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“I THINK THE art market is very bullish right now,” says Lisa Schiff, New York–based art adviser, min-utes before the VVIP opening of the 44th edition of Art Basel on Tuesday morning. She is soon proven right: Strong sales began to be reported in the very first hours of the fair’s preview. The Messe’s two floors have been crackling with excitement since, as collectors including Don and Mera Rubell, Marty Margulies, Uli and Rita Sigg, and Eli and Edythe Broad make the rounds.

Unsurprisingly, works by art-ists currently featured in Venice are well represented. The London dealer Alison Jacques — who has just entered the fair’s main sec-tion, having previously shown at Statements and Feature — sold a work by the late surrealist painter Dorothea Tanning (featured in Massimiliano Gioni’s “Encyclo-pedic Palace” exhibition at the Arsenale in Venice) for $150,000. Jacques says she is glad to see an increasing interest in historical works by female artists (her gal-lery’s particular area of expertise). She also sold work by the Viennese feminist Birgit Jürgenssen, and on Tuesday had a model by Brazilian legend Lygia Clark, priced at $1.5

million, on reserve. Klosterfelde, the Berlin gallery, is both capi- talizing on the success of Matt Mullican’s installation in the Gioni show and breaking a new record: In the Unlimited section, dedicated to “outsized” works, the gallery is showing the artist’s “Two into One becomes Three,” 2011. Measur- ing 22 by 7 meters, it is the largest painting ever presented in this part of the fair.

Over at Hauser & Wirth, an anthropomorphic figure by the recently “rediscovered” Swiss sculptor Hans Josephsohn — another hit at the Arsenale — sold for 550,000 CHF to a European collector. The booth also features an expressionist “Samson” paint-ing from 1983 by Maria Lassnig, winner (together with Marisa Merz) of a Golden Lion for life-time achievement at this year’s Biennale. Three years ago, Hauser & Wirth moved from the upstairs section at Basel, dedicated to more contemporary galleries, to the ground floor, traditionally the turf of dealers focused on the modern. As Neil Wenman, its London director, explains, the shift made sense for a gallery so involved in the secondary market. It also made it easier for Hauser & Wirth to bridge different periods at Basel — as in the booth’s juxtaposition of Paul McCarthy’s 2012 bronze sculpture “White Snow #3” (priced at $2.8 million) with Willem de Kooning’s 1975 “Untitled III” (price undisclosed).

Others have now followed suit, with Lisson Gallery, White Cube,

and Metro Pictures all joining the downstairs crew. The change — the most significant in the fair’s layout since 2007 — seems to respond to buyers’ current appe-tite for the safer investments represented by blue chip pieces. “Being on the ground floor, we have seen different types of collec-tors who are interested in works at a higher price point,” says Alex Logsdail, the International Director of the London-based Lisson Gallery. A signature “mirror” piece by Anish Kapoor, “Parabolic Twist,” 2013 (£700,000), was among the first to go at Lisson during the pre-view. Confirming the trend, a large sculpture by Anthony Caro sold at London’s Annely Juda for £400,000, and Sprüth Magers of Berlin sold a Cindy Sherman “Untitled Film Still” from 1979, three George Condo paintings priced from $80,000 to $550,000, and a 2013 Barbara Kruger digi-tal print on vinyl for $250,000. The Kruger’s message sums up how closely such works match the demand: “Made For You.”

— COLINE MILLARD

Morris Louis’s “Beta Alpha,” 1961, at the Mitchell-Innes & Nash gallery

BASEL’S BULL MARKETFOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

ART BASEL SPECIAL DAILY EDITION | JUNE 12, 2013

Collectors Start the Spending Early

DESIGN MIAMI/BASEL COMES INTO ITS OWN

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LIZ GLYNN’S CELEBRATED mystery bar at this year’s Frieze New York may be gone, but the spirit of the clandestine artist speak-easy lives on. Above Café Confiserie Schiesser, Basel’s oldest chocolate maker, the New York gallerists Adam Lindemann and Paul Kasmin are showing William Copley works from the ’50s through the ’90s in a space painted by the artist’s son, Billy Copley, in

pastel stripes characteristic of his own work. Visitors are served cognac and chocolates in the shape of Copleyesque nudes. “This debauched interplay between art history and painting is like being inside one of Copley’s works,” Lindemann says. “It’s all in the spirit of William.” Confiserie CPLY, as it is called, is open from 6 p.m. to 1 a.m. through Friday. Enter via the chocolate shop at Marktplatz 19. — JANELLE ZARA

William Copley’s “Cat on a Hot Tin Roof,” 1972–1973, at Con!serie CPLY in Basel

A SWISS SHRINE TO DEBAUCHERY

DESIGN MIAMI/BASEL, which opened to the public on Tuesday in a new Herzog & de Meuron–designed exhibition space, has matured considerably in the view of many at the fair, thanks to the change of scene and the high number and quality of works on offer. The fair — featuring both stars and lesser-known designers from the early modernists to the present — includes 48 galleries, 8 more than last year.

“The move to the new space was the occasion to rethink the experience, and gave us the elas-ticity to grow the fair’s program,”

says Marianne Goebl, director of Design Miami. The expansion is not just a reflection of the bigger space, she adds, but also a reflection of the health of the design market.

Maria Wettergren, founder of Galerie Maria Wettergren in Paris, sees “a statement dimen-sion” in the latest fair. “It’s really, really strong now, ” she says. “It doesn’t hurt that the new space allows not only for bigger exhibi-tor booths, but also for more

George Nakashima’s “Cross-legged desk,” 1976 (later known as Conoid desk), at the Sebastian + Barquet gallery

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THIN CROWDS BUT BRISK SALESTHE NINTH EDITION of Volta in Basel opened at the Dreispitzhalle on Monday to an audience made up mostly of dealers, rather than the top collectors that have flocked to the satellite in previous years ahead of Unlimited’s Monday afternoon open-ing and Art Basel’s pre-view on Tuesday. Many of the 74 international gallerists represented at the fair blamed the thin crowds on an over-load of Monday midday offerings — Design Miami/Basel, SCOPE Basel, and Liste all opened around the same time as Volta9.

Still, the competition seemed to do little or nothing to diminish sales. Galleries from Copenhagen, of which there are eight this year, did especially well in the early hours, per-haps due to the relatively eye-catching works among their offerings. Jesper Elg of V1 Gallery was particularly bullish after sell-ing two John Copeland oil and acrylic paintings on vintage Playboy covers. “We always do well here; it’s good to be back,” he says. The gallery will present three two-day exhibitions over the course of Volta9. Elg’s next-door neighbor and fellow Copenhagener David Risley reported sales of several of

Charlie Roberts’s “100 Snake Sticks,” 2013, a tempting impulse buy for many at $200 a pop or 10 for $1,000. Helen Frik’s naïve ceramics, a central installation in the booth, were also a hot

item in early hours.Spanish galleries showed up

in full force, presenting some of the fair’s subtlest and most sophisticated booths. Valencia’s espaivisor – Galería Visor is showing mostly photography, with special focus on works from the late ’60s and early ’70s by Sarajevo-born conceptualist Braco Dimitrijevíc and the

2013 Hasselblad Award winner Joan Fontcuberta. For “Sputnik,” 1997, she created documentation about the covered-up death of fictional cosmonaut Ivan Istochnikov, pilot of Soyuz 2 (a

spacecraft that was actually unmanned, at least according to offi-cial records).

One the highest-profile Spanish galleries is a consolidation of the Madrid firms of Raquel Ponce, José Robles, and Eva Ruiz, who joined forces to create the PRO Gallery just two months ago, in hopes of weathering their country’s economic woes. “Galleries that want to survive in Madrid have to travel a lot,” says Ruiz, who now runs the trio’s international outreach efforts. “By doing so and minimizing our costs in Madrid and the number of artists we

show, we believe we’ll survive.”Particularly noteworthy among

PRO’s offerings is a wall piece by Almudena Lobera, “Lectura superficial” (“Superficial Read-ing”), 2012–2013, which displays sculptural versions of must-read texts for the art intellectual (or pseudo-intellectual): Dante, Kafka, Deleuze, Calvino, Marguerite Duras, and Thomas Bernhard,

among others. Several collectors were vying for the piece.

Elsewhere, New York’s Ethan Cohen, back at Volta after six years at SCOPE Basel, sold an American collector a Michael Zelehoski painting in which a shipping crate is flattened into the picture plane. And one of

Volta9’s 16 first-time partici- pants, Gallery Skape, from Seoul, had success with works by Myeongbeom Kim, including “Play,” a 2010 sculpture that combines a vintage tennis racket with the skeleton of a violin; it sold for $7,000.

— ALEXANDER FORBES

Impressionist · Modern & Contemporary Art

Koller Auctions ·

DESIGN MIAMI/BASEL (CONTINUED FROM PAGE 1)

Almudena Lobera’s “Super!cial Reading,” 2012 -2013, at the PRO Gallery

Volta9 Opens Strong Despite Competition

open space ‘in between,’ ” she adds, which makes for a more pleasant experience for visitors.

Design Miami/Basel offers the opportunity to see works from dif-ferent periods in dialogue. Older design is represented by exhibits like the carefully curated postwar French ceramics of Thomas Fritsch, a first-time exhibitor from Paris; New Yorker Demisch Danant’s show on the designers Antoine Philippon and Jacqueline Lecoq, featuring works from 1957 to 1962; and French furniture from the 1950s, at the Parisian Galerie Pascal Cuisinier. On the contemporary side, sev-eral galleries have commissioned designers to create new work for the fair. Galerie BSL of Paris presents Nacho Carbonell’s first works made of stone and bronze as part of a new collection called “Time is a Treasure” (Carbonell was named “Designer of the Future” at Design Miami/Basel in 2009). And New York’s R 20th Century Gallery has a series of witty new zoomorphic designs by sought-after L.A.–based twins the Haas Brothers.

Period and contemporary pieces come together in a joint booth by Carpenters Workshop Gallery and Steinitz, both of Paris, an unusual collaboration that imagines the home of an eclectic collector who mixes cutting-edge new furniture with antique objets d’art in a boise-rie-paneled apartment. Jacksons Gallery of Stockholm reconstructs a room created by Alvar Aalto, while New York’s Sebastian + Barquet presents a solo show of George Nakashima’s furniture in a space mod-eled on his Pennsylvania studio.

While the fair remains very European, it has extended its reach to include a South African participant, Southern Guild, and a Middle Eastern one, the Lebanese Carwan Gallery, which is presenting furni-ture and objects designed by the Paris-based architect and designer India Mahdavi, who was inspired by traditional Ottoman tile-making.

— SONIA KOLESNIKOV-JESSOP

2 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | JUNE 12, 2013

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GETTING THROUGH ART fairs can be tough. Huge exhibition halls and subpar sustenance are just some of the challenges faced by gallery girls, megacol-lectors, and art tourists alike. To help you, Blouinartinfo offers these helpful tips.

1. Good shoes: Anything you wear should be comfortable to walk in for longer than an hour, and don’t feel ashamed to wear sneakers. New York supercritic Jerry Saltz does! Also, blisters can and will appear, so bring some Band-Aids.

2. Set an itinerary: Art Fairs tend to be sprawling, and it’s easy to get sidetracked or overwhelmed. Study the fair map, locate the gal-leries you want to visit most, and go from there. You’ll still catch plenty of good, unexpected stuff along

the way, but you’ll also be sure not to miss what you came for.

3. Look for deals: Ticket prices, especially at the fairs, can be high. Look for student

or senior discounts.

4. Snacks: Some art fairs have begun to feature

artisanal food vendors, but even when the food is good, it can be expensive. You may want to bring some supplementary snacks and water. Keep your goodies safe from heavy catalogues.

5. Hand sanitizer: If you’re going to be talking to a lot of gallerists, you’ll likely be shaking a lot of hands. Bring some of the good stuff (with aloe).

6. Business cards: If you’re shaking hands, you’re probably also networking, and there’s still no better way to do that than exchanging business cards. Make sure to stock up before the fair. (Artists, however, should not attempt to use a fair as an opportunity to sell themselves to dealers.)

7. Swag: Get it!

8. Drink early and often: Take advantage of the adult beverage options at the fair. Indulging in some bubbly will distract from the pain in your feet and help you appreciate your umpteenth neon artwork of the day. Finagle a pass for the VIP room if you can.

9. Charge your devices: Go with a charged phone. Outlets tend to be few and far between, though it’s still wise to bring a charger in case of emergencies.

10. Be organized: Using a small camera or camera phone to cap-ture works, work titles, and booth information is faster and more reliable than taking notes. It also produces a handy visual narrative of your trek through the fair.

11. Know your art world celebrities: If you’re taking pictures, know whom to snap. Important Basel

figures to look for: Art Basel director Marc Spiegler; MoMA PS1 director Klaus Biesenbach and his well-coiffed white ’do; Hole gallerist May Andersen

(mostly known for being a Victoria’s Secret model and Julian Schnabel’s baby mama); bespec-tacled curator Hans Ulrich Obrist; Andre Saraiva (owns art world pop-up nightclub Le Baron); and Swiss president Ueli Maurer.

12. Be wise about your bag: Okay, we are advising you to bring a lot of stuff, and you’ll want to think carefully about the bag you choose to bring. Backpacks are the wisest, in our view.

13. Bring your posse: Whether you’re going to buy or just browse, going to art fairs with friends makes the whole affair more enjoyable.

14. Don’t bring your kids: As the old adage goes, an art fair is no place for children.

15. Plan your route: Big fair weeks often have several satellite fairs, so planning how you’ll get to them ahead of time will save you headaches. Some fairs offer com-bination admissions packages. This year, SCOPE Basel will run a complimentary shuttle service between its fair and Art Basel,

Liste, and Volta. Volta also pro-vides a free shuttle bus to and from Art Basel and Liste. And the Solo Project at St. Jakobshalle provides shuttles in two loops —

one for Museum Tinguely and the namesake art fair, the other for Schaulager and Volta.

16. And plan your parties: RSVPing ahead of time to the important after-fair parties will save you a headache later.

17. Pace yourself: Don’t try to do more than two fairs in one day. Just don’t.

18. Take breaks: Treat a fair as a marathon? You’ll get burned out. Schedule regular 10-minute rests or outdoor breaks — and remind yourself to take them.

