2009 Report—

Artist Pension Trust®

Table of Contents—

2009 ToOurStakeholders...................................................................................... 4 2009NewArtistSignings.............................................................................. 6

APTBeijing KyongfaChe.......................................................................................................10 InterviewwithLeeKit.................................................................................14 SunyoungOh...................................................................................................... 18

APTBerlin SelectedImages...............................................................................................28APTDubai NovemberPaynter...........................................................................................39

InterviewwithMihaŠtrukelj.................................................................44APTLondon GerrievanNoord............................................................................................52

KirstyOgg..........................................................................................................57APTLosAngeles IreneTsatsos....................................................................................................60APTMexicoCity PilarTompkins................................................................................................ 66APTMumbai SelectedImages...............................................................................................78APTNewYork PamelaAuchincloss/LissetteGarcia.................................................... 86

InterviewwithCarrieMoyer................................................................... 92

Data ................................................................................................................................ 98Credits ............................................................................................................................... 110

1 TOC

2009

3 2009

Dear APT stakeholders—

ItiswithgreatexcitementandpridethatIinviteyoutoreviewour2009Report.

Asyouwillevidence,APTisatrulyuniquecompany,notonlyforitspartnershipbasedapproach,itspatentedbusinessmodel,itsunparalleledgrowth,oritsall-weatherbusinesssoundness.Itisuniqueprimarilybecauseitisatrue“socialbusiness,”solvingarealneedforemergingartistsglobally,whilstsimultaneouslycreatingtangiblevalueforitsinvestorsandtheartworldatlarge.

Inthefollowingpagesyouwilldiscoverhowourcom-panyhasgrownoverthepastyear,workingwithover1000artistsaroundtheworld,inmorethan50countries,buildingwhatisundoubtedlythefastestgrowing,andperhapsalreadythelargest,contemporaryartcollectionintheworld!

Withover4500worksandcounting,APTiscertainlyoneofthemostimportantculturalinitiativesofourera.Awarehouseoftalentandcreativeinnovation,thecollectionconstitutesacross-sectionofthebestcontemporarythinkingfromaroundtheworld.

In2009,ourgrowthhasallowedustobackwardintegrateintoowningourfirstproprietarystoragefacilityinBrooklyn,NY,wherewealsoinitiatedastudioprogramforourartists.Inthecomingyearsweintendtodevelopthisserviceinadditionalproprietarylocationsaroundtheworld.ThevisionistocreateAPTcommunitieswhereartistscanmeet,exchangeideas,andprosperfromcross-cultivatingexperiences.

Ihopeyoufindthepagesaheadinspiringandlookforwardtoreceivingyourthoughts,comments,andfeedbackviaourwebsite.

Bestwishes, Serge Tiroche—ChairmanoftheBoard

42009

Iamverypleasedtoofferforyourinformationandenjoymentthe2009Report.Nowapproachingour7thyearofoperations,wehaveeighttrustsfullyoperationalaroundtheworld:Beijing,Berlin,Dubai,London,LosAngeles,MexicoCity,Mumbai,andNewYork.Inthespringof2009,APTNewYorkachievedafullrosterofartistswithBerlin,London,andLosAngelesexpectedtofollowbythe3rdquarterof2010.Asecondgenerationoftrustswilllaunchbyyear-end,drivingforwardtheAPTmodelasasecurelyestablishedfinancialservicescompanycreatedtomeettheuniqueneedsofartists.

OtherachievementsthatmarkedtheyearincludeournewAPTwebsitedesigncreatingaresourceformoreinformationdissemina-tionaboutourartistsandourcurators.Thehomepagenowincludesfeaturedarticles,exhibitions,newartworkinvestments,andcom-mentaries,updatedonadailybasis.TheweeklyAPTNewsletterispostedtoover1,600artists,artprofessionals,andcuratorsaroundtheworld.TheAPTBlogisdrawingagrowingaudienceinterestedinourconversationsaroundcurrentissuesandourAPTexhibitionsandprogram.APTCuratorialisnowfullyoperationalandpostedonthesite.APTStudioslaunchedlatethisfallwithourfirstresidentartistfromAPTDubaiandalreadylookstobenearlyfullforspring2010.

Wehaveaskedeachdirectortosharesomeoftheirhighlightsfromthisyearand,withoutexception,thereareextraordinaryachieve-mentsaroundtheglobe.AnAPTLondonartist,RichardWright,wasawardedtheTurnerPrize.Morethan27APTartistswereonexhibitinPavilions,theArsenale,andancillaryvenuesaroundVeniceoverthesummer.MarkBradford,APTLosAngeles,wasawardedtheMacArthurAward,2009,oneof25individualsfromaroundtheworldwhoarerecognizedfortheiroutstandingacheivementsandcontributions.Theseareonlyafewnotablementionsoutofthenearly1,200artistscurrentlyparticipatinginourprogram.

Lookingforwardto2010,APTwillbeginimplementa-tionofoursellingandmarketingpractices,launchasecondgenerationoftrusts,andforgenewpartnershipswithartpresentingorganizationsandserviceagenciesglobally.

Withbestwishesfor2010, PamelaAuchincloss—CEO

Dear APT stakeholders—

5 2009

APTBeijing

Yoko ASAKAIAre You Meaning CompanyCHEN QuilinCHEN WeiWong Hoy CHEONGEunji CHOSatoshi HASHIMOTOTetsushi HIGASHINOJoonho JEONSojung JUNSeok Ho KANGChosil KILHyeran KIMFumiko KOBAYASHIMasakatsu KONDOTakuro KOTAKAKUO I-ChenDongi LEE Jooyoung LEELEE KitYongbaek LEELI ShuruiMA YongfengKyung Won MOONJaye MOONHiroaki MORITADaewoong NAMMatthew NGUI NIE MuJaye RHEEKazz SASAGUCHIKanako SASAKISHEN Yi ElsieMeekyoung SHINYuk King TANMotohiro TOMIIYasuko TOYOSHIMAWANG Jianwei

APTBerlin

Ulf AmindePeter BöhnischMike BouchetLutz BraunStefan BurgerMariana Castillo DeballPaolo ChiaseraVaast ColsonDaniel Gustav CramerNatalie CzechOskar DawickiStefaan DheedeneFamedJaroslaw FlicinskiPeggy FranckUlrich GebertGöran GnaudschunJan HammerLone Haugaard MadsenStef HeidhuesAlexandra HopfKarolina KowalskaTomasz KowalskiMatts LeiderstamDeborah LigorioUrsula MayerMiguel PalmaSteve Van den BoschMing Wong

APTDubai

Halil AltindereShai AzoulayFaycal BaghricheMahmoud BakhshiTaha BelalOsman BozkurtYane CalovskiAsli CavusogluShezad DawoodInci FurniBabak GhaziIbro HasanovicAlbert HetaKatia KameliVikenti KomitskiIvan MoudovCiprian MuresanNira PeregRenata PoljakTomo Savic-GecanMamali ShafahiMiha StrukeljKosta TonevStefanos TsivopoulosAlexander UgaySislej Xhafa

APTLondon

Hany ArmaniousEric BainbridgeDavide Balula Margrét H. BlöndalAgnieszka BrzezanskaRoderick BuchananMatthew DarbyshireMikala DwyerRuth EwanMatias FaldbakkenLuke FowlerKendell GeersDes HughesSven ‘t JolleAlan KaneLaurence KavanaghLeopold KesslerPhillip LaiTorsten LauschmannBenoît MaireHaroon MirzaAdrien MissikaHeather & Ivan MorisonMariele NeudeckerMark NevilleNavid NuurDjordje OzboltMargaret SalmonDaniel SilverSuzanne TreisterClare Woods

2009 New Artist Signings—

62009

2009 New Artist Signings—

APTLosAngeles

Kelly BarrieDawoud BeyBrian BressMargarita CabreraMonica CanilaoJuan CapistranCarolyn CastañoNeha ChoksiSandra de la LozaAlejandro DiazDino DincoTim EbnerBart ExpositoErik FrydenborgHugo HoppingSalomon HuertaCharles IrvinDawn KasperD’nell LarsonLaura LetinskyRenée LoteneroAllison MillerFlorian MorlatAmitis MotevalliVincent RamosDavid RathmanArturo RomoFernando SanchezMelanie SchiffCarrie SchneiderGeorge StollHaruko TanakaJeffrey Vallance

APTMexicoCity

Alejandro Almanza PeredaFrancisca AninatAlexandre ArrecheaMagdalena AtriaLuz Maria BedoyaSandra BermudezMonika BravoRogério CanellaNayari CastilloAnibal CatalanEmilio ChapelaMarcos ChavesEduardo ConsuegraMatias DuvilleCristian FrancoNancy FriedemannMarcius GalanAdriana Garcia GalánBia GayottoJaime GiliCharles GlaubitzJosefina GuilisastiIgnacio GumucioCynthia GutiérrezTamara KostianovskyAdriana LaraMiguel LucianoJose Carlos MartinatRebeca MéndezBegoña MoralesJulio Cesear MoralesCarlos MottaCamilo OntiverosGastón PérsicoWilfredo PrietoAna RoldánFrancisca SanchezJoaquin SeguraJavier TapiaLaureana Toledo

APTMumbai

Sheba ChhachhiTatheer DaryaniDebraj GoswamiProbir GuptaGeorge MartinMonali MeherPranati PandaBirendra PaniJayanta RoyBharat SikkaMayura Subheder

APTNewYork*

Jose AlvarezRadcliffe BaileyNoah DavisJeremiah DayFrohawk Two FeathersTommy HartungEllen HarveyNadia HironakaKatrina MoorheadBen PetersonMatt Sheridan SmithMark ShetabiMatthew SuibLisa TanHank Willis ThomasCarrie Mae Weems

*Reached full participation in May 2009

7 2009

APT BEIJING

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APT BEIJINGKYONGFA CHE

TokyohasbeenmybaseforthreeyearsnowandIamwellintothesecondyearofmycommitmentasco-directorofAPTBeijing.WorkingtogetherwithAPTartistsandcontinuouslymeetingnewartistshasbeenanexcellentandfulfillingopportunity.IthasallowedmetoacquireanexceedinglydeeplevelofunderstandingofnotonlythekindofartisticproductioncurrentlybeingmadeandcollectedinJapan,butthesenseofurgencysharedamongartistsinrespondingtoeffectsofthenow-longeconomiccrisis.Artistsherealsoshareagrowinginterestinex-pandingtherealmoftheiractivitiesbeyondJapan’sborders,somethingAPTiswellpositionedtooffer.

