing on artists and the
many modern cities’ “must-have” list. We Don’t Need Another Hero visitor experience.
As well as questioning the quality of South African curator Gabi 7 SEPTEMBER-9 DECEMBER
the experience of much of what is on offer, Ngcobo plans to address “the 12th Shanghai Biennale
Pérez-Barreiro believes that the number of current widespread states of Proregress: Art in an Age of
biennials will ultimately be unsustainable. collective psychosis”. Historical Ambivalence
“If you wanted to visit all these things, UNTIL 9 SEPTEMBER The exhibition’s curator,
I don’t think there is a human being in Manifesta Cuauhtémoc Medina, says
the world who could survive that much The Planetary Garden that he “will present contempo-
travel,” he says. “It’s an impossible calendar, The travelling Manifesta train rary works of art that embody
without even mentioning the art fairs and pulls up in the capital of Sicily. The an epoch that defies any
all the other things. There’s undoubtedly a 2018 edition is themed around idealised narrative”.
saturation point and we’ve reached it.” migration and climate change. 10 NOVEMBER-10 MARCH 2019
So, what is the future of biennials and 16 JUNE-4 NOVEMBER
what, if anything, would prompt change? 9th Asia Pacific Triennial
Perhaps only when collectors, curators, Gwangju Biennale Eighty artists from Asia, the
artists and critics are less willing to par- Imagined Borders Pacific and Australia take over the
ticipate. Patel says: “It’s not enough, this Eleven curators are making sepa- Queensland Art Gallery/Gallery of
politics of the placard, saying we are against rate exhibitions, plus installations Modern Art in Brisbane.
this or that, but technically we’re doing on the 1980 Gwangju Uprising. 24 NOVEMBER-28 APRIL 2019
7 SEPTEMBER-11 NOVEMBER
what everyone has been doing for years.
That is the central issue: our generation 33rd Bienal de São Paulo
Kochi-Muziris Biennale
The artist Anita Dube takes the
KUKAMA: © F. ANTHEA SCHAAP
needs to really question everything we’ve
inherited. That’s true for museums, art fairs,
Affective Affinities helm of India’s biggest biennial in
this historic Keralan port city.
Latin America’s top biennial. Its
biennials… everything.” curator Gabriel Pérez-Barreiro 12 DECEMBER-29 MARCH 2019
• What Can a Biennial Do?, Hall 1.1, Thursday 14
June, 10am-11.30am
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M O D E R N A N D C O N T E M P O R ARY B RI T I S H A R T 14–17 June 2018
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Martin Kippenberger
Ohne Titel (aus der Serie Das
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signed with the artist’s initials,
titled and dated ‘M.K. ‘96
“Medusa”’ on the reverse
oil on canvas
150 x 180 cm (59 x 70 7⁄8 in.)
Painted in 1996.
© Estate of Martin Kippenberger,
Galerie Gisela Capitain, Cologne.
 14 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018

IN PICTURES
Parcours

From treading on taxidermy

to sounds from the sewers
P
arcours, the section of Art
Basel dedicated to free public 1
art projects, is “quite radically
different” in 2018, says Samuel
Leuenberger, its curator for the
third year running. “Most people
are still under the impression
that it’s an outdoor sculpture show, but it’s much
more than that,” he says. The majority of the 23
commissions are actually displayed indoors, as
Parcours ventures beyond the Münsterplatz to
new locations around the city. Working indoors
enables artists to respond to a building’s history, Samuel Leuenberger
Leuenberger says, and to weave that history
together with their own forms of storytelling. This prompted the theme
of Parcours this year, Telling Stories for the Future, which is a way to “give
the artists as much [freedom] as possible”, Leuenberger says. The idea has
“political potential”, he says, but think politics with a small “p”, from a
surreal encounter with robots to a memento mori for the animal world.
Hannah McGivern

1 MARK MANDERS from their accustomed way of going about

Room with Three Dead Birds and
Falling Dictionary (1993/2018) and House
with Notional Newspapers (2018)
Zeno X Gallery, Tanya Bonakdar Gallery
“Mark Manders first submitted a project
for Basel’s Natural History Museum called
Three Dead Birds and a Falling Dictionary.
You walk into a large room with a soft foam
floor and somewhere underneath are
three taxidermied birds. The mystery is
not knowing where they are, so you could
potentially step on them. While looking at
sites, we walked past a rundown, empty
pastor’s flat, and Manders fell in love with
the space. I told him he could have two
projects in Parcours if he was up to the chal-
lenge. In the House with Notional Newspa-
pers, sculptural situations point to the fact
that somebody is living here. It might be an
artist in this flat who is hiding himself from
society and just working away.”
2 THOMAS STRUTH
Animals (2018)
Marian Goodman Gallery
“The importance of animals is a recur-
ring theme this year. Thomas Struth is
showing a beautiful photographic series
of animals that have died of natural
causes and are being autopsied by staff
at Berlin’s Leibniz Institute for Zoological
and Wildlife Research. They are shown in a
Modernist church that is being renovated
as a rehearsal space for Basel’s symphony
orchestra. Struth was blown away by the
power of the architecture. It suddenly
clicked that he wanted to show the photo-
graphs in memento mori style, suspended
in mid-air. He is into modern classical
music, so he has also curated a music
programme. It’s a perfect example of how
Parcours can create something completely
unexpected, not just for the audience but
[also] for the artist.”
3 JESSICA
STOCKHOLDER
Three squared on the river bank (2018)
Mitchell-Innes & Nash, Galerie Nächst
St Stephan Rosemarie Schwarzwälder
“Jessica Stockholder flattens the hierarchy
between sculpture and painting, between
high and low art. She is presenting sculp-
tures, based on her Assist series, that need
another environment or object to lean
against or wrap around. One is placed on
top of a bridge against a dragon-gargoyle
representing the Basilisk. Another is on the
riverbank below. She’s throwing a different
perspective on the city itself, not picking
obvious scenic locations but jolting people
the day. She plays with a bright, colourful
palette, so the works are not necessarily
beautiful—they’re disruptive.”
4 CAROLINE MESQUITA
The Machine Room (2018)
Carlier Gebauer
“Caroline Mesquita’s film and sculptur-
al works are integrated with wooden
religious objects from the History Museum
of Basel’s permanent collection. She
uses stop-motion animation in her films,
which often portray her and her friends
interacting with a new breed of robotic
beings that she has sculpted. This strange
interaction questions where we stand in
our engagement with technology. She is
a post-internet-generation artist, but it’s
not cynical; it’s quite poetic, how she deals
with [technology]. You could imagine a
bridge from the 1927 film Metropolis. She’s
still asking what it means for our own bod-
ies, having these other bodies in our lives.”
5 HANNAH WEINBERGER
Down There (2018)
Freedman Fitzpatrick
“Hannah Weinberger is a young Basel-based
artist who works with sound and perfor-
mance. She has installed sound pieces in a
half-mile stretch of the city’s sewer system,
so this resonance accompanies you as you
walk through the city. She is a master of 2
mixing field recordings from her travels
and self-composed soundtracks. She plays
very poetically with the peripheral sound
to which we’re constantly exposed, such
as when we walk through the streets. You
think you recognise it, but she still brings a
melodic quality to it that makes it musical.”
6 PIERRE HUYGHE
Exomind (Deep Water) (2017)
Marian Goodman Gallery, Galerie Chantal
Crousel, Hauser & Wirth, Esther Schipper
“This is a carefully chosen environment
with live animals; bees are added to the
sculpture at the heart of it. So it is an
expanded idea—more than just a kneeling
figure. You can only find it at the end of a
long walk through a private garden of the
Allgemeine Lesegesellschaft; it’s the only
rough, overgrown area in central Basel.
You’ll probably hear the bees at work
before you see the sculpture. You finally
approach the kind of ecosystem that Pierre
Huyghe likes to create. There’s a cross-polli-
nation between different living organisms,
which of course includes us, as visitors.”
• The image shows an earlier installation
of the work in Japan
 3

