ArtBasel/Miami Beach
DAILY EDITION
including
CITY LISTINGS
UMBERTO ALLEMANDI & CO. PUBLISHING
The fair is MOCA Miami’s chance
to show the world what it can do
MIAMI. Bonnie Clearwater,
director of the Museum of
Contemporary Art since
1997, organises exhibitions
on an annual budget of only
$2 million and a staff of
eight full-time employees.
In seven years, she has
acquired 400 works for the
permanent collection. The
Art Newspaper asked her
about ArtBasel/Miami
Beach’s impact on her insti-
tution.
The Art Newspaper: What
has ABMB done for you?
Bonnie Clearwater: The
presence of the international
art world in Miami during
the week of the fair provides
great exposure for our exhi-
bitions and simultaneously
educates our members and
patrons. Unless you’re a
VIP, it is difficult to go to all
the events, so we take our
patrons to meet artists and
dealers—and hopefully the
result is that they will end up
buying something for the
museum!
Two years ago, our
patrons bought us a work by
Anne Chu from the Donald
Young Gallery. Based on
what we saw at the fair this
year, we are now organising
a major show of her work
for next spring.
Last year there was a
boxed set of etchings by
Trenton Doyle Hancock—
whom we had shown here the
previous year—at the James
Cohan Gallery, and one of
our patrons later bought a
work for us.
This year one of our
patrons has anonymously
donated an early Christian
Marclay collage acquired
from the Paula Cooper
Gallery.
The fair focuses interna-
tional attention on the entire
city. The exposure is won-
derful. MoCA is often the
first place work is shown
before travelling elsewhere.
Two years ago we premiered
Sarah Morris’s film
“Miami” during fair week,
then Tate in London showed
it shortly after us. We also
showed Christian Marclay’s
“Sounds of Christmas” and
it is due to be seen soon in
London, also at Tate. Glenn
Scott Wright [director of
Victoria Miro in London]
saw Hernan Bas’s work
with us and is now showing
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EVENTS, POLITICS AND ECONOMICS - SPECIAL EDITION FRIDAY 3 DECEMBER 2004
Commercial-public interface
him in London. So fair of them are under 50—sig-
week is not just about art nificantly under 50!—and
coming to Miami, but also others are not even 65. I
about how we can con- think they have the right to
tribute to the international enjoy their art; when the
art world. time comes, decisions will
Why have so many major be made as to what happens
collectors in Miami chosen to their collections.
to show art in their own Meanwhile, they are still
spaces rather than donate able to support us. We have
it to museums in the city? some of the top collectors in
BC: It’s a very natural the city on our board: Irma
course for collectors to Braman is our chairman and
build their collections, live she and Norman are among
with them, develop them, the top collectors in the US.
and then determine what’s Rosa and Carlos de la Cruz
going to happen. A number (see pp.4-5) have given us
Facts
Over 1,500 artists are represented
at ABMB, of which:
more than180 are from Germany
over 400 are from the US
over 130 are from Latin-America
1 was born in Taiwan
1 was born in Pakistan
over 40 are under 30, of which 4 are under 25,
including 23-year-olds Francesca Woodman
and Jiae Hwang
over 100 were born before 1900
Ed Ruscha comparative shopping list
coming to the fair: C&M
Gallery; Kukje Gallery;
Anthony Meier,
Berggruen (a beautiful
1969 painting.)
■ Most expensive Ruscha
on show at fair: “Black and
pink ball” (20x24 inches),
detail right, 1972, yours for
$650,0000. With Richard
Gray. Previously belonged
to the First City National
Photo: Dona Ruscha
Bank, Houston, Alan N.
Press of Chicago and a pri-
vate collector from Seattle
■ Number of galleries list- who bought this same paint-
ed in the ABMB catalogue ing from Richard Gray in
as exhibiting his work: 14 October 1999.
■ Number of galleries who ■ Fastest selling Ruscha:
had already sold their “Manual mobility”, acrylic
major Ruscha works before on canvas (60x84), 1994,
This special
Miami edition
made possible
by BMW
TM
The future’s
German
many works by younger
artists and provided funds to
buy works. Craig Robins
has also been supportive of
our exhibitions.
MoCA’s board is more
national than regional. Paul
Berg and his wife Estelle
are collectors in Miami,
Michael and Joan Salke are
collectors from Naples,
Florida, and Francie Bishop
Good and her husband
David Horvitz from Fort
Lauderdale collect contem-
porary female artists. But
we also have Louis Nerman
of Kansas City, Rosalind
Jacobs who is a collector of
surrealist art in New York,
and Heidi Steiger who is a
collector of emerging
artists, also from New York.
We mostly tend to acquire
newer works rather than
established “brand” names.
Janet and Robert Liebowitz
have been helping us buy
Museum der bildenden Künste, Leipzig courtesy Galerie EIGEN + ART Leipzig/Berlin Photo © Uwe Walter
work by younger artists: last
year they contributed to our
acquisition of a work by
Laura Owens.
The first major work
acquired for the collection
was Jack Pierson’s found-
letter Los Angeles hotel-
sign piece “Paradise”. We
acquired it in 1996 in a
campaign called “Keep
Paradise in Miami”, where
patrons could sponsor the
acquisition of a single let-
ter. Leonard and Evelyn
Lauder bought the “E” in Leipzig artist Neo Rauch leads a school of painting that is
“Estee”. J.E.K. currently hotly favoured by influential collectors. See p. 6
the very first thing sold at Peter Freeman. “KAY-EYE-DOUBLE-S”,
Paul Kasmin on the morn- ■ Most recent Ruscha 1980, price $450,000. A
ing of the first day: price work on show: Gagosian, decade ago this painting
undisclosed. who represents the artist, is was at the Mugrabi mansion
showing two super fresh in New York and has subse-
paintings in the artist’s lat- quently gone through auc-
est, not totally convincing tion and been offered by
mode. The larger Richard Gray.
“Southwestern systems” ■ Most elegant small
costs $600,000 and “Fat painting: “L is for
box” is on offer for Lumens”, 1993, $95,000, at
$350,000. Rather more Pepe Cobo.
tempting was a classic 1972 ■ Least expensive
“VANISH”, gunpowder on Ruscha: four b/w prints,
paper on offer for $200,000. “Rooftops” shot in Los
■ Most beautiful Ruscha Angeles in 1962 and never
■ Earliest Ruscha on on offer (but also the work printed until now for
show: one of the seven most seen by the market): Patrick Painter. On offer
“Annie” drawings, this one Van de Weghe has a classic for $25,000 for the set of
of the first, from 1961, a sunset spelling out the word four, signed edition of 35.
bargain at $85,000 from Kiss. Its actual title is Adrian Dannatt
®
2 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004