Galleriesthatarelargelyownedbyayoungergenerationofartprofessionals,suchasMujintoProductionandAOYAMA|MEGURO,aresup-portiveofAPTandhenceexcellentcollaborationsandrelationshipshavebeenformedandcultivated.MuchofthereasonforthisisthatbothAPTBeijingandthegalleriesfindcommongroundsupportingemergingartists,donotnecessarilyfollowthetrendsofthecurrentartmarket,andseethepotentialfortheirartiststobeconnectedandinvolvedwithinthenetworkofAPTartistandcurators.

OverallIhaveseenabetterunderstandingandagreatdealofinterestemergeinthemissionof

APT.Anongoingchallengeremains—thedegreeofindependencethatartistsenjoy alongsidetheirgalleries’interests.Thosewhoworkwithlargergalleriesthatmanageartist’sactivitiesanddistribu-tionofartworksdonot,insomecases,allowtheirartiststojoinAPT.Toaddressthisproblematicissue,IamtryingtoraisemoreawarenessaboutAPTthroughmyengagementwiththeartistsImeetandinvitetotakepartinourprogramaswellasartistsinthebroaderartcommunity.Overtime,myhopeistocreatemoreofadialogueandthoughtfulreflectionontheheavilyexclusivesystemwithinthecommercialartmarketinJapan. 

SimilarlytomanyoftheotherAPTDirectors,Iamalsoanindependentcurator.ThisgivesmerewardingopportunitiestoworkwithmanyofourAPTartists.ThispastyearonesuchcuratorialprojectwaspresentedattheStedelijkMuseumBureauinAmsterdamtitled“TheDemonofComparisons,”curatedinpartnershipwithBinnaChoiandCosminCostinas.Ofthetenartistsincludedinthisexhibi-tiontwoareAPTBeijingparticipatingartists,HemanChongandJeunoKimalongwithHafiz,TiborHajas,BeomKim,SungHwanKim,WendelienvanOldenborgh,PhilippeRekacewicz,GraceSamboh,andTadasuTakamine.

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Splash and Flake (Pipeline) #4TEPPEI KANEUJI

2009, DIMENSIONS VARIABLE, WOOD, PLASTIC AND METAL OBJECTS

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“TheDemonofComparisons”grewoutofexchangesanddiscussionsduring“OpenCircuit#1:Yogyakarta,”organizedbyElectricPalmTree(comprisedofKyongfaChe,BinnaChoi,andCosminCostinas),inSeptember2008inIndonesia.Duringtheweek-longworkshop,participantssharedandnegotiatedtheirexperiencesandvocabulariesofsocialtransformationfromtheirrespectivebackgrounds.Thisexhibitionpresentsanassociationofsubjectivepositionsrelatinginvariouswaystolargersocialandpoliticalframeworks,topowerandculturalconstructions.Pursuingontheissueofindividualagencyinalandscapedefinedbyques-tionsofnationalandculturalidentities,“TheDemonofComparisons”questionedthekindofcollectivitythesesubjectsform.

ThetitleisatranslationofaphrasefromJoseRizal’snovelNoli Me Tangere,“eldemoniodelascomparaciones,”usedbyBenedictAndersonasthetitleofhisbook,undertherenderingofThe Specter of Comparisons.Anoriginalandinsightfulthinker,BenedictAndersonquestionedthepatternsandthemeetingpointsthataretobefoundthroughoutgeographies,times,andpowerstructuresthatleadtoformationsofidentitiesandvarioussensesofbelonging.Thetranslationremainsanchoredinthisareaofinterest,butwishestoaddthepotentialofthepolisemy,indeedthespectres,oftheoriginalSpanishword“demonio,”indealingwiththesubjectivityofone’sexperienceofcultureandpower.

AsecondexhibitionprojectattheHangaramArtMuseuminSeoul,KoreaalsoincludedJeunoKim(APTBeijing)inadditiontoJayeRhee(APTBeijing)andHaeriYoo(APTNewYork).“U·S·B:EmergingKoreanArtistsintheWorld2009”featured24emergingKoreanartistsbasedinEurope,acrosstheAmericas,andthroughoutAsia,whoworkactivelywithintheinternationalartscene,buthavenotbeenexhibitedpubliclyinKorea.Theexhibitionprovidedaplatformuponwhichartistscouldexpresstheir

concernsandinterestscultivatedandtransformedthroughnegotiationswithdiversesocialsystems,politicalpower,andculturalvalues.    

Theexhibitiongatheredmorethan100newandalreadyexistentworksofart,withmediathatencompassedpainting,video,site-specificinstal-lation,animation,photography,andsculpture.Byarticulatinganarrayofperspectives,thisexhibitionaimedtoportraynotonlyhowtravelingandlivinginbetweenculturesinfluencestheconstitutionofself,butalsothestateofitsnegotiationandcomplexityofasubject,whichcannotbeembracedbyasinglenationalidentity.

AlsoincludedintheexhibitionwereSunahChoi,HongseonJang,HyojinJeong,DonghoonJun,TaebumHa,EunokHwang,EemyunKang,ChosilKil,SongheKim,DaehunKwon,ChangwonLee,KakyoungLee,SekyungLee,SunhwaLee,WonhoLee,YoungmiLee,HyojunNam,AsaOh,EvaSshin,JieunYoon,andSunYou.Thisexhibitionwascuratedbymyself,MinseokSeo,andJWStella.

KYONGFA CHE IS CO-DIRECTOR OFAPTBEIJING

Artists here also share a growing interest in expanding the realm of their activities beyond Japan’s borders, something APT is well positioned to offer.

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Back Home with Baudelaire No 5—MAP OFFICE—2004, C-PRINT ON METALLIC PAPER, 120 X 240 CM

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APT Artist Interview— Lee Kit—

What is the project you enjoyed working on most this past year?

Iwillpicktwoastheyaresomewhatrelated—thesoloexhibitionI’m missing someone but I don’t know who’s that someoneinSeoul,andthekaraokesoloSomeone Singing and calling your nameinOsage.

ForI’m missing someone but I don’t know who’s that someone,itwasthefirsttimeIreallyworkedwithoutaplanandinarush.ButIwascalmandconfidentduringtheprocessandjustcarriedouttheworkswithoutmuchconsiderationandhesitation.TometheessenceofeveryperformanceisarticulatingseveralsentencesthatIreallywanttosay,usingtherightrhythmandvoice.Ifeelthatthespontaneityhelpsmeachievemyoptimalwork.AsanartistthatisthebestmomentIthink.

Someone Singing and calling your nameisakindofanextensionofI’m missing someone but I don’t know who’s that someoneaboutthesenseIwantedtocapturebutinsteadthesettingisapseudo-karaokeloungethatallowsmetoincludepersonalandsocialcommentaryinthework.(That’skaraoke,amixtureofcomplicatedpersonalandsocialissues.)Formallytheworkincludesvideo,paintings,ready-mades,andsculptures.IjustfeelfreetohandleeverythingsoI’dsayitbuildsonthepreviousshowinatmosphereandvariouslayersofreferencesandcontexts.

How do you see the next phase in the progression of your work in 2010?

Ijuststartedanewseriesofworksin2009thataresimilartotheworksImentionabove.ThoughthewaysIamexecutingthesenewworksseemtobe

quitedifferent,theyactasconclusionsofsomeofmypreviousartpracticeonhand-paintedclothandhaveopenedupmyartisticperspective.IfeellikeI’mmoreconfidentaboutmakingartworks,regardingeverythingasready-madeandcombiningthemwithindifferentcontexts.ConceptuallyI’mnowmeldingpersonal,social-political,andbehavioraldimensionstogetherincertainsettingstocreateaparticularatmosphere.In2010Iwillpresentboththehand-paintedclothseriesinvariouscontextsandexpandthekaraokeprojects.Ithinkitisaverygoodmomentformakingart,atleastforme.Which issue or idea interests you most in the art world today?

Politicsiswhatreallyinterestsme.Likeforinstancehowaestheticsispoliticallyrelevantindistancinganindividualfromthestructureandeconomyofcities.Thisisacontradictionasartisrelatedtodailylife,butalsonotall.Where is your studio based? Do you consider your work cross-cultural?