4
5
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018

6
15

LEUENBERGER: GARETH HARRIS. MANDERS, STRUTH, STOCKHOLDER, MESQUITA AND WEINBERGER: © DAVID OWENS; DAVID-OWENS.
CO.UK. HUYGHE: COURTESY OF THE ARTIST; MARIAN GOODMAN GALLERY, NEW YORK; HAUSER & WIRTH, LONDON; ESTHER SCHIPPER,
BERLIN; CHANTAL CROUSEL, PARIS; TARO NASU, TOKYO; AND THE NATIONAL MUSEUM OF MODERN ART, TOKYO
 ART BASEL | JUNE 14–17, 2018 | HALL 2.0 STAND F12

UNLIMITED | ALBERTO BURRI: CELLOTEX | STAND U19

Alberto Burri, Sacco SP4, 1956, Burlap and acrylic on canvas, 39⅜ x 35⅜ in. (100 x 86 cm.)
© 2018 Artists Rights Society (ARS), New York / SIAE, Rome

INTERVIEW
Artist
HERSHMAN LEESON: © LAURIDS JENSEN. INFINITY ENGINE: © FRANZ J. WAMHOF
THE ART NEWSPAPER: You studied
biology—how much of what you’re
doing now is a natural extension
of the language you were learning
as a scientist?
LYNN HERSHMAN LEESON: I think I’ve
always been an artist, since I was maybe two
years old; it was the language that I knew,
that I could communicate, though not to
many people. But my mother was a biologist
and my family are all scientists—my daugh-
ter is a scientist, my brother is a scientist.
So, to me, science is magic, and of course
it has changed enormously, particularly in
the past 15 years, so it’s like a completely
new language. But I think there’s been a
fascination for me in what’s happening to
our species and particularly since CRISPR
[Clustered Regularly Interspaced Short
Palindromic Repeats, a bacterial defence
system at the heart of a form of genome
editing technology] and since the genome
was programmed, and the choices that we
have now, it seemed like this was one of the
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
Lynn Hershman Leeson:
Cool science
The US pioneer of digital art discusses her passion
for cutting-edge biology and its influence on her new
multimedia exhibition, Anti-Bodies.
By Ben Luke
F
ew artists have pioneered digital
and virtual technologies and
explored their societal implica-
tions as deeply as Lynn Hershman
Leeson. Based in San Francisco,
she has worked across photogra-
phy, video, film, performance and
various digital formats. She made the first laserdisc
work in 1984—Lorna, an interactive piece—and early
contributions to internet art. As long ago as 1995 she
was working with artificial intelligence technologies.
Perhaps her best-known work was a “private perfor-
mance” involving her creation in minute detail of
Roberta Breitmore, a woman with her own personality
traits who, over five years, developed a real, docu-
mented existence. Made in 1973-78, it foreshadowed
21st-century identity-themed social media works, such
as those by Amalia Ulman on Instagram.
The artist holding the Lynn Hershman
Leeson antibody (2018). Right, a detail
from The Infinity Engine (2014)
more important elements of our human
condition, and really the condition of all
living things. So that’s what interested
me in it. But I do think it helped me that I
could talk to scientists, because I think they
didn’t expect me to understand what they
were saying and then when I did, the con-
versation deepened.
You’re going to Harvard, you’re going
to Oxford—primary conversations with
scientists deeply inform your work,
don’t they?
Yes, and these are the people who invented
and developed CRISPR, who invented the first
bioprinting programme, who are the head
of the genetics programme, say, at Oxford, or
the woman who got the Nobel prize, Elizabeth
Blackburn, for developing the telomere.
17
For her show at Haus der Elektronischen Künste in Basel
(until 5 August), Hershman Leeson presents her most ambi-
tious work yet relating to her interest in biotechnologies.
The exhibition, Anti-Bodies, includes the eight-room instal-
lation The Infinity Engine (2014), which resembles a labo-
ratory. Viewers don a lab coat “so the visitor becomes the
lab investigator as they go through these various rooms”,
she says, which explore everything from bioprinting, ethics
and genetic modification to DNA. Among the imagery is
a projected photograph which evokes Michelangelo’s The
Creation of Adam (1508-12), only in this image, the hands
clasp syringes. In the last room, which is locked in reference
to Duchamp’s final masterpiece Étant donnés (1946-66), the
visitor sees newly created DNA and antibodies in mirrored
boxes. “I see that as the simmering essence, so it becomes
the haiku of the whole process,” Hershman Leeson says.
She is also showing two works as part of the Art Basel film
programme and is participating in a talk on Friday.
Each one has contributed enormously to
the field. So therefore, I was very fortu-
nate that I got to talk to them and really
began to understand more deeply what’s
going on. Elizabeth Blackburn was maybe
the second person I spoke with and the
reason she would talk to me was because
she saw my film Conceiving Ada [1997,
in Thursday’s film programme], which
was about Ada Lovelace [the 19th-century
mathematician and computer algorithm
pioneer] and she identified with the char-
acter. Because she had watched the film,
we were able to have this conversation,
and it opened a lot of questions for me.
I’m intrigued by the balance
between fact and metaphor and
