COVER v1.indd 1 DAFYDD JONES: AT SUDELEY CASTLE 22

PALEY? MAUREEN WHO IS PALEY? MAUREEN WHO IS

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     The director invites you to attend the exclusive P.V. during Frieze week The 6th of October 2016 from 7pm to 10pm

    

41-43 Brook Street, Mayfair London W1K4HJ liquidartsystem.com R.S.V.P. to [email protected] State_22R_Layout 1 08/09/16 23:42 Page 3

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State_22R_Layout 1 08/09/16 23:42 Page 5 CAPTURED BY DAFYDD JONES i SPY [email protected]

VIOLET MANNERS ALICE MANNERS V & A Summer Party

MEREDITH OSTRON EVGENY LEBEDEV KATE MOSS NICHOLAS COLERIDGE STEPHEN FRY V & A Summer Party V & A Summer Party

ANISH KAPOOR Serpentine Pavilion

PERCY GIBSON JOAN COLLINS EMMA MILLER GEORGIA COLERIDGE V & A Summer Party ELLEN VON UNWERTH Serpentine Pavilion PETITE MELLER V & A Summer Party

TOMMY HILFIGER NAOMI CAMPBELL Serpentine Pavilion

BJARKE INGELS’ SERPENTINE PAVILION

CHESSIE KAY ELEESA DADIANI MEREDITH OSTRON MARTHA DOLAK Serpentine Pavilion Dadiani Gallery

ADRIENN ALMASY CHESSIE KAY CARY MARTIN Serpentine Pavilion EMMA THYNN KELLY-ANNE DAVITT Serpentine Pavilion ELEESA DADIANI (b/g) JOHN DUNBAR JAMES BIRCH Dadiani Gallery Serpentine Pavilion Dadiani Gallery

V & A MUSEUM, South Kensington. London. Summer Party. SERPENTINE PAVILION [designed by Bjarke Ingels] Kensington Gardens. London. Summer Party co-hosted by Tommy Hilfiger. DADIANI GALLERY, Cork St. London. Kelly-Anne Davitt Beach Balls and Melons.

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>> DIARY NOTES

COVER

IMAGE WE’RE IN THE MONEY days as chief art critic for the New York IF YOU are reading this then – according Herald Tribune (1949 to 1966), this to our demographics – you are a maker, future Pulitzer Prize winner (for dealer, collector or otherwise consumer Criticism, 1974) tweaked the noses of of art or photography. And thus many emerging art stars to good effect. congratulations are in order. You are So irate was Clyfford Still over one contributing £10 million per hour to review that he bought and posted DAFYDD JONES the UK economy. The Department for Genauer a pair of child’s rubber pants Culture, Media & Sport has produced (pre-nappy era) along with an acerbic Maureen Paley figures that show the ‘creative industries’ note. These are now lovingly at Sudeley Castle 2016 (filmmakers, musicians, artists and preserved in the Smithsonian Archive.

American born (1953) Maureen Paley attended Brown University (BA) and others) generate £84 billion a year – The one thing UK ART Ltd currently came to the in 1977 for an MA. She launched Interim Art in 1984, initially as an artist herself, in Beck Road E8, originally an with the number of ‘jobs’ in ‘creative lacks is an independent, national Acme . Paley has declared her inspiration as being the early 80’s industries’ up 20% since 2011 to 1.9 painter for $5 million in damages journal of informed criticism – no galleries of the East Village in her home town of New York. She did have a million. Secretary of State, John (surprise, surprise) and a declaration surprise there because, of course, no one brief remove to Dering Street in 1991, but has always been identified as an Whittingdale MP, waffled on: ‘That that the work is authentic. likes a party pooper. Today, more so early pioneer of London’s East End. The gallery survived in the early days thanks to Art Council (and other) funding but continued its programme of success is built upon the extraordinary than ever. supporting British Artists and Paley is today a much respected independent talent which exists in this country, an Peter Doig and his lawyers have already figurehead in the London art world. amazing cultural heritage, the English identified the real artist, a man named language and a tax system designed to Peter Edward Doige, who died in 2012, ETERNAL F[L]AME support and encourage growth in the and whose sister says he did serve time IN MUCH THE same way actors get creative sector.’ Presumably he is in Thunder Bay and also painted. confused with the parts they play by a referring to the lax benefits system, Furthermore, Marilyn Doige Bovard gullible public, artists currently enjoy which allows countless self-styled ‘artists’ said in a court declaration that the the same hagiographic attention. Back to survive well past their student days disputed desert scene appeared to show in 2013, Mason Currey wrote Daily HOT & COOL ART and natural ‘sell-by’ date. Just where a specific, recognisable area in Arizona Rituals: How Artists Work, listing the are all these economic giants from a where her mother moved after a daily routines of a number of historic, sector that also includes dancers, divorce. And there is more. The prison’s creative figures.(1) Here we read EDITOR Lyle Owerko choreographers and [now] programmers former art teacher recognised a Beethoven obsessed about his coffee – Mike von Joel NEW YORK and software developers? In our photograph of Ms Bovard’s brother as while Balzac drank some 50 cups a day. [email protected] Anne Chabrol experience, the vast majority of art world the man who had been in his class Flaubert spoke with his mother

PUBLISHERS PARIS fodder can barely scrape a living out of and whom he had watched make the continuously. Daily walks helped Freud, David Tidball their passions and dedication to uncritical painting (teacher’s affidavit). Dickens, Tchaikovsky, Darwin, and Karl Skogland BERLIN self-expression – and neither is this UNBELIEVEABLY, Chicago Judge John Milton – whereas vigorous exercise [email protected] impacted by achieving one of the myriad Gary Feinerman of the United States satisfied Le Corbusier and Victor Hugo. Elizabeth Crompton arts (creative, visual & performance) District Court for Northern Illinois For Kim Kardashian refer to the Daily MELBOURNE Jeremy Levison degrees that tempt the innocent. The decided this dispute could be resolved Mail. The obsession with the minutiae [email protected] Complete University Guide says graduate only at a trial. If this bozo knew of celebrity life has now reached DEPUTY EDITOR ADMINISTRATION starting salaries in professional posts anything about the art trade, he could epidemic proportions, so news that Anna McNay Julie Milne dropped 11% (down to £21,702) have saved all concerned time and a permanent plaque was unveiled [email protected] [email protected] between 2007-12, but that anyone with money because even if the judgment outside the former Bowery home of an ‘art & design’ degree can expect had gone against Peter Doig (no ‘e’) Jean-Michel Basquiat no doubt met EDITORIAL PUBLISHED BY just £14,451 pa – the same research not a single auctioneer or dealer would with dancing in the streets. The marker ASSISTANT State Media Ltd. suggesting that many of today’s more touch the painting – already deemed is part of the Greenwich Village Society Silvia Maietta LONDON [email protected] honest grads will still be repaying virtually worthless! Four years later the for Historic Preservation’s (GVSHP) [email protected] student debts when they reach their 50s. court agreed and kicked Fletcher’s fatuous Historic Plaque Program, a partnership CORRESPONDENTS However, digital designers are much in claim out in part after Ms Bovard’s with a local pizza business. Basquiat Clare Henry PRINTED BY demand (ref: the online shift) meaning damning testimony. Only in America! lived at 57 Great Jones Street for just Ian McKay Garnett Dickinson a graduate starter could earn pay of five years until his overdose death in Rotherham S63 5DL William Varley £17,000 - £23,000 pa. Deborah R Gerhardt, a law professor at 1988. How long art heroes will last if the University of North Carolina has Artevera succeeds is anyone’s guess. WHEN NO MEANS NO commented: ‘So much of the value of This Siena based company has

STATE MAGAZINE is available through selected WHILE ON the subject of high rolling art turns on the brand name of the allegedly developed a printing artists, Peter Doig has enjoyed big bucks artist and artists really like to control technique for ‘cloning’ artworks that galleries, libraries, art schools, museums and as a darling of the auction rooms. But the quality that their names are associated replicates the surface, brush strokes and other art venues across the UK. lest the low earning graduate painters with’. If Feinerman had sided with the exact colouring of any painting – (see above) think he has had it all his plaintiffs in this most rare case, it would putting ‘identical’ copies of any work Totally free, STATE is about new own way, take note of Doig’s recent have opened a can of worms whereby a into the hands of the proletariat at a manoeuvres in painting and the brush with what is laughingly called living artist is no longer the final arbiter fraction of the original cost. Over to visual arts – combined with f22, America’s justice system. In a nutshell: on the authenticity of his own output. Judge Gary Feinerman perhaps? a supplement on developments in a former guard at the Thunder Bay the fusion of art & photography. Correctional Center, about 15 hours YOU’RE JUST TERRIFIC AND FINALLY. Tired of being asked north of Toronto, says Doig created HAVE YOU noticed that there are no for Leonard Cohen’s autograph, our It is not a review magazine – it a work there as a youthful inmate. real art critics left? Or, if there are, that hero has upgraded his is about PEOPLE worth serious Robert Fletcher, 62, said he bought the no one bothers reading them? Artists face and hairstyle using the Simon consideration; PLACES that are painting for $100 from Pete Doige maturing as ‘millennials’ accept no Cowell method. Leonard is said to be hot and happening; and PROJECTS (spelled with an e), whom he met in criticism of any sort (in line with their very p***ed off – he can’t get the best developing in the international 1975 in Thunder Bay. Peter Doig, 57, whole generation) and internet technology table at Scott’s any more! art world. disagrees – which has scuppered has bypassed the conduit to a Fletcher’s hopes of a big payday. Doig’s reader/collector audience – once the Mike von Joel Editor

To apply to stock STATE Magazine, please mail paintings have routinely sold at auction exclusive province of a newspaper or

Julie Milne: [email protected] for as much as $10 million. Now the magazine critic. Oh! for the days of NOTES

ex-prison officer and a Chicago art Harold Rosenberg, Clem Greenberg 1. Recently revisited as a data graphic by twitter.com/statef22 www.facebook.com/statef22 vimeo.com/statef22 dealer, Peter Bartlow, who agreed to and… Emily Genauer. The latter might RJ Andrews: Creative Routines poster help him sell the picture, are suing the not spring readily to mind, but, in her (infowetrust.com) www.statemedia.com

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AN ART What art offers is space — a certain NEWS breathing room for the spirit RESTATE MONITOR { JOHN UPDIKE } EU KEEPS COMING QUOTEUNQUOTE

AUSTRIAN ART gallerist, Thaddaeus Ropac, has expanded to 37 Dover Street, Mayfair, former flagship site of Mallett. He already operates from galleries in Salzburg and Paris and will open in Ely House in the spring SHE IS LIKELY RIGHT of 2017, one of the finest 18th- ‘In 1968, after a nearly 10-year-long century mansions left in London. stint exhibiting her radical minimalist Polly Robinson Gaer has been alongside the likes of Donald announced as London director. Judd, Carl André, and Dan Flavin, Spread over five floors and 16,000 Charlotte Posenenske renounced art- square feet, the prime listed making, which she saw as politically and building will be renovated by New socially impotent.’ York-based architect Annabelle Alexxa Gotthardt in ARTSY.NET Selldorf. (source: AP) Thaddaeus Ropac Orlan case loses to music conglomerates

ORLAN GOES GAGA THE HILLS ARE ALIVE THE FEUD between Lady Gaga and Orlan has resulted in a court ordering the French ‘carnal artist’ to pay the pop EVERYONE AN ACTRESS TOO? star and her record label €20,000. Paris’s ‘I like the way [Instagram] has turned High Court has rejected the assorted everyone into their own artist and photo claims of plagiarism and infringement editor. People feel now that they are of image rights Orlan levelled over the artistic and can make creative choices.’ cover art for the musician’s 2011 album, Actress Olivia Wilde trilling in The Sunday Times Born This Way. Orlan announced she Style Magazine. intends to appeal the decision. (source: ArtNet)

BIENNIAL BLOW

THE SITE OF Mark Leckey’s video installation for the Liverpool Biennial was damaged COULD NOT BY LESS OF ONE by a deliberate act of arson when ‘ said that the addition of the city’s sawmill, former home Governors Island before demolition programme Carsten Höller’s slide to the ArcelorMittal to music club Cream, caught Orbit tower was “foisted” upon him fire. Fire-fighters spent 15 hours by London’s Mayor Boris Johnson [...] dealing with the blaze. Leckey’s BRITISH ARTIST and Turner after Johnson stipulated that the Queen 2015 autobiographical film Prize winner, , Elizabeth Olympic Park needed installation Dream English Kid interpreted the form and isolation to become more of an attraction.’ 1964 – 1999 AD, inspired by a Joy of the American cabin in her Anish Kapoor bleating to Division concert, relocated to site-specific piece on Discovery the Blade Factory. The Biennial Hill for the Governors Island art runs from 9 July to 16 October at project. The typical concrete cast, venues across the city. from a New -style shed, is (source: Liverpool Echo) part of Art Commissions GI, and is intended to be a permanent

sculpture on the island, a place Rachel Whiteread Cabin before landscaping both detached from and a part ‘TWAS EVER THUS USPEND of New York City. Whiteread’s Cabin is part of Tom Eccles’ (curator of Art ‘They could tell you how they painted S Commissions GI and executive director of CCS Bard) their landscape ... but they could not tell BELIEF programme, which encourages the unusual. In a permanent installation each me how to paint mine.’ evening at 6pm, fellow winner Susan Philipsz’ Day is Done Georgia O'Keeffe recollecting influences on a young female art student ART RETAILERS Absolut Art, along sounds the four notes from the bugle song Taps from speakers around the with Swedish designer Alexander island. Cabin clearly references Whiteread’s 1993 House, cast from a decrepit Lervik, have developed a mounting Victorian London terrace, and her 1998 Water Tower at MoMA, New York. device that lets you adjust a work after it’s been wall mounted. The device The Hills opened ahead of schedule and follows the 2014 debut of Liggett requires two screw fixes but it involves Terrace. The four mounds of the Hills are all human made, as is the land zero levelling. HangSmart allows you below. Each hill is named for a different visitor interaction, with Grassy Hill, to slide and reposition a picture six Slide Hill, Outlook Hill, and Discovery Hill. Governors Island was extended south in 1911 with the excavated waste from the Lexington Avenue subway inches in any direction – up, down, WELL I NEVER left, or right – speeding up installation. tunnel. The Hills were created on this artificial section of the island from The design is still pending patent recycled debris from the demolition of decommissioned military buildings on ‘The UK has the largest US expat but HangSmart will be available in the island in 1996. The panoramic views from Cabin take in the whole Lower population outside North America.’ Manhattan skyline and the New York Harbour. (source: Hyperallergic) Rothermere American Institute quoted by early 2017 for an undisclosed but Charlotte Edwardes in ES Magazine. ‘affordable’ price. (absolutart.com)

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“To draw is to make a shape If that Michelangelo had been straight, All great art comes from is a movement in time.” the Sistine Chapel would have a sense of outrage been wallpapered GLENN CLOSE {}{ { } ROBIN TYLER } FOLLOW THE MONEY DON'T MISS THE MIGRATION to New THE WORLD AT WAR York continues as Timothy Taylor Gallery announces Contentious and provocative, The World at War is a collection of plans to open its doors in drawings and paintings made by artist Paul Brandford over a 15- September with an inaugural year period, concerned with the West’s involvement in overseas conflict. Jingoistic exhibition of Mexican leaders, questionable Modernist architect and deployments and engineer Luis Barrágan. acts of terrorism Located in a Chelsea are all subject to townhouse, it’s called 16x34 interrogation and after the dimensions of the their consequences first-floor space. The global are underlined by art market contracted by 7% the presence of a last year and has continued memorial to fallen to cool throughout the first soldiers within the building where the Paul Brandford Tour of Duty 2010 two quarters of 2016. exhibition is being (source: The Art Newspaper) Timothy Taylor Gallery in bondage shown. Methods of blurring, scraping and gouging add to the experimental nature of the works. Brandford, who studied at the MEANWHILE back in London, Taylor forced a £100,000 rent rebate from his landlords (Mayfair Royal Academy Schools, won the Jerwood Drawing Prize in 2003 and was shortlisted for the Threadneedle Prize in 2008. House Corporation & Mayfair House Corporation Inc) after more than two years of scaffolding obscuring his W1 gallery. Taylor, who pays £530,000-a-year rent on a 20-year lease, said the noisy Paul Brandford: The World at War 23 October - 29 November 2016 building work deterred clients and staff. In the High Court, he won a 20% retrospective discount Stockport War Memorial Art Gallery, Wellington Road South, Stockport, SK3 8AB (from August 2013) and 20% off future rents until all works are complete. Judge Alan Steinfeld QC said the scaffolding had ‘enwrapped’ the gallery, giving the impression to passers-by that it had ‘entirely disappeared’ within a massive building site (source: AP)

PARIS MATCH

Danny Rolph EC2 2016 EAST CENTRAL The exhibition is made up of four large-scale paintings inspired by the areas of London in which Danny Rolph grew up (EC1, EC2, EC3 and EC4) in a high rise flat just off the City Road. His view consisted of ‘sunset and sunrises of the type that Tiepolo imagines, populated by architectural silhouettes of St Paul’s, the Old Bailey and the Post Office Tower’. In 1999, Rolph became the youngest artist acquired for the permanent collection of the Metropolitan Museum of Art, New York. Danny Rolph: East Central 27 September - 4 November 2016

Looking for Vincent CNB Gallery, 32 Rivington Street, London EC2A 3LX RED [AND] DEAD BRASSED OFF Tadao Ando architect CANADIAN ARTIST and author Douglas Coupland To commemorate the 20th anniversary of the making of Brassed Off wants to locate the most convincing Vincent van Gogh A PRIVATE museum in (1996), the cult comedy/drama about a colliery brass band, the Gallery@ The Civic presents an exhibition in two halves. Cornelia doppelgänger to win €5,000 and a trip to Vancouver. Paris will display François Coupland intends to 3D-scan the winner’s face and create Parker’s Perpetual Canon is an installation made up of 60 wind Pinault's vast collection instruments that once belonged to a brass band and have been a bronze sculpture after his likeness. Simply upload a photo of contemporary art. flattened and of yourself to the I Am Vincent website, where viewers vote Pinault, 80, said the suspended in for the painter’s most convincing double. Currently leading museum will be in an space, shadows is Ivar Arpi, an editorial writer for the Swedish newspaper 18th-century, former form the visual Svenska Dagbladet. There are nearly 500 contestants vying commodities exchange representation of a canon, a for the crown. (source: Hyperallergic) building near La Canopée in Les Halles, which musical term dates from 1767. The that means the continuous Japanese architect, Tadao repetition of a Ando, will oversee the verse. On the renovations. Pinault’s second side of state.tv great rival, LVMH boss, the gallery, , and Jeremy Deller’s Cornelia Parker Perpetual Canon www.state-media.com the Louis Vuitton Acid Brass fuses menu: >STATE >STATE.TV Foundation opened traditional brass music and acid house – a concept begun in 1997 Original video featuring a private museum for when Deller saw the connection between the two seemingly JULIAN SCHNABEL contemporary art on the disparate genres. JONAS BURGERT edge of Paris in 2014, Brassed Off 10 September - 19 November 2016 KEITH TYSON The Civic, Hanson Street, Barnsley, S70 2HZ KEITA MIYAZAKI etc designed by Frank Gehry. (source: New York Times)

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08/9 RESTATE.indd 7 07/09/2016 11:41

AN ART ...Lying, the telling of beautiful NEWS untrue things, is the proper aim of Art RESTATE MONITOR { OSCAR WILDE } SHEER GENIUS DELLER TRIUMPHS

National Museum, Edinburgh

EDINBURGH INVESTS

FOLLOWING A £14.1 million redevelopment in its 150th anniversary year, the National Museum of Scotland, Edinburgh, opened 10 new galleries dedicated to decorative art, design, fashion, science and technology. The refurb restores the NMS’s original layout and sightlines. More than 3,000 objects are now on display across the new galleries, three-quarters of which have not been shown for at least a generation, with a network of digital labels, audio-visual programmes, a wide range of

interactive exhibits and original working machines. It is the Ghosts from the past on 1.7.16 latest phase in an £80-million scheme to transform the much loved museum. (source: AP) THE SOMBRE remembrance of the first day Norris, director of the National Theatre, the of the catastrophic disaster that was the core team partnered with the Lyric Theatre Battle of the Somme on 1 July 1916 was Belfast, Royal Exchange, particularly poignant in this, its centenary National Theatre of Scotland, National FASHIONISTAS year. Last July something very special Theatre Wales, Northern Stage, Playhouse A MAJOR THREE-WAY happened, which captured media attention Derry-Londonderry, Salisbury Playhouse, partnership between the the length and breadth of the country – a Sheffield Theatres and Theatre Royal work commissioned by 14-18 NOW, official Plymouth. The men who walked the streets State Tretyakov Gallery arts programmers for the First World War evoked those killed on 1 July 1916. Each in , Vogue Russia centenary (principally funded through the represented an individual soldier by handing and the V&A reflects the Heritage Lottery Fund and ACE, and by out cards to the public with the name and continuing influence of the DCM&S). regiment of ‘their’ dead soldier and, where Russian money on London’s known, his age when he died. Representing Arnold Machin’s 3D cast head of Queen Elizabeth II art world. Continuing In the performance piece, We’re here because 15 of the regiments annihilated on that first the V&A’s interest in we’re here, 1,400 volunteers unexpectedly day, the otherwise silent ‘soldiers’ sang the appeared, dressed in historically accurate trench song, We’re here because we’re here, lifestyle art and celebrity, TRICK WW1 uniforms, at locations across the UK at regular points from 7am to 7pm. Not a planned joint exhibition orchestrated by the 27 organisations that trained actors, they had secretly rehearsed in QUESTION will examine the influence collaborated for the event. Produced by theatres across the UK in the run-up to the of Russia on 20th-century Birmingham Repertory Theatre and the performance. WHAT IS the world’s and contemporary Western National Theatre, what most press and most reproduced TV coverage omitted to mention was that Deller is no stranger to large cast aktions. work of art? Answer: fashion. It will encompass this was yet another outstanding concept His celebrated reliving of the 1984 miners’ British sculptor Arnold key periods and styles in from Jeremy Deller, one of Britain’s stellar strike, The Battle of Orgreave, in 2001, Machin’s 3D cast head Russian history, destined activist artists. And also one of the few who followed two years’ research and involved of Queen Elizabeth to open at the V&A in 2020 actually deserved the Turner Prize and the ‘about 800 historical re-enactors and 200 II to appear on the before being presented in invitation to represent the UK at the Venice former miners who had been part of the UK’s definitive postage Moscow in spring 2021. Biennale. Working closely with Rufus original conflict’. stamp. Royal Mail has (source: V&A Press) printed some 220 billion stamps since 1967.

IN A BIT OF BOUVIER GOING GONE FRENCH ART dealer Olivier Thomas dodged accusations that he stole two Picasso works MARTIN ROTH, 61, director from Catherine Hutin-Blay, the artist’s stepdaughter, once. It was alleged that the pieces were of the V&A since September eventually sold to Dmitry Rybolovlev, who purchased them from Yves Bouvier. They had been 2011, has said he will leave the stored in the Geneva Freeport (see Art&Money section) then headed by Bouvier. Thomas was job this autumn. The sudden first held by French authorities in May 2015 during an investigation into Hutin-Blay’s claims, announcement leaves the Board though he denied having seen the Picasso works and noted that they ‘meant nothing to him’. of Trustees scrambling for a But further investigations revealed images of the works on Thomas’ computer and he was again replacement. The museum was arraigned by the French judiciary. Bouvier has been given a $30-million fine by the French recently awarded Ministry in charge of art fraud for ‘breaking the trust’ Hutin-Blay had placed in him. Museum of the Year 2016, the (source: ArtNet/Artforum) biggest museum prize in the Catherine Hutin-Blay world. (source: V&A)

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PERISCOPE I don’t paint things. I only paint the difference between things { HENRI{ MATISSE }

PECKHAM RISES

NOW KNOWN as Peckham Levels, a south London car park with its own rooftop bar is to be transformed into artists’ studios and space for start-up businesses after Unknown USSR: Day of the October Revolution, 1938 planning permission was granted. The Peckham town REVOLUTION at RA centre multi-storey, beside TO COMMEMORATE the centenary of the Russian Revolution, this the multiplex cinema and landmark exhibition spans the year of the October Revolution up home to Frank’s Cafe, will to 1932, when Stalin began his violent suppression of the Avant- include 50 artists’ studios Garde. Photography, sculpture, film, posters and porcelain will and workshops on the empty feature alongside paintings. With over 200 works, including loans lower floors, with workspace from the State Russian Museum in St Petersburg and the State for entrepreneurs and Tretyakov Gallery in Moscow, many have never been seen in the UK before. Revolution: Russian Art 1917-1932 takes as its starting creative businesses above. point the major exhibition of 1932, which was presented in 33 rooms On the fifth and sixth levels, at the State Russian Museum (then Leningrad) and orchestrated there will be an event venue by prominent art critic and curator Nikolai Punin. Highlights will alongside a restaurant, bar include dedicated to over 30 paintings and architectons by and café. Bold Tendencies Malevich. These works will be seen together for the first time since Frank’s Café Peckham Levels will continue its work in the 1932 in an exact reconstruction of the original hang designed by the artist for the Leningrad exhibition. car park, while Frank’s on the top floor is hoping to increase its capacity from 1,000 to 1,500. A rival plan to fill the whole car park with 800 studios, backed by Modern director Chris Dercon, Revolution: Russian Art 1917-1932 11 February - 17 April 2017 Royal Academy, Burlington House, Piccadilly, London W1J 0BD was rejected by the council last year because they didn’t want it to become an ‘artists’ commune’. (source: ) VANESSA BELL at DULWICH THE FIRST major exhibition of work GOIN’ SOUTH by Vanessa Bell will open at the Dulwich Picture THE GETTY Foundation is to distribute $8.5 million in grants across 43 exhibitions Gallery in the and events in Southern California that feature Latino and Latin American artists new year. An as part of the upcoming Pacific Standard Time: /Latin America acclaimed member of the incestuous programme to begin in autumn 2017. Recipients include the Hammer Museum, Bloomsbury MoCA San Diego – and LACMA, which alone has been awarded almost half a million Group, Bell also forged her own dollars for three upcoming shows. (source: Los Angeles Times) place in the canon of 20th-century British art. Her legacy has been overshadowed by CAROUSEL the notoriety of Bloomsbury and the literary fame of Vanessa Bell The Other Room late 1930s her sister, Virginia © The Estate of Vanessa Bell, courtesy of Henrietta Garnett Woolf. As a close intimate of already lauded artists Roger Fry and Duncan Grant, Bell is here – at last – going to be celebrated on her own merits. Vanessa Bell (1879-1961) 8 February - 4 June 2017 Dulwich Picture Gallery, Gallery Road, London SE21 7AD

Chris Dercon THE FORMER and Haus der Kunst director, Chris Dercon, has been appointed supremo of the Volksbühne Volksbühne, Berlin’s second- largest state-owned theatre. opportunity. Amongst those interest, which shouldn’t be Volksbühne means ‘People’s applauding this ‘bold and seen as problematic.’ Like at Blenheim Photo: Edd Horder, 2016 Stage’ and was established inspired choice’ are the New York’s Park Avenue PISTOLETTO in 1914 as a working-class current director of Munich’s Armory, ‘in many places THE AUTUMN programme at the Blenheim Art Foundation theatre committed to the Haus de Kunst, Okwui in the world new, different (director, Michael Frahm) presents Michelangelo Pistoletto at experimental. For the last 25 Enwezor; Hans Ulrich theatre experiences are , a solo exhibition celebrating the extensive years it has been directed by Obrist; Rem Koolhaas and being probed,’ Dercon oeuvre of the Italian artist. The exhibition will explore 50 years of Frank Castorf. The placing Phillipe Parreno. Ai Weiwei told , work, from painting and sculpture to large-scale installation, as of Dercon has been seriously popped up to publically ‘Germany and especially well as showcasing new works made specifically for Blenheim and integrated into the fabric of the 18th-century interiors and grounds. opposed by existing staffers declare his support. He told the Volksbühne should not MICHELANGELO PISTOLETTO AT BLENHEIM PALACE but – unsurprisingly – the the Süddeutsche Zeitung stay behind such fascinating 15 September - 1 December 2016 usual suspects have rallied that ‘everything today developments.’ Blenheim Palace, Woodstock, Oxfordshire OX20 1PP around at the sniff of a new runs with a commercial (source: New York Times/Hyperallergic)

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10/11 RESTATE.indd 7 07/09/2016 12:08 AN ART Art hath an enemy NEWS called ignorance RESTATE MONITOR { BEN JONSON } ACE GAFF

Douglas Chrismas

ONE OF Los Angeles’ oldest and largest, the Ace Gallery is the subject of a lengthy court filing, which documents millions of dollars being hi- jacked and dozens of works going missing. As part of Ace’s long- running Chapter 11 bankruptcy case, Sam Leslie, a forensic accountant, took over SFMoMA as a court-appointed I LOST MY ART IN SAN FRANCISCO financial manager. Ace Gallery Wilshire Blvd. FOLLOWING A massive expansion and renovation by the Norwegian architects Snøhetta, the Leslie’s damning analysis accuses founder, Douglas Chrismas, of diverting substantial sums and stock San Francisco Museum of Modern Art (SFMoMA) reopened as the largest museum of modern to his own entities: ACE Gallery New York Corpo- and contemporary art in America. More than 240 collectors contributed $610 million and donated ration and ACE Museum. Between February 2013 some 4,000 artworks and the snazzy gala party guests included the cofounders of Instagram (Mike and February 2016, Leslie asserts that a total of Krieger) and Twitter (Evan Williams), Facebook VPs (Dan Rose, David Marcus), and top backers $16,910,139 went to Ace New York. Of that sum, he of YouTube (Pierre Lamond, Stuart Peterson). Add into the mix the SFMOMA board, which has says $4,568,382 was diverted to the Ace Museum. Jim Breyer (an early investor in Facebook), Danny Rimer (a stakeholder in Skype, Dropbox, and In fact, Chrismas closed the New York gallery over a decade ago, and the ‘museum’ on La Brea Avenue 1stDibs), and Thomas Weisel (a long-standing backer of myriad Silicon Valley firms) and you can in Los Angeles has a dubious status. Chrismas es- see a pattern developing. It’s a honey pot that has attracted local face John Berggruen (opening tablished Ace Gallery in LA in 1961, and opened his a large new space across the road); Larry Gagosian, with a 4,000-square-foot space around the 20,000 square foot NY location, at 275 Hudson Street, corner; and Pace Gallery has set up in Palo Alto. The West Coast’s New York in art terms? The jury in 1990. It was one of the largest galleries in New York until it closed in 2005. is out. (source: W Magazine) Leslie also claims that Chrismas instructed assistants to move 60 works of art from Ace Gallery to a MEANWHILE NEXTDOOR private storage facility the day before he took over management. None of these pieces, including one neighbour, LA’s philanthropic media mogul, of significant value, was listed in the bankruptcy David Geffen, gifted $100 million to the Lincoln petition Chrismas personally filed in 2004. In US law, Center, and donated another $100 million concealing assets in a bankruptcy case could result to MoMA for the museum’s renovation and in criminal charges. Transferring money out of a expansion programme – one of the largest in bankrupt estate could also qualify as a crime. In 2008 the museum’s history. The overhaul will add Chrismas got embroiled in a scandal by inadvertently 50,000 square feet of exhibition space, designed selling art smuggled into the US by Brazilian money by Diller Scofidio + Renfro, who created the launderer, Edemar Cid Ferreira, the former owner of Broad Museum in LA. Geffen, 73, a major Banco Santos. Chrismas denies all charges. collector of post-war art – his art collection is worth more than $2 billion – nixed rumours he is Meanwhile the gallery on Wilshire Boulevard refocusing his philanthropy and personal life to continues to trade with a recent summer show New York after decades in Southern California. that included work by John Armleder, Mary Corse, Ian Hamilton Finlay, Sylvie Fleury, Ben He said he remains a California tax resident Jones, Jannis Kounellis, Gary Lang, Robert and has homes in Malibu and Beverly Hills. Last Longo, Dennis Oppenheim and Julian Schnabel. year, Geffen gave another $100 million to UCLA (source: The Art Newspaper) (more than $400 million to UCLA in total); and recently he gave $25 million for LA’s Academy of Motion Picture Arts & Sciences. MoMA said three floors of new galleries will be named the David Geffen Wing. The fourth-floor galleries in the current museum building will be named the David Geffen Galleries. He made his fortune as a music industry executive then co-founded DreamWorks with Steven Spielberg and (source: LA Times) Jeffrey Katzenberg in 1994. David Geffen Charles Fine at Ace Gallery 2013

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12/13 RESTATE .indd 12 07/09/2016 12:32

WE LIK RIGHT TO ★★ W STATE OF MIND E WRITE ★ AMERICA. Inside a wooden ONE IMAGE GALLERY shack a vintage machine clatters like any old typewriter, MEXICO CITY. Sonora 128 is a single-billboard gallery set atop a six-storey building but it’s a USB equipped with in the Condesa neighbourhood. inaugurated the space followed a tablet so that all the words by Antonio Caro (with Achiote) curated by Bree Zucker (she hopes viewers will are recorded online as well as continue to think about what they see after they’ve passed it by). In Mexico City in ink. Anyone can sit down at many galleries keep their doors this typewriter and add to a bolted at all times, posting guards collaborative poem unfolding The Typewriter Project: The Subconscious of the City at their entrance, with anonymous over a 100-foot paper scroll – access points. Sonora 128 is 23 feet Jack Kerouac style. The Typewriter Project: The Subconscious of the City, presented high and 42 feet long, and visible by the Poetry Society of New York in partnership with the Parks Department, is a from five converging streets. ’24 roving experiment to engage the public with writing. Launched on Governors Island hours a day,’ said José Kuri, who in 2014, then Tompkins Square Park (under the Hare Krishna tree), the shack toured founded Kurimanzutto in 1999, on to STORY in Chelsea and Pen and Brush Gallery in the Flatiron district and latterly the blue-chip gallery sponsoring to North 12th Street and Driggs Avenue in Williamsburg’s McCarren Park. Co-creator the billboard. Sonora 128 is located Stephanie Berger said: ‘People’s entries have ranged from the guy who comes every at Avenida Sonora and Nuevo day to add to his serialised piece of fiction to a baby or dog banging out what reads León (Condesa, Mexico City). as total gibberish’. Berger and co-creator Nicholas Adamski are both behind the Antonio Caro until 31 August 2016 Poetry Society of New York, which organises unconventional interactions with poetry. Antonio Caro Achiote (2016) at Sonora 128 (source: Hyperallergic/Kurimanzutto Gallery)

DESERT(ED) SONG

Sheikha al Mayassa ‘We don't want to be all the same, but we do want to understand each other.’ Sheikha al Mayassa

Damien Hirst Miraculous Journey Qatar

REMEMBER WHEN Qatar Museums (QM) had (RISD); the British Museum; the Smithsonian; Qatar’s new Emir, 33-year-old Sheikh Tamim Al produced $20 million to fund a and the National Museum of Australia. Qatar Thani, who came to power on 25 June 2013. Unlike retrospective and commission a series of new got architect I M Pei out of retirement for the his father, Sheikh Tamim was a fiscal and religious work in 2013? The after-party had a pop-up Prada construction of the $1.6 billion Museum of Islamic conservative. All Qataris are expected to wear shop in the middle of the desert with the likes of Art; funded exhibitions by Takashi Murakami, their ‘national uniform’ in public (a black abaya for and Naomi Campbell being taxied by and Richard Serra, and also went women, a white thobe for men). Workplaces pause private helicopter. Huge oil and natural gas reserves on a high profile international art shopping spree. for daily prayers and fraternising with the opposite provided Qatar with 70% of its revenue and made The art trade believes that Sheikha Mayassa paid sex is generally discouraged. the tiny Gulf state the richest country in the world. the record-breaking $250 million for Cezanne’s The At the start of 2014, crude oil was hovering around Card Players in 2012 and again, in 2015, with the By the end of 2014, oil had crashed to $50 a barrel; $110 a barrel. A man-made island and residential $300 million acquisition of Paul Gauguin’s When by late 2015, the price was just $28. QM’s 2014/2015 district called the Pearl was built in the capital city Will You Marry? Neither work has been seen in budget was halved. Exhibitions were cancelled, of Doha at a cost of $15 billion dollars. public since. several new museum projects suspended, perks for Westerners stopped dead. There was a mass exodus The Qatar royal family decided to position the QM chair Sheikha Mayassa was named one of of ‘experts’ to the airport and home. The new, country as a regional and international hub for arts the 100 most powerful women in the world by robed darlings of the auction houses and museum and education championed by the then Emir, Sheikh Forbes in 2012; the most influential person in art gala events disappeared from view and, for those Hamad Al Thani, and his glamorous daughter, by ArtReview in 2013, and one of the 100 most with their snouts in the trough, it was on to the next Sheikha Mayassa. QM was created in 2005 to help influential people in the world by Time magazine in photo opportunity. Meanwhile, the destabilisation of make this happen. Foreign professionals were easily 2014. But, by 2014, the simmering tension between the intrinsic values of artworks has yet to reverse and seduced from the West by big bucks – including QM and the local Qatari elite had boiled over into the art market currently resembles the Tulip Mania Christie’s; the Rhode Island School of Design the media. This change in attitude coincided with of 17th-century Holland. (source: Mikolai Napieralski/Quartz)

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Maureen Paley at Sudeley Castle

WHO IS MAUREEN PALEY?

The adopted East Ender at the helm of the YBAs comes from pioneering stock

TEXT ANNA MCNAY | PORTRAIT DAFYDD JONES

NCE CALLED by others’ work, but I couldn’t present my Time Out magazine own’. Instead, she describes her role as ‘a true pioneer of the ‘somewhat like an editor or publisher. East End’, New York- At the end of the process you help born gallerist and decide how best to release the material odealer Maureen into the world’. Paley (b1953) does indeed come from pioneering stock. Her When she set out, Paley was working grandparents emigrated to the US from on a largely project-oriented basis with Russia/Poland before WWI and did all the artists. ‘I have always maintained they could to ensure their offspring went that I am more an entrepreneur than on to Ivy League schools. Paley herself a business-woman. My approach was received Russian training as a ballet more intuitive, based on a passion for dancer, before studying art history and the art and a vision that one could create art practice. During her time at Brown a situation, which provides possibilities University, she developed an interest in for artists. It is this entrepreneurial what was considered at the time ‘European zeal, which keeps me going. I had this esoterica’: , Richard experience of never having come here Hamilton, Gilbert & George, and the to set up a gallery, not having worked like. So, in 1977, she crossed the pond in a gallery in New York, never having for what she thought would be one year’s thought of things in terms of “the art travelling, with her then husband, in Beck Road, Hackney E8. 1988 Now famed artists’ community world”, but simply being interested in Europe. First port of call: Fournier Street, art – looking at everything you could the home of Gilbert & George. ‘I went possibly see, taking trips to see art in there because I wanted to see what their ‘You have to keep re-defining. If people Cologne, in Paris – and feeling that I house looked like,’ she recollects. ‘I was keep re-defining, re-thinking, re-experiencing, was just immersing myself in something literally this little ex-student, standing other than the New York art world.’ on Fournier Street in the East End, just and re-positioning themselves, then there’s off Brick Lane. Art had led me to this a chance to survive.’ Paley was influenced by the early 80s neighbourhood.’ { } Punk scene and musicians who were recording in their front rooms. ‘I was In 1978, while studying for an MA at the Road, guided Paley in the conversion of from show to show with enthusiasm, fascinated by John Peel’s sessions with Royal College of Art, Paley met and her home into a space for exhibitions. creativity and energy,’ she says. Despite musicians,’ she says. ‘People were acting became friends with , And thus in April 1984, at 21 Beck Road, coming from a background of art practice like there was a DIY sense of immediacy taking part in the artist’s first London E8, was born Interim Art. herself, Paley did not consider Interim about where you could actually show show, a feminist performance entitled Art to be an artist-run platform. ‘I made work or make it. I had also taken my cue In the Kitchen, in which participants Paley’s first years as a gallerist were a decision that I was not going to be from the galleries in the East Village in strapped themselves to a canvas model of something of an initiation by fire. ‘From an artist in order to run the space,’ she New York that had started in the early a cooker. Chadwick, who, like Paley, lived 1984 to about 1987 were my years of explains, adding: ‘[it had become] very 80s and had presented work in buildings in a Victorian terraced house on Beck apprenticeship at Interim Art, learning apparent to me that I could present that were located in a place that was not

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Helen Chadwick (1953 – 1996) with Piss Flowers, 1992 Self-Portrait-at-17-years-old 2003 Maureen Paley Gallery

considered the neighbourhood where the ‘Art is one of the last unregulated since gone through the recession of the artworld was. Having immersed myself in 1990s, adapting, and, ultimately turning the culture and being very involved in the markets. There are no male gatekeepers and towards representing more artists and opening of nearly every club, going to you are not confined to traditional becoming a commercial space. Her every event, I wasn’t really an outsider focus, at this time, also shifted to mainly when I set up my space. I was only a “face” alpha-male values.’ showing the work of , – I wasn’t a “name”, I didn’t do anything – { } including: , Bulloch and but I did immerse myself.’ . In fact, she became so approaching well-known artists from sort of just me and the Whitechapel. I was associated with the group that came to The first artists that Paley exhibited as the beginning, and really having a huge not considered to be commercial, and I be known as the YBAs, that the critic ‘represented’ artists were Langlands and success rate – because I had had this was very excited about that because the wrote: ‘Everybody Bell, Hannah Collins, classical training in the States on the one sky was the limit in terms of people I knows who the good YBAs are: the and, not surprisingly, Chadwick. From the hand, and because I was competing with could ask to show.’ ones Maureen and the unrealist colleagues very beginning, she had an international no other galleries doing that in the East have signed up!’1 outlook and built her reputation initially End, or even all of London. I mean, now In the early days, Paley funded the space by importing work from abroad. ‘I was you have a whole scene, but then, it was through her own endeavours, as well as ‘You have to keep re-defining,’ Paley thanks to some grants and funding from explains. ‘If people keep re-defining, Solve Sundsbo Wolfgang Tillmans Hubert Kang Liam Gillick Greater London Arts.The gallery ran at a re-thinking, re-experiencing, and Courtesy Interview Magazine Courtesy NUVO Magazine loss for almost a decade. ‘We occasionally re-positioning themselves, then there’s had funding for specific projects from a chance to survive.’ Today, Paley other sources like The Elephant Trust or represents a stable of 37 successful artists the Foundation,’ she adds, and artist collaborations, including past noting: ‘The gallery was at that time being Turner Prize winners Wolfgang Tillmans run to make things possible for artists, (2000) and Gillian Wearing (1997) (there was no concept of an art market and Turner Prize nominees Liam Gillick then) and the gallery was perceived to (2002) and (2006). be a public space or quasi public space’. Of their success, she simply says: Paley launched Interim Art on the heels ‘When you select someone that you of the 1981 recession. ‘It gave us this believe has potential, you want to see “no future” kind of attitude – you can how the work can grow and encourage do anything, get in there, what does it it. It’s then exciting when a greater matter, you have nothing to lose. We had consensus reflects appreciation that a fighting spirit because of it.’ She has is diverse and worldwide.’

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21 Herald Street venue Tillmans exhibition 2016

In 1999, Interim Art moved to its current the Wallace Collection, ‘where Fragonard venue at 21 Herald Street, a 2,500-square- ‘I know that all the time I’ve been working, and Frans Hals are mixed with furniture foot gallery, designed by Paley herself, had I been a man doing exactly the same work, and porcelain in truly eccentric including a chrome toilet area, impressive combinations’.4 While this might not office, ample storage and luxurious I would have progressed much further seem the typical taste of an art dealer showing space. ‘I think of it as my Dia than I have.’ so inextricably linked to the YBAs, Foundation,’ she says. Since 2004, the { } remember that Paley is of classical stock. venture has been known simply as Furthermore, she says: ‘I’ve always thought Maureen Paley, a name change, which female archetypes, like the seer and the I am not complaining, as I have been of art as part magic. I’m fascinated by the marked its 20th anniversary. ‘I always felt crone, who might not fit in elsewhere’.2 very successful.’3 idea that a person can go into the world, a tremendous energy in the East End,’ Nevertheless, Paley admits that she has take an object, and make a mark – the says Paley. ‘The only difference is that now always been aware that London is very When she is not dealing or curating, Paley, object becomes a talisman, a totem. And I am surrounded by a greater number of much ‘a boy’s town’, with an ‘old boy a self-confessed chocoholic, describes a that then changes how we experience galleries than when I began.’ Today, she network’ that is very much at work in perfect Saturday afternoon as incorporating things’. Paley has certainly made her mark counts, alongside Sadie Coles and Victoria the art world. ‘I know that all the time a film at the Curzon Mayfair, some and, in so doing, almost single-handedly Miro, among London’s leading gallerists. I’ve been working, had I been a man window-shopping in Jermyn Street, changed the way we experience the Asked why she thinks women have been doing exactly the same work, I would have a browse around Daunt Books on and its now truly so successful in the commercial world of progressed much further than I have. Marylebone High Street, and a visit to international art perspective. contemporary art dealing, despite the fact that women artists continue to sell their LINK Maureen Paley and Monika Spruth Jay Gorney and Maureen Paley work for far less than their male counter- Serpentine's Summer Party Paul Noble/Tobias Rehberger PV, Whitechapel maureenpaley.com parts, Paley replies: ‘It’s because we’re given the freedom to succeed. Art is one of the NOTES last unregulated markets. There are no 1 Matthew Collings A Day In The Life Of male gatekeepers and you are not confined British Art. The Guardian, 2000 to traditional alpha-male values. That 2 Space Women (profiles of makes it very attractive to a certain type six women running commercial galleries). of woman with a strong personality, The Guardian, 2006 who wouldn’t fit into a cookie-cutter 3 Maureen Paley On Women Art Dealers In working environment, like investment The Art World in New Feminist Art Criticism. banking. [The commercial art world] Manchester University Press, 1995 attracts larger-than-life figures, individuals 4 Mark C O’Flaherty How To Spend It: and eccentrics. There is room for classical Maureen Paley’s London. , 2013

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NATHAN CLEMENTS-GILLESPIE

Mary-Alice Stack CEO of Creative United/Own Art

AST YEAR, a Chinese a percentage of the loan value. For the billionaire bought Own Art small loans scheme, which is Modigliani’s Reclining publicly subsidised, Hitachi’s fees are split Nude for $170.4 million between the gallery and Creative United, using American Express making it affordable for galleries. For Own – a gift to Own Art. Art Plus there is no subsidy and the cost of Guffaws about the credit is borne wholly by the gallery. This L extravagant art collector, works well both for buyers, who can take Liu Yiqian, earning the work home with them, and the galleries, enough Amex points to fly first class around which receive payment immediately. the world for the rest of his life were still Because, the other aim of Own Art – resounding two months later, when equally important as engaging new buyers Mary-Alice Stack launched Own Art Plus SEEIT. BUYIT. and ending the assumption that if you have at the London Art Fair in January 2016. to ask the price you can’t afford it – is to help galleries operate more effectively. ‘Not everyone is in Liu Yiqian’s fortunate situation, but art should be for all,’ said the ‘Cash flow in a business is really important Chief Executive of Creative United, which HANGIT. and the beauty of the way Own Art works runs Own Art, an organisation that has is that galleries are paid up front, doing been providing interest-free loans of up to away with post-dated cheques and informal £2,500 to buyers who don’t have ready Mary-Alice Stack explains why Own Art will do nicely payments,’ Stack says. ‘My big ambition cash, for the past 12 years. Stack added: is to make the Own Art symbol [a pink TEXT MICHAEL BARNETT | PORTRAIT ED SYKES ‘Own Art Plus will open up the market luggage label on a white background] as even further by enabling the sale of more recognisable as the Visa logo. No one has expensive works of art previously out of than £25,000, you would not be allowed to art and craft acquisitions since its launch in to explain what Visa means. But everyone reach for most people. We hope that the buy it with the help of Own Art Plus. 2004. Stack is also pleased to report that knows it is your payment option. scheme will inspire more people to start Whereas cheaper works bought from 25% of Own Art users say they have never We want this for Own Art. We have not buying and collecting work by emerging participating galleries with an Own Art loan purchased art before. achieved this yet, it is a huge task.’ and more established contemporary artists.’ must be by living artists, the Own Art Plus scheme extends to deceased ones, but only ‘This is the first time they have bought an Not unlike Christie’s reaction to Mr Liu’s In the Creative United offices at Somerset if they were born in the 20th century. At artwork. So we feel very confident that we payment method for Reclining Nude, the House six months later, she expands on the the time of writing, more than £135,000- are genuinely supporting people who have day when gallery assistants smile and say philosophy: ‘A billionaire buying high-level worth of sales have been made on Own never considered buying an original work ‘Own Art – that will do nicely!’ might not art for zillions hits the headlines and people Art Plus. These sales, Stack says, ‘also or not been able to afford to before. be so very far away. ownart.org.uk go “Oh my God! That’s crazy.” And the art enable Creative United to generate income This means we are growing the market, world is a bit crazy, frankly. In the end, it’s which can be reinvested in the further removing barriers and making people much just paint and canvas. What we are saying is development of our services as a social more confident about how to find art they that art buying is not just for billionaires. enterprise business’. love and can afford to take home.’ How to use OWN ART Locate participating galleries listed ‘Own Art Plus [offering interest-free loans Unlike Own Art, Own Art Plus is not Whether a buyers’ loan is small or large, it on ownart.org.uk and select the work of £2,500 up to £25,000 repayable over a funded by the Arts Council. The much comes interest free. The finance provider – you want. Tell the gallery you wish to period of ten months] has opened up an more accessible Own Art scheme has been Hitachi Capital – is contracted on apply for an Own Art or Own Art Plus opportunity for people who have a bit more used more than 40,000 times to finance commercial terms negotiated by Creative loan and the gallery staff will be happy money than those who use the Own Art more than £35m-worth of contemporary United. The charges it makes are based on to take you through the process. core scheme. Those who want to have a go, Eligible purchasers must be 18 or over, to be able to acquire pieces for themselves, ‘My big ambition is to make the Own Art a UK resident and working 16 hours or not knowing what the future of those more a week or retired with a pension. artworks is – maybe something, maybe symbol as recognisable as the Visa logo. No Hitachi Capital Consumer finance will nothing – in resale values.’ collect 10 monthly payments by direct one has to explain what Visa means. But debit. For full details go to: ownart.org.uk/what-is-own-art/ Though, in the unlikely event that you everyone knows it is your payment option.’ should find a doodle by Modigliani for less { } how-do-i-apply

Nickerson is everything I want from life – works under Own Art over the past few when I’m feeling anxious or overwhelmed years – mainly these have been Rowland I look at her and remember that the sea, Hilderstone sketches and Christopher a wee place of your own and being happy Jarvis watercolours. I suppose our within yourself is all that is important. I primary reason is we love original also love Marc Brown’s work because it artwork and get a lot of pleasure from it. makes me feel free – his horizons seem However, it’s also a good investment for limitless. I buy art for emotional reasons – the future for my children as they can I love that someone else sees the either keep or sell the art. I hope they Serena Hall Southwold world like I do and can articulate it in a keep it as it means so much to us. ‘I have bought pieces from the Serena way that I can’t. I work with complex I’m a radiographer by profession and Hall, Buckenham Gallery and Southwold neurological brain injury patients who Jeff is a nurse. We’re both in our 50s Art Gallery, all in Southwold, Suffolk. I have difficulties communicating and now and have been together for eight started with a painting by Garry Pereira swallowing post brain injury. We have years. I was married before and have as my mum had just died and I wanted given both our boys pieces of art for three grown up children. We tend to something beautiful to remember her by. wedding presents. I feel so very lucky to buy at least once if not twice a year Francis Iles Gallery Rochester His painting of the grasses on the dunes be able to own art, something I would and Own Art is the best way to buy looked so like the place we scattered her never have thought possible were it ‘My partner Jeff and I have made all our quality and take pride in it.’ ashes – and it gives me pleasure to not for this scheme. It gives me daily purchases from Francis Iles Gallery, Malcolm McNinch this day. The lady in the beach hut by Dee pleasure.’ Barbara Hegarty Rochester. We’ve bought six to eight

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MATT’S GALLERY

Ed Sykes Robin Klassnik 2016 Looking to new horizons...

KLASS ACTION Matt’s Gallery stands at the brink of the biggest change in its near 40-year history

TEXT ELIZABETH FULLERTON | PORTRAIT ED SYKES | IMAGES COURTESY MATT’S GALLERY

N IMPISH Matt’s has an impressive roll call of As a former art practitioner himself, 69-year-old alumni including Richard Wilson, Susan Klassnik puts each work through a brimming with Hiller, Jimmie Durham, Willie Doherty, rigorous process of testing, interrogation infectious energy, Mike Nelson, Lindsay Seers and Amikam and debate. Robin Klassnik is Toren. Many successful artists return synonymous with again and again to show there, despite ‘It’s something to do with being given Matt’s Gallery, having commercial galleries as well. complete freedom to go that bit further A the pioneering They are drawn by Klassnik’s uniquely than you’ve gone before,’ says Wilson, who non- profit space personal gallery model, using half of the famously filled Matt’s with sump oil for his he founded in the East End in 1979, space for exhibitions and the other half spectacular installation 20:50 (1987). The Imogen Stidworthy which has supported some of the most as a studio for artists to build a project oil’s black mirror surface transformed and (.) 2011 memorable artworks ever seen in London. on site; part-mentor, part-collaborator. disoriented the perspective of the space, Photo: Peter White Named after Klassnik’s onetime pet dog creating the illusion that the windows and Matt E Mulsion, the gallery has always ceiling had been pulled inside. That work lodged in derelict warehouses off the ‘Matt’s Gallery from was snapped up by Charles Saatchi and beaten track, to which informed devotees catapulted Wilson to fame. would make the pilgrimage to view the its beginning has been an audacious offerings. A bastion of integrity It can take 10 years or 10 minutes for – in an art world overrun by consumerism. artist’s project. This means there Klassnik to decide to work with an artist: Now Matt’s is set to take up residence in is nothing to be considered but the chemistry has to be right. ‘I need to a glassy tower block in Nine Elms, with be able to put a spanner in the works nail bars, restaurant chains and the the work – how best to actualise really,’ he explains. ‘Sometimes these new US embassy as neighbours. For spanners shouldn’t have been put in and Klassnik, the transition will be a massive the project, idea, intention, I fuck it up badly for them, and sometimes culture shock. my spanner is actually better than their fantasy; how best to bring the spanner.’ ‘It is a frightening thought,’ admits Klassnik, who started Matt’s in his London thought to fruition, how best Once he’s chosen someone he commits to Fields studio before moving, in 1993, to them absolutely. Klassnik let Mike Nelson a corner of Mile End devoid of cafes and to realise and materialise the transform Matt’s into a mysterious distractions. ‘For the first time, I will have conception and completion labyrinth for The Coral Reef (2000), a public that can walk in and immediately which Tate later bought; Lindsay Seers Mike Nelson walk out. They’re going to be shoppers of the new work.’ created a peep show booth for her magical More things (To the memory of Honoré de Balzac) having their nails done,’ he says. ‘Up until multi-media installation Entangled2 (2013); 2016 now, all my galleries have had a captive and Craig Barnes constructed a spaceship V-A-C Collection, Moscow audience.’ [SUSAN HILLER ] on the roof. Possibly the biggest risk

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PEOPLE

‘I feel incredibly lucky to have been part of the development of artists that I’ve met as students, who’ve become super and mega stars, and they still want to show here, which is, to me, worth its { weight in gold’ }

Klassnik has taken was his closing show ‘Robin makes a workable other gallery would allow that. If it had like fun to me. I can do that.” And in April. Matt’s Gallery went out with fallen on somebody, they’d have been dead.’ I think I can and I think I have.’ a bang – literally – with a one-off, system because ultimately he eight-hour performance, orchestrated Klassnik was born in South Africa, where He went to art school where he ‘painted by the artist-technician Jim Woodall, cares a great deal about the art, he had a relatively sheltered upbringing bad abstract paintings’ inspired by his involving the erection and intended on a farm. He was 13 when his parents heroes and Kasimir self-destruction of four one-tonne cast understands it, and for him it emigrated to Britain and had never Malevich. The turning point came in concrete pillars. In the event, only one heard swearing or seen a television. the early 70s when he was invited by the collapsed during the show, perhaps is not about its value as After struggling at several schools, Polish artist Jaroslav Kozlowski to exhibit fortunately. ‘It was magnificent… people Klassnik encountered Robert in his home in the city of Poznan. The were spellbound,’ says Klassnik. ‘From a commodity.’ Rauschenberg’s sculpture of a goat discovery of a like-minded community no cracks, you watched something enveloped in a tyre and something passionately interested in progressive, crumble in front of your eyes. And no [LINDSAY SEERS] clicked: ‘I just thought: “That looks avant-garde art practices was a revelation.

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MATT’S GALLERY

Benedict Drew Heads May Roll 2014 Photo: Peter White

On his return, Klassnik opened his own Interestingly, Klassnik and Nicholas ‘When Robin is with his partner Kathryn, was awarded studio for artists to make and exhibit work Serota, 70, were both commended by the an OBE in 2014 and, typically tongue-in- on a shoestring, part funding shows from Turner Prize in 1986. Serota now heads excited about an idea, it’s cheek, bought a personalised licence plate his salary as an art teacher. ‘It was a lucky the ever expanding Tate empire and reading RK04 0BE. Now, as he approaches escape because we all can’t be great artists,’ Klassnik earns a maximum of £33,000 obvious. When he is 70, with no obvious successor, Matt’s he says with disarming frankness. annually, some of which still finances visionary director has begun to think Although he doesn’t make work anymore, Matt’s. ‘But I’m rich,’ says Klassnik. ‘I feel bored or confused by about his legacy. Klassnik regards his gallery as an artwork incredibly lucky to have been part of the itself. He keeps two 4-metre cacti in Susan development of artists that I’ve met as something, it’s equally The move to Nine Elms is a leap into Hiller’s studio, which he waters weekly as a students, who’ve become super and mega unchartered territory. Covering 12,000 sort of performance. ‘I’ve now decided stars, and they still want to show here, obvious.’ square feet with double height, the gallery that’s my artwork, like Duchamp with his which is, to me, worth its weight in gold.’ will constitute ‘the cultural quarter’ in a chess,’ he quips. Klassnik, who has two grown up children [SUSAN HILLER ] block of luxury flats. It will still follow

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PEOPLE

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MATT’S GALLERY

‘I cannot think of another gallery in the 80s that would have allowed works like 20:50 and She came in thro’ the Bathroom Window to have happened. Both works disrupted the spaces they occupied and the latter even enlisted part of the gallery fabric as part of the work.’

[RICHARD WILSON]

Richard Wilson 20:50 1987 Photo: Edward Woodman

‘Robin needs money to keep Matt’s Gallery alive and he loves it when something is sold, but since he is not very interested in money per se, the commercial side of things doesn’t get much consideration. This frees the artists to do their best without regard to any market, real or imagined.’

[SUSAN HILLER ]

Klassnik’s non-commercial approach, inaugurated this month with a show by with the addition of a bookshop and the performance artist Leah Capaldi. small cinema, but in a business zone. While this is happening in London, ‘If somebody would offer me a warehouse Klassnik is spearheading a parallel plan in Jimmie Durham ‘Robin’s energy and support somewhere at a rent I could afford I would Gloucestershire: a new art venture called Building a Nation 2006 take it tomorrow, but no one’s going to do Blackrock with the artists Roy Voss and is also invaluable in the process; that. And I think this is how it’s going to Rupert Bathurst on Bathurst’s Lydney go, having galleries in new builds,’ says Park Estate. Blackrock already has an he works strongly on intuitions Klassnik. He was forced to move because artists’ residency programme and last he could no longer meet the rent on month opened a gallery in a converted and a long experience of creative his Arts Council grant. But he has barn with a show of Willie Doherty, surmounted bigger challenges before. which will run for a year. processes. He never goes on Few people are aware that he has lived holiday whilst you’re building with multiple sclerosis since 1993. The illness means he never travels abroad The three directors envisage that work, he is absolutely with you or takes public transport yet he has Blackrock will eventually have its own managed to pull off innumerable art collection and house Matt’s extensive and is committed and groundbreaking shows that have ended archives. Referring to the Museum of up in museum collections. Modern Art-affiliated experimental hard-working as any of his space in Queens, New York, Klassnik Left Pending the construction of the Nine says excitedly: ‘I think I’m going to have Top and bottom collaborators.’ Elms building – scheduled for 2019 – a PS1 down on this estate. I really am.’ Lindsay Seers Matt’s Gallery has moved into an interim Given Klassnik’s track record, there is Entangled2 (Theatre II) 2013 [LINDSAY SEERS] warehouse in Bermondsey, which is being every reason to believe him. Photo: Peter White

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PERFORMANCE

Joe Moran, Singular, performed at Gallery Lejeune, 2015. Courtesy of the artist and Gallery Lejeune

ITH THE full attendant’s uniform, who undresses opening of three each time a visitor enters the room. underground COLLECTING When he is totally naked, he announces: concrete tanks at “selling out, 2002, Marc and Josée Tate Modern in the Gensollen Collection’.3 summer of 2012, performance – or PERFORMANCE The rules of ownership surrounding the ‘live’ – art made its sale of Sehgal’s constructed situations are Wgrand entrance on to the stage of a major shrouded in secrecy. According to the international gallery. The launch of the lawyer, writer and independent curator, Tanks, the world’s first museum galleries ‘Is it just another (of many) stupid art Daniel McClean, however, buyers have to dedicated permanently to this art form, world dilemmas? Can – or even should – accept six primary conditions: (i) that the brought with it questions of how to work is activated only by Sehgal or an ‘collect’ or preserve something inherently live art be collected?’ authorised assistant; (ii) that the work transitory and ephemeral. As independent must be shown for an agreed minimum curator Teresa Calonje notes, in her TEXT ANNA MCNAY period; (iii) that the interpreters are paid incisive book on the subject: ‘…the entire an agreed minimum; (iv) that the owner museum [Tate] is changing its rules now takes steps to prevent the filming/pho- that it is preserving live works that involve tographing of the work; (v) that the owner human beings rather than objects and […] obtains the prior consent of Sehgal if the it is dealing with a new type of visitor who owner wishes to loan it; (vi) that if the comes to experience an event rather than work is re-sold, it is re-sold according to to see an exhibition’.1 While performance the same oral contract.4 art is no new beast, it is only in the past few years that private and institutional The issue of performers being paid is one collectors have been attempting to preserve that causes problems across the board. the original live moment, as opposed to Unlike the world of theatre or dance, documentary photographs, film footage, where regulations exist, the art world is or material objects used or created in the still inexperienced on this level. Rose process (think Chris Burden, Carolee Lejeune, an independent curator who Schneemann, Marina Abramovic, Joseph runs a gallery space in her Peckham flat, ´ Beuys and Ana Mendieta, to name but a points out: ‘I think that’s one of the things few artists, whose performative works are museums really struggle with. You put a preserved in this manner). As Calonje painting show on and the longer it’s on, continues: ‘These attempts are bringing the better value it becomes, because you into play questions of the original and the only pay for it once. But if you put on a copy, the true and the fake, and the role performance show, every day that it’s on, and the authorship/authority of the artist’. you have to pay 10 performers. There’s a Tuuli Malla, I am a cat, 2016. Courtesy of the artist and Nahmad Projects London. Photo Benedict Johnson completely different set of coordinates to Catherine Wood, curator of contemporary think about in terms of how you put on art/performance at Tate Modern, notes epitomise the concept of commercial purchasing a work by Sehgal: exhibitions, how you care for exhibitions that not only does live or performance art mainstream live art today. He sells not ‘Transmission is exclusively oral, there whilst they’re happening, etc. Everything need to be ‘camouflaged in object-form only a set of instructions, which he is no written trace, no certificate, no is flipped on its head’. in order to find its way in’, but that the communicates verbally and in person, but accountable trace of that particular piece unfamiliar struggle for museums continues also a body of understanding around his or of the transaction. We had to acquire Aaron Cezar, founding director of even beyond the point of acquisition work in order for the new owner to fully the work in front of witnesses attesting Delfina Foundation, which has just run its since some artists will simply not let go engage and for the work to be properly that Tino had sold us the piece. We went second residency programme focusing on of their work.2 executed. Very often, his works may only to a notary to authenticate the transaction, performance art, suggests it could work be performed by executors he has personally but without anything being written down something like it does for architects, The most notorious arbiter is doubtless selected, and he retains all exhibition rights in the process. Meaning that the notary where an artist would base his or her nominee Tino Sehgal and, strictly, will permit no recording or was just an eyewitness of that transaction fee on a percentage of the total cost of (b1976), whose ‘constructed situations’ documentation of his work in any shape between the artist and ourselves. The the production. Often, he notes, the or form. Marseille-based collectors, Marc action – because it is an action and not a production side of things costs more than Tino Sehgal and Josée Gensollen, who specialise in performance – is carried out by a museum the fee. ‘It’s an unsustainable situation,’ collecting live art, describe the process of attendant that is played by an actor, in his he says. ‘There should be some standards. We might need some kind of union, or an artist agent, to identify a standard daily ‘Collectors want to acquire something that is rate. Galleries are a business and they have of a permanent nature, which, in the case of to survive. They do a lot but they can’t do it all. They’re paying for PR, space, art performance, can change not only the perception fairs. The idea of agents and producers of the piece, but its whole raison d’être’ who are out there brokering deals for artists and ensuring that the artists get { TANIA BRUGUERA } fees and the institutions get really great 26 | STATE 22 www.state-media.com State_22R_Layout 1 08/09/16 23:42 Page 27

ENDLESS SKIES

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PERFORMANCE

content – it could be a really good new ‘Decontextualising the object from its objects and how to think of an artist’s model. In the theatre world, it exists in practice in a more holistic way.’ In her that kind of way. We need to look to performance, you only know half of the story. gallery, she seeks to demonstrate how live other art disciplines for ideas. Whoever It would be like seeing an without art might be shown in a domestic context. commissions the work needs to be paying ‘Practices don’t just come out of one the artist. Either a standard day rate or a knowing about the naked women’ medium – they come out of many percentage of the budget – you need one different media simultaneously or in or the other so that there’s a bare mini- { ROSE LEJEUNE } combination. The commercial realm mum for the artist. Often a gallery will pulls out the object bit and pushes the insist it’s an emotional thing, and how and social art practices don’t end up as monetary value of that is. I think there rest to one side or allows it to exist as can you put a value on a work? But even collectable unique objects, but as human are more progressive ways of thinking entertainment in relation to the object. marriage – an emotional contract in experiences. […]Collectors want to acquire about art. Delfina is not collecting work; But I wanted to think about what extremis – has a signed contract!’ something that is of a permanent nature, she’s investing in the work – investing happens if you actually try to show the which, in the case of performance, can in the process of the making and not whole, sell the whole, or represent the Not all performance artists want to sell change not only the perception of the necessarily trying to take ownership of a whole in a collection. Decontextualising their work, however. Cuban artist, piece, but its whole raison d’être’.5 moment. It’s more about the potential the object from its performance, you only Tania Bruguera, says: ‘I am sure there Similarly, recent Delfina resident, Alexis of the moment’. know half of the story. It would be like are collectors out there somewhere who Blake, says: ‘I’m very apprehensive about seeing an Yves Klein without knowing might be interested in political or socially selling my performance work. I feel it’s the Lejeune agrees. ‘The question is not about the naked women. Or a tribal engaged art, but I am not sure that antithesis of it. It’s something ephemeral. how to pull out performance as a specific mask without the ritual with which it is collecting is the best format to create It’s something that can be experienced by thing, but rather how to put it back associated. The object only makes sense support for this kind of work. Political everyone and I’m questioning what the into the dialogue about all of those in relation to its performance. You’re

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COLLECTING PERFORMANCE

Tate Modern L0 East Tank ©Peter Saville

Pablo Bronstein Historical Dances in an Antique Setting , 2016. Photograph: BrothertonLock © Pablo Bronstein

Alexis Blake Conditions of an Ideal British Museum, 2016, © Arron Leppard, courtesy of Block Universe & Delfina Foundation

engaging with artists and you’re engaging by witnesses as well as YouTube. So are may have some intent in making the work, commercially viable solution. The dialogue with ideas and you’re engaging with all memories and anecdotes for sale? Perhaps or some message that she or he wishes to is on-going, with foundations like Delfina different kinds of experiences, as much as they can be if enough people want them...’ convey, it is ultimately the viewer of the at the helm. But those underground tanks you’re engaging with objects. For me, work who constructs its meaning. […] still have a lot to be thanked for. As that’s where the joy and excitement is. ‘The memory and the experience of the all artworks are disintegrating and Bruguera clearly points out: ‘Tate made That’s what’s meaningful.’ event is often much more exciting than disappearing. Nothing lasts forever. The it mainstream and desirable for other people realise,’ continues Lejeune. ‘It’s not rate of decomposition is just different institutions of the same size and impact always about what can I buy? It’s about between flesh and canvas and stone’.6 to enter the conversation’.7 Performance art how can I host an event and really engage veteran, Rob La with an artist in an intimate way – and The question ought perhaps therefore NOTES: Frenais, who edited then remember it?’ not to be whether live art can be bought, 1. Teresa Calonje, Live Forever the influential sold and collected, but how it might be Collecting Live Art Koenig Books. 2014. p17 contemporary cultural The key problem, it seems, is that if live subsidised and promoted, and how those 2. Ibid p25 journal Performance art is just that, ‘live’, how, if it is sold or involved might be able to not just cover 3. Ibid p115 Magazine from collected, can it remain alive? their costs, but earn a fair living. For those, 4. Ibid p110 1979-92, likewise says: like Sehgal and Abramovic, who have hit 5. Ibid pp39-42 ´ Rob La Frenais ‘I see performance art Performance artist Marilyn Arsem the big time, the equation might be easy 6. Jen Ortiz, ‘Can Performance Art be as a form of oral concludes: ‘All art is essentially a document to balance, but for those less well known, Collected…and Still Maintain its Original tradition that is passed on like stories of an action, whether it is done in private with ambitious socio-political messages Message…?’, Hyperallergic, 28 June 2012, around a campfire. How many people or for a witness. And in that respect, even and higher production costs, only time hyperallergic.com/53624/can-performance-art- actually saw Beuys with the coyote in a painting can be considered a document will tell whether this new wave of be-collected/ [Accessed 02/09/16] New York? Yet we have verbal accounts of an action by an artist. While the artist interest in the art form will figure out a 7. Calonje (2014) p48

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UNLUCKY FOR SOME ‘visiting’ an online exhibition more than virtually RECENTLY I’VE been involved in judging various reduces me to tears. art prizes. It’s amazing how much contention this can cause, not just in terms of who deserves to be the That said, the fact that are hosting a winner, but also concerning the processes of judging Anna McNay ‘virtual closing event’ for their current video art show, and even applying as well. Apparently, there are , is certainly tempting to an A Performer/Audience/Mirror artists out there who believe that paying to enter antisocial being such as myself: a back-to-back online a competition goes against the grain. As an unpaid screening session, to be enjoyed at leisure from the judge, I can, however, certainly see the arguments for comfort of your own living room, appeals rather more there being some nominal fee. Firstly, in the absence than standing in a crowded gallery, unable to see the of a sponsor, this might go towards making up work, air kissing superficial ‘friends’ and drinking the prize money, without which there could be no warm prosecco. competition at all. Secondly, there are certain administration costs associated with setting up either a website or a desk and panel of folks to sift through – STILETTO TALENT and, ideally, pay appropriate attention to – some PERHAPS YOU can tell: I’m not a fan of video art in several hundred hopefuls’ artist statements and jpegs. galleries. You mightn’t, therefore, expect me to be Thirdly – in the cases where some of this fee is being excited about the forthcoming Jarman Award for taken as profit by the gallery – knowing many small, moving image art. This year, however, there is a certain but genuine,galleries I fully support the idea of run- enticement since five of the six finalists are women. ning a prize, which will reward both the entrants and Sophia Al Maria, Cécile B Evans, Shona Illingworth, the gallery. Rachel Maclean and Heather Phillipson have been shortlisted alongside Mikhail Karikis for the £10,000 As with anything, there has to be some barrier to prize, which will be announced on 28 November at prevent a straightforward free-for-all: not every artist the , alongside the Jules Wright ought to be entering every competition willy-nilly. It prize, honouring the achievement of a female creative needs to be asked: is my work appropriate for this? technician in the field of film editing. What will the Do I stand a hope in hell of winning? Would I pay some audience be spotting on the night, though? Genuine small amount now because I genuinely believe I am ‘How fair is it to an artist talent? Outfits à la the Oscars? Or footwear à la in with a chance of winning it back tenfold? After all, Art Basel, where a debasing debate took place this lottery tickets are not for free. But over the last couple to have his or her work summer as to whether or not a woman dealer needs of years there has been a proliferation of competitions to wear heels in order to sell art, with both Amalia and the entry fees have jumped up, putting good Dayan (of Luxembourg & Dayan) and Dominique Levy entrants off. The whole concept is becoming totally judged on the basis of a claiming outright not to be able to sell a painting in devalued, money-making exercises for their own sake, flats. ‘I have to be wearing high heels,’ Dayan asserted. and with all the cash coming from the wannabe smartphone-sized jpeg?’ I wonder if this is still the case when their sales are artists. mediated by a virtual gallery storefront?

I have my doubts about the whole judging process as SHOW ME YOURS well. How fair is it to an artist to have his or her work judged on the basis of a smartphone-sized jpeg? AND I’LL SHOW YOU MINE… Despite often being accompanied by information about HAVING EXPERIENCED a variety of methods of judging, size and materials, how can anyone really get an idea going in person, along with the rest of the panel, to of the work from such a compressed glimpse? On the see and discuss the works at one of the awards (Lacey other hand, there is often a simultaneous overload of Contemporary Summer Art Prize), unsurprisingly TMI: providing the website and the suggestion that one came out as a most fulfilling experience. I was talked look beyond the work submitted to read about the into voting for a work I would otherwise have dismissed artist’s wider oeuvre surely defeats the point of its offhand, because my colleagues were able to persuade being a fair, open competition where emerging artists me of its merits and help me see things I’d not noticed stand as much chance as established ones. For one on my own. Likewise, I was able to convert the well-known portrait prize, the panel members were opinion-strong Londonist art critic, Tabish Khan – apparently advised to consider the work submitted in with whom I notoriously tend to disagree – into backing Andrew Hindraker Guerrilla Girls 2015 the context of the rest of the artist’s work, in order to my horse, the ultimate first prize winner, Andreea Courtesy the Guerrilla Girls decide whether a ‘naïve’ work was deliberately faux Ionascu, too. Taking time to look at and discuss the naïf or whether it was simply crap. You are then being works is surely what makes a competition worthwhile – GUERRILLA TACTICS asked to select a winning artist, not a winning work. for all involved. And, as an artist, it is something – I BET THERE won’t be any heels in sight at the Tate And there are artists being excluded from entering alongside, of course, the actual prizes – for which you’d Exchange during Frieze week, however, when the simply because they do not have a website or social be willing to pay a nominal price. Guerrilla Girls take up their residency, asking visitors media profile to put on their entry forms. Perhaps the to post their personal gripes about the art world better artists are actually those who concentrate on on the walls and inviting debate about all that ails their work and not on virtual self-promotion? HAPTIC EXPERIENCES us world-weary art aficionados. Having already IT’S NOT JUST prizes that are being relegated to a established certain common ground when I spoke to Andrea Schwan An Art Basel fairgoer spotted en route to virtual existence, however. Exhibitions as well are Frida Kahlo and Käthe Kollwitz via Skype the other the fair on VIP preview day starting to be created – or, to use the hip term, week, I, for one, will be there, eschewing the madness curated – online. StateF22 contributor Jesc Bunyard of the fairs, but keeping my flat-soled feet firmly explored this issue recently in an article for FAD1, planted in the world of face-to-face – even if one is asking how the experience of such a show differs rather furry – contact. Anyone up for joining in and from the one that occurs within the four walls of a letting off steam?2 gallery. ‘Instead of walking from photograph to photograph,’ she notes, ‘seeing a work from afar and then approaching, the viewer swipes or clicks. NOTES: […] The viewer’s gaze becomes technologically 1 Jesc Bunyard, ‘Online exhibitions, mediated. […] The gaze and the touch become fused’. Part 1: The Electronic Gaze,’ FAD magazine, 4 July 2016, Her conclusion, not altogether dismissive of this fadmagazine.com/2016/07/04/online-exhibitions-part-1- technological ‘progress’, is that an online exhibition electronic-gaze/ [accessed 31 August 2016] is a ‘process of haptic exploration’. Surely touch is 2 The Guerrilla Girls will lead a week-long major public about presence, and presence is the one thing that project at Tate Modern as part of Tate Exchange, is clearly absent in the virtual realm? The idea of 4-9 October 2016

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3 0 12:39 ART&MONEY

VICE MEDIA PARKS $$$$$ STAKE IN DASHA’S GARAGE

31 ART & MONEY COVER.indd 3 07/09/2016 12:39 ART & MONEY FREE-FOR-ALL PORT CHINA SYNDROME

THAT’S LIFE… THE CHINESE Taikang Life Insurance Company has bought a 13.5% holding in Sotheby’s, becoming the largest shareholder of the New York-based auction house. Controlled by the grandson-in-law of Chairman Mao Zedong, its 13.5% stake out-guns hedge-fund supremos Dan Loeb (Third Point) with 11.38%, and Steven Cohen (Point72 Asset Management) who owns 5.5%. With a potential seat on the Sotheby’s board is Taikang’s Chen Dongsheng, a businessman and art Dimitry Rybolovlev collector who helped found China Guardian Auctions Co Ltd. He is married to Mao’s granddaughter, Kong GENEVA’S 127-year-old Freeport facility, a Dongmei. Taikang has already ‘provided suggestions two-building storage for goods in transit and regarding future director nominations for election’ to exempt from custom duties, has tightened the board. Sotheby’s sold $460 million worth of Asian security following its former boss and now art during the first half of 2016, from a total of $2.4 major client, Yves Bouvier, being arrested for billion art sales, down 25% from 2015. Sotheby’s is allegedly defrauding Russian collector, Dimitry bullish – Tad Smith, its chief executive, said he expects Rybolovlev. The infamous Panama Papers have ‘all shareholders, clients, and staff will benefit’ from also revealed the Nahmad family lied to a court the changes. How activist shareholder Loeb will react Taikang’s Chen Dongsheng over ownership of Modigliani’s painting Seated remains to be seen. (source: Wall Street Journal) Man With a Cane (1918), stored at Geneva. Supposedly stolen by the Nazis from original owner, Parisian art dealer Oscar Stettiner, his grandson sued the art-dealing Nahmads for its return but the suit was dismissed when they claimed not to own the picture. Geneva has increased customs inspections, especially on new requests to store ancient artefacts, plus implementing a biometric system to identify and track visitors to the Freeport’s two locations. Unsurprisingly, publicity-averse ‘collectors’ have begun to transfer holdings to other Freeports in London and Delaware.

GIRLS IN PRINT

Ullens Center for Contemporary Art

CHINESE WHISPERS

THE RESPECTED Ullens Center for interest in their activities. police the right to supervise and penalise Contemporary Art (UCCA), one of According to the China Museums foreign NGOs carrying out activities that the most renowned private museums in Association, the number of museums has could ‘threaten national security’ or ‘ethnic Beijing, is to be sold and it may not be increased by 60% (from 2,601 in 2009 harmony’ – affecting some 7,000 NGOs Garage Magazine cover. the last to risk ceding to inappropriate to 4,164 in 2014) in just five years. The operating in China. NGOs dealing with ownership. Although declaring itself number of private museums more than arts and culture are included. It gives the SEEMINGLY unstoppable, Vice Media (VM) a ‘non-profit, non-collecting, non- tripled in that same period, growing to 864 authorities ‘virtually unchecked powers to has acquired a controlling stake in Garage governmental museum’, it is in fact in 2014. Local art traders initially thought target NGOs, restrict their activities, and Magazine, Dasha Zhukova’s doorstop art registered as a company called Beijing one solution would be for China’s private ultimately stifle civil society,’ according magazine for the art-as-lifestyle set. As the Artrivium Art Communication Co Ltd. museums to change their legal status to that to Amnesty International. President editor-in-chief Mrs will UCCA relied on foreign capital for its of a non-governmental organisation (NGO) Xi Jinping has spurred the Communist continue in her role at VM and boost the online launch by Belgian art collectors, Guy and and sidestep the company requirement of a Party to strengthen its ideology through presence, build a digital video channel, and Myriam Ullens, in November 2007. In single owner or set of shareholders. However, tightening its grip on the media and launch new international editions. Zhukova was 2014, the UCCA removed the name of Ai last April, China passed a new law to give the culture. In 2014, he told artists and also a founding partner of Artsy, an online art Weiwei from the press release for Hans van authorities tighter control over foreign NGOs authors to uphold ‘socialist values’ in their sales site, alongside Google’s Eric Schmidt and Dijk: 5000 Names, aware of Government and their domestic partners. This will grant artworks. (source: ARTSY) Wendi Deng, the ex-Mrs Rupert Murdoch.

Zhukova founded Moscow’s Garage Museum FORTUNE COOKIES of Contemporary Art (like a Russian Tate Modern) eight years ago in an abandoned MEANWHILE IN the real world, PM Theresa May has frozen espionage in America, according to the US justice department. 1920s bus depot. Last year, it moved to a Rem the Hinkley Point C nuclear plant development in Somerset after And as if things could not get any worse, Hony Capital (Chinese Koolhaas-designed building in Moscow’s initial partners, EDF (French state owned), sold a £6 billion, one owned) has just bought Pizza Express – and a Chinese firm already Gorky Park. VM itself has received investment third share, to the China General Nuclear Power Corporation controls Weetabix, Alpen and Ready Brek. Is nothing sacred? from media companies that include 21st (CGN). This Chinese company has just been charged with nuclear (source: BBC) Century Fox and Walt Disney, which last year doubled its stake to $400m, valuing Vice at about $4.2bn. (source: Financial Times)

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32/33 ART + MONEY.indd 14 07/09/2016 12:57 ART & MONEY AUSSIE FOOLS TTOOPP TTEENN PAINTINGS BY SALE VALUE

This list is ordered by consumer price index, inflation-adjusted value in USD millions.

Tuesday Bassen Adjusted Price Painting / Artist / Year Date of sale PEOPLE POWER ZAPS ZARA $300 Interchange Willem de Kooning 1955 2015

$300 Nafea Faa Ipoipo Paul Gauguin 1892 2015 LOS ANGELES-based artist Tuesday Bassen contrasted her original designs with Brett Whiteley $272 The Card Players Paul Cézanne 1892/93 2011 alleged rip-offs sold by Zara in a blog post that then went viral. As a result more than 40 FAKED PAINTINGS credited to Aussie $200 Number 17A Jackson Pollock 1948 2015

independent artists and designers stood up to super-star Brett Whiteley were sold to $186 No. 6 (Violet, Green, Red) Mark Rothko 1951 2014 claim similar infringements of their intellectual Sydney Swans chairman and merchant property rights by the international fashion banker, Andrew Pridham, in November $180 Pendant portraits of Maerten Soolmans 2015 giant. Her friend, Adam Kurtz, also launched 2007; and Sydney luxury car dealer, Steven and Oopjen Coppit Rembrandt 1634 a site called Shop Art Theft, to offer side-by- Nasteski, in 2009. Mohamed Aman $179.4 Les Femmes d’Alger 1955 2015 side comparisons of artists’ designs and Zara’s Siddique (68) created three fake Whiteley alleged copies. A call to boycott Zara, led by works at his studio in Collingwood, $170.4 Nu Couché Amedeo Modigliani 1917/18 2015 Kurtz, also gained much traction. After an Melbourne. Peter Stanley Gant (60) then initial f*** off response, Zara parent company sold them netting the pair $2.5 million. The $164.3 No. 5, 1948 Jackson Pollock 1948 2006 Inditex bowed to growing negative PR and defence argued that although Siddique did $161.4 Woman III Willem de Kooning 1953 2006 announced it would immediately open an create Whiteley copies, the sold paintings investigation into the matter and suspended the were Whiteley originals created in 1988 and relevant items from sale. Inditex’s legal team is kept in storage for nearly 20 years. The jury also ‘in contact with Tuesday Bassen’s lawyers was not convinced despite counter testimony to clarify and resolve the situation as swiftly as from former Gant employees. Gant had ‘YOU CALL IT A TRIBUTE’ © D.HIRST possible’. People Power – megacorps take note! previously been convicted over fraudulent (source: Hyperallergic) artwork sales (2010). It’s Australia’s biggest art scandal to date. (source: The Australian)

BLOUIN IN THE WIND

Hirst’s pill-inspired jewellery

REFORMED BAD boy Damien Hirst is being Hirst ‘copied and/or created derivative works’ sued again. His Medicine Cabinet series was of her Pill Charms and Pill Charm Bracelet. Louise Blouin followed by merchandise including crockery Hirst’s company, Science Ltd, has responded sets and a jewellery range. Now Canadian saying: ‘We refute the claim made by Colleen MONTREAL BORN Louise Blouin, 56, made her money selling ad space in Trader Colleen Wolstenholme is seeking ‘punitive Wolstenholme. Damien Hirst designed Classified Media, launched in 1987 in her native Canada with now ex-husband, John damages’ in a Manhattan, NYC, court, accusing his earliest pill work in 1988, long before MacBain. Upon divorce in 2000, according to Forbes, she sold her 22% shareholding for him of copying her prescription pill-inspired Wolstenholme created her first jewellery’. In $200 million. Now Swiss based, the publisher cum art collector has put the $145 million sale charm bracelets. Through Other Criteria, fact, Hirst’s pill-inspired jewellery range was of her Hampton’s compound on hold, after being named in the infamous Panama Papers. Hirst sells pill-inspired jewellery, including not launched until 2004. She was exposed as having been linked to five offshore companies based in the British one item for £25,000. Wolstenholme alleges (source: Sunday Telegraph) Virgin Islands. The four-acre property comprises two homes, two pools and a tennis court on exclusive Gin Lane. The main home was built in 1897, while a second guesthouse was constructed in 2002. There is private beach access as well thanks to the property’s 400 feet of GONE beachfront. It can currently be rented for $1 million a month!

Blouin bought Art + Auction, Modern Painters, and artinfo.com in a famous acquisitions spree LATEST executives to depart Christie’s: to boost her art credentials. However, by 2014 her firm was being sued for over $1 million in Paul R Provost, the senior vice president; unpaid production bills by Fortune 500 printers, RR Donnelley, after failing to maintain a Nicholas Hall, international head of old previous debt repayment agreement. Her imperious mannerisms and incessant reports that master paintings and 19th Century Art; and the art magazines were financially unstable – and staff and freelancers going unpaid – rapidly Cathy Elkies, head of Christie’s 20th and took the shine off Blouin’s very slick PR shell, not least the scandal over writers based in India 21st Century Design. Christie’s announced allegedly being deliberately scammed. Court records show 10 lawsuits being filed in New that sales for the first half of 2016 had York since 2010, some regarding unpaid wages and commissions at Art + Auction. Having dropped to $3 billion from $4.5 billion. previously dated Simon de Pury, she married Mathew Kabatoff in 2011. Sales volumes were down 29%. Christie’s (source AP//Daily Beast) is owned by French businessman and François Pinault collector François Pinault.

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T HE K ATE I NSIDE “I love to work with Guido. 13 | 30 SEPTEMBER 2016 He makes you feel special without ever saying anything.” - Kate Bush

Art Bermondsey Project Space 183-185 Bermondsey St [adjacent to ] London SE1 3UW Telephone 0203 441 5152 [email protected] www.project-space.london KATE BUSH PHOTOGRAPHED BY In association with Wa l l Sound GUIDO HARARI Of Gallery 1982 | 1993 --    C         ,   &      

PAULINA KOROBKIEWICZ

GRAHAM KEEN / JOAN BAEZ AND DONOVAN TRAFALGAR SQUARE TRAFALGAR BAEZ AND DONOVAN GRAHAM KEEN / JOAN © GRAHAM KEEN 1966 AND ALL THAT SWINGING LONDON : POP & PROTEST CURATED BY LUCY BELL AND TERENCE PEPPER

3rd Sep - 22nd Oct 4 - 27 OCTOBER Gallery open Tuesday to Saturday 11 am - 4 pm DISCO POLO PHOTOGRAPHS LUCY BELL or by appointment 07979 407629 FINE ART PHOTOGRAPHY 46 Norman Road St Leonards on Sea TN38 0EJ GALLERY & AGENCY www.lucy-bell.com [email protected] 01424 434828 ART BERMONDSEY PROJECT SPACE 183-185 Bermondsey Street London SE1 3UW www.project-space.london 0203 441 5152

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rosenfeld porcini

levi van veluw

the foundation

7 october - 24 november 2016

factory 2016 charcoal on paper 250 x 120 cm State_22R_Layout 1 08/09/16 23:43 Page 36

PROJECTS

THE ARTS COUNCIL COLLECTION (ACC) Established in 1946 8,000 works by more than 2,000 artists Important early work by most influential GOODSIN British artists

THE ACC has a dual role: to promote and encourage appreciation of British contemporary art, and to support galleries, artists and the art community at large. TRANSIT One of the largest loan collections of British art in the world, it ‘exists to lend’, enabling small arts organisations to stage ambitious exhibitions. Though its loan A vast assortment of publicly owned programme remains its ‘bread and butter’, it now provides long-term loans for art quietly travels arcane pathways public-facing buildings (schools, TEXT JESSICA CARLISLE universities and hospitals), curates touring exhibitions, commissions art Think of our national collections and one automatically thinks of work and publishes educational material. Cultural Attaché: The Hague The majority of these activities take museums – Tate, the National Galleries, the British Museum. By GOVERNMENT ART COLLECTION place outside London, with only their very nature, public collections that don’t have a permanent around 2% of loans going to London out of a necessity to cover the cracked borrowers. A clear riposte to accusations home have less visibility. Yet the Arts Council, the walls of ministries (when government could of London-centric bias. and the Government all have prestigious holdings of British art; no longer rely on aristocratic ministers collections that play a fundamental role both in how we define to provide from their own collections) its primary role is to provide art for THE BRITISH COUNCIL ourselves as a nation and how we are perceived internationally. government and diplomatic buildings but it COLLECTION (BCC) Anyone involved with contemporary art knows they are desirable has evolved into a sophisticated instrument Established: 1938 of cultural diplomacy. Through considered More than 8,500 artworks from collections to be in, but does anyone really understand what these curation of their properties, diplomats can 20th century onwards collections do, or appreciate the subtle distinctions between them? project an image of their country (and themselves) and highlight the UK’s THE REMIT of the BCC is broadly historical ties with other nations. Heavy similar to that of the ACC, only its scope Its aim is ostensibly to promote the GOVERNMENT on prints and naval scenes, its quality is is international as as opposed to national. achievements of the UK’s best artists ART COLLECTION (GAC) variable, but its inconsistent nature is part This offers the potential for high but, as an extension of the British Established: 1889 of its fascination. The story behind each visibility. The collection forms a nucleus Council, its core mission is to build Size: more than 13,500 artworks from work’s acquisition – as far as we can know for British Council touring exhibitions knowledge and understanding between the past 500 years it – becomes as interesting as the works and displays in British Council buildings the people of the UK and the wider themselves, from New Labour’s splurge on worldwide, but also provides loans for world. As its current head, Diana THE GAC is perhaps the least known of YBA works as part of its Cool Britannia third party exhibitions and to museums Eccles, puts it: ‘Making links and these three key collections, despite being the campaign to the portrait of Robert Walpole to expand their British art collections. forging partnerships’. oldest and the largest. Reputedly originating donated with Chequers.

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Racking Store GOVERNMENT ART COLLECTION

more reflective of the UK as it is today. All look to the creative sector for support. YOU CAN’T PLEASE EVERYONE three collections work closely at senior level As Sir David Verey CBE, chairman of and have policies for joint acquisitions, the GAC’s Advisory Committee and THE POLITICAL CLIMATES of different there is the constant pressure – common to whilst, in 2000, the GAC put on a series of ex-chairman of Tate trustees, points out: eras have seen these collections evolve, all contemporary collections – to remain exhibitions at the Whitechapel Gallery. ‘People don’t come to Britain for our develop and adapt in ways that reflect the current and relevant. Notwithstanding For all three, digital is very much on the sunshine and beaches’. Post-Brexit, our establishment’s changing relationship to the this, the past decades have seen a rapid agenda, with a constant endeavour to cultural capital is perhaps our most visual arts. In the 21st century, a key task expansion in the work of these collections. engage audiences online. important national asset, and it is through is to convey an impression of the UK’s The Arts Council has initiated its National the work of organisations like the ACC, thriving cultural scene. This is not without Partners Programme, a mutually beneficial It is rumoured that when Theresa May BCC and GAC that we might open up our its difficulties. In addition to comparatively partnership between the ACC and regional took office as Prime Minister, she removed heritage, our culture and our expertise to modest funding (their aggregate acquisition museums. In much the same way, the art works from Downing Street and a wider audience. budget comes to around £500,000 per British Council now puts less emphasis substituted motivational slogans from her year), there are a number of other on internally curated exhibitions than on inaugural speech. If true, such news hardly limitations. For instance, works need to inviting international curators (currently bodes well for the arts. But if Ms May is With thanks to Jill Constantine, Head of the Arts be physically robust to endure different women from Saudi Arabia) to work with truly seeking to address the imbalance Council Collection, Diane Eccles, Head of the climates, and easily portable for the the collection. All organisations have between our bustling metropolis and our British Council Collection, Bethany Hughes, extensive travelling they will do. Politically expanded the range of works they are buy- poorer provinces – and to prove that the Curator at the Arts Council Collection, Adrian or culturally sensitive work, or work of an ing to improve diversity (less white, less UK is not the inward-looking island others George, Deputy Director of the Government Art explicit nature, may present a problem, and male, less London-centric) and make them might think it is – she would do well to Collection, and Sir David Verey CBE

Outreach to Saudi Arabia THE BRITISH COUNCIL COLLECTION KATIE PATERSON Totality 2016 THE ARTS COUNCIL COLLECTION

www.state-media.com STATE 22 | 37 State_22R_Layout 108/09/1623:43Page38 Tickets at frieze.com Wednesday 5October New Preview Day 6 Regent’s Park London – 9 October 2016

Arch designed by James Stirling. Image selection: Pablo Bronstein. Photography Luke Hayes. State_22R_Layout 1 08/09/16 23:43 Page 39

STATEMENT WHAT THEY SAID ABOUT TATE MODERN

Southwark. Now you’ll be able to walk right through the place, from one side to the other if you like, tempted by a big ground-floor bar on the way.

GAVIN TURK iNEWS.CO.UK THE LIFT seemed lovely but it’s strange that you can only get to Floor 10 from Floor 0 and vice versa. Certainly the last thing you should be encouraging is for people to come in, get in a lift, go straight up to the 10th floor viewing platform and then go launch party speeches Dafydd Jones back down and leave without looking at any of the art. That said, the view from TATE PRESS OFFICE of the new carceral extension [...] The new CAROLINE ROUX/TELEGRAPH the top was incredible […]. A brand new THIS NEW development will transform Tate Modern will thus be not an art gallery JACQUES HERZOG might be half of the view of London, looking straight out over Tate Modern. An iconic new building will per se, but a sort of life-size model of architectural duo that has just completed the Thames and down on the hugely be added at the south of the existing what an art gallery might be should our the dazzling extension of Tate Modern [...] privileged people who have just bought gallery. It will create more spaces for culture have need of one. Since it doesn’t, But the subject that really makes his eyes one of Richard Rogers’ Bankside displaying the collection, performance and but rather has a requirement for visitor light up is football. [...] Pierre de Meuron apartments. installation art and learning, all allowing attractions that reify the ever-widening and Jacques Herzog set up their practice visitors to engage more deeply with art, gulf between haves and have-nots, I’m directly out of college. They established JAMES PICKFORD/ as well as creating more social spaces absolutely certain it will prove an early relationships with the art world FINANCIAL TIMES for visitors to unwind and relax in the outrageous success. (‘Basel is an art city,’ says Herzog), though THE TASK of what Tate chairman gallery. The vision of the new building Basel’s large pharma industry has made John Browne called ‘the largest cultural is to redefine the museum for the 21st ROBERT BEVAN/ a big impact on their portfolio too. [...] fundraising campaign ever launched in the century, integrating learning, display and EVENING STANDARD Herzog & de Meuron’s relationship with UK’ remains incomplete, with nearly £30m social functions. WHAT BEGAN as a spiky pyramid of Tate Modern goes back 20 years, to when to go to cover the £260m costs. However concrete donned a loosely knit veil of it won the first competition to turn that Sir Nicholas said more had been raised TIM MASTERS/BBC inflected brick rising 10 floors to a viewing monolithic electricity station into a in recent months – ‘and we are making TATE MODERN has unveiled its new platform. Beneath are The Tanks, the game-changing museum of modern and progress’. Senior Tate figures used the extension, a pyramid-like tower housing former oil-storage chambers dedicated to contemporary art under the guidance of occasion to speak out in favour of Britain’s cavernous gallery spaces. The 200ft (65m) performance art that are accessed Tate director . membership of the EU ahead of next structure, boasting panoramic views of from the base of the Turbine Hall via a week’s referendum. ‘At a time when London, is part of a £260m revamp of the horizontal slot framed by a weighty portal APOLLO some would seek to turn inwards, to world-famous art museum billed as the of original concrete that’s almost Mayan by TATE MODERN has announced that its new dislodge this country from its rightful UK’s most important new cultural building happenstance […]. The extension’s twisted Switch House extension has attracted over place in the global community, the new since the British Library. More than half of form arises from accommodating the 1 million visitors since it opened [in one Tate Modern is a reminder of what can the solo displays are dedicated to women change in geometry from the foundational month]. According to a release from the be achieved when we remain open to the artists. Frances Morris, Tate Modern’s Tanks — set out as a clover leaf — to the museum, the millionth visitor crossed the world’s ideas and cultures,’ said Browne. new director […], said: ‘You will find more rectilinear, 360-degree viewing platform. threshold of the new extension on Tuesday international art, more art by women and In between, grand concourses and 19 July, and an average of 39,000 people WALDEMAR JANUSZCZAK/ great new installations’. She added the staircases lead you up past the bar and have attended the gallery each Saturday THE SUNDAY TIMES representation of women artists had shop and three new gallery floors — the since it opened to the public. Yet while the WHATEVER YOU think of Saatchi and his ‘substantially increased. There was a huge uppermost of which links back to the extension has evidently been a hit with the subsequent behaviour, there is not a deficit in our collecting prior to 2000 – earlier galleries via a high-level bridge public, the critics have been divided. shadow of a doubt that he changed British when we opened 17% of the art on display over the Turbine Hall. Up again are a art. The opening of his private gallery in was by women. Now 50% of the solo members’ room, learning and event QIN XIE/DAILY MAIL ONLINE St John’s Wood was a challenge to both rooms are works by women such as spaces, then a restaurant on the ITS EXTERIOR uses bricks to match the the Tate’s tastes and to the prevailing Phyllida Barlow and Louise Bourgeois’. penultimate floor. [...] The project is not existing museum but the bricks are stag- attitude to contemporary art. [...] Today, perfect, however. The junction between old gered in a lattice formation so that the Serota and Saatchi are a divorced couple. WILL SELF/THE GUARDIAN and new brickwork is awkward in places interior lights can shine through in the And while Saatchi has been banished to an IT LOOKS like one of those interstellar and the same dismal Nordic-noir land- evening. A total of 167,699 bricks were angsty twilight, his nemesis has become spaceships made popular by George Lucas scaping of silver birches continues on the used for the construction. The height of the king-maker and quartermaster of in Star Wars: curvilinear and broadly south side. Here a pointlessly winding path Switch House has also been designed to contemporary art in Britain. These days, speaking conical, yet asymmetrical, with and high garden wall to the terrace above match the existing chimney. the Tate empire exercises pretty much an irregular patterning of windows let into The Tanks means that the opportunity to complete control over the tone and its hard hide referencing either arrow-slits enliven Sumner Street has been lost. HUGH PEARMAN/SPECTATOR direction of the new. I see a rerun of the in medieval fortifications, micro-circuitry Tate Modern’s immediate setting remains SO WHEN they called back Swiss situation that occurred in France in the writ very large indeed, or both […]. Kerstin unnecessarily compromised. This is architects Herzog & de Meuron to extend 19th century, when too much cultural Mogull, the Tate’s managing director, not the ‘city plaza’ that the architects the gallery that brought them fame, power was concentrated in too few hands, pointed out [...] the gallery currently has promised. moving people around better was high and a revolution was needed to restore the 5 million visitors annually, twice as many on their to-do list. When you enter the nation’s creative freedom. [...] The Salon as originally anticipated, and twice as JESS DENHAM/INDEPENDENT perforated-brick ziggurat of the new was a critical destination for emerging many as visit the MoMA in New York [...] IT WILL allow 60% more artworks from its ten-storey extension, therefore, what you talents, and the place you needed to be in the past things have been too northern collection to be displayed, with over half of find inside is an impressively huge of to get noticed. In 1855, the show was hemisphere, so now acquisitions the solo displays now showcasing works by lifts, worthy of one of the mega-lobbies at visited by 1m people. The Salon may have committees are at work in Africa and Asia female artists. The 10-storey Switch House Canary Wharf. You also find one heck of been popular, but it was serving the needs sourcing the finest of contemporary art offers 360-degree views of London from a a fine sweeping staircase in smooth of its controllers not the needs of art. [...] with which to stock the finest of new roof terrace while a sculptural tree by moulded concrete, spawn of a brutalist I suspect that somewhere out there in galleries. [...] There’s no doubt that Tate Chinese artist and activist Ai Weiwei takes Busby Berkeley. Finally on the people- Britain, far away from the clutches of Modern is a going concern: 70% of its centre stage on the bridge that connects distribution front, there is a new south the Tate and its curators, a comparable operating costs are self-funded, and only the original building with the extension. entrance where there was none before. revolution is stirring. And the one thing 30% comes from the public purse; huge Performance art and interactive Sir Giles Gilbert Scott’s 1950s Bankside we know for sure about it is that it donations from private individuals have installations are expected to enjoy more power station, which Tate took over, will not break out in a £260m museum been sucked in through the arrow-loops prominence as a result of increased space. pointedly turned its back on poor old extension.

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PEOPLE

INA SODEN (b1985, maison and has objects and furniture left Ascot) hit the ground behind to help tell the story. running with her debut photographic series, How do you gain access to these out GRetrogression, in 2012, of bounds areas? Have you ever come a which launched at Soho’s cropper or got into trouble for trespassing? Groucho Club and can now be found in Check out the behind the scenes section on collections as far afield as New York, Miami my website – I get into all sorts of strange and Hong Kong. Pioneering a new – and positions to get inside locations. Not now very familiar – genre of photography, always gracefully though! It involves lots of exploring derelict and decaying buildings sneaking around, short sprints across no and structures, Soden has travelled man’s land to avoid security, climbing up Europe capturing grand ruins of asylums, awkward fences or rotting iron girders, abandoned churches and derelict villas. going across gaping floorboards with huge In the spirit of the Romantic poets, her drops to the floor below, squeezing into poignant work speaks of beauty, faded Gina Soden Self-portrait 2016 small spaces and generally doing all that as glory and transience. quietly as possible to avoid being heard or seen. I’ve been caught by security several On an incredible career trajectory, Soden times, but never had any problems really. was a finalist in the Practical Photography A SECRET Mostly I just get asked to leave in a polite Magazine annual award, 2012. By 2013, way, although the police have been involved her work was being shown by The Fine a couple of times and I got fined recently in Art Society at Pulse Art Fair, New York; Germany. The policeman pulled out a Visa the London Art Fair, Islington; and Art13, NO MORE machine from his back pocket. I was stifling Olympia; and she was awarded Finest Work a laugh as I just thought it was hilarious. on Show at the Photo Art Fair in London. Efficiency (capitalism?!) to the max! At the end of the year, she was awarded Photographer Gina Soden won Curious Emerging Artist of the Year in the This type of photography is quite popular National Open Art Competition, where, Duke Gallery’s Secret Art Prize by at the moment and has even spawned the the following year, she won the Naylor genre name ‘ruin porn’. Why do you think Award (1st prize) for the Finest Photograph seeing off some 250 competitors. the public are so interested in images of and featured in BBC1’s Inside Out, derelict buildings? documenting the competition. Soden has TEXT ANNA MCNAY PORTRAIT GINA SODEN It’s not my favourite term, I must admit. shown at The Other Art Fair for the last It’s important to remember there is always a three years. This year, she has so far come At the heart of your photography is a What kind of a camera do you use? How narrative, whether it’s about the design and second in the Lacey Contemporary preoccupation with abandoned structures much post-production work is involved? type of building, or what happened, who Summer Art Prize and is now the runaway and locations. Where does this stem I use a Nikon D800 and always a tripod. lived there and why it looks the way it winner of Curious Duke Gallery’s third from? When did you start photographing I sometimes shoot with a medium format does. People are fascinated because it’s not Secret Art Prize, which bags her a such images and what is it that sustains too, a Bronica SQ-AI. Time-wise, quite something we see that often in daily life, dedicated space at Moniker Art Fair with your interest in them? a lot, as I am blending several exposures with new houses and glass skyscrapers being curatorial support from both Moniker It stems from my love of travel and and then stitching the images together. built up all around us. It’s nature taking Projects and Curious Duke Gallery; full immersing myself in different cultures. Physical changes, not too many – mostly over; old items left behind evoking nostalgic representation from Curious Duke I was lucky enough to travel around quite just straightening and work on colour memories, piquing our curiosity of a former Gallery and mentoring from its founder a bit from a young age and my dad was and texture. life. Sometimes it touches on a slightly Eleni Duke; a £1000 cash prize; and involved in a travel agency for a long macabre, morbid fascination too, with old participation in a month-long group time so I always had a thirst to explore You have worked on projects all across hospitals, asylums and mortuaries. show at CDG. different places and countries. I first started Europe. Do you go out scouting for photographing these places when I was locations or do people recommend places What is it that makes your work stand out looking for a location to shoot a portrait to you? What is it you look for in a site? from the crowd? LONDON, AUGUST 2016 session in. Finding these locations and then I do a bit of both, as there are so many That is hard to answer. I just really enjoy discovering there was a community with places I want to see and it wouldn’t be very what I do, from researching, planning, STATE: Congratulations on winning others who were interested, I was hooked. economical to go out scouting all the time. travelling, shooting, editing, framing the Secret Art Prize! We’ve seen your I have a lot of contacts in different countries. and exhibiting to talking to clients. I work around a lot recently, and you Do you see your work as documentary? Google Earth is my scout, it saves me a lot am passionate about every aspect and came second in the Lacey Contemporary While I don’t stage scenes like a movie set, of petrol and time. Although I get sucked perhaps that shows in the work. I have a Summer Art Prize as well. How important I am not exactly photographing fleeting in and can spend hours looking for types recognisable style and an evocative, yet do you think competitions like this are for moments either. I am photographing of places or finding clues to figure out the accessible, aesthetic. The quality of my an artist’s career? How have they helped these unknown and forbidden places and location. My detective skills are pretty good camera, printer and framer are fantastic, you further your own? hinting at a narrative, so I guess that is nowadays, but sometimes I finally visit so it’s a winning formula. GS: Thank you very much. I am ecstatic! documentary, but the way I process and a place and it has been demolished or LINKS: Competitions can offer young artists present the works is not straight out of renovated. It can be a frustrating process. ginasoden.co.uk additional exposure to audiences that might camera – I like to give them a beautiful I look for grand architectural spaces, decay, secretartprize.com not have seen their work before, which is painterly aesthetic to avoid an interesting features and decor, but I do love something you can’t put a price on. It also observational view. it when the location is just a small villa or Gina Soden, Les Histoires, 2016 Incremento series An abandoned chateau in France offers a unique platform for feedback, which is great for artists early on in their career. Previous competitions I have taken ‘We are always looking for something with part in, been shortlisted in, or won, have an edge and Gina’s work is the perfect blend: proved invaluable and have also led to new contacts and, in some cases, sales. In the history meeting the contemporary. Her case of winning, it also provides a great subject matter sparks curiosity.’ confidence boost, especially given that many of the judges are renowned and ELENI DUKE OWNER, CURIOUS DUKE GALLERY experienced in the art world. { }

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FOUR ARTISTS TO WATCH

Adriana Hoban Eggxplosion 2016 egg shell, crystal Persi Darukhanawala Feel the burn (blue) 2016 Acrylic paint on geranium-dyed kozo-shi paper ADRIANA HOBAN PERSI DARUKHANAWALA Following a PhD in Agriculture, Romanian artist Adriana Hoban Persi Darukhanawala’s strikingly distinctive minimal ‘songs’ blur the recently finished her Art and Design Foundation at boundaries between music and visual art. His psychological and Gloucestershire College, where she was named student of the conceptual abstract works are less preoccupied with good taste or PAOLA SILIERI PAOLA year and created the first art festival for art and media students, LEWIS MELISSA traditional craft, preferring instead to create and develop a personal GC Art Fest. From September, she will commence a BA (Hons) communication between his viewer (or listener) and the artefact itself. in Fine Art at University of West of England, Bristol. For Hoban, He expresses in paint what he otherwise can’t – and invites his viewer art is all about expressing her inner child. She works with many media: paint, to ‘finish’ the work. Darukhanawala is a Persian Zoroastrian who was born in textiles, light, sound and, basically, anything that catches her attention. The Africa and moved to England at a young age. His work has been born of, inter alia, key concept is innovation. ‘I just listen to my inner voice and I never doubt or influence from fellow creatives, including writers (eg Kafka), artists (Roger Hilton), wonder – I just do it. I do ART!’ film directors (Aki Kaurismäki) and songwriters (Paul Weller).

Adriana Hoban (b1980, Romania) Persi Darukhanawala (b1977, Zanzibar) Art and Design Foundation, Gloucestershire College, 2016 MA History of Art, Courtauld, 2014 Lives and works in Bristol Lives and works in London facebook.com/hoban.adriana instagram.com/persidarukhanawala

Rodolfo Villaplana Surprise at Pimlico with Georgian dancer 2015 Oil on canvas Suzie Pindar Blue 2013-16 Digital Photography RODOLFO VILLAPLANA SUZIE PINDAR Fleshy portraits, erotic nudes, self-portraits, still lifes, vases of The multimedia work of Suzie Pindar, better known as The Naked Artist, hyperreal flowers, suspended animals: like the three floating deer explores memories, trying to recapture particular moments of happiness with their rhythmic movement or that golden-yellow head of a or sadness, by combining photography, print, typography, masking tape, guinea fowl that plays on the attraction-repulsion of the colours and the written word and ink. Nature plays an important part in her art, as do THE NAKED ARTIST NAKED THE

RODOLFO VILLAPLANA RODOLFO the subject. Rodolfo Villaplana is a contemporary Pontormo, a man urban landscapes, car parks, bridges along the River Thames, railway rich in nuance, mystery and matter, whose tall, gangling, mysterious tracks, old buildings and open landscapes. She is drawn to reflections – and almost Martian figures open up a tireless curiosity about what is different in puddles, glass or windows – and sees them as a form of self-expression, turning her and Other. Frequently stripped naked, defenceless: essential. A polyglot Spanish thought process inside out. Her bright palette demands attention as she seeks to express Venezuelan artist transplanted to Europe, Villaplana adopts and shifts the canons and evaluate a world that inspires, confuses and delights her. of Italian Mannerist painting, with an uncanny knack of psychologically penetrating not only the figure portrayed, but also the observer.

Rodolfo Villaplana (b1975, Venezuela) Suzie Pindar (b1978, Sheffield) MA Fine Art, Chelsea College of Art and Design, 2013 GNVQ Art and Design (distinction), Chesterfield College, 1998 Lives and works in London Lives and works in London majartecontemporanea.com thenakedartist.co.uk

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AUTUMN HIGHLIGHTS

13 - 30 SEPTEMBER GUIDO HARARI The Kate Inside

UNIQUE AND INTIMATE PHOTOGRAPHS OF KATE BUSH ϭϵϴϮͳϭϵϵϯ

1 - 30 SEPTEMBER IAIN McKELL

Dark Side of Pink

PHOTOGRAPHY PROJECTS

4 - 27 OCTOBER BEATRICE HAINES

The Devil in the Detail

HUMAN DESIRE, FEAR & MORTALITY

Winner of the Anthology Award 2015

183-185 BERMONDSEY STREET (adjacent to White Cube) LONDON SE1 3UW A NOT-FOR-PROFIT PLATFORM SUPPORTING THE FUSION OF ART, PHOTOGRAPHY & CULTURE telephone 0203 441 5152 [email protected] www.project-space.london

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