MystudioisbasedinHongKong.Yes,myworksarecross-culturalbecauseIwasbroughtupinHongKong,acitythatwasonceculturallycolonizedandnowisincrediblyglobalized(withregardstocapital-ismandconsumerism).Ithinkalmostallartistsnowarecross-cultural.

LEE KIT (APT BEIJING) LIVES AND WORKS IN HONG KONG

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I’m missing someone but I don’t know who’s that someone—LEE KIT—2009, SITE SPECIFIC INSTALLATION, HANOK IN SEOUL

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Steam Paper 01—MASAKATSU KONDO—2004, C-PRINT ON METALLIC PAPER, 120 X 240 CM

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Steam Paper 02—MASAKATSU KONDO—2009, INKJET PRINT, 97 X 145 CM

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APT BEIJINGSUNYOUNG OH

inKIMUSAatPlatform2009,acuratorialprojectcomprisedofadiverserangeofexhibitionswithgloballypertinentthemes.

Underthetheme“VoidofMemory,”PlatforminKIMUSAwasanexhibitionthatattemptedtoredis-coverspacesthathavebeenunusedorforgottenforaperiodoftime.Collaborating withKyongfaChe,co-directorofAPTBeijing,whoactedasanassociatecurator,weselectedfourartistsfromAPTBeijing:SojungJun,TeppeiKaneuji,LeeKit,andJinaPark.

Asanindependentcurator,IwasthrilledtohaveanopportunitytodevotealargeexhibitiontoAPTBeijingartistsatPlatformasthisprovidedmewithmyfirstopportunityto assembletheworkofAPTartiststogethertowardsachievingthegoalIsetforthabove.Throughouttheprocess,andtheeventualcriticalacclaimthatarosefromtheexhibition,IrealizedjusthowmanymorewaystherearetocreatenewopportunitiesinKorea,Japan,andChinaforourartistsandamconfidentthataswedosothetrustwillonlygainstrength,momentum,andpresence.

APTBeijinghasgrownquicklyoverthepastthreeyearsandcurrentlyincludesmorethan120participatingartists.Ispendmuchofmytimeworkingwithemergingartistsalongwiththosewhoaremoreestablished.WhenselectingartforAPT,Ifirstandforemostconcentrateonthequalityoftheartasthiswill,intime,ensureitscommercialappealandbenefitthetrust’sobjectives.

Asco-directorofAPTBeijing,aprimaryobjectiveistoestablish APT’spresenceinthelocalKoreanartscene.ThechallengeistomakeAPTBeijing,whichisalong-termtrust,relevantinthecurrentartenvironment.Someartistscanbecomefrustratedbytherealizationthatthetrust’sgoalsandreturnsrequiresignificantforesightandpatiencetoachieve.Tohelpmitigatethis,IwouldliketoexploretheideaofexhibitingAPTworksmorefrequentlyandestablishingagreaterpresenceinthelocalscene—somethingthatcouldbringgreatervisibilitytoAPT,itsartists,anditsdirectors.

In2009,IfocusedonseveralexhibitionswithAPTBeijingartistsincluding: JungjuAn’ssoloexhibi-tion“HarmonyLip-SyncProjectII”inSungkyunGallery;SojungJun’ssoloexhibition“OneManTheater”inSungkyunGallery;andagroupexhibition“SuddenlyEverythinghasChanged”

18BEIJING

Their War 3 (Pakistan)JUNGJU AN

2005, SINGLE-CHANNEL VIDEO, TWO-CHANNEL SOUND, 05:55

19 BEIJING

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Suddenly Everything has ChangedLEE KIT

2009, PLATFORM SEOUL, INSTALLATION VIEWS

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Night Tree—JINA PARK—2008, OIL ON CANVAS, 109 X 145 CM

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Suddenly Everything has Changed

Platform Seoul 2009 at KIMUSAOrganizer and Curator: Sunyoung OhAssociate Curator: Kyongfa Che

Recreating Everyday Life

SuddenlyEverythinghasChangedisanexhibitionaboutstorytellingwithineverydaylifeandwasthestartingpointofPlatform2009whichtookplaceinaspacepreviouslyusedastheoldDefenseSecurityCommand.Inthisexhibition,fourartistsLeeKit(HongKing),JinaPark(Seoul),TeppeiKaneuji(Tokyo)andSojungJun(Seoul)investigatedobjectsintheirdailylifeandmodifiedtheirformormadeastoryoutofthem.Theytookinterestinthefacts,objects,andspacestheyencoun-teredintheirdailylivesandalsointhestoriesaboutthosearoundthem,whoviewedtheirowndailylifeandinterpretedthemaccordingly.Thefamiliarandmundaneisviewedthroughtheirlensandexpressedintheirownlanguagethroughtheirworkswhichareconnectedanddisplayedinanorganicstructureintheexhibition.Theirworksseemtohaveasingleplotintheirstructure,buttheplotofthisexhibitionisnotsingularbutopen-ended.Observersengagewiththeartworkandmaketheirownstorybyconnectingthestoriesintheworks.Inotherwords,itistheobserversandnottheartistsnorcuratorsthatarethestorytellersoftheexhibition.

Thespaceforthisexhibitionhasaveryuniquestructure:fourroomsareconnectedinastraightlineandeachroomisconnectedtoanotherroomthroughagate.Onceyouenterthefirstroom,LeeKit’sdailyspaceunfoldsandtheobservers’trafficlineisconnectedtoJinaPark’sstories.Therealitywithinthememoriesexistinginthetwo-dimen-sionalplanefeltinJinaPark’sspaceisconnectedtoTeppeiKaneuji’sanothermodifiedrealitythatisthree-dimensional.AndintheinnermostsideoftheexhibitionspaceuncoversSojungJun’sstoryofherdream.Assuch,thestoriesthatunravelinvariousmannersinteractwithoneanotherintheexhibitionhallinanorganicallyconnectedstructure.

Asmentionedearlier,thisexhibitionimaginesourdailylife,thatis,theenvironmentthatsurroundsus,andmakesstoriesoutofit.Theworksexpresstherelationshipbetweendailylifeandartineachofitslanguage,whicharelinkedtooneanotherinnexusefficiens.Theworksthatusethesameandyetdifferentlanguagesareplacedinonespace,coveringthetimeandspaceinwhichwelive.Theseareourhumdrumdailyaspectswecurrentlyfeel,think,relateourselveswithandbeconcernedabout.The

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artistsconnecttheseinartworks,andcreatevariousstories.Inaddition,insteadoflisteningtoafixedstoryofasingleviewsetbycuratorsorofindirectlylisteningtotheaccuratemeaningorcontentofanartworkbycurators,observerstaketheinfinitestoriesinherentinartworksandinterpretthemintotheirownstory.

Observersimaginevariousstoriesthroughartworks.Storiesareagain,relayedontobecomenewones.Thesestoriestosomecouldserveasadéjàvuthatonemighthaveencounteredsomewhereintime,orasimagesthathaveappearedindreams.Thisexhibition“SuddenlyEverythinghasChanged”offersadiscoveryandanexperienceintohowbanalaspectsinourdailylifearetransformedbythefourartistsinvariousways,whiletappingintoadifferentviewtowardsourdailylifeanditswholenewworld.

SUNYOUNG OH IS CO-DIRECTOR OF APT BEIJING

24BEIJING

Suddenly Everything has Changed—LEE KIT—2009, INSTALLATION VIEW

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APT BERLIN

27 BERLIN

Inseln IIGÖRAN GNAUDSCHUN

2005, ANALOG COLOR PHOTOGRAPH ON ALUMINUM, 108 X 143 CM

28BERLIN

Inseln IGÖRAN GNAUDSCHUN

2005, ANALOG COLOR PHOTOGRAPH ON ALUMINUM, 108 X 143 CM

29 BERLIN

Plastics for ChinaPEGGY FRANCK

2006, PHOTO-OBJECT, INKJET PRINT ON ALUMINUM, 90 X 125 CM

30BERLIN

He and SheMATTS LEIDERSTAM

2001, 2 CIBACHROME PRINTS, 140 X 106 CM

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80.0—SUNAH CHOI—2008, 80 SLIDES, ONE PROJECTOR WITH ROTATING DEVICE, DIMENSIONS VARIABLE

32BERLIN

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Cave—SALLA TYKKÄ—2003, 35MM FILM/VIDEO, DOLBY SURROUND SOUND

34BERLIN

Cave—SALLA TYKKÄ—2003, 35MM FILM/VIDEO, DOLBY SURROUND SOUND

35 BERLIN

APT DUBAI

37 Dubai

Untitled—CIPRIAN MURESAN—2009, STILL FROM SINGLE-CHANNEL VIDEO’

38DUBAI

APT DUBAINOVEMBER PAYNTER

andeventhelargestcitieshavefewartsinstitutionsoranestablishedstructureofculturalsupport.Inthiscontext,APTDubaicanofferitsparticipatingartiststheopportunitytoinitiatesomecontroloverthefuturedevelopmentoftheirexhibitionoptionsandmarketpotential.Asthetrustisalsocreatingthefirstmajorcollectionofworkfromthisregion,itisprovingtobeaninvaluablereferencepointforcurators,galleries,andinstitutionsaroundtheworldwhomaynotbefamiliarwiththeregion’sartists. 