19. Don’t knock over artwork: Pretty self-explanatory.

20. Tweet often, and know your hashtags: Art Basel has its own Twitter account, so tweet @ArtBasel with the hashtags #ArtBasel, #Switzerland, #ArtBaselinBasel, #Rebranding. And if you need to vent about the trials and tribulations of attending an art fair — for example, “Demi Moore tried to date me last night #Basel” — tweet @ArtBaselProblems.

AN ART FAIR SURVIVAL GUIDE

Treat a fair as a marathon? You’ll get burned out. Schedule regular 10-minute rests or outdoor breaks — and remind yourself to take them.


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LUCIO FONTANA1899 - 1968, Concetto Spaziale, 1957. 54 x 65 cm.

Catalogue raisonné, Milan, 2006, vol. I, p. 350, no. 57 G 14.

AUCTION: THURSDAY 27 & FRIDAY 28 JUNE 2013 EXHIBITION: FRIDAY 21 JUNE UNTIL WEDNESDAY 26 JUNE 2013

All Catalogues online: www.hampel-auctions.com

HAMPEL FINE ART AUCTIONS MUNICHSchellingstr. 44 / Villa Hampel · 80799 Munich · Tel.: +49 (0)89 - 28 804 - 0 · Fax +49 (0)89 - 28 804 - 300

[email protected] · www.hampel-auctions.com

Florentijn Hofman’s “Rubber Duck,” 2013

Asia Society Museum | 725 Park Ave. (at 70th St.) | New York City | AsiaSociety.org/IranModern

IRAN MODERNThe first major U.S. exhibition of artwork created in the three

decades leading up to the Iranian Revolution of 1979.

September 6, 2013–January 5, 2014

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Franco on the Power of Cross-Dressing: For his new collabora-tion with video art great Douglas Gordon at Pace’s London loca-tion, artist-actor–Renaissance man James Franco cast himself in the role of Marion Crane (origi-nally played by Janet Leigh) in a partial remake of Alfred Hitch-cock’s “Psycho” titled “Psycho Nacirema” (“American” back-wards), partly shot on the Universal Studios set where the original was !lmed. “In the original, the psycho is a cross-dresser and the victim female. It’s obviously an old-fashioned idea that a transvestite would be a psycho. By casting myself as Marion Crane, I hope to under-mine those dated notions,” Franco told the Guardian’s Skye Sherwin. “When I started doing art projects, I thought I needed to move away from the world of acting. Then I realized all my favorite artists look to !lm for inspiration: Cindy Sherman, Rich-ard Prince, Dan Colen, and Douglas Gordon.”

Hong Kong’s Giant Duck Migrates to U.S.: Agence France-Presse reported over the weekend that thousands gathered to say farewell to the beloved giant in"atable duck in Hong Kong’s Victoria Harbor. The Florentijn Hofman–designed duck was de"ated today and will travel to Pittsburgh as part of its ongoing 13-city world tour. “The rubber duck has brought us a lot of happiness,” said Tina Yip, a 34-year-old teacher. “I hope it will come back.”

The Challenges of Restoring Digital Art: Museums are facing challenges in preserving and restoring digital and Internet artworks created with code, links, and browsers that are now out of use. Works like “The World’s First Collaborative Sentence” by the artist Douglas Davis, which the Whitney acquired in 1995, have had to be debugged and reposted — a dif!cult task. “Frankly speaking, it’s a huge challenge,” Rudolf Frieling, a curator of media arts at the San

Francisco Museum of Modern Art, told the New York Times. “Not every museum is set up to do that. It takes huge technical expertise.”

Qatar Museum Staffer Makes Arab Spring Cartoons: Khalid Albaih, the Romanian-born son of a Sudanese diplomat and now a Doha-based employee in the Qatar Museum Authority’s multimedia department, has earned a devout following in the Arab world for satirical cartoons about the Arab Spring uprisings. “I love comics, and my dad used to bring home an Egyptian magazine called Sabah El-Kheir that heavily relied on cartoons… It was amazing to me how effective cartoons were,” Albaih said in a pro!le by Isma’il Kushkush for the New York Times. “Yeah, sometimes I get e-mails from Sudan telling me, ‘You’re a Communist!’, or from Syria, telling me to mind my own business and to look at my own country.”

Advice to Sell: Amid widespread condemnation of Detroit’s plan to sell off the Detroit Institute of Arts’s collection, Bloomberg columnist Virginia Postrel has written an op-ed in favor of the sale. “Great artworks shouldn’t be held hostage by a relatively unpopular museum in a declining region,” she writes.

Brazil’s Art World Is Blowing Up: The emerging art scenes in Rio de Janeiro and São Paulo have been helped along signi!cantly by the Brazilian government, which gives tax rebates to corporations that sponsor cultural projects in the country. The country’s Ministry of Culture also reports that the government spends about $1 billion annually on arts support. “The only thing that hasn’t changed is the amount of talent in the country,” Luiza Mello, director of production company Automati-ca, told the Los Angeles Times. “What’s new is the amount of investments, the movement in the market, and the interest in the art.”

THE BRIEFING BOX

WORLD ART NEWS


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AT THE FAIRS

SCENES FROM THE SATELLITES

“Audrey Esca,” by Porky Hefer in collaboration with Woodheads Leather Merchants, made of leather, netting, and steel, at Southern Guild gallery

Benjamin Graindorge’s “Fallen Tree,” 2011, oak wood and glass

DESIGN MIAMI/BASEL

VOLTA9

Ignacio Bahna’s “Contra Fibra,” 2013

At Pierre Marie Giraud, collectors admire ceramics by various international artists, including Tony Marsh

Seung Yong Song, a winner of the 2013W Hotels Designers of the Future Award

George Nakashima’s prototype grass seat chair, 1947

Works by Myeongbeom Kim at Seoul’s Gallery Skape

Rubicon Gallery’s booth

Eckart Hahn’s “Beauteousness,” 2011, and Thorsten Brinkmann’s “L’Alberling

Quell,” 2013, at Pablo’s Birthday’s booth

Kathy Grayson of The Hole (New York) engages collectors with Kadar Brock’s textural paintings


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BLOUINARTINFO.COM ASIA EDITION is published six times per year, and is distributed via major art fairs, cultural institutions, top hotels, and select regional auctions.

BLOUINARTINFO.COMWith an audience of global collectors, gallery directors, and museum curators,

it is the premier source for Asian Art, Culture & Style.

ASIA EDITION MAGAZINE

SEPTEMBER/OCTOBER

DISTRIBUTION

Watches and Wonders, Hong Kong: September 25-28, 2013

Asia Contemporary Hong Kong:October 3–6, 2013

Korean International Art Fair: October 3-7, 2013

Select Galleries in Hong Kong, Beijing, Shanghai, and Korea

Cultural Institutions and Luxury Hotels

Closes: July 26, 2013

OCTOBER

Special Singapore Biennale IssueOctober 26, 2013-February 16, 2014

DISTRIBUTION

Singapore Galleries, Cultural Institutions, Luxury Hotels

Closes: August 30, 2013

NOV/DEC LOCATIONSDISTRIBUTION

Hong Kong and Beijing Auctions, Galleries, Cultural Institutions, Luxury Hotels

Art Taipei:November 8-11, 2013

Closes: October 4, 2013

For more information please contact Wendy Buckley, Publisher at [email protected]

ART BASEL ATTRACTED 65,000 visitors last year, and its 44th edition promises to be a powerful draw once again, with more than 300 galleries from North America, Latin America, Europe, Asia, and Africa presenting works by more than 4,000 modern and contemporary artists. But even the most passionate art aficionados can’t spend all their time at the fair.

RESTAURANTSVOLKSHAUSSwiss architects Herzog & de Meuron’s extensive makeover of this 1925 restaurant and bar has been the talk of the town. The sleek black bar is a perfect foil for the airy, all-white French brasserie featuring fancified classics like steak frites and crème brûlée with ginger and lemongrass. The courtyard beer garden provides an outdoor option. Rebgasse 12–14+41 61 690 93 10volkshaus-basel.ch

RESTAURANT STUCKI Chef Tanja Grandits is devoted to harmony, contrasts, colors, and spices, and produces some of the most innovative cuisine in Switzer- land. A typical dish — called simply “salmon” — comes with cardamom sashimi, rooibos smoke, and sweet potato grape-fruit dashi.Bruderholzallee 42 +41 61 361 82 22 stuckibasel.ch

BODEGA ZUM STRAUSSThe creative class flocks to this Italian restaurant for what many say is the best pasta in Basel. The ground floor has a boisterous atmosphere while the second floor is quieter; reservations are recommended.Barfüsserplatz 16+41 61 261 22 72

SCHLOSS BOTTMINGENJust outside Basel, this glorious castle has a romantic garden

terrace and several stately dining rooms. French cuisine gets a contemporary spin in dishes like green-pea soup with peppermint and shrimp with garlic sauce.Schlossgasse 9+41 61 421 15 15weiherschloss.ch

RESTAURANT SCHLÜSSELZUNFTHoused in an impressively vast 12th-century guildhall, this restaurant serves traditional dishes like veal and kidneys with spaetzle, fresh fish, and homemade sorbet. There’s also an expansive Sunday brunch menu.Freie Strass 25+41 61 261 20 46schluesselzunft.ch

MUSEUMSKUNSTMUSEUMThe Kunstmuseum’s collection emphasizes the Renaissance and the 19th through 21st centuries. A Picasso retrospective on view through July 21 — “The Picassos Are Here!” — brings together works from Basel’s top institu-tions for the first time.St. Alban-Graben 16+41 61 206 62 62kunstmuseumbasel.ch

FONDATION BEYELERThis sleek, light-filled museum, founded by art dealers Hildy and Ernst Beyeler and designed by Renzo Piano, is a perfect venue for displaying the cheeky contemporary sculptures of Maurizio Cattelan (through October 6) and a Max Ernst retrospective (through September 8). Baselstrasse 101+41 61 645 97 00fondationbeyeler.ch

VITRA DESIGN MUSEUM“Louis Kahn: The Power of Architecture” (through August 11) pays tribute to the austere, masterful formalism of one of America’s most lauded architects. The show features original drawings, travel sketches, ephem-era, and scholarship pertaining to major projects like the Bangladeshi National Assembly, the Salk Institute, and the posthumously unveiled Four Freedoms Park in New York.Charles-Eames-Strasse 1Weil am Rhein, Germany+49 7621 702 32 00 design-museum.de

MUSEUM JEAN TINGUELYNamed for Basel’s most famous artist, the museum continues its “Tinguely@Tinguely” exhibi-tion through September 30, re-examining his “metamechanic” oeuvre 20 years after his death. New additions to the collection and select pieces by Lithuanian

artist Zilvinas Kempinas (“Slow Motion,” through September 22) provide additional kinetic context. Paul Sacher-Anlage 2+41 61 681 93 20tinguely.ch

SHOPPINGSET & SEKTThis incredibly stylish boutique sells women’s and men’s clothing from such brands as Dries van Noten, Comme des Garçons, James Perse, Alexander Wang, and Stutterheim, plus leather accessories by Isaac Reina and body-chemistry colognes by Escentric Molecules.Rümelinsplatz 5+41 61 271 07 65setandsekt.com

SEVEN SISTERSA must for cool hunters, this concept store stocks merchandise that runs the gamut from housewares to fashion to gifts, from international names as well as up-and-coming Swiss designers.Spalenberg 38+41 61 262 09 80www.sevensisters.ch

TROIS POMMESA renowned mecca for men’s and women’s clothing — it says a lot that it also has outlets in St.

Moritz and Gstaad — Trois Pommes offers labels like Azzaro, Tom Ford, Dolce & Gabbana, and Prada, as well as a luxury vintage store at Aeschenvorstadt 55.Freie Strasse 74+41 61 272 92 55/57 (Donna/Uomo)www.troispommes.ch

HANDMADEThe eclectic and artsy Handmade sells items both essential (organic bath products from Aesop) and unusual (Droog’s crystal-wine-glass doorbell, hand-knitted Swiss baby booties by Hohgant). If you can’t leave the fair, the Artshop at the Messeturm (exhi-bition tower) is also offering a selection of its wares.Nadelberg 47+41 61 261 31 61h-made.ch

HOTELSLES TROIS ROISDecked out in sumptuous fabrics and rich colors, the 101-room Les Trois Rois, located on the Rhine in the old town, is a classic European hotel. It has a storied history dating back to 1681 and a list of past guests that includes Richard Wagner and Marc Chagall. The restau-rant Cheval Blanc, located in the hotel, serves elegant Mediterranean dishes.Blumenrain 8+41 61 260 50 50www.lestroisrois.comRates: double rooms from CHF 545/$571

AU VIOLONMany European cities boast hotels that were once monasteries, but Au Violon was also a prison from 1835 until it was renovated in 1995. Its 20 rooms are simply and tastefully furnished, and it has a

brasserie with a charming terrace that is ideal for drinks or dining in warm weather.Im Lohnhof 4+41 61 269 87 11www.au-violon.comRates: double rooms from CHF 160/$168

KRAFFT BASELThis historic 60-room hotel features modern interiors and lovely views. Diners can enjoy river breezes on the restaurant’s terrace and a cigar afterward in the smoking lounge. Rheingasse 12+41 61 690 91 30 krafftbasel.ch Rates: double rooms from CHF 305/$317

HOTEL EULER BASEL Located near the Basel train sta-tion, this grand hotel was estab-lished in 1867 and renovated from top to bottom in 2008. Impeccably designed, it features 66 modern rooms and a lively bar and terrace.Centralbahnplatz 14+41 61 275 80 00swissinternationalhotels.com/euler-baselRates: double rooms from CHF 657/$689

DER TEUFELHOF BASELThis charming 33-room guest-house, composed of two interconnected historical resi-dences, combines hospitality with art (displayed throughout), theater (the hotel has its own performance space), and fine cuisine (on offer at both the Bel Étage restaurant and the less formal Atelier).Leonhardsgraben 47–49+41 61 261 10 10teufelhof.comRates: double rooms from CHF 598/$622

Places to Eat, Shop, See, and StayWHEN IN BASEL…

The Krafft Basel hotel, at left

Volkshaus

Set & Sekt

JUNE 12, 2013 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | 11

ART BASELMesse Basel, MesseplatzInvite-only VIP previews: Tuesday, June 11, 11 a.m.–8 p.m. Wednesday, June 12, 11 a.m.–3 p.m.Invite-only Vernissage: Wednesday, June 12 3–8 p.m.Thursday, June 13, 11 a.m.–7 p.m.Friday, June 14, 11 a.m.–7 p.m.Saturday, June 15, 11 a.m.–7 p.m.Sunday, June 16, 11 a.m.–7 p.m.

