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Issue 36 £5.

00

‘Before m aking the list, I m ade fun of it; now that I a m on it, I dread being taken off.’ – Jerry Saltz (No. 73)

novem ber 2009

The def initive guide


to who’s who
in the artworld
HAUSER & WIRTH NEW YORK

Paul McCarthy
SNOW WHITE
4 NOVEMBER — 24 DECEMBER 2009

32 EAST 69TH STREET


NEW YORK NY 10021
TELEPHONE +1 212 794 4970
FACSIMILE +1 212 794 4971
WWW.HAUSERWIRTH.COM

SNOW WHITE, GINGER THEN, 2009, CHARCOAL, OIL STICK, COLLAGE ON PAPER, 261.6 x 203.2 CM / 103 x 80 INCHES, PHOTO: ANN-MARIE ROUNKLE
CORYARCANGEL
DREI KLAVIERSTÜCKE, OP. 11
NOVEMBER 2009 – JANUARY 2010

SALZBURG AUSTRIA M I R A B E L L P L AT Z 2 T 43 662 881 393 F 43 662 881 3939 W W W. R O PA C . N E T


Jonathan Ellery

Ellery’s Theory of
Neo-conservative Creationism

Sculpture, sound and moving image


10th–29th November 2009

The Wapping Project


Wapping Hydraulic Power Station
Wapping Wall
London E1W 3ST

For more information contact


The Wapping Project
T +44 (0)20 7680 2080
marta@thewappingproject.com

Accompanied by a limited
edition publication available
from Browns Editions
www.brownseditions.com
Matthew Day Jackson “Dynamic maximum Tension” oct 10 - nov 21, 2009

uPcominG: DanieL RicHTeR nov 28 - jan 9, 2010

Keizersgracht 82, 1015 CT Amsterdam, The Netherlands , www.grimmfineart.com, Tel +31 (0) 20 4227 227, Fax +31 (0) 20 3301 965.
K a n ta K i m u r a
Pat r i c K Fa b i a n Pa n e t ta

04.02 – 03.03.2010

Pa i n t i n g & S c u l P t u r e

in timeS
oF criSiS

Ludmila Bereznitsky & Partner Gallery, 2b Andriivsky Euviz, 04070 Kiew, Ukraine
www.bereznitsky-gallery.com
BART STOLLE
low fixed media show
December - January

Spasmodic variegated savage, 60 x 50 cm, acrylic on canvas

ZENO X GALLERY
MICHAËL BORREMANS - DIRK BRAECKMAN - MIRIAM CAHN - RAOUL DE KEYSER - JAN DE MAESSCHALCK - STAN DOUGLAS
MARLENE DUMAS - KEES GOUDZWAARD - NORITOSHI HIRAKAWA - YUN-FEI JI - KIM JONES - JOHANNES KAHRS
NAOTO KAWAHARA - JOHN KÖRMELING - MARK MANDERS - JOCKUM NORDSTRÖM - AVERY PREESMAN - JENNY SCOBEL
MARIA SEREBRIAKOVA - LUC TUYMANS - PATRICK VAN CAECKENBERGH - ANNE-MIE VAN KERCKHOVEN - CRISTOF YVORÉ

ZENO X GALLERY · LEOPOLD DE WAELPLAATS 16 · 2000 ANTWERP · BELGIUM · INFO@ZENO-X.COM · WWW.ZENO-X.COM


Contents
on the cover:
The Winner, 2009, by Nigel Cooke,
courtesy Stuart Shave/Modern Art,
London

November 2009

DISPATCHES 31
Snapshot: Reka Reisinger
Now See This: Lynda Benglis;
Gordon Matta-Clark; Performa;
Tony Conrad; Ugo Rondinone;
Tatsuo Miyajima; Man Ray;
Anne Truitt; 1989: End of
History or Beginning of
the Future?; Marc Camille
Chaimowicz. Columns: Paul
Gravett discusses the work of
Janek Koza; Joshua Mack frets
about the implications of the
First Annual Art Awards at the
Guggenheim in New York; Marie
Darrieussecq sizes up France’s 32
new minister of culture;
Axel Lapp is excited by the
Hamburger Bahnhof rehang. The
42
Free Lance: Christian Viveros-
Fauné investigates Bruce High
Quality Foundation’s venture
into higher education. London
Calling: J.J. Charlesworth
looks at the UK’s increasingly
panicked attitude towards
the taking and publishing of
imagery. Top Five: The pick
of art to see this month, as
selected by Polly Staple.
Design: Hettie Judah wonders
at the future of consumer
46
design. Consumed: Index cards
by Peter Suchin; limited-
edition book by Dennis 36
Hopper; Ron Arad designs
at MoMA; Visionaire’s 2010
electronic calendar; Rosalind
Nashashibi limited-edition
print; print editions from
IMMA; Marilyn Minter tote bag;
short shorts from Creative
Time and American Apparel An
Oral History of Western Art:
Matthew Collings catches up
with Jean-Antoine Watteau.
Manifesto: Nigel Cooke

52

40

18 ArtReview
Untitled (Bench), 2009, oil on canvas, 11 x 10" © 2009 Tim Eitel/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

November 6–December 5, 2009


Tim Eitel

www.pacewildenstein.com
Invisible Forces

545 West 22nd Street New York City


Untitled (Bench), 2009, oil on linen, 11 x 10" © 2009 Tim Eitel / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

November 6—December 5, 2009


545 West 22ND street NeW York citY
Tim eiTel

www.pacewildenstein.com
Contents
November 2009

FEATURES
THE POWER 100
in association
with ruinart 73 rear view
The most powerful people

vital statistics 159


in the contemporary artworld

three takes on power What this year’s power list

131
means, in a language everyone
can understand
Martin Creed, Assume Vivid
Astro Focus and Wilfredo A timeline of
significant art events
Prieto respond to the idea
of power
in the Past year 164
A lot can happen in 12 months,
not all of it forgettable –
here the highlights and low
moments of a tumultuous year
in the artworld (and beyond)

Strip 170
By Janek Koza

On the Town 172


West End openings in London,
Thomas Demand at the Neue
Nationalgalerie in Berlin

Off the record 174


Gallery Girl tries to get
on TV

73

20 ArtReview
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22 ArtReview
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24 ArtReview
ConTRIBUTORS
NOVEMber 2009

Paul Gravett Janek Koza


Paul Gravett is a writer, Janek Koza was born in 1970
lecturer and broadcaster on in Wroclaw, Poland, where
international comic art, and he studied painting at the
writes a monthly column for Academy of Fine Arts. While
ArtReview on a graphic artist working there as an assistant
of note (usually the creator in the visual information
of that month’s Strip). department, he developed
Gravett is also director of his interests in video and
Comica, an annual festival animation, and has since
and ongoing programme of produced more than a hundred
events based at London’s ICA. animated films screened at
This summer he curated the festivals worldwide. Koza has
first exhibition in Britain of had two books of his comics
contemporary Chinese comics published in Poland and
and an exhibition on ‘Atom draws this month’s Strip for
Style’ comics inside one ArtReview.
of the balls of the Atomium
monument near Brussels.
Heji Shin
Heinz Peter Knes
Heji Shin’s photographs
of our Berlin-based power
An artist and photographer players grace this year’s
hailing from Gemünden am Power 100. Born in 1976
Main, Heinz Peter Knes in Seoul, Shin has lived
came to wider international in Berlin since 1998.
attention when his She came to attention for
photography was featured on her cinematic, heavily
the cover of Butt magazine atmospheric photography,
and subsequently in the in publications such as
Taschen publication Butt 032c, Achtung and Die Zeit
Book (2006), edited by in Germany. Shin staged
Wolfgang Tillmans. Knes works images of Olivier Theysken’s
regularly for a plethora of first collection for Rochas,
edgy magazines, including creating photos in which
Nylon, Spex, 032c, Purple the models appeared like
and, of course, ArtReview, painted film stills. Shin
for which he has taken some works mainly in editorial
of the New York portraits and portrait photography.
for this year’s Power 100.
As a practising artist, he
is represented by Berlin’s
Galerie Crone.
Ian Pierce
Ian Pierce, a London-based
photographer and art director
whose favourite subjects
are people, buildings and
fashion, has worked recently
on a documentary project
with the artist Richard John
Jones, on-set on the feature
film Bedlam and backstage
Paul Gravett photo: Peter Stanbury

at the Peter Jensen/Laurie


Simmons collaboration during
September’s London Fashion
Week. He’s also involved in
a long-term project with an
architect and a series of
portraits of writers. For
this month’s ‘On the Town’,
he documented several long
evenings of gallery openings
in London’s West End.

26 ArtReview
JAGANNATH PANDA 27 NOVEMBER 2009 –
THE ACTION OF NOWHERE 15 JANUARY 2010

7 DOVER STREET TEL. 00 44 (0) 20 7629 0090 WWW.ALEXIAGOETHEGALLERY.COM MONDAY TO FRIDAY 10AM–6PM
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2 rue Isidore Verheyden 1050 Bruxelles Belgique T +32 2 512 92 95 F +32 2 512 71 08
info@baronianfrancey.com www.baronianfrancey.com

TONY OURSLER NOVEMBER 13TH - JANUARY 9TH


DISPATCHES
November Snapshot 31

Now See This 32

The Free Lance / London Calling 34/40

Top Five 42

Design 44

Consumed 46

An Oral History of Western Art 56

snapshot reka reisinger


In this ongoing series, Reisinger provides us with the
work Elevation (2009). “I make lifesize card board cutouts
by hand (often self-portraits) and rephotograph them out
in the world using a view camera. I do not use any digital
manipulation. This one is being lifted into the air by
balloons at the Petrified Forest National Park [in
Arizona]; at one point it flew so far away it was only
visible as a dot over the desert. There were a few moments
when I felt a slight panic that I might lose myself.”

ArtReview 31
DISPATCHES

now see this


work forms the centrepiece of this retrospective,
alongside documentation of his other admirably
rangy 1970s projects, from Fake Estates (parcels
of unwanted Manhattan ‘gutterspace’ that Matta-
Clark bought at auction in 1973–74 and designated
as art) to archive materials relating to Food, his
words Martin herbert shortlived restaurant-as-performance in a former
SoHo bodega.

This month marks 35 years since the most infamous A more concerted take on the performative occupies
advertisement ever to appear in an art magazine New York in November: once again, it’s time for
was published: a photograph, in the November 1974
Artforum, of a short-haired woman wearing nothing Performa (various venues, New York,
but sunglasses and holding a latex dildo as an
ersatz erection. At once an advertisement for an
1–22 November, www.performa-
arts.org), whose third edition, Performa 09

VAGA, New York; William Kentridge, I Am Not Me, the Horse Is Not Mine, 2008, performance still, courtesy the artist and Performa, New York; Tony Conrad, Re-Framing
Lynda

clockwise from left: Lynda Benglis, still from Female Sensibility, 1973, videotape loop, 13 min 5 sec, courtesy Cheim & Read, New York, © the artist/licensed by
exhibition at Paula Cooper Gallery by
– organised, as ever, by tireless live-arts
Benglis (Irish Museum of Modern Art, maven RoseLee Goldberg – doubles as a celebration
of the centenary of Futurism, a cornerstone of
Dublin, 4 November – 24 January,
www.modernart.ie) and the culmination
of a series of ads-as-art, that image is what
the Louisiana-born artist is best known for.
She’s done far more, as this survey reaffirms.
From floor-based ‘fallen paintings’ in poured
latex and polyurethane made during the late 1960s
(decades before Polly Apfelbaum commandeered the
epithet) to her complex pleated sculptures in metal
of recent decades, Benglis has built on Minimalism
as vitally and variously as any of her coevals.
Her determined sensualising of its aesthetic was
barely understood until the 1980s; if she’s still
not sufficiently lionised, it’s probably mostly
because a) she’s female, and b) she’s still alive.

performance art if ever there was one. More than


150 artists, and 60 arts institutions, will
be involved in a show involving 11 specially
commissioned works and six premieres of works never
before seen in New York; the roll call ranges
from Tracey Emin to experimental rock vocalist
Mike Patton, from Kalup Linzy to Tony Conrad.
Those who miss Conrad live can still catch up with

Creatures, 2009, film still, courtesy Galerie Daniel Buchholz, Cologne & Berlin
this slippery Zelig of the American avant-garde
– microtonal drone violinist, former acolyte of
La Monte Young, performance artist, manufacturer
of electrified sound sculptures – as his career
continues its recent upswing, in a solo show in

Tony Conrad: Re-Framing


Berlin,

Creatures (Daniel Buchholz, Cologne,


Gordon Matta-Clark
In this sense, 30 October – 21 November, www.
(Museo Nacional de Bellas Artes, galeriebuchholz.de).
Santiago, 10 November – 3 January,
www.dibam.cl/bellas_artes), Benglis’s
contemporary, who died of cancer age thirty-five
in 1978, is her mirror image; and the Matta-Clark
memorial industry-cum-cult trundles on this month
in Santiago. That said, the show has meaningful
roots. The late artist’s father, the surrealist
Roberto Matta, was born in the city, and in 1971
Matta-Clark went there, apparently both to look for
him and to execute the first of his soon-to-be-
trademark architectural slicings inside the Museo
Nacional. A photographic series documenting that

32 ArtReview
Ugo
Stripped Bare
If anyone is performing in the art of

Rondinone (Sadie Coles, London,


13 October – 21 November, www.
Painting and animation were the
first twin passions of Janek Koza,
sadiecoles.com), it is generally the viewer:
from top: Ugo Rondinone, still.life. (pine tree laying in a corner), 2008, two parts, bronze, paint, 12 x 517 x 542 cm, edition of 1 + 1AP, © the artist, courtesy Sadie Coles HQ, London;

one tends to do a sort of solo dance of pleasurable


born 1970, while studying and frustration through the Swiss jester’s shows.
working at the Fine Art Academy In his last substantial showing in London, at the
in Wrocław, the Silesian capital in Whitechapel Gallery three years ago, Rondinone
southwest Poland. The deliberately set up a stymieing environment full of oversize
sculptural lightbulbs, doorways that led nowhere
unslick, handmade marks of his
and a room in which a stalled, Beckettian
more than 100 cartoon films quiver
with a nervous fragility on their
smudged paper surfaces. He started
in 1993 with Erotic Confessions,
shown on local television and at festivals worldwide. A decade
later, these vignettes of vulnerable couples formed the basis of
a branching out into comics. Koza insists none of his work is
autobiographical: “They are only stories influenced by reality
around me. I prefer to be an observer.”
His output is part of a boom recently in alternative comics
in Poland, boosted by the proactive annual festival in October in
David Lynch’s turf of Lodz and by one-person publisher Kultura
Gniewu’s translations of today’s international stars and efforts
to introduce homegrown talents like Koza. Last year for Kultura
Gniewu he created Everything Is Wrong, wry tragicomedies
conversation bounced endlessly around. This is
about people’s struggles to survive and relate to others at work work that (like the artist’s contemporaneous series
and at home: a checkout clerk’s romance with a salesgirl in of drawings featuring fragmentary cityscapes,
Tatsuo Miyajima, C.F Lifestructurism – no. 14, 2008, 40 LEDs, courtesy the artist and Lisson Gallery, London

frozen foods cools rapidly as her job chills her body and her My Endless Numbered Days, 2006, shown in his last
emotions; an elderly cobbler turns to arson when he loses all his Sadie Coles exhibit) asks one, not without dry
wit, to accustom oneself to the succours of aimless
customers to a supermarket which sells such cheap shoes that
drift, lack of resolution and the potential absence
nobody bothers to repair their worn ones any more. of any logic to life. And one might counterpoint
Comics and animation still don’t pay enough to make Rondinone’s evocation of stasis and circularity
Koza’s living, but he’s staying productive and provocative. His
latest animation, for the song Parzydełko (Sting, 2008), by
Tatsuo
with the temporal obsessions of

Polish band Pustki, subtly insinuates a gay romance into the Miyajima (Lisson Gallery, London,
story of a fireman ‘burning with love’, who rescues another
fireman from an accident. Koza is also embarking on his first
25 November – 9 January, www.
full-length graphic novel. “I’m thinking about the roots of hate. lissongallery.com), who’s lately passed his
I want to write a story about the Jews’ genocide in Poland, but quarter-century of artmaking and whose signature
from the civilian side. I think rather about situations, not about
dates and names. I’m still not sure if I can manage this.”
Koza’s strip in this issue addresses a chilling scandal in
Poland from a few years ago. He created this for ArtReview as
part of Ctrl.Alt.Shift Unmasks Corruption, a compilation and
exhibition of political-reportage comics from as far afield as
Serbia, South Africa, China, India and New Zealand, organised
by campaigning charity Ctrl.Alt.Shift.

Work by Janek Koza is on show at Lazarides Gallery, London,


6–30 November, as part of this year’s Comica Festival

words Paul Gravett


arrays of rolling LED digits, accumulating
microseconds, seconds and minutes as we watch them,
are designed to place one utterly in the moment and
within a kind of technological sublime (or in the
case of the countdown machine Death Clock, 2005,
something more closely resembling terror).
the free lance

The First
formulated the first substantively original, forward-looking
idea of the Great Recession. That they have done so while
also querying the sustainability of a tired DIY gallery model
demonstrates only part of the genius of the Bruces’ critical

Next
tack. Rather than snivelling about the market (New York critics
take note), they’ve preferred to identify artworld ‘problems’
and ‘solutions’ in a wholly coeval arena, in which legions of
collateral artworld vices reside: arts education.
A project that lives and breathes precisely at the much
heralded but rarely transited intersection of art and life,

Great Idea
BHQF prefigured BHQFU in a typically dynamic July lecture/
performance titled ‘Explaining Pictures to a Dead Bull’.
Invoking both St Joseph (Beuys) and the dead bull market, the
Bruces impertinently connected the broken lines among art, the
market and MFA programmes in what they called ‘a polemic
against rote learning’ that was also, necessarily, a broadside
against rote artmaking and – even more importantly – a bitch
A New York artist collective gives slap struck at received postmodern pap.
Not quite an old-style manifesto nor the ‘institutional
recession malaise the finger – critique’ that the formidable Roberta Smith of The New York

by opening a free university Times cosily thought she witnessed, the Bruces’ performative
pedagogy proves a significant departure from business as usual in
several key respects. Firstly, these fellows trade in contemporary
analysis trenchant enough to humble most curators and critics
(your modest interlocutor included). Secondly, they are artists.
Third, they are artists. In the fourth place, the Bruces have
bundled a set of related, heretofore unconnected ideas into what
may be the next $64,000 art question: ‘How can we imagine a
sustainable alternative to professionalised art education?’ To
continue in gameshow-speak, they have exposed arts education
for what it is: the system’s weakest link.
What BHQFU has already accomplished is a gift. The
fact that the Bruces – with the help of Creative Time – have
established a functioning free university in New York today is
miraculous. So, too, is the fact that BHQFU currently carries
a full roster of classes on topics such as ‘Art History With

words Christian Viveros-Faune


On a well-heeled stretch of West Broadway, Benefits’ (a figurative and literal examination of the romance
alongside a gourmet pizzeria and a Riodizio joint, a dented ‘between cultural funding and sex’), ‘Edifying’ (a set of lectures
metal door appears. A weathered sign attached to the door that become performances, and vice versa) and, of course,
by a parenthesis of masking tape reads, simply, ‘BHQFU’. It ‘Build Your Own University’ (BYOU).
announces an ingenious portal to the art of tomorrow. The true test for BHQFU is likely to come in its search
The brainchild of the Bruce High Quality Foundation for sustainability – an issue that has bedevilled experiments in
– a staunchly anonymous artist collective that, among other arts education from Rudolf Steiner to Black Mountain College.
art-performances-with-fangs, once chased Robert Smithson’s BHQFU may be around in ten years; then again, it may not.
Floating Island (1973/2005) around New York Harbor in a skiff Still, when it comes to the Bruces – as Martin Amis once wrote
ferrying a miniature of Christo’s The Gates (2005) – their new about Gore Vidal – even their blind spots are illuminating. A
venture is, in the electrifying lingo of its founders: ‘a university, gift that keeps on giving, BHQFU is many things: a university,
a space for higher education and research, a community of a critique of the artworld and a work of art arrived at through
scholars; an expansion of the BHQF practice to include more collaboration as a model for social relations. Above all, though,
participants (that’s where U come in); and a “fuck you” to the BHQFU constitutes something sharper and more urgent today:
hegemony of critical solemnity and market-mediocre despair’. it is a first shot across the bow of a status quo probably still too
You may visualise this critic smiling broadly and pumping fucking frazzled to presently give a damn.
his fist in the air now.
Impelled by the aspirational motto ‘professional
problems, amateur solutions’, the Bruces – as they prefer to
be called, in Dragnet parlance, to protect the innocent – have

34 ArtReview
D E U T S C H E B A N K & T H E S O LO M O N R . G U G G E N H E I M F O U N D AT I O N

Grey Area
Julie Mehretu
28.10.09
Julie Mehretu, Berliner Plätze, 2008 /2009 © Julie Mehretu

– 6.1.10

Unter den Linden 13 / 15 · 10117 Berlin


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the Contemporary Circle 26 September – 11 December 2009
Tickets 0844 209 1919
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Green Park, Piccadilly Circus
Supported by Richard Chang
Richard & Victoria Sharp and
Media Partner
Contact Sarah on +44(0)207 300 5703 Anish Kapoor, Shooting into the Corner (detail), 2008–09, installed at MAK, Vienna, 2009.
Photo Nic Tenwiggenhorn. Courtesy the artist and MAK, Vienna

or sarah.schuster@royalacademy.org.uk
DISPATCHES

Alias Man Ray:

Paris
Turn back the clocks:

The Art of Reinvention (Jewish


Museum, New York, 15 November
Sound the trumpets: we have a new minister of culture! – 14 March, www.thejewishmuseum.

from top: Man Ray, Le violon d’Ingres, 1924, vintage gelatin silver print, Rosalind and Melvin Jacobs Collection, © 2009 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris;
org) tracks back to the 1920s and moves forward,

Anne Truitt, Valley Forge, 1963, acrylic on wood, 153 x 153 x 30 cm, the Rachofsky Collection, © Estate of Anne Truitt/Bridgeman Art Library, New York, courtesy Danese Gallery, New York
Christine Albanel, who fell into disgrace after the government’s
failure to pass a law against digital piracy, has been replaced using 200 works (photographs, paintings, films,
by Frédéric Mitterrand: yes, from the family of the former sculpture, etc) by the fabled dadaist/surrealist
president. His nephew. I have a hard time imagining him as to consider how his art was shaped, as the man
born Emmanuel Radnitzky became an expatriate in
a minister. This deliciously old-fashioned being, who seems
Paris, by attempts to leave behind his cultural
to have been born in a pastel singlet, spent his youth at the
Palace, the Parisian nightclub, disguised as a dragonfly or a
bumblebee. His voice marked my entire generation: he used
to read languid commentaries on documentaries about royal
families, in the evening, on the third channel of state-owned
television. He made a lyrical gesture of them, detached from
class struggle and other inconveniences of living on this planet.
At school we would imitate his elegant tone and his kilometre-
long sentences.
Frédéric Mitterrand directed a pretty Madame Butterfly
(1995), broadcast radio shows on France Culture and wrote
books. In La Mauvaise Vie (2005) he describes the difficulties
of being an ageing homosexual, and the melancholic resort to
prostitutes. This is a man with style, a kind manner, anything
but haughty, and rather whimsical. He was briefly on TF1, the
first private channel, and this apparently reinforced his love of
‘public service’, which is just about the only reason I can find
to explain his strange desire to be minister. Minister: the work
of a slave, the life of a dog, just about no room to manoeuvre,
meetings beginning at an hour when others are leaving the
nightclubs, endless worries and criticism.
This dragonfly of a man had just been named director of
the Villa Medici, in Rome: why didn’t he peacefully stay there
to watch dusk fall over the gardens? And what will become of
this luxurious residency for French artists now that he is gone?
Will the painters lie about in the fountains instead of working
for the Republic? One of his first blunders was to organise a
heritage. Meanwhile, it’s been 35 years since there
big party for his departure; back in Paris, Sarkozy hadn’t yet was a major retrospective of the work of American
informed the minister whom Mitterrand was to replace.
And his name, of course, is a problem in a right-wing Anne Truitt (Hirshhorn
painter/sculptor
government that invented the Ministry for Immigration and
National Identity, a title that evokes the dark hours of Pétain’s
Museum, Washington, DC, 8 October
wartime fascism rather than the few enlightened moments of – 3 January, www.hirshhorn.si.edu).
the Mitterrand era. I’ll ignore caustic comments to the effect
that Sarkozy is taking the mickey out of Mitterrand and persist
in asking this question: what is a man who has lived in the Villa
Medici doing messing around in the ministerial slog?

words MARIE DARRIEUSSECQ

36 ArtReview
DISPATCHES

New York
While artists like Donald Judd were ostensibly
expunging personal references from their work,
Truitt – who died in 2004 – spent decades
intermingling Minimalism and the autobiographical
in her colouristic abstract paintings and columnar
geometric sculptures (not least in references
to the architecture of her childhood), in a
For all the hopes that this past year would bring us change we way that anticipates recent art’s programmatic
could believe in, events suggest that America is not a nation
ready for the drastically new. Take healthcare reform: the corruption of minimalist purities. And1989:
President came into office promising national coverage but
delegated the nitty-gritty to the House and Senate. Oops. Over
End of History or Beginning of the
the summer the Republicans floated horror stories of death Future? (Kunsthalle Wien, 9 October
panels and mandated euthanasia, and independent voters, on
whom Obama’s victory last November hinged, bought the bull.
– 7 February, www.kunsthallewien.
Barack’s poll numbers plunged while the Republicans’ rose. at) at once rewinds two decades to reconsider
Things are so screwy that many suspected Obama’s pep talk ‘the metaphors connected with the collapse of the
bipolar division of the world into East and
to schoolchildren on the first day of term was a veiled socialist West and the political upheaval, metaphors that are
plot. Health reform may still succeed, but how much can really
change when many don’t recall that the socialist threat crumbled
with the Berlin Wall? On the economic front, unemployment
may be over 10 percent, unofficially, but Wall Street indexes
have been on the rise, and compensation in the financial sector
remains strong, led by the $100 million or so Citibank (in which
taxpayers have a large stake) owe its trader Andy Hall. That’s a
bit of a political hot potato, but as for meaningful change, seems
governments on both sides of the Atlantic have joined banks in

Sophie Calle, Neue Wache, from Die Entfernung - The Detachment, 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009
pressuring the accounting industry to back off efforts to mandate
stricter financial oversight. As for the green shoots predicted for
an artworld suddenly freed from the corrupting influence of
cash, the last year proved that downsizing is just the flip side of
what we’ve been through; an obsession with money’s presence
has become a fixation on its lack. As most smaller dealers
struggled to stay open, flush players made acquisitions, much as
stronger banks picked off weaker competitors. Larry Gagosian,
for example, opened a new space in Athens and a street-level
store on tony Madison Avenue. Matthew Marks inaugurated
the season with a show of Vincent Fecteau, who used to show
at Feature, a vibrant if laissez-faire gallery that shuttered last
spring. What can we expect when the Guggenheim – which
should know better after years of expansion for expansion’s sake
– hosts Rob Pruitt’s First Annual Art Awards (modelled on the
Oscars) as a fundraising dinner? At best this stunt, which turns
the popularity contest that is the market into a moneymaking
performance, is an inside joke that says, ‘We know better, but
since we do, why not do it anyway?’ It’s the usual wink and nod
that still, it seems, calls the shots.

words Joshua Mack


more than ever of relevance for a wide variety of
different spheres of life’.