Inthelastthreeyearsanappreciationforcon-temporaryart,andhencearegionalartmarket,hasreallybeguntoescalatethroughoutourfocusarea.ArtfairssuchasArtDubai,whichlaunchedin2007,anditspartnerprojecttheAbraajPrize,startedin2008,haveencouragedcommercialgalleriestomovebeyondpresentingconventionalmodernartprac-ticestoincludemorediversecontemporaryartworksthatuntilrecentlywereoverlookedoftenduetotheirconceptualand,inthisregion,politicalnature.

CollectivelytheUnitedArabEmirateshostedtheirfirstVenicePavilion,curatedbyAPTDubai’sCuratorialCommitteememberTirdadZolghadr,tointernationalacclaim.2009alsosawthefirstAbuDhabiartfairintheUnitedArabEmirate’scapital,aclearsteppingstonetowardbothcreatingalocal

APTDubaiwaslaunchedduringthe10thInternationalIstanbulBiennialinSeptember2007.Liketheothertrusts,itisstructuredaroundaregionalmarket,bothlinkedtogeographicalproximityandpotentialsharedmarketpresence.Thecuratorialcommittee,whichcomprisesVasifKortun,MaiAbuElDahab,TirdadZolghadr,andNatasaPetresin-Bachelezalongwithmyself,decidedearlyontoexpandtheinitialfocusofthetrust.WewishedtomovebeyondthoseartscenesoftheMiddleEasttobothavoidsuchaspecificregionalconstructandtoincorporatewhatwebelievearecomplementaryartcontextsfromTurkey,theBalkans,Caucasus,Pakistan,andNorthAfrica.Theaimistodevelopthefirstmajor,albeittemporary,collectionofcontem-poraryartworksfromthisbroadregionandtohelpcreateanetworkbetweenartistswholiveinterna-tionally,andinAPTDubai’scase,sometimesincitiesthatdespitebeinggeographicallyclosearedifficulttotravelbetweenduetofundingconstraints,and,onoccasion,politicaltensions.

APTDubaidifferssomewhattotheothertrustsasmanyoftheartistsinvitedtoparticipatedonothavegalleryrepresentationandtheopportunitytobepartofinternationalartnetworksisoftenlimited.Fundingforcontemporarycultureissparse

As the trust is also creating the first major collection of work from this region, it is proving to be an invaluable reference point for curators, galleries, and institutions around the world who may not be familiar with the region’s artists.

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marketandtobuildingunderstandingandenjoy-mentofcontemporaryartforthoseanticipatingtheGuggenheimandLouvremuseumscurrentlybeingbuiltonthecity’sSaadiyatIsland.Othermuseumshavenotedthesedevelopments,andintheUKtheBritishMuseumandTatehavejustinauguratedaMiddleEastNorthAfricaAcquisitionsCommittee.

Supportingandengagingartistsfromanon-com-mercialpositionareanumberofimportantbiennialssuchasthoseinIstanbul(whichin2009wascuratedbytheZurichbasedcollectiveWHWwhochosetoincludethemajorityofartistsfromEastEurope,theMiddleEast,andSouthEastAsia),Athens,Sharjah,andthenewlylaunchedRiwaqBiennaleinPalestine.Ofcoursetherearemanygalleriesandinitiativesdoingincredibleworkwithlimitedbudgetsandsupport—tonamejustafewofnotethatlaunchedin2009:TheBrushfactoryinCluj,Romaniawhereagroupofartistsandartspacescametogethertoestablishtheirownstudioandgallerycomplex;theInstituteofContemporaryArtinSofia,Bulgaria;TheBeirutArtCenterinLebanonandanewvenuefortheAlRiwaqGallery,Bahrain.AnotherworthyinitiationwastheAccentedResidency,whichoffersresidencyopportunitiesinIstanbul,Beirut,Cairo,Ias,Bristol,andLondonforartistsfromcountriesinSouthEastEurope,theEastMediterranean,NorthAfrica,theGulfcountries,andtheUnitedKingdom.

Workingwithinsuchanenormouslydiverse,complex,compelling,andacceleratingartscene,weforeseeAPTDubaiplayingakeyroleincol-laborativelyidentifyingemergingartistsandhelpingtonurturetheirpracticesandcareers,aswellasparticipatinginexhibitionsandloaningwork.

WhileAPTDubai—aswithallAPTprograms—cannotensurehowmuchincomewilleventuallybegeneratedforitsparticipants,itseffortsaretakingplaceinaregionwheretheartmarketisdevelopingextremelyrapidlyandbeyondallexpectations,makingAPTDubaiatrustthatpromisesmuchintermsofgrowthpotential,hedging,andmostimportantly,asoneAPTDubaiartistputit,“across-the-boardbonding.”

NOVEMBER PAYNTER IS DIRECTOR OF APT DUBAI

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(Re)construction #2—Mokattam—HALA ELKOUSSY—2003, C-PRINT, 70 X 100 CM

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Model—BABAK GHAZI—2008, 12 DIGITAL PRINTS ON CANVAS, 126.4 X 172.4 CM

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APT Artist Interview— Miha Štrukelj—

What is the project you enjoyed working on most this past year?

CertainlyworthmentioningistheprojectImadeattheSlovenianPavilionfortheVeniceBiennial.Thatwasbyfarthemostcomplicatedandtime-consumingprojectIhavemadesofar.ItwasgreatbecauseitwassocomplexandIhadalltheresourcestodothat.WhatmadeitmoredifficultwasthetimewehadtoprepareitbecauseofthelongselectionprocesscarriedoutbytheMinistryofCulture,whichisthemainorganizerandsponsoratthesametime.IdidtheprojectincollaborationwithŠkucGalleryfromLjubljana,whichIworkwithinmyhomecountry,soatleastthatpartwasabiteasier,becauseIalreadyknewthewholeteam.Theotherproblem,ormaybeadvantage,wasthatIwasatthattimeatISCPResidencyPrograminNewYorkCity,sobasicallyIdidthewholeprojectthere.ThegoodpartwascertainlythefactthatIwasawayfromalocalscene,thedifficultpartwascommunication,becauseyouhadtohaveinmindthedelaybecauseofthetimedifference,soifthereisnotmuchtimeeverydaycounts.

So,togetitshort,Ithinkitwasabigtestforme,personallyandprofessionally,andIthinkIhavepassedit.

How do you see the next phase in the progression of your work in 2010?

Ialreadyhavenewideas,andcan’twaittotrytoexpresstheminmywork.Itismostlysite-specificorientated.IthinkitwentinanewdirectionattheBiennial,anditwilldevelopfurtherwiththenextprojects.Iamsofardiscussingtwoprojects,which

willbemainlysite-specific.Butallofmyworkiscomplex,soitalwaysmeansdevelopmentineverymediumIwork.Iintendtoaddmorelayerstoawalldrawing,andmakeitmorecomplex,maybethree-dimensional,yetmorerecognizableatsomelevel,Ialwaysliketoplaywiththeviewers’perceptionandleavethemtohavetheirowninterpretation.

Which issue or idea interests you most in the art world today?

Asithasbeenforthepastfewyears,myprimeinterestisurbanplanning,architecture,andwhatrelationshippeopleestablishwiththeenvironmenttheyliveandmoveinandhowitinfluencesthem.

ButIenjoydifferentkindsofart.Iknowthisisverygeneral,butIlikeartwhichsurprisesme,whichisinnovativeanddoesnotjustpushanagenda,orisblindedbyit.

Where is your studio based? Do you consider your work cross-cultural?

Mystudioisbasedinmyhometownandisactuallyprovidedbymyparents.StudiosarehardtocomebyinSlovenia—allpropertyiseithercommercial(usedforofficesandsimilar)orapartmentsandtherentshavesky-rocketed.However,Ispent9monthsabroadin2009onresidenciesandIplantotakeadvantageofthatinthefutureaswell.Yes,Idothinkmyworkiscross-cultural,myissuesareglobal,theycanbelocatedbasicallyineverymayorcityacrosstheworld.

MIHA STRUKELJ (APT DUBAI) LIVES AND WORKS IN LJUBLJANA, SLOVENIA

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Untitled—MIHA ŠTRUKELJ—2001, OIL ON CANVAS, 140 X 170 CM

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Miha Štrukelj at work in the APT Studios, New York—2009

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APT LONDON

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HavingjoinedArtistPensionTrust®(APT)asaco-directorwithKirstyOggfouryearsaftertheinceptionofAPTLondon,Ihadthegreatpleasureofinheritingagrowingcollectiveofinternation-allyrecognizedcuratorsandartists.Withover20yearsofexperienceworkingintheUKandEurope,IfoundIknewmanyoftheparticipatingartists,andinsomecasesitwaslikestumblinguponoldacquaintancesI’dlosttouchwithagesago.This,coupledwithintroducingnewandemergingtalentIhavecomeacrossinrecentyears,hasprovidedmewitharichengagementwiththisexcitingnewcompanythatprovides artistswithalong-termfinancialplanningprogram.

ThebasisAPTrestsupon—thesettingasideofasmallcollectionofeachartist’sworktowardsfinancialsecurityinthefuture—providesdirectorswiththeenviabletaskofworkingalongsidetheartiststocurateanoutstandingglobalcollectionthatrepresentstheirgenerationalcontributiontoartandculture.Eachindividualcollectionmightencompassaninterestingoverviewofanentirepractice,orsometimesanin-depthforayintoasinglestrandwithinanartist’sbodyofwork.