The Bulgari
Too much lounging art

Gossip in the video lounge conversations

Do it yourself art
The ever energetic ubercurator Hans
Ulrich Obrist chose ABMB as the place
to launch his DIY guide to making other
people’s art yourself, in which big name
artists generously provide mere mortals
with instructions on how to recreate
their oeuvre. Artists in attendance at the
launch in the botanical gardens included
the splendidly bearded duo Laurence
Weiner and John Baldessari and the ever
magnificent Marina Abramovic, who
instructed the audience to follow what
she declared to be a Florida friendly
recipe, namely, to “Mix Fresh Milk
From the Breast/With Fresh Milk of the
Sperm/Drink on Earthquake Nights.”
However, while the doyenne of perfor-
mance art conceded that these tasks
could be carried out off site, she then
went on to insist that everyone present in
the botanical gardens lie down and
scream for two minutes. After some per-
suasion, the crowd duly did this but their
cathartic cries were drowned out by the
buzz of a cheeky plane which repeatedly
circled overhead trailing the offputting
banner, HI THERE! FROM TFS
MIAMI.COM—a message which, suit-
ably enough for Miami, came from a
real estate company.
Fair afloat
Spotted scouring the ABMB aisles
Wednesday and Thursday were David
and Lee Ann Lester who sold their mini-
Floridian fair empire to the British Daily
Mail Group for $18 million back in
2001. The Lesters, like practically all
other fair organisers, never miss an
opportunity to pick up pointers from
competitors. “Samuel Keller has pulled
off a fantastic show,” says Mr Lester,
who praised the set up, the endless staff
to answer questions and attend to main-
tenance. “The only question, is how do
they make any money?” says Mr Lester,
who is known for his ability to ratchet up
profit margins in a nano-second.
Currently, the Lesters are fine-tuning
their next show venture, SeaFair, a
multi-million dollar ship loaded with art
set to ply the inland waterways by 2006.
Already, the London Pelham Gallery
and Manhattan Berry Hill Galleries have
signed up.
ABMB: mogul
territory
When it comes to cruising the fair early,
The comfortably moulded foam
loungers inside ABMB’s art video
lounge provide a welcome respite from
the relentless hoofing that is the lot of
the art fair visitor. However, it is not
only art lovers who are benefiting from a
relaxing recline in an air-conditioned
environment: the local homeless are also
finding this a much more pleasant envi-
ronment than bunking down on the hot
sands of South Beach, with the result
that it is often difficult to hear the sound
tracks of this carefully selected pro-
gramme of video artists (both estab-
lished and emerging) above the snores of
the lounge’s dozing itinerant population,
who seem to be taking little interest in
the works on show.
Naughty nudes at
Alexander/Cobo/Mai
Nothing attracts attention like a few
saucy pictures—at least this is the view
of gallery triumvirate Brooke Alexander,
Galeria Pepe Cobo and Mai 26, united
on Booth 28 and also pooled their con-
siderrable gallery recourses to create
what Brooke Alexander describes as a
“Total Nudie Wall” to draw in and enter-
tain passers-by. Arranged along a puce-
painted wall are some 17 explicit pieces
catering for all tastes, ranging from
Robert Mapplethorpe and Andy Warhol
to Pierre Molinier, Thomas Ruff and
Nobuyoshi Araki. Although all works
are individually priced, Mr Alexander
informed The Art Newspaper that, for a
negotiable price between $175,000 and
$200,000 the entire wall can be yours:
“If you buy the whole thing, we’ll even
paint your wall pink too,” he added.
B ulgari and ABMB hosted the
inaugural panel discussion in
the Art Conversations series last
night. Artists, curators, and critics
gathered for an evening of cocktails
and musings. The Art Newspaper was
there. Here follows a selection of what
was said.
SHOULD COLLECTORS BUILD THEIR
OWN MUSEUMS?
Liam
Gillick: The
idea of the
“museum” is
not stable,
despite
everything
that people
would like to
think. Even
the more
boring mag-
azines in New York talk about the con-
temporary section of MoMA being
dull. We rely on private museums to
provide a new model. They can be
irritating, irresponsible, idiosyncrat-
ic—these things are all very interest-
ing because they introduce...the idea
of refusal...from an artist’s perspec-
tive, the idea of the collection being
something complicated that brings up
ideas of refusal, of behaviour. When it
becomes boring is when it becomes a
mirror reflection of the museum muse-
um.
SHOULD ARTISTS BE CELEBRITIES?
Jeff Koons:
I think the
reason that
people get
involved in
art has to