If that project sounds like it’s going to be on


the academic side of serious (there’s an extensive
sidebar of panel discussions and a ‘documentary
presentation of the historical events’ to contend
with), it also boasts a superb list of 37 artists,
from Marina Abramovic to Lars Laumann to Jane &
Louise Wilson, and a centrepiece reconstruction of
Ilya & Emilia Kabakov’s massive labyrinth of Soviet
bureaucratic offices, The Big Archive (1993).

In the same city, meanwhile, Marc Camille


38 ArtReview
Chaimowicz (Secession, Vienna, 20
November – 24 January,
www.secession.at) demonstrates why
his obliquely dandyish work – which since the early
Berlin
1970s has encoded and referenced cultural histories, Die Kunst ist super! (‘The art is super!’) is the title of the current
moved presciently between furnished environment and
rehang in Berlin’s Hamburger Bahnhof, and what sounds like an
performance, and latterly morphed into a kind of
expanded still life – has become such a touchstone ironic marketing slogan is actually true. The art is great. It has
for younger artists: a voice from the past, relevant been a considerable wait since Udo Kittelmann took over as the
again in the present, shaping the future. new director of the National Gallery, of which the Hamburger
Bahnhof is the contemporary-art branch. An installation by
Janet Cardiff & George Bures Miller aside, not much happened
for almost half a year. The roof of the main hall underwent some
repairs, and all the rooms had to be painted; yet the biggest
reason for the temporary closure seems to have been that much
of this year’s budget was spent in the previous one. However,
Kittelmann and his team used the time well.
Previously strict divisions between the different parts
of the collection are resolved, with the Hamburger Bahnhof’s
own acquisitions now displayed together with the distinctive
collections of Friedrich Christian Flick, Erich Marx and
Egidio Marzona. Scientific models, historic plaster casts of
Michelangelo sculptures and documentary films supplement
and reference the displays, establishing ideas beyond the gallery
space and asserting a relevance for art beyond its own history.
The main station hall, which since the foundation of
the museum had housed iconic sculptures by Anselm Kiefer,
Marc Camille Chaimowicz, For MvR, 2008 (installation view, Neue Nationalgalerie, Berlin, 2008). Photo: Uwe Walter

Richard Long and Mario Merz, is now almost empty. In one


corner stands Robert Kuśmirowski’s Wagon (2006), a lifesize
replica of a Second World War railway car, bearing a variety of
historic and local references; in the other is an installation by
Roman Ondák, It Will All Turnout Right in the End (2005–6), a
model of Tate Modern’s Turbine Hall in a box; and somewhere
in between, Marcel Duchamp’s 1913 Roue de bicyclette (Bicycle
Wheel). It makes for a great space, as well as a rich visual essay
about representation and display. Kittelmann’s strength is that
he is a natural storyteller. He places the works in relation to each
other and develops an environment for exploration, at all levels.
The audience’s excitement is almost tangible.
Kittelmann’s opening show of Thomas Demand’s work at
the Neue Nationalgalerie across town equally takes the entire
building and its history and turns it into part of the exhibition.
The stories that Demand relates in his photographs of paper
models of historic locations are placed in a real space with its
own historic identity. The setting, by architects Caruso St John,
with grey and green curtains and fake cardboard walls, is itself a
sculptural installation.
Berlin has been missing a credible museum that leads
and forms a background against which the smaller institutions,
the private collections, the galleries and the artists’ spaces can
act out their programmes, and which they supplement. Udo
Kittelmann seems to have turned the National Gallery around
so that it can do just that.

words Axel lapp


London calling

Fear of
Photographs
Paranoia about who’s out there looking at
our pictures is changing how we’re looking
at them, too

In September, clothing company American Apparel was The notion that there are malevolent spectators out there,
censured by the UK’s Advertising Standards Authority (ASA) looking to exploit the images the rest of us make and exhibit,
for an advertisement it ran in the urban style magazine Vice. The has started to feed back into the everyday uses of photography,
photo sequence, of a twenty-three-year-old model in a fleece especially photography in public. A new report by UK think
hooded top, followed the brand’s current taste for styling its tank the Manifesto Club (of which I’m a member), Policing the
shoots with the kind of eroticised, private-camera informality Public Gaze: The Assault on Citizen Photography, details the
that exists somewhere between ‘arty’ photographers such as absurd expansion of petty regulations, codes of conduct and the
Corinne Day and Ryan McGinley, and the more straightforward police’s regular misuse of antiterrorist legislation to restrict and
raunch of erotica or ‘soft porn’. The ASA banned the ad. control the use of public photography by us, the public. What
The ban was issued on the grounds that ‘the ad could be is striking about the many instances cited is their common
seen to sexualise a model who appeared to be a child’, in a ruling mistrust of the intentions of the photographer: if you’re taking
issued in response to a single complaint. Although its ruling a picture of kids (even your own), you must be a paedophile;
admitted that the target readership of Vice was unlikely to be if you’re taking pictures of official buildings, or commercial
offended by the ad, the ASA concluded that the ad contravened premises, you must be a terrorist. In the fevered imaginings
its code prohibiting anything that would be ‘likely to cause of official culture, the public has ulterior motives, and those
serious or widespread offence’. Assuming that many thousands motives must always be suspicious in some way. In other words,
of Vice readers were not offended enough to complain, we can museums, curators, artists, art-college academics, journalists,
only wonder how the ASA came to its decision. the general public and, yes, purveyors of brightly coloured
The issue of images that ‘sexualise’ children is fraught in spandex leggings, now exist in a culture in which the worst
today’s paedophile-panic culture. But rather than responding motives are assumed of everybody. Some people are fighting
to any genuinely public concern, the ASA’s ruling seems to be back: the campaign group I’m a Photographer, Not a Terrorist!
in thrall to the more general and poisonous hysteria that now has started organising flashmobs in which people turn up at a
affects the taking and publishing of photographs. It’s as if, in public location and start, well, taking pictures of everything.
today’s nervous climate, there are types of images that cannot This widespread paranoia exists at a time when the
be ‘let out’, not because of their content or what we make of production and circulation of images, through the proliferation
words J.J. Charlesworth
them, but because of a pervasive anxiety about an unspecified of camera phones and the Internet, have created a technological
malevolent spectator, out there, who might be looking. alternative to the traditional public sphere; through its lack of
Over the summer, it was announced that three French regulation, the ‘digital commons’ causes further panic among
curators, Stéphanie Moisdon, Marie-Laure Bernadac and those authorities whose impulse is to monitor and surveil. If
Henry-Claude Cousseau, would be prosecuted for an exhibition nothing else, the Internet has become the perfect embodiment
they organised back in 2000. In August, it was reported that a of the shady, faceless world of the terrorist and the abuser. Both
photography student at East Surrey College made a complaint the real and the virtual public sphere are now redefined by the
against a lecturer who had recommended that she look at images cultural institutionalisation of mistrust – mistrust of the public
of work by the well-known transgender artist Del LaGrace by the authorities, but more corrosively, mistrust of other
Volcano. The lecturer now faces misconduct proceedings. In all people, and even of ourselves. Unless we start to challenge this
of these, the default assumption seems to be that we are either culture of mistrust, the cultural, artistic and democratic value of
vulnerable to the abusive intentions of others, or potential photography, and our freedom to circulate them, will succumb
abusers ourselves. to a new culture built solely on the fear of images…

40 ArtReview
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top five

What to see this month by 2 HEAD WIG 4 Nairy Baghramian

POLLY (Portrait of an Exhibition): Studio Voltaire, London


Selected by Paulina Olowska 19 November – 19 December
Camden Arts Centre, London www.studiovoltaire.org

STAPLE
25 September – 29 November)
www.camdenartscentre.org Studio Voltaire are running
a great programme under
Camden’s artist-curated shows tight circumstances. Nairy
are among the best things they Baghramian is on a residency
do. Paulina Olowska is a great there at the moment: I
choice, and her show sounds first saw her work in Berlin
elegant and bonkers at about three years ago,
the same time, an interesting some peculiar photos and
Director, Chisenhale Gallery, London mix of well-known and not concrete objects, then a
so well known artists: piece at Munster Sculpture
Mathilde Rosier, Cathy Wilkes, Project that I really liked
Jakub Julian Ziółkowski, for its bluntness. It was a
Cindy Sherman, Catherine screen placed in a car park,
Sullivan. The common theme suggesting some kind of
is ‘perceptual ambiguity’: division between public and
if you know Olowska’s work, private space, and questioning
the show makes sense through the significances we project
that context. When you’re onto objects. A writer might

from left: John Baldessari, God Nose, 1965, oil on canvas, 173 x 145 cm, © the artist, private collection; Nairy Baghramian, Butcher,
curating a group show with be described as having an odd
a big institution, you’re turn of phrase; Baghramian has
often asked to be very clear the equivalent in sculpture.
about your reasons for making
the show, whereas when artists
curate, particularly at
Camden, they’re given licence.
If regular curators could work
that way, I think you’d see
some more interesting shows.

3 Bonnie Camplin
SAS
Michael Benevento, Los Angeles

Barber & Angler, 2009, sketch for upcoming installation at Studio Voltaire, London
5 November – 23 December
www.beneventolosangeles.com

Michael Benevento often takes


5 Lecture
1 London risks picking up European
artists who are not so well
known in the US, and seemingly Performances
We seem to have a plethora of critically interesting has a real commitment to them.
retrospectives and group shows in London this This, British artist Bonnie Kunstverein Cologne
season. I’m a fan of Ed Ruscha (Hayward, 14 October Camplin’s first US solo show, 24 October – 20 December
– 10 January), and the show should be great for the consists of drawings and www.koelnischerkunstverein.de
venue’s spaces. Pop Life (Tate Modern, 1 October sculpture, and apparently all
– 17 January) seems to be relating American Pop and develops from one drawing, a I’m sure that this project
YBA; also, the apparent focus on artists such as strange picture of a market – which involves Fia
Keith Haring and Cosey Fanni Tutti suggests they’re scene with a lover’s tryst, Backström, Robert Morris and
aiming to rewrite some narratives. John Baldessari framed by cherries. Camplin’s Martha Rosler, among others
(Tate Modern, 13 October – 10 January): an artist’s now really developing her own – came out of the Kunstverein
artist. Comparing him and Ruscha, two Californians, moment. She often works with Cologne’s exhibitions with
and the New York-heavy Pop Life against Gustav video and performance, and Mark Leckey and Seth Price.
Metzger (Serpentine, 29 September – 8 November), uses sound and music in quite I think the curators are
you can start an analysis of what was happening uncategorisable ways. She’s interested in looking at
between the US and UK from the 1960s onwards. always testing the form; and the history of this format,
Then there’s Sophie Calle (Whitechapel, 16 October while her peers have had very researching precedents and
– 3 January). (The Tate, Hayward and Serpentine successful careers, she’s been asking what happens when an
shows have three men; and the Whitechapel, quietly influential on a new artist veers off from an
thankfully, seem to be giving a lot of big shows to generation. academic assessment, and a
women.) If I saw this lineup and wasn’t living in lecture becomes performative
London, I’d definitely think: that’s worth a trip. in a different way.

42 ArtReview
Ronald Versloot
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Kalfarveien 74 B, 5018 Bergen, Norway
+ 47 55 31 57 55 / + 47 958 53 680
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design

When Tom Dixon tells of his foray into the world of

The Swede
sex toys, he makes a striking point about the role design can
play in a market. Seven years ago the British designer was
approached by the founders of the Myla boudoir shops. They
dumped a crate of nasty plastic vibrators on his Habitat desk
and asked him to come up with an alternative. His input
brought extraordinary added value – the average vibrator in the

Hereafter
box retailed at £20; Dixon’s design, Bone, goes for about £200.
To Dixon the message is clear: if you’re looking for the next big
thing, don’t design chairs; fulfil a desire that is not yet satisfied.
Today the market for designer vibrators is so well served
that it’s only a matter of time before IKEA starts knocking
out a budget version (cue jokes about products that need to
be erected at home); so where can design add value now?
The industry is structured in a way that hardly encourages
independent designers to search for new needs. Most of the
producers dominating the domestic sector commission a A Scandinavian design studio
repetitive range of objects – chairs, tables, sofas – for a market
so saturated that the only way to add value is through celebrity,
second-guesses the future
luxury or editions.
What would be required for a freelance design studio
to investigate coming consumer needs in an informed way?
“Trendspotting and future forecasting are tools for economics
and marketing”, laments Ramia Mazé of the Interactive
Institute. “The idea of designing with statistics is relatively
new.” Mazé explains that at the more progressive end of the
electrical and electronics industries, design departments are
already engaged in contemplating the social impact of their
work and developing future strategies as well as aesthetics.
But for small independent studios, the advantage of accessing
economic data and thinking futuristically will not be evident
until the producers they serve demand and support it.
The Interactive Institute is a research facility, based
(of course) in Sweden, which for the last decade has brought

Interactive Institute’s Ramia Mazé demonstrates the Energy Curtain. Photo: Carl Dahlstedt.
together designers, artists and the IT industry to work out how

words Hettie Judah

to kick-start this demand. They produce visions of the future design-world-darlings Front worked with the institute in 2004;
and thought-provoking exhibits for an audience of consumers, their Flower Lamp blooms for a well-behaved household but
government agencies, industry, city planners and institutions. I closes as consumption increases. There was an electric cable
saw their touring show, Visual Voltage (which, following stops that glows as use augments, and photosensitive blinds that only
in Shanghai, Washington, DC, and Brussels, is now in Berlin), in collect energy if closed during daylight. I tsk-ed delightedly
a less-than-receptive state of mind; the ubiquity of the Swedish at the absence of any product that might have offered a more
vision as code for all things wholesome and progressive was practical solution to energy reduction than merely making
starting to grate. After a visit to London, in which the whole city consumers feel guilty.
seemed to be IKEA-branded, right down to the tube maps, I Chatting with Mazé and her colleague Magnus Jonsson
had greeted news that the flat-packers might become the only ten days later, I felt chastised at my churlish response to the
company to take on Russian corruption and win with a huffy show: precisely because the institute doesn’t work towards
shrug; IKEA vs. the Bratva had a certain Alien vs. Predator products, its employees have an astonishingly free remit. Using
quality to it, I felt. a combination of creative, technical, scientific, political and
Visual Voltage is a group of objects from research projects economic thought, they investigate subjects with no idea of what
exploring energy consumption, designed to provoke more they might end up with: one research strand has studied how
considered behaviour. In my Swede-sensitised state, my radar changing the balance of sounds in a truck cab can influence road
was up for any hint of smug didacticism, and it didn’t disappoint; safety, another uses pervasive gaming to encourage teenagers
to think about the environment. Forget Alien vs. Predator – for
a glimpse of sparks flying, try design vs. economics; even in the
future, it seems, we’ll still desire the Swedish vision.

44 ArtReview
New Art Dealers Alliance AUStrALiA USA
Neon Parc Melbourne Altman Siegel Gallery
San Francisco
CANAdA AMBACH & RICE Seattle
Parisian Laundry Montreal ATM Gallery New York
Baer Ridgway Exhibitions
FrANCe San Francisco
Galerie Carlos Cardenas Paris Nicelle Beauchene Gallery
Galerie Laurent Godin Paris New York
Galerie Hussenot Paris Josée Bienvenu Gallery New York
Blackston Gallery New York
GerMANY Collette Blanchard Gallery
ANDREAS GRIMM MUNCHEN New York
Munich The Box Los Angeles
Galerie Christian Lethert Shane Campbell Gallery Chicago
Cologne David Castillo Gallery Miami
Galerie Rupert Pfab dusseldorf Cerealart Philadelphia
Pool Gallery Berlin Charest-Weinberg Miami
Jacky Strenz Frankfurt John Connelly Presents
New York
ireLANd Lisa Cooley New York
Mother’s Tankstation dublin Country Club Cincinnati
Eleven Rivington New York
itALY Derek Eller Gallery New York
1/9 Unosunove Arte Thomas Erben Gallery New York
Contemporanea rome Forever & Today, Inc. New York
Francois Ghebaly Los Angeles
JAPAN Thierry Goldberg New York
ARATANIURANO tokyo Kavi Gupta Chicago
MISAKO & ROSEN tokyo Jack Hanley Gallery
Take Ninagawa tokyo San Francisco
Invisible-Exports New York
MexiCo Johansson Projects
Charro Negro Guadalajara San Francisco
The Journal Gallery Brooklyn
PUerto riCo Klaus Von Nichtssagend Gallery
OPENING PREVIEW 356 San Juan Brooklyn
thursday december 3, 10am – 2pm Leo Koenig Inc. New York
SPAiN Kim Light/Light Box
daily admission is free and open to the public Galeria Marta Cervera Madrid Los Angeles
Karyn Lovegrove Gallery
SwitzerLANd Los Angeles
Evergreene Geneva La MaMa La Galleria New York
Faye Fleming/Arquebuse LaMontagne/Zevitas Gallery
Geneva Boston
Claudia Groeflin Galerie zurich moniquemeloche Chicago
Anne Mosseri-Marlio Galerie On Stellar Rays New York
zurich Rental New York
Rotwand zurich Renwick Gallery New York
Silverman Gallery San Francisco
the NetherLANdS Simon Preston New York
Galerie West the hague Small A Projects New York
Mart House Gallery Amsterdam Thomas Solomon Gallery
Los Angeles
UNited KiNGdoM Stephan Stoyanov Gallery
Josh Lilley London New York
Museum 52 London/New York SUNDAY LES New York
Workplace Gateshead Twenty Twenty Projects Miami
Kate Werble Gallery New York
Western Exhibitions Chicago
White Columns New York
Y Gallery Queens
ZieherSmith New York
Consumed
The pick of this month’s offerings from shops, 02
galleries and museums. Words Laura Allsop,

£450–£1,000
Claire Alliot-Soto, Alexander Springer

01

£25

04

$295
03

$85
01 02 03 04
Critic and artist Peter Photographs by actor, Coinciding with Ron Arad’s Visionaire’s 2010 calendar
Suchin has produced, for collector and artist late-summer/early-autumn is electronic and coincides
new London editions shop Dennis Hopper have been show No Discipline at with Smart’s first
Kaleid, a limited-edition collated for a new MoMA, the museum’s gift electric car, celebrating
boxset containing ten publication from Taschen. shop has stocked some the beginning of what
printed reproductions of Entitled Dennis Hopper: signature pieces by the Visionaire posits is
index cards he has doodled Photographs 1961–1967, it prolific designer. Whether the ‘decade of electric
and scribbled on. As part includes photographs of it’s smart kitchenware mobility’. High hopes
of an ongoing interest contemporaries ranging at affordable prices or aside, the calendar is a
in recording incidental from Andy Warhol to Paul classic furniture designs phenomenal repository of
thoughts and perceptions, Newman and documents the such as the curvilinear contemporary art, with 52
Suchin has been making easy freedom of West moulded polyethylene Little curators (ranging from
meticulous notes for more Coast living during the Albert Chair, a miniature Klaus Biesenbach to Hans
than 20 years. Peter 1960s. The book comes in version of the designer’s Ulrich Obrist) choosing
Suchin: Index, Scribble, two editions, one limited temperature-sensitive Well seven artists each to fill
Snapshot, Tract contains to 100 and including a Tempered Chair or even a the days. It’s a who’s who
reproductions of the cards signed print of Hopper’s wearable accessory in the of contemporary art: Bruce
along with essays by photograph Biker Couple form of the designer’s Nauman, Marina Abramovic,
Michael Hampton and Suchin (1961-9). signature Cappello hat Keren Cytter, Glenn Ligon
himself. (pictured), MoMA’s got it. and 361 others.
www.taschen.com
www.kaleideditions.com www.moma.org www.visionaireworld.com

46 ArtReview
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ry art
contempora

m o f mo dern art
museu
r 2009
5 septembe 2010
10 january

With support from

Sponsor of Louisiana Contemporary

Sponsor for Louisiana Museum of Modern Art 2009 Sponsor of architectural exhibitions at Louisiana supports Louisiana Live

Adrian Paci. Per Speculum, 2006 (film still). Color Film, 6:45 minutes. Courtesy Peter Blum Gallery, New York; Galleria Francesca Kaufmann, Milan; Galerie Peter Kilchmann, Zürich. www.louisiana.dk
Consumed

06

€900

05

£100

07

$48
05
08

$19.95
05 06 07 08
Artist Rosalind Nashashibi The Irish Museum of Modern Tote bags are increasingly New York art agency
has created a limited- Art (IMMA) is launching a the carrier of choice for Creative Time – responsible
edition print to accompany series of limited-edition heavy catalogues at art for projecting Doug
her solo show at the ICA, prints to coincide with fairs and biennials. Artist Aitken’s Sleepwalkers
London. The print, entitled its exhibition Traces, a Marilyn Minter has teamed (2007) on MoMA’s walls and,
8 O’Clock Metamorphosis, is celebration of its… limited up with boutique designers this past summer, turning
a silkscreen reproduction editions. Isaac Julien (his Intermix to create a former army base Governors
of an image from her work pictured), Michael limited-edition variety Island into a contemporary-
installation In Rehearsal Craig-Martin, Alex Katz, to benefit breast cancer art trove – have teamed
(2009), collaged onto Elizabeth Peyton and many charity Bright Pink. A up with sportswear brand
the replica of a page others have contributed, still from Minter’s Green American Apparel to create
from a book on African art. while recent additions to Pink Caviar (an eight- a pair of limited-edition
Via numerous images and the series include works by minute film-riot of female short shorts with ‘Creative
a soundtrack, 8 O’Clock Louis le Brocquy, Patrick mouths devouring cakes, Time’ emblazoned on the
Metamorphosis documents Scott and Camille Souter. released earlier this year rear. All proceeds will
the preparation of an The 31 screenprints, and featured in Madonna’s go towards supporting
opera, and the edition etchings, lithographs and recent tour, no less) will Creative Time’s future
features what look like cibachromes were donated to feature on the bag. public art projects.
studious stage technicians benefit IMMA’s exhibition
hard at work. and education programmes. www.foryourart.com http://creativetime.org

www.ica.org.uk www.imma.ie

48 ArtReview
Tonight Nothing oil on canvas 180 x 250 cm 2009

MORGAN BETZ
8 - 22 november 2009

WILLEM Henri Polaklaan 12A


1018 CS Amsterdam

BAARS tel +31 204230607


cel +31 655300765

PROJECTS
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info@baarsprojects.com
Art|Basel|Miami Beach
3–6|Dec|09

Vernissage | December 2, 2009 | by invitation only


Catalog order: Tel. +49 711 44 05 204, Fax +49 711 44 05 220, www.artbook.com

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Art Basel Miami Beach, MCH Swiss Exhibition (Basel) Ltd., CH-4005 Basel
Fax +41 58 206 31 32, miamibeach@artbasel.com, www.artbasel.com

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Evgeny Yufit, Transparent Grove, 1992

Letter from the IsLand


serp, evgeny yufIt, vLadImIr Kustov

8 October 2009 – 22 December 2009

7 Howick Place, London SW1P 1BB 020 7630 9585 www.orelart.com


AN ORAL HISTORY OF WESTERN ART

In this ongoing series, the real people who created


the historic styles give their eyewitness testimony

NO 12:
WATTEAU

Jean-Antoine Watteau, L’Enseigne de Gersaint, 1721, oil on canvas, 163 x 306 cm. Photo: Jörg P. Anders. bpk / Schloss Charlottenburg, Stiftung Preußische Schlösser und Gärten
Jean-Antoine Watteau (1684–1721) was a French painter who invented
the genre of the fête galante: scenes of beautiful light-filled bucolic charm,
suffused with an air of theatricality.
interview by matthew collings

52 ArtReview
ArtReview How are you? and you can get lost in that. But then you might come in
somewhere else and it’s a different trip. These metaphors
Watteau Very ill. of being lost in a pleasurable rather than alarming way, and
of going on a journey, are important both to the subject and
AR  Ah yes, the consumption. You died from it when you were the content.
only thirty-seven. But you did a good painting before you
went: Gersaint’s Shopsign (1721). Tell me about that work. AR Gosh, that’s a lovely way of putting it. How do you feel
about Damien Hirst having his paintings at London’s
W  Well, as the title says, it’s a sign. This guy Gersaint had a shop Wallace Collection, where a lot of your stuff is kept? He
selling pictures on a bridge in Paris and he commissioned did the paintings himself, without assistants.
the sign from me. It’s oil on wood and very big – two panels
joined together to make one six-foot-wide expanse. The W I think there’s something clever about him installing the
picture is a double illusion: a view onto a scene that leads work in a place where everything revolves around patronage
onto another scene. You’re standing outside on the bridge; (the power-people who commissioned masterpieces in
you can see the cobbles at the bottom of the picture. the Titian era, and then, from my time onwards, the new-
But it’s as if the facade is removed and there’s the whole money people who took over the task of nurturing great
interior exposed. What you see in there is a metaphor art). Having done the sale of the century on the night of
for the artworld, which is revealed to be full of vanity and the big world-market crash, in 2008, the proposal that he
commercialism. The scenes and objects in the shop spell is now painting his own paintings makes sense, because it
out a story of shallowness. A woman looks in a mirror tells us that he’s still telling a story about money. He shows
instead of looking at art. An ignorant man has his face right us that having understood conspicuous consumption he
up against a canvas in order to see some sexy nudes at the now also understands reining in: even though it has changed
bottom of the picture; he doesn’t know you should look at dramatically, he continues to understand the sensibility of
the picture as a whole, not just the sensational stuff. You the moment.
should take in the composition, the relationship of figures
to landscape and so on. The gallery guys encourage these AR Those pictures look like they were fun to do, but not much
people, because they want to flatter them into parting with effort went into them, as opposed to calculation about
their cash. A portrait of the king lies in a packing crate on what buttons to press to sell an idea. Laughable signs of
the floor: nobility brought low. A dog yaps: pointless noise. greatness include pseudoscientific diagrams à la Leonardo
and an all-blue palette à la Picasso c. 1903. Altogether they
AR  Fantastic, you’ve really got an imagination. It’s beautifully make up a sort of joke on profundity, like the Tories in the
painted, I notice. The lovely silvery colour and the masterful 1980s enacting a joke on poshness.
touch: I pity the poor readers of ArtReview, who’ve only got
the reproduction to go on, with all its crudeness.