Thisyear,ClaireBarclayaddedamajornewwork,Subject to Habit(2009),tohercollectionofAPT

investments.ItwasoneofthemaininstallationsinhersoloexhibitionattheFruitmarketGalleryinEdinburghinthespringof2009.OftenClaire’sworkconsistsoflargerconfigurationsofpieces,madeoutofdifferentmaterials,rangingfromwood,alumi-num,fabric,andleathertostraw,clay,andenginegrease.Theindividualelementsofsuchlargeworksare—afterthey’rede-installed—almostalwaysrecycledandreusedandfindtheirwayintoother,smallerconfigurationsandinstallations,orendupasindividualpieces.ThepossibilityforClairetoinvestSubject to Habithasallowedhertosafeguardtheinstallationasawhole—andaspartoftheAPTcollection—forthefuturewhenitmaybeexhibitedagainandacquiredbyamajorcollection.

Similarly,JaneandLouiseWilson,whoin2009wereinthepositiontoaccessandreconsiderthefutureofasignificantpartoftheirbackcatalogue,decidedtoinvesttwomajorworks,whichotherwisemighthavevanishedforgood.ThetwopiecesareReconstruction of Double Doors: Hohenhausen Prison, Stasi City(1997),whichwasmadearoundthetimeoftheirseminalfilmStasi City and Normapaths(1995),whichwasconceivedofasastand-alonefilmpiecebutAPTsecuredboththefilmandthesetinwhichthefootagewasoriginallyshot,makingita

APT LONDONGERRIE VAN NOORD

PREVIOUS PAGES

Annie and SnowyMARK NEVILLE

(FROM THE EXHIBITION “FANCY PICTURES”, COMMISSIONED

BY MOUNT STUART, BUTE, SCOTLAND)

2008, ED. OF 5, C-PRINT

© MARK NEVILLE

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trulyuniqueinvestment.TheCalousteGulbenkianFoundationinLisboniscurrentlyshowingthemostcomprehensivesurveyoftheirworktodate,curatedbyIsabelCarlos.

ShortlistedalongsidetwootherAPTLondonartists—RogerHiornsandLucySkaer—RichardWright’sephemeralworksearnedhimthecovetedTurnerPrizethisyear.Wright’slarge-scaleandsubtlewallpaintingsoftenareerasedfromtheirsupportsattheclosingofhisexhibitions.However,inanotherinstanceofthinkingtowardsthefuture,APThasselectedafewsmallerworksbyRichardWrightthathonorhispracticemorebroadly.

Theprocessofponderingtheselectionofwork–whetherit’sthefirstcoupleofworksfromanartistwhohasjustjoinedoraddinganotherworkafterseveralyearsofmembership,isasubtlepartofourcontactwiththeartists,butamostrewardingone.

Conversationsregardingselectionsforinvestmentcantakeawiderangeofcourses:consideringwhatwouldandwhatwouldn’tworkinrelationtoan

artist’spractice;thinkingaboutotheroptionsandopportunitieswhenpeopledon’tsimply“make”objectsorworksthathavetangiblecomponents;howmorematureartistslookbackupontheirlargeoeuvreandhavetheopportunitytoselectfromthat;howsomeyoungeronesmaystillbetryingtoworkoutwhichdirectiontocommitthemselveslong-termandtotryandhelpthemlookatAPTinunexpectedways.Alltheseconversationsareontheonehandpractical,butontheotherhandalsoaboutmorethanjustasingledecisionatacertainmomentintime.

Havingvisitedmanyexistingmembers—DavidShrigley,ClaireBarclay,MartinBoyce,ScottMyles,HannelineVisnes,andMichaelFullerton,tonamebutafew—andnewlysignedTorstenLauschmannandMarkNevilleinScotland,islikevisitingoldfriends.Ontheotherhand,arecenttriptoBerlinal-lowedmetomeetawholerangeofmembers,includ-ingSaâdaneAfif,ArmandoAndradeTudela,MarcBauer,JakobKolding,ShahryarNashat,andGitteVillesenfortheveryfirsttime.Eachconversationhas

Documenta Y

KEREN CYTTER

2003, COLOR DVD

Misshapen Pearl

TORSTEN LAUSCHMANN

2003, ED. 1 OF 3, SINGLE-CHANNEL FILM

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Unrecorded Future Tell Us What Broods There—RUTH EWAN—2008, SERIES OF 20 WOODBLOCK LETTER-PRESS POSTERS, PUBLIC PERFORMANCE

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broughtwithitadeepenedunderstanding,ornewperspectives,ontheirwork,ontheirpracticeasawhole,and,often,onwhatmakesthemtick.

IhavefoundthatmyworkwithAPTLondonisdistinctlydifferentfromworkingwithanartistonasoloshoworgroupproject.Monographicexhibitionsallowforintensecontactatadistinctmomentinanartist’scareer.However,withinthecontextofAPTLondon,thereistheopportunitytoengageoveramuchlongerperiodintime,and,therefore,theconversationshavethepotentialtostart,stop,bepickedupagain,hesitate,andsuddenlyaccelerate;notonce,butinvaluably,manytimesover.

GERRIE VAN NOORD IS CO-DIRECTOR OF APT LONDON

The basis APT rests upon—the setting aside of a small collection of each artist’s work towards financial security in the future—provides directors with the enviable task of working alongside the artists to curate an outstanding global collection that represents their generational contribution to art and culture.

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The Deluge—RICHARD WRIGHT—2004, GOUACHE, TEMPERA & ENAMEL ON PRINTED PAGE ON PAPER, 20.25 X 18.25 IN

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APT LONDONKIRSTY OGG

Asthetrustedgestowardsclosingduring2010,weseethatitisourresponsibilitytobringonboardthenextgenerationofartiststhatwillbeofsignificancewithintheartworldinthenextdecadesandbeyond. 

ThedecisionsthatAPTLondon’sCuratorialCommitteehavemadehaveaproventrackrecordofbackingwinners;mostrecentlythishasbeenevidencedbyRichardWrightbeingawardedthe2009TurnerPrize.Amemberofthetrustfromitsearliestday,wewouldallliketocongratulateRichardforthishighlyesteemedrecognition.

KIRSTY OGG IS CO-DIRECTOR OF APT LONDON

Asco-directorofAPTLondon,thepast18monthshavebeenatimeofexcitinggrowthanddevelop-ment.Ihaveseenthenumberofartistsparticipatinginthetrustalmostdoublefromjustover100atthebeginningof2008,tonearly200atthecloseof2009.ThebodyofworksthatAPTLondonhasstewardshipofoverthelifeofthetrustisbeginningtotakeshape.Itisacoherentcollectionthatnotonlyprovidesareflectionofanartist’spracticeovertime,butalsopresentsacogentoverviewoftheverybestcontemporaryartpracticesoperatinginEuropetoday.Inthecomingyearswewillworktowardsfindingpertinentexhibitionloanopportunitiesandcarefullyconsideredinvolvementincuratedprojectsforthisincrediblegroupingofworks.

Gerrie,whojoinedmeasco-directorinMay2009,andIarebothdelightedthatinadditiontohighprofilefiguressuchasFionaBanner,LiamGillick,DouglasGordon,RunaIslam,MikeNelson,PhilippeParreno,SUPERFLEX,andJaneandLouiseWilson,thetrusthasexpandedtoencompassayoungergenerationofartistswhoareincreasinglygaininginternationalattention.ThesenewerAPTartistsincludeKarlaBlack,KerenCytter,AleanaEgan,RuthEwan,MatiasFaldbakken,LaraFavaretto,PieroGolia,andBenoîtMaire,tonamebutafew.

It is a coherent collection that not only provides a reflection of an artist’s practice over time, but also presents a cogent overview of the very best contemporary art practices operating in Europe today.

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APT LOS ANGELES

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APT LOS ANGELESIRENE TSATSOS

LastyearbroughtnumeroushighlightsandaccomplishmentstoAPTLosAngeles.Artistsinvestedsignificantworks,suchasthelarge-scalesculptureSafe (2009)byMikeArcega,whichwasfeaturedinthe2008CaliforniaBiennial.Trustmemberswererepresentedinmajorinternationalexhibitionssuchas“Prospect1NewOrleans,”thebiennialexhibitionlaunchedbycuratorandAPTNewYorkCuratorialCommitteememberDanCameron.Thiscity-wideinitiative,whichcapturedtheattentionoftheinternationalartworld,featuredMithra,(2008),athree-storyarkbyMarkBradford;itwasfabricatedofplywoodandbricolageandsituatedinthecity’sLowerNinthWard,simultaneouslyapoignantmonumentandanurgentcallfromwithinanareawipedoutbyHurricane Katrina.

HereinLosAngeles,APTsharedintheCaliforniaCommunityFoundation’scelebrationofits20thanniversaryofawardinggrantsofbetween$15,000and$20,000toartiststhatliveandworkinthecity.Theseartists’accomplishmentswereacknowledgedinanexhibitionco-organizedbycuratorandAPTLosAngelesCuratorialCommitteememberKrisKuramitsu,alongwithLosAngelesCountyMuseumofArtcuratorRitaGonzalez,attheJapaneseAmericanNationalMuseum.Theexhibition

The 20th anniversary exhibition of the California Community Foundation featured the work of 32 of the approximately 160 artists funded over the past 20 years; of those 32, nearly one quarter are participating artists in APT Los Angeles.

featuredtheworkof32oftheapproximately160artistsfundedoverthepast20years;ofthose32,nearlyonequarterareparticipatingartistsinAPTLosAngeles.Inaddition,theCaliforniaCommunityFoundationpublishedafull-color,160-pagebookdocumentingitsmostrecentyearsofvisualartsfellowships,thoseawardedfrom2004through2008.Thebook,whichIauthored,includessixcontextual-izingessaysandprofilesofeachofthe61artistsofthatgroup;again,impressively,onequarteroftheartistsfeaturedaremembersofAPT LosAngeles.  