Putting DIY
mighty titans get there first. On Tuesday,
Manhattan takeover giant Henry Kravis
Auction house scandal do with peo-
ples’ insecu-

into practice
New York artist Eric Doeringer has
taken Mr Ulrich Obrist’s advice to heart.
He has copied the work of more than 40
contemporary artists, in a series known
as “The bootlegs” and now plans to set
up shop outside -scope Miami at the
Townhouse hotel with a giant rolling
suitcase full of work. Unless ejected by
staff, he plans to remain there for the
duration of the fair. His past stints as
shopkeep on the front steps of ArtBasel
in Switzerland, the Whitney Biennial,
and the Armory have gone by relatively
unimpeded, and his clients are often art
collectors who own work by the artists
he is copying. Of course, Doeringer’s
versions, priced at between $60 and
$100, are somewhat more affordable
than the originals by the artists whose
work he is inspired by.
THE ART NEWSPAPER
is published by
Umberto Allemandi & Co. Publishing Ltd
ISSN 0960-6556
In the US: 594 Broadway, Suite 406,
New York, NY 10012
Tel: +1 212 343 0727 Fax: +1 212 965 5367
email: contact@theartnewspaper.com
was led through ABMB by überdealer
Larry Gagosian. Among the crowds
flooding the fair was a slew of financial
and entrepreneurial wizards. It included
the beleaquered Mike Ovitz, whose
$140 million severance package from
Disney is being contested in the
Wilmington, Delaware courts. Mr
Ovitz, who has a multi-million dollar
collection of Ming furniture and Brice
Marden paintings, lingered on Luhring
Augustine’s stand. Also spotted at the
fair was Steve Tisch, whose family owns
the hotel and entertainment giant Loews.
Taking a pause from his family of five
children, Mr Tisch snapped up a Martin
Kippenberger at Zwirner & Wirth on
Wednesday. “It’s a beautiful painting,”
says Mr Tisch, whose collection
includes important examples by Arthur
Dove, Marsden Hartley and Richard
Prince. In addition, Stephen
Schwarzman, the billionaire founder and
CEO of Blackstone Group, the boutique
investment house, was careening
through the aisles. As chairman of the
Kennedy Center in New York as well as
board member of the NYC Ballet and
Public Library, Mr Schwarzman has
appointed himself a patron of the arts.
He picked up John D. Rockefeller
Junior’s former abode, a 24-room apart-
ment at 740 Park Avenue for more than
$30 million to house his family and art
still hot rities. I
think art is
about love,
Christopher Mason was at the about want-
Books&Books booth at ABMB earlier ing to love, and if anyone really loves
this week to sign copies of The Art of the art and focuses on it, it will take them
Steal, his account of the auction house past wanting to be loved to loving.
commission fixing scandal. “The scan-
dal still seems to be a hot topic to art ARE CURATORS FAILED ARTISTS?
people,” reports Mr Mason, a self-
described “chronicler of the human Daniel Birnbaum: It used to be the
comedy.” “They know all the characters, fact that people [in the art world]
and everyone keeps asking me, ‘Is came from all kinds of worlds: Harold
Alfred [Taubman] out of prison yet?’” Szeeman was a failed theatre person,
(He is, of course.) “Lots of people said, or a good
‘I read it, and I loved it, but I didn’t buy one, I don’t
it.” The author added that the book has , know, so
indeed, been selling and that he will be maybe that
dropping by the booth to sign copies for was a good
the remainder of the fair. thing. I’m
afraid that
today the
Spock comes to town whole art
world,
NADA continues to attract the stars of including
big and small screen, with actor Leonard curators,
Nimoy better known as Star Trek’s have become so professional—every-
pointy-eared Vulcan, Mr Spock, who one’s becoming educated, even to
was seen wandering through the booths become a curator so they are no
at the opening yesterday. longer failed artists.
IS LOCATION IMPORTANT
Richard Meier’s 70th FOR ART?

In the UK: 70 South Lambeth Road, London SW8 1RL
Tel: +44 (0)20 7735 3331 Fax: +44 (0)20 7735 3332
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THE ART NEWSPAPER
ART BASEL/MIAMI BEACH DAILY EDITION
Group Editorial Director: Anna Somers Cocks
Editor: Cristina Ruiz
Art Market Editor: Georgina Adam
Correspondents: Marc Spiegler, Jason Edward Kaufman,
Louisa Buck, Adrian Dannatt, Brooke Mason, Mark
Clintberg, Carolina Wonder, Jose C. Diaz
Picture editor and editorial coordinator: Helen Stoilas
Production Manager: Eyal Lavi
Associate Publisher: Iain Aitken
Marketing Manager: Patrick Kelly
Marketing Officer: Neil Carty
collection.
Jeffrey Deitch’s coat
of many colours
His triumph as a rock n’ roll promoter
seems to have had a strange effect on
Jeffrey Deitch’s dress sense: the night
before his Scissor Sisters triumph there
was his much commented-upon wearing
of very flashy dark glasses throughout
the de La Cruz party, and all day yester-
day he was resplendent on his stand clad
in a modishly multicoloured customised
suit courtesy of Deitch Project protégés
dearraindrop. We eagerly anticipate his
further sartorial statements…
At the party in honour of Richard Meier’s Janet Cardiff: If you’re having sex,
40 years of architectural practice, held at location is really important.
the penthouse of the Raleigh Hotel last Graveyards
night, who should be seen holding the
centre of the room but the monumental
are actually
pretty good.
millionaire playboy and amateur paparaz-
zo Jean Pigozzi. He was animatedly dis-
For an art
work it
cussing details of the celebrity shutter- depends
flapping trade with Patrick McMullen where it is
and the svelte artist Alison Jackson, built, it
fabled for her celebrity lookalike mise- always influ-
en-scènes. She has managed to turn her ences the art
Doppelgänger snaps into a one-woman- whether it’s
industry, covering both gallery walls and in MoMA or in Central Park, whether
advertising campaigns. Both Mr Pigozzi it’s in a gallery or in somebody’s
and Mr McMullen, despite their own basement, especially when you have
renowned status, were not shy to admit wood panelling next to it. Yes, loca-
they envied Ms Jackson her breakthrough tion is seriously important.
idea which, as they quipped,” anyone
could have thought of.” ■ Art Conversations continue today, see p.11.
 T H E A R T
OF BEING EVERYWHERE.