W  Yes, you get a very one-dimensional sense of art with How do you feel about Damien
reproductions, the literal narrative, not the subtlety of
the painting – which is actually very important with this
Hirst having his paintings at
particular work, because beauty redeems squalor. The
scene is one thing, the brushstrokes and composition
London’s Wallace Collection,
another.
where a lot of your stuff is kept?
AR What about all your other stuff ? Aristocrats going off
on escapist trips to pleasure islands for love and music
He did the paintings himself,
– what’s all that about?
without assistants
W They are scenes painted for the newly wealthy who want
a vision of aristocracy to hang on their walls, so they can
fantasise deliciously about what it must be like to be born W They do in fact fit very well with the vibe of the Wallace
noble, to live a life of refined happiness. Music and love, Collection. It’s not the gallery’s awesome art that they
picnics with beautiful people in beautiful surroundings, a complement but its creepy heritage-site ambience. He
moment of pleasure suspended forever – that’s the subject uses the Wallace Collection environment as a background
matter. The class aspect is of a certain interest in your for his new products, as if he’s designing a display event in
time, but then there’s the beauty of the paintings. This a 1980s shop window.
aspect, the true interior life of art, is not so much separated
from the subject as intertwined with it, so it’s possible AR The PR for the show quotes his own words, that the
to experience the painting as a set of echoes or rhymes, pictures are ‘deeply connected to the past’. It goes on to
with the structure constantly changing. You come in at say that he has ‘opted to present these works in a classical
one point and feel the correspondences in a certain way, context, surrounded by Old Master paintings in the great
AN ORAL HISTORY OF WESTERN ART

European tradition’. Obviously if an artist feels his stuff


is deeply connected to the past, then it’s only right that it
should be hung side by side with Rembrandt.

W But if the paintings aren’t much good, and the context is


bogus, and the press release megabogus, that doesn’t mean
Hirst is nothing. In fact it is possible to see this forthcoming Hirst does the work himself
show not as a load of rubbish, or at least not as that alone,
but rather as the latest step in a consistent strategy – one for strategic reasons. He shows
in which ‘rubbish’ is more a problem for uptight purists
(who eat themselves alive each day with envious hostility us that having understood
anyway) than normal people.
conspicuous consumption he
AR In Charles Saatchi’s recent book, Hirst is linked to Andy
Warhol and Donald Judd, as well as Jackson Pollock. also understands reining in
Saatchi says that it is only these four names that the future
will recognise as anything more than footnotes.

W From a painting like Pollock’s Lavender Mist (1950) to a W Exactly, Matthew – so, between the late 1980s and early
painting like, say, Warhol’s Mustard Race Riot (1963), it 90s Hirst’s imagery was even more literalist than Warhol’s.
might seem there’s a big jump, and to Hirst’s current ‘blue His dead shark more emphatically embodies the concept
period’ concoctions, that’s a jump again. And in between are ‘death’ than a photo of dead people under a crashed car
all the Untitleds by Judd, variously mono- and multichrome. that is silk-screened repeatedly over a field of flat colour.
I do think it’s worth considering this mad rainbow alliance, That would be a small achievement except that, because
however. Pollock is the odd man out, because although of its minimalist presentation, Hirst’s shark has an infinite
he simplifies, he isn’t really a minimalist, whereas the capacity for metaphor. The glassy tank, the flatness, the
others pretty much are. Pollock is a refined sensualist who feel of a sort of ritzy glow surrounding death, the very
is misunderstood as a shock-tactics sensationalist. His reflections in the glass, not to mention the fascination of
paintings depend on a quivering sort of life that the canvas the physical being of the shark, its jaws and eyes and flaking
has, the way the paint soaks in, the way each mark hits that pale grey hide: all contribute to a compelling visual event.
surface in a particular way, the way the surface breathes. We want to stare, and our thoughts race.
He makes touch crucial. What is important with the other
three is not a sensitive surface but a concept worked out in AR But as art goes a bit more popular, Hirst goes kitsch to fit
advance and executed remotely. (With the new paintings, with the alteration in art’s mood.
Hirst does the work himself, but he’s really just being his
own assistant for strategic reasons.) W You can see the Hirst story as depressing or exhilarating,
depending on the perspective you take. Warhol’s sense of
AR Warhol certainly has a good design sense. But ultimately it the philosophy of the object, even if the philosophy doesn’t
is a sort of pseudophilosophy that counts with him, and his translate into anything impressive once you remove the
visual sense is not really any more marvellous than that of framework of the object, and Judd’s sense of the thing not
any other designer. being the thing, but the combination of the thing and the
space around it being the real thing: they both resonate in
W Yes. Warhol is good at all sorts of things, but willing to Hirst. But at the same time he is independent. His influence
be a bit average too, if it pays, just as Judd often was (the is society. His art of the late 1980s and early 90s was a
problem of appreciating Judd is more complicated than brilliant crystallisation (in the form of art) of the way in
just the inaccessibility of Judd exhibitions in which the which consumer objects were sold in the 80s. Display was
appropriate conditions prevail: in the last years of his life, everything in that decade, and with these early works he is
as he rode the 1980s art boom, he churned out a lot of the king of display. By the time of his Gagosian New York
below-average stuff, just for money). shows, Hirst had reached a high point: a great giddiness of
surfaces. But even though the objects and narratives have
AR Hmm. A look of blankness links Warhol, Judd and Hirst. been on a steady slide downhill ever since, the essential
But it is a misconception to think of Minimalism’s blankness creative originality is still there. To see this involves seeing
as actually blank. When art has great proportions, colour, him as most of society actually does see him, as the artist of
shape, delineation and impact, etc, to see it is to be what really counts in your times: money.
emotionally lifted.
Next month: Hogarth revs up art with stimulating scenes of
raddled tarts

54 ArtReview
Marcel Odenbach, Still from: Niemand ist mehr dort, wo er anfing, 1989/90 Courtesy of the Artist and Galerie Crone, Berlin

1989
End of History or
Beginning of the Future?
Comments on a Paradigm Shift
10|09|09 – 07|02|10

Museumsplatz 1, A-1070 Vienna Daily 10 am – 7 pm, Thu 10 am – 10 pm


Info +43-1-52189-33 | www.kunsthallewien.at

inserat art review 24.7.09.indd 1 26.07.2009 0:51:33 Uhr


BIRGIT
GABRIELE SCHOR
ABIGAIL SOLOMON-GODEAU

JÜRGENSSEN

VERBUND
VERBUND
sammlung

BIRGIT JÜRGENSSEN
First Monograph & Exhibition
Austrian artist Birgit Jürgenssen (1949–2003) was one of the most outstanding feminist avant-garde artists.
Initiated by the Sammlung Verbund, the first monograph of the artist will be published in November 2009 by Hatje Cantz.

Birgit Jürgenssen Monograph


Eds. Gabriele Schor, Abigail Solomon-Godeau
With texts by Elisabeth Bronfen, Sigrid Schade, Gabriele Schor, Abigail Solomon-Godeau, Geraldine Spiekermann et al.
The book will be published in German and English.

Birgit Jürgenssen Exhibition


The publication is accompanied by an exhibition of some 50 of the artist’s works from the Sammlung Verbund
which can be seen in the Vertical Gallery in the Verbund headquarters in Vienna.
25 November 2009 – 10 March 2010, registration necessary: sammlung.verbund@artphalanx.at

www.sammlung.verbund.at
British Council Collection
My Yard
Whitechapel Gallery

2 October Selected by artists Whitechapel Gallery


– Jeremy Deller and 77–82 Whitechapel
Alan Kane. High Street
6 December 2009 London E1 7QX
Aldgate East
Supported by:
Admission free

whitechapelgallery.org

Paul Noble Villa Carl, 1997, pencil on paper. © The Artist.


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opening saturday, october 17, 6 p.m.
book available
text by
Pier Luigi Tazzi

Galleria Poggiali e Forconi, Firenze


www.poggialieforconi.it info@poggialieforconi.it
Manifesto by NIGEL COOKE
For this year’s Power 100 issue we asked painter
Nigel Cooke to produce a series of works
responding to the theme of ‘power’ in a much-
changed artworld.

Manchester-born and Canterbury-based, Cooke


paints scenes of disaffection and urban decay.
Hammer House of Horror motifs, graffiti and other
assorted pop-culture detritus litter his works,
which resemble the pages of an outsize graphic
novel. Cooke’s take on the artworld has always
been questioning, peripheral: in his recent
series New Accursed Art Club, which was shown
at Stuart Shave/Modern Art in 2008, he depicts
a cowed and self-doubting group of figures taken
to signify the wider art community. For this
issue he has created our cover and five other
works, typically bleak yet beautiful and perhaps
even redeeming takes on what power might mean
in an artworld wondering what to do in the face
of economic uncertainty.

Cooke completed a PhD in fine art at Goldsmiths


College in 2004, and that year was given a solo
show in Tate Britain’s Art Now space. Alongside
exhibiting with Stuart Shave/Modern Art, he has
had solo shows at the Moderna Museet, Stockholm,
the South London Gallery and New York’s Andrea
Rosen Gallery. His work is also featured in
collections including those of Tate, London,
MOCA, Los Angeles, the Guggenheim, New York,
and the Dakis Joannou Collection Foundation,
in Athens.
4 September – 17 October

Paolo Piscitelli
Work

23 October – 28 November

nicholas nixon
Vincenzo castella
About Town

4 December – 22 January 2010

25 or 30 years Gallery
Part I
CONVERSATIONS
WITH THE OTHER SIDE
BEN JUDD & SIDSEL CHRISTENSEN

foAm, Amsterdam
4 September – 22 November 2009 “Today we’re going to go further!”
charlotte dumas
Paradis 7 pm Thursday 29th October
The David Roberts Art Foundation
111 Gt Titchfield St, London W1
Tel: 020 7637 0868 www.davidrobertsartfoundation.com

Galerie
Paul andriesse
Withoedenveem 8 [Detroit Building] NL-1019 HE Amsterdam
T +31 20 623 62 37 info@paulandriesse.nl www.galeries.nl/andriesse
aaron young — SEMPEr IDEM
october 20, december 17, 2009

20 rue de l’Abbaye, 1050 brussels t +32 (0)2 648 56 84 contact.brussels@alminerech.com www.alminerech.com


In association with

ArtReview 73
the power 100

Introduction

The usual tactic when introducing a list such as this one is to offer your excuses (for any perceived
errors or slights caused by the ranking process) in a statement pointing out that all such rankings
are to a certain degree subjective. With the Power 100, however, this (the subjectivity of it) is
especially true. Unlike other art ranking lists, we do not attempt to judge artists by their market
worth, dealers by their total sales or curators by the number and quality of reviews they get
or the volume of people who visit their shows. Instead, for the last four years, the selection
of the Power 100 has been based on four basic categories: having an influence on the kind of
art that’s being produced today; having influence on a global rather than a local scale; having
actually done something during the past 12 months; and having some influence over the market
for art. This year, reflecting more general trends and the fact that art that can survive without
wheelbarrows of cash is probably going to be the most enduring right now, this last factor was
given less weighting than the others.
Excuses aside, the Power 100 is an attempt to map out the general trends and forces that
shape the world of contemporary art, and importantly, to give them a degree of transparency
that they would not normally have.
The Power 100 is decided by a panel of international experts comprising ArtReview’s
editors and contributors, and an increasingly large number of artworld insiders who prefer,
for obvious professional and social reasons, to remain anonymous. Without any doubt, this
year saw the most disagreements as to the composition of the top ten, and to the identity of
the number one in particular. The general consensus was that, while museums rather than
commercial galleries are in a better position to show new and challenging work today, there
was no one individual who could be said to be shaping the face of the artworld right now. After
much debate, it was decided that perhaps it’s an approach rather than a person that’s shaping the
postrecession artworld. In general the list reflects the rise of flexible networks and freewheeling
curators with definite agendas to set in play over individuals or static large-scale institutions.
There are two important groups who, as in previous years, are excluded from the list:
art advisors and art magazines. The first are omitted because of the difficulty of distinguishing
whether power lies with a collector or with the network that influences the collector, the
second because we would have to work out where we stand on or off the list. There are some
administrative changes, too – museums are represented by their directors only. Where the panel
felt that other people in large institutions should be acknowledged, they are listed in side panels.
The museum entries on the list, however, represent the achievements of the institution as a
whole rather then the person named on the list.
ArtReview has partnered with Ruinart, a key supporter of the contemporary artworld,
on the 2009 Power 100 list. Ruinart’s other partnerships include Maarten Baas, India Mahdavi
and Patricia Urquiola.

Nigel Cooke The Inventory, 2009. Courtesy Stuart Shave/Modern Art, London

74 ArtReview
the power 100

Hans Ulrich Obrist


Category: Curator
Nationality: Swiss
Last Year: 35

Anyone can do a lot; not everyone can do a lot and consistently do it well. Even fewer can keep doing it well, year upon
year; and of those who can, nobody does more, better, than Hans Ulrich Obrist. When the Swiss dynamo issued a six-
point curatorial statement relating to his Beijing Mini-Marathon in December 2008, the first point was: ‘Don’t stop. We
never stop’. It’s clearly the ubiquitous curator’s axiom, and Obrist’s third year of juggling a full quota of freelance work with
his job as co-director of exhibitions (to abbreviate his extensive title) at the Serpentine Gallery found him continuing at
full, burnout-defying speed. In the London institution, working alongside Julia Peyton-Jones, he helped shape a diverse
programme of solo shows ranging from glossy (Jeff Koons) to oblique (Rebecca Warren), from old (Gustav Metzger, b.
1926) to young (Luke Fowler, b. 1978), and continued his mission to introduce the West to the East via December’s lively
group show, Indian Highway – mounted shortly after Obrist jetted back from the East himself, having cocurated the 3rd
Yokohama Triennial. Then, from highways to Unbuilt Roads, this being the title of his springtime exhibition dedicated to
107 artists’ unfinished projects (an Obrist obsession) at e-flux’s project space in New York. Enough? No. Add the publication
of Obrist’s illuminating interviews books, A Brief History of Curating and On Curating; the acclaimed restaging of his and
Philippe Parreno’s ‘time-based exhibition’, Il Tempo del Postino (2007), at Art Basel. Factor in Daniel Birnbaum’s Venice
Biennale, whose concerns with networks and globalism strongly reflected an ongoing dialogue with Obrist. Add the lectures,
the predawn Starbucks seminars (aka the Brutally Early Club), the panel discussions, the – wait, can I have another 250
words, please?

Nigel Cooke The Reflection, 2009. Courtesy Stuart Shave/Modern Art, London

ArtReview 77
the power 100

Museum of
Modern Art

Kathy Halbreich

2
Associate Director

Halbreich came to MoMA from the Walker


Art Center last year, to fill the newly created
post of Associate Director, the
understanding being that Glenn Lowry
focuses on the money while she focuses on
the art. As she takes MoMA into the twenty-
first century, much is expected of her.

Ann Temkin
Glenn D. Lowry Chief Curator of Painting and Sculpture

Category: Museum Director Having joined MoMA in 2003, Ann Temkin


Nationality: American stepped into what is for many people
Last Year: 3 (with Associate Director Kathy modern art’s most prestigious curating post
Halbreich as the entry) last September, succeeding the
venerable John Elderfield. ‘I plan to take
a broader, more international
view than we did in the past’, Temkin said
back then. We’ll wait and see.
As The New York Times critic Holland Cotter has pointed out, in periods of market
excess, museums appear to have an excruciatingly slow time-lag. By the time art
makes its way into museums, it has already been internationally preapproved, so to Connie Butler
speak, by commercial galleries, fairs, sales. Not so now, with many New York galleries Chief Curator of Drawings
trotting out shows so safe they might as well be exhibited in padded cells. MoMA’s
contemporary exhibitions take on extra significance in such times, and this is exactly After a decade at MOCA, Los Angeles,
the kind of thing we’re expecting from Greater New York 2010, the next edition of an Butler moved east to MoMA in 2006.
exhibition organised by P.S.1 and MoMA, and held every five years that surveys artists Having established a reputation for
living and working in New York. With artists increasingly going their own way, and producing some of the most intellectually
surviving the brave new world without the big sale, 2010, curated by Klaus Biesenbach, and visually stimulating shows in LA, Butler
Connie Butler and Neville Wakefield, is looking more exciting than it frankly should. curated the hugely influential WACK! Art photo of Glenn D. Lowry: Timothy Greenfield-Sanders
Lowry was revealed as one of the biggest earners in the US nonprofit arts sector last and the Feminist Revolution, which started
year (this after taking a voluntary 10 percent cut in his salary), but with the help of at MOCA and has been touring ever since.
Kathy Halbreich (who in terms of the artworld is perhaps the real figurehead of New This year she organised MoMA’s Paul
York’s premier institution and who appeared in Lowry’s stead in last year’s version of Sietsema show.
this list, in acknowledgement of her key role in the rebuilding of MoMA), he’s steering
the MoMA ship in a positive direction: the exhibitions programme has benefited from
an increased emphasis on performance, including a major Pipilotti Rist installation Klaus Biesenbach
and performances from Yvonne Rainer, Roman Ondák and Mark Leckey, alongside Curator, Department of New Media and
the knockout shows we have come to expect, with Marina Abramović and Gabriel Performance Art
Orozco coming next year. Throw in their recent windfall, a surprise $10 million left in
a donor’s will, and MoMA’s future, on the whole, is looking rosier than it should. Biesenbach’s remit at MoMA was spruced
up this year when his became the
Department of New Media and Performance
Art. Biesenbach has become the specialist in
Nigel Cooke The Question, 2009. Courtesy Stuart Shave/Modern Art, London time-based media of all sorts.

78 ArtReview
the power 100

Tate Modern

Sheena Wagstaff

3
Chief Curator

Wagstaff’s programming has been steady


in the eight years she’s been chief curator.
Solo exhibitions overseen by Wagstaff, of
artists such as Louise Bourgeois, Juan
Muñoz and Edward Hopper, have explored
darker, surreal undercurrents in twentieth-
century art. Next year will bring an
anticipated retrospective of Francis Alÿs as
well as the first Paul Gauguin exhibition
Sir Nicholas Serota in half a century.

Category: Museum Director


Nationality: British Frances Morris
Last Year: 4 Head of Collections (International Art)

Morris’s approach to hanging Tate Modern


thematically has changed the way it is seen.
Brrr, it’s tough out there, but the ever-affable Serota is coming out fighting for Dramatic juxtapositions are signatures of
Tate. The Department for Culture, Media and Sport revealed a £100 million this approach to the collection, which has
funding black hole for the arts in England in July that cash for Tate Modern’s £215 recently included a timely emphasis on Arte
million extension has fallen face-first into. Who made that phone call? “Ermm… Povera. Alongside contemporary works,
something to tell you… [mumbles].” At present Tate only have a third of the it’s been a record year for acquisitions at
money, but Serota is upbeat about continuing to open for the London Olympics in Tate, boosted by the d’Offay Artists Rooms
2012: ‘We are in discussion with a number of people who are more than capable donation, which inject some art with the
of giving us the large gifts that we will require for this project’, he said recently. power to bring out the brightest elements of
Still, put your best face on (again) for this year, Sir Nick, as chasing the money Tate’s collection.
is sure to consume much of your time, what with the £45 million refurbishment
of Tate Britain to fund too. All that said, Tate put on some huge exhibitions this
year, including Rothko and Bacon blockbusters, and braver fare in Bourriaud’s
Jessica Morgan
Altermodern: Tate Triennial, Baldessari, Balka, a daring tackling of art market Curator (Contemporary Art)
commercialism at an awkward moment in Pop Life and a staggeringly elegant
Roni Horn retrospective. Tate Liverpool’s programme also looks more exciting by Morgan’s group shows Common Wealth
the day, with a recent Michael Landy vs. Jean Tinguely exhibition, and Nam June (2003) and The World as a Stage (2007),
which she cocurated, identified artistic
Paik in 2010, as does that of Tate St Ives since the appointment of Martin Clark.
photo of Sir Nicholas Serota: © Manuel Vason

concerns that have only seemed to grow in


Though the shadow of the extension will loom large for the next few years, and a
significance since. Dominique Gonzalez-
period of hard graft and uncertainty lies ahead, the benefits for London and the
Foerster’s Turbine Hall commission fell a
UK will be staggering if it can be pulled off.
little flat, but John Baldessari: Pure Beauty,
curated by Morgan alongside LACMA’s
Leslie Jones, should delight here and on
its travels.

Nigel Cooke The Spiral, 2009. Courtesy Stuart Shave/Modern Art, London

ArtReview 81
the power 100

4
‘Biennales’, Daniel Birnbaum told Art+Auction in June, ‘are not
there to be loved. They are there to be discussed.’ Certainly the
Swedish curator’s turn as artistic director of the Venice Biennale
wasn’t universally adored. Some found Fare Mondi/Making
Worlds muted, cerebral, overly reflexive (Diedrich Diederichsen,
in Artforum, discerned riddling ‘Mr Spock art’); Marcus Verhagen,
for ArtReview, conversely praised Birnbaum’s ‘cool and wary
vision of modernity’. Commonly asserted, however, was that the
biennial model as a whole needs overhauling, leaving Birnbaum
– at forty-five, Venice’s youngest-ever director – looking relatively
blameless. And an intellectual regime might have been expected
from Birnbaum, who this year republished his 1992 work of Daniel Birnbaum
gastronomic-melancholic theory, As a Weasel Sucks Eggs: An Essay
on Melancholy and Cannibalism (coauthored with Anders Olsson). Category: Curator
In the run-up to Venice, he’d also curated the Turin Triennial and Nationality: Swedish
cocurated the 3rd Yokohama Triennial, and remains director of Last Year: 13
the Städelschule in Frankfurt, curator of the institution’s Portikus

photos: Giorgio Zucchiatti, courtesy Fondazione la Biennale di Venezia (4), Billy Farrell © Patrick McMullan, courtesy Gagosian Gallery, London (5)
gallery and a prolific critic. What Birnbaum knows about eggs,
clearly, is that they’re best divided among several baskets.

Ah, Gogo. The man with the one true global brand-name in luxury
contemporary art has become so acclimated to the higher altitudes

5
of this list that it seems he’s begun eschewing the oxygen of pure
commerce for the kind of free climbing once reserved for those
who trained in the rarified air of the world’s top museums. What
the hell are we talking about? Why, Picasso, of course. For a little
over two months last spring, at his no-longer-that-new 21st Street
space in Chelsea, Gagosian mounted a museum-quality show of
works centred on the Spanish master’s late mosqueteros, complete
with holdings from the collection of Bernard Ruiz-Picasso, the
Museo Picasso in Málaga, Spain (Picasso’s birthplace), and, of
course, the Museum of Modern Art in New York. What’s more, the
exhibition was curated by John Richardson, whose four-volume
Larry Gagosian biography of the artist (the third volume was brought out in 2007,
which means the Gagosian exhibition could only be fodder for the
Category: Gallerist fourth) promises to be the last word on the artist’s life and art, at
Nationality: American least for a little while. The catalogue featured original research
Last Year: 2 by younger Picasso scholars and newly translated texts related
to the ageing minotaur’s later years. Oh, and Annabelle Selldorf
– crafter of Ronald Lauder’s Neue Galerie, David Zwirner’s house
architect, literally – did the exhibition design. Lest art get in the
way of commerce (this is Gogo, remember), the gallery opened up
a storefront retail operation on Madison Avenue, which will sell
books, prints, limited editions, multiples and other items designed
and authored by all those who bask in the light of Gagosian’s star (or
shiver in his shadow).