TheintegrationandrepresentationofartistsfromAPT LosAngelesinlocal,regional,national,andinternationalexhibitionsandinitiativesprovidesanendorsementofthehardworkperformedbytheLosAngelesCuratorialCommittee,whosemembershavebroughtadiscerningeye,intellectualrigor,anddedicatedcommitmenttowardbuildingAPTLosAngelestoitswidelyrecognizedlevelofexcellence.

IRENE TSATSOS IS DIRECTOR OF APT LOS ANGELES

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Mithra—MARK BRADFORD—2008, MIXED MEDIA, 70 X 20 X 25 FT—COURTESY OF THE ARTIST AND SIKKEMA JENKINS & CO.

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APT MEXICO CITY

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APT MEXICO CITYPILAR TOMPKINS

internationalproject“Philigrafika,”whichjustopenedinPhiladelphia;ColombiancuratorMaríaInésRodríguez,formerlybasedinParis,hasrecentlybeennamedheadcuratoroftheMuseodeArteContemporáneodeCastillayLeóninLeón,Spain.Additionally,inthefallweinvitedChileancuratorCeciliaBrunsontocontributetothecommittee.Cecilia,whohasrecentlyrelocatedtoLondon,wasformerlycuratorofLatinAmericanArtattheBlantonMuseumofArtinAustin,TexasanddirectedtheINCUBOresidencyprograminSantiago.Ourmeetingsare notonly adistinctopportunitytoexchangeinformationandtoengageincriticaldiscourseinthefieldofLatinAmericancontempo-raryart,butalsothemeansbywhichweenhancetheprospectsforourparticipatingartists.

Forthepastthreeyears,APTMexicoCityhasselectedadifferentregionofLatinAmericatofocusontocreateadiverseandcomprehensivelevelof

As2009drewtoaclose,APTMexicoCityfounditselfatthemid-waypointforachievingfullparticipationintheprogram.Inkeepingwithourprojectedgoalsforgrowthinthetrust,atthestartof2010APTMexicoCityincludes130remarkablecontemporaryartistsfromthroughoutLatinAmerica.Asthegroupofartistsisexpanding,theoveralltrustvalueisalsorisingandlastyearmarkedtheinvestmentofmanyexcitingartworks.Inadditiontothesedevelop-ments,Iamparticularlypleasedabouttheglobaloutreachgeneratedfromexhibitionsandprojectsrelatedtotheartistsandartworksinthecollection.

TheAPTMexicoCitycuratorialcommittee iscomprisedofagroupofaccomplishedprofessionalsfromthreecountrieswhoareworkingaroundtheworld. Notably, PatrickCharpenel,whoisbasedinGuadalajara,Mexico,curatedArtProjectsatArtBaselMiami2009;Colombian-basedcuratorJoséRocaiscurrentlyartisticdirectoroftheexciting

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ThoughitmayseemunconventionaltodirectaLatinAmerican-centeredprogramfrommyhomebaseinLosAngeles,asafull-timecuratoritisagreatadvantageformypractice,theinstitutionsIworkwith,andforartistsfromthroughoutthevarioustrustswhomwehavebeenfortunateenoughtoshowcase.Byprovidinganinternationallinkbetweendifferentregions,APTartistsfromacrosstheglobe willbeintroducedtoaudiencesthattheymightnototherwisebeexposedto.

Anexhibitiontitled“Multiverse”that IcuratedfortheClaremontMuseumofArt,inClaremont,CaliforniajusteastofLosAngeles,examinedthehypothesisthatthereexistmultiple,paralleluniversesandhowthishasbeenexploredartisti-cally.ThisexhibitionincludedsevenAPTartistsfromfourtrustsalongsidefiveotherinternationalartists: ColombianartistMilerLagos(APTMexicoCity);EmreHünerfromIstanbul(APTDubai);

representationforthetrust.WhiletheinitialstagesoftheprogramlookedheavilyatMexicoitself,theareasoffocusin2007wereColombiaandArgentina,andin2008theywere BrazilandGuatemala.Lastyear,theemphasisshiftedtoPeruandChile.InOctoberItookacuratorialtriptogetacquaintedwiththeartscenesinLimaandinSantiago.WorkingwithCeciliaBrunsonandJosefinaGuilisastioftheINCUBOresidencyprograminSantiagoIvisitedaselectgroupofartists,interestinggalleriesandartsinstitutions. Mytripoverlappedwiththe TrienaldeChileinSantiagocuratedbyTicioEscobar, whichprovidedarelativelycomprehensivelookatthenationalscene. CentroAbierto,apublicartsprojectinLima, wasafurtherindicationthatthecitiesinPeruareinvestingintheircontemporaryartists.

AnimportantaspectofAPTisits global network.Thisnetworkpresentsuniquecuratorialopportuni-tiesandpossibilitiesforinternationalexchange.

Naufragio—MILER LAGOS—C-PRINT, 120 X 500 CM

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DutchartistSebastiaanBremer(APTNewYork);JedediahCesar,CarterMull,EmilieHalpern,andVioletHopkins(allfromAPTLosAngeles);togetherwithFredTomaselli,DianaThater,KerryTribe,andNancyMacko.

InthesummerIcuratedanexhibitionatthe18thStreetArtsCenter,whichisoneofLosAngeles’sonlyinternationalresidencyprogramsandhaspreviouslyhostedAPTMexicoCityartistsJoaquinSeguraandDiegoTeo.Theexhibition“Post-AmericanL.A.,”whichconsideredthecity’sfuturesocial,political,andeconomicconcerns,featuredCarolinaCaycedo(APTMexicoCity),VincentRamos,HugoHopping,andSandradelaLoza(allfromAPTLosAngeles),AdrianPaci(APTLondon),ChenShaoxiong(APTBeijing),aswellasGlennLigon,AshleyHunt,andVincentJohnson.Inconjunctionwiththisshow,“g727”—theexhibitionspaceindowntownLosAngelesthatIamapartnerin,alsohostedCarolinaCaycedo(APTMexicoCity)forafiveweekresidencywheresheimplementedherbarteringandexchangeprogramknownas Daytoday.

Thiswasfollowedby threeweeksinGuadalajara,Mexicomountingtheexhibition“Vexing:FemaleVoicesfromEastL.A.Punk,”anhistoricaloverviewofMexican-Americanwomen’scontributions

toSouthernCalifornianmusicalandvisualculture.TheexhibitionrepresentedtheCityofLosAngelesattheGuadalajaraInternationalBookFair.ItwasawonderfulopportunitytodialogwithAPTartistsinthecity,tobecomemorefamiliarwithGuadalajara’sartspaces,andtoseeAPTartists’exhibitionsandstudios.

AsdirectorofAPTMexicoCity,IamherenotonlytohelpmanageandbuildthisimportantcollectionofcontemporaryLatinAmericanart,butalsotosupportandexpandthevisibilityofartists weareworkingwiththroughcuratorialprojectsandutilizingourextensiveglobalnetwork.Ilookforwardto2010andtheyearsaheadaswesecurethefutureprospectsforAPTartiststhroughourdedicatedinvestmentintheircareer.

PILAR TOMPKINS IS DIRECTOR OF APT MEXICO CITY

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Francisca Sanchez, Lima, PeruOCTOBER 2009

PHOTO BY PILAR TOMPKINS

OPPOSITE

Francisca Sanchez’s public artwork for Centro Abierto in Lima, PeruPHOTO BY PILAR TOMPKINS

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Magdalena Atria in her studio, Santiago, ChileOCTOBER 2009

PHOTO BY PILAR TOMPKINS

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Luz Maria Bedoya in her studio, Lima, PeruOCTOBER 2009

PHOTO BY PILAR TOMPKINS

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Heritage—THIAGO ROCHA-PITTA—2008, 6 PHOTOGRAPHS, 50 X 75 CM

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COMO UN JARDIN EN UN PAJAR—BETSABEE ROMERO—2008, PHOTOGRAPH, 120 X 55 CM

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APT MUMBAI

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Migrant—SABRINA—2005, PHOTOGRAPH ON HAHNEMUHLE, 65 X 51 CM

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Fragrance of EarthPRADEEP L. MISHRA

2007, HAHNEMUHLE PHOTO RAG PRINT, 44 X 31 IN

OPPOSITE

Spirit MarkersVINEET KACKER

2007, HIGH FIRED CERAMIC WITH METAL BASE, 36 X 5 X 5 IN

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Untitled (from the Nizamuddin at Night series)—GAURI GILL—2007, GELATIN SILVER PRINT, 16 X 20 IN

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APT NEW YORK

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APT NEW YORKPAMELA AUCHINCLOSS &LISSETTE GARCIA

KamiwereincludedintheArsenaleandPavillionex-hibitionsduringthe53rdVeniceBiennale.Closertohome,theupcoming2010WhitneyBiennialcuratedbyFrancescoBonamiandGaryCarrion-MurayariwillincludeRichardAldrich,HumaBhabha,DawnClements,KateGilmore,andAkiSasamotoofourNewYorkartists.

TheNewYorkcollectionnowstandsat1,600artworksofwhichanumbermeritplacementinpubliccollections.Amongtheseworksareroom-sizedinstallationsandprojectsbyKirstenHassenfeldandtwocreativepartnerships,BradleyMcCallumandJacquelineTarryandChrisHansonandHendrikaSonnenberg.Eachoftheseworksreflectanambitionandsignificancethatmarkstheoverallpracticeoftheseartists.

KirstenHassenfeldinvestedherinstallationDans La Lune(2007)thatwasproducedduringaresidencyatRiceUniversityinHoustonandmostrecentlyexhibitedattheDavidWintonBellGallery,BrownUniversity.Comprisedofsixuniqueelementsmadefrompaper,foamcore,andotherpaper-likematerialsthatareilluminatedfromwithin,theviewerwandersinthemidstofgem-likeobjectsthatconjureimagesofFabergeeggsoronion-skindomesofRussianarchitectureorVictorianpendants.Linkedbya

AsthedebuttrustintheArtistPensionTrust®(APT)lineupofeightglobalentities,NewYorkcar-riesseveraluniquedistinctions.Firstandforemost,ithadthechallengingtaskofdemonstratingtotheworldthatafinancialplanningprogramcenteredonartistscouldindeedsucceedbasedonthecollectiveinvestmentofagroupofartistsintheirlong-termpotentialandcommercialfuture.Now,justoverfiveyearslater,wehaveachievedafullrosterof250artistsfromacrosstheUSwithaweightedrepresentationhereintheNortheastandNewYorkmetropolitanarea.

WiththecuratorialexpertiseandguidanceofNewYorkCuratorialCommitteemembersDanCameron,ClarissaDalrymple,SimonWatson,directorsPamelaAuchinclossandLissetteGarcia,andanumberofnoteworthyguestcurators,theartistsselectedtoparticipateinNewYorkrepresentsomeofthemostenterprisingtalentcomingoutoftheartschoolsalongsidemanysubstantial,mid-careerartistsexhibitinghereandabroad.Morethan70%ofourartistshavereceivedrecognitionawards,participatedinnationalandinternationalbiennialexhibitions,andhavebeeninvitedtotakepartinse-lectiveresidencyprograms.In2009aloneNewYorkartistsPaulRamirezJonas,IvanNavarro,andY.Z.

As the first trust to launch, APT New York will also be the first trust to establish and prove the APT model with the careful consideration entailed in placing those works that have attained the value growth that APT has set forth to achieve.

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Dans La Lune—KIRSTEN HASSENFELD—2007, MIXED MEDIA INSTALLATION, 74 X 48 X 48 IN

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daisychainandsuspendedfromtheceiling,thiselegantandfantasticinstallationcreatesanAlice-in-Wonderlandlikesetting.

BradleyMcCallumandJacquelineTarry’spoliticallyandsociallychargedEndurance(2006),aSeattleArtsCommission,ArtsUpproject,captures26Seattlehomelessyouthsina2-channelvideoandaseriesofportraitphotographs.TheperformancetookplaceonaSeattlepublicsidewalkfrom6:00pmAugust5th,2002until6:59pmthefollowingday.ChallengingSeattle’svagrancylawsthatmakestandingorsittingmotionlessacrime,eachyouththatparticipatedinthiscollectiveactiondedicatedtheirparticipationtothememoryoffriendswhodiedfromlifeonthestreets,andthus“stoodfor”thoseindividualswhowereabsentwhileengaginginaquietactofcivildisobedience.

ChrisHansonandHendrikaSonnenberg’sScoreboard(2003–2004),aworkthatisiconicandrepresentativeofthecouple’scommentaryoncrowd-basedsocialinteractions,isanear-to-scalereplicaofascoreboardfabricatedfromblue-greenpolystyrene.Having“crashed”tothefloor,thecollapsedanddestroyedemblemofsportingeventssuggestssomethingoftheinherenthysteria(somemightsayviolence)thatoccurswhencrowdscollectwithopposinginterests.

Finally,NewYorkwillalsobethefirsttrusttoestablishandprovethemodelwiththecarefulconsiderationentailedinplacingthoseworksthathaveattainedthevaluegrowththathassetforthtoachieve.AsNewYorkCityremainsthelargestandmostactivemarketforcontemporaryart,NewYorkwillbecome,inmanyrespects,thestandardbearerforAPT.

Whilethecharacterofeachtrustisuniquelydefinedbythecuratorsthatselecttheartistsandtheartworksthatconstitutethecollection,itcouldbesaidthatNewYork,morethantheothertrusts,mustlookbeyondthevicissitudesoftaste,constituencybuilding,andfavoritisminidentifyingthesustain-abilityofanartist’scareeroverthelongterm.

PAMELA AUCHINCLOSS IS DIRECTOR OFNEW YORK

AND CEO OF ARTIST PENSION TRUST

LISSETTE GARCIA IS REGIONAL DIRECTOR OF APT

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UntitledMARLO PASCUAL

2007, BLACK AND WHITE PRINT, 40 X 30 IN

SilenceANTHONY CAMPUZANO

2007, INK, COLORED PENCIL AND GRAPHITE ON MATTE BOARD, 40 X 30 IN

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Della PinturaSEBASTIAAN BREMER

2004, PHOTOGRAPHIC INK DRAWING, 40.5 X 47 IN

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HomeNADIA HIRONAKA

2004, SINGLE-CHANNEL VIDEO W/SURROUND SOUND, 09:55

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APT Artist Interview— Carrie Moyer—

What is the project you enjoyed working on most this past year?

Ispentmostofthispastyearpreparingfor“Arcana,”myrecentsoloshowatCANADA.Overadozennewcanvaseswereexhibited.

Do you consider your work influenced by other artists or past movements?

Yes,myworkisinconstantdialoguewithartistsandmovementsfromthepast.Formethisdialogueistheprimarycontentofallpainting.WhenIstartedmycurrentbodyofpaintingsin2006,theiconicimageryof‘70sfeministarthoveredaroundtheedgesofmystudio.IwaslookingforformsthatwerenearlyrecognizableandthatgeneratedthepreliterateforceoftheVenusofWillendorf.ItrolledtheWeb,bookstores,andmuseums,lookingforritualvessels,sculptural“prosthetics”(headdresses,masks,armorandweapons)andethnographicodditiesthatcouldbemorphedintofearsomeand/orsexualizedsilhou-ettes.MorerecentlyIfindmyselftransfixedbytheOceanic,Inuitandpre-Columbianobjects,similartothosecollectedbyAndreBretonandtheSurrealists.IalsousemanymaterialstrategiesoftheColorFieldpainters—theywerethefirstartiststodevotethemselvestothespecialpropertiesofacrylicpaint.

How do you see the next phase in the progression of your work in 2010?

Moreexperimentationwithmaterialsandfollowingwherethatleadsme.I’mstillinterestedinexploringthe“mindinthecave”andinventingmyownpast-futurehybrid.Paleo-futurism?

Where is your studio based?

IambasedinBrooklyn,neartheoldNavyYard.

Which issue or idea interests you most in the art world today?

Iamanavidfollower/fanofpaintingandalwaysonthelookoutfornewpainters(old,young,dead,oralive)tobecomeacquaintedwith.Iamalsoveryinterestedintherecentdevelopmentsinpublicart,muchofwhichcombinessocialactivismwiththeartpracticesfromthe1960sand1970ssuchasperformanceandinstallation.

CARRIE MOYER (APT NEW YORK) LIVES AND WORKS IN BROOKLYN, NEW YORK

92NEW YORK

Coulee—CARRIE MOYER—2006, ACRYLIC ON CANVAS, 40 X 60 IN

93 NEW YORK

Barbute—CARRIE MOYER—2009, TAPED PAPER, 3 X 5 IN

94NEW YORK

Barbute—CARRIE MOYER—2009, ACRYLIC, GLITTER ON CANVAS, 90 X 6 IN

95 NEW YORK

DATA

97 DATA

Cumulative Value by Trust [$USD]—

NE

W Y

OR

K

LOS

AN

GE

LES

LON

DO

N

BE

RLI

N

ME

XIC

O C

ITY

BE

IJIN

G

MU

MB

AI

DU

BA

I

TOTA

LS

2004 331,500 331,500

2005 1,365,793 507,526 1,097,799 298,688 3,269,806

2006 3,669,261 1,086,676 2,552,408 1,053,372 8,361,717

2007 6,211,680 2,519,751 4,640,192 2,316,857 436,003 469,000 232,313 368,841 17,194,636

2008 10,204,155 5,353,970 7,899,600 4,215,985 1,584,198 2,009,306 1,045,297 1,177,894 33,490,405

2009 13,149,586 7,597,317 10,801,532 5,996,964 2,486,803 3,603,415 1,742,399 2,214,269 47,592,285

98DATA

0 10,000,000 20,000,000 30,000,000 40,000,000 50,000,000

2009

2008

2007

2006

2005

2004

Cumulative Value by Trust [$USD]—

BEIJING—LAUNCHED APRIL 2006

BERLIN—LAUNCHED NOVEMBER 2005

DUBAI—LAUNCHED SEPTEMBER 2007

MUMBAI—LAUNCHED OCTOBER 2006

MEXICO CITY—LAUNCHED APRIL 2006

LOS ANGELES—LAUNCHED OCTOBER 2004

LONDON—LAUNCHED APRIL 2005

NEW YORK—LAUNCHED MAY 2004

* Disclosure: Please note that these graphs are based on the most recent available valuation of the artworks in the collection at this time and that average values of works by trust may have been used when a current valuation was not available.

