Outset Germany Switzerland Mag CONTEMPORARY ART FUND MAGAZINE

outset germany_switzerland mag CONTEMPORARY ART FUND MAGAZINE

NO.1 SPRING 2020 Outset on tour MISSION STATEMENT VISIT STUDIO 1

P ATR ON S

ART IST INTER VIEW

INCL. Interview with Christopher Kulendran Thomas TIONAL TIONAL

OUTSET OUTSET Bunny Rogers INTERNA Slavs and Tatars Anne Imhof Patrons interview with Jan Fischer Sponsor interview with Cheyenne Westphal Outset Germany_Switzerland promotes contemporary art for public institutions. MISSION STATEMENT

2 3 The idea for Outset originated in London in 2003. Candida Gertler and Yana Peel founded the first Outset chapter at the same time as the first edition of the Frieze Art Fair. From the very outset, the non-profit organization has regarded itself as a mediator between private patronage, artists and public institutions. In an age of shrinking, indeed sometimes no longer available public budgets for the acquisition of contemporary art for public collections, Outset finds creative solu- tions to keep these collections up to date. Through the purely philanthropical engagement of private patrons and corporate partnerships, Outset funds purchases and the production of contemporary art, and Anne Imhof’s FAUST for the German brokers and funds artist-in-residence Pavilion at the Venice Biennale in 2017. programmes, and supports exhibition projects, by now in nine countries. Whether Outset patrons, Outset produc- We facilitate the relevant art of the 21st tion fund partners, or Outset corporate century that curators wish for. This helps partners – all of our supporters have the museums to continue fulfilling their opportunity to become actively involved, educational mission, but also to keep engaging closely with artists and curators. the cultural landscape alive. This creates unforgettable experiences for all who wish to participate in a Our unique attribute is the fact that we dynamic artistic discourse. are the only independent philanthropical organisation in the world that allows 100% of the donations it collects to flow into the funded projects. Outset Outset directors of all chapters work for the institution on a pro bono basis – for us, it is self-evident. The entire adminis- 54 trative costs are covered solely by sponsors, with whom we work closely. To date, Outset has supported the creative cultural ecosystem to the tune of approximately ten million Euro. Outset Germany was taken over at the end of 2015 by Bettina Böhm, who was previously an Outset Patron. In 2017 Bettina Böhm added Switzerland to the German chapter. Between 2016 and 2019, approximately 1.5 million Euro were raised and distributed to public institutions in Germany and Switzerland alone. Outset is renowned for its brave and relevant projects, such as the production by Candice Breitz, LOVE STORY, in 2016, Outset Germany_Switzerland x companies’ social responsibility Outset mediates between culture + business

We have made it our mission to advise 6 7 companies in the area of art + culture by providing comprehensive advice. We know that art + culture not only improves the corporate atmosphere by stimulating innovative thinking and working, but also promotes the reputation of such a company that demonstrate social responsibility. By using our expertise in the area of art + culture, companies can benefit from a win-win situation. The company supports the public cultural landscape, while promoting its own reputation at the same time. We will focus on corporate social responsibility and their individual cultural engagement. Overview of 2016 funded projects L’air Du Temps und Dirk Skreber, UNTITLED, Outset Germany_Switzerland abc fund, Nationalgalerie, Berlin Annika Kahrs, BESSER SCHEITERN, Hamburger Kunsthalle, March–August 2016 Hazem Harb, Artist Residency, Künstlerhaus Bethanien, Berlin, March–June 2016 Heba Amin, Artist Residency, Künstlerhaus Bethanien, Berlin, June–August 2016 Anahita Razmi, Artist Residency, Künstlerhaus Bethanien, Berlin, September–March 2016

2017 Anne Imhof, FAUST, German Pavilion, 57th Venice Biennale, May–November 2017, Nationalgalerie, Berlin Candice Breitz, LOVE STORY, Nationalgalerie, Berlin Melanie Gilligan, THE COMMON SENSE, Haus der Kulturen der Welt (HKW), Berlin Mika Rottenberg, COSMIC GENERATOR, Skulptur Projekte Münster, June–October 2017 Avery Singer, SAILOR, Secession Wien, November 2016–Januar 2017 Avery Singer, SAILOR, Kölnischer Florian Slotawa, STUTTGART SICHTEN, Kunstverein, April–June 2017 Deichtorhallen Hamburg, October 2018– January 2019, Staatsgalerie Stuttgart Avery Singer, UNTITLED (Rümlang series), 2017, Museum Ludwig, Cologne Matilde Cassani, TUTTO, Manifesta 12, Palermo, Italy, June–November 2018, Frans Jamie Crewe, PASTORAL DRAMA, Hals Museum, Haarlem, The Netherlands Beatrice Gibson, I HOPE IʼM LOUD WHEN I`M DEAD, KW Production Series 2017, Elmgreen & Dragset, DARK ROOM, Museum Museum Abteiberg, Mönchengladbach Haus Lange, Krefeld February–August 2017 Julian Charrière and Julius von Bismarck, Judith Hopf, STEPPING STAIRS, KW OBJECTS IN THE MIRROR MAY BE Institute for Contemporary Art, Berlin CLOSER THAN THEY APPEAR, Outset Germany_Switzerland abc fund, Sprengel Lena Henke, AN IDEA OF LATE 20TH Museum, Hannover CENTURY GERMAN SCULPTURE; TO THE PEOPLE OF NEW YORK, Kunsthalle Sara Sizer, SCARLET & PLEASE, Tobias Zürich, March–May 2018 and MAMCO, Zielony, ALLES, Hreinn Friðfinnsson, 10 11 Geneva, Switzerland THIRD HOUSE (dyptich), Outset Germany_ Switzerland art dusseldorf fund, Kunsthalle Slavs and Tatars, MADE IN DSCHERMANY, Hamburg Albertinum, Dresden June–October 2018 Trisha Baga, MADONNA Y EL NINO & UNTITLED, Outset Germany_Switzerland art 2018 berlin fund 2018, MMK, Frankfurt am Main Yngve Holen, HORSES, Kunsthalle Grada Kilomba, ILLUSIONS VOL. II, Heba Y. Düsseldorf, September 2018 Amin, ANTI-CONTROL ROOM, 10th Berlin Biennale June–September 2018 Andrea Büttner, WHAT IS SO TERRIBLE ABOUT CRAFT? / DIE PRODUKTIE DER MENSCHLICHEN HAND, Rachel O'Reilly, DRAWING RIGHTS, KW Production Series 2019 2018, Berlin and Museum Abteiberg, Mönchengladbach Bunny Rogers, PECTUS EXCAVATUM, MMK, Frankfurt am Main, January–April 2019 Christopher Kulendran Thomas in Anne Imhof, SEX, BMW Tate Live Exhibition, collaboration with Annika Kuhlmann, Tate Modern, London, March 2019 GROUND ZERO, Schinkel Pavillon, Berlin, September–November 2019 Jessica Vaughn, COMPOSITE, Thilo Timm Rautert, BILDANALYTISCHE Jenssen, OHNE TITEL (STABILE PHOTOGRAPHIE, Centre Pompidou, Paris ZUSTÄNDE), Outset Germany_Switzerland art cologne fund, Pinakothek der Moderne, Munich

Slavs and Tatars, PICKLE BAR, International Pavilion, 58th Venice Biennale, May–November 2019 Slavs and Tatars, HA‘MANN IN THE HOOD, 2018, Pinakothek der Moderne, Munich Pauline Boudry / Renate Lorenz, MOVING BACKWARDS, Swiss Pavilion, 58th Venice Biennale, May–November 2019 Goshka Macuga, STAIRWAY TO NOWHERE, Kestnergesellschaft, Hannover, May–August 2019, Kunsthalle Bielefeld

GARTEN DER IRDISCHEN FREUDEN, Gropius Bau, Berlin, June–December 2019

Onyeka Igwe, Lin + Lam, KW Production Series 2019, KW Institute for Contemporary Art, Berlin, Museum Abteiberg, Mönchengladbach Editorial Bettina Böhm

14 15 In what situation do public museums find themselves when it comes to buying contemporary art? The question is a rhetorical one. Everyone and anyone who is culturally aware knows that the public sector provides enough funding to build new institutions. But how is it possible to fill these pretty shells when the budgets for buying relevant contemporary art have been shrinking for years, and indeed in some cases no longer exist? The question led to the foundation of Outset in England in 2003. Candida Gertler and Jana Peel not only identified the problem, they also acted by imple- menting a new philanthropical idea in a creative and pragmatic manner – Outset. What does this idea involve? Be inspired and excited. We need you, so that public institutions can continue to What are the objectives? be able to fulfil their educational mission and show relevant contemporary art Who supports these objectives? that reflects the condition of our society. With which resources do we reach I look forward to your feedback. our objectives? Yours, Bettina Böhm What happened last year? And how do the plans for 2020 look?

We are – I am – confronted with these questions every day. Since taking over Outset Germany in 2016, and expanding it to Switzerland in 2017, we have only ever explained our objectives in conver- 16 17 sation. This first edition of OutsetMag was conceived to make communicating the idea less abstract and to fill it with life. Both the digital and the printed issue first aims to explain the fundamentals, while also providing an annual review of what has been achieved, as well as an outlook of the new perspectives that lie ahead. Art can be communicated only through images. That is what every art historian learns in the first hour of their preparatory course. We have now taken this knowledge seriously. This first, bilingual issue, with its interesting texts written by people with whom we cooperate successfully, as well as numerous illustrations, demon- strates the impact of our purely philanthropical work.

Editorial P. 14 –17 Index P. 18 –19 Outset on tour 18 19 P. 20 –25 Comment Susanne Pfeffer P. 26 –27 Foreword Ralf Sachs P. 28 –29 Artist Interviews P. 30 –87 Studio visit P. 88 –91 Review P. 92 –93 Outlook P. 94 –95 Interview Jan Fischer P. 96 –99 Interview Cheyenne Westphal P. 100 –105 Outset International P. 106 –133 Support P. 134 –136 Imprint P. 137 20 21 Outset on tour 22 23

OGS Patron trip to the opening of the 56th Venice Biennale, 2019 Punta della Dogana 24 25 COMMENT

Renate Lorenz + Pauline Boudry, Swiss Pavillion, Venice Biennale 2019 right side: OGS Patron Trip 2019, Curator Max Dax an Dirk Luckow, Director Deichtorhallen, Hamburglead through the exhibition HYPER COMMENT COMMENT

New productions are always a risk in the best sense of the word. Something new is created for a certain place, a certain time, or for the thematic context of an exhibition. Sometimes it involves something outrageous, at other times it is something surprising, or the clear execution of a previously-developed idea. To ensure the creation of new projects is encour- aged throughout all steps of its development with the requisite openness, it is essential to provide support (such as provided by Outset for Anne Imhof, Faust and Bunny Rogers, Pectus Excavatum) that protects the consistency of an artistic idea from pragmatic compromises. It is fundamental that the greatest possible free- 26 27 dom prevails, in order for a work to be executed in line with its own logic and intrinsic necessity. Developing new projects with artists is one of

COMMENT every curators’ nicest jobs. During the process one learns how an artist thinks and looks. Only then can one really approach and understand an artistic work. Outset is a wonderful organization, which enables artists to fulfill their visions, which allows many works, installations or performances to be literally born, which might otherwise never have come to exist, hence Outset is clearly enriching our world. Outset is distinct with their discreet, professional and engaging approach, to an otherwise often overhyped world. My encounter with Bettina Böhm was pure joy and one could immediately feel the soul, passion and dedication she brings to Outset Germany_Switzerland. It is a great joy to welcome Outset to the spirited vaults of the Dracula Club!

28 29 Rolf Sachs

ART IST INTER VIEW Christopher Kulendran Thomas Christopher Kulendran Thomas (*1979) grew up in London, where his family fled between 1983 to 2009 during the civil war in sri lanka. Kulendran is driven by the following questions: How is contemporary art produced? How is the environment of the art world struc- tured? How are the social and cultural attachments between the West and East formed? His work on NEW EELAM is a continuum. It transcends national boundaries and sees itself as a proposal for developing a new economi c system, where the luxury of communalism would replace private property. Outset Germany_Switzerland is pleased to have supported the production of Christopher Kulendran Thomas’ new work BEING HUMAN, which was realised together with the curator Annika Kuhlmann. BEING HUMAN was exhibited at the Schinkel Pavilion, Berlin in 2019.

Seite 34

30 31 Bunny Rogers Bunny Rogers, born in Houston, Texas in 1990, more or less grew up ‘on’ the internet. For the American artist, as for many others of her generation, the internet became a refuge, and also a personal catalyst for her artistic work. Rogers’ unique multimedia works are characterized by a dark, poetic and yet youthful aesthetic. Based on her personal experiences, ART she creates new worlds that blend the imagined with the symbolic. Following the solo exhibition PECTUS EXCAVATUM, curated for the Museum Moderne Kunst (MMK) in Frankfurt by Susanne Pfeffer, Outset IST Germany_Switzerland acquired the piece CREEPY CRAWLERS, GIANT SQUID, 2019 for the museum. INTER Seite 46 VIEWS Slavs and Tatars The Berlin-based collective Slavs and Tatars examines the geographic area “east of the former Berlin Wall and west of the Great Wall of China.” The collective investigates this region, also known as Eurasia, and its culture. The artists transport their joy of cryptic wordplay primarily by means of three different media: exhibitions, publications and lecture performances; but it is also inherent to each individual piece. Following the solo exhibition MADE IN DSCHERMANY (2018), Outset Germany_Switzerland acquired the artwork DRESDNER GITTER (2018) for the collection of the Albertinum, Dresden. The following year, Slavs and Tatars’ production for the Venice Biennale 2019 was also supported by Outset Germany_Switzerland. The work exhibited at the 58th Venice Biennale was donated to the Pinakothek der Moderne in Munich

Seite 60

Anne Imhof Anne Imhof (*1978, Gießen, Germany) is 32 33 one of the most sought-after artists of our time. Drawing, painting, music, installation and performance are the genres in which she works. The Frankfurt-based artist became a household name after her first big show at the Nationalgalerie Berlin: ANGST II, the middle part of a three-part opera, in autumn 2016. This success formed the basis of her big breakthrough in Venice. Here, at the 57th Venice Biennale, Anne Imhof won the Golden Lion for Germany. Outset Switzerland_ Germany is proud to have supported the German pavilion, and thus the work of Anne Imhof. The artist decided to present a large-format piece from the Venice exhibition to Outset Germany_Switzerland as an in-kind donation. In 2018, Outset Germany_Switzerland donated this artwork to the Nationalgalerie. There was another cooperation in 2019: Outset Germany_Switzerland supported the new production SEX, a live exhibition that was premiered at the Tate Modern London in March 2019.

Seite 72 Outset Some of our Outset Patrons who Interview with Christopher attended the opening of this year‘s Venice Biennale might have seen your latest Kulendran Thomas project BEING HUMAN, currently being exhibited as part of the group exhibition TIME FORWARD! at the V-A-C Foundation in Venice. GROUND ZERO is now on show at the Schinkel Pavillon in Berlin. BEING HUMAN, as well as your previous but ongoing project NEW EELAM, are both highly politicized works. What potential, do you think, can art have as a political weapon in our day and age?

C.K.T. I don’t think art is a very effective weapon but our exhibition GROUND ZERO at Schinkel Pavillon explores art as an expression of a political reality where my family is from. For three decades during the Sri Lankan civil war, the Tamil homeland of ‘Eelam’ was self-governed as 34 35 an autonomous state, led by a neo-Marxist revolution. But this uprising was brutally

Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, crushed ten years ago by an authoritarian Sri Installation view: Schinkel Pavillon, Berlin Lankan president who had come to power by appealing to neglected rural voters and inflaming racial hatred to get elected. As the international community turned a blind eye, Eelam was eradicated. In the immediate aftermath of the violence that wiped out the Tamil homeland, and the consequent economic liberalisation that followed, a new local market for contemporary art emerged in Sri Lanka with the arrival of the first white cube commercial galleries in the island’s capital Colombo, representing a generation of artists influenced by the Western canon encountered online. Our show looks at the interrelationship between the juridical framework of human rights and the aesthetic framework of contemporary art in a part of the world where you can see the structural processes that art is involved in unfold extremely quickly as part of the global housing that we’ve proposed through our processes through which cities are shaped. exhibitions. We just raised an initial round of funding for the venture and built a prototype which we’ll be unveiling soon. The excite- Outset Contrary to a lot of conceptual art ment for us now is in turning the speculative today, your projects are visually proposition of NEW EELAM into a poten easily accessible, although founded on highly tially transformational reality. complex political and ethical reflections of the contemporary state of the world. Especially in NEW EELAM, you utilize a surprisingly Outset In the video of BEING HUMAN it is commercial aesthetic, which seems to be claimed that ‘human rights are almost provocative. This is nothing new in art the medium by which imperial powaers are history, however you seem to completely organized.’ You also contrast this with the rapid transcend any formal border which would rise of artificial intelligence, which is starting allow for clear visual differentiation between to structure our world in a different way and art and advertisement. In contrast to Pop Art, has already had a great impact on our society. you do not exaggerate or try to blow up this How do you believe artificial intelligence could commercial aesthetic, which poses an initial compromise human sovereignty and human challenge to the viewer. This is one of the rights? things that, I find, make your work so intriguing. Why did you choose these rather familiar and accessible media for your work? 36 37 C.K.T. The failure of the international community to prevent ethnic cleansing in Sri Lanka could be seen as a function of C.K.T. NEW EELAM began as a sci-fi, in the the juridical framework of human rights, sense that all ambitious consumer which was arguably part of the problem rather technology start-ups are sci-fis. Start-ups are than the solution, in that human rights are based on a radical proposition for an alternate dependent on the organisational form of the reality and, if they’re successful, they nation state and therefore invariably lever- change behaviour. Our venture began as a aged by (and in service of) geopolitical nego- speculative proposition, which curator Annika tiations of sovereignty. You can see this also Kuhlmann and I introduced at the Berlin in Kurdistan, Myanmar, Syria and the Biennial and then exhibited as a sci-fi at Mexican-American border, for example. The various museums, biennials and institutions. ‘human’ cannot exist without a nation state And of course there’s always an implicit that will legally defend its rights (or violate critique in imagining an alternate reality. But them in the name of protecting the nation). really we’re more interested in what can be So maybe the problem isn’t with human instituted rather than critiqued and, so, rights as a juridical institution, but with the through doing these exhibitions, we’ve now very category ‘human’ itself. But our sense of brought together a team with experience self – not to mention our politics – is perhaps across real estate, finance, technology and increasingly subject to the infinite recursions architecture and earlier this year we started of algorithmic networks. Artificial intelli- the company to develop this new form of gences are now being developed by the world’s three great technology stacks – the Chinese, the Atlantic and the Russian tech stacks – and the geopolitics of this multi-polar technological convergence will be interesting, potentially challenging the Western excep- tionalism that’s defined international relations for at least the last half-century. So BEING HUMAN asks what a ‘post-human rights’ could be – an ecological, technological approach to understanding the organisation of power relations beyond the fiction that we have ever been human.

38 39

Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view: Schinkel Pavillon, Berlin 40 41

Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin 42 43

Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin 44 45

Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin Interview with Bunny Rogers

Outset Your work is centred around your personal 46 47 childhood memories. It often has a certain melan- choly to it, yet you have disagreed with labelling your work nostalgic. How do you describe this re- occurring assimilation of your childhood memory Outset You work a lot in a digital space, using in your work? animations, referencing websites as well as online games. At the same time, in your material work BR I do long for, I make wishes, I have regrets. you incorporate toys and found objects. Have you I don’t feel though that nostalgia accurately houses always worked in the virtual and physical simulta- my position toward my childhood. It doesn’t fit neously, or has there been a distinctive shift from with my concept of time and memory. For me the digital to the real? nostalgia implies a complication of emotions but including a fondness or wish to return, possibly regret. While I don’t think longing and desire, BR I can say my life online truly began at wishing and regret are productive activities, the the age of 10, 4 years after my introduction to the longing I feel now is the longing I felt then; internet, when a PC was installed in my bedroom. it is the longing I will feel, and so on. These things This marked a shift from concealed devotion are flat to me. The memory is forever, held in to split selves – which were then reassembled, in chaotic atmosphere. accordance with socialization. Outset At the beginning of this year you had your first institutional solo exhibition in Europe. Congratulations! PECTUS EXCAVATUM is the title of the exhibition shown at the ZOLLAMT in Frankfurt. Pectus excavatum refers to a depression of the anterior wall of the rib cage. The area around the sternum is retracted towards the spine, 48 49 resulting in increased pressure on the abdomen and greater stress in the cardia. In your 2016 work THE JOAN STUDIES, the figures carry this physical characteristic, as you do yourself. Why did Outset Your work has been described as ‘collages you decide of your real and virtual self, filtered through your to address this theme in your work and even to supercharged imagination’. Does this ever make name the exhibition after it? you feel vulnerable? You have described that every exhibition feels to you like a metaphorical funeral. BR Pectus Excavatum is part of my under- What do you feel after this funeral? Do you feel standing of my identity. I struggled to accept this as if the end of an exhibition allows you resurrect physical mutation growing up. Referring to it and start anew? as a physical manifestation of the void started as a joke, though now I kind of like it. A literal cavern- BR If perspective is delusion, my actions reveal ous depression in my chest that will worsen with the shape of which is blocked from me, by defini- age, gravity warping the nadir toward the spine. tion. Being a person is embarrassing. Artmaking I romanticize that point of collapse. A close friend is compulsory and debilitating, but it helps for ate Apple Jacks out of it once, with milk. I have organization. A temporal and arrogant belief that an attachment to it. you have it all figured out. 50 51

Bunny Rogers, Creepy Crawlers (Giant Squid), 2019 52 53

Bunny Rogers, PPECTUS EXCAVATUM, Zollamt MMK, Frankfurt/Main, Installation view 54 55

Bunny Rogers, Creepy Crawlers squid (white), 2019 56 57

Bunny Rogers, Memorial wall, 2018 58 59

Bunny Rogers, Techo Statue (Original mint), 2018 Bunny Rogers, Shoyru Statue (original blue), 2018 Outset Your practice is not limited to one medium, but ranges Interview with from publications to lecture performances and exhibitions. Would you say that there is a kind of hierarchy or a certain Slavs and Tatars chronology one needs to be aware of to understand your work?

S. & T. We prefer the analogy of yoghurt to the traditional hierarchical models often employed. Like totum simul, in yoghurt, Outset When and in what context was the collective Slavs and the whole is in the part and the part in the Tatars founded? Why do you prefer the collective over whole. Each work informs another work individual authorship? How do you work as a collective? much like you need yoghurt to make yoghurt. Contrary to the traditional pyramid S. & T. Slavs and Tatars was founded in 2006 model, wherein the artwork collected by a as an informal reading group. We public institution or private collector sits atop, were interested in investigating other types and the publication is often deemed either a of knowledge, beyond those taught at our necessary tool of communication/marketing universities, museums, etc. (i.e. catalogue) or as a niche activity (artist book), our books sometimes precede Outset Your practice is devoted to the region that you artworks (as a kind of augury), sometimes describe as “the area east of the former Berlin Wall 60 61 and west of the Great Wall of China”, also known as Eurasia. coincide and sometimes follow. But what What can we learn from that specific region? they do not do is explain works: rather, the lectures and books articulate a set of S. & T. It is at the edges of empires, the concerns, while the artwork disarticulates peripheries of ideologies, the margins those very concerns. of belief systems where the most is to be learned and gained, not at the proverbial Outset In 2018 Outset supported the acquisition of and often rotten core. Our region is DRESDNER GITTER (2018) for Albertinum Dresden, fundamentally club sandwiched – between following your exhibition MADE IN DSCHERMANY, which shed light on Germany’s little-known historical relationship with empires (Ottoman, Persian, Russian, Islam and ‘the East’. Which supposed contradictions does Mongol to name a few) or ideologies. DRESDNER GITTER combine?

Outset A lot of artists express, in some way or form, autobiographical aspects in their work. In contrast, the work of S. & T. Reading is generally considered a Slavs and Tatars is heavily research-based. Are you ever inspired civilizing activity, part of an important to create a work from a specific autobiographical circumstance? process of creating a perceived set of common beliefs, core thoughts, etc. We’re S. & T. No. The very act of founding a interested in reading that challenges such collective is in some sense a refusal an edifying dynamic. A structure often used to indulge the personal and the individual. in the case of the Gitter. Outset Some of our Outset Patrons have travelled to Venice and seen your latest project DILLIO PLAZA (exhibited at the Arsenale) and TRANNY TEASE (exhibited at the Central Pavilion) at the 58th Venice Biennale MAY YOU LIVE IN INTERESTING TIMES, curated by Ralph Rugoff. Could you speak a little bit about these works? How do the two works reflect on the title given by Rugoff?

S. & T. We often try to tell complex stories through what we term ‘stupid’ media, as in simple, popular, and ‘low’. Fermenta- tion is quintessentially a ‘stupid’ medium: associated more with grandmas than philosophy, consisting of little more than salt and water, and originally a rural ritual of Slavs and Tatars, Dresdner Gitter, 2018 sorts. Yet fermentation complicates our Installation view: Made in Dschermany, Albertinum Dresden Enlightenment legacy of binaries, which sees the world as this or that: secular or upon artists. As the Biennial coincided with religious, rational or irrational, objective or the founding of our new residency and mentor- subjective. Despite its minimal means, 62 63 ship programme in Berlin, we feel both stem fermentation is a maximalist practice: it is from a desire to extend platforms to others. both preservation and rotting at once. Even the vocabulary around it – to sour, for Outset Slavs and Tatars shines a light on the cultural complexi- ties of Eurasia, unearthing stories that are unknown or example – has a double meaning, as in to have long been lost, and addressing the subject of religion, which activate as well as to turn off, be disap remains often excluded in contemporary art. For a cosmopolitan pointed in. Finally, fermentation hails from future, what do you believe should be remembered and how? the very regions against which the West has defined itself historically: Barbarians, S. & T. Instead of auguring the future, the best Mongols, Turks, depending on the era. advice we can give is borrowed from Thomas Merton, the Catholic monk who first Outset 2019 you also curated the 33rd Ljubljana Biennial of Graphic Arts CRACK UP-CRACK DOWN, for which introduced Islam and Buddhism into the artists, activists, writers and scholars were invited to consider Catholic Church. He wrote: “Quit this world, graphic art as a language of satire. Language is also at quit the next and quit quitting.” That is, even the heart of Slavs and Tatars’ artistic practice. How did you those ideas and beliefs we consider to be experience your new curatorial role? liberating and progressive will at one point cease to be so and become constraints S. & T. It was refreshing to be able to investi- and shackles. gate certain ideas without the often excessive emphasis on auteurship placed 64 65

Slavs and Tatars, Dresden Gitter, 2018 installation view, Made in Dschermany, Albertinum Dresden 66 67

Slavs and Tatars, Dresden Gitter, 2018 Installation view: Made in Dschermany, Albertinum Dresden 68 69

Slavs and Tatars, Dresden Gitter, 2018 installation view: Made in Dschermany, Albertinum Dresden Outset In 2017, your work FAUST at the German Pavilion won Interview with the Golden Lion at the 57th Venice Biennale. How did the idea for the work develop in collaboration with Susanne Pfeffer, Anne Imhof curator of the German Venice Pavilion 2017?

A I When Susanne Pfeffer told me about her choice for representing Germany at the 57th Venice Biennale I was both overwhelmed and excited and happy the same time. I said yes right away. I was aware of Susanne’s exhibition history and intrigued by her way of working: direct and straight- forward, like myself. There was a personal and professional trust from the very start and I remember walking away from our meeting shaking with excitement and immediately starting to think about what I wanted to do. Of course, there was still a long way to go at this point.

FAUST followed ANGST, which was a trilogy of exhibitions and performances that had its peak in the Nationalgalerie at Hamburger Bahnhof in Berlin. This was my first series of major solo exhibitions and already presented quite a challenge. After Susanne’s invitation, an intense, months-long dialogue and 70 71 working period began, labouring over every detail of the ex hibition together with her and our respective teams. During this time, starting in July 2016, I went back and forth a lot between Frankfurt and Venice. I started a completely new body of work solely for this exhibition and it needed all my concentration and focus. Only afterwards did I realise how all my thoughts and actions during this period, whether I was inside or outside the studio, were consumed by the work on FAUST.

Outset Your long-duration performance pieces combine many artistic media such as dance, installation, painting and music. Where and in what practice would you say lie your beginnings as an artist? Are there certain experiences or ideas from which the process of creating unfolds?

A I I started drawing at an early age. I always wanted to become an artist and when I finally started studying art, I began with photography and then got more interested in painting. During my time at school, I was also making music. My first pieces included music and dance in an attempt to translate the different images and layers in my visual language into a live situation. I used the framework of a concert to combine sound and movement to create images in time. To this day, my as mobile phones, clearly reflect the time in which the performance is drawing practice stands at the beginning of the creative process set. What role does this use of a “contemporary language” and mood for each new cycle of work. I pretty much still take photographs play in your work? as the base for new drawings and paintings, even if they are only one layer in the final image. I’ve always been a keen A I A lot of time goes into choosing the objects displayed observer of my surroundings. In the studio and during my and used in the pieces. Eliza selects most of the clothes travels I collect images and things, which are then fed back and costumes and then we decide together what is actually into the work. worn in certain scenes in the live work. Other consumer goods you mentioned I often choose because of their colour and then Outset The performers appearing in your works come from decide on a quantity. This way, I can decide what the associa- various disciplines. How would you describe the value tions are and how I can use them as props for the actions of the and effects which collaboration gives your work? performers as much as them becoming part of the composition of a certain image. The objects reflect a dark mirrorimage of A I In the first place there is friendship. The strength of our time, as if from an apocalyptic fever dream: syringes, the collaboration results from there being both a helmets, cracked mobile phones, chargers, cigarettes, small professional and a personal bond. Working with a core group glass capsules, knives, bottles, ethanol, Vaseline, containers of of people enables me to create more complex images than if various shapes. I place objects trouvés that already denote a I were merely working alone. As you said, they all come from particular usage next to newly bought items and sculptural different backgrounds, so there is this layering of skills and works. There is a strong focus on the colour and rhythm of expertise. their placement. In FAUST for example, I often lined them up or grouped them underneath the glass floor to create specific 72 73 I think a lot about the negotiation and distribution of authorship displays and arrangements. The use of glass reminded me in the different artistic fields that my work combines in order of Frankfurt’s big glass towers, vertical barriers of faux transpar- to be transparent and make the collaborative contributions ency – in the piece it formed a horizontal separation between visible. This concerns the performances themselves, the music the bodies of viewers above and performers below. written for them, as well as other aspects such as the painterly processes, where you might not expect different hands working Outset In your performances, actions unfold simultaneously in on a canvas – here, too, different people and craftsmen various places. If one is not in the right place at the right are involved. We try to make sure everyone is named so this time, only photographs or Instagram recordings remain. What kind of doesn’t go unseen. relationship is it that you wish the viewer to have with the artwork?

Faust was a highly collaborative process. My partner Eliza A I The audience is left to explore the space on their own, Douglas, for instance, contributed a lot to the music as well either going with or against the general movement of as to multiple scenes of the performative work. I am eternally the piece at any given time. The performances are not staged in grateful for the sacrifices made by a lot of the people involved. the context of theatre, where you generally have a central stage Many of the dancers moved their lives to Venice and took and the audience has a privileged singular point of view. up residence there for much of the duration of the Biennale, which runs from May till November, where they performed There is the photographic record that is created in collaboration almost every day. with Nadine Fraczkowski, which has become part of how the work is perceived in the press. Then there is the photographic Outset In your performances, you use coke and beer cans as record of people in the audience. But the popularity on Instagram props; the clothes and accessories of your performers, such is perhaps more coincidental than deliberate, at least it was in the beginning. People create their own record of the work. It stands for itself. It’s liberating for me as well. They take something and make it their own. It’s not mine anymore. I don’t really keep up with the lives these images take on afterwards, how they are used, placed and shared. It’s the same behaviour people have at concerts. It’s like we have become fans of every minute and every interesting image of our lives, which I think carries a nostalgic promise and sentiment right in the moment it is taken. As if we and the others were already gone. The dimension this took on during FAUST was a quite a shock to me. I dealt with it more consciously in the piece I developed afterwards, SEX, which was first shown at Tate Modern, 2019. During the opening scene, the flow of people was guided through the architecture of the space in such a way that the majority only saw other members of the audience watching and photographing what was happening but didn’t see t he performers‘ bodies themselves, only their shadows. Strobe lighting revealed some images and kept others in the dark.

74 75

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London 76 77

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London 78 79

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London 80 81

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London 82 83

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London 84 85

Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London VISIT STUDIO VISIT STUDIO

OGS Studio Visit Leiko Ikemura, Gallery Weekend Berlin, 2019

OGS Studio Visit Gregor Hildebrandt, Gallery Weekend Berlin, 2019 OGS Studio Visit Christian Jankowski, Gallery Weekend Berlin, 2019

OGS Studio Visit Christian Jankowski, Gallery Weekend Berlin, 2019 club. The ‘NO PHOTOGRAPHY’ request was suspended temporarily on 23 January 2020. On that evening, OGS and PHILLIPS auctioned twelve artworks, the proceeds of which flowed directly into the 2020 funding budget. Huge thanks to Rolf Sachs and the artists who donated the works. True altruism! 29. January 2020 The desire to become more relevant equates with a desire to become more professional. November 2019 Whereas between 2016 and 2019 the projects to be funded were decided internally Like all successful companies, a by the team, we decided that from 2020 the non-profit organisation needs to be selection will now be made by an internatio- creative if it wants to achieve its nal advisory board. On 29 January in Zurich, objectives.One of our most ambitious goals the professional jurors Anna-Catherina is to become more relevant. Not as a means Gebbers, Samuel Leuenberger, Giovanni in itself, but in order to be a partner that 90 91 Carmine, Daniel Baumann, Moritz Wesseler, as public institutions can always rely on. This well as Marcela von Kayser, Cynthia Phillips, desire led to the idea of a small series of Regine Thiess, Alice Trier, Moritz von Crailsheim, three dinner auctions in COLOGNE-SAINT Jan Fischer – jurors from among our Patrons MORITZ-FRANKFURT. – chose the projects that will be funded by Outset Germany_Switzerland in 2020. The series began in November 2019 Thank you for this intensive cooperation. with the first Outset Germany_ Switzerland Dinner at the house of Marc Meiré and Alice Trier. The proceeds from this small auction formed part of the 2019 funding budget.

January 2020 23. January 2020. CLUB DRACULA – a ‘hidden place‘ in the true sense of the word. Rolf Sachs hosted the second dinner auction for us in his legendary autumn 2020 The small dinner auction series will conclude in Frankfurt am Main. Location and date to be confirmed – we’ll keep you posted! Covid-19 forces us to postpone this appointment – we keep you posted. early summer 2020 A great dream will become reality – THE FIRST OUTSET GERMANY_ SWITZERLAND EDITION. You can look forward to a very limited edition by 92 93 Bunny Rogers. 10 sculptures will be created by the artist in cooperation with her gallerist Daniel von Wichelhaus (Société). P Please send your reservation requests to [email protected] FIRST COME, FIRST SERVED!

Each year, the Gallery Weekend Berlin and the FRIEZE WEEK in ATR London give us the opportunity to hold an exclusive Patrons’ programme. Previous big trips took us to Iran in 2018, to the opening week in Venice in 2019, and this year we plan to travel to Japan in late autumn. We are also considering Tallinn, where Karin Laansoo, Director Outset Estonia, ON opened the ‘Kai Art Center’ in 2019, and Rome, to which Rolf Sachs has invited us. S Outset What was the first artwork you Interview with purchased, and when? Jan Fischer I remember that I was fascinated by two works, and I asked my parents to give them to me as gifts for my birthday. One was a neo-impressionist view of the Chinesischer Turm by Uwe Timm. I liked the flickering lights of the chestnut trees in this typical Bavarian summer light. The other was a co- lourful Andy Warhol print of Marilyn Monroe. I recall that it was during my last years of school. My parents were always very generous when it came to presents. I owe them a lot. Outset Why did you start collecting light art? Is scale important in light art? 94 95 The mystery and at the same time the pre- cision captured my interest instantly. Light P art is efficacious, or ‘wirkmächtig’ as we say in German. So scale can definitely help. But only with good art. Outset Has your attitude to collecting changed since you began? And again since you decided to open your collection to ATR the public? I try to choose more carefully and opt for enduring quality, since we are now a serious institution. But young, radical positions can also be found in the collection. They are ON more demanding. But in general, quality is S the main criterion. Outset How does your involvement in the Light Art Foundation complement your other international philanthropic projects? Interesting that you ask. LAS is a new foundation where art, science and technology meet. We just had our Christmas party yesterday, where all the representatives of the companies, foundations and initiatives presented their projects to each other. At the moment I can’t see how “Stiftung Grund- einkommen”, “A Family Intervention Center in Israel”, “Light Art Space” and a blog for philosophical questions will add up. But perhaps it will make sense in time. Let’s see.

Outset Why did you join Outset Germany_ Switzerland? 96 97 Because of Bettina Böhm and her way of handling this wonderful institution. S PON SO R Outset PHILLIPS is an Outset supporter of Interview mit Cheyenne the very first hour. We are incredibly Westphal, Global Chairwoman, grateful for your support and the wonderful projects we have realised together since PHILLIPS 2016. What’s your wish for the future collaboration between Phillips and Outset?

Phillips is always enthusiastic when it comes to creating the future, and through our ongoing support of Outset it is evident that an im- pactful change in the art landscape is being made. As a contemporary auction house, our goal has always been to make art more accessible, and sponsoring this unique organisation builds on our commitment to supporting arts and culture around the world. We are excited to see what the future has in store; encouraging the production of new art, working with museums and institutions on placing art in public collections, and bringing new experiences to art lovers and collectors across Germany and Switzerland.

Outset PHILLIPS is known for being a very 98 99 dynamic and forward-thinking auction house focusing on 20th and 21st century art in all categories. When chief executive S Ed Dolman joined in 2014, he sparked a revolution, turning things around and making PHILLIPS a leading auction house. Your appointment as Global Chairwoman in 2017 was followed by sensational industry attention and was seen as a high-profile move. PON What are some of your biggest challenges in managing the auction house? How do you adapt to digital developments? How do you nurture and engage young collectors?

The international art market and collecting tastes are evolving rapid- ly, and we are well-positioned to be a step ahead of this. One of the SO biggest distinguishers between us and the other houses is the look and feel of PHILLIPS – we are much more modern and open, and display R art in a way that feels right for this time. In May 2020, our New York headquarters will move to 432 Park Avenue, transforming 55,000 Private sales are an important part of our business, which complement square feet of space to create a one-of-a-kind setting that promises the auction calendar. Many collectors prefer the privacy and discretion to transform PHILLIPS into a leading venue for experiencing art that private sales allow, and it’s our role to meet our clients’ needs. in the city. Miety Heiden joined in 2017 to spearhead our plans to increase private sales activity across our selling locations and, as a result, private sales Our vision is to present the best of the 20th and 21st centuries, from in 2018 rose 46% to $122.2 million. Clearly, there has been a dramatic the viewpoint of the 21st-century collector. In our November sales shift in the art market as both consignors and buyers consider private in New York, we placed a Basquiat next to a Norman Rockwell, next sales a valued alternative that could best suit their needs. PHILLIPS to a Giacometti – breaking down the barriers of traditional selling also has an exhibition platform, and through ongoing curated pro- categories. We reflect contemporary culture in everything we do, and gramming and immersive exhibitions we look to highlight the work of this sets us apart as a leading force in the market. notable artists and innovators of the 20th and 21st centuries.

Young collectors form a vital part of our long-term strategy, and one Outset What is special about the German of the ways in which we engage with them is by making art accessible. auction market? Art is meant to be enjoyed and experienced by everyone, and for this reason I am particularly proud of our “New Now” sale category. New Germany has a long history of great collecting and is still a country Now offers a diverse range of works at a variety of price points – a where we are unearthing treasures. Balanced with this is a thriving great entry point for first-time buyers. Another way of engaging is artistic community and contemporary art scene, exemplified by the through social media. It is like an immersive and participative shop new art that Outset continues to bring to wider audiences. What is window from which people can communicate, and digital interactions so exciting about Germany is that there is a whole new generation of enable a more open and fluid conversation, which increasingly 100 101 really committed collectors who are ambitious, curious, and global translates into sales. in their approach and outlook.

Over the last few years PHILLIPS’ digital offerings have developed at Outset such a rate that they are arguably the most innovative in the business. You’re on the advisory board of the Our online bidding platform has vastly expanded our sales to the Association of Women in the Arts, global art world, with online registrants from as many as 50 countries what’s your advice to younger colleagues? participating in a single auction. In November 2019 we set a world Which ceilings do you wish to see record for Sean Scully, when Red Bar sold to an online bidder in Asia disappear? for $1,760,000, making it the highest-value lot sold online at Phillips. Furthermore, we now host our own online-only sales, conducted across I am very proud to be on the advisory board of AWITA, an organ- multiple sales categories and offering another option for new and isation bringing together professional women in the art world to existing clients to grow their collections through online experiences. share knowledge and ideas, and to support and mentor each other. It creates a new kind of community and is a good way for me to Outset Nowadays one can buy and sell art pass on my experience of being in the business for 25 years. with PHILLIPS beyond the spring and My advice to other women and younger colleagues is not to be deterred in taking a risk. Often the only way of finding out if a new autumn auctions and visit curated exhibi- role might be for you is to dive in. For example, the auctioneer tions all year round. Why did your focus shift training programme that PHILLIPS provides is open to all, and it is to private sales? Does this reflect a shift of a misconception that auctioneers are the most extroverted people. roles in the art ecosystem between auction It is exciting to see so many young female auctioneers at PHILLIPS house, galleries and art fairs? who, amidst flurries of bidding, are bringing the gavel down on great works by some of the younger and less-well known Outset women artists. What’s on your Thomas Crown List? I have always loved Gerhard Richter’s work. If I had to choose one, Outset And what’s your advice to collectors it would be Motorboot from 1965. It’s like an oil spill covering great to find the new Basquiat? friends travelling at even greater speed. There are two versions – one is hanging in the Kunstmuseum Basel, and the other was revealed The market is always looking for a fresh story and fresh material. when it went on private loan to the Staatliche Kunstsammlungen Dresden. Finding and identifying the next generation of leading artists is part of PHILLIPS’ DNA, and we take this side of our expertise very Outset seriously. Certain specialists in our team are tasked with sourcing What are you looking forward to in the these newer artists, keeping their finger on the pulse of what is at the upcoming art season? forefront of market trends. They look at the likes of the biennials in detail, at grassroots level, and this has led to now major artists being It has to be our new space opening at 432 Park Avenue. We selected introduced by PHILLIPS to the secondary market. Examples include studioMDA, founded by Markus Dochantschi, to design it. Markus KAWS, Urs Fischer, and Mark Bradford, for whom we went on to has designed some of the most elegant art galleries and exhibition set a world record in 2018, when Helter Skelter I sold for £8.6 million. spaces built in the last decade. studioMDA will ensure that our new It’s also about finding the artists who haven’t quite reached into the home offers collectors an extraordinary space to experience the tens of millions of dollars yet and could be up for a price evaluation. very best of contemporary art, design, jewellery and watches. PHILLIPS will also be taking over the Park Avenue Cube, a white- glass modernist structure of more than 5,000 square feet. Outset You started your career in the art market in the 1990s. What did you 102 103 You must come and see it when we go on view with 20th Century & learn that has changed you as a business- Contemporary Art sales in May! woman and as an art lover?

The most marked change has been the explosion of interest in contemporary art and the incredible growth and diversification of the collecting population. What has been so exciting is to be part of a marketplace that has evolved into the global industry it is today. This in turn has changed me as a businesswoman, as I have been able to evolve with it.

Outset Don’t you think there is a kind of craziness in the art market today?

We continue to see contemporary art achieve extraordinary prices. It is down to supply and demand. Saying that, global interest is currently focused on certain contemporary artists who are in the headlines, such as Banksy, KAWS, and Yoshitomo Nara. Every generation has had TIONAL TIONAL artists considered to be the most relevant of their time, and today’s OUTSET collecting community reflects its global origins as we see such names achieving prices previously reserved for blue-chip artists. INTERNA Rafah_Master Drawing: This master drawing of Rafah includes: viewpoints and plume measure- ments from every photograph and video sourced; craters from airdropped bombs and artillery as observed on the satellite images; tank paths and armored vehicles on the move; reference points; location of possible tunnels; and the trajectories described in testimonies by civilians in the strip. Image: Forensic Architecture using a Pléiades satellite photograph of eastern Rafah, taken on 1 August 104 105 2014 at 11:39 am.

GREECE Forensic Architecture VIOLENCE, FAST AND SLOW, 2019

Turner Prize nominees Forensic Architecture (FA) present their first solo exhibition in Greece, entitled VIOLENCE, FAST AND SLOW, curated by iLiana Fokianaki. The exhibition is an overview of the agency’s varied and interdisciplinary practices, undertaken since the agency was founded by director Eyal TIONAL TIONAL

OUTSET OUTSET Weizman in 2011. The projects presented here look into the multiple histories, presents and futures of the migratory INTERNA condition in Europe. 106 107

The Bombing of Rafah – on the smartphones of activists, press clippings, and social media posts. 3D https://forensic-architecture.org/investigation/the-bombing-of-rafah models provided an optical device and a means of composing the relation between multiple images and videos in space and time. This evidence-assemblage The Image-Complex. The story of Rafah, Gaza on 1 August 2014 lies somewhere is what allowed for a narrative of events to emerge. between hundreds of images and video clips existing in disparate locations, 108 109

The Seizure of the Iuventa (with Forensic Oceanography) – Simulating the motion of waves to ascertain the direction of the wind in footage https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa taken from the sea. By cross-referencing this with historical weather data, we can confirm the direction in which the vessel was travelling and confirm that the vessel was pulled towards Italy instead of back to Libya. 110 111

The Seizure of the Iuventa (with Forensic Oceanography) – An image projected onto a 3D model in order to reconstruct the https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa complicated scene of search-and-rescue operations by the Libyan Coastguard and NGO vessels on 6 November 2017. 112 113

The Seizure of the Iuventa (with Forensic Oceanography) – A reconstruction A reconstruction of search and rescue operation hampered by the https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa Libyan Coast Guard. Central Mediterranean, 6 November 2017. Tiffany & Co. x Outset Studiomakers Prize, 2019. Charlotte Prodger, SaF05, 2019, single-channel video, courtesy of the artist; Koppe Astner, Glasgow and Hollybush Gardens, London

114 115

SCOTLAND Charlotte Prodger, SAF05, Scotland + Venice, 58th Venice ENGLAND Biennale 2019, curated by Linsey Young with Cove Park

Tiffany & Co. x Outset Studiomakers Prize 2019 Charlotte Prodger’s new production is a single-channel video. Prodger won the Turner Prize in 2018. Prodger frequently The Tiffany & Co. x Outset Studiomakers Prize provides addresses the topics of subjectivity, self-determination and ab- 12-month rent-free studio space to seven graduates from strusity. SAF05 is the last in a trilogy of autobiographical videos London’s premier art schools. This allows the artists to concen- that traces the accumulation of affinities, desires and losses, trate on their work without financial constraints. The project forming a self as it moves forward in time. SAF05 draws upon is part of Studiomakers, a strategic private-public partnership, different sources: archival, scientific and diaristic. In the process which has made it its mission to support fresh ideas and talent she combines material from a range of different geographical in London by providing spaces where artists can unleash locations, such as the Scottish Highlands, the Great Basin their creativity. Desert, the Okavango Delta and the Ionian Islands. 116 117

Charlotte Prodger, SaF05, 2019 118 119

ESTONIA Kris Lemsalu, Estonian Pavilion, Venice Biennale 2019 Curated by Andrew Berardini, Tamara Luuk & Sarah Lucas

Birth V. A punk pagan trickster feminist sci-fi shaman, Kris Lemsalu gathers together objects she has created, collected and crafted into sculptures that recall totems, and into hallu cinatory environments. She animates these in cooperation with her coterie of collaborators. For the 2019 Venice Biennale, Kris Lemsalu, Birth V – Hi and Bye, 2019 Lemsalu channels the city of Venice as a living creature, perpetually decadent and yet endlessly revived. 120 121

Kris Lemsalu, Birth V – Hi and Bye, 2019 122 123

Kris Lemsalu, Birth V – Hi and Bye, 2019 124 125

Kris Lemsalu, Birth V – Hi and Bye, 2019 126 127

Kris Lemsalu, Birth V – Hi and Bye, 2019 128 129

ISRAEL NETHERLANDS Edmund de Waal Production by CHAPTER2WO, Nicolás Jaar, HEM ‘PSALM’, 2019 For ten weeks, the musician and artist Nicolás Jaar was at HEM Outset England and Outset Israel have jointly supported the pro- and worked there alone and with his Shock Forest Group on ject PSALM by Edmund de Waal; an installation that celebrates scores, concerts, interventions and (meditative) sound impres- history. Coinciding with the opening of the 58th Venice Biennale, sions. The result is the new work CHAPTER 2WO. This project PSALM was shown in the 500-year-old Jewish Ghetto in Venice. is the first in a cooperation – planned over three years – with Last winter, the work was exhibited at the Japanisches Palais the new institution HEM, which is shaped by a shared contem- in the Staatlichen Kunstsammlungen Dresden, before moving, as porary vision of what characterises art and culture, and by an PSALM, LIBRARY OF EXILE, to the British Museum in London. ambitious programme. Edmund de Waal / sukkah 2019, Jewish Museum, Venice … and here is Outset Germany_Switzerland how you can help Sponsors The possibilities of PHILLIPS , London Outset Patronage WESTENDARTBANK , Frankfurt T ALBOT RUNHOF, Munich, Zurich TIFFANY & CO MEIRÉ UND MEIRÉ: pro bono support with branding OUTSET PATRONS participate in the K & L GATES: pro bono consultancy in legal funding of contemporary art with at least and taxation matters 4,000 € per annum as a private individual, 6,000 € per annum as a private individual with partner/spouse, 8,000 € per annum as a Corporate Partner Outset Germany_Switzerland OUTSET PRODUCTION FUND PARTNERS participate in the funding of contemporary art Trustees by taking on entire projects Jan Fischer, OUTSET TRUSTEE and PRODUCTION FUND PARTNER; German OUTSET TRUSTEES advise and support businessman and collector, Munich/Ham- the expansion of the network burg/Berlin; founder of the Light Art Space Foundation, Berlin ALL DONATIONS ARE FULLY TAX-DEDUCTIBLE Ramin Salsali, OUTSET TRUSTEE, German-Iranian businessman, Berlin/Dubai/ CONTACT Hamburg; founder of SPM (Salsali Private Outset Contemporary Art Fund gGmbH Museum), Dubai, the first private collection of Berlin contemporary art that is open to the public in Telephone +49 30 81725741 the United Arab Emirates Mobile +49 173 2503891 [email protected] As well as numerous other private sponsors www.outset.org.uk who wish to remain anonymous Publisher EXCLUSIVE ACCESS for Bettina Böhm for PATRONS + CORPORATE PARTNERS Outset Germany_Switzerland, Berlin We respect the wishes of our PATRONS and Assistants CORPORATE PARTNERS for exclusive Bettina Klein, Thara Weiss access to all events in connection with Interviews projects, travel. However, PROSPECTIVE Bettina Klein, Thara Weiss PATRONS, PARTNERS or SPONSORS Concept and Design Meiré und Meiré / Mike Meiré, with a serious interest in providing support Sebastian Schneider are very welcome to attend one of our Copyediting events in order to experience the spirit of Bettina Klein, Dominikus Müller, OUTSET GERMANY_SWITZERLAND. Bettina Böhm

Translation Carolyn Kelly

Photo Credits OUTSET GERMANY_SWITZERLAND Andrea Rossetti, courtesy Schinkel Pavillon pp. 34, 38–45 is generously sponsored by: Courtesy Bunny Rogers and Société, Berlin pp. 50-59 Klemmens Renner, courtesy Staatliche Kunstsammlungen Dresden pp. 63, 66–71 Oliver Cowling, courtesy Tate Modern, London pp. 76–86 Forensic Oceanography and Forensic Architecture pp. 107–115 MEIRÉ UND MEIRÉ 134 135 Gary Morris Roe p. 116 Courtesy Charlotte Prodger, Koppe Astner, Glasgow and Hollybusch Gardens, London pp. 117–119 Andrej Vasilenko pp. 121–129 Fulvio Orsenigo, courtesy of Edmund de Waal pp. 130, 132–133 Elias Derboven p. 131

Our sincere thanks go out to the artists, patrons, sponsors such as Susanne Pfeffer and Rolf Sachs for their contribution. Special thanks to Marc Meiré, Mike Meiré and Stephanie Eckerskorn for the intensive collaboration from the idea to implementation, which they did pro bono.