82 ArtReview
This is Pinault’s eighth straight year at the top end of the Power
100, and in each of these, the soft-spoken, self-made tycoon has
managed, in one way or another, to have a colossal impact on
the arc of contemporary art. Whether buying and opening the
Palazzo Grassi in Venice in 2006, upsetting the artworld with the
purchase (through his auction house, Christie’s) and subsequent
expansion from London and Zurich to Berlin and New York of the

6
gallery Haunch of Venison in 2007 or partially bankrolling Koons’s
occupation of the Château de Versailles in 2008, Pinault’s big-fish
movements in the little pond of contemporary art are impossible
to ignore. This last year was no exception, beginning with the
Palazzo Grassi’s hosting of Italics, an unorthodox survey of Italian
art from 1968 to 2008 curated by Francesco Bonami and featuring
more than a hundred artists. The polemical exhibition sparked its
fair share of controversy (for instance, Jannis Kounellis refused to
photos: © Luc Castel (6), visible behind Eli Broad: Andy Warhol, Self-Portrait, 1966, © The Andy Warhol Foundation for the Visual Arts, Inc, New York (7)

participate because he thought it warped the history of Arte Povera)


and cavalierly inconvenienced the history books. Meanwhile, after
winning a bid on Venice’s Punta della Dogana in 2008 against the
François Pinault Guggenheim, Pinault had the seventeenth-century customs house
restored and refurbished by Japanese starchitect Tadao Ando in
Category: Collector 14 months. With great fanfare Pinault inaugurated this addition
Nationality: French to his contemporary art empire during the opening of the biennial,
Last Year: 8 with Mapping the Studio, curated by Bonami and Alison Gingeras.
Although reviews of the show were certainly mixed, the utter
magnificence of the third richest man in France’s gesture was, well,
magnificent.

7
‘All too often, museum directors and curators are more interested in
what their peers think or collectors like myself think than educating
a diverse public’, Eli Broad told the Wall Street Journal earlier
this year. But his activities of the last 12 months might give a few
clues as to why museum directors and curators all too often think
the way they do. Together with his wife, Edythe, Broad operates
a foundation worth around $2.1 billion. The extension to the Los
Angeles County Museum of Art (LACMA) opened in February
2008 bearing Broad’s name and funded by $60 million from the
foundation. Later in the year he pledged $30 million to bail out LA’s
near-bankrupt Museum of Contemporary Art. ‘This is not a one-
philanthropist town’, Broad wrote in an LA Times opinion piece, Eli Broad
although you could be forgiven for thinking it is. Broad describes
his activities as ‘venture philanthropy’, which might translate Category: Collector
as ‘you don’t get something for nothing’. LACMA thought they Nationality: American
were getting Broad’s very significant (although not particularly Last Year: 10
diverse: the Guerilla Girls point out that the foundation collection
– as opposed to Broad’s personal collection – contains work by 194
artists, 96 percent of them white and 83 percent male) art collection
when they built the extension. A month before LACMA’s extension
(which shows works from the collection) was inaugurated, Broad
made it clear, in an interview in The New York Times, that this would
not be the case. Some called it the worst PR disaster in LACMA’s
history, others claimed that LACMA ‘got screwed’, but perhaps
Christopher Knight got it right in the LA Times when he described
Broad as ‘a hugely successful businessman who exchanges project
involvement for near-absolute control’. Whatever you think about
his motives and motivations, there’s no doubt that museums and
curators in LA in particular (though there are a number of other
museums bearing his name dotted around the US) will probably be
most interested in what Broad thinks for some time to come.
the power 100

e-flux began in 1999 with an email announcement about a small


exhibition in a Holiday Inn hotel room – a sort of prototypical
artist-run space – in New York’s Chinatown; by 2002 it had become
the artworld’s central broadcasting network for everything and
anything related to the visual arts, and perhaps more importantly,

8
it had become economically self-sustaining. From this platform,
artist Anton Vidokle and various collaborators, in particular
artist Julieta Aranda and writer Brian Kuan Wood, began a set of
projects related to their interests; now a decade on, and not exactly
art collective (e-flux itself), nor school (unitednationsplaza;
Night School), nor archive (e-flux video rental; Martha Rosler
Library), nor activist group (The Next Documenta Should Be
Curated By an Artist), but all of these things and none of them
at once, Vidokle’s organisation has become the centre of a body
of work – real work and artwork – at once avant-garde and
possibly instrumental to the renewal of artistic practice as such.
‘Artists’ initiatives these days from the start mimic existing
Anton Vidokle/e-flux, institutional and commercial structures: incorporate, establish
Julieta Aranda & a board of directors, sell memberships, produce benefit auctions
and market editions, sell artworks, etc’, Vidokle told Hans Ulrich
Brian Kuan Wood Obrist a couple of years ago. ‘To think that this has no effect on
their programming or the content they generate would be naive.
Category: Website There is virtually no period of experimentation before this type
Nationality: Russian, Mexican, American of “normalised” behaviour sets in.’ The only cloud on the e-flux
Last Year: Reentry (99 in 2004) horizon is that for coming generations their behaviour, no matter
how random and unpredictable, is now a kind of institution in its
own right, and might, therefore, become the new norm.

After two years of builders, hardhats and scaffolding, Iwona Blazwick


can justifiably be proud of having masterminded the opening in
April of the Whitechapel Gallery’s £13 million expansion (which
doubled the space of the original gallery), an occasion marked by
a cornucopia of new shows and commissions, including German
legend Isa Genzken and Turner Prize nominee Goshka Macuga.
Indeed, under Blazwick, the gallery’s profile and programme have
been significantly expanded in a manner that has propelled the
institution to the centre (rather than the slightly-out-of-the-way
east-of-centre) of the London artworld: as well as running a series

9
of festivals, events and education programmes, the gallery launched
in September the inaugural London Art Book Fair (featuring 80
publishers). It continues to host the MaxMara Art Prize for women
artists and, in an age when many similar galleries are courting
publicity and popularity, to push an agenda promoting established
and emerging female talent (the next round of exhibitions features
leading French artist Sophie Calle and the considerably lesser
known Inci Eviner). Onetime ICA director of exhibitions, then
head of exhibitions and displays at the Tate, Blazwick is a shrewd
power operator – she gave Damien Hirst his first major show and
once declared that the Tate Modern Turbine Hall ‘was in fact
just a rehearsal’ for her plans for the Whitechapel; last year she
was appointed chair of the Mayor of London’s cultural strategy
Iwona Blazwick
group. She also found time to be a juror for this year’s Carnegie
Art Award and to lure curator Achim Borchardt-Hume from Tate. Category: Museum Director
Meanwhile, and unsurprisingly, gossips tip her to succeed a previous Nationality: British
Last Year: 76
Whitechapel director for the top job at Tate – when (or if) Sir Nick
decides to step down.

84 ArtReview
Pompidou Centre

Christine Macel

10
Chief Curator

This year Macel curated a Damián Ortega


exhibition as well as the French arm of
Philippe Parreno’s huge multivenue
retrospective-in-motion, and also wields
influence over the commercial galleries,
via the selection board of FIAC art fair.

Camille Morineau
Bruce Nauman Curator

Category: Artist Made history this year with elles@


Nationality: American centrepompidou, a year of showing only
Last Year: 45 female artists from the museum’s collection
– proving that, unlike other museums, they
have collected enough female artists
to do so, but also weaving a dramatic
alternative history.

The most important artist in the world? Who’s arguing? Not, one would imagine, many
people who saw Topological Gardens, Bruce Nauman’s stellar solo presentation in
Laurent Le Bon
the American Pavilion and two off-site locations at Venice this year. Not the Biennale Curator
jury that consequently awarded him a Golden Lion to match the one he received in
Part of the curatorial team for Voids, this
1999. And, obviously, not us. You can take Nauman historically: he’s a pioneer of
year’s challenging investigation into the art
postmedium practice and expanded forms of sculpture; while exploring issues of
of nothing. Le Bon directs planning team for
communication and how meaning is conveyed, he’s displayed a haunting sensitivity
Pompidou’s first regional museum, Centre
to life’s dead ends, circularities and cruelties; he’s a longstanding ironist and wit
Pompidou-Metz, opening early next year.
whose classic 1967 neon text piece, The True Artist Helps the World By Revealing
Mystic Truths, balances brilliantly on a knife-edge between sincerity and sarcasm.
The list of people he’s influenced ranges from Mike Kelley to Rachel Whiteread to
Tim Hawkinson. Yet his own art uncannily resists dating, and as he heads towards Bernard Blistène
seventy, the man who lit out for the seclusion of a New Mexico ranch in the mid- Director of Cultural Development
1980s is clearly not ready to be a historical figure. This year found Nauman marking
the 40th anniversary of the moon landings by skywriting the phrase ‘Leave the Currently overseeing the Pompidou’s first
earth alone’ above Pasadena: a statement that could refer to ecological concerns, the five-week new festival, responsible for taking
loneliness of an astronaut’s voyage into the ether or mortality, and whose ambiguity, the museum into new territories of
performance, theatre, interaction and music,
subtlety and sadness are classic Nauman. ‘Check any of the top 100 or top 10 lists in
with contributions from Carsten Höller,
the art glossies that track the ups and downs of artists’ popularity among collectors
Jorge Pardo, Elmgreen & Dragset, Tobias
photo: Carlos Basulado

and institutions and you will find that name firmly positioned at or near the summit’,
Rehberger and Ulla von Brandenburg.
wrote Robert Storr this year. Well, this is the list, Mr Storr; but it’s wholly true about
Nauman, and deservedly so.
the power 100

11
Iwan Wirth
12
David Zwirner
Category: Gallerist Category: Gallerist
Nationality: Swiss Nationality: German
Last Year: 5 Last Year: 7

Still in his late thirties, Europe’s leading dealer can boast an ‘I am a good salesman because I peddle good stuff.’ So said
international gallery empire: this September, he opened his David Zwirner back in March. One can’t fault the man
first New York venue. Bad timing? Hauser & Wirth began for straight talking. This past year saw Zwirner closing
in recession-struck 1992. As Wirth told Art+Auction in sales on $2 million paintings by Martin Kippenberger,
February: ‘Now is also a fantastic moment to expand.’ The $1m paintings by Neo Rauch (to Brad Pitt, no less) and
Manhattan venue launched by remaking Allan Kaprow’s nearly entire shows by Lisa Yuskavage. (One thing he
seminal 1961 environment Yard; simultaneously, Wirth supposedly couldn’t sell was a portrait of Bernie Madoff
keeps diversifying, signing up New Delhi-based Bharti by Yan Pei-Ming; but we think he’s got balls for even trying.)
Kher while representing both ninety-eight-year-old In addition to the estates of Sandback, Taylor and Matta-
Louise Bourgeois and twenty-eight-year-old Jakub Clark, Zwirner picked up those of Alice Neel and Dan
Julian Ziolkowski. ‘I am not Flavin. And to show all this ‘good

photos: Felix Clay, courtesy Hauser & Wirth, Zurich, London & New York (11), Grant Delin (12), Martin Schoeller (13), Johnnie Shand Kydd (14)
afraid of the current difficult stuff’? This autumn a new space,
climate and actually think we which will pick up Zwirner’s side
are in a great position’, Wirth of his now-closed partnership
recently told ARTINFO. It’s hard with Iwan Wirth (the new space
to disagree. is appropriately branded just
Zwirner), opens across the street
from the current gallery, on what
we might as well call Zwirner St.

13
Jeff Koons
14
Jay Jopling
Category: Artist Category: Gallerist
Nationality: American Nationality: British
Last Year: 11 Last Year: 6

Who could fail to be surprised Just a short fall for Jay Jopling
when watching Gus Van Sant’s this year. Given the numbers of
tear-jerker Milk last year to find galleries closing down or moving
Jeff Koons sagely offering Sean to cheaper digs, Jopling’s
Penn (as Harvey Milk) a bit of White Cube has weathered the
advice towards the beginning of recession pretty well, with the
his political career? What rendered the scene surreal was gallery represented at most major art fairs, and a string of
not so much the incongruity of artistic intentions (Gus solo shows over the last year by heavy-hitters and media-
Van Sant and Koons?) as the hitherto unconsidered friendly artists (Georg Baselitz, Tracey Emin, Gilbert &
possibility of one of the most photographed faces in George) as well as others by more recent additions to his
contemporary art successfully playing someone else. stable (Rosson Crow, Zhang Huan). Being papped with
I say ‘successfully’ because any lingering doubts could singer Lily Allen after separating from artist wife Sam
only be dispelled by end credits. Did he do it... for the Taylor-Wood caused a bit of a media storm in the new
money? If one were to judge by his ‘performance at year, but it’s since been business as usual for London’s
auction’, Koons is doing alright. His Moustache (2003), premier blue-chipper.
which this year featured in his first-ever institutional
show in London, at the Serpentine, sold for £1.1 million
at Christie’s in June. One doubts that a turn to the silver
screen has anything to do with issues of cash flow.

86 ArtReview
15
Marian Goodman Agnes Gund
16
Category: Gallerist Category: Collector
Nationality: American Nationality: American
Last Year: 17 Last Year: 29

The always understated, ever-present and much- Glance over the list of donors to New York cultural
respected keeper of contemporary art’s precinct of high- organisations, major and minor, or follow the faces
seriousness, Marian Goodman weathered the economic appearing in the society pages (at art events), and
tumult by watching her gallery’s artists rack up accolades one name appears consistently. But Agnes Gund’s
photos: Michael Goodman (15), Timothy Greenfield-Sanders (16), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Paris (17), Pierre-Jean de San Bartolomé (18)

for major institutional exhibitions. Steve McQueen’s support, and her presence, reflect a commitment to
Giardini reigned at the Venice Biennale: Jerry Saltz the nation’s increasingly stressed institutions that goes
called the film ‘haunting’ and a ‘real Venetian death beyond cheque writing and hobnobbing. She makes
trip’. John Baldessari, whom Goodman scooped up only the connections that get things done, whether it’s the
recently, is being honoured with a major exhibition at establishment of a programme to instruct museum
Tate Modern. Dan Graham got one that travelled from directors in the increasingly critical business aspects of
MOCA to the Whitney to the their jobs or the ongoing Studio
Walker, and Thomas Struth’s in a School, founded by Gund in
Old Master photographs found 1977, to bring artists into New
welcome walls at the Pulitzer in York’s public schools. Her efforts
St Louis. to keep art in the public dialogue
continue to set the standard for
committed engagement.

17
Takashi Murakami
18
Alfred Pacquement
Category: Artist Category: Museum Director
Nationality: Japanese Nationality: French
Last Year: 28 Last Year: 24

Along with running his Director of the Pompidou since


production company, Kaikai 2000, Pacquement’s current
Kiki, and his biannual art fair, claim to fame has a lot to do
GEISAI, the only artist to be a with a (comparatively) modest
candidate on Time magazine’s plan to expand and decentralise
100 Most Influential People shortlist found a bit of time the Pompidou and its collections. With plans in the
to churn out a few exhibitions in 2009. After a solo at offing to partner up with the Palais de Tokyo in order to
London’s Gagosian, and another at Larry’s Chelsea digs host more midcareer solo surveys and create a mobile
in New York, Murakami geared up for yet one more at Pompidou around France, the most concrete fruit of
Emmanuel Perrotin in Paris (rumour had it that the these intentions to date is Pompidou-Metz. The centre,
whole show was sold out before it was even uncrated). It which was originally meant to open in 2007 for the 30th
wasn’t the best auction year for the Japanese impresario anniversary of the Pompidou, is a bit behind schedule
– never mind his $2.6 million diamond-encrusted coup but should be opening next year. In the meantime, under
with Pharrell Williams at Art Basel this summer – but the aegis of Pacquement, the mothership continues
Murakami seems here to stay. Not least because, via his to host provocative and much-discussed exhibitions,
studio system and art fair, his influence is not limited to from Traces du sacré last year to Voids and elles@
his artworks. centrepompidou, the latter consisting of a novel rehanging
of the contemporary collection, exclusively featuring
work by women artists.
the power 100

19
Peter Fischli &
20
David Weiss Mike Kelley
Category: Artists Category: Artist
Nationality: Swiss Nationality: American
Last Year: New Last Year: 61

Opinion is remarkably undivided on Fischli/Weiss. They’re Three decades into a career known for dense multimedia
recognised masters of deadpan enquiry into the everyday, installations articulating the anxieties deep within
increasingly obviously so thanks to their retrospective American culture, and with a profound pedagogical
Flowers & Questions, which toured institutions from 2006 influence on recent art, Mike Kelley nevertheless
to 2008. To follow, and mindful of a 2009 exhibition at remains a rogue, outsiderish presence. Projects like
Madrid’s Reina Sofía museum collating their ‘Rat and A Voyage of Growth and Discovery (2009), currently
Bear’ works, the Swiss pair showing at Long Island’s
reanimated their tragicomic SculptureCenter, don’t hurt:
animal phenomenologists – who, it’s a six-channel, two-and-a-
in Part of a Film with Rat and half-hour video collaboration
Bear (2008), float hilariously with artist Michael Smith,
and plaintively around Milan’s narrating an oversize baby’s
Palazzo Litta. If their animal traumatic life. Kelley, as his
avatars are lost in space, Fischli/ work has long attested, was
Weiss – who this year celebrate once a punk from Ann Arbor,
30 years of working together – Michigan; he still is, somehow,
are as surefooted as ever. as a fiftysomething represented
by Gagosian. Quite a feat.

21
Barbara Gladstone
22
Steven A. Cohen
Category: Gallerist Category: Collector
Nationality: American Nationality: American
Last Year: 26 Last Year: 12

It could have been a terrible year In that part of the artworld


for gallerist Barbara Gladstone: where money talks and bullshit
she was named as a personal walks, Cohen, 87th on the
victim of Bernie Madoff ’s Forbes 2009 list of billionaires
notorious Ponzi scheme. (net worth $5.5 billion, down
Thankfully, the pension she from a 2008 estimate of $8b),
had with him for her employees still dominates conversations.
was shut down in 2008, sparing His acquisitions dazzle, both
the gallery the staff cuts that for quality and price, and all
have affected so many others. the more now that dosh has
With her spaces in New York and Brussels unaffected, become a wee bit scarcer. Along
she has mounted several impressive exhibitions this with his collection, Cohen has picked up 5.9 percent of
year, including those by big-hitters Matthew Barney Sotheby’s common stock, and last spring the auction
and Thomas Hirschhorn, as well as more economically house mounted a show of 20 pieces from his private and
adventurous offerings, such as a show of comic-book art rarely seen holdings. Works by Van Gogh, Modigliani,
over the summer. Matisse, Lucian Freud and Cindy Sherman suggested
that there was more to Cohen’s hoard than sheer buying
power and more to Sotheby’s than rank commerce. But
the marriage ultimately indicated what cosy bedfellows
art and commerce continue to make. For richer and for
poorer, as the wedding vow states.
88 ArtReview
Agnes Gund photographed by Juergen Teller, 11 September, New York
Kathy Halbreich photographed by Heinz Peter Knes, 15 September, New York
Glenn D. Lowry photographed by Heinz Peter Knes, 15 September, New York
Eli Broad photographed by Michael Evanet, 10 September, Los Angeles
Iwan Wirth photographed by Robi Rodriguez, 16 September, London
John Baldessari photographed by Heinz Peter Knes, 17 September, New York
David Zwirner photographed by Juergen Teller, 11 September, New York
Iwona Blazwick photographed by Robi Rodriguez, 14 September, London
23
Dominique Lévy &
Robert Mnuchin
Category: Gallerists
Nationality: American
Last Year: 20 Whitney Museum of
L&M propel the major deals in the US auctions. Love American Art
and money? No, it’s Lévy and Mnuchin of L&M Arts.
Rulers of the New York secondary market, they are
moving forcefully into primary territory with the opening Donna De Salvo
of their LA gallery. Though delayed somewhat by permit
issues, it’s a big project (two linked ‘pavilions’ set in a Chief Curator and Associate Director
of Programs
375-square-metre garden and comprising 110 square
metres of exhibition space each). And it’s a showstopper
A guiding hand in most everything that is seen
of an opening for September 2010 – Paul McCarthy’s
or heard (and sometimes smelled, touched
first exhibition in an LA gallery
and tasted) at the Whitney. This month brings
since 1998. McCarthy says he’s
Roni Horn aka Roni Horn, a survey of the
‘pretty excited’. So are we. artist’s work, which was organised by De Salvo
along with Carter Foster, also of the Whitney,
and Mark Godfrey of Tate Modern (De Salvo’s
old stomping ground, and where the show ran
from February through May). Exhibitions like
these seem to be De Salvo’s bread and butter:
important works by important artists with
important things to say.

24 Shamim M. Momin
Adjunct Curator

Cocurator of the 2004 and 2008 Whitney


photo: © Dawoud Bey (background: © Sol LeWitt/Artists Rights Society (ARS), New York) (24)

Adam D. Weinberg biennials, and director and curator of the


Whitney branch at Altria from 2000 to 2008,
Momin cofounded the Los Angeles Nomadic
Category: Museum Director
Division (LAND) this year. The nonprofit
Nationality: American
LAND, which she also directs, aims to meet
Last Year: 36 (with curator the need for a public arts organisation in the
Donna De Salvo as the entry) city.

Under the affable Weinberg’s


six-year watch the Whitney Chrissie Iles
has continued to keep one foot Curator
firmly in the contemporary.
The past year has seen exhibitions of Elad Lassry and Formerly director of the Museum of Modern
Lucinda Childs and retrospectives of Dan Graham and Art, Oxford, and cocurator of the 2004 and
William Eggleston. For the 2010 biennial, the pairing of 2006 Whitney biennials, as well as the
Francesco Bonami with young Whitney curator Gary Whitney’s current Dan Graham retrospective
(which travelled from MOCA, LA). Iles’s
Carrion-Murayari (responsible for last year’s punchy
interests in film, video and minimalist and
exhibition series Television Delivers People, which
process-based art of the 1960s and 70s are
included artists such as Alex Bag and Keren Cytter) is
clearly reflected in the Whitney’s artistic
a canny one for a New York in which sales have not so
policy.
readily been propelling new artists into the foreground.
A twenty-first-century museum is also under way: Renzo
Piano’s designs for Whitney downtown, a 17,000-square-
metre building in the Meatpacking District by High Line
park, have just been revealed.
the power 100

25 26
Amy Cappellazzo
Marc Glimcher
& Brett Gorvy
Category: Gallerist Category: Auction House
Nationality: American Nationality: British/American
Last Year: 22 Last Year: 15

No one was immune to the economic crisis, and Gone are the guarantees. Well, not exactly. Some just
PaceWildenstein, one of the largest, most professional won’t go away; like the one of $40 million for a Francis
and oft-envied galleries in New York, had to lay off Bacon painting, on which Christie’s allegedly reneged
12 percent of its staff. Things are not all bad, though. when markets turned south last autumn (according to
Glimcher brokered what must be one of the artworld’s reports, Gorvy was one of the ‘big guns’ dispatched to
largest private sales: $310 million in Rothkos from the secure the work in the first place). Nevertheless, last
Merkin collection to an anonymous buyer. Sterling Ruby May’s Evening Sale for contemporary art reached close
and David Hockney joined the gallery. Lucas Samaras to $94 million. Though this was paltry compared to the
represented Greece at the $348.2 million pulled in the
Venice Biennale. And Glimcher previous year, 50 of the 54 lots
launched Artifex Press, a first- sold, which is something of a
of-its-kind digital publishing triumph in itself, and included
platform for the production records for David Hockney,
and distribution of catalogues Claes Oldenburg and Kerry
raisonnés (Sol LeWitt, Agnes James Marshall.
Martin and Chuck Close are
in the lineup); oh, and Pace
celebrates its 50th anniversary
this spring.

27
Cheyenne Westphal
28
Ann Philbin
& Tobias Meyer
Category: Auction House Category: Museum Director

photos: Kerry Ryan McFate, courtesy PaceWildenstein, New York (25), Alia (28)
Nationality: German Nationality: American
Last Year: 16 Last Year: 39

Responding to last year’s Today there seem to be two


drastic declines at the Sotheby’s players in the LA museum
Contemporary Art sales in New scene – Eli Broad, who rescued
York in November, Tobias MOCA from fiscal disaster and
Meyer told one reporter that built his own Renzo Piano-
the ‘silly money’ was gone and designed place – and Ann
that he was now actually a bit Philbin, who’s kept the Hammer
relieved to be auctioneering to Museum (which she directs) on
a ‘responsible and intelligent course and ahead of the game.
audience’. Um... Tobias? Even This year the Hammer mounted
the Russians? Regardless, it’s a show of work by young LA sculptors – all donated by
still trouble when even the auction houses are getting savvy collectors Dean Valentine and Amy Adelson – and
in on the economic-crisis-will-cleanse-the-artworld’s- a Charles Burchfield retrospective curated by Robert
soul shtick. Meyer and Westphal still muscle through, Gober. Philbin also hired Douglas Fogle, curator of
and anyone who can engineer the public sale of a Dan the last Carnegie International and a veteran of Kathy
Colen for close to $400K must still have some kind of Halbreich’s reign at the Walker, ensuring that her
magic touch. institution remains innovative and fresh.

98 ArtReview
29
Matthew Higgs
30
Matthew Marks
Category: Curator Category: Gallerist
Nationality: British Nationality: American
Last Year: Reentry (81 in 2006) Last Year: 27

When White Columns turned 40 this year, David Byrne Some called it a response to the downward-
and Cindy Sherman were among the birthday-party spiralling economy, the fact that Matthew Marks was
guests; an auction raised $300,000 for Manhattan’s conspicuously absent from this year’s Armory Show
oldest alternative art space. Matthew Higgs, director (which, we seem destined to remind you in these pages,
and chief curator, deserves credit: everyone respects the dealer had a hand in beginning back in 1994, when
him, and given the prodigious number of variously punk- it was the Gramercy International Contemporary Art
spirited and cross-generational shows the English ex- Fair). But if you were paying attention, you would have
pat has put on since 2004, there’ve been opportunities noticed that in addition to impressive booths at Art
aplenty to fail. Meanwhile, Basel Miami Beach and the
somehow, Higgs maintains well-heeled Art Show, Marks
a parallel career as an artist, did a turn at Design Miami.
exhibiting his droll, language- With a spare booth dedicated to
based conceptualism this year the ‘domestic furniture’ of Roy
at New York’s Murray Guy and McMakin, Marks demonstrated
in 2008 at London’s Wilkinson. a flexibility that few gallerists
We’ll have what he’s having. would, or could, risk.

31
Tim Blum &
32
Gavin Brown
Jeff Poe
Category: Gallerists Category: Gallerist
Nationality: American Nationality: British
Last Year: 48 Last Year: 57

It’s said of Larry Gagosian The enterprising Mr Brown


that he always expands in a continued to walk a fine line
recession. He’s not the only between commerciality and cool
one. LA dealers Blum & Poe this year, his gallery alternating
are moving into what will sprawling, funky installations
be one of the West Coast’s ( Jo n a t h a n H o r o w i t z ’s
biggest commercial galleries, a celebratory, president-in-
2,000-square-metre space on waiting-themed Obama 08
La Cienega Boulevard featuring last October; January’s loose-
three exhibition spaces and a limbed hipster group show The
225-square-metre project space. Then again, Blum & Living and the Dead) with solos by bankable daubers
Poe have been bucking trends for years, not least by like Peter Doig and Verne Dawson. The rest of the roster
photo: Andrea Spotorno (31)

being the first gallery to settle in the consequently didn’t disappoint either: with Mark Leckey scooping
booming Culver City area, in 2003. What’s collateralising up the Turner Prize and Elizabeth Peyton doing weird
the trade-up is their stellar list of artists, from blue- collaborations with Matthew Barney, Brown appears to
chip names like Keith Tyson and Takashi Murakami to have his finger in the right pies and on the pulse.
current golden boy Mark Grotjahn and the increasingly
ubiquitous Sharon Lockhart. Coming up on 15 years,
theirs is a dealing team that knows about happy returns.
the power 100

33 34
Ralph Rugoff Liam Gillick
Category: Museum Director Category: Artist
Nationality: American Nationality: British
Last Year: 74 Last Year: 86

When Ralph Rugoff assumed the directorship of the Having pulled off the tricky feat of being a British artist
Hayward Gallery in 2006, The Guardian – noting based in New York representing Germany at the Venice
his playful experimentation during six years at CCA Biennale with a talking cat, Liam Gillick continues to be
Wattis, in San Francisco – wagered that people would be a reference point for critically complex, intellectually
queuing up ‘to be dangled upside down by their ankles’. ambitious art. With his yearlong ‘retrospective’
Kinesthetic antics have, indeed, become the Hayward’s concluding at the Museum of Contemporary Art,
speciality. Last summer’s Walking in My Mind offered Chicago, an MIT book of essays by leading theorists
hallucinatory environments and a vast pornographic devoted to his work, a solo show at the MAK in Vienna
workshop. ‘Smart populism’ has remained the watch- and architectural collaborations in Vancouver and
word this year, via Andy Warhol Mexico, you’d think Gillick
and Ed Ruscha shows. With an wouldn’t have any time to teach
upstairs Project Space deliver- at Columbia, Bard College and
ing the speedy counterpoint Harvard. But he does.
to weighty institutional shows,
and presuming Rugoff and his
cocurators can keep pleasing
tourists and insiders, the
Hayward’s future looks rosy.

35
Anne Pasternak
36
Dakis Joannou

photos: Ari Marcopoulos (33), Timothy Greenfield-Sanders (35), Nicholas Samartis (36)
Category: Curator Category: Collector
Nationality: American Nationality: Greek
Last Year: New Last Year: 31

Creative Time, the Public Art What Greek industrialist


Fund’s edgier little sister, led Dakis Joannou has done for
by Anne Pasternak, have shown contemporary art in Greece
fearlessness in reacting to the cannot be underestimated. Not
current economic climate. just another big-game hunter
This year they helped Jeremy Deller drag a burnt- who collects Koons, Hirst, Cattelan and Gupta, Joannou
out car wreck from Baghdad across America to start established the nonprofit Deste foundation in Athens
conversations about Iraq, and took on issues of social in 1983, which hosts exhibitions of high international
justice in a recent daylong summit of bright art minds. calibre, and inaugurated the Deste prize in 1999 –
Their free university BHQFU, run with the Bruce High awarded biennially to a Greek artist living in Greece
Quality Foundation, aspires to rip up the commercially or abroad. After the 2008 unveiling of his headline-
influenced art-education book and rewrite it from grabbing 35-metre yacht, Guilty, whose exterior
scratch. And they have their own brand of tiny booty was designed by Koons, 2009 seems to have been a
shorts. Looks like they are having a go at remaking the comparatively quiet year for the billionaire. Still, his
artworld. ongoing commitment to contemporary art should
continue to be applauded.

100 ArtReview
37 38
photos: © 2007 Sidney B. Felsen (37), Wolfgang Tillmans, courtesy Galerie Daniel Buchholz, Cologne & Berlin (38), Mara McCarthy, courtesy the artist and Hauser & Wirth, Zurich, London & New York (39)

John Baldessari Isa Genzken


Category: Artist Category: Artist
Nationality: American Nationality: German
Last Year: 88 Last Year: New

It’s Baldessari Time: a Golden Lion for Lifetime Two years after representing Germany at the Venice
Achievement at Venice, followed by John Baldessari: Biennale with the exhibition Oil, Genzken received her
Pure Beauty, a generous retrospective opening at first retrospective at London’s Whitechapel Gallery, a
Tate Modern this month. Wholly deserved (if belated; mammoth show that is currently touring to Museum
he’s seventy-eight), given that the Californian’s slyly Ludwig in Cologne. It is a timely look at the work of an
comic conceptual strategies and legendary tutoring artist whose influence is being found in many younger
have inspired generations of artists. Baldessari’s last artists’ work, particularly those who share her interest
exhibition at Marian Goodman, in winter 2008, featured in the ruins of material culture. With a four-decade
a lot of furrowed eyebrows that, the artist suggested, said: career under her belt, as well as the International Art
‘Aren’t we all worried?’ His own prize and Wolfgang-Hahn-
frown is, assumedly, now turned Prize, Genzken’s place in the art
upside down. firmament is secure.

39
Paul McCarthy
40
Michael Govan
Category: Artist Category: Museum Director
Nationality: American Nationality: American
Last Year: 62 Last Year: 21

It’s been another good year for A stormy year for Govan,
LA artist Paul McCarthy. Fresh beginning as he waded in with
from curating Part 2 of his Low an unsuccessful merger offer
Life Slow Life show at the CCA for struggling MOCA. His own
Wattis, in San Francisco, which institution, the Los Angeles
closed in May, he is due to open L&M Arts’s new LA County Museum of Art, was also straining financially, and
gallery space with a show next September, currently has thunder descended when Govan scrapped the museum’s
a solo show at New York’s Hauser & Wirth following one long-running weekend film programme. Protests began,
at the gallery’s Zurich space in the summer, and will have letters from luminaries such as Martin Scorsese flew in,
a sculpture sit in Regent’s Park for six months following urging that film be treated as an art; the programme has
Frieze Art Fair. Not bad going. Oh, and he somehow been temporarily reinstated. Some canny deaccessoning
manages to fit in being professor emeritus in UCLA’s art has given way to collection-strengthening acquisitions,
department as well. however, and a clement spell may lie ahead, with a new
sparky contemporary art curator in the shape of the
Menil Collection’s Franklin Sirmans, and an injection
of cash from the Getty Foundation to consider postwar
LA art.
the power 100

41
Eugenio López
42
Cindy Sherman
Category: Collector Category: Artist
Nationality: Mexican Nationality: American
Last Year: Reentry (47 in 2007) Last Year: 82

Eugenio López, sole heir to Jumex, one of the world’s Cindy Sherman’s year has been a good one. Her most
largest drinks companies, has spent the last 20 years recent series of photographs, large-scale portraits of
putting contemporary Mexican art on the map. Among ageing society dames, opened to rave reviews in New York
his achievements: a collection of nearly 2,000 works, last November, and then later in Berlin and London. Her
soon to move to a David Chipperfield-designed building continued presence in every top collector’s stores (not
in the centre of Mexico City; early and consistent to mention in the inaugural show at François Pinault’s
support for artists such Gabriel Orozco and galleries new Punta della Dogana space in Venice) ensures she is
such as Kurimanzutto; and a one of the most bankable as well
curatorial programme which as critically acclaimed artists
has brought Tate’s Jessica working today.
Morgan and Philippe Vergne
(now director of Dia), among
others, to his private museum.
And as anyone who’s been to
his openings can attest, he does
it all with supreme panache. If
you haven’t been, a selection of
works from the collection are on
show at Vienna’s MUMOK.

43 44

photos: Mark Seliger, courtesy the artist and Metro Pictures, New York (42), Mauricio Donelli (44)
Patricia Phelps
Ai Weiwei
de Cisneros
Category: Artist Category: Collector
Nationality: Chinese Nationality: Venezuelan
Last Year: 47 Last Year: 41

It’s not every artist who’s taken A vital champion and collector
seriously enough to get beaten of Latin American art, Patricia
up by the police for asking too Phelps de Cisneros is known for
many questions, but then Ai an impressive collection and for
Weiwei is not every artist. The the Fundación Cisneros, a private
fifty-two-year-old Chinese art philanthropic organisation
star is also one of his country’s tasked, among other things,
leading activists and dissidents. with increasing awareness of
Having spent much of 2009 Latin America’s contributions
compiling a list of all the children to world culture. The Colección
who died in the Sichuan earthquake of May 2008, Ai Patricia Phelps de Cisneros (CPPC) is thought to be the
was assaulted by police in August while trying to testify best ever assembled collection of Latin American art, and
in defence of another activist. He needed emergency institutions across the US are waiting with bated breath
surgery a month later for a brain haemorrhage, while to find out if they will benefit from donations now that its
preparing for a big show at the HDK in Munich. Never period of itinerancy is officially over. Phelps de Cisneros
one for the easy way out, Ai shows that art isn’t all empty also sits on the board of trustees at MoMA and the Tate’s
glitz and celebrity. International Council.

102 ArtReview
45
Annette Schönholzer &
46
Diedrich Diederichsen
Marc Spiegler
Category: Art Fair Directors Category: Critic
Nationality: Swiss/American Nationality: German
Last Year: 23 Last Year: New

Annette Schönholzer and Marc Spiegler run Art Basel Academic, writer, curator, this former editor of German
and its sister fair at Miami Beach, among the biggest music magazines Sounds and Spex, and current professor
events on the art market calendar. This summer’s Art at Vienna’s Academy of Fine Arts is that rare individual
Basel went much better than many people had expected who can marry criticism of art and music without
(attendance was up on the previous year), but the Miami coming across as a fool. He produces an avalanche of
edition (like most art fairs) looks a little more shaky: fiercely analytical yet occasionally breezy writing to wide
a reported 60 galleries (including big names such as admiration, and this year curated Rock – Paper – Scissors,
Maureen Paley and Arndt & an exhibition at Kunsthaus
Partner) will not be returning in Graz on art’s relationship to
December. Perhaps that’s why pop music. His 2008 book On
this winter’s fair promises some (Surplus) Value in Art employs
interesting improvements and a Marxist approach to the
additions that should keep its dematerialisation of the art
influence up, with larger booths object in the face of filesharing
for dealers, emerging artists and download culture in a
occupying the central space and weakened economy, revealing a
an installation by Pae White rare voice willing to step up and
taking up the waterfront space. face some of art’s most pressing
concerns.

47 48
Richard Prince Damien Hirst
Category: Artist Category: Artist
Nationality: American Nationality: British
Last Year: 19 Last Year: 1

‘I drive a beat-up Volvo. I keep Following a storm of criticism


time with a $15 watch. I wear and consternation after his
dungarees and T-shirts’, Richard straight-to-market auction
Prince told Portfolio earlier this at Sotheby’s, Hirst seems to
year, describing his love of a have decided to step back and
simple life before adding that take stock, mothballing much
in his spare time he’s ‘learning of his usual activity – ending
to fly my own plane’. This split production on some lines,
personality has been on view closing studios and reducing
in the artist’s exhibitions this staff. His quietude means he
past year, from his wrapping of the Hong Kong Museum hasn’t been setting the media agenda: Saatchi’s ‘off-form’
of Art to appearing at the cool beating heart of the comments, Hirst’s ill-judged copyright feud with a young
exhibition Sonic Youth Etc.: Sensational Fix. Auction graffiti artist and protests over his butterfly-decorated
photo: David Bailey (48)

prices for his work have plummeted, and he’s being sued bicycle for Lance Armstrong were PR low-points. But a
for alleged copyright infringements, but Prince has been massive retrospective at the PinchukArtCentre in Kiev
on display where it matters most: at the Met, in The shows that artworld still loves the old-bad-boy of Britart,
Pictures Generation; Gagosian Madison Avenue, in a and his current show of macabre blue paintings at
solo show; and not least Pinault’s new Dogana space in London’s Wallace Collection may signal the emergence
Venice. of a calmer, more contemplative Hirst.
the power 100

49 50
Bernard Arnault Massimiliano Gioni
Category: Collector Category: Curator
Nationality: France Nationality: Italian
Last Year: 32 Last Year: 78

Last year we paraded French multibillionaire Bernard This year Massimiliano Gioni outdid previous
Arnault as proof that money alone can’t get you to the achievements (cocurating Manifesta in 2004 and the
top of this list, pointing out that, despite his staggering Berlin Biennale in 2006, for instance) by helping define
wealth, he still lagged behind Pinault in our ranks (who a generation. At New York’s New Museum, where he’s
is comparatively less rich). But it was speculated that director of special exhibitions, the debonair Italian
this order could change with the opening of Arnault’s co-organised The Generational: Younger than Jesus,
Gehry-designed museum to house a not inconsiderable featuring 50 artists from 25 countries. Under thirty-three,
private collection. Well, the museum still isn’t open, and making art and not included? Consider yourself out. And
Arnault, along with everyone else in the world, got a bit while Gioni himself – who in spare moments is artistic
poorer (according to Forbes). director of Milan’s Trussardi
No cause for panic: he’s still the Foundation – is, at thirty-five,
15th richest man in the world, comparatively wizened, he’ll still
and the richest in France. And be the youngest ever director of
his group continues to host the Gwangju Biennale when he
exhibitions and sponsor art- organises the 2010 edition.
related events. So we’ll keep our
eye on him in the year to come.

51
Amanda Sharp &
52
Matthew Slotover Joel Wachs
Category: Art Fair Directors Category: Arts Administrator
Nationality: British Nationality: American
Last Year: 25 Last Year: New

‘Frieze week’ has become a Committed, passionate and


London institution; galleries voraciously curious, Joel Wachs,
save their best shows for it, president of the Andy Warhol
and not even the most devoted Foundation for the Visual Arts,
reveller can attend all the oversees millions in grants to
parties, dinners and special events. But what of the innovative institutions, curatorial research projects
photos: Selva Barini (50), Linda Nylind (51)

catalysing event at its centre? Last year’s Frieze Art and under-the-radar artists in places as varied as
Fair opened shortly after the markets crashed; it wasn’t Beirut and Alabama. A tireless advocate, Wachs travels
a washout, but the fair founded by Frieze magazine’s constantly, working a vast network in support of the
Sharp and Slotover still looks a bit fragile, despite institutions, projects and artists he believes in, thereby
its usual fizzy distractions: the number of New York setting the standard for targeted, effective engagement.
galleries attending has halved since 2007, and while He promised his private collection, assembled with a
demand for booths has apparently been strong, Frieze discerning, independent eye, to MOCA (he was formerly
is clearly profiting from the sinking satellite fairs. A new an LA politician), and he does not sit on the controversial
section, Frame, featuring solo shows and modelled on Art Authentication Board.
Basel’s Art Statements, was allegedly so inundated with
applications that it has doubled its expected size. Still,
the operative adage here is ‘wait and see’.

104 ArtReview
Matthew Higgs photographed by Heinz Peter Knes, 14 September, New York
Gavin Brown photographed by Juergen Teller, 14 September, New York
Ralph Rugoff photographed by Ari Marcopoulos, 13 September, London
Anton Vidokle photographed by Heinz Peter Knes, 19 September, New York
Peter Schjeldahl photographed by Juergen Teller, 14 September, New York
Liam Gillick photographed by Heinz Peter Knes, 17 September, New York
53 54
Udo Kittelmann
Victor Pinchuk
Category: Collector Category: Museum Director
Nationality: Ukrainian Nationality: German
Last Year: 67 Last Year: Reentry (55 in 2003)

Ukraine’s second-wealthiest businessman, Victor The job that Udo Kittelmann took on this year, as
Pinchuk, has been busy bolstering his position as an director of Berlin’s Nationalgalerie, is no easy one. The
artworld player this year. For one, he was revealed to Nationalgalerie consists of five very different institutions,
be the fourth stakeholder in Damien Hirst’s diamond- including the Hamburger Bahnhof, Europe’s largest
encrusted £50 million skull, For the Love of God (2007). museum of contemporary art. Funding is scarce and
He also staged a major exhibition of Hirst’s work at the staffing level is alarming, yet with his opening shows
his art centre in Kiev, as well as bankrolling Ukraine’s he set a new standard and gave these museums a new
national pavilion (curated by a heavyweight boxer) at life. Combining popularity with glamour, he turned the
the Venice Biennale. While his friends include Elton Hamburger Bahnhof from a museum that was marred
John and Steven Spielberg, by its reliance on collectors and their influence into an
Pinchuk hasn’t forgotten exciting and fresh exhibition
his homeland and is keen to space. Meanwhile a large-
promote the art scene there: scale retrospective of work by
the PinchukArtCentre Prize is a Thomas Demand has reopened
new award for young Ukrainian Mies van der Rohe’s iconic
artists. Neue Nationalgalerie space to
rave reviews.

55
Marina Abramovic
56
Michael Ringier
photos: courtesy PinchukArtCentre, Kiev (53), Mathieu Malouf (54), Reto Guntli (55)

Category: Artist Category: Collector


Nationality: Serbian Nationality: Swiss
Last Year: New Last Year: 42

It’s a surprise that Marina Liam Gillick, Aleksandra Mir,


Abramović has never made this Christopher Williams, Matt
list before, given that she has Mullican, Richard Prince,
been one of the most consistent Richard Phillips, Fischli &
and influential performance Weiss, Josh Smith – the list of
artists for more than 30 years. This summer she curated artists who in recent years have designed the annual
an ambitious group show in Manchester; next year she report for Michael Ringier’s media holdings is impressive,
has a huge retrospective at MoMA, with a biography and would be respectable for any art publisher, which
due as well. Meanwhile Irish playwright John Breen is, of course, one of his identities: he owns JRP Ringier
is immortalising her in an opera he is composing – and also the German art and lifestyle glossy Monopol.
hopefully he’ll do a better job than the caricature of her But Ringier is also one of Switzerland’s most assiduous
12-day fasting performance at the Sean Kelly Gallery in and multidimensional collectors, and seems to be aiming
2002 that appeared in an episode of Sex and the City. for a higher public profile for his collection of almost
Not that Abramović objected: ‘It’s fantastic’, she told 2,000 works by more than 200 artists – with a first
The New York Times, ‘the popular culture absorbing comprehensive presentation last year in Lucerne and
me’. That someone who gorges on honey and wine the current solo exhibition of Mark Morrisroe in Berlin’s
before carving stars on her belly, whipping herself and Kunsthalle Koidl.
lying on a cross of ice (Thomas Lips, 1975) can hit the
mainstream is saying something indeed.
the power 100

57 58
Richard Serra
Gerhard Richter
Category: Artist Category: Artist
Nationality: German Nationality: American
Last Year: 18 Last Year: 33

It’s not all work and no play for Gerhard Richter: Last year Hal Foster discerned a ‘late style’ that ‘combines
according to Stella McCartney, the seventy-seven-year- simplicity and grandeur’ in Promenade (2008), Richard
old artist attended one of the designer’s shows. Still, it’s Serra’s staggering, staggered parade of metal uprights
mostly work. According to his website, Richter kept up for Paris’s Grand Palais. This year, alongside memorable
a barrelling pace in 2009, including 11 solo exhibitions shows of disorienting new sculptures at Gagosian in
– among them an unprecedented show devoted to London and a retrospective of drawings at the Kunsthaus
portraits at London’s National Portrait Gallery; and as Bregenz, the American received an unlikely accolade:
if to showcase his legendary stylistic pluralism, Gerhard Out-of-round X (1999), a work
Richter: Abstract Paintings at on paper featuring an abyssal
Haus der Kunst, Munich – and black hole, graced the cover of
19 group shows. Phew. Well, drone-metallers Sunn O)))’s
when you’re widely considered Monoliths and Dimensions
to be Europe’s greatest living (2009). Well, who’s more
painter, people will ask. heavy metal than Serra?
Seventy this month, the ‘man
of steel’ remains indisputably
the leading sculptor of his
generation.

59
RoseLee Goldberg
60
Kasper König
Category: Curator Category: Museum Director
Nationality: South African Nationality: German
Last Year: New Last Year: Reentry (25, with his family, 2005)

When RoseLee Goldberg It is not just his career that is


founded Performa, New York’s extraordinary – early success as a
performance art biennial, in curator, professor in Düsseldorf,
2004, her aim was ‘to show director of the Städelschule
the relevance of live art as in Frankfurt and, for almost
an innovative and important ten years now, director of the photos: Hubert Becker (57), Patrick McMullan (59)

contemporary art form’. That influential Museum Ludwig in


has certainly since been realised Cologne, founding along the way
– not just through Performa’s the decennial Skulptur Projekte
impressive programme but Münster and Frankfurt’s
also in the artworld’s renewed interest in performance Portikus – there’s also his family. The Königs have to
art (MoMA, for example, spruced up its department of be the single best-connected family in the artworld,
New Media, now helmed by Klaus Biesenbach, to include from Kasper’s wife, the art dealer Barbara Weiss, to his
performance art). Perfoma’s third edition opens this two sons and their tremendously successful galleries in
month and features an incredible list of commissioned New York (Leo Koenig Inc) and Berlin (Johann König,
works by artists including Guy Ben-Ner, Dominique number 88 on this list), to his brother’s publishing and
Gonzalez-Foerster and Mike Kelley, and premieres by bookshop emporium, Walther König Books, reaching
Tacita Dean and Joan Jonas. audiences all over the world.

112 ArtReview
61 62
Monika Sprüth &
Roberta Smith
Philomene Magers
Category: Critic
Nationality: American Category: Gallerists
Last Year: 71 Nationality: German
Last Year: Reentry (87, as Sprüth Magers Lee, in 2005)
Now in her 23rd year at The New York Times, the paper’s
chief art critic remains our clearest and rangiest day-to- Monika Sprüth and Philomene Magers have been
day critic. In two consecutive days in September alone, powerful forces in the artworld for more than 20 years.
the paper first ran Smith’s multi-interview financial First opening separate galleries in Cologne, they became
investigation of Manhattan’s art scene and then her successful promoting the work of artists such as Cindy
inventively lyrical piece on Monet (one panel of Water Sherman, Barbara Kruger and Jenny Holzer, and later
Lilies conversing with others like ‘a glissando of violins’). John Baldessari and Andreas Gursky. After combining
If dilettantism is easy, mastering the big picture and the forces in the late 1990s, their business has expanded,
glimmering detail isn’t; Smith taking in a gallery in London
simply makes it look that way. and a museum-scale space in
Berlin. Successful recent shows
include the European debut of
Sherman’s latest series and a
Fischli /Weiss show before that,
while gallery artists Baldessari
and Thomas Demand are
currently enjoying solo shows
at Tate Modern and the Neue
Nationalgalerie, respectively.
photos: Julia Stoschek (62), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Miami & Paris (64)

63
Germano Celant
64
Emmanuel Perrotin
Category: Curator Category: Gallerist
Nationality: Italian Nationality: French
Last Year: Reentry (63 in 2002) Last Year: 64

Four decades after he coined The ‘French Gagosian’ has had a


the term Arte Povera, Germano mixed year. Forced to mothball
Celant is still moulding his Miami outpost in January,
perceptions of art in and Perrotin earlier announced
outside Italy. Senior curator the formation of a production
of contemporary art at the company, Artists’ Dreams,
Guggenheim, New York, Celant to build on the Paris dealer’s
has also been director of the success in finding backers to
Prada Foundation since 1995, realise large works (eg, Piotr
overseeing its admirable stream Uklanski’s 1996 Untitled (Floor
of biannual shows: the most recent being by Natalie Dance)). The first major project announced under these
Djurberg. And when, by 2012, the organisation opens its auspices (investors take a percentage of the dealer’s cut,
1,600-square-metre Rem Koolhaas-designed landmark its size determined by how long the work takes to sell),
of a museum in Milan – a venue for the 500-plus Xavier Veilhan’s epic sculptural array for Versailles,
contemporary artworks Miuccia Prada has collected opened in September. Last November Damien Hirst
since 1993 – he’ll run it. Celant, says Mrs Prada, ‘taught reignited his relationship with Perrotin after 19 years;
me quality’. Enough said. a show is planned for April. And with the comparably
bankable Takashi Murakami’s self-portraits recently
gracing his gallery walls, this gallerist seems to be doing
just fine.
the power 100

65 66
Beatrix Ruf
Peter Schjeldahl
Category: Critic Category: Curator
Nationality: American Nationality: German
Last Year: 72 Last Year: New

A relatively quiet year for the New Yorker’s virtuosic Beatrix Ruf sports a many-feathered cap. Alongside
chief art critic, though it should be allowed that a) we’re numerous independent curatorial projects (2006 Tate
still digesting his dazzling 2008 collection of columns, Triennial, 2008 Yokohama Triennial…), she curates the
Let’s See; and b) he did have an online spat with Geoff Ringier collection, holds an editorial post at publishers
Dyer which ended with Schjeldahl calling the English JRP Ringier and writes prolifically. But it’s her eight
novelist a ‘motherfucker’. Flame wars aside, he continues years as director/curator of the Kunsthalle Zurich that
to look, think and write on a level several leagues above have gilded her rep: via shows by General Idea, Trisha
his peers. On the New Museum’s Younger than Jesus, to Donnelly, Tris Vonna-Michell and many more, she’s
select a random example: ‘Novelty keeps us spry, and presided over a programme that’s hip but never shallow,
it cleans up after itself by being gone in a minute.’ This and almost certainly the sharpest on the kunsthalle
year, once again, the author circuit: if you’re an artist at
of that worldly-wise slap was midcareer or before, under Ruf’s
pretty much unassailable. roof is where you want to be.

67 68
Okwui Enwezor Nicolas Bourriaud
Category: Curator Category: Curator
Nationality: American Nationality: French
Last Year: 83 Last Year: New

photos: Sigrid Rothe (65), Jeff Weiner (67), © Mikael Olsson (68)
Okwui Enwezor has been an Not content with coining the
admirable multitasker for years term ‘relational aesthetics’ for
– helming expos (Documenta a generation of art students,
11, and biennials in Seville, Nicolas Bourriaud spent last
Johannesburg and, in 2008, year coming up with a new buzz-
Gwangju), curating museum concept, the ‘altermodern’,
shows, theorising (he’s currently completing two books) which he applied to curating and reinvigorating the
and lecturing. In April, Bard College honoured Enwezor latest edition of Tate Britain’s slightly fading triennial
with its annual Award for Curatorial Excellence. Perhaps format. Breaking with convention, Bourriaud staged
this encomium focused his attentions, because in a yearlong programme of ‘prologues’ leading up to the
September he resigned as dean of San Francisco School exhibition itself, which was loved by visitors and loathed
of Art, promising to devote himself to exhibitions and by Britain’s dim-witted newspaper art critics, proving
writing. Expect curatorial excellence in the near future. that Bourriaud still has the knack for polarising opinion
and provoking debate. Lately he’s been publishing The
Radicant, his book-length essay on twenty-first-century
modernity, in several European languages and advising
on the Ile Seguin ‘island of culture’ being masterplanned
by Jean Nouvel in Paris.

114 ArtReview
69 70
Karen & Christian Boros Isabelle Graw
Category: Collectors Category: Critic
Nationality: German Nationality: German
Last Year: 90 Last Year: New

It has now been just over a year since Christian Boros Two years ago Isabelle Graw gave a lecture entitled
and wife Karen opened the Berlin air-raid shelter ‘Long Live Criticism!’, as if we were in any doubt of
that houses their collection and provides the (literal) her enthusiasm and commitment. The Berlin-based
foundation for their penthouse flat to the public. magazine Texte zur Kunst, edited and cofounded (in
Breathtaking location and spectacular installation of 1990) by Graw, has continually nailed its colours to
the works immediately turned it into one of the major the mast of serious, often philosophically grounded
art attractions of the German capital, and the demand criticism, enthusiastically supported by artists’ editions.
for tickets continues to be accordingly high. It has With an increasing number of English-language and
also propelled the Boroses into a different league, online articles, the magazine is gaining ground as a
because even though the ‘bunker’ and its contents serious publication of choice for aspiring academics and
remain technically private, the curators. Graw, alongside Daniel
collection now has a very public Birnbaum, set up the Institut für
face. Kunstkritik at the Städelschule,
and recently began publishing a
series of considered books based
on the lectures given there.

71 72
Maurizio Cattelan Charles Saatchi
Category: Artist Category: Collector
Nationality: Italian Nationality: British
Last Year: 68 Last Year: 14

Maurizio Cattelan knows how After a three-year hiatus,


to goad the mass media and the Saatchi Gallery finally
popular imagination: waxwork reopened in October last year.
dummies of Pope John Paul This time, what with free
II felled by a meteorite and entry and purpose-designed
photos: Heji Shin (70), Pierpaolo Ferrari (71)

Hitler kneeling in prayer are galleries, the adman who made


two standouts. Similarly, it was hard during 2008 not his name collecting YBAs seems to have got the right
to notice his taxidermic horse, Untitled (2007), its venue to exhibit his ever-shifting collection. Chunky
head seemingly buried in the wall from which it was geographic shows of work from China, the Middle East
hung, the highlight of the New Museum’s show After and now the US haven’t exactly wowed the critics, though
Nature and now prominent in Pinault’s Dogana, in Saatchi’s brand-name still pulls in the crowds of art-
Venice. If nothing else, Cattelan’s works tend to become aspiring youngsters. Nor did his amusingly cranky Q&A
ubiquitous from constant exhibition and a doting media. book produce many real insights into this previously
It’s been a quieter 2009, however, although the Paduan secretive and private figure – was this merely a teaser for
artist must have been amused to be awarded the Rome Saatchi’s upcoming art-talent reality TV show? Perhaps
Quadrennial’s career achievement prize back in March. his many critics miss that, in the end, Saatchi’s greatest
Look out for a major solo show at the Menil Collection, work of art may be his own celebrity. High-profile, low-
Houston, in February. impact – where does he go from here?
the power 100

73 74
Jasper Johns
Jerry Saltz
Category: Critic Category: Artist
Nationality: American Nationality: American
Last Year: 79 Last Year: 9

This year Jerry Saltz has set out to prove that art ‘We worked for years to get rid of all that’, Rothko
critics still matter by turning criticism into something notoriously said of Jasper Johns’s flag and target paintings.
of a performance art. He recently challenged talk show Tough luck: approaching his eightieth birthday and
host Glenn Beck to curate a show of ‘degenerative art’ having outlived his former coeval Rauschenberg, Johns
in New York, for example, in a counter-swipe at the is apparently demonstrating no inclination to hang up
weeping TV demagogue and his frequent attacks on his brushes; museum curators show no signs of forgetting
the artworld. Saltz has promised he will secure a top- his preeminence, either. In the past year, following the
rate venue and reviews (Beck doesn’t seem impressed, Metropolitan Museum’s much-praised, tonally specific
though). Saltz meanwhile was Jasper Johns: Gray in 2008,
inundated with support for a Johns has enjoyed an 87-work
viral Facebook campaign he ‘Focus’ exhibition at MoMA,
initiated that lamented the in honour of the institution’s
underrepresentation of women purchase of a new series of
artists in major institutional works on paper. Meanwhile, in
collections. And now he turbulent market times Johns
has been nominated for a enjoys an auction value secured
writing award at Rob Pruitt’s by his living-legend status and by
performance-based artwork, collectors clinging jealously to
the First Annual Art Awards, at his works. And, really, who can
the Guggenheim. blame them?

75
Louise Bourgeois
76
Thaddaeus Ropac
Category: Artist Category: Gallerist
Nationality: American Nationality: Austrian
Last Year: 81 Last Year: Reentry (78 in 2005)

Louise Bourgeois spent much of Thaddaeus Ropac is one of

photos: Ravi Sawhney (73), Dimitris Yeros (75), Pierre Ira (76)
the past year being celebrated, Europe’s foremost blue-chip
via a touring retrospective gallerists. At his space in
– which closed its five- Salzburg, which he opened in
museum tour at the Hirshhorn, 1983, and one in Paris, which
Washington, DC, in May – and opened seven years later, he
the documentary movie Louise consistently mounts shows
Bourgeois: The Spider, the by a roster of high-calibre
Mistress and the Tangerine artists, including Gilbert &
(2008). At ninety-eight, the George, Georg Baselitz and
indefatigable New York-based French-born artist, one Alex Katz. He has also been instrumental in supporting
of the world’s most respected and influential sculptors the Austrian art scene, representing artists including
and an icon of feminist art in particular, might well sit Gerwald Rockenschaub and Arnulf Rainer. Described as
back. But no: last month, A Stretch of Time: 40 Jahre both dapper and discreet by France’s Le Figaro, Ropac
opened at Cologne’s Karsten Greve gallery, including maintains a standing in the artworld that is as quietly
works from this year. We don’t know how she does it, but assured as he seems to be.
we’re glad she does.

116 ArtReview
Johann König photographed by Heji Shin, 17 September, Berlin
Amanda Sharp and Matthew Slotover photographed by Robi Rodriguez, 17 September, London
Joel Wachs photographed by Heinz Peter Knes, 15 September, New York
Monika Sprüth and Philomene Magers photographed by Heji Shin, 16 September, Berlin
Richard Serra photographed by Juergen Teller, 12 September, New York
Sarah Morris photographed by Heinz Peter Knes, 17 September, New York
Alberto and David Mugrabi photographed by Juergen Teller, 11 September, New York
Massimo De Carlo photographed by Robi Rodriguez, 10 September, London
77 78
Thelma Golden
Mera & Don Rubell
Category: Collectors Category: Museum Director
Nationality: American Nationality: American
Last Year: 38 Last Year: 73

Mera and Don Rubell are Miami’s first couple of art Being associated with a new idea can last your whole
collecting, celebrated for helping put the city (where career. Thelma Golden, director and chief curator
the Rubell Family Collection, open to the public, is of New York’s Studio Museum in Harlem, made
housed) on the artworld map. They began collecting her name curating the controversial Black Male:
in the mid-1960s and now have one of the world’s Representations of Masculinity in Contemporary
premier contemporary art collections, boasting work American Art at the Whitney in 1995, and has since
by Jean-Michel Basquiat, Cindy Sherman, Charles become the leading curatorial voice of an emerging
Ray, Jeff Koons and Paul McCarthy, to name but a ‘post-black’ generation of African American artists.
fraction. Their parties during Under her directorship, the
Art Basel Miami Beach are Studio Museum has pushed
legendary, and works from confidently on, with critically
their collection are frequently well-regarded solo exhibitions
loaned to major institutions. In by Kalup Linzy and Shinique
the last year they have forged Smith in 2009. How Golden will
a partnership with the Palm navigate the cultural politics of
Springs Art Museum, which race under the first ‘post-white’
kicked off with a show of the American President will be
Rubells’ Keith Harings. worth watching.

79
Sarah Morris
80
Carolyn Christov-Bakargiev
Category: Artist Category: Curator
photos: Chi Lam (77), Timothy Greenfield-Sanders (78), Ryszard Kasiewicz (80)

Nationality: American Nationality: American


Last Year: New Last Year: New

While making eight films Chief curator at Turin’s


since 1998, six of them city- Castello di Rivoli Museum of
specific and all accompanied, Contemporary Art since 2001,
in Olympian postmedium formerly senior curator at New
style, by hyperslick, diagram- York’s P.S.1 and boasting a CV
like paintings implying nested brimming with bold curatorial
power structures, Morris has moves, Carolyn Christov-
filmed, among others, Bill Bakargiev is currently clutching
Clinton (in Capital, 2001) and one of her profession’s grails.
Brad Pitt (Los Angeles, 2004). In December, she was named
In the past year, the artist completed her most testing artistic director of Documenta 13, which opens in 2012.
project yet, Beijing (2009), shot in the secretive Chinese As her stewardship of 2008’s Biennale of Sydney proved,
capital during the Olympics. Emerging as a dazzlingly she knows about expos; and as was demonstrated by The
modern meditation on power, spectacle, architecture Pantagruel Syndrome – her 2005 curatorial exploration
and smokescreens, it reaffirms that, when it comes to (with Francesco Bonami) of contemporary excess
positioning herself where the action’s happening, Morris and giganticism – she knows about big. What better
is contemporary art’s designated hitter. preparation for the hassles of Kassel?
the power 100

81 82
Anita & Poju Zabludowicz Paul Schimmel
Category: Collectors Category: Curator
Nationality: British Nationality: American
Last Year: 97 Last Year: 40

Not everything is possible, even when you possess the Late last year, LA’s flagship Museum of Contemporary
18th-biggest fortune in the UK (according to 2009’s Art was gasping for money like a dying fish. Tragedy
Sunday Times Rich List). In February, Anita & Poju has been avoided with $30 million from Eli Broad, and
Zabludowicz suspended plans to build a museum for further support rallied since. Throughout this crisis,
their 1,000-plus collection of artworks in downtown MOCA’s world-beating exhibitions, including Martin
Las Vegas, citing a constraining city-imposed deadline. Kippenberger and Marlene Dumas retrospectives,
But 176, their London gallery in a converted chapel, is WACK! and © MURAKAMI, were touring the globe.
going strong, showcasing young artists, offering guest Now breathing a little again, MOCA and Chief Curator
curatorships and mounting sterling group shows. Paul Schimmel will be focusing on home turf, with
Judging by their continued support of the Zoo Art Fair the hugely ambitious exhibition Wasteland: Art After
and Anita recently exhibiting Earth Art (including a mega-
her photography collection and installation in the Mojave Desert
talent-spotting young snappers by Christoph Büchel – yikes),
in New York, theirs remains a a Jack Goldstein retrospective
model of restlessly committed and a bold reappraisal of 1970s
art philanthropy. California art.

83
Jose, David &
84
Sadie Coles
Alberto Mugrabi
Category: Gallerist
Category: Collectors Nationality: British
Nationality: American Last Year: 34
Last Year: 43
Sadie Coles is a mainstay on this
Although the Mugrabis – list; known for her commitment
father Jose and sons David and to her artists, and her energy
Alberto – have yet to corner in locating young, interesting
the market in Warhol (they talents, she is a gallerist with
claim to own 800 pieces), vision and international clout.
with their deep pockets and obsession with stars of the She consistently puts on impressive shows by her stable
recent bubble – Hirst, Basquiat and Wool – they are the of artists in her two spaces in Mayfair, while heavy hitters
‘market makers’ who hold up the rest of the trade. Lately continue to get the big institutional treatment: Elizabeth
this kind of business has been controversial; but the Peyton’s Live Forever toured to London’s Whitechapel
Mugrabis have been amassing their portfolio for more this summer and is now at the Bonnefantenmuseum in
than 20 years, and having bought like hell during the last Maastricht. Peyton also collaborated with gallery artist
photo: Juergen Teller (84)

downturn, they know how to play the game for the long Matthew Barney on performance-art piece Blood of Two
term. on Hydra in Greece over the summer.

126 ArtReview
85 86
Daniel Buchholz Victoria Miro
Category: Gallerist Category: Gallerist
Nationality: German Nationality: British
Last Year: Reentry (80 in 2005) Last Year: 58

Daniel Buchholz is a steady force in the artworld. Coming When the downturn struck last October, Victoria
from a family of book dealers, he opened his gallery in Miro’s exhibition programme mirrored it perfectly: Too
Cologne 20 years ago, and has worked ever since with Late, Elmgreen & Dragset’s simulacrum of an emptied
an impressive and very particular stable of artists, many nightclub, suggested terminated revelry. In the ensuing
of whom had their first shows with him: Tomma Abts, choppy waters, the dealer’s programme has steered,
Cosima von Bonin, Cerith Wyn Evans, Isa Genzken, perhaps tactically, towards established names: Tal R,
Jack Goldstein, Henrik Olesen and Wolfgang Tillmans Alice Neel, Yayoi Kusama. Lest one suspect complacency,
among them. For years he refused to expand his gallery though, in March Miro mounted The Collection, which
to Berlin, but under pressure from artists wishing for combined live dance (orchestrated by choreographer
representation in the new art capital, he finally relented, Siobhan Davies) with art devoted to movement or
opening a second space in very engagement with space: a
bourgeois Fasanenstrasse, a reminder that, while Miro may
further sign of blazing his own have an enviable roster of big
trail to the art market. names, she’s still a gambler at
heart.

87 88
photos: Thierry Bal (86), Devin Blair (87), Alexis Zavialoff, courtesy Johann König, Berlin (88)

Maureen Paley Johann König


Category: Gallerist Category: Gallerist
Nationality: American Nationality: German
Last Year: 70 Last Year: Reentry
(27, with his family, 2005)
The former Russian-trained
ballet dancer kept her balance Johann König started his Berlin
in 2009, with the gallerist’s gallery at the precocious age of
bigger artists spread across twenty-one, a headstart granted,
institutions: Michael Landy at no doubt, by family connections
Tate Liverpool, Rebecca Warren (he comes from a household of
at the Serpentine, Wolfgang Tillmans in a spotlight room art publishers and museum directors). However, having
at the Venice Biennale. Maybe such security justifies her hit the ground running, König hasn’t dropped pace for a
gallery programme, which this year skewed particularly second – his gallery now has a reputation for identifying
unpredictable, from Lars Laumann’s lengthy, uneasy and then supporting artists of a sensual yet conceptual
film about a death-row prisoner to scrambled painterly bent, including Jeppe Hein, Jordan Wolfson, Tue
abstractions by LA-based newcomer David Ratcliff. Greenfort, Tatiana Trouvé and Michaela Meise. There’s
But this year also marks 20 years since Paley set up in no doubt that the gallery is seen as a European hive of art
Bethnal Green, the first dealer to do so; when she takes cool. No doubt either that artists showing at the gallery
risks, they tend to pay off. tend to go on to have big careers.
the power 100

89 90
Maria Lind
Nicolai Wallner
Category: Gallerist Category: Curator
Nationality: Danish Nationality: Swedish
Last Year: New Last Year: New

With a lineup of artists that mixes local superstars such as Maria Lind, director of the graduate program at the Center
Jeppe Hein and Elmgreen & Dragset with international for Curatorial Studies at Bard, has scads of experience to
names such as Douglas Gordon, Daniel Buren and impart to the curators of tomorrow, having been director
Richard Tuttle, Wallner (who opened his gallery in of Swedish studio programme IASPIS, director of the
1993) is a gallerist who thinks big. Bigger, indeed, Munich Kunstverein, cocurator of Manifesta 2 and
than the business of simply selling art. In September curator at Moderna Museet, Stockholm. This year
Wallner moved his gallery into a Carlsberg truck depot, she received the Walter Hopps Award for Curatorial
together with fellow gallerist Nils Stærk, an artist-run Achievement and oversaw an outstanding programme
space (initiated by Wallner) of exhibitions (and attendant
called IMO and a space for catalogues) at Bard’s Hessel
graduate students of the Royal Museum, including The
Danish Academy of Fine Arts, as Greenroom, a survey of the
part of an attempt to generate a documentary in contemporary art,
new arts district in Copenhagen and Rachel Harrison’s Consider
(and take advantage of 800 the Lobster retrospective, during
square metres of exhibition which artists including Allen
space). What’s next? He’s Ruppersberg and Andrea Zittel
working on plans to set up a were invited to collaborate
kunsthalle, of course. with Harrison in rehanging the
Marieluise Hessel Collection.

91
Massimo De Carlo
92
Mario Cristiani, Lorenzo
Fiaschi & Maurizio Rigillo
Category: Gallerist Category: Gallerists
Nationality: Italian Nationality: Italian
Last Year: New Last Year: New

During the last recession, Mario Cristiani, Lorenzo


Massimo De Carlo worked Fiaschi and Maurizio Rigillo
night shifts as a chemist while opened Galleria Continua off
running his gallery during the the beaten track, in the historic
day. But Italy’s heaviest-hitting Tuscan town of San Gimignano,
showroom wasn’t built on hard back in 1990. Four years ago
graft alone. The combination this pioneering spirit led to
of artists would look unlikely the opening of a gallery in
elsewhere, with edgy young Beijing’s 798 district, where they
things such as Spartacus show a mixture of Eastern and
Chetwynd and Steven Claydon rubbing up against the Western artists, such as Chen Zhen, Daniel Buren and
likes of Carsten Höller and Lawrence Weiner, though Anish Kapoor. Two years later the trio completed their
perhaps what links them is an indisputably challenging unholy (or at least atypically located) trinity of art spaces
view of art. De Carlo has a stealthy approach to his with the opening of Le Moulin, in Boissy-le-Châtel,
new London gallery during these dark financial days, near (rather than, of course, in) Paris. The various and
having launched in a tiny space, under the ‘pseudonym’ unique opportunities afforded by these spaces have led
Carlson, in order to check things out before moving to to Continua working with leading artists from around
larger premises next year. the world.

128 ArtReview
93 94
Toby Webster
Rirkrit Tiravanija
Category: Artist Category: Gallerist
Nationality: Thai Nationality: British
Last Year: New Last Year: New

Rirkrit Tiravanija and the artists associated with him, This year artist Douglas Gordon described Toby Webster
Philippe Parreno, Pierre Huyghe, et al., went institutional as a modern magician with a gilded tongue. A sinister
this year, with group survey theanyspacewhatever at the image, but Webster’s Modern Institute continues to
Guggenheim, New York, and the restaging of Il Tempo del exert a miraculous gravitational pull that first attracts
Postino (2007) at Art Basel. Terms such as ‘situations’ artists to Glasgow and then gives them little reason to
and ‘relations’ have gained increasingly stable ground, leave. The art is slick, despite the fact that the premises
though it is projects such as The Land (1998–), an are a tiny, rather battered space in a highrise building:
experiment in generating a self-sustaining open space ‘of Glasgow through and through. The artists, many of whom
and for social engagement’ out don’t bother with a London
of an artistic community, that gallery, continue to dominate
reveal continually influential attention. Martin Boyce
and challenging developments represented Scotland at Venice,
in his work. In the past year Richard Wright is Turner Prize-
Tiravanija has carried these nominated, Jeremy Deller took
investigations into drawing, over Manchester in July with
seen at New York’s Drawing Procession. All of which has
Center, in which the artist made the Modern Institute a
assigned drawings of protest model for galleries around the
to Thai artists. world.

95
Long March Space
96
Nicholas Logsdail
Category: Gallerist Category: Gallerist
Nationality: Chinese Nationality: British
Last Year: 93 Last Year: 91

Founded in 2002 by artist Lu Just when it was looking like


Jie with Qiu Zhijie, the Long Logsdail might not have the
March is a complex operation stomach to take Lisson Gallery
that encompasses dealer, and its displays of classy
gallery, curator, commercial conceptualism through another
enterprise and publishing recession, he’s showing signs
house. It involves 250 artists that his gastric organ is in the
working on 12 sites along the rudest of health: it seems that
historical Long March route Lisson, after its years of glorious
(undertaken during the 1930s northwest London isolation, is
by Mao Zedong’s Red Army) as well as a gallery, the Long becoming part of a scene. Trendy not-for-profit space
March Space, in Beijing’s 798 district. Having shown at the Showroom (which 20 years and a few letter changes
photo: Porter Hovey (94)

Frieze Art Fair last autumn, Long March’s expanding in the postcode ago was a generator for London’s East
ambitions were further signalled this year with an artist, End scene) has opened up round the corner, along with
Guo Fengyi, in Art Basel’s Art Statements section. a Serpentine Gallery project space. Now that Logsdail
can’t really make it to the mountains any more, they’re
coming to him. Along with his son, Alex, who’s crossing
the pond from New York gallery Team, and a new wave
of artists, including Ryan Gander.
the power 100

97
Harry Blain &
98
Clare Hsu
Graham Southern
Category: Gallerists Category: Curator
Nationality: British Nationality: British
Last Year: 51 Last Year: New

Haunch of Venison (the Christie’s-owned gallery that Clare Hsu is executive director and cofounder of the Hong
Blain and Southern founded and direct) announced Kong-based Asia Art Archive, a nonprofit organisation
that its Zurich branch is to close at the end of this year, dedicated to documenting the recent history of visual
and both its New York director and a number of artists art from the region within an international context.
have parted ways with the organisation. Meanwhile its An education and resource centre, the AAA boasts
enormous temporary premises at the back of London’s more than 20,000 volumes of reference material and
Royal Academy (rented at a reported £4 million- supports various research projects and public education
plus for three years) has opened. Yet with so many programmes throughout the region, designed to reinforce
new exhibitions, and ones that don’t so much open as the importance of art as an integral part of any successful
pop up out of nowhere, the society. Now that the art-market
megagallery is turning into a bulls have lost their balls, it’s
programmatically confusing easier to appreciate the fact that
space. Though an artworld endeavours like this one actually
juggernaut, it’s hard to tell if provide for a sustainable, vibrant
anyone’s behind the wheel. and innovative art scene.
Maybe that doesn’t matter: HoV
will keep on truckin’ regardless.

99 100

photos: Andrea Spotorno (97), Bharat Sikka (99), Time magazine, Europe edition, 28 September 2009 (100)
Peter Nagy Glenn Beck
Category: Gallerist Category: Talk Show Host
Nationality: American Nationality: American
Last Year: 95 Last Year: New

Peter Nagy’s Nature Morte was “I’m going to show you


the first Indian art gallery to be something that should scare the
accepted in Art Basel (in 2006) living daylights out of you…” US
and has been closely linked to talk show host Glenn Beck is a
the rise of the Subcontinent’s international superstars man whose attitude towards the arts (especially public
(Subodh Gupta, Bharti Kher, Jitish Kallat, Raqs Media art in New York) can be described as reactionary at best
Collective). The past year has not been without setbacks and crazed (references to a sinister ‘movement’) at worst.
for Nagy, and not just because India hasn’t been the With support from millions of dispossessed viewers, he
new China. Bose Pacia, the New York gallery with has upbraided the National Endowment for the Arts
which Nature Morte is partnered, is relocating as part (NEA) for its ‘progressive’ sympathies and especially
of a recession-inspired regrouping. But Nagy’s Berlin, for commissioning art he considers propaganda for the
Kolkata (with Bose Pacia) and New Delhi galleries make Obama administration (not, perhaps, entirely without
him a key interface betweeen the Western and South reason). The NEA has been forced to take him seriously.
Asian art scenes – a fact driven home by the crowds of How long-term Beck’s interest in the arts will be is
people who visited his booth at India Art Summit this debatable. But with Beck set up as the Joker against
summer. whom New York magazine art critic Jerry ‘Hollywood’
Saltz can style himself the artworld’s Dark Knight, this
one might have legs.

130 ArtReview
Three takes
on power
ArtReview invited three artists, Martin Creed, Assume Vivid Astro Focus and
Wilfredo Prieto, to contribute a work on the subject of ‘power’

In association with
Martin Creed Work No. 748, 2007, c-type print, 36 cm x 38 cm. Courtesy the artist and Hauser & Wirth, Zurich, London & New York
Assume Vivid Astro Focus Nuke Trannie, 2008. Courtesy Deitch Projects, New York
Wilfredo Prieto Politically Correct, 2009, watermelon. Courtesy Taka Ishii Gallery, Tokyo & Kyoto
the power 100

The top 100 at a glance


2008 2009
1. Damien Hirst 54. Roman Abramovich & 1. Hans Ulrich Obrist 56. Michael Ringier
2. Larry Gagosian Dasha Zhukova 2. Glenn D. Lowry 57. Gerhard Richter
3. Kathy Halbreich 55. Bruno Brunnet, Nicole Hackert, 3. Sir Nicholas Serota 58. Richard Serra
4. Sir Nicholas Serota Philipp Haverkampf 4. Daniel Birnbaum 59. RoseLee Goldberg
5. Iwan Wirth 56. Marlene Dumas 5. Larry Gagosian 60. Kasper König
6. Jay Jopling 57. Gavin Brown 6. François Pinault 61. Roberta Smith
7. David Zwirner 58. Victoria Miro 7. Eli Broad 62. Monika Sprüth
8. François Pinault 59. Mitchell Rales 8. Anton Vidokle, Julieta Aranda & Philomene Magers
9. Jasper Johns 60. Yvon Lambert & Brian Kuan Wood 63. Germano Celant
10. Eli Broad 61. Mike Kelley 9. Iwona Blazwick 64. Emmanuel Perrotin
11. Jeff Koons 62. Paul McCarthy 10. Bruce Nauman 65. Peter Schjeldahl
12. Steven A. Cohen 63. Banksy 11. Iwan Wirth 66. Beatrix Ruf
13. Daniel Birnbaum 64. Emmanuel Perrotin 12. David Zwirner 67. Okwui Enwezor
14. Charles Saatchi 65. William Acquavella 13. Jeff Koons 68. Nicolas Bourriaud
15. Brett Gorvy & Amy Cappellazzo 66. Lucian Freud 14. Jay Jopling 69. Karen & Christian Boros
16. Tobias Meyer & 67. Victor Pinchuk 15. Marian Goodman 70. Isabelle Graw
Cheyenne Westphal 68. Maurizio Cattelan 16. Agnes Gund 71. Maurizio Cattelan
17. Marian Goodman 69. Cai Guo Qiang 17. Takashi Murakami 72. Charles Saatchi
18. Gerhard Richter 70. Maureen Paley 18. Alfred Pacquement 73. Jerry Saltz
19. Richard Prince 71. Roberta Smith 19. Peter Fischli & David Weiss 74. Jasper Johns
20. Dominique Lévy & 72. Peter Schjeldahl 20. Mike Kelley 75. Louise Bourgeois
Robert Mnuchin 73. Thelma Golden 21. Barbara Gladstone 76. Thaddaeus Ropac
21. Michael Govan 74. Ralph Rugoff 22. Steven A. Cohen 77. Mera & Don Rubell
22. Marc Glimcher 75. Robert Gober 23. Dominique Lévy 78. Thelma Golden
23. Annette Schönholzer, 76. Iwona Blazwick & Robert Mnuchin 79. Sarah Morris
Marc Spiegler 77. Richard Armstrong 24. Adam D. Weinberg 80. Carolyn Christov-Bakargiev
24. Alfred Pacquement 78. Massimiliano Gioni 25. Marc Glimcher 81. Anita & Poju Zabludowicz
25. Matthew Slotover & 79. Jerry Saltz 26. Amy Cappellazzo & Brett Gorvy 82. Paul Schimmel
Amanda Sharp 80. Reena Spaulings 27. Cheyenne Westphal 83. Jose, Alberto & David Mugrabi
26. Barbara Gladstone 81. Louise Bourgeois & Tobias Meyer 84. Sadie Coles
27. Matthew Marks 82. Cindy Sherman 28. Ann Philbin 85. Daniel Buchholz
28. Takashi Murakami 83. Okwui Enwezor 29. Matthew Higgs 86. Victoria Miro
29. Agnes Gund 84. Jeanne Greenberg Rohatyn 30. Matthew Marks 87. Maureen Paley
30. Sheikh Mohammed bin Zayed 85. Shaun Caley Regen 31. Tim Blum & Jeff Poe 88. Johann König
al Nahyan 86. Liam Gillick 32. Gavin Brown 89. Nicolai Wallner
31. Dakis Joannou 87. Miuccia Prada 33. Ralph Rugoff 90. Maria Lind
32. Bernard Arnault 88. John Baldessari 34. Liam Gillick 91. Massimo De Carlo
33. Richard Serra 89. Francesca von Habsburg 35. Anne Pasternak 92. Mario Cristiani, Lorenzo
34. Sadie Coles 90. Christian Boros 36. Dakis Joannou Fiaschi & Maurizio Rigillo
35. Julia Peyton-Jones & 91. Nicholas Logsdail 37. John Baldessari 93. Rirkrit Tiravanija
Hans Ulrich Obrist 92. Subodh Gupta 38. Isa Genzken 94. Toby Webster
36. Donna De Salvo 93. Long March Project 39. Paul McCarthy 95. Long March Space
37. Simon de Pury 94. Paula Cooper 40. Michael Govan 96. Nicholas Logsdail
38. Don & Mera Rubell 95. Peter Nagy 41. Eugenio López 97. Harry Blain
39. Ann Philbin 96. C.E.B. Reas 42. Cindy Sherman & Graham Southern
40. Paul Schimmel 97. Anita & Poju Zabludowicz 43. Ai Weiwei 98. Claire Hsu
41. Patricia Phelps de Cisneros 98. Guy & Myriam Ullens 44. Patricia Phelps de Cisneros 99. Peter Nagy
42. Michael Ringier 99. Laurent Le Bon 45. Annette Schönholzer 100. Glenn Beck
43. Jose, Alberto & David Mugrabi 100. Thomas Kinkade & Marc Spiegler
44. Chris Kennedy 46. Diedrich Diederichsen
45. Bruce Nauman 47. Richard Prince
46. Cy Twombly 48. Damien Hirst
47. Ai Weiwei 49. Bernard Arnault
48. Tim Blum & Jeff Poe 50. Massimiliano Gioni
49. Andreas Gursky 51. Amanda Sharp
50. Olafur Eliasson & Matthew Slotover
51. Harry Blain 52. Joel Wachs
& Graham Southern 53. Victor Pinchuk
52. Jeff Wall 54. Udo Kittelmann
53. Peter Doig 55. Marina Abramović

ArtReview 135
Gawel Kownacki and Magdalena Kownacka photographed by Michal Kawecki, 24 September, Krakow
Rebirth of the Dead Hero | Oil on canvas | 300 x 200 cm | 2009

Rokni Haerizadeh
15 Nov. 09 — 07 Jan. 10

B21 GALLERY | Dubai


www.b21gallery.com
Galerie Eve

BASUDEP BISWAS
www.galerieeve.com

No. 5 Tank Road Nagarathar Building Tel. (65) 6835 7882 krisstel@galerieeve.com Thursdays to Sundays 12 - 6 pm
#04-03 Singapore 238061 Fax. (65) 6235 4868 (65) 9099 3965 For Appointments
Sheer Sliver
13 November
20 December 09

Ceri Hand Gallery


12 Cotton Street, Liverpool L3 7DY
T: +44 (0)151 207 0899
info@cerihand.co.uk
www.cerihand.co.uk
Opening hours Wednesday – Saturday
10am – 6pm or by appointment

Supported by

22 October 2009 – 5 April 2010

Admission free
Daily 10.00–17.30
Thursdays & Fridays until 20.30
www.britishmuseum.org

British Museum
Great Russell Street
London WC1B 3DG

Diego Rivera. Emiliano Zapata and his horse, 1932. Presented by The Art Fund.
© 2009, Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico D.F./DACS.
Natasha Akhmerova Gallery

The Mission of the Gallery

The primary focus of the gallery is to provide an


international platform for emerging and mid-carrier
artists from Russia and post-Soviet countries in
order both to foster their carriers and to represent
to the international art world the vibrant and
dynamic art scene developing in these countries.

We also open our space to select non-Russian


artists of exceptional imagination.

Since we strongly believe in the inspired creative


energy and innovative potential of Russian art, we
strive to diminish its relative isolation from the
Western mainstream art world, caused by well-
known political and historical conditions, and to bring
wider recognition to underappreciated master art-
ists of the post-Soviet period, as well as to bridge
the gap between the markets and mentalities of
Western European and Eastern European art.

Galerie Barbarian Art Tel. +41 44 280 45 45


Bleicherweg 33 Fax. +41 44 280 45 47
CH-8002 Zurich www.barbarian-art.com
Switzerland info@barbarian-art.com
i
sendyou
this

artists websites
technology for art

what's on
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art hub gallery

isendyouthis
craig@isendyouthis.com
01803 722220
www.isendyouthis.com
Richard Mortensen “avignon i”. Fernand Léger “composition murale”.

The Bukowski
Modern Sale
Preview: october 17 - 25 Auction: october 27 - 30
paintings, sculpture, prints, design furniture, carpets, silver, glass, ceramics

Pablo Picasso Roberto Matta Roberto Matta Yves Klein


“tête de femme (de profil)”. “untitled”. “untitled”. “Venus bleue”.

fine art auctioneer since 1870


arsenalsgatan 4, box 1754, s-111 87 stockholm, sweden. phone +46 8 614 08 00. telefax + 46 8 611 46 74. www.bukowskis.se
China Guardian 2009 Autumn Auction
Preview
November 18-20, 2009

Auction
November 21-24, 2009

Venue
Conference Center,
Beijing International Hotel
( 9 Jianguomennei St., Beijing )

Auction Items
Chinese Painting and Calligraphy
Porcelain, Jade and Works of Art
Chinese Oil Painting and Sculpture
Rare Books and Manuscripts

1 Tang Mu Li
1 FIGHTING IN THE NORTH AND SOUTH 1977
Oil on canvas 118 × 232.2cm
2 Fu Zhigui
THE CHARACTERS OF GOOD 1974

2 Oil on canvas 240 × 200cm

3 3 Xiao Feng Song Ren


NORMAN BETHUNE 1973-1974
Oil on canvas 134× 156cm

Headquarters
2-603 Henderson Center, 18 Jianguomennei St., Beijing 100005, China Hong Kong Office Taipei Office Japan Office USA Liaison, New York
Tel: (86-10) 6518 2315 Fax:(86-10) 6518 3915 (852) 2815 2269 (886) 2 2550 5222 (81-3) 6240 5668 (1) 917 825 9038
E-mail: mail@cguardian.com website:www.cguardian.com/english hkoffice@cguardian.com.hk twoffice@cguardian.com.tw jpoffice@cguardian.com richard@cguardian.com
Art Review advertisement. April 2009.
Contacts: Christopher Thompson on 020 7272 4831 or Joanna Pocock (designer) on 07984 638 114

Jacquie gulliver thomPson


Paintings 1996 – 2007

Site-specific projects along the River Trent in Nottingham


Summer – Autumn 2009
Curated by Jennie Syson

A series of new artists’ commissions, reading rooms, a symposium


Action Men, 2000, Oil on canvas, 92cm x 92cm

& a three-part publication


John Newling
Annexinema
The Magnificent Revolution
Rebecca Beinart
S Mark Gubb
Peter Greenaway
Mark Harasimowicz
Tristan Hessing
21st August
Hinterland Launch
Clifton Bridge
Modern Baroque 26th November
Hinterland Symposium
30 November - 5 December
Broadway Media Centre
Enquiries before and after exhibition:
www.hinterlandprojects.com
tel/fax 0207 272 4831
email gulliver@cwthompson.fsnet.co.uk 28 Cork Street
Enquiries during exhibition: London W1S 3NG
tel 0207 437 2812 www.galleryincorkstreet.com
website www.jacquiegulliverthompson.com Mon to Fri 10 - 6 & Saturday 10 - 4
15 Oct -
28 Nov 2009

24 Old Gloucester Street, London WC1N 3AL. Tel: +44 (0)20 7242 7367
Fax: +44 (0)20 7405 1851 email: art@octobergallery.co.uk
Open: Tues - Sat 12.30-5.30 or by appointment.
Romuald Hazoumé, Wax Bandana, 2009. Mixed media, 27 x 12 x 27cm

half_page_Ad.indd 7 29/09/2009 15:57


Edinburgh Art Fair
20th - 22nd November
Edinburgh Corn Exchange

65 Galleries: Crèche: Wrapping service: Café & Bar


Edinburgh Corn Exchange, 11 Newmarket Road, EH14 1RJ
Doors Open 11am - 6pm Friday & Saturday.11am - 5pm Sunday. Admission £5 Concessions £4

For further information telephone 01875 819 595 or visit

www.artedinburgh.com
WIN one of 3 original ADVERTISEMENT

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The first prize is “Man Hunting Eland” by Jan John, second is “Three Antelopes”
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listings: museums and galleries

UNITED STATES, NEW YORK UNITED KINGDOM, CYNTHIA CORBETT ROBILANT + VOENA
LONDON GALLERY 38 Dover Street
Edward Tyler An offsite exhibition at London W1
Nahem Fine Art 20 HOXTON SQUARE Sphinx Fine Art T +44 (0) 20 7409 1540
37 West 57th Street 33 Portland Place 125 Kensington Church Street robilantvoena.com
New York, NY 10019 London W1 London W8 Back to the Future; Young Artists
T +1 212 517 2453 T +44 (0) 20 7225 0066 T +44 (0)20 8947 6782 Look to Old Masters
etnahem.com 20hoxtonsquare.com thecynthiacorbettgallery.com to 8 Nov
The Embassy: Group Show Young Masters: An exhibition
PACEWILDENSTEIN 15–19 Oct featuring emerging and newly THE WAPPING PROJECT
545 West 22nd Street Lawrence Owen: Golden Book established artists whose work is Wapping Hydraulic Power Station
New York, NY 10011 to 7 Nov inspired by Old Masters. Wapping Wall
T +1 212 989 4258 to 4 Nov London E1
pacewildenstein.com AFFORDABLE ART FAIR T +44 (0)20 7680 2080
Tim Eitel : New Paintings from Battersea Evolution DAVID ROBERTS thewappingproject.com
2007– 2009 6 Nov– 5 Dec Battersea Park FOUNDATION Jonathan Ellery’s Theory of Neo-
Maya Lin: Three Ways of Looking London SW11 111 Great Titchfield St conservative Creationism
at the Earth to 24 Oct T +44 (0)20 8246 4848 London W1 10–29 Nov
32 East 57th Street affordableartfair.com T +44 (0)20 7637 0868
David Hockney: Recent Paintings The place to discover and buy davidrobertsartfoundation.com UNITED KINGDOM
23 Oct–24 Dec paintings, drawings, sculpture, Conversations with the Other Side:
534 West 25th Street photography and original prints An invitation to enter another AXIS
David Hockney: Recent Paintings – all priced between £50 and dimension and communicate with Round Foundry Media Centre
23 Oct–24 Dec £3,000 22–25 Oct a world beyond time and space. Foundry Street, Leeds
A one-night event by Ben Judd & T +44 (0)8453 628 230
White Box A FOUNDATION Sidsel Christensen axisweb.org
329 Broom Streeet Rochelle School Arnold Circus 29 Oct, 7pm The online resource for
London E2 contemporary art
New York, NY 10002
T +44 (0)20 7729 8275 TATE BRITAIN
T + 1 212 714 2347
afoundation.org.uk Millbank BRIDPORT ART SCENE
whiteboxny.org
whitneymcveigh.co.uk London SW1 St Michael’s Studios,
White Noise III: Whitney McVeigh: New Work T +44 (0)20 7887 8888 Bridport, Dorset
Pandora’s Sound Box Solo exhibition of new work by the tate.org.uk/britain T +44 (0)1308 424582
2–22 Nov American-born artist. The bridport.org
exhibition will showcase a selection GALLERY IN CORK STREET November Open Studios
David Zwirner of large-scale monoprints, collages 28 Cork Street Bridport Literary Festival
525 West 19th Street and works on found paper London W1 countertext09
New York, NY 10011 to 1 Nov T +44 (0)20 7287 8408 Bridport Arts Centre
T +1 212 727 2070 galleryincorkstreet.com 13–22 Nov
davidzwirner.com Louise Blouin Jacquie Gulliver Thompson John Ragg RA
Foundation to Nov 20 Sep–8 Nov
UNITED STATES 3 Olaf Street Sally McLaren & Jacy Wall:
London W11 ALEXIA GOETHE GALLERY Prints & Paintings
Art Los Angeles ltbfoundation.org 7 Dover Street Sladers Yard
Contemporary Kandinsky Prize in London London W1 14 Nov–20 Dec
7176 W. Sunset Blvd. 17 Oct–10 Dec T +44 (0)20 7629 0090
Los Angeles, CA 90046 alexiagoethegallery.com CASS SCULPTURE
T +1 323 851 7530 BLACK RAT PRESs Blair Thurman to 13 Nov FOUNDATION
fairgroundsllc.com 83 Rivington Street Goodwood, Chichester
artlosangelesfair.com London EC2 MADDOX ARTS West Sussex
Art Los Angeles Contemporary at T +44 (0)20 7613 7200 52 Brook’s Mews T +44 (0)1243 538 449
the Pacific Design Center blackratpress.co.uk London W1 sculpture.org.uk
West Hollywood 28–31 Jan Lucas Price to 13 Nov T +44 (0)20 7495 3101 Monumental contemporary
maddoxarts.com sculpture set in 26 acres of idyllic
BUSHMAN PROJECT Nick Veasey 30 Oct–5 Dec woodland to 8 Nov
Canary Wharf Shopping Centre
Canada Square, Canary Wharf MAUREEN PALEY CORNER HOUSE
London E14 21 Herald Street 70 Oxford Street
bushmanproject.co.uk London E2 Manchester
Original Bushman Art from Kuru, T+44 (0)20 7729 4112 T +44 (0) 161 228 7621
Ghanzi, Botswana from 21 Oct maureenpaley.com cornerhouse.org
Anne Hardy to 22 Nov Artur Żmijewski: The first
major UK survey of one of the
most consistently challenging,
provocative and profoundly
thoughtful artists in Europe
13 Nov–10 Jan

154 ArtReview
CERI HAND GALLERY Xavier Hufkens GERMANY Galerie Bertrand &
12 Cotton Street, Liverpool Rue Saint-Georges 6–8 Gruner
T +44 (0)1512 070 899 1050 Brussels ARNDT & PARTNER 16, rue du Simplon
cerihand.co.uk T +32 2 639 6730 Invalidenstraße 50–51 1207 Geneva
Bedwyr Williams to 25 Oct xavierhufkens.com D-10557 Berlin T +41 227 005 151
Samantha Donnelly: Sheer Sliver Antony Gormley to 22 Oct T +49 30 280 8123 bertrand-gruner.com
13 Nov–20 Dec Eric Wurm to 3 Dec arndt-partner.de Mustafa Maluka to 31 Oct
Khosrow Hassanzadeh Richard Kern 5 Nov–19 Dec
DUNDEE CONTEMPORARY Galerie Rodolphe to 14 Nov
ARTS Janssen Galerie Thaddaeus
152 Nethergate 35, rue de Livourne Bereznitsky Gallery Ropac
Dundee Scotland 1050 Brussels Heidestraße 73 Mirabellplatz 2
T +44 (0)1382 909 900 T +32 2 538 0818 10557 Berlin 5020 Salzburg
dca.org.uk galerierodolphejanssen.com T +49 (0)307 008 1256 T +43 662 881 393
Thomas Hirschhorn to 29 Nov Torbjorn Rodland Oct bereznitsky-gallery.com ropac.net
Lisa Sanditz Nov–Dec Gilbert & George
EDINBURGH ART FAIR CONTEMPORARY FINE to 21 Nov
The Edinburgh Corn Exchange Galerie Almine Rech ARTS GALERIE
11 Newmarket Road 20 Rue de l’Abbaye Am Kupfergraben 10 Galerie Urs Meile
Edinburgh B-1050 Brussels 10117 Berlin Beijing-Lucerne
T +44 (0)1875 819 595 T +32 26 485 684 T +49 (0)30 288 7870 Rosenberghoehe 4
artedinburgh.com alminerechgallery.com cfa-berlin.com 6004 Lucerne
Scotland’s largest art fair returns Aaron Young T +41 414 203 318
for its 5th year, selling thousands 20 Oct–17 Dec DEUTSCHE GUGGENHEIM galerieursmeile.com
of original artworks from hundreds Unter den Linden 13/15 Qiu Shihua to 24 Oct
of national and international think.21 10117 Berlin
artists 20–22 Nov rue du Mail 21 T +49 (0)30 20 2093 ITALy
Brussels 1050 deutsche-guggenheim.de
WOLVERHAMPTON ART T +32 2 537 87 03 Abstraction & Empathy to 16 Oct ARTEFIERA ART FIRST
GALLERY think21gallery.com Julie Mehretu 28 Oct–6 Jan Quartiere fieristico di Bologna
Lichfield Street Angelo Plessas Viale della Fiera, 20
Wolverhampton to Oct 24 LUMAS Berlin 40127 Bologna
T +44 (0) 1902 552 055 Hackesche Höfe T +39 051 282 111
wolverhamptonart.org.uk ZENO X GALLERY Rosenthaler Straße 40/41 artefiera.bolognafiere.it
Vered Lahav: Sleepless Leopold De Waelplaats 16 10178 Berlin 21–29 Jan
to 23 Jan B-2000 Antwerp T +49 (0)30 2804 0373
T +32 32 161 626 lumas.com Alfonso Artiaco
HINTERLAND zeno-x.com Piazza dei Martiri 58
1 Thoresby Street, Nottingham Anne-Mie Van Kerckhoen WENTRUP Gallery 80121 Naples
annexinema.org 22 Oct–28 Nov Tempelhofer Ufer 22 T +39 081 496 072
hinterlandprojects.com 10963 Berlin-Kreuzberg alfonsoartiaco.com
NETHERLANDS Berlin, janwentrup.com
ISENDYOUTHIS.COM Dichte Fichten Dichten Dich Galleria Massimo De
Lamper Head, Conworthy, Totnes Galerie Paul Andriesse to 6 Nov Carlo
T +44 (0)1364 653 208 Gebouw Detroit/ Detroit Building via Giovanni Ventura 5
Art slide show, artist portfolio Withoedenveem 8 AUSTRIA 20135 Milan
gallery guide, exhibition guide 1019 HE Amsterdam T +39 02 70 003 987
& artist directory Vincenzo Castella: About Town Galerie Hubert Winter massimodecarlo.it
Jan Van de Pavert: Breite Gasse 17
TATE LIVERPOOL Monumenten en paviljoens A-1070 Wien Galleria Continua
Albert Dock 23 Oct–28 Nov T +43 (0)1524 09 76 Via del Castello, 11
Liverpool galeriewinter.at 53037 San Gimignano
T +44 (0)1517 027 400 GRIMM FINE ART Lei Xue 17 Nov–21 Dec T+39 0577 943 134
tate.org.uk/liverpool Keizersgracht 82 galleriacontinua.com
Joyous Machines: Michael Landy 1015 CT Amsterdam SWITZERLAND Mona Hatoum/Jorge Macchi/
and Jean Tinguely to 10 Jan T +31 (0)20 422 7227 Margherita Morgantin to 7 Nov
grimmfineart.com Galerie Guy BArtschi
Belgium rue du Vieux-Billard 3a Galleria Riccardo Crespi
VAN ABBE MUSEUM 1205 Geneva via Mellerio n° 1
Galerie Baronian- Bilderdijklaan 10 , Eindhoven T +41 22 3 100 013 20123 Milan
Francey T +31 (0)40 238 1000 bartschi.ch T +39 (0)289 072 491
2 rue Isidore Verheyden vanabbemuseum.nl riccardocrespi.com
1050 Brussels Lissitzky 19 Sep–5 Sep 2010 Eugenia Vanni to 7 Nov
T +32 25 12 9295
baronianfrancey.com Fondazione Gervasuti
Gilbert & George to Oct 31 Castello 994, 30122 Venezia
Tony Oursler 13 Nov–9 Jan gervasutifoundation.org
Distortion to 22 Nov
PEGGY GUGGENHEIM FRANCE SPAIN Japan
COLLECTION
Dorsoduro 701 FIAC Galeria Elba Benitez Scai the Bathhouse
I-30123 Venezia Grand Palais & Louvre San Lorenzo 11 Kashiwayu-Ato
T +39 (0)41 2405411 Paris 28004 Madrid 6-1-23 Yanaka, Taito-ku
guggenheim-venice.it fiac.com T+34 91 308 04 68 Tokyo 110-0001
22–25 Oct elbabenitez.com T +813 3821 1144
Federico Luger Hreinn Fridfinnson Nov scaithebathhouse.com
Via Domodossola 17 Fondation Cartier Julian Opie
Milan 20145 261 Boulevard Raspail GALERIA HELGA de ALVEAR 16 Oct–14 Nov
T +39 026 739 1341 75014 Paris c/ Doctor Fourquet 12
federicolugergallery.com T +33 142 185 650 28012 Madrid EST-OUEST AUCTIONS Co,
fondation.cartier.com T +34 914 680 506 Ltd
Galleria Franco Noero Né dans la rue: Grafitti to Nov 29 helgadealvear.com 2-5-15 Higashigotanda
Via Giolitti 52A Prudencio Irazabal Shinagawa-ku Tokyo 141-0022
10123 Turin Galleria Continua to 19 Nov Japan
T+39 011 882 208 Le Moulin (Paris) T+81 (0)3 5791 3131
franconoero.com 46, rue de la Ferté Gaucher Laboral Centro de Arte est-ouest.co.jp
77169 Boissy-le-Châtel y Creacion Industrial
Galleria Lorcan O’ Neill Seine-et-Marne Los Prados, 121 China
Via Orti d’Alibert 1e T +33 164 203 950 33394 Gijón
00165 Rome galleriacontinua.com T +34 985 133 431 10 Chancery Lane
T +39 06 68 892 980 Sphères 2009 24 Oct–30 May laboralcentrodearte.org Gallery
lorcanoneill.com G/F, 10 Chancery Lane, Central,
Galerie Laurent Godin CAC Malaga Hong Kong
GALLERIA PACK 5, rue du Grenier St Lazare C/ Alemania, s/n T + 852 2810 0065
Foro Bonaparte, 60 75003 Paris 29001-Málaga 10chancerylanegallery.com
20121 Milan T +33 142 711 066 T + 34 952 12 00 55 10 Chancery Lane Gallery Annex
T +39 (0)286 996 395 laurentgodin.com cacmalaga.org Unit 614, Chai Wan Industrial
galleriapack.com Delphine Coindet City Phase 1, 60 Wing Tai Road,
Peter Belyi to 28 Nov 22 Oct–5 Dec MALTA Chai Wan, Hong Kong