99 DATA

Cumulative Artist Participation [# of Artists]—

NE

W Y

OR

K

LOS

AN

GE

LES

LON

DO

N

BE

RLI

N

ME

XIC

O C

ITY

BE

IJIN

G

MU

MB

AI

DU

BA

I

TOTA

LS

2004 21 2 23

2005 68 41 34 37 180

2006 127 67 71 80 14 4 363

2007 174 115 114 127 50 21 27 20 648

2008 233 147 144 164 90 85 53 56 972

2009 250 179 175 193 130 121 64 82 1,193

100DATA

Cumulative Artist Participation [# of Artists]—

0 200 400 600 800 1000 1200

2009

2008

2007

2006

2005

2004

BEIJING—LAUNCHED APRIL 2006

BERLIN—LAUNCHED NOVEMBER 2005

DUBAI—LAUNCHED SEPTEMBER 2007

MUMBAI—LAUNCHED OCTOBER 2006

MEXICO CITY—LAUNCHED APRIL 2006

LOS ANGELES—LAUNCHED OCTOBER 2004

LONDON—LAUNCHED APRIL 2005

NEW YORK—LAUNCHED MAY 2004

101 DATA

102DATA

Saâdane Afif (APT London)—Prix Marcel Duchamp 2009 Mark Bradford (APT Los Angeles)—2009 MacArthur Fellowship Nina Canell (APT Berlin), Geert Goiris (APT London)—Baloise Art Prize prize, Art 40 Basel Art StatementsNancy Davenport (APT New York)—Rome Prize for 2009–2010Roger Hiorns (APT London), Lucy Skaer (APT London)—Shortlist for 2009 Turner PrizeEdgar Orlaineta (APT Mexico City)—Pollack-Krasner GrantTim Roda (APT Los Angeles)—2009 Fulbright AwardMing Wong (APT Berlin)—Special Mention Award, 53rd Venice Biennale; Singapore PavilionRichard Wright (APT London)—Winner of 2009 Turner Prize

Selected Awards/Grants—

Selected Residencies—

Anthony Campuzano (APT New York)—Pew Fellowships in the Arts 2009Stephen Dean (APT New York)—Villa Medici, Academie de France a Rome, April 2009–April 2010 Emre Hüner (APT Dubai)—Apex Art Residency, New York, October–November 2009Alex Schweder (APT Los Angeles)—Chinati Foundation Artist-in-Residence, 2009 Shirley Tse (APT Los Angeles)—Guggenheim Fellowship 2009

103 DATA

APTCuratorialisanartworklendingprogramandexhibitionplan-ningservicethatopensourextensiveholdingsofcontemporaryarttocu-ratorsfromaroundtheworld.Thegrowingcollectioncurrentlystandsat4,500artworksandrepresentsnearly1,200artistsfromover50countries. 

ThebenefitsofworkingwithAPTCuratorialforexhibitionplanningareextensive. CuratorsandmuseumprofessionalsenjoythebenefitsofworkingwithacollectionassembledthroughtheuniquelydiversifiedandinternationalexpertiseofAPTcurators. TheservicealsoofferstheguidanceofexperiencedArtCollectionManagers,whocanassistinthelogisticsplanningofinternationaltransportandcoordinationservicesfromanyofourfacilities.

APT Curatorial—

104DATA

Franco Mondini-Ruiz (APT New York)Remix: New Modernities in a Post-Indian WorldArt Gallery of OntarioToronto, Canada04/04/09–08/23/09

Jean Shin (APT New York)Jean Shin: Common ThreadsSmithsonian American Art MuseumWashington, DC, USA05/01/09–07/26/09

Gimhongsok (APT Beijing)Your Bright Future: 12 Contemporary Artists from KoreaLos Angeles County Museum of ArtLos Angeles, CA, USA06/28/09–09/20/09

Maria Laboda (APT Berlin)Heaven2nd Athens Biennale 2009Athens, Greece06/13/09–10/04/09

Hüseyin Bahri Alptekin, Ivan Moudov, Fahrettin Orenli, Mamali Shafahi, Sophia Tabatadze, Nasan Tur, Tarek Zaki (APT Dubai)Collection DubaiSMART Project SpaceAmsterdam, Netherlands08/05/09–10/25/09

Teppei Kaneuji, Jina Park, Lee Kit (APT Beijing)Platform in KIMUSAKIMUSA / Artsonje CenterSeoul, South Korea09/03/09–09/25/09

Karyn Olivier (APT New York)30 Seconds off an InchStudio Museum of HarlemNew York, NY, USA11/11/09–03/14/10

2009 Select Loans—

105 DATA

106DATA

APTStudiosoffersAPTartistsexclusiveaccesstotheartsceneinNewYorkCity. Thisisanopportunitytoexperi-enceandbenefitfromlivingandworkinginNewYorkforanywherefromafewweekstoafewmonths.

OursevenstudiosarelocatedintheSunsetParkareaofBrooklyn,NewYork. TheindustrialwarehousecomplexisonlytwosubwaystopsfromlowerManhattan.

APTStudiosprovidesartistswithanindividual,workingstudiospacethatcanbeaccessedattheirconvenience. Artistsalsohavetheabilitytostorecreatedartworksintheadjacentfacilityforthedurationoftheprogram.

Artistswillgainexposuretootherartists,curators,andcollectorsthroughAPTopenstudioevents. ArtistswillalsobenefitfromstudiovisitsanddialoguewithmembersofthelocalandinternationalculturalcommunityinNewYork.

APT Studios—

OPPOSITE

APT Studios—2009, BROOKLYN, NY—PHOTO BY ANDREW THOMPSON

107 DATA

CREDITS

109 CREDITS

Contact—

Artist Pension Trust153 W 27th St, Ste. 802New York, NY 10001USA

Tel: +212 871 1011Fax: +212 871 1015info@aptglobal.org

Artist Pension Trust / http://aptglobal.orgAPT Intelligence / http://apt-intelligence.comAPT Blog / http://blog.aptglobal.org

Online—

Scan this code to access a digital copy of this publication

© Copyright 2009–2010, APT Holding Worldwide Inc. (BVI).

110CREDITS

APT Staff—

Pamela Auchincloss / Chief Executive OfficerCarolyn Yuen / Director of OperationsPeter Emerick / Director of Art CollectionsSarah Greenwalt / Art Collection ManagerStephanie Adamowicz / Administrative AssistantDamon Zucconi / Web/IT ManagerAndrew Thompson / New York Registrar

Sonia Dutton / Managing Editor

Trust Directors—

APT BeijingKyongfa Che / Co-DirectorSunyoung Oh / Co-DirectorShi Li-Sanderson / Co-Director

APTBerlinSusanne Prinz / Director

APTDubaiNovember Paynter / Director

APTLondonKirsty Ogg / Co-DirectorGerrie van Noord / Co-Director

APTLOSANGELESIrene Tsatsos / Director

APTMEXICOCITYPilar Tompkins / Director

APTMUMBAIPamela Auchincloss / Interim Director

APTNewYorkPamela Auchincloss / DirectorLissette Garcia / Regional Director

< Cover image: Sara Greenberger Rafferty, Madeline. 2009

111 CREDITS

ArtistPensionTrust®(APT)isthefirstinvestmentprogramcreatedspecificallytoprovideemergingandmid-careerartistswithlong-termfinancialplanningopportunities.Designedbyprofessionalsinboththeartandfinancialindustries,APTisauniquewayforartiststoembracelong-termfinancialplanningatanearlystageoftheircareersbyinvestingtheirownartworkscollectivelywithotherartists.

Allparticipatingartistsinvest20oftheirownartworksoveraperiodof10–20yearsinindividualandindependentfundsorganizedaroundregionalmarkets.Eachartistcontinuescreating,exhibiting,andsellingworkthroughtraditionaloutlets,whilesettingasideafewworksinordertobenefitfromthevalueoftheartworksinvestedwithAPTasitincreasesaccordingly.Attheappropriatemomentineachartist’scareer,investedartworksaresoldbyAPTandthenetproceedsaredividedbetweentheproprietaryartist(40%)andtheotherartistsinthefund(32%).APTalsoreceivesaportionoftheproceeds(28%)tocoverthemaintenancecostsincurredovertime.Participatingartistswillbenefitfromthesalesoftheirownartworkssupplementedbyapro-ratedportionofthenetproceedsofallothersaleswithintheirtrust.

TheseartworksalsoconstitutetheAPTCollection,aworld-classcontemporaryartcollectionavailableforexhibitiontointernationalinstitutionsandcurators.APTdrawsontheextensivenessoftheAPTCollectionandourinternationalnetworkofcuratorstogenerateexpo-sureforparticipatingartists.Someoftheworld’sleadingcontemporaryartmuseumsandvenuesborrowworksfromtheAPTCollection,visibletocuratorsandcollectorsonourwebsite.

APTsupportstraditionalartindustrypracticesthroughthesalesprocesswhileprovidingadditionalopportunitiesforartiststobenefitfromanincreasinglyglobalizedartmarket.

About APT—

© 2010IM

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