A r t B a s e l M i a m i , D e c e m b e r | T h e A r m o r y S h o w, M a r c h
T E F A F M a a s t r i c h t A r t Fa i r, M a r c h | T h e Ve n i c e B i e n n a l e , J u n e
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4 • THE ART NEWSPAPER
The
collector
as curator
chez elle
© BMW/Thomas Loewy
EXCLUSIVE: read collector Charles Saatchi’s
opinions in the interview
with The Art Newspaper that was extensively
quoted by all the London press last week
In this month’s issue...
Seventy-six pages of news, views and What’s On
covering the international art world
For sale at our Art Basel/Miami Beach stand M12
in selected book stores and by subscription.
In the US:
Subscription Department, FULCO, P.O. Box 3000,
Denville, NJ 07834-9776, or call toll-free
+1 888 475 5993
or Tel +1 973 627 2427; Fax +1 973 627 5872
In the rest of the world:
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
Cuban-born Carlos
and Rosa de la Cruz
receive 5000 visitors
a year in their house,
which has become
a personal Kunsthalle
r
osa and Carlos de la Cruz have
a pretty large house, but they
have only one bedroom now.
The rest is given over to art.
It all began 16 years ago, at the
same time as their grand daugh-
ter was born. Carlos is more for
painting, and especially the Germans;
there is a huge Sigmar Polke in the double-
cube central room of the house, of the view
of Afghanistan from a spy satellite. Rosa
was particularly influenced by the concep-
tual artist, Felix Gonzales-Torres, who
died of Aids. In the corner of one room she
has a famous work of his, the pile of
sweeties of which one is invited to partake,
in symbolic sharing of a dead friend’s
sweetness.
Mrs de la Cruz has found her vocation as
private curator and collector. She changes
the displays in her house regularly. For
ABMB she has had a big installation piece
made for the upstairs gallery by assume
vivid astro focus, known to New Yorkers
from their installations at Deitch Projects
and the last Whitney Biennial. It would
take too long to describe it here, but it is
colourful, densely patterned and eclectic in
the extreme: artists’ wallpapers, two go-go
dancers’ illuminated platforms, a brick
wall, a changing video show, music, and on
the opening night, a performance by Los
Super Elegantes. This last had the couple
being trailed by a snapping paparazzo, a
comment on the intrusiveness of today’s
obsession with celebrities.
Carlos and Rosa left Havana with the revo-
lution. America has lived up to its myth and
brought them fortune (among their activi-
ties are the distribution of Budweiser and a
Coca Cola bottling plant in Puerto Rico).
“My husband and I believe in giving some-
thing back to the community”, says Mrs de
la Cruz, a small, slender and eloquent
blonde in her early 60s, the grand-daughter
of the man who built the Capitol in Havana.
She admits about 5,000 people a year–
from school children to aerobics clubs–go
around her austerely post-modern house
overlooking the sea . “All they have to do
is email me,” she says. An extra 3,000 will
be coming round during ABMB, twice the
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004 THE ART NEWSPAPER • 5

number of last year. “People think I am an

institution and write to me ‘Dear Sir,
please send photos...’, but there is only me
and my assistant, Alicia”.
She likes nothing better than working with
artists: “Whenever I see their work, it’s in
terms of a show rather than as single tro-
phies. I think of this house as a theatre,
where the works of art play off each other.
I don’t like to pigeon-hole things”. She
travels widely to see and buy art. Among
the fairs, she goes to Art Basel in
Switzerland, has been twice to Berlin and
will go again, she says. She used to go to
Arco in Madrid, but has not been for five
years. Then there is the Armory in New
York, Artissima in Turin, and Frieze, the
new and highly successful London fair,
where she bought a lot of painting this
year.
Her next show will, in fact, be of painting,
reflecting what she calls “the new feeling
for this traditional art form; the descen-
dants of Philip Guston, but with a
grotesque twist”. Coincidentally, London
mega-collector Charles Saatchi has also
announced that his next show will be of
painting. For both collectors, the Germans,
especially the Leipzig School, are high on
their lists.
She is enthusiastic about what Art
Basel/Miami Beach has done for the city,
acting as a kind of linking element
between Miami’s important collectors
such as the Margulies and Rubells, who
are all working away rather independently
on their various projects. “The fair has
brought the world to Miami, which has
been great for artists here,” she adds. It has Mr and Mrs de la Cruz are prepared to live with works of art that strongly affect
also extended the audience for her gallery their sorroundings, such as the installation (above) by assume vivid astro focus
down in the Design District, the Moore and the purple hyena eating a pink flamingo (right)
Space. Previously, it was only artists,
curators and the like who came to this four exhibitions a year. Currently, it has a says Ms Cubiña, a view that is held strong-
Kunsthalle in downtown Miami. Now the brilliantly coloured installations by ly by Mrs de la Cruz: “The moment I
local bourgeoisie also visits, says its cura- Providence-based artists Jim Drain and become an institution, this will all lose its
tor Sylvia Karman Cubiña. Ara Peterson, and a paintings show by the character. We have to remain small, in the
The space is a collaboration with the prop- Miami artist Hernan Bas (until 31 March same way that famous Italian companies
erty developer Craig Robins, another 2004), both of which open to the public like Alessi are good because they are
Miami collector. Since 2001, when the today. There is no plan, however, for this small”.
first Basel fair would have happened had it space to start having a collection of its Anna Somers Cocks
not been for 11 September, he has let Rosa own. “We want to remain unencumbered ■ Rosa and Crlos de la Cruz’s collection is open to the public
de la Cruz have the space free to put on and responsive to the art scene outside” by appointment: email Rdlacr@aol.com
6 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004