question in the work. The show is
called Anti-Bodies and there’s the
creation of an antibody called Lynn
Hershman Leeson…
There’s one for Roberta, too.
CONTINUED ON PAGE 18 
Christopher Wool
A New Sculpture
Through August 2018
Luhring Augustine
Bushwick, New York
 18
INTERVIEW
Artist
 CONTINUED FROM PAGE 17
Brilliant. But also,
the phrase “anti-
bodies” evokes an
ethical dimension,
in terms of how the
biotechnological science
might be used.
In the best parts of it, it
becomes a deeply poetic
metaphor for where we are
in our universe on this planet,
of looking towards the future
and looking towards survival and
looking towards sustainability. Of course,
it’s informed by real information, but
then again, you wouldn’t have real infor-
mation projected against a mirror, or you
wouldn’t have the two syringes being like
Michelangelo’s touching [The Creation of
Adam]. There are things that take a lot of lib-
erties, and that kind of metaphor maybe has
a deeper resonance in getting to what this
is all about, just in the initial imagery. Or
there’s a room that’s completely wallpapered
with some of the new life forms that have
developed because of CRISPR, and indeed our
whole planet is being wallpapered with new
living systems that we have no idea about.
Thousands every day are being created, and
then these will create more of these new
living systems.
“It extends the ideas
of Braque, Duchamp
and even Cézanne
into the present”
GALERIE BASTIAN
RAUSCHENBERG
PAINTINGS OBJECTS COLLAGES
27 APRIL - 28 JULY 2018
info@galeriebastian.com | +49 30 831 6001 | www.galeriebastian.com
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
We are in a political
climate where
there is a distrust
of climate
science and
also biological
science,
especially
within
conservative
politics, in
America. Would
you say that The
Infinity Engine is a
political statement?
Absolutely. All of my work is.
Having grown up in Berkeley in the 1960s,
you get vaccinated with finding a voice and
using that voice to speak about elements
of repression and freedom and our future
and how we can change things, so I think
it’s absolutely political. Because if we are
unaware of the dangers that we’re facing,
we can never change them, so you’re
dealing with difficult issues and topics that
many people have never heard about, and
you’re able to look through the records of
a lot of the supreme court cases against
some of these giant conglomerates who are
trying to control gene editing and access
to pharmaceuticals, and that has to be a
political statement.
There is the Michelangelo reference
in The Infinity Engine, but you’ve also
talked about how you see what you do
as a kind of post-Cubist way of thinking
about the world.
Absolutely, it really just extends the ideas
of Braque and Cubism and Duchamp into
the present, and even Cézanne: looking
Works that refer at something from all sides, and present-
to biotechnology ing different versions of seeing something,
include Bio Printed sometimes simultaneously, sometimes
Nose (2015, left), the
digital print Glowing
sequentially. It always seemed to me, par-
ticularly in doing interactive works, that the
Tania Bruguera
Cat (2014, top) and
Double Syringe after
full reference goes back to that origin.
• Lynn Hershman Leeson: Anti-Bodies, Haus der
Michelangelo (2014) Elektronischen Künste in Basel (until 5 August)
• Artist Talk: Lynn Hershman Leeson, Hall 1.1,
Friday 15 June, 3pm-4pm
THE GREAT
ART ESCAPE
Lynn Hershman Leeson on her film
collaboration with Tania Bruguera
In Tania Libre (2017), Hershman Leeson
made a film about the Cuban artist Tania
Bruguera (below) and the aftermath of
Bruguera’s eight-month imprisonment in
her homeland. “I had made a film on Steve
Kurtz, who was arrested for bio-terrorism,”
Leeson recalls. Strange Culture (2007), as it
was called, which Hershman Leeson says she
made “for ten cents”, had a dramatic effect.
“Steve and many people feel that the film
is what got his charges dropped,” she says,
“and so you see the power of using art and
media to inform people, but actually to take
action and make changes in the real world.
So, when I heard about Tania’s plight, that
she was imprisoned, she couldn’t get out,
she didn’t know when she would get out, I
thought that maybe I could help by doing
something.” She initially made contact with
Bruguera’s sister, but the artist herself was
released from prison soon after Hershman
Leeson started her film. “We met within ten
days of her release and she felt that she was
suffering from post-traumatic stress. So we
went to the man who named post-traumatic
BIO PRINTED NOSE, GLOWING CAT AND DOUBLE SYRINGE: © LYNN HERSHMAN LEESON. BRUGUERA: COURTESY OF THE ARTIST
stress: his name is Frank Ochberg and he
lives in Michigan, and we had
a three-day therapy
session about
post-traumatic
stress and the
effect that it was
having. And
that related
both to the
family structure,
the time you grew
up in, as well as the
cultural conditions for
repression. Basically that
became the film: the whole thing
was really about how one escapes, in her
case through her art, or the means to survive
this kind of silencing.” B.L.
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and more from the Broad collection.