Galleria Poggiali e Galerie Lelong Paris Jason Lu Artside Gallery


Forconi 13, rue de Téhéran Portobello Court P.R. China, Gallery Artside, PO
Via della Scala, 35 75008 Paris St. Teresa Square Box 8503, No.4 Jiu Xianqiao
50123 Florence T +33 145 631 319 Marsascala Road, 798 Art Zone,
T+39 055 287 748 Open Tues–Fri 10:30–6 T +356 7933 3338 Chaoyang district
poggialieforconi.it Sat 2–6:30 jasonlu.com T + 86 10 5978 9192
Youssef Nabil 17 Oct–15 Dec galerie-lelong.com artisde.org
Pierre Alechinsky 16 Oct–21 Nov PORTUGAL Kim MuKee: Murmuring Tree
Monica De Cardenas Make a Trip to Beijing
Via Francesco Viganò 4 Galerie Emmanuel Cristina Guerra 24 Oct–24 Dec
20124 Milan Perrotin Rua Santo Antonio à Estrela
T +39 02 29 010 068 76, rue de Turenne 1350-291 Lisbon AYE GALLERY
75003 Paris T +351 (0)21 395 95 59 Room 601, Unit 3
Prometeogallery T +33 (0)142 167 979 cristinaguerra.com Yonghe Garden, Yard 3
Via Giovanni Ventura 3 galerieperrotin.com Dongbinhe Road, An Ding Men
20134 Milan Farhad Moshiri/Jean Michel- SWEDEN Dongcheng District
T+39 02 2692 4450 Othoniel 22 Oct–1 Jan Beijing 100013
prometeogallery.com Moderna Museet T +86 (0) 10 8422 1726
Galerie Almine Rech Slupskjulsvägen 7–9 Open Tue–Sun 10–6
Fondazione Sandretto 19, rue de Saintonge Stockholm ayegallery.com
Re Rebaudengo 75003 Paris Dalí Dalí Featuring Francesco
Via Modane, 16 Tel +33 145 837 190 Vezzoli to 17 Jan China Guardian
10141 Torino galeriealminerech.com
Auctions
T +39 011 379 7600 Daniel Lergon Russia
2-603 Henderson Center, 18
fondsrr.org 22 Oct–19 Dec
Jianguomennei St, Beijing,
XL GALLERY
China
AMT – Torri & Geminian Galerie ThaddAeus 105120 Moscow, 4
T + 86-10-6518-2315
Via L. De Bernardi, 1 Ropac Siromiatnichesky per 1, Winzavod
cguardian.com
20129 Milan 7, rue de Saintonge T +7 495 7758373
China Guardian 2009 Autumn
T +39 02 45499769 75003 Paris Open Tue–Sun, 13–19
Auction at the conference center
amtgallery.com T +33 (0)142 729 900 xlgallery.ru
Beijing Intl Hotel
Lucia Leuci to 20 Nov ropac.net
21–24 Nov
Francesco Clemente to 7 Nov
listings: museums and galleries

Institutions of Chinart Hong Kong Taiwan


D1 Fengde International Plaza
No. 6 Hangkong Road 10 Chancery Lane SOKA ART CENTER TAIPEI
Wuhou Section, Chengdu Gallery 2F, No. 57, Dunhua South Road
Sichuan Province 610041 G/F, 10 Chancery Lane, Central, Sec. 1, Taipei, 10557,
T +86 28 8526 7130 Hong Kong Taiwan
institutionsofchinart.org T + 852 2810 0065 T: +886-2-2570-0390
Reshaping History: Chinart from 10chancerylanegallery.com Open Tue– Sun 11– 9
2000 to 2009 23 Apr–18 May soka-art.com
Schoeni Art Gallery
Ov gallery 21–31 Old Bailey Street, Central, Eslite Gallery
19C Shaoxing lu Hong Kong 5F, No. 11, Songgao Rd., Taipei
Shanghai 20002 T +852 2869 8802 11073, Taiwan
T+ 862 15 465 7768 Open Mon–Sat 10:30–6:30 T+886.2.8789.3388 ext. 1588
ovgallery.com schoeni.com.hk Open Tue–Sun 11–7
Late Show: Through the Lens of gallery@eslite.com.tw
Jiang Guozhe to 5 Dec Eslite Gallery eslitegallery.com
5F, No. 11, Songgao Rd. Cai Guo Qiang
SINGAPORE Taipei 11073 21Nov–21 Feb
T+886.2.8789.3388
GALERIE EVE Open Tue–Sun 11–7 Turkey
No 5 Tank Road Nagarathar eslitegallery.com
Building #04-03, 238061 Beyaz Art
T +65 9099 3965 India İz Plaza Giz, Kat:19 D:70, Maslak
Open Thu–Sun 12–6 İstanbul –TURKEY
galerieeve.com Arushi arts T +90212. 290 70 50
C-36, Okhla Industrial Area info@beyazart.com
Eagle’s Eye Art Gallery Phase-1 beyazart.com
9 Stamford Road New Delhi 110020
Stamford House #01-01, 178885 T +91 11 41435490/91,
T + 65 6339 8297 Open Mon–Sat 11–6
elitepainter.com eindiaart.com

KOREA BRAZIL

Artside Gallery A Gentil Carioca


170 GwanHoon-dong Jongro-gu, Rua Gonçalves Ledo, 17 sobrado,
Seoul 110-300 Centro
T+ 82 2 725 1020 Rio de Janeiro
artside.org T +55 (0)21 22221651
agentilcarioca.com.br
GAAIN GALLERY
512-2 Pyungchang-dong, Galeria Leme
Jongno-gu, Seoul 110-848 Rua Agostinho Cantú 88
T +82 2 394 3631 05501-010 São Paulo
gaainart.com T +55 (0)11 - 3814 8184
galerialeme.com.br
Television12 gallery
2nd floor, 360-12 seokyo-dong Galeria Nara Roesler
mapo-ku, Seoul Avenida Europa 655
T +82(10)2 922 3150 01449-001 São Paulo
television12.co.kr T +55 (0)11 - 306 32 344
nararoesler.com.br
Watergate
211–21 5F Watergate bldg. Galeria Luisa Strina
Nonhyeon-dong, Gangnam-gu Rua Oscar Freire, 502
Seoul 135-996 01426-000, São Paulo - SP
T +82 (2) 540 3213 t +55.11.3088-2471
changart.com galerialuisastrina.com.br

Gallery Yeh Galeria Fortes Vilaca


532-9 shinsa-dong, Gangnam-ku Rua Fradique Coutinho 1500
Seoul 135-888 05416-001 São Paulo - SP
T+82 2 542 5543 T +55 11 3032 7066
galleryyeh.com fortesvilaca.com.br
Insun Choi to 19 Nov

ArtReview 157
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Vital Statistics
That Was Then…
The Strip
On the Town
Off the Record

ArtReview 159
Rear view: The power 100

Vital Statistics
Art lovers are, by definition, visually minded people. Bearing this in mind, we invited the pale
and obsessive nerds who work in ArtReview’s Department of Advanced Aesthetico-Statistical
Analysis to interpret this year’s Power 100, using the comprehensible form of scientific graphics
and Excel-hardened facts. What follows, we’re proud to announce, is a polymnemonic articulation
of contemporary art’s cosmophrenic and radial spectrodynamics, which may serve furthermore
as a guide to getting to the top of the charts and eating the biggest slice of pie.

The rise of the curator

160 ArtReview
Battle of the sexes
2008

2009
Rear view: The power 100

Are some countries more sexually equal


than others?

162 ArtReview
How the world eats the art pie
2008

2009
Rear view: The power 100

That was then...


2008-9
Twelve months of turmoil and change, plus a few parties:
ArtReview presents the highs and lows of a year that witnessed
historic elections, government takeovers, freak snowfalls and a
heavy dose of births, deaths, divorces and relocations.

October London’s auction

2008 houses hold


disappointing postwar
and contemporary art
sales, with many lots
Charles Saatchi’s new failing to sell
gallery opens at Duke
of York’s HQ on King’s Alvaro Siza, the seventy- theanyspacewhatever,
Road, London five-year-old Pritzker a retrospective of
Prize-winning Portuguese ‘relational’ art, opens
Barbara Gladstone architect, is announced at the Guggenheim,
donates major fund to as the 2009 Royal Gold New York
It emerges that Scotland’s
New York’s New Museum Medallist by the Royal Lighthouse centre for
to support lectures and Institute of British Laurent Grasso wins the
architecture and design
presentations, in honour Architects Marcel Duchamp Prize
is facing a deficit of
of her son Stuart Regen,
£300,000, forcing it to ask
founder of LA’s Regen Dominique Gonzalez- Cameron Jamie
for increased funding from
Projects, ten years after Foerster’s Turbine Hall wins the inaugural
Glasgow City Council to
his death project, TH.2058, opens $100,000 Yanghyun
avoid shutdown
at Tate Modern as the Prize, honouring an
ninth commission in the international artist of
London’s ICA announces
Unilever Series outstanding repute
the closure of its Live and
Media Arts department;
Foster + Partners director Ekow Eshun’s
announced as designers statement that ‘the art
for new interior of the form lacks depth and
landmark New York cultural urgency’ causes
Public Library consternation
The auction house
Phillips de Pury &
Company is acquired by
Russia’s largest luxury
retail company, the
Mercury Group

164 ArtReview
November December
MOCA, LA, accepts a
Mark Leckey wins the $30 million bailout from
Turner Prize Eli Broad to save the
Prospect.1, the first New
struggling institution;
Orleans art biennial,
London’s Photographers’ director Jeremy Strick
set up in the wake of
Gallery opens in new steps down after 9 years
Hurricane Katrina, opens
Soho premises
Alanna Heiss,
Two major museum
Carolyn Christov- who founded P.S.1
projects are announced
Bakargiev named artistic Contemporary Art Center
in Beijing: the expansion
director of Documenta 13 in an old schoolhouse
of the National Art
in Long Island City,
Museum into an 80,000-
Artist Keith Arnatt, Queens, in 1971, retires
square-metre site next to
best known for his after 37 years in charge
the ‘Bird’s Nest’ stadium
MOCA, LA, announces photographic work, dies
and a new museum
that the museum is in
for contemporary art
crisis, facing severe Francesco Bonami
at the Beijing Yihaodi
financial difficulties announced as curator
International Artbase
of the 2010 Whitney
Art Basel Miami Beach 2008
Art Basel Conversations / Art Salon: Public Encounters

The Double Club, a Biennial


with Leading Cultural Figures

Israeli designer Ron Art Basel Conversations

Congolese/Western    
By staging public encounters between leading cultural figures, the morning

Arad is the subject of


Art Basel Conversations offer the audience of Art Basel Miami Beach access to

    
first-hand information on important aspects of the international artworld. Taking

fusion club dreamed up


place since 2004 in both Basel and Miami Beach, Art Basel Conversations is a
forum that encourages a lively exchange of ideas, through
  a series of platform

a retrospective at the
discussions that can range from single artists
within
  
exploring their 
practice
to larger
panels that include the leading players
 regional  and
scenes fieldsof


by Carsten Höller and artistic activity. Presenting their 


and upcoming
current  on
projects, reporting 
 
on the  they face, these

Pompidou Centre, Paris

 
their experiences and commenting challenges speakers
provide an insider's view and open up the
 opportunity 
for 
dynamic and inspiring
   
funded by the Prada
dialog. After each Art Basel Conversation, there istime for 
 allotted
approach the panel in a more informal fashion. The ArtBasel
the
Conversations
audience to
  
 
forum 
promises to be intellectually exciting this year, as panelists include  
renowned
such
 
Foundation, opens in
artists, collectors, curators, and critics as Chuck Close, Vik Muniz, Richard Flood,
Hans Ulrich Obrist, Thelma Golden, Glenn Ligon, Billy Al Bengston, and Paul 

Barack Obama wins US
Schimmel, to name only a few. Panel topics include: “The Future of the Museum:
Africa, America and the World,” “Public/Private: The Artist as Philanthropist” and

London
“Artistic Production: Los Angeles, an Alternate Art World Model?”

presidential elections Art Salon


Taking place in the afternoon, Art Salon is an open platform for discussion with an
emphasis on current themes in contemporary art. Informal in its format, yet interna-
tional in scope, Art Salon encourages experimental discussions, presentations
and events such as book signings, with the range of speakers including artists,

Damien Hirst/Science curators, authors, and architects. The program offers an intimate experience for the

Daniel Birnbaum-curated
audience, allowing them to engage with prominent and thought-provoking guests
on a variety of current events in the visual arts, as well as to explore the challenges

slims down, letting go of


of artistic practice within the public realm. Participants include prominent artworld
personalities such as Harald Falckenberg, Francesco Vezzoli, Dan Graham,

Turin Triennial, 50 Moons Christine Macel, Scott Rothkopf, Dan Cameron, Olga Viso, Alanna Heiss, Richard

17 fabricating staff
Feigen, Josh Baer, Jerry Saltz and Shirin Neshat.

of Saturn, on the theme of



Art Basel Conversations

 program




  


Thursday, December 4, 2008, 

Talk
 Artist  
Premiere:  

melancholy, opens
   
     
Chuck Close, Artist, New  
 York

The Museum of Islamic



Vik Muniz,     
Artist,  York 
New  
     
     
  
 

Art, designed by ninety-


   
    
  

Tenerife Arts Space,


    
 
   

one-year-old architect
January
   

   
   

designed by Herzog & de


  


I.M. Pei, who describes it


 
 

Meuron, opens in Santa


as his last major cultural
Cruz de Tenerife
building, opens in Doha
The Times names British
New York’s Rivington Museum director Neil
Arms gallery announces MacGregor ‘Briton of the
that it will close Tate and the National
Year’
Museums of Scotland
Emily Jacir wins the jointly acquire the
Beirut Art Center,
$100,000 Hugo Boss collection of dealer
a major nonprofit
Prize Anthony d’Offay on
contemporary art space,
behalf of the nation.
opens with group show
New York auctions Valued at £125 million,
Closer
experience the sharp drop the collection was sold ‘at
in sales seen in London cost’ (around £26 million)
Tony Hart, a beloved
the month prior British children’s TV
Charles Saatchi reveals
art presenter, dies
Chinese artist Yao Lu that he will launch a
wins BMW–Paris Photo reality TV show for
Prize for contemporary aspiring artists
photography
Polish artist Miroslaw
Balka is revealed as the
10th artist to receive the
Turbine Hall Unilever
Series commission at
Tate Modern
Rear view: The power 100

February
Dan Graham’s first US
retrospective opens at
MOCA, LA

A freak heavy snowfall


in London cancels
the private view, but
Altermodern: Tate
Triennial, curated by
Nicolas Bourriaud,
The Yves Saint Laurent
opens at Tate Britain
and Pierre Bergé
collection goes to auction
Murcia announced as
in Paris, breaking records
next hosts of Manifesta,
and raising $484 million
in 2010
Arts Council England
Mark Wallinger wins
announces 24 percent cut
commission to create a
in its staffing levels
£2 million giant sculpture
in Ebbsfleet, Kent
Daria Zhukova named
as new editor of POP
It is announced that
magazine
Yoko Ono and John
Baldessari are to receive
Raven Row, a new not-for-
Golden Lions for Lifetime
profit gallery established
Achievement at the 2009
by Alex Sainsbury, opens
Venice Biennale
in Spitalfields with a Ray
Johnson retrospective

X, a one-year not-for-
profit project space
initiated by Elizabeth
Dee, opens in the former
Dia Center for the Arts
building in New York

March
Haunch of Venison
open new space at Royal
Academy building, in
the former Museum of
Mankind, London François Pinault’s
collection is exhibited
J. Paul Getty Trust at Garage Center
slashes operating budget for Contemporary
by 25 percent Culture, Moscow

The 9th Sharjah Biennial, Paul Graham wins the


Provisions for the Future, £30,000 Deutsche Börse
opens Photography Prize

B A I B A K OV
A R T P R OJ E C T S
2008/2009
PRESENTATION

166 ArtReview
April
James Turrell Museum
Tate Modern is granted opens in Colomé,
planning permission for Argentina
a £215 million extension The New Museum’s
designed by architects The Pinchuk Art Centre,
new triennial, The Kiev, opens Requiem
Herzog & de Meuron Generational: Younger – a major Damien Hirst
than Jesus, opens, retrospective
The Whitechapel featuring only
Gallery reopens to the artists under the age
public after an extension The Turner Prize 2009
of thirty-three nominees are announced:
into the neighbouring
library, which has taken Lucy Skaer, Enrico David,
Robert Adams collects Richard Wright and Roger
more than two years $61,000 along with
to complete. Opening Hiorns
Hasselblad Foundation
exhibitions include an Award for photography
Isa Genzken retrospective Auction houses Christie’s
and a yearlong and Sotheby’s both
Author J.G. Ballard dies announce job cuts and
commission from
Goshka Macuga department mergers in
A new foundation face of recession
to support the work
of Native American,
Native Hawaiian and
May
Alaska Native artists is
announced, supported by New York collectors give
$10 million from the Ford New Zealand its biggest-
Foundation ever art donation, handing
a collection of paintings by
Cézanne, Picasso, Matisse,
Gauguin and others to
Auckland Art Gallery

elles@centrepompidou
opens at the Pompidou
Centre, Paris – a year
devoted to showing solely
women artists in the
museum’s collection

Architect Norman Foster


wins Spain’s Principe de
Asturias de las Artes award

David Zwirner and Hauser


& Wirth announce the
opening of new galleries in
New York

Michael Haneke wins the


Palm d’Or in Cannes for
The White Ribbon

Ben Bradshaw appointed


culture secretary for Britain
Rear view: The power 100

June

July
Haunch of Venison
announce that they are
to close the gallery’s
Zurich space

In London Antony
Gormley’s Fourth Plinth
project, One & Other, in
Trafalgar Square, attracts
a deluge of commentary
François Pinault’s new about art for the reality-
museum for his collection, television generation
in the Punta della Dogana,
the old customs house in New York scenester artist
Venice, opens Dash Snow is found dead
from a drug overdose in
Venice Biennale and the Bowery’s Lafayette
Fare Mondi/Making House hotel
Worlds, curated by
Daniel Birnbaum, opens Nicholas Baume
announces departure
Golden Lion for Best from ICA Boston to
National Participation become director and chief
in Venice goes to the curator of New York’s It emerges that several
US for Bruce Nauman’s Public Art Fund flagship London museum
Topological Gardens projects, including
LACMA announces extensions for the BFI
Best Artist in Fare Mondi/ the closure of its film and Tate Modern, are
Making Worlds at Venice programme, news under threat due to a UK
goes to Tobias Rehberger greeted by fierce government spending
for his café decor in the criticism from deficit of £100million
Biennale pavilion film luminaries such in the Department of
as Martin Scorsese Culture, Media and Sport
Silver Lion for a
Promising Young Artist Bob and Roberta Smith
in Fare Mondi/Making and Wolfgang Tillmans
Worlds goes to Nathalie are appointed as Tate
Djurberg Trustees

Albion Gallery and the Legendary choreographer


Fitzrovia branch of the and dancer Merce
Approach both announce Cunningham dies
closure in London
Photographer Annie
Michael Jackson, pop Leibovitz is sued by Arts
icon, dies from heart Capital Group for failing
attack following a reaction to meet the terms of her
to various painkillers loan agreement with them

Art collector and


philanthropist Agnes
Gund is announced as
chair of directors of P.S.1

German dancer
and choreographer
Pina Bausch dies

168 ArtReview
August
Theatre producer Rocco
Landesman is approved as
President Obama’s choice
to lead the National
Endowment for the Arts

Kiki Smith awarded


50th Edward MacDowell
Medal

Artist Ai Weiwei reveals


that he has been detained
and beaten up by Chinese
police, in order to prevent Banksy’s exhibition at
him and others from Bristol Museum closes
attending the trial of an after 12 weeks, becoming
activist investigating the the most popular in the
Beijing earthquake UK, with visitors reaching
300,000, some after
Controversy brews queuing for up to six
around Prince Charles’s hours to see the show, and
charity and heavy donating around £45,000,
involvement with roughly the amount
architecture decisions of donations normally
after several high-profile received in an entire year
projects of which he was
critical are changed Gagosian opens a new September
gallery space in Athens

The Lighthouse, Paul Shanley, publisher


Glasgow’s centre for of Art in America during
design and architecture, the 1970s and 80s, dies 3rd Moscow Biennale
announces closure opens at the Garage
due to bankruptcy Colombo’s first art Center for Contemporary
biennial, Imagining Peace, Art in Moscow
opens four months after
the final defeat of the A survey of women artists
Tamil Tigers and Surrealism, Angels
of Anarchy, opens at
11th Istanbul Biennial, Manchester Art Gallery
What Keeps Mankind
Alive?, curated by Zagreb ArtTLV, Tel Aviv’s second
collective What, How & citywide art exhibition
for Whom, opens (rebranded this year as
a biennial), is launched
LA collector Richard
Weisman offers a $1
million reward for the
safe return of a collection
Andy Warhol portraits
stolen from his home

10th Lyon Biennale,


The Spectacle of the
Everyday, curated by
Hou Hanru, opens
the strip: by Janek Koza

170 ArtReview
on the town:

10 September
Down and out in London: West End openings

16 September
Thomas Demand, Nationalgalerie, Neue Nationalgalerie, Berlin

photography ian pierce and Mathieu MALOUF


2

B
A

3
C

172 ArtReview
H

Down and out in London


1 Gallerist Massimo De Carlo
2  Artist Charles Avery
3 Tate Modern director Vicente Todoli
4 Artist Alan Kane
5 Gallerist Pilar Corrias and Inverleith House director
Paul Nesbitt
6 Artist Ryan McGinley
7 Artist Wolfgang Tillmans
8 Phillida Reid and gallerist Stuart Shave
9 Poet Mei-mei Berssenbrugge and artist Richard Tuttle
10 Artist David Batchelor and Camden Arts Centre director Jenni Lomax
11 Gallerist Kenny Schachter

Thomas Demand
A Kunstsammlung Nordrhein-Westfalen director Marion Ackermann
and Sean Rainbird, director of the Staatsgalerie Stuttgart
b  Gallerist Johann König and Art Cologne director Daniel Hug
C Artist Thomas Scheibitz
D Publisher Angelika Taschen, novelist Daniel Kehlmann,
6 7 and Nationalgalerie director Udo Kittelmann
E Artist Jordan Wolfson, 032c’s Joerg Koch and
Sprüth Magers’s Johannes Fricke-Waldthausen
F Artist Olafur Eliasson and Marion Ackermann
G Gallerist Philomene Magers, artist Andreas Gursky and
gallerist Matthew Marks
H A liveried BMW
I Artist Mark Wallinger
J Colección Jumex director Abaseh Mirvali and artist Daniel Richter
K Artist Thomas Demand

11

10

K
Tuesday, September 22, 2009 19:20

Subject: off the record


Date: Tuesday, September 22, 2009 19:19
From: gallerygirl@artreview.com
To: <office@artreview.com>
Conversation: Barging in, barging out

To an insalubrious former school in Shoreditch, no doubt closed down after several


shootings, where I am to meet six of the hottest young unsigned art stars, ready
and primed for market saturation. Yes – I’ve blagged my way behind the scenes on
the top-secret location of Charles Saatchi’s television series. After an audacious open
call to the unknown, the overlooked, the depressed, the insane and the trucker from Hull
who wants to be a Teutonic expressionist painter, a list of young wannabes has been
thrown together for an Apprentice-like series of tasks. Despite the fact that I’m better
looking than most people in the artworld, I’m not here to pass on the benefits of my
artworld wisdom (which is odd, really, now that I’m a highly respected columnist); rather,
I’m here to lift one or preferably three ‘artists’ for our otherwise empty gallery roster.
Of course, that’s not going to get me into Saatchi’s top-secret filming location (cunningly
hidden away where no one would expect to find anything secret: in the place where the
artworld eats). Quickly realising that tight security is the order of the day, I slipped in
claiming to be Terence Rodrigues’s personal assistant – Terence is an ‘art dealer, art expert
and art journalist’ who once made an insipid six-part documentary on art for the BBC.
He isn’t actually one of the judges, either, but I know that the BBC will have to back their
man. It works. Hurrah for the BBC – no one gets left behind! Inside the experts are
gathered: a proper TV presenter, Matthew Collings, is joined by Tracey Emin, Frank Cohen
and, somewhat incongruously, the director of the Barbican Art Gallery, Kate Bush.
I’m expecting tantrums, tears and Teutonic expressionist painting. Instead I get six young
artists drinking cups of tea and making sculpture, waiting for the nice young chaps in the
kitchen to roast some quail. This is no good – we got rid of all the sculptors because of their
production costs, and I fucking hate quail. And no sign of Mr Saatchi, either, to let me
know which of these remarkably pleasant young people he intends to enrich by putting
them in a group show alongside other groovy young British artists, such as the delectable
Phoebe Irwin and the broodingly handsome Peter Peri, in deepest Russia next year.

In the search for collectors, I go off to Outset’s Contemporary Art Canal Boat Tour.
Trusting in safety in numbers, the Tate’s favourite group of collectors is braving the
East End, but wisely avoiding all roads and pavements. The level of random danger is
so high that they’ve chartered a boat to sail slowly down the litter-strewn environs of
Regent’s Canal, ignoring the abuse of passing cyclists, in order to strategically leap out
into the Drawing Room, Chisenhale and Matt’s Gallery. It’s hammering with rain and
the canal is putrid with green stuff. Luckily an indefatigable culture-supremo from the
London Borough of Hackney is on hand to point out local beauty spots to the utterly
bemused but resolutely upbeat collectors. “Look”, she says, “there’s the Kingsland Road!”
as we sail under a tunnel where feral twelve-year-olds try to throw concrete on us. As we
ponder the legend that is the Russian Bar, I head inside the boat to avoid the rain and tuck
into my boxed lunch by Arnold & Henderson. Fucking quail again.

GG

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