Focus on nations: Germany Global trade

Miami collectors are among the flight towards painting How art and film fairs
Leipzig School to the fore: “They didn’t know painting was dead” compete to survive
A n impressive Museum
of Fine Arts opens
today in Leipzig after
a five-year construction peri-
od, further whetting collec-
F ilm director
Morrisey is presenting
Andy Warhol’s movie
“Trash” tomorrow as part of
Paul
tors’ appetites for German art. ABMB’s “Art Loves Film”
In the last year, Germany has programme and tonight there
attracted a lot more attention is an outdoor preview screen-
from the international art ing of HBO Films’ “The life
community, replacing the and death of Peter Sellers” in
YBAs [Young British Artists] the grounds of the Raleigh
as the new hot topic. A Hotel. But the connections
German magazine cover was between the worlds of art and
even headlined “Brit-Art war film extends to international
Gestern!” (Brit Art was fairs such as this current one.
Yesterday!), reporting Korean Any art fair worried by the
collector C.I. Kim’s Berlin- success of ABMB (the
Leipzig buying spree. Armory, to name but one)
This new gang of painters would do well to note the
includes David Schnell, recent crushing of Italy’s long-
Matthias Weischer, Tim Eitel, standing fair for film distribu-
Martin Eder, and Christoph tors Fiera Milano (MIFED).
Ruckhaberle. During ABMB There had always been an
this year, Rosa de la Cruz, the overt antagonistic rivalry
Rubells, and Dacra all between the American Film
exhibiting German painters. Market (AFM) in Santa
Currently the Rubells have on Monica and MIFED in Milan.
display five Eitels, four The AFM used to take
Ruckhaberles, three Schnells, place in February with
four Weischers, and more MIFED in November. In a
than half a dozen Havekosts. determined bid to crush
The Dacra collection has MIFED, AFM decided to
acquired a number of move their event to
Kippenbergers, as well as November. MIFED re-sched-
other works by German uled its opening to start three
painters including Eberhard weeks earlier but most of the
Havekost, Kai Althoff and major film sellers and buyers
Katharina Wulff. failed to materialise. And so,
So why have all these col- on the anniversary of its 71st
lectors all taken such an inter- fair last month, “Fiera
est? A mild mannered David Milano” was dealt a probable
Schnell is unsure why his death blow with the open mar-
work has become so sought
Courtesy Dacra
ket deciding the winner.
MIFED may decide to invite
all buyers and pay their
expenses (just as a select
handful of collectors is flown
to Miami) but essentially the
sales calendar has now been
rationalised, reducing the
number of major markets
from three to just two: Cannes
in May and Santa Monica in
November. Indeed the AFM
seems so confident in having
wiped out the competition that
last month, it opened a second
Loews hotel for further
screenings. An editorial in the
trade paper, Screen
International, could as well be
The Art Newspaper covering
the market for international art
fairs: “Acknowledging our
own vested interest in any
market’s success, we also
know that long-term prospects
are not helped by promulgat-
ing hype. Truth is, this paper
has learnt to balance the sell-
ers’ natural buoyancy against
the buyers’ inveterate cyni-
cism. Nor do we trust the reg-
istration numbers; they might
signal an event’s momentary
vibrancy, but they offer few
clues as to how many are actu-
ally buying, which of them are
paying full whack, or how
many deal terms end up being
re-negotiated once contracts
are exchanged at the end of a
market.” Adrian Dannatt

after. “I think that for some

[collectors] it might be that
we learned from an old
school technique. The school
This untitled work by Martin Kippenberger, 1982, is in the Dacra Collection, Miami Beach
Mattias Rastofer:
was changing. Photos and rary art is driven by cycles, few major collectors such as out”, said Art Cologne direc-
media art were rising, and
because of this we had to take
fashions and a touch of rest-
lessness. People have been
the Rubells or Britain’s
Charles Saatchi (who is
tor Gerard Goodrow, speak-
ing to The Art Newspaper in
my Miami
a clear position against that, tiring of video works and devoting next year’s show at October. “The academy sys- THE ART NEWSPAPER asked Lagerfield could perch on:
so we didn’t use painting in installations, which, in addi- his London gallery to paint- tem means that artists here Mattias Rastofer of Galerie Bed, 929 Washington
an ironic way. Instead we tion, are not easy to display: ings) and other buyers will are better educated. Even Gmurzynska to recommend Avenue, Miami Beach.
made painting in a traditional they are ready to move onto quickly follow. “It may sound when they do ‘bad painting’, his favourite places in ☎+1 305 532 9070
way.” something new. idealistic, but I believe that in it’s really well executed”. A Miami. Nobu, 1901 Collins Avenue,
The fact is that contempo- Add in the influence of a the long run, good work wins former teacher in Leipzig’s Restaurant I have to choose Miami Beach.
Artists’ School for Graphic Bed, which is a very unusual ☎+1 305 695 3232
BMW as a cultural motor and Book Illustrations is the restaurant, where clients are Bar Mynt Lounge. Again in
hugely successful painter actually served in bed, on the first year, we organised a
MIAMI BEACH. When ABMB visitors stroll past the BMW stand in the visitors’ lounge, they Neo Rauch. “People in rattan trays. It is run by good party jointly with Art Basel,
see not a single one of the German auto giant’s one million cars produced annually. Rather Leipzig didn’t know painting friends of mine. The first for 300 guests, and we had
they are drawn to the impressive roster of art programmes sponsored by BMW. “The point was dead,” says dealer Gerd year of Art Basel/Miami 1,000 who wanted to get in!
is not to publicise our cars but to demonstrate our role in art,” says Thomas Girst, BMW Harry Lybke from Eigen + Beach we organised a major It made us very popular with
group head of cultural communications. He believes that the shuttle service with its 30 BMW Art, “and the girls in Leipzig event there with Karl all those who couldn’t
autos, sponsored by BMW, as well as a daily edition of The Art Newspaper at the fair, is also like painters,” he jokes. Lagerfeld, and it was really squeeze their way in.
an effective way to reach a sophisticated audience far beyond the South Florida shores, to Collectors whose interest amusing because when we Mynt Lounge, 1921 Collins
Latin America , Europe and North America. Another way the auto giant has been ahead of has been raised by exhibitions arrived he refused to lie Avenue, Miami Beach.
the pack is by commissioning work from major artists. More than two decades ago, BMW of these artists at private col- down and eat, and he had ☎786 276 6132
commissioned Gerhard Richter to create the first of three mural-sized paintings for its head- lections should note that such tight jeans on that he Club The Nikki Beach Club.
quarters. BMW sponsors more than 100 art events globally, from the Bayreuth Jazz fest to Eigen + Art have sold incred- couldn’t sit down. So at two It’s outside and warm, that’s
South African musicians. Twenty years ago, BMW also launched its art car programme. ibly well recently. The gallery o’clock in the morning we the fun for us northern
American sculptor Alexander Calder painted the first BMW and Jenny Holzer the most has such reduced stock that pitched up at my other Europeans.
recent, in 1999. Visitors to the stand can study the 30 years of the BMW art car collection, they have only brought work favourite restaurant, Nobu at Nikki Beach, 1 Ocean Drive,
or take a simulated spin through the new buildings under construction in Germany. “Other by Martin Eider to this year’s the Shoreclub, where finally South Beach, Miami Beach.
stands are set up to sell art”, says Mr Girst, “our goal is to educate”. Brook S. Mason fair. Mark Clintberg we found a barstool Mr ☎+305 538 1111