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+44 (0)20 7734 3431 www.jacobsongallery.com
Robert Motherwell Elegy to the Spanish Republic 110c 1968 15 x 20.5 cm
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Image Credit: Ragnar Kjartansson, The Visitors, 2012. Nine channel HD video projection. Commissioned by the
Migros Museum für Gegenwartskunst, Zurich. The Broad Art Foundation. Photo Elísabet Davids. © Ragnar Kjartansson
 THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
GALLERIES
Anglim Gilbert Gallery San Francisco
Peter Blake Gallery Laguna Beach
Bockley Gallery Minneapolis
Bortolami New York
BorzoGallery Amsterdam
Rena Bransten Gallery San Francisco
Gavin Brown’s enterprise New York, Rome
CarrerasMugica Bilbao
Century Pictures Brooklyn
Cernuda Arte Coral Gables
Ceysson & Bénétière Paris, Saint-Étienne,
Luxembourg, New York
James Cohan New York
Corbett vs. Dempsey Chicago
Stephen Daiter Gallery Chicago
DC Moore Gallery New York
De Buck Gallery New York
Galerie Division Montréal, Toronto
Catherine Edelman Gallery Chicago
Eric Firestone Gallery East Hampton,
New York
Flowers Gallery London, New York
Tory Folliard Gallery Milwaukee
Fort Gansevoort New York
Forum Gallery New York
David Gill Gallery London
Michael Goedhuis London, New York, Beijing
Richard Gray Gallery Chicago, New York
Garth Greenan Gallery New York
GRIMM Amsterdam, New York
Kavi Gupta Chicago
Hackett Mill San Francisco
HDM Gallery Beijing, London
Richard Heller Gallery Los Angeles
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GALLERY HYUNDAI Seoul
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New York
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MARUANI MERCIER Brussels, Knokke, Paris
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New York
Gallery MOMO Cape Town, Johannesburg
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ONE AND J. Gallery Seoul
Peres Projects Berlin
Perrotin New York, Paris, Hong Kong,
Tokyo, Seoul, Shanghai
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Praz-Delavallade Paris, Los Angeles
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rosenfeld porcini London
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Eduardo Secci Contemporary Florence
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Stuart Shave / Modern Art London
William Shearburn Gallery St. Louis
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Simoens Gallery Knokke
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Aligned with
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EXPOSURE
Curated by Justine Ludwig
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KANT Copenhagen
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LAZY Mike Los Angeles, Moscow
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NINO MIER GALLERY Los Angeles,
Cologne
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PROFILE
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EDITIONS + BOOKS
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Los Angeles
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Editions, Royal Academy of Arts
One, All, Every.
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TASCHEN Los Angeles, New York,
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SPECIAL EXHIBITIONS
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 A R A R E L O W T A B L E / J E A N P R O U V É – J A C Q U E S A N D R É , 1 9 3 7/
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 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018 23

CALENDAR
Art Basel
Listings are arranged
alphabetically by area.
Commercial galleries
are marked W

○ Basel
Non-commercial
Artstübli
Steinentorberg 28
• Eddie Hara: This Is Not Street Art
UNTIL 30 JUNE

Ausstellungsraum Klingental
Kasernenstrasse 23
• Requiem: Artists from
Atelierhaus Klingental
UNTIL 17 JUNE

Bruce Nauman’s One Hundred
Live and Die (1984), considered
by many to be his masterpiece
Fondation Beyeler
Baselstrasse 101
• Beyeler Collection: Nature
& Abstraction
UNTIL 12 AUGUST
• Bacon-Giacometti
UNTIL 2 SEPTEMBER

Nauman retains his edge, 50 years on HeK. Haus der Elektronische

Künste Basel (House
of Electronic Arts)
Freilager-Platz 9
curator and adviser to the director at subtitle Disappearing Acts hints at an Basel/Münchenstein
Retrospective of US artist Bruce Nauman spans The Museum of Modern Art. emotional arc from the early works’ • Rafael Lozano-Hemmer: Voice Theatre
his entire career—and a plethora of media “Bruce remains as trenchant and
urgent today as he was 25 years ago,
tenor of bemused disaffection,
ennui and paranoia to the haunted
UNTIL 1 JULY
• Lynn Hershman Leeson: Anti-Bodies
when the retrospective that Neal and haunting air of Nauman’s UNTIL 5 AUGUST
Bruce Nauman: Disappearing Acts Jane Livingston and Marcia Tucker, [Benezra, now the director of the San 21st-century art.
Schaulager, Münchenstein/Basel then curators at the Los Angeles Francisco Museum of Modern Art] and Although early work predomi- Historisches Museum Basel/
UNTIL 26 AUGUST County Museum of Art (Lacma) and I organised travelled widely in Europe nates among the 170 items presented, Museum für Geschichte
New York’s Whitney Museum of and the US,” Halbreich says. Halbreich says, more recent “room- Barfüsserplatz 7
NAUMAN: DOROTHY ZEIDMAN; COURTESY OF THE ARTIST AND SPERONE WESTWATER, NEW YORK; © BRUCE NAUMAN, 2018

When Bruce Nauman entered
the graduate art programme at
the University of California, Davis, in
1964, the university was still best
known for its agriculture course.
Artists who taught there, including
Robert Arneson, Manuel Neri, William
T. Wiley and Wayne Thiebaud, would
lead the Northern California art
developments known as Bay Area
Figuration and Funk.
Many of the faculty saw in
Nauman a rare intelligence and
independence—he had already delved
into music, philosophy and physics
as an undergraduate at the University
of Wisconsin—but no one then envis-
aged the stellar position he would
attain in the turn-of-the-century art
firmament. Almost no one.
American Art respectively, circulated
Nauman’s first international touring
retrospective in 1972 and 1973.
Now the Schaulager in Basel is
hosting Bruce Nauman: Disappearing
Acts, a five-decade survey that
appraises the magnitude of his
improbable but extraordinary accom-
plishment and influence.
The exhibition, which has been
co-organised with New York’s
Museum of Modern Art (the show is
due to travel to MoMA and MoMA PS1
in October), includes pieces in many
media, from drawings, sculpture
and holograms to sound and video
installations.
The professional hinge of this
bicontinental undertaking is Kathy
Halbreich, the Laurenz Foundation
“He is one of the very few artists I
know—let’s say Picasso is another—
who has retained his edge, risk-taking
spirit and material experimentation
from his grad-school days to the
present,” she says. “He is always
present tense. What could be more
timely than the command: ‘Pay
Attention Motherfucker’?,” she asks,
quoting the graphic content of a 1975
lithograph and several related works.
The retrospective is the first
opportunity for younger generations
to see the “full breadth of Nauman’s
work”, Halbreich says, “and for those
who have followed his career from
the start to see how the tone of the
work has changed in recent years,
becoming melancholy, meditative
and fretful, rather than angry”. The
sized and even multi-room pieces • Medieval Worlds of Faith
feature prominently in the exhibi- UNTIL 17 NOVEMBER 2019
tion”. These include Mapping the
Studio II (2001), Contrapposto Studies i Kunsthalle Basel
through vii (2015-16) and Contrapposto Steinenberg 7
Split (2017), a 3D-video installation • Raphaela Vogel: Ultranackt
that received its premiere in Basel. UNTIL 12 AUGUST
The great surprise of the mid-1990s • Luke Willis Thompson: Human
retrospective was the intense popular UNTIL 19 AUGUST
enthusiasm it provoked. Countless
visitors with no previous awareness of Kunsthaus Baselland
Nauman’s art, especially in New York, St Jakob-Strasse 170
seemed fascinated by it, even at its • Rossella Biscotti
most abrasive. His name may be much • Rochelle Feinstein
more widely known now, but celeb- • Naama Tsabar
rity aside, his art’s reception against UNTIL 16 JULY
today’s background may be as hard to • Vittorio Brodmann
predict as his youthful prospects once UNTIL 31 DECEMBER
seemed to be.
Kenneth Baker
Continued on p24
○