SATELLITE FAIRSSCOPE BASELUferstrasse 40Invite-only previews: Monday, June 10, 1–9 p.m.Tuesday, June 11, 1–9 p.m.Wednesday, June 12, 11 a.m.–9 p.m. Thursday, June 13, 11 a.m.–8 p.m.Friday, June 14, 11 a.m.–8 p.m.Saturday, June 15, 11 a.m.–8 p.m.Sunday, June 16, 11 a.m.–7 p.m.

VOLTA9Helsinki-Strasse 5Invite-only preview: Monday, June 10, 10 a.m.–2 p.m.Opening Reception: Monday, June 10, 5–9 p.m.Monday, June 10, 2–7 p.m.Tuesday, June 11, 10 a.m.–7 p.m.Wednesday, June 12, 10 a.m.–7 p.m.Thursday, June 13, 10 a.m.–7 p.m.Friday, June 14, 10 a.m.–7 p.m. Saturday, June 15, 10 a.m.–7 p.m.

LISTE 18Burgweg 15Invite-only preview: Monday, June 10, 12–5 p.m.Tuesday, June 11, 1–9 p.m.Wednesday, June 12, 1–9 p.m.Thursday, June 13, 1–9 p.m.Friday, June 14, 1–9 p.m.Saturday, June 15, 1–9 p.m.Sunday, June 16, 1–6 p.m.

DESIGN MIAMI/BASELHall 1 Süd, Messe BaselInvite-only preview: Monday, June 10, 12–6 p.m.Tuesday, June 11, 11 a.m.–7 p.m.Wednesday, June 12, 11 a.m.–7 p.m.Thursday, June 13, 11 a.m.–7 p.m.Friday, June 14, 11 a.m.–7 p.m.Saturday, June 15, 11 a.m.–7 p.m.Sunday, June 16, 11 a.m.–7 p.m.

THE SOLO PROJECTBrüglingerstrasse 19–21Invite-only preview:Wednesday, June 12, 10 a.m.–12 p.m.Wednesday, June 12, 12–8 p.m.Thursday, June 13, 10 a.m.–7 p.m.Friday, June 14, 10 a.m.–7 p.m. Saturday, June 15, 10 a.m.–7 p.m.Sunday, June 16, 10 a.m.–5 p.m.

I NEVER READ, ART BOOK FAIR BASELRebgasse 12–14, Volkshaus BaselOpening: Thursday, June 13, 6–10 p.m. Friday, June 14, 2–8 p.m.Saturday, June 15, 2–8 p.m.Sunday, June 16, 10 a.m.–4 p.m.

MUSEUM EXHIBITIONSKUNSTHAUS ZURICHHeimplatz 1, Zurich“The Looser Collection”A preview of the Hubert Looser Collection that will be permanent-ly installed in the Kunsthaus in 2017, this exhibition offers an almost-complete look at the collection’s abstract, minimal, and Arte Povera works.

KUNSTHALLE BASEL Steinenberg 7Opening: Wednesday, June 12, 7–10 p.m.“Paulina Olowska: Pavilionesque”Polish artist Paulina Olowska’s !rst solo exhibition in Switzer-land features a functional sculpture that serves as a setting for performances and the presentation of newly produced works like paintings, ceramics, and sculptures.

SCHAULAGERRuchfeldstrasse 19 Steve McQueenMore than 20 videos and !lm installations, photographs, and other selected works by Steve McQueen will be on view across two "oors of Schaulager, which has been architecturally transformed into a “City of Cinemas” for this exhibition.

FONDATION BEYELERBaselstrasse 101Maurizio CattelanAn exhibition of new, previously unexhibited works by the Italian-born, New York–based artist and curator Maurizio Cattelan.

KUNSTMUSEUM BASELSt. Alban-Graben 16“The Picassos Are Here!”Drawn exclusively from Basel collections, this Picasso retrospective includes works never before exhibited in public and many that have never been shown together.

KUNSTHAUS BASELLANDSt. Jakobs-Strasse 170“Christopher Orr: Light Shining Darkly”Christopher Orr’s !rst exhibition at Kunsthaus Basselland presents recent paintings alongside works created exclusively for this show.

MUSEUM DER KULTURENMünsterplatz 20“POPCAP ’13”POPCAP ’13 at the Museum der Kulturen is an exhibition of photographs exploring contempo-rary ideas about Africa — and taken on the outskirts of Basel.

GALLERY SHOWSLALEH JUNE GALERIEPicassoplatz 4Opening: Thursday, June 13, 5–8 p.m.“We Are Young”A group exhibition of young international artists — Crystel Ceresa, Lori Hersberger, Robert Lazzarini, Kelly McCal-lum, Marc Rembold, and Philippe Zumstein — who respond to historic traditions in painting and sculpture in radically different ways.

NICOLAS KRUPP CONTEMPORARY ART Rosentalstrasse 28Walter SwennenA solo exhibition of works by neo-expressionist Belgian painter Walter Swennen.

VON BARTHA GARAGEKannenfeldplatz 6Daniel Robert HunzikerThis solo exhibition of works by Daniel Robert Hunziker, who is in"uenced in part by artists like Donald Judd and Robert Morris, bridges 20th-century minimalism and explorations of contemporary industrial architec-ture (warehouses, train tracks, and urban European sprawl are particular inspirations).

ART BASEL FILMS

All screenings take place at Stadtkino Basel, Klostergasse 5, Basel. Tickets are available at [email protected] or the !lm information desk at Art Basel.

“Michel Auder – Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited and Produced by M. Auder”Wednesday, June 12, 6 p.m.; Friday, June 14, 5:30 p.m.A series of short !lms screened in conjunction with Auder’s exhibition at Kunsthalle Basel, which presents works from throughout his career, including a video diary, documen- tary works, and appropriated commercial television pieces.

Short Film Program: “Approaching Spaces”Thursday, June 13, 8 p.m.Curated by Marc Glöde, this series of experimental !lms explores questions of space and architecture. Screenings are followed by a Q&A with Stephen Prina and Marc Glöde.

Hassan Khan: “Blind Ambition”Thursday, June 13, 10 p.m.Originally commissioned for dOCUMENTA (13), Hassan Khan’s “Blind Ambition” is a !ctional work shot on two mobile phones in 2012. The screening is followed by a Q&A with Hassan Khan and Marc Glöde.

Kader Attia: “Untitled” (Collages)Friday, June 14, 8 p.m.Kader Attia’s single-channel video examines the lives of transsexuals in Algiers and Bombay, raising questions about the possibility of objec- tive testimony.

Short Film Program: “Still/Moving”Friday, June 14, 10 p.m.This series of short !lms presents works by John Stezaker, Michael Snow, and Martin Arnold, among others. Curated by Marc Glöde, “Still/Moving” re-examines “still” and “moving” footage, eliciting new perspectives on historic works. Screenings are followed by a Q&A with Martin Arnold and Marc Glöde.

Kader Attia’s “Untitled” (Collages), !lm still, 2011-2012

AROUND TOWNCultural Goings-on in Basel

Pablo Picasso’s “Buveuse d’absinthe,” 1901, at the Kunstmuseum Basel

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Friday, June 21, 18:00 CET – live and online – Auctionata will auction a spectacular find: Egon Schiele’s watercolour Reclining Woman, a masterpiece from 1916. Kallir D. 1824b.

Hall 2Booth D 11Preview at Galerie

St. Etienne


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CONVERSATIONS, TALKS, AND EVENTS

JANKOSSEN CONTEMPORARY ART GALLERY101 HaltingerstrasseYong-joo MarbotAn exhibition of works by Basel-based, Korean-born artist Yong-joo Marbot, who works in oil on canvas and traditional Korean “hanji” paper, creating geometric works that allude to landscapes.

STAMPASpalenberg 2Erik Steinbrecher/Zilla LeuteneggerSTAMPA presents two solo exhibitions by Erik Steinbrecher and Zilla Leutenegger. Steinbrech-er’s show includes recent paint-ings, geometrical pieces, and works based on performance, while Leutenegger’s consists of selected drawings made between 1999 and 2009.

HAUSER & WIRTHLimmatstrasse 270, Zurich“Lee Bontecou: Works on Paper”This rare exhibition of drawings by Lee Bontecou brings together signi!cant drawings dating from her early career in the late ’60s to more recent works, some of which have never before been exhibited publicly.

GALERIE PETER KILCHMANNZahnradstrasse 21, Zurich“Los Carpinteros: Bola De Pelo”A multimedia show of new works by the Cuban-born artist duo Los Carpinteros, this exhibition includes sculptures, large works on paper, and the screening of their new art !lm, “Pellejo.”

GALERIE EVA PRESENHUBERZahnradstrasse 21, Zurich“Ugo Rondinone: Soul”“Soul” is a series of new sculp-tures composed of bluestone and rough-cut into blocks that are stacked atop one another to form human !gures.

BARBARA SEILER GALERIE Anwandstrasse 67, Zurich“Shana Lutker: The Blowing Nose”Like all of Shana Lutker’s exhibitions, “The Blowing Nose” is shaped by the artist’s research into the histories of psychoanaly-sis and surrealism. In this case, the show of multimedia and sculpture re"ects Lutker’s recent explorations into !st!ghts that surrealist artists engaged in, battling over ideas and work.

GALERIE EDWYNN HOUK Stockerstrasse 33, ZurichAbelardo MorellAbelardo Morell’s !rst solo exhibition in Switzerland presents works from his career as a contem-porary camera obscura photographer.

(continued from page 13)AROUND TOWN

ART BASEL CONVERSATIONSHall 1, Auditorium, Messe BaselThese morning conversations, open to the public, bring artists, curators, collectors, writers, and other art world professionals together, with time allotted for questions and open discourse. All conversations are from 10–11:30 a.m.

Artist Talk: Thomas SchütteWednesday, June 12German artist Thomas Schütte will converse with prominent curator Massimiliano Gioni.

Public/Private: Museums and AusterityThursday, June 13Author and consultant András Szántó moderates a conversation between Agustín Pérez Rubio, former director of the Museo de Arte Contemporáneo de Castilla y León, and Suzanne Cotter, director of Porto’s Serralves Museum of Contemporary Art. The pair will discuss the economic dif!culties facing museums and the implications of austerity for cultural institutions.

Collectors Focus: Collecting New MediaFriday, June 14As part of the “Collectors Focus” series, which examines issues surround-ing collecting and patronage, collector Carl Thoma and curator Alice Gray Stites discuss the effect of digital artworks on the future of collecting.

The Artist and the GalleristSaturday, June 15A conversation between New York artist Dan Graham and Massimo Minini of Italy’s Galleria Massimo Minini offers a glimpse into the complex relationship between artists and the galleries that represent them.

Artistic Practice: The Artist as FarmerSunday, June 16 In this, the sixth panel of the series entitled “Artistic Practice,” Hans Ulrich Obrist moderates a discussion with several luminaries, including Fritz Haeg and Adrián Villar Rojas. Previous talks have included “The Artist as Urbanist,” and “The Artist as Activist.”

DESIGN TALKS AT DESIGN MIAMI/BASELHall 1, Süd, Messe BaselThe Design Talks explore issues in contempo-rary design practice and collecting, with interdisciplinary panel discussions and interviews. All talks are from 5:30–6:30 p.m.

Designing the FutureTuesday, June 11Three winners of the W Hotel’s Designers of the Future Award — Seung-Yong Song, Jon Stam, and Bethan Laura Wood — will discuss their studio practices and design ideals in a conversation moderated by Felix Burrichter, the editor/creative director of PIN-UP.

The Power of PatronageWednesday, June 12Ginevra Elkann, president of Turin’s Pinaco-

teca Agnelli, and Patrick Seguin, principal of Galerie Patrick Seguin, will discuss the signi!cance of private museums in today’s cultural landscape. Horacio Silva, the editor in chief of Crane.tv, will moderate.

The Choreography of CollaborationThursday, June 13Daniel Arsham, an artist and co-founder of Snarkitecture, and

designer Judith Seng discuss dance, design, and their collaborations with Merce Cun-ningham, Jonah Bokaer, and Barbara Berti.

PUBLIC TALK WITH MASSIMILIANO GIONI AND FRANCESCO BONAMIFondation Beyeler, Baselstrasse 101Friday, June 14, 6–7 p.m.A conversation between curator, critic, and writer Francesco Bonami and curator and director of the 55th Venice Biennale, Massimiliano Gioni.

PARCOURS OPENING NIGHTVarious Locations. See artbasel.com/en/basel/about-the-show/sectors/parcoursWednesday, June 12, 7 p.m.–12 a.m. Parcours is a series of site-speci!c artworks and performances by internationally re-nowned and emerging artists — including Marina Abramovic , Jill Magid, Sterling Ruby, and Danh Vo — taking place in various locations throughout Basel’s historic Klingental neighborhood. The opening night features performances by L.A. Dance Project, Marc Bauer, and Michael Smith. Food, drinks, and live music by Kafka on Kaserne plaza at 11 p.m.

ELEMENT OF CRIME IN CONCERTSpiegelzelt (performance tent) in Sarasin Park, across from Fondation Beyeler (Baselstrasse 101)Saturday, June 15, and Sunday, June 16 Doors open at 6 p.m.; concert at 8 p.m.The German rock band Element of Crime performs alongside an exhibition of art-works culled from the personal collections of the band members, whose creative pursuits outside of music include !lm, theater, and literature. (Tickets available: +41-61-226-90-03 or fondationbeyeler.ch)

Artist Dan Graham

Still from Shana Lutker’s “The Blowing Nose,” 2013, at Barbara Seiler Galerie

PRESIDENT’S DAY WEEKENDF E B R UA RY 1 3 - 1 7 , 2 0 1 4VIP PREVIEW | FEBRUARY 13

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Shelley Fischer (212) 328-3664 [email protected]

What might Andy Warhol think of the art fair phenomenon? “He would love it,” said Eric Shiner, director of the Andy Warhol Museum and curator of the Armory Show’s Focus Section, opening today. “For Warhol there was no line between art and com-merce. I can picture him renting a booth and doing society portraits as you wait.”