Miami Art Museum thanks the voters of Miami-Dade County

for approving by a 65 percent majority a community-wide bond program on November 2.
The $2.9 billion bond program, which supports projects of both neighborhood and regional
importance, provides MAM with $100 million for the creation of a new world-class building and sculpture
park. Miami Art Museum will match the county’s investment to establish a significant operating
endowment fund for the museum. Miami Art Museum thanks the City of Miami for designating
a waterfront site at Bicentennial Park in downtown Miami for MAM’s expansion in the years ahead.
The Miami Art Museum is at the very center of one of the world’s most vibrant cities, bringing
international art of the 20th and 21st centuries to life through exhibitions, programs and collecting.

miamiartmuseum.org
BULGARI.COM

A V A I L A B L E E X C L U S I V E LY F O R P R I V A T E V I E W I N G A T S E L E C T E D B U L G A R I S T O R E S W O R L D W I D E
 Focus on nations: :Latin America
Dealers bone up on their Spanish as market develops
A new generation of collectors is emerging but it will take a couple of generations before the market gains depth
validating Latin America to immediately started to collect require a lot of time to build continent, including the That said, German dealer

M
iami may be in
the US, but from
an economic per-
spective it is best
viewed as the capital city of
Latin America’s elite. Many
of the continent’s wealthiest
families have sunk fortunes
into mansions or luxury con-
dominiums along the city’s
oceanfront, and even those
without such prodigious
pieds-à-terre know Miami
intimately.
This Latin connection
played a huge role in the
choice of Miami as the site
for ArtBasel’s American
offensive. Yet when the city’s
selection was announced in
2000, this seemed a pretty
precarious justification to
many art-market insiders.
Three years later, there is
no question that the Latin
American market for interna-
tional contemporary art has
expanded rapidly. Suddenly,
European dealers have start-
ed boning up on their
Spanish. When event coordi-
nator Isabela Mora arranged
a tour of Rio de Janeiro, São
Paulo and Buenos Aires this
September, the group of A-
list collectors, curators and
dealers she assembled easily
equalled that of the best
gallery dinners in New York
or London.
Four years ago, Ms. Mora
recalls, it was a different
story: “I was doing projects
in Europe and had to con-
vince people that Latin
American collectors such as
Eugenio Lopez or Juan
Vergez were important. Now
people would kill to have
them present anywhere.”
Most close observers
agree the watershed event in
the international market was
the 2000 opening of Mr
Lopez’s La Collecion Jumex
in Mexico City. His peers
saw that art-collecting con-
ferred social status, galleries
started opening, and Mexican
artists began to pop up regu-
larly in biennials.
“International dealers now
think of Mexico as a market
with great potential,” says
Zelika Garcia, co-founder of
Mexico City’s MACO fair,
the April 2004 debut of
which included participants
such as Happy Lion from Los
Angeles, Arndt + Partner
from Berlin and Michele
Maccarone from New York.
And though Mr Lopez has
justifiably drawn the interna-
tional spotlight, Ms Garcia’s
husband Enrique Rubio
points out that the country
also has a host of other major
collectors, such as Agustin
Coppel, Ignacio Garza-
Medina, and Patrick
Charpenel.
Recently, the country’s
second largest city,
Guadalajara, has become a
nexus of new collecting (and
as reported in the December
edition of The Art
Newspaper, the city appears
to have landed the
Guggenheim’s Latin
American franchise after the
expansionist museum’s Rio
efforts foundered). “A few
years ago, only three people
were collecting international
contemporary art,” recalls
José Noe, a collector whose
family ceramics factory has
executed projects with artists
such as Rirkrit Tiravanija,
Jason Rhoades and John
Baldessari. “Now there are 15
to 20 collectors and they
beyond Mexican artist—
artists such as Thomas Ruff,
Jim Lambie, Angelo Bulloch,
Jorge Pardo, Yang Fudong
and Yutaka Sone.” Mr Noe
has actively promoted col-
lecting among his peers,
bringing them along to fairs
and organising galleries such
German dealer Karsten
Greve is still waiting for
the promised influx of
Latin American collectors
to ABMB
as New York’s Casey Kaplan
and David Zwirner, 1301 PE
of Los Angeles and Berlin’s
Arndt and Partner to make
private presentations to incip-
ient Guadalajara collectors.
Such personal touches are
critical in Latin America.
“People in Europe and the
US misinterpret Latin cul-
ture—they assume that
because so much of it is sexy
and sensual, personal rela-
tionships should be easy to
establish,” says New York art
advisor Darlene Lutz, who
has added several Latin
American clients recently.
“But business relationships
and a real effort to under-
stand the culture, more so
even than in Japan.” Even in
restaurants and hotels,
Enrique Rubio points out, a
certain level of attention, or
even flirtation, plays a criti-
cal role in sealing the deal,
and the Mexican market will
surely favour dealers whose
tactics might be considered
