P r i v a t e S p a c e s f o r Contemporary Art

Peter Doroshenko P r i v a t e S p a c e s f o r Contemporary Art

Peter Doroshenko

1 The Dikeou Collection Inhotim Saatchi Gallery CONTENT 064-065 124-127 182-187

Essl Museum Initial Acces Fondazione Sandretto Re Rebaudengo 066-071 128-131 188-193

About Change, Collection Sammlung Falckenberg Fundación/Colección Jumex Schürmann Berlin 006-007 072-077 132-139 194-195

Fundación Alorda Derksen Fisher Landau Center for Art Lever House Art Collection Julia Stoschek Collection 008-009 078-083 140-143 196-203

Art Stations Foundation The FLAG Art Foundation Magasin 3 Stockholm Konsthall The Suburban 010-013 084-087 144-145 204-205

Louise Blouin Foundation Garage Center for Contemporary Culture la maison rouge Thyssen-Bornemisza Art Contemporary 014-017 088-091 146-149 206-207

Sammlung Boros Girls’ Club Collezione Maramotti Ullens Center for Contemporary Art 018-025 092-095 150-151 208-211

The Broad Art Foundation Sammlung Goetz The Margulies Collection at the Warehouse Ursula Blickle Stiftung 026-031 096-103 152-157 212-213

Museum Frieder Burda The Goss-Michael Foundation Mori Art Museum The Vanhaerents Art Collection 032-033 104-105 158-159 214-219

Fondation Cartier pour l’art contemporain Sammlung Haubrok PinchukArtCentre Vanmoerkerke Collection 034-037 106-109 160-165 220-225

de la Cruz Collection Contemporary Art Space Ydessa Hendeles Art Foundation Fondazione Prada World Class Boxing 038-051 110-113 166-171 226-227

DESTE Foundation Centre for Contemporary Art The Herbert Collection David Roberts Art Foundation Zabludowicz Collection 052-059 114-121 172-173 228-229

Devi Art Foundation Sammlung Hoffmann Rubell Family Collection espacio 1414 060-063 122-123 174-181 230-231

2 3 independent, because their founders financially My interest in private spaces as emerging each individual is striving to achieve with his or INTRODUCTION sustain them. The information in this book is venues for featuring private art collections, her collection and the visions behind the spaces assembled together for the first time to create reaches far back to my days as an art history used to display their art works. a dialogue and overview about this new global student in . I recall my conversations phenomenon, that is fast becoming a new insti- with Daniel J. Terra when he opened the Terra For four years, I had a unique professional op- tutional paradigm for art collections for the 21st Museum of American Art in Chicago to show- portunity to work for Victor Pinchuk at the century. case parts of his collection. As a curator in PinchukArtCentre in , Ukraine – the largest , I had numerous, exciting opportunities collecting art centre in Eastern Europe. During In this collection of interviews, images and to discuss with Dominique de Menil her private my time at the Art Centre, I was asked nume- descriptions, it is my intention to present to the collections and the spaces that housed them. rous questions by my art world contacts – what readers the most important private spaces from Ongoing conversations with Rosa and Carlos it is like to work for a private space and to around the world that house the best contempo- de la Cruz, and Mera and Don Rubell in Miami, furthermore, describe the differences between rary art collections in the world. Liberated from added to my heightened appreciation of the working for a private space, as opposed to a the public, institutional model of showing rota- contemporary art collector and their desire public or non-for-profit institution. Day in, day ting traveling exhibitions and non-vibrant perma- to share their passion for contemporary art in out – this question has provided tremendous nent collections, these private spaces focus on, unique ways. Most recently, a common interest contemplative energy – leading me ultimately, and reflect the independent artistic interests of in Post-Conceptual art and architectural spa- to interview the senior management staff of two their benefactors. These collections include some ces has started an ongoing dialogue with Mark organizations to gain their insights into working of the most important contemporary art works Vanmoerkerke in Ostend and fresh and honest in these new paradigms and to share their opini- from the late 20th and early 21st centuries. They intellectual dialogues with Anton and Annick ons about the two institutional models – private are exhibited in unique and spectacular spaces, Herbert in about art, spaces and educati- and public. I pursued these interviews focusing The last fifteen years or so have marked a signifi- many of them designed and erected for the on for future generations. In the past two years, on three core questions: Does opening a private cant shift in the contemporary art arena. No lon- sole purpose of highlighting their one-of-a-kind Anita Zabludowicz in London has provided tre- space come out of passion for the art or a large ger is the world looking to the public art venue collections, creating an extraordinary and ideal mendous insight into the collector’s passion and ego? What are the working dynamics with the to be educated about contemporary artists and environment for the art works. vision – whilst having the opportunity to work benefactor? Do private institutions offer more ideas that surround contemporary art. Instead, with her on recent collaborative projects. or less artistic freedom? the art enthusiast and the art world are turning The concept of private spaces has been a hot their attention more and more to private collec- topic of conversation in my world for the last This book, mirroring the spirit of the individuals The selection of the private spaces that I explo- tors who have chosen to create their own private four years in particular. I have made it a point who have created private spaces for contem- re and feature in this book was a subjective one, spaces to share with the world what has inspired to explore this topic with many individuals from porary art, is formatted with a frank approach despite my efforts to be as objective as possible them in their own interaction with contemporary around the world with whom I interact regularly to private spaces - a series of interviews with with the vast number of private spaces available art, and in their own collecting. in my art-related work – from Larry Gagosian in a variety of global collectors covering three for consideration and located throughout the New York, and in Düsseldorf, to main questions that have been recently criti- world. I feel that this survey is fair, and repre- More and more, art collectors are choosing to Simon de Pury in London and Ezra Petronio in cally debated: What were your reasons behind sentative, and will allow readers to participate in take their private collections public and to create . This topic excited all with whom I shared opening a space to house your collection? If the dialogue and form some of their own ideas their own private spaces for their art works. it, and it took on greater energy as I began to you are open to the public, do you charge a about where contemporary art institutions are These individuals have in effect, created their delve deeper into discussions with collectors fee? What kind of impact does your space have heading in the 21st century. own “boutique” museums, which are run more around the world about their collections and on your community? What is achieved in the like businesses. These spaces are completely their spaces. interview format is a personal snapshot of what Peter Doroshenko

4 Introduction 5 Location Fort Lauderdale, United States Size 219 m2 Founded 2007 Art Focus Femme and Contemporary Benefactors Francie Bishop Good and David Horvitz www.girlsclubcollection.org Girls’ Club

Girls’ Club is a private foundation and Occupying a place somewhere in- alternative art space established in between the traditional realms of mu- 2006 by Francie Bishop Good and seum, private gallery, and community- David Horvitz. With its special emp- run art center, Girls’ Club is uniquely hasis on the contribution of women disposed to educate the public about to the field of contemporary art, its new trends in art-making as they arise. mission is to educate the public, and The exhibitions at Girls’ Club are acces- to serve as a resource for art students sible to a wide audience. Girls’ Club and scholars, curators and practicing partners with a range of community artists. Thematic exhibitions feature organisations to demonstrate the ca- works from the Good/Horvitz collec- pacity of art to improve the quality of tion, works loaned from other collec- life for all individuals. tions, and works from local, national and international contemporary artists. A programme of educational partner- ships, workshops for practicing artists, and special events enhances and inspi- res cultural growth in the region.

92 Girls’ Club 93 Exhibition view Under the Influence, with work by Mel Kadel, Louise Lawler, Amy Sillman, Suzanne McClelland, Michelle Wein- berg, Carolyn Swiszcz, Vickie Pierre, Elisabeth Condon, Kerry Phillips

Exhibition view Talking Heads, with work by Nicola Tyson, Jennifer No, Betty Rosado, Carrie Mae Weems, Shirin Neshat, Mary Ellen Mark, Alice Neel, Diane Arbus

Exhibition view Talking Heads, with work Betty Rosado by Mary Ellen Mark, Diane Arbus, Untitled (from the Identity series), 2005 Sarah Jones, Samantha Salzinger, Carrie Mae Weems Jenny Dubnau Blue Black Boy, 1989-1990 94 Girls’ Club 95