Fast-forward to today. “Artists are hardly ever present at art fairs,” says Shiner. Why? Perhaps artists are protecting them-selves:!The quantity of artwork at fairs and the pace at which people move through booths can be dispiriting for exhibiting artists.

Whatever the reason, Shiner is committed to reversing this trend, at least on opening day. Nearly all 22 artists from the 17 galleries in the Focus section — devoted to the United States — are on site. Warhol is also here, in spirit, courtesy of a Gagosian Gallery mini retrospective. Oh, and Todd Pavlisko’s work at Samson Projects has two of the

artist’s weight-lifting benches. They’re part of an installation.

Shiner says Warhol’s presence makes for a timely reminder that the art market wouldn’t exist without the producers. The prob-lem: With the Dow Jones Industrial Average spiraling upward, the split between producers and consumers of art only widens.

Several participating artists have created interactive projects to disrupt the usual fair flow. At Magnan Metz, Duke Riley invites visitors to make rubbings of the

booth’s floor, constructed from driftwood picked up along the shores of Rockaway Beach after Hurricane Sandy.

Not quite your speed? Don’t worry. At Wendi Norris Gallery, the family of late American Surrealist Dorothea Tanning is on hand to chat about her life and work.

To provide his intervention with structure, Shiner divided his selection into three themes: critical, historical, and humorous takes on the United States. The goal, he says, is to offer an accurate if varied portrait of America today.

Politics is an unspoken if persistent theme. New York–based

collective Type A is showing three red, white, and blue neon silhou-ettes of a man pointing a handgun. They’re modeled after the U.S. Department of Homeland

Security’s official shooting target. The idea, in part, is to examine male aggression and America’s fascination with guns.

It goes without saying that not a lot of this work is designed to appeal to the widest possible audience, allowing, perhaps, a visitor to wander by uninhibited. But that’s not the point: While most things in the section are for sale, creativity, not commerce, drives Shiner’s selection. In that spirit, the artists will gather at the end of the first!day for a group portrait as a snapshot of American art today. —JULIA HALPERIN AND

BENJAMIN GENOCCHIO

“FOUNTAIN” FOR THE 21ST CENTURYPerhaps the most apposite artist tribute to the Armory’s centenary at this year’s fair is Andrew Ohanesian’s installation at Pierogi: a urinal in homage to Marcel Duchamp’s 1912 sculpture. But this one works. “Andrew makes the urinal functional and interactive, unlike Duchamp’s ‘Fountain,’ ” gallerists Joe Amrhein and Susan Swenson explained. “As with a typical urinal, the flush is activated as you walk away.” The piece, “Urinal,” is for sale at an as-yet undetermined price in an edition of three. And if a curious collector should want to try before they buy? Said Amrhein: “If someone chooses to use it, then I suppose we just tactfully have to look the other way.” —BENJAMIN SUTTON

“For Warhol there was no line between art and commerce. I can picture him renting a booth and doing society portraits as you wait.”

New York–based collective Type A’s three red, white, and blue neon silhouettes

Megadealer Larry Gagosian

Andrew Ohanesian’s “Urinal”

IN PORTRAIT OF AMERICA, COUNTRY DEEMED OKAY

FOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

ARMORY SHOW SPECIAL DAILY EDITION | MARCH 6, 2013

Focus Section Delivers Accurate, If Varied, Snapshot of America Today

Pier 94, Booth 901, Focus section, is an odd place to find Gagosian at the Armory. After all, the megadealer is given front-and-center treatment at most fairs. And it’s not like he needs the 20 percent discount that Focus-invited galleries enjoy.

Nonetheless, the gallery delivers another blockbuster, courtesy of tens of millions of dollars’ worth of late Warhols. They’re set against eye-popping, wall-to-wall lavender self-portrait wallpaper designed in 1978. “We wanted this to be a special installation of Warhol’s art,” said Virginia Coleman, the gallery’s spokesperson. And it certainly is.

Among the paintings is one of the artist’s camouflage self-portraits from 1986. Their prices topped out at $12.3 million at Sotheby’s in 2007, before the crash. The gallery declined to comment on this.

The showstopper is a 33-by-7-foot green camouflage canvas, an ink silkscreen from 1986. It looks like snakeskin crossed with an Ikea carpet. Either way, it has wall power and is bound to be a hit with the fair’s expected 60,000 visitors. —RACHEL CORBETT

INVITED TO SHOW, GAGOSIAN SHINES

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LISTENINGTO THE CITY

Wir gratulieren den von uns vertretenen Künstlernzur Biennale di Venezia Teilnahme

GALERIE ERNST HILGER WIEN 1 · GALERIE HILGER NEXT WIEN 10 · HilgerBROTKunsthalle WIEN 10 www.hilger.at WIENS SPANNENDE GALERIEN

Simon Vega für El SalvadorCameron Platter Südafrika GruppenausstellungAngel Marcos collateral Project

“HIGHLIGHTS AT ART COLOGNE have included Damien Hirst’s shark in the early ’90s,” says Daniel Hug, thinking back on some of the fair’s great moments. Another: “Rene Block sold ‘The Pack’ by Joseph Beuys, the big VW Bus with the wooden sleds, in 1970 for the record price of $110,000.” Hug, who has been the director of Art Cologne since 2009, is clearly focused on cap-turing the spirit of those glory days. Indeed, one of his first moves on taking up the post was to rebrand the fair with its retro logo and slogan, “Internationale Kunstmarkt” (International Art Market).

Now in its 47th edition, the fair may no longer be the preemi-nent market it once was, but quali-ty has been consistently on the rise in the years since Hug took over, and 2013 looks to be no excep-tion. Two hundred galleries from 25 countries have descended on the Koelnmesse with engaging dis-plays like Helga de Alvear’s booth

of works by Angela de la Cruz and Santiago Sierra; Moeller Fine Art’s array of Lyonel Feininger, Otto

Dix, Marcel Duchamp, and Heinz Mack; and Corbett vs. Dempsey’s booth based on Duke Ellington’s passport.

Several structural changes to the fair have been introduced this year. Most noticeably, the preview is taking place two days later than in the past, and sales will continue through Monday night, making the fair one day shorter overall. “I’ve wanted to shorten the fair for two years now,” Hug says of the change, noting that 80 percent of galleries he surveyed last year agreed with the proposal. “Art Cologne used to have a Monday,” he continues. “It was sort of a pro-fessional day, where a lot of deals would happen between galleries and diehard collectors could come back and really take advantage of few people being in the aisles.”

Entering the Messe, visitors will note the absence of Hug’s signa-ture Kunsthalle-style show, which in past years featured artists like

Dieter Roth and Panamarenko, and which has been replaced by an exhibition of pieces from the video and time-based art holdings of the Dusseldorf collector Julia Stoschek located in the disused, gold-ceilinged and wood paneled Messeklub (convention center res-taurant) from the ’70s.

“It’s one of the things I’m most excited about,” Hug says, “and it’s actually two-fold: on one level it showcases a major private collec-tion at the fair, and on another it’s a precursor to a new sector of the fair in the same space called VidCologne, which will launch next year.”

He adds, “I want to introduce an element similar to New Positions,” a section of the fair for galleries to show single works by emerging artists, “but for experi-mental, video and new media art. That will be a combination of a lounge with daily screenings and

QUALITY TRUMPS FASHIONFOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

ART COLOGNE SPECIAL DAILY EDITION | APRIL 18, 2013

Art Cologne captures the magic of fairs past

NEWSPAPERS MIGHT STILL occasionally mistake him for his rock star namesake, but British-born artist Phil Collins is earning his stripes as a Kölner. The Turner Prize nominee’s latest installation, at the Ludwig Museum where it is premiering in a solo show and opening today, tackles Cologne’s least visible denizens: migrants and outcasts. Working with the local charity for homeless people, Gulliver, the artist recorded con-versations in a free telephone booth (users were warned). This material, saturated with the hopes and disillusionments of those who have fallen into the cracks of soci-ety, was sent to groups like Scritti Politti and Heroin In Tahiti, who responded musically. The result-ing tracks are available in listen-ing booths overlooking Gulliver’s

homeless shelter. Collins’s musical take on the city, where he now spends half of his time, cuts close to the bone while avoiding the trappings of the sentimental or moralistic. — COLINE MILLIARDC

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Katharina Grosse’s “Untitled,” 2012, in front of the entrance to the Koelnmesse

THE BIGGEST STAR OF THIS year’s fair — and the priciest work on view — is a 1926 painting by Ernst Ludwig Kirchner in the booth of Bern’s Henze & Ketterer, which represents the artist’s estate. “Straßenbild vor dem Friseurladen” belongs to the German expressionist’s sec-ond series of street scenes and comes with a !3.37 million price tag. The piece was in the collection of Dresden’s Metropolitan Museum until 1936, when it was confis-cated by the Nazis; it later found its way to a private collection in Switzerland. Last year, the Hilti Foundation purchased a Kirchner painting from Henze & Ketterer

during Art Cologne for around !3 million. The owner of this one, Dr. Wolfgang Henze, says he has had institutional interest, and hopes to find an equally good home for his painting. In 2006, another street scene by Kirchner, “Berlin,” 1913, sold for $38 million at Christie’s, setting the artist’s current auction record. — COLINE MILLIARD

Ernst Ludwig Kirchner’s painting “Straßenbild vor dem Friseurladen,” 1926

STREET LIFE IN THE SPOTLIGHT

Phil Collins’s “My Heart’s in My Hand, and My Hand is Pierced, and My Hand’s in the Bag, and the Bag is Shut, and My Heart is Caught,” 2013

Continued on page 2

Art Cologne, Halle 11.2 Stand D18moellerfineart.com

HONORING THE NEW




WHEN IT COMES to sales at Art Cologne, the time honored refrain has been “wait for the weekend.” That might still be the case at the top end of the classical modern spectrum, with dealers like Zurich’s Salis & Vertes noting strong interest and reserves on German Expressionist master-works by artists like Max Ernst and Emil Nolde, but no completed sales. For the most part, however, in blue chip and emerging booths, sales were stronger than any of the gallerists consulted could remem-ber compared to previous years.

Hauser & Wirth started strong, with nine pieces from their special presentation of text-based works by the Belgian artist Philippe Vandenberg selling within the first hours of the fair for prices ranging from !3,800 to !50,000. (The artist created one of those that sold by spelling out the word “home” in his own blood.) Director Florian Berktold says he was particularly pleased “to see the amount of interest for Christoph Schlingensief’s captivat-ing film, ‘Say Goodbye to the

Story (ATT 1/11).’ It has been a while since his work has been seen in Germany and our ‘Kino 3,000’” — a theater the gallery created within their booth to show the film — “is really popular.” One edition of the Schlingensief is on hold for an undisclosed

German museum, he says.David Zwirner sold two works

by Thomas Ruff from the artist’s newest series, currently on view at the gallery’s 19th Street location in New York, “phg.01” and “phg.02,” both from 2012. By Friday, the gallery had already swapped the works for a third Ruff in expectation that it would sell with similar ease. Yayoi Kusama’s “Cosmic Space” from 2008 also sold during the preview. Collages by Marcel Dzama, an artist new to the gallery, piqued intense interest, with one sold and five others reserved by Friday afternoon. The gallery also report-ed a strong reserve on what is arguably the booth’s centerpiece, Neo Rauch’s “Fang,” 1998.

Katharina Hinsberg’s popular installation, “Mitten,” 2012 — a room-filling series of balls made of red molding clay hung along strands and priced at !90,000 — attracted serious interest from two German museums, according to the artist’s gallery, Edith

Wahlandt. Meanwhile, six of Hinsberg’s works on paper sold for !1,000 to !2,000 each.

Helsinki’s Galerie Forsblom sold an imposing steel sculpture by the French conceptual sculptor Bernar Venet, “Interminate Line,” 1987, for !180,000, and a new oil by young Spanish artist, Secundino Hernandez, for !13,000. Meanwhile, at Galerie Buchholz, Isa Genzken’s sculpture “Orang-Utan,” 2008, created from a stuffed animal, a toy horse, and other materials, went for an undisclosed sum.

London’s Annely Juda sold Anthony Caro’s small sculpture “Writing Piece ‘1,’” 1979, to a German collection for !39,000. Four of the gallery’s wooden sculp-tures by Roger Ackling also sold to a European collector, for !2,000-!4,600 a piece. The Cologne-based dealer Gisela Capitain had strong preview sales as well, with works by Günther Foerg and John Stezacker going early on. Several

GAINING STEAMFOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

ART COLOGNE SPECIAL DAILY EDITION | APRIL 20–21, 2013

ZBYNEK BALADRAN WON the 2013 Audi Art Award, Art Cologne’s director Daniel Hug and curator of the city’s Artothek Christiane Dinges announced yesterday. The Czech artist, repre-sented by Galerie Jocelyn Wolff in Paris, will receive !10,000 and the opportunity to show at the Artothek in the summer of 2014.

Baladran is one of 22 artists taking part in this year’s “New Positions” program, for which dealers are encouraged to put for-ward innovative solo projects. One

of the two artists selected to represent the Czech Republic at the Venice Biennale this summer, Baladran was singled out for his video piece “Assemblages Against Essences,” 2009, on display at Jocelyn Wolff’s booth.

Curator Dinges praises the “quietness and concentration” of Baladran’s practice. “He’s a poet, he’s a philosopher, he’s a painter, he’s a filmmaker, and you have all this in this piece,” she says. “It’s very easy [for dealers] to show always the same, well-known people. We want to honor those gallerists who give space to young artists.” — COLINE MILLIARDC

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A reclining muse at Galerie Neu overlooks thronging Art Cologne fairgoers

STRIPPED DOWN SOUND

Present at the announcement of the Audi Award were Daniel Kremer of Audi; Jocelyn Wolff, Baladran’s gallerist; Christiane Dinges of the Artothek; and fair director Daniel Hug

Continued on page 2


ENTERING ART COLOGNE, visitors may get the impression that a rave from the night before is still happening somewhere deep inside the Koelnmesse. The soundtrack comes courtesy of the Cologne-based electronic music label, KOMPAKT (Booth N25). Known for pioneering minimal techno, the label is celebrat-ing its 20th anniversary in 2013. Wolfgang Voigt, a founder along with Michael Mayer and Jurgen Paape, explains KOMPAKT’s pres-

ence at the fair this way: “A lot of the work we’ve done in the past has been a crossover into art, especially pop movements. In the 90s we did interventions in various galleries around Cologne. We thought it was something interesting to bring back.” — ALEXANDER FORBES

KOMPAKT co-founder Wolfgang Voigt

Weekend promises strong close as many galleries see more vigorous sales




A critic at an art fair is a little like a priest at a strip club—very interest-ed but unable to fully participate.

The occasion does, however, provide an opportunity to assess the aesthetic state of the market from a point off to the side of the stage where the deals go down. And fairs can, at times, feel a bit like peep shows, depending on the sex quotient in the art world at any given moment.

This year’s Armory Show offers comparatively few risqué works, although there’s plenty on view that’s sexy, alluring rather than in-your-face, thoughtful rather than conceptually challenging. Subtlety, quietness, and monochromes rath-er than mirrored chromes appear to be the order of the day.

In contemporary painting, at Pier 94, this general tone seems to translate into a shoring up of quality. At Galerie Daniel Templon, letters on a juicy, tactile, and sur-prisingly ordered canvas by the German artist Jonathan Meese spell it out: “Revolution” becomes

“Evolution,” while below we’re told that “Kunst Fuhrt” (Art Continues).

A couple of younger artists evince similarly luscious evolutions of talent. Natalie Frank’s raucous new paintings include collaged por-

tions of canvas, and Bjarne Melgaard’s bright paintings feature actual clothing. Rod Bianco devot-ed his booth to this Norwegian art-ist, who collaborated with Sverre Bjertnes to produce a floor installa-tion — an avalanche of drawings, fur, and exhibition catalogues pre-sided over by a store mannequin.

Abstract painting, usually favoring a technological look over

a gestural one, marches on vigor-ously here, whereas, for instance, the vogue for Chinese realism seems to have abated. Eigen + Art brought an expansive, abstract oil by David Schnell, created almost exclusively with vertical marks in a mostly blue-gray palette, which brings to mind an excellent take

on a wonky computer monitor. Espousing the digital aesthetic even more overtly are Julia Dault’s paintings, which fill Galerie Bob van Orsouw’s booth and are among the strongest at the fair.

And while one doesn’t feel overly crowded by concepts here, a few pictures pack some heady conceptual and political attitude. At Honor Fraser, Meleko Mokgosi’s

wall-label paintings enact a postcolonial deconstruction of a recent show at the Metropolitan Museum of Art and still manage to be arresting. Oscar Tuazon’s “Playboy Playcrete” at Galerie Eva Presenhuber transforms a slab of concrete into a wall painting.

Continued on page 9

The hottest fashion accessories at this year’s Armory Show are Andy Warhol’s “Brillo Boxes” — or rather, artist Charles Lutz’s cardboard clones, stacked to form a tower in the fair’s contemporary section. The boxes are free for visitors to take away, and the artist is on hand to sign his works.

“There are 1,000 of them in all,” he said, with 250 set out each day and a limit of one per visitor. By lunch, all were gone.

Meanwhile, the popularity has spawned a market for boxes. The New York dealer Bernita Mirisola from Russeck Gallery was offering Lutz $20 to allow her a second sample. She begged, “I want to pay you!” —BEN DAVIS

Visitors on Pier 94 relax in front of Peter Liversidge’s “Day’s End,” 2013, after the opening-day VIP preview of the Armory Show.

So!a Coppola made a !rst-day showing.

Charles Lutz’s cardboard clones

TREASURES VAST AND VARIOUS AT PIERS



Few Risqué Works, Although There’s Plenty of Sexy Stuff

Filmmaker and New York art world mainstay John Waters was the most recognizable face on the first day of the fair. But he was not the only one. Other bold-faced names included “Lost in Translation” director Sofia Coppola and celebrity chef Mr. Chow.

Of course, almost no one mat-ters besides the collectors. Those from the moneybags set on the first day included Connecticut collectors Phil and Shelley Aarons, the NYC- and Beijing-based Richard Chang, Edward Lee of London, Jill and Jay Bernstein of New York and Aspen, L.A.-based Stavros Merjos, and New York’s own Susan and Michael Hort. The Mugrabi clan was also well represented.

Others seen walking the piers

were pastry chef-cum-filmmaker Arden Wohl and design collector and entrepreneur Kyle de Woody.

For industry networking, art fairs are the place to be. MOMA director Glenn Lowry spoke at the press conference alongside Mayor Michael Bloomberg. Susan K. Freedman, Heather Hubbs, Kim Heirston, Paul Morris, Sarah Thornton, and Thea Westreich were also spotted.

WHO’S WALKING THE PIERS?

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HOT BOXES AT PIER 94“Fairs can, at times, feel a bit like peep shows, depending on the sex quotient in the art world at any given moment.”

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WHILE FRIEZE New York has more exhibitors this year than last — around 190 to last year’s 180 — there’s still not enough room for everyone, and competition for entry was fierce. The second edi-tion of the fair sees a reshuffling of galleries, with 60 joining for the first time, including heavyweights Marian Goodman, Peter Blum, and Luhring Augustine. Scads of others — including Friedrich Petzel, Maccarone, David Nolan, Nicole Klagsbrun, Michael Werner, and Experimenter (Calcutta) — dropped out. Whether due to fair exhaustion (“fairtigue”) or to simply not making the cut this time, the turnover is a reflection of the pressures dealers face in today’s art world.

The fair’s main section offers some 31 new exhibitors, including New Yorkers Paul Kasmin, Murray Guy, and Jack Shainman, as well as Mumbai’s Project 88 and Paris’s Kamel Mennour. “Paul Kasmin Gallery has participated in Frieze London from the beginning, so it

was natural to want to continue in New York,” the gallery’s director, Bethanie Brady, said.

Newcomers in the Focus sec-tion include New York’s Untitled, and dépendance from Brussels, while first-timers in the Frame section like Simone Subal from New York and Berlin’s Circus will

present solo booths by Frank Heath and Sophie Bueno-Boutellier, respectively.

As for the more intriguing question of why galleries didn’t return — there are roughly 40 — the overwhelming explanation is exhaustion from the sheer number of fairs dealers now attend. “We couldn’t do Frieze and then [Art Basel] Hong Kong right after-wards,” said Gordon VeneKlasen, director of Michael Werner Gallery, “so we chose Hong Kong. It’s just not possible for us to do everything in the world.”

For some dealers, the decision was out of their control. “This year, very simply, I was not accepted,” said Nicole Klagsbrun, who applied before deciding a few months ago to close her Chelsea gallery after 30 years in the business.

Though her decision was moti-vated by chagrin over the “whole system,” which prioritizes fairs over gallery shows, Klagsbrun asserted that galleries need to stay in the art fair game to remain attractive to artists.

For younger galleries, the notion that entry to Frieze New York can make or break them instills a kind of panic. “They’ll get to do it one year, and then they won’t the next year, and they’ll feel like they’ve done some-thing wrong,” said Phil Grauer of Canada Gallery, explaining his peers’ reactions to the fair’s modus operandi, in particular with respect to Frame, a section geared toward emerging galleries, those in business six years or less. “But it’s the fair rolling through the new young meat.”

While the Frame and Focus sections, which cost exhibitors less than the main section, are aimed at newer galleries, Grauer says the divisions have less to do with age than economics. “The main section is first class,” he said comparing it to airline seating. “Focus is business traveler — but it’s pretty much coach. Frame is like you’re running drugs for someone else. They let you in and then they kick you to the curb.”

— ROZALIA JOVANOVIC

DESIGNER PING-PONGBROOKLYN-BASED DESIGN studio Snarkitecture, founded by art and architecture hybrids Alex Mustonen and Daniel Arsham, has an apparent fascination with the Ping-Pong ball. After featuring the familiar white sphere in its set designs and performance pieces, the firm is finally putting the balls to their intended use this Saturday dur-ing the Collective .1 Design Fair. From 1 to 3 p.m., various art world athletes, including architect and designer Gaetano Pesce, are gathering

at Pier 57 for a Ping-Pong tournament emceed by Phillips de Pury auctioneer CK Swett. The centerpiece is Snarkitecture’s newly designed “Slice,” an all-black Ping-Pong table commissioned by SoHo’s Grey Area. The gallery will be selling the table at the fair in an edition of 10. Anyone interest-ed in playing during the tournament should e-mail [email protected].

— JANELLE ZARA

Walton Ford’s “Trí Thông Minh,” 2013, at Paul Kasmin Gallery


NEW YORK FAIRS DAILY EDITION | MAY 9, 2013

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A HIGH-PROFILE roster of inter-national dealers is pulling out all the stops for the second edition of Frieze New York, which runs from May 10 to 13 on Randall’s Island. Amid the schedule of commissioned projects, and daily lectures and talks, all eyes will be on who shows what top-tier pieces in the fair’s main section, under the bespoke white tent designed by Brooklyn architec-ture firm SO-IL.

Among the most highly antici-pated happenings is a solo show by performance artist Tino

Sehgal at first-time exhibitor Marian Goodman Gallery. Sehgal will present “Ann Lee,” 2011, the human realization of a Japanese manga character in the form of an adolescent girl who interacts with the audience and poses questions.

BRINGING IT Dealers Out to Impress at Frieze New York

Alice Neel’s “Abdul Rahman,” 1964, at Victoria Miro

Continued on page 2Daniel Arsham

FRIEZE NEW YORK 2013: WHO’S IN, AND WHO’S OUT?Limited Space, Fairtigue, Shuf!ed Exhibitor List




Sixty-one modern-minded interna-tional galleries from nine countries opened their booths to the public with a volley of sales. Tailored to represent historically significant modern art, the 2013 edition of the Armory Show on Pier 92, proved its mettle from the opening bell.

!At New York’s Hollis Taggart Galleries, Abstract Expressionist works drew attention. Michael Goldberg’s richly painted “Still Life,” 1957, sold in the $200,000 range. Also here, an early Hans Hofmann still life from 1936 found a buyer for $150,000.

“The fair,” said gallery director Vivian Bullaudy, “tends to enliven the final decision–making process.” That’s a polite way of saying that the event-driven atmosphere of art fairs pushes collectors toward buy-ing there and then.

Even lesser-known modernist works found homes. The impressive “Mount St. Victoire in Clouds,” cre-ated by the American abstract artist Charles P. Kuntz and giving a nod to Cezanne’s favorite subject, sold at New York’s Driscoll Babcock to an American collector for “slightly

under six figures,” the gallery said.Several collectors admired

Asheville, N.C. artist George Widener at New York’s Ricco/Maresca Gallery. One of Widener’s new works, “Cipher Dates,” 2013, sold in the region of the $55,000 list price, according to the gallery. A work like that, from this year,

doesn’t necessarily fit the “mod-ern” label, but that is one of the unexpected and quirky pleasures of roaming these spacious aisles.

The roster of galleries at Pier 92 was, however, slimmer than in years past, down from 71 in 2012. But the winnowing, for whatever reason, has improved the overall quality. Notable are the Giorgio Morandi etchings at Bologna deal-ers Galleria d’Arte Maggiore; major American works on paper at Los Angeles’s Mark Selwyn Fine Art; and a trove of collages by Romare Bearden, Betye Saar, and others at New York’s Michael Rosenfeld Gallery.

Not surprisingly, the 100th anniversary of the original Armory Show of 1913 was inspiration for exhibitors, including New York’s Chowaiki & Co., which contrast-ed examples of art from then and now. The gallery has Edward Hopper’s “Study for the Lee Shore,” circa 1941, in crayon on paper, and priced at $145,000; an

iconic and vintage Dora Maar gel-atin silver print photo of Picasso’s “Guernica,” 1937, (not for sale); and —!perhaps most remarkably — an original Armory Show post-card, penned by exhibition orga-nizer Robert Henri, known as the “Henri Manifesto.”

A major newcomer, Turin’s Mazzoleni Arte Moderna, is pre-senting a quasi-encyclopedic array of postwar Italian art, including excellent examples by Afro Basaldella, Alighiero Boetti, Agostino Bonalumi, Alberto Burri, Enrico Castellani, and Lucio Fontana. So far, the gallery has sold four works in the $130,000 to $240,000 range, including Agostino Bonalumi’s 1964 canvas “Bianco,” in the $200,000 range.

“Our project,” said gallery partner Davide Mazzoleni, “is the 1960s in Italy, and we’ve done many exhibitions. This is our first art fair in the United States, and we’re very proud and happy to be here.” —JUDD TULLY

Three dealers have just announced a new “mini fair” of Abstract Expressionist works this year on the Upper East Side during spring’s major contemporary art auctions in New York. The three friends will, quite descriptively, call it “Three Guys.”

From May 13 to 18, Charlotte, N.C.-based dealer Jerald Melberg will join Franklin Riehlman and Steve Schlesinger, both private dealers based in a town house at 24 East 73rd Street in New York, for a joint exhibition of works by Jackson Pollock, Robert Motherwell, Esteban Vicente, Harold Shapinsky, Alfred Leslie, and Lee Hall. All the work will come from the dealers’ private inventory.

“The days of dealers being insulary are over,” said Melberg. —SHANE FERRO

Andy Warhol’s “Hearts,” 1982, at the Simon Capstick-Dale Fine Art booth on Pier 92.

Tobias Rehberger’s “Untitled (Sex),” 2012

Jerald Melberg

STEADY SALES AMID MARKET CAUTION



Rich Pickings of Modern Masters

“U.S. collectors were out in force for what is essentially the U.S. fair,” said Max Wigram director James Fox. Wigram had sold a Valeska Soares time line for $35,000 to a San Francisco publisher, along with works by Jose Dávila and Richard Wathen to other buyers.

Given the strong U.S. gallery emphasis, some British dealers speculated that the fair had become a local market affair. “It’s not really an international fair anymore,” said Blain|Southern’s Roxana Sursock, who had sold an Ali Banisadr to a New Museum board member for $20,000 and a $61,000 Jonas Burgert to another American buyer.

Across the board, dealers report-ed a frenzied preview. Pilar Corrias sold three Tala Madini paintings. Lisson Gallery rehung much of its

booth after a “phenomenal” open-ing. A Lawrence Weiner text piece replaced a sold Anish Kapoor, and newly added Cory Arcangel prints sold fast for $22,000 apiece.

Victoria Miro reaped $800,000 alone from two Yayoi Kusama net paintings and had Barnaby Furnas and Tal R paintings on reserve. “We like to give people time. We’re not pressure-selling,” said Oliver Miro. —RACHEL CORBETT

BRITISH DEALERS SCORE TOP SALES

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DEALERS JOIN FORCES FOR MINI FAIR

WHO’S WALKING THE HALLS?




COLOGNE ISN’T MIAMI, New York, or London. The difference, when it comes to art, is a matter not just of geography, but of a whole approach to dealing and purchasing. Yesterday, as the first VIPs filed into Art Cologne at noon, there was little sign of buy-ers ostentatiously getting their hands on the first things that caught their eye, but that doesn’t mean that there was no business being transacted. Those who know how to look could easily spot conversations of the kind that might be leading to a serious deal.

Overall, though, the atmo-sphere was restrained and focused — very much in keeping with the displays put on by most of the exhibitors on the two floors of the Koelnmesse. “It doesn’t have the Frieze hype,” said David Juda, from London’s Annely Juda Fine Art. The message on day one was clear: this is a place where one can truly concentrate on the art.

Certainly there is a lot of stun-ning art here; “museum-quality” is the descriptor that first comes

to mind. Annely Juda, for instance, has gathered sculptures by Naum Gabo and David Nash, a geometric abstract painting by

Ben Nicholson, an oil on canvas by David Hockney, and drawings by Kasimir Malevich. It might sound like an odd combination, but the pieces’ muted hues give coherence to the ensemble, the works echoing each other across media and decades.

Anne-Sophie Villemin of David Zwirner says the fair has definite-ly “moved up a notch since last year.” An impressive cluster of blue chip galleries greets visitors as they walk in: Zwirner, Thaddaeus Ropac, Karsten Greve, Annely Juda and Hauser & Wirth. Daniel Hug, the fair’s director, is clearly announcing his international ambitions by giving such prominence to contemporary art players of this caliber.

As you’d expect to find at any fair — particularly one that proudly embraces its more conven-tional side — painting dominates most of the booths. A lugubrious, bluish “Singing in the Rain,” 1996, by Luc Tuymans makes a

counterpoint to the sunny tones of Neo Rauch’s fish market scene “Fang,” 1998, at Zwirner’s booth, while the ghostly figures of “Auch nicht lila,” 2012, by Rauch’s con-temporary Georg Baselitz haunt Ropac’s presentation.

Hauser & Wirth has dedicated most of its display to Belgian painter Philippe Vandenberg, an artist who has had relatively little exposure so far. Fairgoers encoun-tering this vibrant work for the first time will no doubt be struck by the diversity of Vandenberg’s production, oscillating here between expressionist text pieces — “Kill Them All,” says an oil on canvas from 2005-2007 — and abstract works. This diversity, explains the artist’s daughter Hélène, reflects his desire to con-stantly renew his investigation of the human condition.

ZERO — along with the many artists more or less loosely associated with this avant-garde

A DIFFERENT APPROACHFOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

ART COLOGNE SPECIAL DAILY EDITION | APRIL 19, 2013

Germany’s old art hub prefers to do things quietly

GERMAN COLLECTORS CAME out in droves on the first day of Art Cologne, although aside from Anita Zabludowicz, international collectors were sparse. Interest appeared to be particularly high among gallerists, with power dealers like Barbara Gladstone dropping by to take a look at the works on offer. Despite director Daniel Hug’s general reticence about celebrity attendance, early in the preview retired German footballer Michael Ballack could be seen haggling with Monika Sprüth of the Berlin-and-London-based powerhouse Sprüth Magers. Tennis star Michael Stich was also on hand, circulating in the halls throughout Thursday afternoon.

— ALEXANDER FORBES

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A painting by Alex Katz turns heads at the opening of Art Cologne

Thaddaeus Ropac sold a Robert Longo

WHAT’S SELLING AT THE START

Dealer Barbara GladstoneContinued on page 2


Sales and reservations were strong yesterday as Thaddaeus Ropac sold a Robert Longo and had a hold on works by James Rosenquist priced at !900,000. Marlborough Contemporary sold a Jason Brooks painting to a British client for £100,000, and serious interest developed in another of his canvases listed at !38,000. Johann Koenig sold

his New Positions entry by Justin Matherly for $16,000 and a new work by Alicja Kwade, “Eadem Mutata Resurgo,” 2013 for !18,000.

Peres Projects sold three large scale David Ostrowski paintings with-in minutes of the fair opening for !12,500 apiece, with dealer Javier Peres reporting additional interest from collectors out of South America and Asia. Alexander Ochs Galleries sold Lu Song’s oil on canvas, “Twilight Wanderers,” 2013, for !9000 to a German collector. V1 Gallery sold Matthew Stone’s “Friendly Skirmishes,” 2013, for !5100 to a Danish collector. — ALEXANDER FORBES

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AS IF THE heavens favored art fairs, the lashing rain greeting the VIP opening of Frieze New York at Randall’s Island Park soon turned into clear skies and brilliant sunshine.

The sunshine seems to have conspired to lighten wallets, as well as spirits, for the impression of fresh commerce was confirmed at a number of stands.

Business was rocking at Paris-based Thaddaeus Ropac, with Robert Longo’s impressive “Untitled (after Clyfford Still, 1957-J No.2),” 2013, a charcoal that sold for $330,000.

Another newly minted work at the Ropac booth, Alex Katz’s “Untitled,” 2013, a head-and-shoulders portrait of a dark-haired woman, sold for $350,000, and an intricately conceived Tom Sachs, “Untitled (Spider Web),” 2012, in pyrography, sold for $200,000.

Perhaps refreshed after a long siesta from the 1980’s Neo-Expressionist bubble, David Salle’s new, large-scale painting, “Age of Reason,” 2012, in mixed media, featuring two floating female heads, went for $190,000.

Early business was also brisk at London’s Lisson, where Haroon Mirza’s complicated “Shelf for Carl Cox,” 2013, featuring a wooden cabinet, LED, copper tape, electronic components, and speakers, sold for £30,000 ($46,575), while an untitled Anish

Kapoor wall sculpture went for £500,000 ($776,250). Though it wasn’t physically at the fair, Lisson also sold an Ai Weiwei sculpture for !300,000 ($393,890).

One of the best things about Frieze is the off chance of finding unfamiliar artists who grab your attention or at least temporarily distract you from bigger names.

That was the case at London’s Carl Freedman Gallery, where one of Ivan Seal’s small-scaled and lushly executed memory paintings, the title derived from an automatic writing program, sold for approxi-mately £3,800 ($5,900); five others sold at similar prices.

At Canada, the Lower East Side gallery, Michael Williams’s “Morning Meditation with Mud and Jenny Mac,” 2013, in oil, air- brush, and ink jet, sold to London-based collector and emerging- artist patron Anita Zabludowicz for approximately $25,000.

At almost every turn, art trans-actions were popping, as evidenced at New York’s Paul Kasmin Gallery, where David LaChapelle’s “Gas Shell,” an edition of five chromogenic prints, sold for approximately $65,000. Walton Ford’s unique and fantastic “Trí Thông Minh,” featuring a flying tiger comprised of watercolor, gouache, ink, and pencil on paper, sold to an American collector for around the $950,000 asking price.

“Serious collectors and museum people are here,” said Bethanie Brady, a Kasmin director. As if confirming that impression, I saw storied art collector and former gallery owner Irving Blum sitting on one of the chairs at the Kasmin stand, studying the Frieze map.

New York exhibitor Jack Shainman was definitely smiling as all three figurative paintings by Lynette Yiadom-Boakye, a 2013

OUT OF JAIL, GOT A WARHOL

Do Ho Suh’s “Wielandstr. 18 12159 Berlin,” 2011, at Lehmann Maupin


NEW YORK FAIRS DAILY EDITION | MAY 11–12, 2013

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AMBITIOUS PROJECTS PEPPERED the floor at NADA, held this year at a sporting facility on the East River that’s been converted into an exhibition space and outdoor café. Vast areas outside the traditional booth setup are set aside for spe-cial sculpture installations.

Matthew Dipple of American Contemporary placed a work by artist David Brooks in one of the six alternative sculpture in-stallation spaces. Consisting of a series of roofs that look like they have been ripped off of their homes, all suspended by cables, the installation was one of NADA’s more breathtaking contributions.

The exhibition space was also a relative bargain: At roughly $750, it was a lot less costly than a much smaller booth, which cost nearer $10,000. The gallery had never

before been able to bring such large work to a fair. Compared to his booth, Dipple said, “it’s cheap.”

Big, exciting works attracted attention, but were not the only things of interest. Dealer and NADA president Nicelle Beauchene had plenty to celebrate. “Everything sold,” said Beauchene, “within the first hour.” — ROZALIA JOVANOVIC

David Brooks, “Stress Tests: Un-Sites No. 1-2 & 3-5 (homage to Gordon),” 2013

Continued on page 2

WEEKEND PROMISES STRONG SALESGalleries Report Steady Early Interest

WHEN STUDIO 54 cofounder Steve Rubell was released from prison in 1981 after serving a 13-month sentence for tax evasion, his friend Andy Warhol, a central figure in the nightclub’s well-documented debauchery, had a celebratory work of art waiting for him: a circular

sculpture, wrought from a thin sheet of brass and appropriately punctuated with dollar signs. “Warhol gave him this gift to remind him of his deeds — or misdeeds,” said Lost City Arts owner James Elkind. Collectors will be happy to hear that the storied token of friendship, signed and dated “Andy Warhol, ’81,” is now at Elkind’s booth at Collective .1. — JANELLE ZARAAndy Warhol’s “$ Signs Sculpture,” 1981

SIZE MATTERS AT NADA

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Independent curator Abaseh Mirvali

SALON PROGRAMThe Salon program, in Hall 1 of Art Basel, is a platform for short presentations by a range of speakers including artists, academics, curators, collectors, architects, art lawyers, critics, and others. For additional Salon events see artbasel.com/en/basel/about-the-show/talks/salon.

ART MARKET TALK: THE PLACE OF MID-LEVEL GALLERIES IN THE AGE OF THE MEGA-GALLERY Thursday, June 13, 1–2 p.m. In a talk moderated by publisher and art adviser Josh Baer, gallerists and art fair founders Elizabeth Dee and Edward Winkleman discuss the state and future of mid-level galleries.

ARTIST TALK: PARCOURS Thursday, June 13, 2–3 p.m.New York–based artists Tom Burr and Valerie Snobeck talk about their participation in Art Basel’s Parcours, a series of site-speci!c artworks and performances in the city’s Klingental neighborhood. The session is moderated by Florence Derieux, the curator of Parcours.

DISCUSSION AND MAGAZINE LAUNCH: THE FUTURE OF BIENNIALS IN LOCAL AND GLOBAL CONTEXTFriday, June 14, 1–2 p.m.Shengtian Zheng, managing editor of Yishu: Journal of Contempo-rary Chinese Art, moderates a discussion between Riyas Komu,

director of programs for the Kochi-Muziris Biennale 2012, Carol Lu Yinghua, artistic director of OCAT, and Jessica Morgan, director of the Gwangju Biennale 2014. The talk coincides with Yishu’s special issue, “World Biennial Forum No. 1.”

ARTIST TALK: MICHEL AUDER — STORIES, MYTHS, IRONIES, AND OTHER SONGS: CONCEIVED, DIRECTED, EDITED AND PRODUCED BY M. AUDER Friday, June 14, 3–4 p.m. Adam Szymczyk, the director of the Kunsthalle Basel, talks with New York–based French artist Michel Auder, whose !rst large- scale exhibition in Switzerland is currently at the Kunsthalle Basel.

ARTIST TALK: JOANA HADJITHO-MAS & KHALIL JOREIGE: THE LEBANESE ROCKET SOCIETYFriday, June 14, 4–5 p.m. With Aaron Cezar, the director of the Del!na Foundation, Artists Joana Hadjithomas and Khalil Joreige discuss their collaborative installations and recently released

!lm, in a conversation moderated by Libyan Princess Alia Al-Senussi. As the Lebanese Rocket Society, Hadjithomas and Joreige tell the story of Lebanon’s involvement in the space race of the 1960s through their artistic practice.

THE GLOBAL ARTWORLD: FOCUS AFRICASaturday, June 15, 3–4 p.m. A conversation between Nigeri-an-born, Antwerp-based artist Otobong Nkanga and Benin-born, Rotterdam-based artist Meschac Gaba, moderated by Yvette Mutumba, the curator for Africa at Frankfurt’s Weltkulturen Museum.

THE GLOBAL ARTWORLD: ISTANBUL’S INDEPENDENT INITIATIVES Saturday, June 15, 4–5 p.m.Abaseh Mirvali, an independent Turkish curator, moderates a conversation about contemporary art in Istanbul. The discussants are Haro Cumbusyan, a collector and the founder of Collector-space, Merve Ünsal, a writer,

curator, and the co-founder of m-est, and Mari Spirito, founding director of Protocinema.

LUNCH BYTES: ON RELEASING, DISTRIBUTING AND EXHIBITING ART ONLINESaturday, June 15, 5–6 p.m.Berlin-based artists Aleksandra Domanovic, and Oliver Laric discuss issues around the online exhibition and distribution of art with Domenico Quaranta, curator, critic, and co-founder and artistic director of the Link Center for the Arts of the Information Age, and Ben Vickers, the digital curator of the Serpentine Gallery. Moderated by Fabian Schöneich, assistant curator of the Kunsthalle Basel, and Melanie Bühler of Lunch Bytes.

ARTIST TALK: ANTONY GORMLEY Sunday, June 16, 1–2 p.m.Contemporary art historian Germano Celant moderates a conversation between British sculptor Antony Gormley and multi-media Italian artist Loris Cecchini.

(continued from page 14)AROUND TOWN


THE INTERNATIONALEXPOSITION OF CONTEMPORARY & MODERN ART

NAVY PIER19–22 SEPTEMBER

2013

Explore THE SEEN, Chicago’s International Art & Design Blog at blog.expochicago.com

expochicago.com

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Mylar Cone (detail), Studio Gang Architects

20 | ART BASEL SPECIAL DAILY EDITION

SINCE OPENING HIS first gallery in 1970 with Rolf Möllenhof and branching out on his own three years later with an exhibition of Yves Klein, Karsten Greve has been a forceful presence on the German — and later also French and Swiss — art scenes. Looking at a list of the artists who show at his gallery, which now has branches in Cologne, Paris, and St. Moritz, one might assume that the many blue chip names were recent additions. In fact, though, Klein is just one of a list of legendary artists, including Cy Twombly, Louise Bourgeois, Jannis Kounellis, and John Chamberlain, who have been with Greve from early on, if not the very beginning.

At Art Basel, where Greve has been showing since 1977, his current offerings reflect those ties. Four large Twombly works on paper made between 1961 and 1982 provide an under-stated introduction to the booth. Chamberlain’s “Opera Chocolates,” a roughly

one-and-a-half cubic meter floor sculp-ture from 1994, will likely attract significant interest. But the real head- liners are two sculptural works by Bourgeois: “St. Sebastienne,” 2002, a female figure pierced in several places by miniature arrows, and “The Mirror,” 1998, the third polished aluminum work from an edition of six. — ALEXANDER FORBES

GALERIE KARSTEN GREVEDEALER SPOTLIGHT

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Karsten Greve

BENJAMIN GENOCCHIOEDITOR IN CHIEF

Tom de KayEXECUTIVE EDITOR

Penny BlattCREATIVE DIRECTOR

Jessica MezykART DIRECTOR

Elizabeth ManusDEPUTY EDITOR

Anneliese CooperASSISTANT EDITOR

Nicole LaCoursierePHOTO EDITOR

Anne Donnelly AndresPRODUCTION DIRECTOR

Paul KolbePRODUCTION MANAGER

David GurskyPRESIDENT, GLOBAL DEVELOPMENT

Victoria FullerSENIOR VICE PRESIDENT

Carmela ReaSENIOR VICE PRESIDENT

Ben Hartley PRESIDENT

B. William Fine PRESIDENT, GLOBAL SALES

Dawn Fasano GENERAL COUNSEL

SALESUNITED STATESPardise Amirshahi

Wendy BuckleyKathy Murphy

Andrea RenaudKate ShanleyBrian Souser

Suzonne Taylor

LATIN AMERICAAna Pessoa

Fernando Hugo Pinheiro

EUROPEMarie-Kathrin Krimphoff

Catherine LoeweRobert Logan

Peter NeerinckxRomina Provenzi

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ASIAJanice Febbraio

Inna KanounikovaMichelle Park

Faith Yanai

INDIASandesh Jayant Gupte

BlouinARTINFO.com Daily Edition is published by Louise Blouin Media Group Inc., 601 West 26th Street, Suite 410, New York, NY 10001. Copyright © 2013. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Blouinartinfo.com accepts advertise-ments from advertisers believed to be of good repute, but cannot guarantee the authenticity or quality of objects or services advertised in its pages. All rights, including translation into other languages, reserved by the publisher. Nothing in this publication may be reproduced without the permission of the publisher. The name Blouinartinfo.com ® is a pending trademark in the USTPO by Louise Blouin Media Group, Inc., and cannot be used without its express written consent.

FOR MORE ART NEWS GO TO BLOUINARTINFO.COM

ART BASEL SPECIAL DAILY EDITION

FISCHERFine Ar t Auction Sales

Fine Art Auction SalesModern & Contemporary Art

13 June 2013 (only one hour away from Basel)

online catalogue on www.fischerauktionen.ch

Galerie Fischer Auktionen AG | Haldenstrasse 19 | 6006 Lucerne | Switzerland | +41 (0)41 418 10 10 | info@!scherauktionen.ch

Alfred Sisley, (Paris 1839-1899 Moret-sur-Loing), La berge à Saint-Mammès. Signed „Sisley“ and dated „(18)84“ lower right. On the back on the stretcher old label „La berge à St. Mammès // 1884 (...)“. Oil on canvas, 42,3 x 59,4 cm. Estimate: CHF 1‘600‘000/2‘400‘000 resp. EUR 1‘333‘000/2‘000‘000

JUNE 12, 2013 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | 2322 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | JUNE 12, 2013

LIST OF EXHIBITORSTHE PLAYERS

HALL 1

HALL 2.0 HALL 2.1

D6Galerie 1900- 2000

F1Fondation Beyeler

C15Seroussi

C16Tucci Russo

Printed Matter: Special Presen-tation

C17Scheibler

C18White Cube

D10Haas

F5Zwirner

F11Waddington Custot

A4McKee

A8Nahmad

C6Kewenig

C2Tschudi

D1Thomas ZanderD2Sage

D3Silverstein

D4Greenberg

D5Fraenkel

C11Berinson

A14Marks Hall

Manager CatalogSales

Art LossRegister

HatjeCantz

Basel Tourismus

UBSDesk

VIP Desk

Parcours and Film

Miami Beach

Taschen Basel Museums

Catalog Sales

A15Feigen

A16m Bochum

D12Susanne Zander

F7von Bartha

A10Nagy

C8de la Béraudière

D7Daiter

F2Jablonka

D11St. Etienne

F6Kukje

A9Moeller

F12Mathes

A5Pauli

C7Blondeau

C3Jacobson

C12Washburn

F9Nothelfer

A12Nolan

D8Houk

F3Lahumière

D9Kicken

F4Lévy

D13Marlborough

F8Nahem

A11Taylor

F13Thomas

A6Mayor

C9Landau

C4Hopkins

C13Hutton

C14Cheim & Read

D14Gmurzynska

F10Freeman

A13Artiaco

F14Meier

A7Templon

C10Hauser & Wirth

C5Galleria dello Scudo

E5Cooper

B17Marian Goodman

E1Greve

B13Ammann

E6Mitchell-Innes& Nash

B18Hufkens

E2Gladstone

B14Werner

E7Hetzler

B19Sprüth Magers

E3Verna

B15Gagosian

E8Mayer

B20Pace

E4Richard Gray

B16Juda

D15New Art Centre

D16HazlittHolland-HibbertD17Tega

D18Klüser

D19René

E13Luhring Augustine

B9Metro Pictures

E9Mnuchin

B5Rosen

E14Skarstedt

B10Buchmann

E10Sperone Westwater

B6Fischer

E15González

B11Ropac

E11nächst St. Stephan

B7Grässlin

E16Acquavella

B12Lisson

E12Lelong

B8Stein

G2Spartà

G1Elbaz

G3Castelli

G12Boers-Li

G10Dirimart

G11Williams

G4AlexanderGray

G5Parra & Romero

G6Borzo

G7Take Ninagawa

G8Vista-mare

G9bitforms

GB

C D

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FA

A1Mc- Ca!reyA2Peter Blum

A3Carza-niga

C1Star-mach

B1Löhrl

B3Inver- nizzi

B2Maass

B4Blau

Hall 1

Free Public WLAN in all halls (temporary access)

Feature | Precisely curated projectsGalleries | The show’s main sector Edition | Limited-editioned works

L8ZERO

L2Neu

L9green-grassi

L3Gebrüder Lehmann

L10Noero

L4Air de Paris

M13 Bortolami

K13Ishii

M5Art : Concept

P5mennour

K20Janda

M9Magazzino

P9Nordenhake

H7neugerriemschneider

K9Kerlin

M1BQ

P1Massimo Minini

K16Chouakri

H14Rey- nolds

H15Linder

H16Riis

Q1Borch Jensen

Q2didier

Q3Fanal

Q4Kloster- felde Edition

Q5Para- gon

Q6Two Palms

Q9Knust

Q14Cristea

Q10Alexander

Q15Gemini

Q11Pace Prints

Q16Lelong Editions

Q12Three Star

Q19Parkett

Q21PrintedMatter /Art Metropole

Q17Crown Point

Q13Polígrafa

Q18STPI

Q7gdm

Q8Nitsch

M14SCAI

P13Sfeir-Semler

H11Rech

K14Bortolozzi

M6Dvir

P6Prats

K21Wol!

M10Kargl

P10Johnen

H8Vitamin

K10gb agency

M2Boesky

P2Chemould

K17Koyama

M15Dane

P14Nature Morte

H12Kamm

K15Shangh-ART

M7Weiss

P7ShugoArts

K22Cabinet

M8de Alvear

P8Gelink

K23Buchholz

M11Frith Street

P11Team

H9Foksal

K11Je!ries

M3Pia

P3Podnar

K18Andréhn- Schipt- jenko

M4Zeno X

P4Müller

K19Krinzinger

M12Mai 36

P12Gerhard-sen Gerner

P15Meile

H10Mot

H13Obadia

K12Petzel

N1kuri- manzutto

J16Bonakdar

N6Regen Projects

N7Miro

N8Lambert

J21303 Gallery

J22Fortes Vilaça

J23Schipper

N2Kelly

J17Meyer Riegger

N3De Carlo

J18Blum & Poe

N4Gavin Brown

J19Crousel

N5Presenhuber

J20Coles

N9Capitain

J24Koyanagi

N10Kern

J25Aizpuru

M16Sies + Höke

P16Schöttle

H2Greene Naftali

K4Staerk

M17Skopia

P17van Orsouw

H3carlier gebauer

K5Long March

M18Baronian

P18Jacques

H4Wallner

K6Krupp

M19Contemporary Fine Arts

P19Benzacar

H5Nagel Draxler

K7Schulte

M20Continua

P20Alexander and Bonin

H6Kreps

K8Paley

N11Sikkema Jenkins

J6König

N16Kaplan

J11Friedman

N12Goodman Gallery

J7Modern Art

N17Marconi

J12Munro

N13Bernier/Eliades

J8Szwajcer

N18Meert

J13Kilchmann

N14Guerra

J9Lehmann Maupin

N19OMR

J14Approach

N15Modern Institute

J10Klosterfelde

N20Stampa

J15Strina

K2Macca-roneK3i8

R11Monclova

H1Eigen + Art

K1Raucci/Santa- maria

J1kaufmannrepetto

J2Baudach

J3PKM

J4Projecte- SD

J5Standard (OSLO)

L1Perrotin

L7Lee

R1Foxx

R2Mendes Wood

R9Raeber- vonStenglinR10SKE

R3Freymond- Guth

R4Experi- menter

R5Mezzanin

R6Cherryand MartinR7Plan B

R8Cera

L5Abreu

L6Kordan- nsky

Exhibitor

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R12Herald St

Free Public WLAN in all halls (temporary access)

Hall 2.2 | Collectors LoungeUBS | Davido! Cigars | Audemars Piguet | NetJets |

AXA ART | ABSOLUT/Absolut Art Bureau | Baloise Group | Ruinart | Freeports | Vienna Tourism Board |

Hall 2.1 and 2.2 | Davido! Cigar Lounge

Collectors Lounge

Hall 1

Q20Ecart

Q22Texte zur Kunst

HALL 1UNLIMITED (SPECIAL PROJECTS)

Artist | Gallery ................................Location

Eija-Liisa Ahtila | Marian Goodman ....U54

Ai Weiwei | Meile .................................. U8

David Altmejd | Hufkens,

Modern Art, Rosen ..........................U27

Carl Andre | Fischer ............................U60

Kutlug Ataman | Dane, Sperone

Westwater .........................................U63

Atelier Van Lieshout | Krinzinger .......U48

Kader Attia | Continua ........................U73

Miroslaw Balka | Gladstone ................U44

Karla Black | Capitain, Modern Art ... U58

Iñaki Bonillas | Nordenhake ............... U55

Peter Buggenhout | Fischer ..................U26

Marc Camille Chaimowicz | Cabinet .....U70

Chen Zhen | Continua .........................U25

Lygia Clark | Jacques ............................. U9

Matt Connors | Cherry and Martin,

Herald St ........................................... U11

Martin Creed | Brown,

Hauser & Wirth ..............................U79

François Curlet | Air de Paris,

Szwajcer ...........................................U28

Aaron Curry | Rech ............................. U51

Willem de Rooij | Buchholz, Crousel,

Petzel, Regen Projects ......................U34

Thomas Demand | Marks,

Sprüth Magers ................................. U17

Willie Doherty | Alexander and Bonin,

Kerlin, Kilchmann ............................ U50

Latifa Echakhch | kaufmann repetto,

mennour, Presenhuber ..................... U52

Lionel Estève | Baronian, Bernier/Eliades,

Perrotin ............................................. U59

Ceal Floyer | 303 Gallery, Lisson,

Schipper ............................................U22

Günther Förg | Greene Naftali ............U49

Michel François | Hufkens, mennour....U18

Jonah Freeman and Justin Lowe |

Marlborough ....................................U43

Dara Friedman | Brown.......................U24

Meschac Gaba | Stevenson .................. U74

Theaster Gates | White Cube .............. U33

Simryn Gill | Williams.........................U76

Antony Gormley | Continua ............... U39

Johan Grimonprez | Kelly, mennour ...U45

Noriyuki Haraguchi | McCaffrey ......... U1

He An | Templon ................................. U61

Susan Hiller | Taylor ............................U29

Roni Horn | Hauser & Wirth .............U36

Jonathan Horowitz | Brown, Coles,

Weiss ...................................................U6

Huang Yong Ping | Gladstone ............. U19

Pierre Huyghe | Marian Goodman,

Schipper ............................................ U41

Alfredo Jaar | Goodman Gallery,

Lelong, mennour, Schulte ................U42

Michael Joo | Kukje ............................. U31

Esther Kläs | Blum ...............................U71

Emil Michael Klein | Vavassori ...........U30

Norbert Kricke | Scheibler ..................... U2

Shakuntala Kulkarni | Chemould ....... U53

Wolfgang Laib | Ropac ........................ U75

Sean Landers | greengrassi, Petzel .......U20

Liu Wei | Long March .........................U67

Jorge Macchi | Alexander

and Bonin, Benzacar, Continua,

Kilchmann, Strina ...........................U15

Michel Majerus | Marks,

neugerriemschneider ........................U62

Teresa Margolles | Kilchmann .............. U3

Justin Matherly | Cooper, König .........U77

Mario Merz | Gladstone ........................ U5

Matt Mullican | Klosterfelde,

Mai 36 .............................................U16

Oscar Murillo | Bortolozzi ..................U66

Gina Pane | mennour ...........................U64

Giulio Paolini | Lambert ......................U72

Claudio Parmiggiani | Lee,

Meessen De Clercq ...........................U47

Amalia Pica | Foxx, Herald St ............ U10

Rob Pruitt | Brown ..............................U57

Florian Pumhösl | Abreu, Buchholz,

Lisson ..................................................U4

Walid Raad | Cooper, Sfeir-Semler .....U65

Thomas Schütte | Bernier/Eliades .......U78

Sean Scully | Cheim & Read ............... U56

Nobuo Sekine | Blum & Poe ............... U35

Chiharu Shiota | Templon ...................U46

Dayanita Singh | Frith Street ............... U21

John Stezaker | Approach ....................U12

Jessica Stockholder | Mitchell-Innes

& Nash, Obadia ............................... U37

L.N. Tallur | Chemould,

Nature Morte ................................... U14

Oscar Tuazon | Maccarone,

Presenhuber ......................................U68

Tunga | Luhring Augustine, Mendes

Wood, Meyer Riegger, Noero ...........U7

Piotr Uklan#ski | De Carlo, Gagosian ....U40

Marijke van Warmerdam | Gelink,

Ishii, Riis........................................... U69

Adriana Varejão | Fortes Vilaça,

Lehmann Maupin, Miro ..................U38

Betty Woodman | Bortolozzi, Pia .......U23

Yan Xing | Meile .................................. U13

David Zink Yi | Hauser & Wirth, König ....U32

STATEMENTS (EMERGING ARTISTS)

Artist | Gallery ............................. Location

Jonathan Binet | Gaudel de Stampa ....... S1

Antoine Catala | 47 Canal....................S23

Judith Fegerl | Winter ...........................S13

Olivier Foulon | Clages ...........................S7

Egan Frantz | Tilton ..............................S15

David Horvitz | Chert ...........................S12

Hu Xiaoyuan | Beijing Commune ..........S5

Jessica Jackson Hutchins | Gitlen .........S19

Laleh Khorramian | The Third Line ......S6

Chosil Kil | One and J. ...........................S2

Daniel Lefcourt | Campoli Presti ......... S11

Tony Lewis | Campbell ......................... S10

Mateo Lopez | Casas Riegner ................S9

Peter McDonald | Side 2 .......................S24

Mairead O’h Eocha |

mother’s tankstation ......................... S16

Greg Parma Smith | Vavassori..............S21

Kostas Sahpazis |

Melas Papadopoulos ...........................S3

Hugh Scott-Douglas | Silverman ..........S22

Maria Taniguchi | Silverlens................. S18

Sergei Tcherepnin | Murray Guy ............S4

Jenni Tischer | Krobath ........................S20

Thu Van Tran | Meessen

De Clercq ........................................... S17

Erika Vogt | Overduin and Kite ........... S14

Kemang Wa Lehulere | Stevenson ..........S8

MAGAZINES (IN COLLECTIVE BOOTH)

Publication ............................................Location

art - Das Kunstmagazin ...................... Z17

Art+Auction/Modern Painters .............Z6

Art in America ....................................Z15

Art Metropole/Printed Matter ................Q21

ArtAsiaPacific ..................................... Z16

ARTFORUM International

Magazine ......................................... Z14

ArtNexus ............................................Z19

ArtReview .............................................Z1

Beaux Arts magazine ............................Z2

Canvas ...................................................Z5

Flash Art .............................................Z12

frieze d/e ..............................................Z13

Harper’s Bazaar Art China/Harper’s

Bazaar Art Arabia ...........................Z11

Kaleidoscope .........................................Z8

Kunst-Bulletin .......................................Z7

L’oeil/Le Journal des Arts ...................Z10

Leap Magazine ................................... Z18

Monopol .............................................Z20

Mousse Magazine .................................Z4

Parkett .................................................Q19

springerin ..............................................Z9

Texte zur Kunst ................................. Q22

The Art Newspaper ............................Z21

Weltkunst ..............................................Z3

HALL 2Gallery .............................................Location

303 Gallery .........................................J21

Abreu ................................................... L5

Acquavella ......................................... E16

Air de Paris .......................................... L4

de Aizpuru ..........................................J25

Alexander and Bonin ......................... P20

de Alvear .............................................M8

Ammann ............................................ B13

Andréhn-Schiptjenko ..........................K18

Approach ............................................J14

Art: Concept .......................................M5

Artiaco ...............................................A13

Baronian ...........................................M18

von Bartha ........................................... F7

Baudach ................................................J2

Benzacar ............................................. P19

de la Béraudière ...................................C8

Berinson .............................................C11

Bernier/Eliades .................................. N13

Fondation Beyeler ................................ F1

Blau ...................................................... B4

Blondeau ..............................................C7

Peter Blum ...........................................A2

Blum & Poe ........................................J18

Boesky .................................................M2

Bonakdar ............................................J16

Bortolami ..........................................M13

Bortolozzi ...........................................K14

BQ ......................................................M1

Gavin Brown ....................................... N4

Buchholz ............................................K23

Buchmann .......................................... B10

Cabinet ..............................................K22

Capitain .............................................. N9

carlier gebauer .................................... H3

Carzaniga .............................................A3

Cheim & Read ...................................C14

Chemould ............................................ P2

Chouakri ............................................K16

Coles ...................................................J20

Contemporary Fine Arts....................M19

Continua ...........................................M20

Cooper ................................................. E5

Crousel ................................................J19

Daiter .................................................. D7

Dane .................................................M15

De Carlo ............................................. N3

Dvir .....................................................M6

Ecart ................................................. Q20

Eigen + Art .......................................... H1

Feigen .................................................A15

Fischer .................................................. B6

Foksal ................................................. H9

Fortes Vilaça .......................................J22

Fraenkel .............................................. D5

Freeman ............................................. F10

Friedman .............................................J11

Frith Street ........................................M11

Gagosian ............................................ B15

Galerie 1900–2000 ............................. D6

Galleria dello Scudo .............................C5

gb agency ...........................................K10

Gelink .................................................. P8

Gerhardsen Gerner ............................. P12

Gladstone ............................................. E2

Gmurzynska ...................................... D14

González ............................................ E15

Marian Goodman .............................. B17

Goodman Gallery ............................. N12

Grässlin ................................................ B7

Richard Gray ....................................... E4

Greenberg ........................................... D4

Greene Naftali .................................... H2

greengrassi ........................................... L9

Greve ................................................... E1

Guerra ............................................... N14

Haas ....................................................D10

Hauser & Wirth .................................C10

Hazlitt Holland-Hibbert ....................D16

Hetzler ................................................. E7

Hopkins ...............................................C4

Houk................................................... D8

Hufkens ............................................. B18

Hutton ...............................................C13

I8 .........................................................K3

Invernizzi ............................................. B3

Ishii ....................................................K13

Jablonka ............................................... F2

Jacobson ..............................................C3

Jacques ............................................... P18

Janda ..................................................K20

Jeffries ................................................K11

Johnen ................................................ P10

Juda ................................................... B16

Kamm ............................................... H12

Kaplan .............................................. N16

Kargl .................................................M10

kaufmann repetto ..................................J1

Kelly .................................................... N2

Kerlin ...................................................K9

Kern .................................................. N10

Kewenig ...............................................C6

Kicken ................................................. D9

Kilchmann ...........................................J13

Klosterfelde .........................................J10

Klüser ................................................ D18

König ....................................................J6

Kordansky ............................................ L6

Koyama ..............................................K17

Koyanagi .............................................J24

Kreps ................................................... H6

Krinzinger ..........................................K19

Krupp ...................................................K6

Kukje ................................................... F6

kurimanzutto ...................................... N1

Lahumière ............................................ F3

Lambert .............................................. N8

Landau .................................................C9

Lee ....................................................... L7

Gebrüder Lehmann .............................. L3

Lehmann Maupin .................................J9

Lelong ................................................ E12

Lévy ..................................................... F4

Linder ............................................... H15

Lisson ................................................. B12

Löhrl .................................................... B1

Long March .........................................K5

Luhring Augustine .............................. E13

m Bochum ..........................................A16

Maass ................................................... B2

Maccarone ...........................................K2

Magazzino ..........................................M9

Mai 36 ..............................................M12

Marconi ............................................ N17

Marks ................................................A14

Marlborough ..................................... D13

Mathes ............................................... F12

Mayer .................................................. E8

Mayor ..................................................A6

McCaffrey ............................................A1

McKee ..................................................A4

Meert ................................................ N18

Meier ................................................. F14

Meile .................................................. P15

mennour ............................................... P5

Metro Pictures ..................................... B9

Meyer Riegger .....................................J17

Massimo Minini ................................... P1

Miro .................................................... N7

Mitchell-Innes & Nash ........................ E6

Mnuchin .............................................. E9

Modern Art ...........................................J7

Modern Institute ............................... N15

Moeller ................................................A9

Mot ................................................... H10

Müller .................................................. P4

Munro .................................................J12

nächst St. Stephan ................................ E1

Nagel Draxler ..................................... H5

Nagy ..................................................A10

Nahem ................................................. F8

Nahmad ...............................................A8

Nature Morte ..................................... P14

Nelson-Freeman ................................. F10

Neu ...................................................... L2

neugerriemschneider ............................ H7

New Art Centre................................. D15

Noero ................................................. L10

Nolan .................................................A12

Nordenhake ......................................... P9

Nothelfer .............................................. F9

Obadia .............................................. H13

OMR ................................................ N19

van Orsouw ....................................... P17

Pace .................................................... B20

Paley ....................................................K8

Pauli .....................................................A5

Perrotin ................................................ L1

Petzel ..................................................K12

Pia .......................................................M3

PKM .....................................................J3

Podnar ................................................. P3

Prats ..................................................... P6

Presenhuber ......................................... N5

ProjecteSD .............................................J4

Raucci/Santamaria ...............................K1

Rech .................................................. H11

Regen Projects ..................................... N6

René .................................................. D19

Reynolds ........................................... H14

Riis .................................................... H16

Ropac ................................................. B11

Rosen ................................................... B5

Sage ..................................................... D2

SCAI .................................................M14

Scheibler .............................................C17

Schipper ..............................................J23

Schöttle .............................................. P16

Schulte .................................................K7

Seroussi ..............................................C15

Sfeir-Semler ........................................ P13

ShanghART ........................................K15

ShugoArts ............................................ P7

Sies + Höke .......................................M16

Sikkema Jenkins ................................ N11

Silverstein ............................................ D3

Skarstedt ............................................ E14

Skopia ...............................................M17

Sperone Westwater ............................. E10

Sprüth Magers ................................... B19

St. Etienne ......................................... D11

Staerk ...................................................K4

Stampa .............................................. N20

Standard (OSLO) ..................................J5

Starmach ..............................................C1

Stein ..................................................... B8

Strina ..................................................J15

Szwajcer ................................................J8

Taylor ................................................A11

Team .................................................. P11

Tega .................................................. D17

Templon ...............................................A7

Thomas .............................................. F13

Tschudi ................................................C2

Tucci Russo ........................................C16

Verna ................................................... E3

Vitamin ............................................... H8

Waddington Custot ............................ F11

Wallner ............................................... H4

Washburn ...........................................C12

Weiss ...................................................M7

Werner ............................................... B14

White Cube ........................................C18

Wolff ..................................................K21

Susanne Zander ................................ D12

Thomas Zander .................................. D1

Zeno X ...............................................M4

ZERO .................................................. L8

Zwirner ................................................ F5

EDITION (EDITIONED WORKS)

Alexander .......................................... Q10

Borch Jensen ....................................... Q1

Cristea ............................................... Q14

Crown Point ..................................... Q17

didier ................................................... Q2

Fanal ................................................... Q3

gdm ..................................................... Q7

Gemini .............................................. Q15

Klosterfelde Edition ............................ Q4

Knust .................................................. Q9

Lelong Editions ................................. Q16

Nitsch ................................................. Q8

Pace Prints ........................................ Q11

Paragon ............................................... Q5

Polígrafa ............................................ Q13

STPI .................................................. Q18

Three Star ......................................... Q12

Two Palms .......................................... Q6

FEATURE (CURATED PROJECTS)

bitforms .............................................. G9

Boers-Li ............................................. G12

Borzo .................................................. G6

Castelli ................................................ G3

Cera .....................................................R8

Cherry and Martin ...............................R6

Dirimart ............................................ G10

Elbaz ................................................... G1

Experimenter ........................................R4

Foxx.....................................................R1

Freymond-Guth ....................................R3

Alexander Gray ................................... G4

Herald St ............................................R12

Mendes Wood ......................................R2

Mezzanin .............................................R5

Monclova ...........................................R11

Parra &

Romero ............................................ G5

Plan B ..................................................R7

RaebervonStenglin ...............................R9

SKE ....................................................R10

Spartà .................................................. G2

Take Ninagawa ................................... G7

Vistamare ............................................ G8

Williams ............................................ G11

MagazinesZ1 – Z22

Conversations & Salon

U42Jaar

U43Freeman and Lowe U46

Shiota U47Parmiggiani

U48Atelier Van Lieshout

U52Echakhch

U51Curry U56

Scully

U55Bonillas

U54Ahtila

U27Altmejd

U11Connors U23

WoodmanU19Huang

U28Curlet

U25Chen

U26Buggenhout

U61He

U59Estève

U65Raad

U58Black

U57Pruitt

U50Doherty

U53Kulkarni

U37Stockholder

U36Horn

U35Sekine

U29Hiller

U24 Fried-man

U22Floyer

U21Singh

U62 Majerus

U60Andre

U64 Pane

U17Demand

U63Ataman

U18François

U14Tallur

U7Tunga

U15Macchi

U11 Connors

U67Liu

U66Murillo

U70Chaimowicz

U73Attia U74

Gaba

U75Laib

U77Matherly

U2Kricke

U5Merz

Hall 2

U6HorowitzU5

Merz

U78Schütte

U1Haraguchi

U3Margolles

U4Pumhösl

U76Gill

U72Paolini

U71 Kläs

U69van Warm- erdam

U8Ai

U9 Clark

U79 Creed

U10Pica

U12Stezaker

U31Joo

U32Zink Yi

U30Klein

U44Balka

U45Grimon- prez

U41Huyghe

U40Ukla!ski

U39Gormley

U38Varejão S1

Gaudel de Stampa

S2One and J.

S3Melas Papado- poulos

S4Murray Guy

S5Beijing Comm -une

S6The Third Line

S7Clages

S8Steven- son

S14Overduin and Kite

S13Winter

U33Gates

U68Tuazon

U16Mullican

U13Yan

U34de Rooij

U49Förg

S22Silver- man

S2347 Canal

S24Side 2

S15Tilton

S21Vavas- sori

S16mother‘s tankstation

S20Krobath

S19Gitlen

S18Silverlens

S17Meessen De Clercq

U20Landers

S9Casas Riegner

S10Camp- bell

S11Campoli Presti

S12Chert

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