pushy or presumptuous in,
say, Germany or England.
While Mexico may be the
flashpoint of the Latin mar-
ket, Ms Mora points out that
there are new developments
across much of the continent.
“Buenos Aires is changing a
lot,” she notes. “Juan Vergez
is one of the most passionate
collectors I have ever seen.
He buys huge installations
and installs them in his ware-
houses, in a really lively way.
And now many of his friends
are also getting involved.”
Encouraging his fellow
Mexicans to collect: José
Noe
To Argentina’s north,
Brazil has the longest history
of collecting on the entire
Chateaubriands of São Paulo,
whose Old Master collection
underpins the MASP muse-
um. Currently, the tax laws
make importing international
art onerous, but for collectors
with lavish means, such as
metals magnate Bernardo
Paz, that is clearly no obsta-
cle. Part of Ms Mora’s
September tour was the over-
the-top opening of Mr Paz’s
Centro de Arte
Contemporãnea Inhotim, an
arts complex erected in three
years with major works
installed from artists such as
Albert Oehlen, Dan Graham
and Janet Cardiff. “I can’t
understand a world divided
into foreign and Brazilian
artists,” Mr Paz explains.
“Humanity prevails over cul-
tural differences, especially
today in our globalised
world.”
Introduced to Paz by
Roland Augustine, of
Manhattan gallery Luhring
Augustine, who has been
active in Latin America for
more than a decade, Berlin
dealer Max Hetzler travelled
to Brazil three times in the
last three years. This year, he
had three German artists in
the São Paulo Biennial:
Thomas Struth, Vera Lutter
and Oehlen. He also import-
ed work from Brazil, show-
ing installation artists
Ernesto Neto, Beatriz
Milhaizes and, soon, Marape.
“I love the country for its cul-
ture more than for its art mar-
ket,” Hetzler says. “But I
have to say that when I spoke
with the dealers and collec-
tors there during the São
Paulo biennial, you could see
a really heartfelt passion for
contemporary art.”
Karsten Greve says he is still
waiting for the promised
surge of Latin collectors at
ABMB. “There’s no doubt
Latin America has a huge
potential, but I think if I
wanted to really reach the
Latin market, I would do bet-
ter to go to São Paulo for a
month during the biennial.
Also, what I really miss here
is the Latin American cura-
tors. I think for those who are
not consulting private collec-
tors, coming to the fair is too
expensive, so maybe the fair
should focus on inviting
them.” Then again, Greve’s
prices may simply be too
high for many of the new
Latin collectors, who may
have to work up to buying
pieces in the six-figure-plus
price ranges common among
classic contemporary art.
Indeed, despite the promi-
nence of collectors such as Mr
Vergez, Ms Lopez or Ms Paz,
and the surge in art-market
activity, it’s important to keep
things in perspective: the
Latin market for international
contemporary art still lacks
depth. And it may take anoth-
er generation or two for a truly
substantial cohort to emerge.
“Art collecting is fashionable
now among the Latin
American elite,” observes 43-
year-old collector Luiz
Augusto Teixeira de Freitas, a
Rio native. “Suddenly, it’s
trendy to have interesting
artists at your home. But even
among the very rich collectors
of contemporary art remain a
small minority, because the
level of education and infor-
mation on contemporary art
remains so very different from
places such as Germany.”
Marc Spiegler

From the publishers of The Art Newspaper

Salvador Dalí’s amazing jewels Italian design 1950-2000

Dalí Jewels-Joyas
212 pp., 24 x 34 cm
148 col. ills., 10 b/w ills., 2 drawings
Hardback, € 80.00, $ 54.50 plus postage
and packing
English and Spanish-language edition
ISBN 88-422-1054-4
124 pp.,12 x 17 cm, 51 col. ills.
Paperback, € 12.00, ISBN 88-422-1053-6
T he jewels designed by Salvador
Dalí have returned to their
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H ard on the heels of Giuliana
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on Italian design, here is her vast,
1941 and 1958. While US foundations photographic anthology of 3,045 objects
and Arab tycoons vied for them, by over 500, mainly Italian, designers and
new pieces were added to the collection produced
until, in 1999, it was bought by by leaders
the Fundacion Gala-Salvador Dalí in the
and put on display in the Dalí-Theatre design
Museum in Figueras, northern Spain. world. At
This book the end of
illustrates them the book,
all. Montse Aguer Gramigna poses a number of stimulating
explains questions about the future of Italian design,
the symbolism the challenges posed to it by foreign Repertorio del design italiano
and anthropomorphism underlying designers and technological evolution 1950-2000
per l’arredamento domestico
the Catalan artist's work, while in the industry, and the issue of whether
(Illustrated repertory
Antonio Pitxot and Oscar Tusquets traditional concepts of exclusivity of Italian design 1950 to 2000)
remember their friendship with Dalí. will still apply.
by Giuliana Gramigna
616 pp., 24 x 34 cm, 3,045 b/w ills.
To order, contact: Two hardback volumes in slipcase
€ 180, $ 211, £ 127.30
Italian-language edition, ISBN 88-422-1158-3

UMBERTO ALLEMANDI & C.