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and Art World Citizens

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 24 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018

CALENDAR Surprising similarities:

Alberto Giacometti
and Francis Bacon,

Art Basel
pictured in 1965

○
Continued from p23
Schweizerisches a Collaborative Installation
Kunstmuseum Basel Gegenwart Architekturmuseum UNTIL 4 AUGUST
St Alban, Rheinweg 60 Steinenberg 7
• Theaster Gates: Black Madonna • Bengal Stream: the Vibrant WJohn Schmid Galerie
UNTIL 21 OCTOBER Architecture Scene of Bangladesh St Alban Anlage 67
UNTIL 24 JUNE • Olaf Holzapfel
Kunstmuseum Basel Hauptbau UNTIL 4 NOVEMBER
St Alban-Graben 16 Commercial
• Metropole in Schwarz-Weiss: Paris WLaleh June Galerie
Im Spiegel der Editions Paul-Martial WAnne Mosseri-Marlio Galerie Picassoplatz 4
UNTIL 24 JUNE Malzgasse 20 • Ten Years
• Art, Money, Museum: the • Kimiyo Mishima UNTIL 28 JULY
Picasso Story, 50 Years Later UNTIL 13 JULY
UNTIL 12 AUGUST WNicolas Krupp
• Modern Dance of the Dead WAtelier-Editions Fanal Contemporary Art
UNTIL 2 SEPTEMBER St Alban-Tal 39 Rosentalstrasse 28
• Adolf Wőlfli: Focus Paper • Karin Kappeli-von Bülow, • Raimer Jochims
UNTIL 2 SEPTEMBER Fabienne Sylvestre UNTIL 1 SEPTEMBER
• Martha Rosler, Hito Steyerl: War Games
UNTIL 2 DECEMBER
UNTIL 12 JULY
WStampa Beyeler unites two titans of Modern art
• My Dear Holder! Documents from WBalzer Projects Spalenberg 2
the Archive of Carl Albert Loosli Wallstrasse 10 • Vivian Suter: Works, 1988-2018 Bacon and Giacometti
UNTIL 14 OCTOBER • The End Is Where We Start From: • General Idea: Works, 1981-92 Fondation Beyeler
UNTIL 2 SEPTEMBER
on Tsunamis, Nuclear Explosions UNTIL 1 SEPTEMBER
Kunstmuseum Basel Neubau and Other Fairy Tales A solo show of works by Francis Bacon or Alberto Giacometti alone would be enough to
St Alban-Graben 20 UNTIL 21 JULY WTony Wuethrich Galerie draw big crowds, but the Fondation Beyeler has upped the ante by staging a double
• Bruce Nauman: Disappearing Acts Vogesenstrasse 29 whammy of these two Modern masters. They first met in the early 1960s, and were probably
UNTIL 26 AUGUST WBüro • Bettina Scholz: Parallel Realities introduced by the British painter Isabel Rawsthorne, who was Giacometti’s lover and a model for
• Maria Lassnig: Dialogues St. Johanns-Vorstadt 46 UNTIL 30 JUNE both artists during different periods. Each strived to capture Rawsthorne’s alluring character—
UNTIL 26 AUGUST • Lynn Hershman Leeson Bacon in paint and Giacometti in sculpture. Arranged thematically, the exhibition highlights
• Sam Gilliam: the Music of Colour UNTIL 17 JUNE WVitrine Basel similarities between the artists, including being obsessed with depicting the human head, as well
UNTIL 30 SEPTEMBER Vogesenplatz as differences such as Giacometti’s use of grey, which is in stark contrast to Bacon’s lavish use of
WGalerie Carzaniga • Hanae Wilke: Close Quarters colour. The final room of the exhibition contains two full-scale video projections of the artists’
Museum der Kulturen Basel Gemsberg 8 + 10 UNTIL 24 JUNE studios. Covering the walls and floor, the studios are recreated using archival photographs
Münsterplatz 20 • Lorenz Spring: Works from • Jamie Fitzpatrick, Lindsey overlaid with sound recordings of the artists. A.D.
• Secrecy: Who’s Allowed to Private Collections Mendick: Smut
Know What UNTIL 16 JUNE 13 JUNE-2 SEPTEMBER
UNTIL 21 APRIL 2019 Stadtmuseum Aarau Gruzenstrasse 44 and 45 Schweizerisches Landesmuseum
WGalerie Knoell WVon Bartha Schlossplatz 23 • Juergen Teller: Enjoy Your Life! Museumstrasse 2
Museum Tinguely Luftgasslein 4 Kannenfeldplatz 6 • Peter Koehl: Carte Blanche UNTIL 7 OCTOBER • Swiss Press Photo 18
Paul Sacher-Anlage 1 • Konstruktiv: Vantongerloo, • Landon Metz: Feels So Right Now UNTIL 14 JUNE UNTIL 1 JULY
• Gerda Steiner and Jőrg Albers, Bill, Loewensberg UNTIL 21 JULY • Network Swiss Press Kunstmuseum Winterthur • World Press Photo
Lenzlinger: Too Early to Panic UNTIL 14 JULY UNTIL 8 JULY Museumstrasse 52 UNTIL 8 JULY
UNTIL 23 SEPTEMBER Kunst Raum Riehen • Multicoloured Is Life • The Female Touch: Miniature Portraits • In Search of Style 1850-1900
• Gauri Gill: Traces WGraf & Schelble Galerie Berowergut Baselstrasse 71, Riehen UNTIL 26 AUGUST • Rembrandt Operates UNTIL 15 JULY
13 JUNE-1 NOVEMBER Spalenvorstadt 14 • Louisa Clement: Language of Realities UNTIL 17 JUNE • What Does Switzerland Eat?
• Selected Works by Gallery Artists • Tim Berresheim: Smashin’ Time II BERN • Occupying Spaces: Works UNTIL 23 SEPTEMBER
Salts UNTIL 20 JUNE UNTIL 12 AUGUST Kornhausforum by Female Sculptors • Joggeli, Pitschi, Globi: Popular
Hauptstrasse 12, Birsfelden Kornhausplatz 18, Postfach UNTIL 12 AUGUST Swiss Picture Books
• Rodrigo Hernandez: WGuillaume Daeppen • Walter Studer: Photographs, 1918-86 • Ferdinand Hodler/Alberto 15 JUNE-14 OCTOBER
the Gourd and the Fish Gallery for Urban Art UNTIL 5 AUGUST Giacometti: a Confrontation
• Jumana Manna Müllheimerstrasse 144 UNTIL 19 AUGUST Shedhalle
• Bhanu Kapil • Sergej Vutuc ○ Beyond Basel Kunsthalle Bern Rote Fabrik, Seestrasse 395
14 JUNE-25 AUGUST • Tadej Vaukman Helvetiaplatz 1 Kunsthalle Winterthur • Studio A Fantasy
UNTIL 14 JULY • Harald Szeemann: Grandfather, Market Gasse 25 UNTIL 29 JULY
Schaulager France a Pioneer Like Us • Una Szeemann
Ruchfeldstrasse 19 WHebel 121 UNTIL 2 AUGUST UNTIL 22 JULY WGalerie Eva Presenhuber
• Bruce Nauman: Disappearing Acts Hebelstrasse 121 ALTKIRCH • Harald Szeemann: Museum Maag Areal, Zahnradstrasse 21
UNTIL 26 AUGUST • Kate Shepherd/Daniel Gottin: Crac Alsace of Obsessions ZURICH • Doug Aitken
18, rue du Chateau UNTIL 2 SEPTEMBER Haus Konstruktiv UNTIL 27 JULY

○ SATELLITE FAIRS
• On Working and then Not Working Selnaustrasse 25
14 JUNE-16 SEPTEMBER Kunstmuseum Bern • Imi Knoebel WGalerie Gmurzynska,
Hodlerstrasse 12 • Till Velten Talstrasse
MULHOUSE • Gurlitt: Status Report, Nazi Art UNTIL 2 SEPTEMBER Talstrasse 37
La Filature Theft and its Consequences • Christo
20 Lane Nathan Katz UNTIL 15 JULY Kunsthaus Zürich UNTIL 30 JUNE
• Christian Milovanoff • Martha Stettler: an Impressionist Heimplatz 1 • Wifredo Lam: Nouveau
UNTIL 1 SEPTEMBER Between Bern and Paris • Magritte, Dietrich, Rousseau: Nouveau Monde
UNTIL 29 JULY Visionary Objectivity UNTIL 30 SEPTEMBER
Germany UNTIL 8 JULY
Zentrum Paul Klee • Fashion Drive: Extreme WGalerie Gmurzynska,
SIEGEN Monument im Fruchtland 3 Clothing in the Visual Arts Paradeplatz
Museum für Gegenwartskunst • Etel Adnan UNTIL 15 JULY Talstrasse 37 and Paradeplatz 2
Unteres Schloss 1 15 JUNE-7 OCTOBER • Christo
• Remembering Landscape • Cosmos Klee Luma Westbau UNTIL 30 JUNE
UNTIL 30 SEPTEMBER UNTIL 28 OCTOBER Lowenbraukunst
Limmatstrasse 270 WGalerie Mark Müller
WEIL AM RHEIN LIESTAL • Ser Serpas: You Were Hafnerstrasse 44
TBT (2018, detail) by DIS, with Project Native Informant at Liste Vitra Design Museum Kunsthalle Palazzo Created to Be So Young • Christine Streuli: Smokescreen
Charles-Eames-Strasse 1 Poststrasse 2 • Lena Tuntunjian: Have you UNTIL 21 JULY
Design Miami/Basel Paper Positions • Bas Princen: Image and Architecture • Spirit of Geneva: Narrative Considered Deletion?
Hall 1 Süd, Messe Basel Ackermannshof, UNTIL 5 AUGUST Painting from the Geneva Area • Women’s History Museum: WGalerie Nicola von Senger
12-17 JUNE St Johanns-Vorstadt 19-12 • Night Fever: Designing Club UNTIL 24 JUNE Her Bed Surrounded by Machines Limmatstrasse 275
12-17 JUNE Culture, 1960-Today UNTIL 2 SEPTEMBER • Daniele Buetti
Frame UNTIL 9 SEPTEMBER LUCERNE UNTIL 14 JULY
Basel Art Center, Photo Basel Kunstmuseum Luzern Museum für Gestaltung
Riehentorstrasse 31
UNTIL 17 JUNE
Volkshaus Basel, Rebgasse 12-14
12-17 JUNE
Switzerland Europaplatz 1 Ausstellungsstrasse 60 WGalerie Peter Kilchmann
• Carnival of Animals: Works • Protest! Resistance in Posters Zahnradstrasse 21
GZ-Bazel Rhy Art Fair AARAU from the Collection UNTIL 2 SEPTEMBER • Los Carpinteros: Susurro
An der Messe, Schönaustrasse 10 Rhypark, Mülhauserstrasse 17 Aargauer Kunsthaus UNTIL 6 JANUARY 2019 • Oiphorie: Atelier Oi Del Palmar
14-17 JUNE 14-17 JUNE Aargauerplatz UNTIL 30 SEPTEMBER UNTIL 27 JULY
GIACOMETTI AND BACON: © GRAHAM KEEN

I Never Read, Art Book Fair Scope Basel • Su-Mei Tse: Nested WGalerie Urs Meile,
Kaserne Basel, Klybeckstrasse 1b Scope Haus, Webergasse 34 UNTIL 12 AUGUST Rosenberghohe 4 Museum Rietberg WHauser & Wirth
13-16 JUNE 12-17 JUNE • On the Road: Ten Years of Caravan • Meng Huang: Bo (Waves) Gablerstrasse 15 Limmatstrasse 270
UNTIL 23 SEPTEMBER UNTIL 3 AUGUST • Monsters, Devils and Demons • Jean Dubuffet and the City
Liste Volta 14 • Pictures for Everyone: Prints and UNTIL 16 SEPTEMBER • Roni Horn Wits’ End Sample:
Burgweg 15 Elsässerstrasse 215
UNTIL 17 JUNE UNTIL 16 JUNE
Multiples by Thomas Huber, 1980-2018 WINTERTHUR • Bead Art from Africa Recent Drawings
UNTIL 11 NOVEMBER Fotomuseum Winterthur UNTIL 21 OCTOBER UNTIL 1 SEPTEMBER

○ The week’s
talks and events
Unless otherwise noted, all take
place in Hall 1.1, Messe Basel
TUESDAY 12 JUNE
CONVERSATIONS
10am Art as an Agent for Change:
Porky Hefer’s Endangered
Collaboration with the Leonardo
DiCaprio Foundation
A conversation between the South
African designer Porky Hefer,
DiCaprio Foundation chief executive
Terry Tamminen and the Guild
Group founder Trevyn McGown,
among others.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
11.30am Local Intelligence,
Universal Applications
Luma Arles’s chief executive
Mustapha Bouhayati, Vitra Design
Museum curator Amelie Klein and the
German designer Lukas Wegwerth
from Luma Atelier explore “archi-
tectural modularity and shared
knowledge”.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
5pm Craftsmanship 2.0 in
Collectible Design: Between
Innovation and Tradition
Studio Drift founders Lonneke Gordijn
and Ralph Nauta speak to Carpenters
Workshop founders Loic Le Gaillard
and Julien Lombrail and the French
interior designer Pierre Yovanovitch.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
FILM
5pm Rädi Martino: Controfigura
A new film by the Italian film-maker in
which a stand-in takes centre stage.
Stadtkino Basel, Klostergasse 5
7pm Taking Art for a Walk
A series of short films by Nancy Holt,
Robert Smithson, Charlotte Prodger,
Hiwa K and William Kentridge that
examine the politics of boundaries.
Stadtkino Basel, Klostergasse 5
9pm Films from the Postcolony:
(Counter)Images from South Africa
Films by artists Penny Siopis, Uriel
Orlow, Candice Breitz and Kudzanai
Chiurai that confront the history of
Africa and South Africa.
Stadtkino Basel, Klostergasse 5
WEDNESDAY 13 JUNE
CONVERSATIONS
10am Artist Talk: Michael Rakowitz
The Chicago-based conceptual artist
talks to Chus Martínez, the head of
Basel’s Institute of Art at the FHNW
Academy of Art and Design.
10.30am SuperDesign: Italian
Radical Design 1965-75
A screening of the film SuperDesign
followed by a discussion between the
architect Franco Audrito, curator Maria
Cristina Didero and R & Company
co-founder Evan Snyderman.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
3pm Museums in a Global Narrative
The Louvre Abi Dhabi’s direc-
tor Manuel Rabaté and Richard
Armstrong, the director of the
Solomon R. Guggenheim Foundation,
discuss what it means to bring a well-
known institution to a new audience,
with The Art Newspaper’s editor-at-
large Jane Morris.
3pm Smart Living
London’s Design Museum director
Deyan Sudjic moderates a panel dis-
cussion on smart living with this year’s
Swarovski Designers of the Future
Award winners, including Study O
Portable design practice.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
4pm Sexism in the Art World
The artists Hannah Weinberger,
Sandra Mujinga and Julieta Aranda
contemplate gender relations and
constructive ways to move forward as
sexism within the art world emerges
from the shadows.
5pm Women Design
A panel discussion between artist
and designer Betil Dagdelen, Artek
managing director Marianne Goebl,
the gallerist Nina Yashar and others.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
FILM
8.30pm Ai Weiwei: Human Flow
A screening of the Chinese artist’s
2017 documentary on the global
refugee crisis.
Stadtkino Basel, Klostergasse 5
THURSDAY 14 JUNE
CONVERSATIONS
10am What Can a Biennial Do?
Forthcoming biennial directors Ralph
Rugoff (2019 Venice Biennale), Zoe
Butt (co-curator of Sharjah Biennial
14) and Eva González-Sancho,
curator (Oslo Biennale 2019) and the
researcher Shwetal Ashvin Pavel offer
tips on how to avoid biennial fatigue
and look at where biennial culture
may be headed.
2pm Blockchain and the Art World
The Berlin-based artist Simon Denny
weighs in on the current and future
impact of blockchain on art with the
founder of the blockchain company
Verisart, Robert Norton, and Kelani
Nichole, the founder of Brooklyn’s
Transfer gallery and director of the
New York co-operative collection of
media art, The Current.
5pm Ethics of Exporting
Gallery Models
The gallerists Massimo De Caro, David
Maupin of Lehmann Maupin and Liza
Essers of Goodman Gallery discuss
the use of traditional gallery models in
non-Western environments with The
Art Newspaper’s art market editor,
Anna Brady.
FILM
7pm Lynn Hershman Leeson,
Conceiving Ada
The Scottish actress and art-fair
regular Tilda Swinton plays the role of
the 19th-century English mathemati-
cian Ada Lovelace, who is thought to
be the very first computer program-
mer. A Q&A with the US artist and
film-maker will follow the screening.
Stadtkino Basel, Klostergasse 5
9pm Vertighosts: Homages to
Hitchcock’s Vertigo
Two films by Douglas Gordon and
Lynn Hershman Leeson that pay
tribute to Hitchcock’s 1958 thriller.
Stadtkino Basel, Klostergasse 5
FRIDAY 15 JUNE
CONVERSATIONS
10am Society, Politics and the
Art System
Artists Lauren Bon and Ahmet Ogut
and the curator Laura Raicovich discuss
the ways in which the arts community
is supporting social change and areas in
which more can be done.
2pm Self-Construction,
Self-Governance
The architects Patti Anahory and
David Juarez, and Santiago Cirugeda,
the architect involved in the Basilea
Messeplatz project, discuss how
architecture can serve as a platform
for pubic inquiry.
Messeplatz
2pm The Impact of Data on
the Market
Josh Baer of the Baer Faxt and the
economist Clare McAndrew talk about
how transactional data is currently
affecting the art market and what
effect this data may have in the future.
3pm Artist Talk: Lynn
Hershman Leeson
The artist and film-maker Lynn
25
JOIN
Hershman Leeson chats with the
director of the House of Electronic
Arts, Sabine Himmelsbach, and Art
NEW YORK’S
LEADING FAIR
Basel film curator Maxa Zoller about
her interest in artificial intelligence
and biological progress.
4pm Sustainable City
Development: the Role of Art
Cecilia Alemani, the artistic director
of Art Basel Cities Buenos Aires, the
curator of the Kochi-Muziris Biennale
2018, Anita Dube, and the artistic
director of Public Art Munich 2018,
Joanna Warsza, discuss the arts and
MARCH 7–10,
healthy urban growth.
Messeplatz
5pm How to Buy Art
French dealer Philippe Charpentier of
mor charpentier, collector Monique
Burger and others discuss topics such
2019
as trusting one’s intuition, how to
handle buyer’s remorse and the com-
mitments made when one acquire a
work of art.
FILM
8.30pm Shirin Neshat:
Looking for Oum Kulthum
A fictional film inspired by the life
of the famed Egyptian singer Oum
Kulthum, who was active throughout
the Arab world from the 1920s to the
1970s. A Q&A with the Iranian artist APPLICATION
DEADLINE JULY 11
will follow the screening.
Stadtkino Basel, Klostergasse 5
SATURDAY 16 JUNE
CONVERSATIONS
10am Artist Influencers
The New York-based artist Sarah Sze
tells Serpentine Galleries artistic direc-
tor Hans Ulrich Obrist how the German
artist Katharina Grosse’s work inspired
and informed her own practice.
2pm The Alberto Burri Case
The life and work of the Italian
post-war artist is explored by Bruno
Corà from the Fondazione Palazzo
Albizzini Collezione Burri, Luca
Massimo Barbero from the Giorgio
Cini Foundation and Philip Rylands,
the emeritus director of the Peggy
Guggenheim Collection.
5pm Starting a Collection
The Swiss collector of Chinese art Uli
Sigg and the emerging art collector
Tom Kümmeke share their experi-
ences—good and bad—of assembling
an art collection.
PERFORMANCE
From 7pm Parcours Night
Performances
Multi-media presentations by artists,
including Keren Cytter, Luke Willis
Thompson and Venuri Perera, staged
at locations within the city.
On and around Münsterplatz
FILM
8pm Heather Lenz: Kusama—Infinity
The documentary film-maker charts
the rise of the Japanese artist
Yayoi Kusama.
Stadtkino Basel, Klostergasse 5
SUNDAY 17 JUNE
CONVERSATIONS
1pm Techne Techno Tech
Basilea artist, dancer and electronic
music-maker Isabel Lewis talks about
the contemporary rituals associated
with gathering, with the Tate’s
international art curator Catherine
Wood and Sharjah 14 Biennial curator
Claire Tancons.
Messeplatz
2pm Different Histories,
Different Futures
Art Basel’s Unlimited curator Gianni
Jetzer and the Bulgarian artist
Nedko Solakov, who has a piece in
the Unlimited sector, discuss works
in this section and explore how by
re-examining history we can change
the future.
3pm Artist Talk: Haegue Yang
The South Korean artist and 2018
Wolfgang Hahn prize-winner discusses
her work with the director of Cologne’s
Museum Ludwig, Yilmaz Dziewior.
 26
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Ulla Dreyfus-Best
The Basel-based collector Ulla
Dreyfus-Best started buying art in the
1970s with her late husband, the Swiss
banker Richard G. Dreyfus. Together
they built what she describes as “a real
Wunderkammer, spanning over 850 years”. The
eclectic mix stretches from an 11th-century Italian
bronze to Renaissance, Baroque and Mannerist
pictures, from Symbolist and Surrealist works
(René Magritte is a particular favourite) to
contemporary pieces by artists such as Jeff Koons.
In 2014, the Peggy Guggenheim Collection in
Venice staged an exhibition of the collection, a
testament to the couple’s catholic tastes.
Dreyfus-Best and her husband also inherited
pieces from her father-in-law Baron Robert von
Hirsch, including part of his vast collection of Old
Masters—that is, those items not sold off during
the record-breaking seven-day auction of his
collection at Sotheby’s, London, in 1978. Dreyfus-
Best now sits on Sotheby’s advisory board and has
attended every Art Basel since it started in 1970.
Interview by Anna Brady
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THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 12 JUNE 2018
How did you first get into
collecting?
My family influenced me—my
parents collected contemporary
art before the war. Then I married
Richard, already a great collector,
and we collected together.
What was your first art
purchase?
In the 1970s, I bought a 1942 Yves
Tanguy painting from Rudolf
Zwirner, who then had just a little
gallery in Cologne. I sold it after a
few years, then, in the early 1990s,
I bought an important earlier
work, ...On Sonne (1927), which
had belonged to Baron Hans
Heinrich von Thyssen-Bornemisza.
What is your most recent
art purchase?
A bronze sculpture by Louise
Bourgeois of a five-legged cat
from Hauser & Wirth.
What is your preferred way
of buying art?
Any way! It doesn’t matter if it’s
in Timbuktu or Saudi Arabia —if
it fits with the concept of my col-
lection, is within my budget and I
like it, then I buy it.
What is the most valuable
piece in your collection?
Every piece is valuable to me and
I would never think in terms of
money—but probably the paint-
ings that my husband and I
bought very early on.
If your house was on fire,
which work would you save?
I would probably take some of
the small ones that I could carry,
“I just bought a
bronze by Louise
Bourgeois of a
five-legged cat”
maybe the Old Master drawings, a
Dalí and a Magritte.
If money were no object,
what would be your dream
purchase?
I have two. First, a painting by
Domenico Gnoli, who was shown
last year at Art Basel. The second
would be Hieronymus Bosch’s The
Garden of Earthly Delights (1503-
15). It would fit perfectly in my
collection.
Which work in your
collection requires the
most maintenance?
None of them particularly,
although I have restored a couple
of Old Masters myself [Dreyfus-
Best was formerly a restorer at the
Kunstmuseum Basel].
Which artists, dead or alive,
would you invite to your
dream dinner party?
For the past 15 years, I have had
an artist as guest of honour at the
dinner I host during Art Basel.
The first year it was Jeff Koons,
this year it is Theaster Gates. So, I
would invite all of them, and also
Leonardo da Vinci and Bosch.
Which work do you regret
not buying?
The Gnoli from last year that I
couldn’t afford; it was a paint-
ing of a woman’s braided hair. He
is an incredible realistic painter,
with a touch of Surrealism.
What is the most surprising
place in which you have
displayed a work?
A Japanese museum wanted to
borrow two of my works by the
16th-century painter Giuseppe
Arcimboldo, but I didn’t want to
lend them because I don’t agree
with the Japanese approach to the
environment. So, I asked for a lot
of money and gave it to an NGO
protecting marine mammals.
What’s the best collecting
advice you have been given?
Look, look, look… you must have
an open eye, and train yourself
to register images in your brain,
remember them. It is a discipline.
THE ART NEWSPAPER
Art Basel editions
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Picture researchers: Katherine Hardy,
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Contributors: Georgina Adam, Kenneth
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DREYFUS-BEST: © FRITZ VON DER SCHULENBURG
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 SINCE 1707

Contemporary
and Modern Art
at Dorotheum
www.dorotheum.com

Philip Guston, Untitled, 1957, price realised €470,860

Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas, UBS Art Collection,
© 2018, ProLitteris, Zurich

How do I see the

bigger picture?
For some of life’s questions, you’re not alone.
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