3 Voices of Contemporary Art and Culture

Content Tal R p.2 Anna-Sophie Berger p.3 Daniel Domig p.4 Esther Stocker p.5 Lúa Coderch p.6 Rosa Lleó p.8 Jorge Pardo p.9 Teresa Estapé p.9 Joëlle Romba p.10 Andreas Duscha p.11 Peter Jellitsch p.12 Tyler Mallison p.15 Carlos Urros p .16

In the Studio Tal R, Copenhagen At first glance, Tal R’s exuberant colorful paintings may give the false impression of being childishly simple. Looking closer, a subtle complexity emerges from his work. “It’s fucked up”says the artist bluntly. We met Tal R in his studio, entitled “Paradise”, in Copenhagen. • read more on page 2 In the Studio Preview

Madeleine Boschan, Berlin Photo: ©Amor Munoz »Art has become »Objects are capable of trig- a popular culture, more like gering stories. In turn, a story the music industry.« itself can become an object.« Jorge Pardo's sculptures, installations, paintings, Born in Iquitos, Peru, Lúa Coderch refers to herself Nick Oberthaler, Vienna buildings, and furnishings add influences of architec- as a “child of the Amazon river”. The Barcelona-based ture and design. The American artist uses vibrant artist explores the surface of things, phenomena upcoming interviews colors and patterns, as well as natural and industrial such as exoticism, and the materiality of personal and and collector stories on materials to create everyday objects and spaces with historical narrative, using a wide range of media collectorsagenda.com transformed meanings. • read more on page 9 and strategies. • read more on page 6 In the Studio Tal R, Copenhagen In the Studio Anna-Sophie Berger, Vienna Edition Robert La Roche

see around me, little details I discover, like the fabric of the tablecloth in a painting. If you combine different impressions what you get is a weird object that’s beyond language.

»Entering my work feels a bit like entering a Luna Park.«

So by creating combinations of previously disconnected impressions you create a world that escapes reality. Yes, I think so. I want to create something dreamlike. I think it is really interesting when people talk about their dreams, it is not about things that are actually happening. Dreams break down the conventional concept of space and time. That’s the amazing thing about dreams. Art is very similar to this. It is able to reveal certain aspects of human nature that other dis- ciplines can’t. That is what makes it so import- ant for society, because it is the “ghost” in the machine. It seems as if we were in paradise. A great aura What happens at the academy is exactly what How did you start making art? Initially you my cellphone. Since I’ve traveled a lot in recent Samantha (Edition), 2016 emanates not only from your studio, must continue in the studio. had studied fashion design, hadn’t you? years which has resulted in many quick chan- outside your studio it even says "Paradise“. Perhaps I need to explain: It’s not that I ever ges of location it has helped me to stay in touch The name Robert La Roche is associated with Oh, thank you. A print studio by that name was How would you describe the art you are intended to have a career in fashion and then with people who are not with me and to have iconic eyewear and has become a cult brand of formerly based in this building and published creating in your own words? ended up doing art, but I’ve always worked material condensed and accessible. global reputation. His ad campaigns are con- a communist newspaper with the title Land og I think entering my work feels a bit like enter- artistically … After graduation, I applied for temporary documents of the creative scene in Folk (Land and People), which had quite a rep- ing a Luna Park. There’s the roller-coaster, classes with Gabriele Rothemann, photogra- You were recently awarded the Kapsch Con- Vienna from the 1970s to the 1990s, which utation in Denmark. The studio was also well there are shooting galleries, and of course the phy, and although I couldn’t sew, for fashion temporary Art Prize, instated jointly by the have made waves internationally. known among artists for printing cheap post- candy floss van. There are all these different design with Veronique Branquinho, and was Kapsch Group and Mumok in 2016 to promote ers. When I moved in here, I liked the concept tents with different things. At first glance, it accepted by both. I wasn’t really aware of the young artists living mainly in Austria. It en- Famous wearers of La Roche eyewear include of working in a “Paradise“, so I decided to keep might look like I make very different types of difference between design and the visual arts, tails an exhibition at the museum. How does Hollywood stars such as Arnold Schwarzenegger the letters outside. works. But if you look closer, I think most peo- and Rothemann, indicating that it was a life it feel to be the first to be awarded this prize? and Meryl Streep, and artists such as Yoko Ono 2 ple will see that they are all very connected. decision, suggested that the two classes were I was very surprised, because so many excellent 3 and Andy Warhol. Today, vintage originals of his Your personal paradise – that sounds fasci- The unifying element is the way I work. I fish What is important to you when you are incompatible. I don’t completely agree, because people had been nominated. I was completely classic eyewear once again enjoy enormous nating. What is it that is so paradisiacal about in what I’m seeing. standing in front of an empty canvas and are I know that my practice always touched on happy; the Kapsch Prize is a super project. Of popularity. your studio? about to start a new painting? both fields. course I ask myself the question of how to live For me, any studio is a precious place. I like to What exactly happens when you “fish” in You should allow yourself to be halfway direct- up to it, but when I work all projects are equally The MAK in Vienna recently dedicated the solo compare it to the brain. If you think about it, what you are seeing, as you say? ed by the painting. And halfway you should So fashion does play a role in your work? relevant and I always have the same sleepless exhibition Personal View to the designer’s singu- your own brain, despite all its shortfalls, is the Do you know the word “kolbojnik”? It is Hebrew explore your personal desires and work out what My work is concerned with clothing, not pri- nights! lar oeuvre. In collaboration with Robert La Roche, only paradise you have. In your brain you are and means “leftovers”. I think that describes is necessary to make the painting come alive. marily with the concept of fashion itself. What Collectors Agenda presents a sujet of one of free. You can kill anybody, and you can fuck any- very well what I do. I am just fishing for a lot of What you really want at the end of the day is to consistently made me sick in fashion design In a few weeks you will move to New York. his iconic ad campaigns for Model S-4, dating body. You do things that you won't do in your stuff that already exists. It is a constantly evolv- surprise yourself, just like you are making was the almost hysterical panic in the search Is Vienna too small for you? What is the rea- from 1975, as an exclusive art edition of 30 real life, because you would have to bear the con- ing series of impressions I pick up. It’s things I unpredicted steps on a dance floor. for new forms: “What are we doing now? son for your move? uniques. sequences. A studio is like a copy of the brain. Valentino just did this and that. How can we The only gallery who represents me is in New It’s a place where you try out various things, What are you working on at the moment? top it?” This is also happening in art – but I York. It is a very close and family-like relation- Layered silkscreen prints, glued silkscreen film where you have permission to fail. I think that I am making the final preparations for a com- never say: “How can I arrive at a form which ship and I also have a large circle of friends in Format: 49 x 70.5 cm (19.3 x 27.8 inches) art is probably the only field or discipline where prehensive mid-career survey at the Louisiana has never existed before in terms of technique New York. I have always had an affinity with Edition of 30 uniques vulnerability is thought of as a good quality. Museum of Modern Art in Humlebæk, near and material.” In the best case a new form the City. After eight years in Vienna I feel that Signed and numbered by the artist. That’s one of the things that make art special. Copenhagen. emerges organically as a result of a good idea. I need a change. I love Vienna like a Viennese 1.200 Euro, incl. VAT (20%) And that’s why my studio is so important to me. • read the full story on bit.ly/_TalR loves and hates her city. Although I grew up in • more on bit.ly/_RobertLaRoche Are there specific themes that you include in the country, I think of myself as Viennese. You’ve been a teacher at the Art Academy in your work? New York itself cannot be fully comprehended Düsseldorf for nine years. Did you carry the Tal R I am interested in people’s motivation: Why I think, but I look forward to the challenge. idea of having the permission to fail into your does one want to do one thing and not the other? • read the full story on bit.ly/Anna-SophieBerger teaching concept? THE ACADEMY I deal with universal themes that concern me When I arrived in Düsseldorf I didn’t bring ex- OF TAL R as well. In my work everything is a bit “rhapso- tensive pedagogic experience apart from a short dic-dirty” and everything flows into each other, teaching period in Hamburg and one year as that is, I don’t separate my person from my art Anna-Sophie Berger a guest professor in Helsinki while I was still a necessarily. In the completed works multiple PLACES TO FIGHT AND student. However, it somehow became clear themes are reduced in different ways and at the TO MAKE UP to me that, in order to create a good class in an May 20 – September 10, 2017 same time condensed. art school, it is important to create an envi- ronment where you are able to make mistakes, You belong to the so-called generation of prolonged until March 05, 2017 read your mistakes, discuss mistakes, and fish “digital natives”. Do you use social networks in them like in a pond. I think you should do for yourself and your art? exactly that: fish in your own mistakes and even I’m certainly influenced by digital media. Frank- Louisiana Museum of Modern Art mumok – Museum moderner Kunst those of others. Your education starts with ly, I am a true Instagram kid. Everything that Gammel Strandvej 13 Stiftung Ludwig Wien disappointment and destruction. There is so is important to me is on my cellphone, I get up 3050 Humlebæk, Denmark Museumsplatz 1, 1070 Vienna much to learn if you fail in a grand way. It helps with it in the morning and go to bed with it at you grow, to reach another level. night. I read books almost entirely on Kindle or

collectorsagenda.com collectorsagenda.com In the Studio Daniel Domig, Vienna Book Preview Esther Stocker In the Studio Esther Stocker, Vienna Edition Sophia Pompéry

Daniel Domig contests with the fleeting glance and fast-paced consumption of images, taught Artist Esther Stocker has been addressing the Esther, you have received international ac- It is absolutely true and to the point. And, put Worlds (small Germany), 2016 by the digital media. With swift and easy brush strokes he pronounces visual statements. We met theme of the grid and its disruption in her painterly claim for your spatial installations. Originally, simply, this is what I do. I work with grids, Daniel in his studio, located in Vienna’s seventh district. practice for a long time. She has further extended however, your background is painting. Do lines, and black and white. Even though I at- Sophia Pompéry’s edition Worlds (small this analysis into the third dimension, with her nu- you design your spaces with a computer, or tach a different level of importance to my Germany) represents a geographical relief plate, How did you make the decision to pursue art in art and who are willing to spend their money merous large-scale works turning her into a house- are they created in your mind? work as the artist, this is how I usually explain as it is typically used in geography class for to earn a living? on it. That has always been and still is very hold name in the international arts scene. It is true that I come from painting, but I don’t it, when I am asked: “I paint pictures, and I teaching purposes. Coated with blackboard paint, I had the good fortune to have a natural, almost noble. But I know many artists who have diffi- consider myself a painter. I don’t believe that build installations and sculptures with black the relief is freed from scale, political borders, intuitive inclination to make art. When people culties in exhibition situations because the The publication sheds light on the logical affinity many people are even familiar with my paint- and white lines.” place names, or other coordinates, which would ask, whether they should do art, my answer usu- tension is very high. to be discerned between her artistic analysis ings, although I have been painting for ten usually help localize one’s position on a map. ally is: If there is an option between art and of the grid as a phenomenon in three dimensions years, before I started making installations and Complemented by a pencil, the relief chalkboard something else, do the something else. In fact, and architectural relationships in particular. sculptures. I think the ideas for the spatial invites the involved viewer to leave his (or her) for most art students, after their studies, things »Painting has been my installations emerge from my paintings. They personal sphere, prompting him (or her) to re- 4 don’t always work out as they may have hoped. Esther Stocker on architecture exist in my mind. I always start with a draw- 5 first love. If she doesn’t consider the surrounding world, and to sketch In fact my idea of what it meant to live as an Editior: Dr. Julius | in der edition ROTE INSEL ing; sometimes I build a model but not always. up an own vision of it. artist was rather romantic. I just assumed that leave me, I won’t.« Text: Matthias Seidel, Esther Stocker I would always be poor and live on nothing but Details: German/English, Paperback, Scientific and at the same time poetic, the little my own idealism. Once dead, my work would You have mentioned Francis Bacon earlier. 24 x 17 cm, 112 pages, numerous ills. in color » I once did a blackboard becomes a metaphor of our under- be discovered in the basement of my parents’ Is he one of your heroes? Publisher: Verlag für moderne Kunst large-format yellow standing of space. It raises the question how house and recognized as not too shabby. There are many things, which I like about him; Euro 22,– space is used and often exploited, whilst estab- he was certainly one of the painters who in the ISBN 978-3-903153-13-4 painting and it completely lishing topics such as possession, geopolitical Your work is always about something age of photography managed to keep figurative vfmk.org exhausted me. « power constellations, migration, and their eco- figurative. painting alive. One sees this also with the stu- Does coincidence play a role in your work logical implications. Yes, figures always appear, but they are rarely dio photos. Those he used were photographs that Do you create these sketches after you have at all? anatomically correct. I think one will see im- had to submit to the rigors of his studio and seen the actual space? I don’t really believe in coincidence or chance. With Worlds (small Germany), Pompéry makes mediately that I am not concerned with mere his work methods. They lay torn on the floor and No. I actually prefer not to be influenced by the I find it hard to articulate a concept. And I tabula rasa and resets the world as we know representation. Even if it is legitimate to use were overpainted. Only this way did he use actual spatial conditions. I rather try to ignore would say it doesn’t play a big role, though it may it back to zero, setting our imagination free to- photographic means, Bacon for example used them as references. To my mind the most boring them a little. My intention is to create an infi- enter my work in a way that I can’t always fully wards infinite time and space, like a runway them as a visual reference, for me it is the inter- countermovement to photography is almost nite space, in which the viewer can no longer control. for our thoughts to take flight. face to photo realism. In the end, it’s as though always an abstract and informal position, which distinguish the floor from the wall. The space we hardly have an understanding of ourselves, does not even try to deal with the figure which is dominated by strong contrasts, dominated So it is rather about aesthetics than Vacuum-formed plastic, blackboard paint, without the confirmation of images. This to now seems adequately represented by photogra- by either black or white. coincidence? chalk pencil on string, wood rail as wall mount me explains the obsession with ‘selfies’. phy. Bacon was convinced that there still was a I think that chance can play quite a construc- Format: 15 x 10 cm (5.9 x 3.9 inches) place for the figure within painting. You just mentioned the importance of black tive role in aesthetics. When I build my in- Edition of 12 + 2 AP How do you start with a work? Do you first and white in your work. stallations I am aware of logic and aesthetics. Signed and numbered by the artist. prepare a sketch? Woody Allen once said: “If one does not make Good art deserves Aren’t you using any colors? Although I find logic quite interesting as a 280 Euro, incl. VAT (7%) No, no sketches. Actually I follow the method a new film in six months, people think imme- I have been working with black and white from concept, in the end aesthetics always prevails for • more on bit.ly/SophiaPompery_Edition of the Abstract Expressionists, I just begin diately one sleeps every day until noon and to be seen the beginning. Originally I’ve worked with a me. and see what happens. For the most part my sits only on the couch.” What does your work- gray scale, but in the course of time I have moved • read the full story on bit.ly/_EstherStocker canvases are not primed. The subject devel- day look like? away from it. Recently, I did a couple of studies ops gradually. Because my children are early risers I now have using color, but gave it up very quickly. It’s not a routine. By nature I am someone who would Exhibitionary that I don’t like color. I find it very fascinating, You have participated in large exhibitions at like to sleep in, but I take my kids to daycare and and I admire painters who have mastered it. Esther Stocker home and abroad. How does it feel to stand at school, and then I go to my studio. Family life now available for Madrid But I know not enough about it. the center of an exhibition? helps to create some distance between my work is represented One could say that it is a “necessary evil” in and my home, so that I don’t leave the studio by Krobath, Vienna. How would you describe your work to some- order to continue to exist. Every artist is happy and think it is all about me. At home it is not one, who doesn’t know you? when he or she has an exhibition and sells really important that I am an artist, there I am Her works are on show In the UK I often hear: “Oh, you are the one works. For me there is the very pragmatic pur- a husband and a father. Therefore I return to the at ARCOmadrid at booth 9F04 with the black and white stuff.” (laughs), or: pose of supporting my family. It is good that studio with a much clearer mind the next day. “You are the one with the boxes and lines.” there are people who are really very interested • read the full story on bit.ly/_DanielDomig

collectorsagenda.com collectorsagenda.com In the Studio Lúa Coderch, Barcelona Edition Lúa Coderch

What did you decide to do with this mysteri- ous container from outer space? I realized that the unopened container was really good to start a conversation with people and decided to send out an open invitation, SINCE 1707 limited to 30 people, and organized an event at which we would decide collectively what to do with the container. In the end, the object was only an excuse for the gathering. People were talking about all kinds of things, such as love, disappointment, bravery, or cowardice. The object did its work as a facilitator, but ultimate- Palais Dorotheum, Vienna ly human curiosity prevailed and the group decided to open the canister. (laughs) And it was true! It actually turned out to be a film from a Modern and Soviet space mission. Contemporary Art You had a much noted show in 2014 at Funda- ció Joan Miró, called “La montaña mágica,” Auction Week May 2017 where the idea of “display” was very prominent. Yes. For that exhibition I built a big warehouse on the premises, using up half of the exhibi- tion space to store things, like stage props in a www.dorotheum.com theater. For the duration of 72 days, I worked behind the scenes, in the warehouse, to prepare a new exhibition for each day, developing a Lúa, are there some common theses which is almost a lie. It has the deceptive quality of a different line of research to explore how the city Souvenir [Onyx] 2016 inspire your work? story, which fascinates me. of Barcelona evolved, and how the city built its Tano Festa, One thing that really interests me, for example, memory. Souvenir [Onyx] is an inflatable reproduction of Print on inflatable PVC mattress. Da Mondrian a Michelangelo, 1968 is the notion of sincerity of things that appear Did you grow up in Peru then? the charismatic onyx wall made of PVC. It is the Format: 293 x 155 x 10 cm (115 x 61x 3 inches) to be true, but below the surface are false. An- We moved to Brazil a year after I was born. One of your most impressive works there core wall of the German Pavilion in Barcelona by reproduction of the unique piece International other idea I like to reflect on is how value is When I turned five, we arrived in Spain. I think was a life-size reproduction of the onyx wall Mies van der Rohe on a scale of 1:4. It is inspi- Style [Onyx Wall] on a 1:4 scale. created. In my view, value always has to do with it is at the age of four or five, when kids start from the German Pavilion in Barcelona by red by International Style [Onyx Wall], a real size distance. Images conveying exoticism and dis- to develop their own memory. About that time Mies van der Rohe, made of inflatable PVC. replica of the same wall, which was exhibited at Edition of 8 + 1 AP tance exert a certain fascination on people. my parents started telling me that I was born What is the story to it? the Miró Foundation in 2014. Signed and numbered by the artist. in a distant place. The idea struck me so much After the end of the Franco regime, Barcelona 1.440 Euro, incl. VAT (13%) Is that why you like to tell the story that at that early age and I remember telling other sought to connect, or find a link back to modern During 72 days, Coderch had researched among • more on bit.ly/Lua_Coderch_Edition you were born on the banks of the Amazon children in kindergarten the story that I was from history, back to the pre-war years, as a way to others the historic development of the City of 6 River? Peru. My story always made me a foreigner. distance itself from the forty years of dictator- Barcelona and the phenomenon of what she calls In cooperation with 7 Yes, exactly. Two years ago, I did this video ship and ostracism. The Pavilion had been demo- herself material history. After its demolition in called Gold. It is a videotaped narration on how lished in 1930, after the closure of the Interna- 1930, the City of Barcelona decided in 1986 to value and charisma are generated and what »My story tional Exposition. With its disappearance, the reconstruct it as an architectural icon and a is their relationship to distance, opacity and ap- always made me Pavilion became something of a myth, which touristic landmark in an attempt to leave behind pearance. It began with the story of my being led to the decision to rebuild the German Pavil- the historic burden of the Franco Regime and born on the Amazon River. What I find signif- a foreigner.« ion, based on surviving images. This reconstruc- reconnect to the international league. icant in this story of origin is not so much its tion from an image felt to me like a ghost. unusual aspect, but its aesthetic efficiency. So you are a real story-teller. The term ‘international style’ is a reference to The fact that the Pavilion had to be reconstructed Yes, I am very interested in stories, and how an the architectural style that emerged in the based on remaining photographs, as the original So what is the story of your childhood in the object can trigger a story, or how a story itself 1920s and 30s. As for the sculpture’s inflatable plans got lost during WWII, suggests that the Amazon? can even become an object. I have been collec- character, it represents the irony, the complexi- Mies van der Rohe Pavilion is bound to live on as At that time my parents were hippies and had ting short stories, which can be used as objects ty and insincerity of that whole story. a ghost or image. been traveling around South America for some to start a conversation. They are like little para- time, traveling up the Amazon River for three bles. I once found an object on Ebay, a canister Why did you choose to reproduce specifically The malleability of the inflatable sculpture concep- months. When my mom got pregnant they deci- allegedly containing a roll of undeveloped film. the onyx wall? tualizes the relativity of the notions of time and ded to settle down there and built a hut in a The seller claimed that the film had been on a The onyx wall is the centerpiece of the Pavilion. is expressive of the manipulative intent of the Pa- small community where they waited for me to Russian space mission in the 1980s. I kept this Mies van der Rohe conceived his entire plans vilions reconstruction. Souvenir [Onyx] refers to arrive. I have no memory of it and don’t retain object for a whole year not knowing what to around this central wall – it represents the this spectacular piece by Lúa Coderch. Even at any link to that place. What I know about it is do with it. In a way I shied away from opening heart of it all. So the wall carries a lot of sym- a scale of 1:4 it exerts a strong fascination on Original onyx wall in German pavilion, by Mies van based on what I was later told and what I could the container because I was afraid of being bolic weight. the viewer. der Rohe, in Barcelona. make up from pictures. So for me that story disappointed. • read the full story on bit.ly/_LuaCoderch

One year of AW2_ARCO Madrid_50x190.indd 1 06.02.17 11:06 Doug Aitken, Nobert Bisky, Sarah Bogner & Josef Zekoff, Boicut, Madelaine Boschan, Lúa Coderch Moisés Cosío, Jacob Dahlgren, Daniel Domig, Andreas Duscha, Teresa Estapé, EVA & ADELE Werner Feiersinger, Jenni Hiltunen, Mark Hix, Lilli Hollein, Lisa Holzer, Sanna-Mari Jäntti, Peter Jellitsch Save Daniel Knorr, Daniel Gebhart de Koekkoek, Hanna Päivikki Konola, Adrienne von Korff, Eva Kotátková Tina Lechner, Mark Leckey, Rosa Lleó, Tyler Mallison, Timo Miettinen, Nuriel Molcho, Walter Niedermayr Erik Nordenhake, Nick Oberthaler, Sophia Pompéry, Wolf D. Prix, Robert Punkenhofer, Tal R, Robert La Roche the Date Joëlle Romba, Andreas Rost, Thomas Ruff, Werner Schroedl, John Skoog, Christina Steinbrecher-Pfandt International Art Fair Jan Šerých, Esther Stocker, Sofie Thorsen, TOMAK, Michael Třeštík, Olaf Unverzart, Henrik Vibskov 21–24 September 2017 Marx Halle Vienna Jan Widlund, Franz Wojda, Heimo Zobernig to be continued on collectorsagenda.com

collectorsagenda.com collectorsagenda.com Collectors Stories Rosa Lleó, Barcelona Book Preview Tal R In the Studio Jorge Pardo. Mérida, Mexico In the Studio Teresa Estapé Photo: © Amor Munoz

Your home is a real gem and its contents re- What got you started in collecting art in the The title of the artist’s book references the novel Jorge, in your work form is very dominant. How does the increasing digitization in your Teresa, your artwork appears very frail ally invite discovery. You and your partner first place? Flametti by Hugo Ball. Inspired by the cabaret Do you want to convey something beyond everyday life influence your work? Yes, that’s very true, although it wasn’t my in- Gabriel seem to be quite passionate collec- R: Well, as a curator and journalist for art maga- director Max Flametti, Tal R created a series of that which visible? I don't know. I never made a work about it, how- tension for it to be that way, rather it came tors of all kinds of things, not just art. zines it’s somehow my profession. And I was collages, paintings and sculptures. The artist’s Being an artist is about the nature of the visual. ever, I consider digital technology an inter- about when I discovered which materials I was R: Yes, we do love flea markets. We go out to always interested in history, in theory, and I book is being published on the occasion of the Artists are trained to see things and to show esting tool. In my early days as an artist, I did attracted to. The university where I had stud- find them everywhere we travel and can spend was drawn to visually appealing objects. And magical exhibition by the Danish artist at Nurem- things. As an artist I structure the world in order everything with my hands, by myself. When ied fine art has a well-known school of jewelry a long time browsing for pieces. In that sense, I like stories and images. In a way art brings this burg’s zumikon. Woodcuts by Josef Zekoff and a to create a dilemma between the visual and the tools emerged that helped me optimize my way which holds the thought that jewelry is also art, we don't have a specific collection. It’s whatever all together. text by Axel Heil round out the publication. discursive. For me, the visual, ideas, and issues of working, I adopted them. But I would never just smaller and with more freedom to create. we stumble upon. G: I studied linguistics in London, which is where of aesthetics are intertwined. The interested put technology first. But I always worry a bit about the word "jew- G: Yes, we have anything from a Brazilian black we met. Rosa was studying at Goldsmiths at Tal R Flamingo Flametti viewer will be able to untangle them. elry," because if you call it that, automatically magic statue, to a German propaganda book il- the time, but we actually met through music. We Editor: Harpune Verlag, Vienna »The visual, ideas, and people think about ornamental things, which 8 lustrating German communities in Brazil. We were both into the same kind of music scene – Text: Axel Heil Your work is often discussed as operating at is not what I am after. 9 are also really into the 1960s, collecting old stuff rock’n’roll and psychedelic 1960s music. Lon- Design: Raphael Drechsel (GREAT, Vienna) the interface of art, architecture, and design. issues of aesthetics are from that time such as records, furniture, old don had a great scene then in that regard. Details: German / English, Paperback, Are you drawing a line between these differ- Could one say that you are doing “conceptual instruments, scooters, cars, motorcycles, etc. R: Yes, there was this shared passion for music. 27 x 19 cm, 64 pages ent fields? intertwined. The interest- jewelry,” as opposed to “bling” for example? And soon I discovered that Gabriel also took Publisher: Verlag für moderne Kunst I actually don't. Just as little would I consider ed viewer will be able to Exactly. The jewelry that I make is the opposite As two people who bring so much dedication an interest in art. Euro 22,– myself a hybrid artist. I see myself primarily as of ostentation. In a way I am trying to reduce to collecting. How much does one G: Well, early on I was mainly into pop and ISBN 978-3-903131-25-5 a sculptor, and I am very interested in how untangle them.« the object or the main concept of the jewelry to give consideration to the material value? psychedelia from the 1960s, because of its obvi- vfmk.org architecture or design can impact sculpture. I almost nothing, it is really a reductive process, Since Cuba has opened up to the West it is R: Well, he is very detached from material ous connection to music and attitude to life at like to think of treating a building like an apple and in terms of the usual perception of mate- getting a lot of attention in the art world. As objects.I am a bit more precious about things. the time. But, after I met her, I really developed is treated in a still life. I like to use objects that rialism, each object’s material value is close a Havanna-born artist, how do you interpret G: Sometimes there is also a connection to our into taking a broader interest in art. have a certain kind of cultural resonance in to zero. I think the idea of disappearance is very the hype about Cuban art? life and travels: an original poster from a rock R: You play it down. He has been to so many art their design, as optical tools for my work. prevalent in my work. I'm no longer really very Cuban. I left at age concert by Bo Diddley in San Francisco, a rare fairs and biennials that I think he knows more six. My education had absolutely nothing to do vinyl by Salvador Dalí, publications and re- about contemporary art than many other people Aesthetically, there are some constants in All of the pieces resemble each other in their with Cuban topics such as identity, politics, cords out of print … I know who move within the art scene. (laughs) your work. There is always a brave, playful minimalist expression. or anything like that. My perception, however, notion. Your art is very seductive and the Yes, I always try to work with the metal flake and is that the Cuban artist scene is in a dilemma. Would it be true to say that you are not so colors are bright. Would you agree? the string only. If I were to add anything more The fact that artists are from Cuba tends to over- much collecting objects as “things”, but as Yes, I do like beautiful things. Most of the time, I would enter the ornamental world, which I am »We are most shadow their actual work for there is a strong “stories”? conceptual art is approached with a certain not interested in. I like to keep things simple expectation among the art world that they will R: You know, I am always most interested in interested in narrative kind of seriousness. I find it interesting if a thing and it is wonderful to see how many things you inevitably adopt Cuba as a central topic of their narrative pieces of art. And yes, there is always initially appears playful, light-hearted, and can do within these limitations. When one pieces of art.« work. a story behind each of these things in our seemingly simple but on second glance invites starts working with stones, color, and decorative apartment. And if not a story, they come from to more depth and complexity. materials one gets lost. friends or artists with whom we can relate. What kind of artists do you focus on in your We show you G: The logic here is, it’s either from friends or collection? Do you see the art world changing since you Art and Idea Are your fragile pieces of art actually meant important influences, or some other connec- G: We really appreciate artists that we know good exhibitions have started your own career? to be worn? tion to our life and travels: an original poster well and who we can tell are very hard working Art has become a popular culture, more like the Of course. But I always warn my clients in This story has emerged from from a rock concert by Bo Diddley in San Fran- and professional – people, who know that they music industry. In places such as Berlin, advance that the pieces can easily become lost a collaboration with Robert Punkenhofer cisco, a rare vinyl by Salvador Dalí, publica- are artists, that they couldn’t do anything else London, or New York social pressure for artists or disappear in some other way. I was once of ART&IDEA, a hybrid agency tions and records out of print … in their lives. Exhibitionary is extremely high. When I decided to become wearing earrings made from a very thin layer dedicated to promoting and facilitating a R: Some artists may still be young, but among an artist at a young age, art was considered as of gold on a trip to a theme park where I rode cultural dialog by organizing What would you recommend to someone who some you can see this uncompromising will to now available for Madrid something peculiar. I have always lived and on a roller coaster. When I got off the roller contemporary art, architecture, fashion is new to collecting art and is on a budget? keep on doing art. They don’t bend to a trend worked at the margins, but these margins are coaster my earrings, which had originally been and design programs of R: I recommend limited editions. They are a or fashion. Lúa Coderch, Teresa Solar Abboud, disappearing. That’s why I prefer quiet places spherical, had become distorted by the onrush- international scope. great way of getting more acquainted with Irene de Andrés, Belén Zahera, and Eva Fàbre- like Mérida. If one is as deeply entrenched in ing air. This let me realize myself how fragile art and the artists behind. Most of our artworks gas for example are great young female artists the art world as I am one needs to get away my jewelry art actually is. are actually editions from artists we have to follow. I am sure they will have a promising from it all to function properly. art-idea.com • read the full story on bit.ly/TeresaEstape worked with, or other artists whose work we career ahead of them. admire. • read the full story on bit.ly/RosaLleo

collectorsagenda.com collectorsagenda.com Collectors Stories Joëlle Romba, Berlin In the Studio Andreas Duscha, Vienna Edition Andreas Duscha

perhaps this would increase the possibility of such an occurrence.

Do you change the placement of hanging works in your house often? Yes. Especially when new works arrive, the hanging has to be altered. Often it is difficult to find an appropriate place for a new work. That can mean that rooms have to be hung en- tirely new.

Do you and your husband always agree when you buy art? For the most part. Sometimes we have discus- sions. My husband Eric is a lawyer and is there- fore always right. I insist on my expertise – with art I can do it, because I am a professional.

As an art historian you deal a lot with art in your profession. Does this influence the way you build your collection? One aspect of our collection is “arthistorical models developed further,” like for example a small work on paper by Leon Polk Smith, which serves as an arthistorical model for Gerold Miller’s work. In his work, José Davila interpre- The Romba Collection of Contemporary Art How important is it for you to introduce your ted the Studies for Hommage to the Square Andreas Duscha’s work is determined by aesthetic subtleness and a poetically abstract pictorial For my mother (2017) Foundation (ROCCA), has existed since 2011. children to art? by Josef Albers anew. These dialogs of arthisto- language. He adopts events and incidents of greater or lesser importance to develop narratives, Your private house doubles as an exhibition It is important to me that our children grow up rical mentors with contemporary artists is very from which the viewer can derive new levels of meaning. We met him in his studio, not far away Andreas Duscha, who frequently bases his works space that is accessible to the public. with art and that they understand it as implicit. fascinating. from the garden plots of Vienna’s 15th district. on found digital images, that are often associ- At one point, our collection reached a certain size, I believe it is enriching for them. Later they can ated with specific places, historical events and which meant an increasingly growing logistical decide for themselves, whether it is to play a role Andreas, your work involves mirrors which rather awful. Now I have been making them for political phenomena, aims to appropriate the fac- effort. Therefore we had to decide whether we in their lives. We have tried from the beginning Collect with your eyes, often have peculiar words or sentences edged over two years and have become relatively good ticity of an assertion. He builds his works on the wanted to be serious collectors or continue to to instill in them a fascination for beauty, and an » into them, for example Mamihlapinatapai ... at it. Besides almost transparent mirrors and potential, possibility and imagination, filtering treat collecting as a hobby. We decided to set up openness to other ideas and living worlds which not with your ears!« It originates from the language of the Yaghan mirrors with red coloration, I also cast almost episodes of events that could have happened in a foundation. In my opinion art should be made are integral to every artwork. Indians of Tierra del Fuego (Fireland) and is entirely black mirrors. This really requires exper- a particular way. available for as many people as possible to see. considered the “most untranslatable” word. tise, for the mirror is influenced by both the Duscha does not try to prove, evaluate or bear There is no room in your house in which there One sees and notices immediately, that your It means: “A look shared by two people, each thickness of the application of the chemicals and witness. Moreover, he deciphers, modifies, enco- 10 Does art live with you or do you live with art? is no art hanging or standing. Art does not collection is a very special one. It radiates wishing that the other would initiate something how the cast is fixed. des and stages, according to his own parame- 11 I would say: we live with each other. But it is even stop in front of the basement, the bath- personality. they both desire but neither of them wants ters, injecting subjectivity and singularity into the actually true, that some works are rather uncom- room, or the children’s rooms. And yet noth- One notices in a collection assembled accord- to begin.” As a fan of conceptual art I visually seemingly known, obvious and banal. In a pro- promising, like the work Untitled by Jeroen ing suggests an atmosphere of overcaution. ing to the investment aspect of the works. That quote Joseph Kosuth by recreating the piece cess that is at once alienating and subjectivizing, Jacobs. The nine concrete steles permeate the No, we don’t live in a museum. Of course we is not the case with our collection, we have description and setting it exactly the way he the artist condenses the factual and the fictional entire house; they can be found next to the follow some rules in terms of the contact with always bought what we liked. used it in his work “One and Three Chairs”. into new levels of meaning, which he transforms living room, also in the bathroom, or on the ter- the art, this ought to be observed by everyone into works that are encoded in multiple layers, race. We have asked the artist to freely choose who has art in his or her living space. Our Do you have advice for aspiring collectors? using various – often anachronistic – techniques the locations for the individual concrete steles daughters are still relatively small and we also Trust your own judgment intuitively. Just do it. »I am missing of photography and/or analog printing. throughout the house. At times, one has to make have a dog, they all know that one has to re- Buy what you like. Collect with your eyes, not critical reflection.« (Marlies Wirth) some sort of accommodation if the installation spect the art. If we were to be over-concerned with your ears! is blocking one’s way. that something may be damaged or broken, • read the full story on bit.ly/_JoelleRomba Where do you get your ideas? In his new series For my mother (2017), Andreas What inspires you? Duscha is concerned with an often overlooked When I was younger I used to read a lot, I am phenomenon in literature: dedication. The word still benefitting from that. Today I research a can be derived from Latin “dedicatio”, which Touko Laaksonen lot on the Internet. There I and come across Is art a sort of vocation or is it a job like any means consecration, or appropriation. A dedica- interesting things. For example, I made a work other job for you? tion can imply a simple “thank you“ by the author The Man Behind Tom of Finland about Annie Taylor, an American teacher who It would be going too far to consider “art a vo- to someone close, a display of affection to a spe- Loves and Lives decided to become famous. On her 63rd birthday cation” because for me it is too connected to cial person, or a note about a thing or an event she plunged over Niagara Falls locked inside the idea of the “artist as genius”. I find it prob- of particular importance. 28 January – 6 May 2017 a wooden barrel. She survived the stunt and be- lematic to consider art as a job or as a business. The edition features twelve mirror glass pieces, came famous overnight. The day before the It appears as though many question if they manufactured by the artist himself according to stunt a test fall was made with a cat, it is not should study dentistry or art. When you study a 19th century production method. Each mirror recorded whether the cat survived the fall. art you can hang out at the cooler parties, earn features a different dedication by an author, ex- Using the account of the cat’s participation, Taylor money faster – so they study art. I am missing tracted from world literature, which has been appeared with her barrel and always changing critical reflection. etched into its surface. The isolated analysis of cats in many American freak shows over the the dedications – selected by the artist mainly years, and a myth began to form around the The process of research is apparently a firm for their poetic quality – creates new levels of cat. It is curiosities like these that interest me. element of your work. meaning, offering entirely new perspectives and Salon Dahlmann True, I really do very intensive research. I still conclusions that are detached from the content Miettinen Collection Where do you get the mirrors you need for sometimes get stuck about a theme. The diffi- of the book. your work? culty is rather to find the right theme. I’m some Marburger Straße 3 I produce them myself. I began making mirrors kind of a research junkie for both my works Mirror glass, etched with silver nitrate, 10789 Berlin during a residency in Slovakia where was and for the other projects I do – together with metal rail as wall mount Thu – Sat, 12.00 – 18.00 looking for old mirrors with “blind spots”. Not Marlies Wirth I am curating more and more Format: 47,5 x 32 cm (18.7 x 12.6 inches) salon-dahlmann.de being successful I searched the Internet for a exhibitions. I really love art and follow atten- Edition of 12 uniques formula to make them myself. The first mirror tively what others do. 600 Euro, incl. VAT (13%) I made turned out to be a disaster; it looked • read the full story on bit.ly/_AndreasDuscha • more on bit.ly/AndreasDuscha_Edition

collectorsagenda.com collectorsagenda.com In the Studio Peter Jellitsch, Vienna Book Preview Peter Jellitsch Edition Andreas Rost

The big Gesture – Oscar Niemeyer in Algier

Andreas Rost (*1962 in Weimar, Germany) has become known for his, predominantly black and white, photographs documenting big-city life. For the first time ever, Andreas Rost resear- ches the Université des Sciences et de la Tech- nologie Houari Boumédiène in Algier, which has been little known even among architects, with the eye of a photographer. Rost‘s photographs are testimony of a grand design of a failed utopia.

Photography, A1A artprint Alu Dibond Format: 85 × 60 cm (33.5 x 23.6 inches) Edition of 10 + 3 AP Signed and numbered by the artist. 1.800 Euro, incl. VAT (13%) • more on bit.ly/Andreas_Rost_Edition

Edition Walter Niedermayr Peter, your pictures appear very structured. based on numeric information and therefore Peter Jellitsch’s Data Drawings are based on what They seem to be quite painstakingly built up. the pictures so to speak write themselves. has become an indispensable component of our Bildraum P 28/2007 Yes, they really are. I spend incredible amounts modern-day (work) life: the Internet and the con- of time in front of large pieces of paper like Do the measured data define precisely how stant availability of a wireless connection to it. Walter Niedermayr (*1952 in Bozen, South Tyrol) the ones hanging on the wall. I love to sit here a picture is going to look? Or do you some- The artist repetitively translates measurable data is regarded as one of Europe‘s greatest con- by myself listening to an audio book and just times intervene cosmetically? from Wi-Fi connections in the form of ping, down- temporary art photographers. He is famous for his drawing. This detail-oriented way of working In my initial records I try to be as precise as load, and upload speeds into formally complex photographic series of alpine landscapes with is very meditative. Despite my very structured possible. The idea of an exact depiction ends on drawings reminiscent of landscape topographies in a distinctive reduced color density. Alpine regions way of working it can happen that I am so im- the piece of paper. By applying the information pencil and acrylic. He lends form to the invisible and urban spaces, architecture and industrial mersed in my work that I suddenly notice that again and again a repetitive mountain-and- digital processes around us and declares them sites, but also prisons and hospitals, are a subject it is almost noon and I haven’t yet brushed my valley structure is formed. It is possible that I the starting point and necessary basis of his work of his artistic investigation. teeth. (laughs) superimpose data taken on different days or as an artist. 12 weeks. In that moment also esthetical decisions Each Data Drawing is a snapshot and a survey His edition Bildraum P 28/2007 shows the interior 13 Looking at your “Data Drawings” as you begin. of a specific place at a certain point in time. The of a house in Bolzano, designed by architectu- call them they actually look as if they were numerical values precisely measured with an ral office PAUHOF. Niedermayr maintains a long- digitally rendered topographical maps of iPhone app have the appearance of an abstract standing friendship with architects Michael mountain ranges. artistic gesture on the paper with the unmistak- Hofstätter and Wolfgang Pauzenberger, which »The thing is that Diptych, two photographs framed in aluminium Signed and numbered by the artist. Yes, at first glance they may indeed appear like able variance of human imprecision. has inspired common projects. Format: 30 x 38 cm (11.8 x 15 inches) 2.000 Euro, excl. VAT (13%) that. In reality, however, they are visualized we are continuously The physical act of drawing is combined with the • more on bit.ly/WalterNiedermayrEdition Edition of 10 + 3 AP measurements of digital signals and data that staying in ubiquitous flows of information that we use and are invisible to us, but that we are exposed to create at the same time: a potentially infinite and every single day. My work is focused on the trans- invisible networks.« never complete creation of value from nothing. formation and visualization of processes that Edition Werner Feiersinger Untitled (Chandigarh), 2013 relate to our daily life. We are actually constant- So esthetics plays a certain role in your work? Peter Jellitsch ly within invisible networks, remaining from Yes, a very big role. The term black-and-white The way you moved through me Sculptor and photographer Werner Feiersinger In cooperation with the moment we get up in the morning until we is very prominent in my work. On the one hand, Editor: Peter Jellitsch (*1966 in Brixlegg, Tyrol) challenges the fractures go to bed at night, connected to the internet via I couldn’t see a real sense in working with Text: Sébastien Pluot, Marlies Wirth and controversies caused by ambivalent objects our smartphones, tablets and laptops. color. I was more influenced by the fact that I Interview: Joseph Becker with Peter Jellitsch and photographies which document what‘s already dealt with phenomena based on zeros and ones. Design: Ines Cox well-known. As a result of this process, he often We use streaming data and at the same time My work is just that. The zeros are the paper. Details: English, Paperback, 30 x 20 cm, points out surprising and unconventional perspec- generate vast amounts of data containing And all the materials I use such as acrylic, gra- 144 pages, numerous ills. in color tives. Feiersinger applies an accuracy in his pho- accessible personal information … phite and colored pencil are black. They are Publisher: Verlag für moderne Kunst tography which is matched by the meticulousness Yes, it is eerie when you think about it. And we the ones that complement the zeros. Seen this Euro 28,– of his research and preparation work. We have put together a accept it quite unthinkingly! However, once way, I don’t work in black-and-white but in ISBN 978-3-903131-73-6 series of artworks by in a while we ask ourselves the question: Who black only. vfmk.org The edition is a framed photograph from his ex- is behind it all? Who is profiting from all the tensive series Chandigarh Redux. Chandigarh is international artists, who data? What conclusions can be drawn about us Do you want to trigger something specific in Le Corbusier‘s planned city in Northern India. explore or reinterpret and about our lives? the viewer with your pictures or do you want It is a peculiar place, not only because it has been the interplay of art and archi- to make a statement? conceived and constructed by one of the most tecture, in the form of a How is such a “Data Drawing” generated? In particular, I would like people to enjoy my influential architects of classical modernism, but limited edition, including works First I take very precise measurements of WLAN work without the burden of background infor- also because in this place it was possible to im- data streams in a specific space with a special mation, because every piece of paper already plement the vision of Classical Modernism from by Lúa Coderch, app on my iPhone. These are made visible on contains information. Primarily, I want them scratch in all its consequence. Werner Feiersinger, Walter paper in the form of a kind of 3D diagram. Since to profit esthetically. But it was also very im- Niedermayr, Andreas Rost, I am drawing by hand, the drawing can never portant to me right from the beginning that there Photography in white wooden frame and Werner Schrödl. be entirely exact. is something that I as the author can speak MAY 12 – JUNE 18, 2017 Format: 48 x 36 cm (18.9 x 14.2 inches) But for me that’s also the charm – this tension about. Programme release on FEB 16, 2017 Edition of 15 More on collectorsagenda.com between precise measurements and human • read the full story on bit.ly/_PeterJellitsch Signed and numbered by the artist. imperfection. The idea, however, is that every 1.500 Euro, incl. VAT (13%) individual line, every surface in my pictures is • more on bit.ly/WernerFeiersingerEdition

collectorsagenda.com collectorsagenda.com In the Studio Tyler Mallison, London Edition Tyler Mallison

Untitled (Chair Constructions) 2014

Chair Constructions is a project investigating ‘reality’ and its various forms, initiated at Autocen- ter Contemporary Art Berlin in 2014. The perfor- mative work documented on-site brings together chairs from the former GDR, jute hessian, and basic Artificial Intelligence (AI) contained in DSLR Autofocus technology.

The resulting augmented instantiations explore time, space and systematic reduction of complexity — Through a combination of media, London-based artist Tyler Mallison gives form to an ‘uncertain reflecting Mallison’s on-going interest in the inter- space’— characterised by traces of the ephemeral and actions that introduce the medium of time, face of materiality and digital systems. In parti- body and movement. Across the work there is a marked emphasis on materiality, digital media- cular, the increasingly secondary role humans play tion and the expanded field of painting. in perceiving visual content.

Tyler, what aspects do you work into your art from Primark – the play on words shows in Part of the series was shown at the Royal Academy practice? the work title – since they represent the least- of Art Summer Exhibition (London, 2016). Con- My practice is rather ambitious and multi-dis- common denominator in manufactured clothing tinuing this line of inquiry, Mallison staged the site- ciplinary by its nature. It’s about ideas and en- and have become notorious for the myriad specific intervention‘Built Constructions’ in Berlin gaging a combination of process-based material colors available. The fact that they are only £2 this past November at Plattenpalast: a structure exploration and research – drawing on diverse each and produced in Asia introduces a further assembled using remnants of the former Palace areas of knowledge that span consumerism, subtext of interest on value, globalism, move- of the Republic. philosophy, psychology, semiotics, science and ment and migration. 15 digital technologies. Themes of desire, direc- Pigment print on Canson Baryta Photographique tion and dissonance are central – with a partic- 310g, framed in white distance frame ular interest in actions that seek to incorporate »Ambiguity has a place from lime wood, with white spacing fillets. the medium of time, body and movement. in art, unlike the Format: 54 x 38 cm (21.3 x 15 inches) Across the work there is a marked emphasis on Edition of 9 + 1 AP materiality, digital mediation and the expanded commercial world.« Signed and numbered by the artist. field of painting. That said, I try to avoid at- 700 Euro, incl. VAT (13%) tempts to ‘explain’ my work as it always leaves Looking back to 2016 and thinking about the • more on bit.ly/TylerMallison_Edition . English, Hardcover, 30 ills. Euro 38,– x 24 cm, 240 ISBN. English, Hardcover, pages, 175 Drawings 978-3-903131-47-7 »Boobs or Books« , 2012, from Olaf Breuning, me feeling unsatisfied. Ambiguity has a place year ahead, what stands out? in art, unlike the commercial world. Being one of the selected Syllabus artists has taken me to a lot of places across the UK You use a wide a range of materials and talking to different art institutions. Also I spent mixed media in your work, including quite some time in Germany last year. This photography, textiles, pigments and digital included a short residency with New York based technologies. How did the choice of media collective DIS at the HMKV-Autocenter Sum- evolve over time? mer Academy in Dortmund, and a solo show at I choose materials for their ability to commu- Plattenpalast in Berlin. For the exhibition, nicate in the context of the work. This could be entitled

Clothing has played a big role in many of your work series during the past few years, including among others Prime Arcadia. It’s a combination of the raw materiality and agency such materials provide. I’m drawn to inherent physical traits, such as color, texture, surface and form that are ‘real’ and manufac-

vfmk.org #artbooklovers tured by complex industrial and marketing systems rather than the artist. For Prime Arcadia I chose basic ‘throwaway’ T-shirts

collectorsagenda.com ARCOmadrid Carlos Urros, Madrid

evolving institutional networks working with years ago. And I see many collectors opening established curators such as Maria de Corral, up towards other geographic regions. And it former director of the Reina Sofia and the is ARCO’s mission to bring all that the Latin ARCOmadridVenice Biennale, but also with younger experts American art scene has to offer to the attention who are intimate with the local scenes, such of this international collector scene. as Chris Sharp or Catalina Lozano in Mexico, Jaime Cerón in Colombia, or Inés Katzenstein in Argentina. To gain more depth on the discur- »We are probably making sive part, we invite one country in which we the most active contribu- FERIAobserve a vibrant art scene emerging as a special tion to foster the art guest each year which then inspires the com- plementary program of events to a great extent. discourse between Europe For this year’s edition of ARCO the guest coun- and Latin America.« INTERNACIONALtry will be Argentina. ARCOmadrid takes a center position as a Since the opening up of Cuba, Cuban art has meeting point between Europe and Latin stirred increasing attention and found its DE ARTEAmerica. How will this year’s edition live up way into institutional shows and gallery pre- to this idea? sentations. Do you see Cuban art play a more We have always been dedicated to introducing prominent role for ARCO in the future? CONTEMPORÁNEOEuropean and international audiences to art We are excited to have a young gallery from from the Latin American continent. Today we Havanna, called El Apartamento, participating are probably making the most active contribu- this year. We also had several Cuban artists tion to foster the art discourse between Europe shown previously by other exhibitors, includ- and Latin America. The continent is vast and ing better known positions such as Carmen Photo: ©IFEMA complex, and very rich in diverse practices. This Herrera, Carlos Garaicoa, the art collective Los ARCOmadrid takes center stage as a place of year’s edition of ARCO will be inspired by Argen- Carpinteros, but also many other emerging encounter with art from Latin America.INTERNATIONAL We tina. As part of ArgentinaPlataformaARCO we talents. We would very much welcome having talked to its director, Carlos Urroz, to find out will present internationally renowned artists more galleries from Cuba participate at ARCO how ARCOmadrid seeks to expand its position, such as Alberto Greco; Eduardo Stupia, and in the future. what to expect from this year’s edition, and Mirtha Dermisache, along with other artists • ifema.es/arcomadrid_06 how Latin American art increasinglyCONTEMPORARY claims its yet to be discovered by the public such as Diego stake on the international art scene. Bianchi, Pablo Accinelli, or Sol Pipkin.

How would you describe what to expect During February, all eyes in Madrid will be to someone who has never attendedART ARCO on ARCO.FAIR How will the city be showing off ARCOmadrid madrid? its “Latin side” this year? ARCO is literally a discovery fair for both col- Various projects are coinciding in our capital’s lectors and professionals. Of course every fair main art centers and museums. Argentina’s FERIA 16 offers this opportunity by introducing visitors prominent representation will naturally be also INTERNACIONAL to new talents and art practices, by providing reflected in the form of numerous initiatives ways of forming relationships among an inter- throughout Madrid. One of the biggest achieve- DE ARTE national art crowd, and so on. However,22 I would— ments26 we made for this year is that, for the CONTEMPORÁNEO like to think that ARCO offers more inspiration first time, there will be the opportunity to view and depth in regard to facilitating the encoun- some of the most important exhibitions from ter with artists from different contexts. In 2017, Latin America and the Iberian region, including INTERNATIONAL almost one third of the Fair willFEB be dedicated the Isabel2017 and Augustín Coppel Collection CONTEMPORARY to the presentation of artist projects either in- (Guadalajara, Mexico), the Hochschild Collec- dividually or in dialogue. We have paved the way tion (Lima, Peru), and the Costantini Collection ART FAIR for many, previously unknown, artists. The (Buenos Aires, Argentina). first work by the Cuban collective Los Carpin- teros that was sold abroad was bought by the Latin American has long been at the periph- 22— 26 ARCO Foundation in 1996. And it was at ARCO ery in the global art discourse, as opposed FEB 2017 2012, that Portuguese artist LeonorMADRID Antunes to European or North American art. Do you was acquired by major art institutions for the see this changing? first time. That’s true. In the past, artists such as Lygia MADRID Clark, Hélio Oiticica, or Jesús Rafael Soto, How do you intend to sharpen ARCO’s pro- whose works are now collected by major insti- file as a “discovery fair”? tutions the world over, have been ignored Many of the galleries we invite to ARCO are during their time. Collectors who also appreci- new to the scene and their artists are at a tur- ated their work during their lifetime now have ning point of their career. We do a lot of geogra- masterpieces of art history. I see that changing phical research to identify new and interesting however, fortunately. The global collector scene art scenes, emerging collector markets, and is no longer as Western-centered as several

Publisher: Collectors Agenda Art Editions OG, Franz-Josefs-Kai 3/16, 1010 Vienna Responsible Editors: Florian Langhammer Layout & Design: Agnes Wartner, kepler Berlin Read our stories in full length, Photography: Florian Langhammer, Maximilian Pramatarov All text and images are the property of Collectors Agenda or its content suppliers and protected by international copyright law. Reproduction in whole or part without and discover exclusive art editions on written permission is strictly prohibited. All prices correct at the time of going to press, but subject to change. No liability for completeness, editorial and technical mistakes, collectorsagenda.com omissions or correctness of the contents. Become a subscriber to our newsletter to be Printed by DONAU FORUM DRUCK Ges.m.b.H., Vienna, Austria Connect with us on the first to learn about new stories Instagram and Facebook and to receive regular Culture Briefings