VIA MANCINI 8, 10131 TORINO, ITALY, TEL. +39 011 8199129, FAX +39 011 8193090
international.orders@allemandi.com
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004 THE ART NEWSPAPER • 11

Around Miami
Museum of Until 27 February 2005 Miami-Paintant light in art and including Documenta 12, this travel- www.themoorespace.org
Northern light: Until 23 January 2005 artists such as Sean Scully ling show brings together Wiggin Village
Contemporary Leipzig in Miami For his first solo exhibi- and Teresita Fernandez. some 20 international 3 December-31 March
Art Until 27 February 2005 tion in the US, Argentine artists whose work 2005
770 NE125th Street
Memorials of identity,
new media from the
artist Fabian Marcaccio
has created a 100 foot-
Miami Art explores the relationship
between government and
A large-scale, abstract
installation by Jim Drain
at NE 8th Avenue Rubell Family Collection long, 13 foot-high, site- Central self. Mr Buergel describes and Ara Peterson, curated
☎ +305 893 6211 Until 6 March 2005 specific installation that 5960 SW 57 Avenue Miami the exhibition as a “three- by Lawrence Rinder,
www.mocanomi.org American dream, incorporates elements ☎ +305 455 3333 dimensional film” where adjunct curator at the
CUT/Film as found collecting Richard Prince of painting, digital www.miamiartcentral.org art and its viewers interact. Whitney Museum
object for 27 years photography, printmaking How do we want Soap-Operatic
Until 30 January 2005
A travelling exhibition
Until 27 March 2005
Supersize
and sculpture.
Light and atmosphere
to be governed?
Until 30 January 2005
The Moore 3 December-31 March
2005
of large-scale video Until 31 July 2005 Until 30 January 2005 Curated by Ruth Noack Space An exhibition of paintings
projections by nine A show of recent acquisi- and Roger M. Buergel, 4040 NE 2nd Avenue, by the Miami artist
contemporary artists, The Margulies tions examining the use of artistic director of ☎ 305 438 1163 Hernan Bas.
including Paul Pfeiffer,
Pierre Huyghe and Collection
Douglas Gordon.
at the Today’s events
Bass Museum Warehouse
of Art 591 NW 27th Street ArtBasel Coversations ☎ 646 486 0252 Art Sound Lounge and Miami Beach Convention
2121 Park Avenue Miami ☎ 305 576 1051 10:00-11:30am A live, puppet rock-opera, Art Bar noon-late Center
Beach ☎ +305 673 7530 www.marguliesware Miami Beach Convention directed by Dan Graham, Pool Bar at the Delano ☎ 305 674 1292, www.art-
www.bassmuseum.org house.com Center, Art Collectors with videos by Paul Hotel, basel.com
Paris Moderne The inaugural exhibition in Lounge McCarthy and Tony Oursler 1685 Collins Avenue The international contem-
Until 23 January 2005 the newly-expanded space. Panel discussion on the and songs written by ☎ 305 673 1242 porary art fair.
Art Deco works on loan theme of collecting and Rodney Graham. Audio work
from the Musée d’Art
Moderne de la Ville de
Wolfsonian- exhibiting art, with Antoine
de Galbert, collector and Happy Hour at Art
by contemporary artists
installed around the pool
NADA art fair, 12:00-
9:00 pm
Paris, including more than FIU founder of La Maison Positions of this landmark hotel. The Ice Palace Film
40 paintings and 30 works 770 NE125th Street Rouge in Paris and 7:00-9:00pm Studios
of decorative art. at NE 8th Avenue Marieluise Hessel, founder Collins Park Art Lounge 59 NW 14th Street
☎ +305 893 6211 of the Center for Curatorial Cocktails and music, with 10:00pm-late www.newartdealers.org
The Rubell www.mocanomi.org
Streets and faces:
Studies at the Bard College
in New York, among others.
DJs Mark Leventhal and
Stephan Luke.
Skybar at The Shore Club
Hotel, 1901 Collins
Contemporary art fair
organised
Family Jazz Age Paris, London, Avenue by the New Art Dealers
Berlin and New York Jeff Koons book signing ABMB after-party hot Alliance (NADA).
Collection Until 20 March 2005 3:00pm spot.
95 NW 29th Street, Illustrations by the French The artist attends Taschen’s -scopeMiami
Wynwood Art District, artist Chas Laborde (1886- stand at ABMB, Hall D, Art Pallette party, 10:00 12:00-8:00 pm
Miami ☎ +305 573 6090 1941), depicting life in booth X1. pm-late Townhouse Hotel, 150
This newly expanded Paris during Crobar, 1445 Washington 20th Street at Collins
building housing one the “roaring 20s”. Art Loves Puppet Rock Avenue Avenue
of the country’s top 5:00-6:00 pm An evening of music, ☎ 212 268 1522
collections of contempo-
rary art re-opens with:
Miami Art 2000 Convention Center
Drive, Miami Beach
dancing and videos in the
bar at Miami’s historic,
www.scope-art.com
Seventy exhibitors take
Aernout Mik Museum Botanical Garden, check Art Deco Cameo Theater. over a hotel, with special
project room 101 West Flager Street Trans>booth in the Jeff Koons signs books performances, panel dis-
Until 6 February 2005 Miami ☎ +305 375 3000 Convention Center at the Taschen stand ArtBasel/Miami Beach cussions and guided tours
Eberhard Havekost www.miamiartmuseum.org for tickets today noon-8:00 pm for museum groups.
project room Fabian Marcaccio: