SIZE MATTERS! (DE)GROWTH OF THE 21ST CENTURY ART MUSEUM 2017 VERBIER ART SUMMIT

EDITED BY BEATRIX RUF AND JOHN SLYCE

KOENIG VERBIER BOOKS ART LONDON SUMMIT DAVE BEECH DANIEL BIRNBAUM BENJAMIN BRATTON MARK FISHER CISSIE FU REM KOOLHAAS CHRISTOPHER KULENDRAN THOMAS TOBIAS MADISON HRH PRINCE CONSTANTIJN OF THE NETHERLANDS TINO SEHGAL NICHOLAS SEROTA EDITED BY BEATRIX RUF JOHN SLYCE 06 82 160 208 Introduction The Museum Capitalist Realism More Than Real ANNELIEK SIJBRANDIJ as Startup and Neoliberal DANIEL BIRNBAUM TALK BY Hegemony: 16 HRH PRINCE CONSTANTIJN 212 OF THE NETHERLANDS A Dialogue Prologue MARK FISHER Biographies BEATRIX RUF AND JEREMY GILBERT 96 24 60 Million 170 Inserting a Non- Americans Gentrified transactional Can’t Be Wrong Psychedelia Space in Verbier CHRISTOPHER TALK BY KULENDRAN THOMAS and Beyond TOBIAS MADISON JOHN SLYCE 116 190 Size and Scale The Scale of 42 in Architecture The 21st-Century Contemporary Art: TALK BY Tate Is a Common- REM KOOLHAAS From Artwork wealth of Ideas to Exhibition NICHOLAS SEROTA 132 to Institution Unfix, Unform, and Beyond 56 Unlearn DAVE BEECH For You/ TALK BY For You Not: CISSIE FU 206 Bring People The Hole of 150 Representation Together What If You Held TINO SEHGAL in Machine Vision a Protest And BENJAMIN H. BRATTON Everyone Came? MARK FISHER Much of the focus of my own criti­ INSERTING cism, art WRITING and RESEARCH approaches positions within contem­ A NON-TRANS- ­ porary art in a parallax view, which ACTIONAL­ SPACE attempts to take into account the broader legacies and impact of what IN VERBIER constitutes the historical moment AND BEYOND of conceptualism in EXPANDED JOHN SLYCE FIELDS, post-studio practices and post-object production. The size, scale and capital intensity of much contemporary PRODUCTION offer rich material for analysis and cri- tique of OUR MOMENT OF CUL­ TURE and economy and the condi- tions of possibility for making and presenting art inscribed therein. These relations are often character- ised by an antagonistic collision of two spheres: that of production con- trasted with the sphere of exchange and consumption, the latter given to lapsing into a COMMODITY FETI­ SHISM all too prone to intervene and obscure meaning in a work of art. Breaking free of such mercantile forces – just the type of ECONOMIC OVER-DETERMINISM at once un- spoken and yet a palpable leitmotif of any art world gathering – is, in my estimation, one of the very admir­able aims of a comprehensive project in

SIZE MATTERS! 24 – 25 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND first the2017 VERBIER ART SUMMIT from individual positions that were, and then this publication. at all times, Perhaps the most significant EN­GAGED, DIVERGENT, RESPEC­­ result of the 2017 VERBIER ART TED and valued. The two-and-a half- SUMMIT was to open up a NON-­ day Summit was ostensibly structu­red TRANSACTIONAL SPACE – free around a group of questions set by of the standard commercial and Stedelijk Museum director BEATRIX social forces in operation when the RUF PROLOGUE, PAGE 16: What does ‘Size art world tends to gather – where Mat­ters!’ mean in your field at this thinking, often quite SPECULATIVE, moment? What helps you think about and emergent ideas were openly ­ expansion? What is the future of growth EXCHAN­ GED­­ across a community in your field? WHAT IS THE FUNC­ gathered in Verbier, Switzerland. TION OF ART INSTITUTIONS IN The product of this exchange was THE FUTURE? How can we define much more than the form of sophi­ their presence? What experiences sticated networking so often implied will they generate? How will they re- by the contemporary and its art world late to audiences? Rather than aim- events. This BOOK seeks to pro- ing for definitive conclusions, speak- vide a similar constructive and ers and participants explored these CRITICAL PLATFORM conducive ques­tions from their own experiences, to the possibility of thought for a research, professional practices and larger community of readers. institutional contexts. For example, A generosity and equality PAUL SPIES, director of Berlin’s amongst participants characterised Stiftung Staadtmuseum­ since 2015, the 2017 VERBIER ART SUMMIT and delivered a lively talk titled ‘One this was the case whether it was an Size Fits Not All’. Size here takes on intimate morning discussion session very specific dimensions and chal- in a chalet, or a public talk during lenges when, for example, the the afternoon. Speakers, participants Berlin City Museum possesses and audience each appro­ac­h­ed the some 4.5 million objects. Spies theme of Size Matters! (De)Growth asked, ‘WHAT IS ONE MEANT TO of the 21st Century Art Museum DO WITH ALL THOSE OBJECTS?’

Size Matters! 26 – 27 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND Each day was organised around a scale through the rubric of Artificial morning discussion session held in Intelligence (AI) and VIRTUAL a private chalet, led by moderators REALITY (VR). His challenge to and including keynote speakers along­ audience and reader is to confront side the international participants of the ‘indifference’ of AI and to consi­ the Summit. Following lunch, there der how such ‘INTELLIGENCE’ is were afternoon breakout sessions an emerging property of matter where and workshops where attendees the machines of AI are perhaps tea­ explored, for example, THE ROLE ching humans a fuller approach to ART HAS PLAYED IN LIFE, in the thinking itself. Such a prospect may world, and in museums. Later ses- indeed lead to a moment where hu- sions examined the future of the art mans are confronted by ‘an image fair and its growing institutional import of the way humans think humans and scale. After a short break, the think.’ Professor Bratton posits this public talks were held during each as a ‘MACHINIC IMAGE’ generated afternoon. What follows below is, in through new modes of representa- part, a selection of what I found to tion in an age of AI and VR. Here be some of the most interesting representations can exist at a level, ideas and issues raised during the or state of code and offer a form of summit through the public lectures ‘vision without images.’ As we see and private sessions, while also ourselves through the ‘eyes’ of the serving as an introduction to the ‘Machinic Other’ we experience a content provided by participants and potential disenchantment: we look contributors here in this volume. ‘UN-HUMAN’ in the machi­nic oth- BENJAMIN BRATTON FOR YOU/FOR YOU er’s eyes. Bratton offers such a sce- NOT, PAGE 55 wri­tes about entanglements nario up as a form of ‘COPERNI­ CAN­ of TECHNOLOGY and CULTURE. He TRAUMA’, where the scale of a shift explores how technologies enable the in consciousness an self-know­­ledge making of certain worlds and, at the alters our conceptions of cultural same time, how culture structures the and planetary time and, indeed, our manner in which those will EVOLVE. notions of what may constitute a no- Bratton approaches size and indeed tion of ‘now’. In his essay he argues

SIZE MATTERS! 28 – 29 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND that for AI to be most generally ben- EXCLU­SIVE CLUB.’ This they may eficial, instead of mirroring human do by creating spaces with more biases and arbitrary conceits, we may autonomy and experimentation. instead wish to ensure that the new Now is a time of great opportunity TECHNOLOGY IS LESS HUMAN- given the technological innovations LIKE rather than more. Bratton of- possible to open access to collections. fers that an ethical inhumanism may The task is to exploit these technol- need to drive the policy discussion. ogies to show the ‘REAL THING’ and In a text that closely follows his stay true to an authentic experience Summit talk, HRH PRINCE of art. CONS­TANTIJN OF THE NETHERLANDS­ SIZE is the profession of the THE MUSEUM AS STARTUP, PAGE 81 explores how the architect and REM KOOLHAAS SIZE AND DISRUPTIVE MODEL of the start-up SCALE IN ARCHITECTURE, PAGE 115 offers us to consider might challenge the thinking and a dimension of BIGNESS that could practices of the art museum to provide be ambitious and reinvent the just that promised by such small museum. This might be approached and flexible businesses: ‘supe­rior by not only embedding the museum CUSTOMER VALUE.’ Here the in a city, but indeed to relate to a Prince positions the museum as an ‘MUSEUM AS CITY’ made up of incumbent and therefore, as with assembled institutions. In order to the experience of politicians in get there, Koolhaas warns, we must recent months, perhaps equally overcome the intimidation of size, PRONE TO A BLINDNESS that but so too resist ‘doing what the does not allow the institution to see economy asks one to do’. In a morning what is coming before them. He ques­ discussion session at the Summit, tions the seemingly limited options Koolhaas lamented the fact that as for the museum: must the museum museums have grown in size, the become ‘fun and entertaining’, or will SCALE OF THE INTELLECTUAL it merely remain ‘dry and cerebral’? CAPACITIES and ambitions of Prince Constantijn challenges the those inside them have not kept museum to ‘LET THE OUTSIDE pace. He traces a shift from CHAL­ IN AND TO NO MORE BE AN LENGE (exemplified by the work of

SIZE MATTERS! 30 – 31 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND Richard Serra) to COMFORT (epito- surement; what might happen if we mized by that of Anish Kapoor). The expose ourselves to a radical prop- size of museum extensions is not al- osition of ‘NOT-KNOWING’? She ways kind, or fair to the practices of closes with the truisms that, ‘Bigger certain artists. Koolhaas looks at his is bigger; smaller is smaller, but current on-going project with the more than once in a while, less can Stedelijk Museum where HE IS EVOL­ be more’. VING A SYSTEM OF STEEL WALLS CHRISTOPHER KULENDRAN to house the permanent collection THO­MAS 60 MILLION AMERICANS CAN'T BE WRONG, PAGE 95, and will render a new part of the an artist based in London and Berlin building as something more than an maps his collaborative project of extension. He concludes by looking generating a start-up centred on a at the mega buildings in the coun- Real Estate Technology Company. tryside regions of Tahoe and Reno He advances a proposition that that offer up a model of a TECHNO­ takes the form of a distributive LOGICAL WORLD integrated into network, titled the NEW EELAM, humanistic space. which comes forward as a flexible CISSIE FU UNFIX, UNFORM, UNLEARN, PAGE 131 housing system engaged with by challenges us to shift our perspec­ subscription. Based on an analysis tives on size through the simple of what contemporary art has done move of lowering our elbow as we in recent years – for example, estab- draw a circle in the air. Her aim is to lishing ‘the loft’ as a universal mark- OPEN UP THINKING to embrace er of GENTRIFICATION and urban ‘indeterminacy’ or uncertainty as a regeneration to, in more recent means of moving forward. The sche- years, making visible and CON­ ma Fu sketches is centred on three SUMABLE A LIFESTYLE OF GLO­ terms: UNFIX – say, an image and BALIZATION – Kulendran Thomas open it up to multivalent meanings; aims to structurally reorganize UNFORM – yes, learn a technique housing and explore what a home but do not be burdened by it; UN­ might be when considered as infor- LEARN – usually we approach ‘size’ mational goods and as existing be- by thin­king about and through mea­ yond traditional PROPERTY

SIZE MATTERS! 32 – 33 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND RELATIONS. A product of such a enter into and be engaged and system of subscribed housing might invol­ved in politics, but so too offer a more fluid form of CITIZEN­ re-examine­ how the RELATIONS SHIP not so much bounded by a of LIFE and LABOUR might resist territory as dispersed across a net- the conditions of mandatory entre- work. In a reversal of a familiar com- preneurialism. ‘To reclaim a REAL mercial logic of contemporary prac- POLITICAL AGENCY,’ he writes, tice, Kulendran Thomas asks, ‘HOW ‘means first of all accepting our MIGHT A BRAND COMMUNICATE insertion at the LEVEL OF DESIRE THEREIN AS AN ARTIST.’ in the remorseless meat-grinder of The cultural theorist and writer Capital. What is being disavowed Mark Fisher was to present during in the ABJECTION OF EVIL AND the 2017 VERBIER ART SUMMIT as a IGNO­RANCE onto fantasmatic. keynote speaker, but chose to leave Others is our own complicity in this world the week before. DANIEL planetary networks of oppression.’ BIRNBAUM MORE THAN REAL, PAGE 209, director The text before you by the artist of the Moderna Museet in Stockholm, TOBIAS MADISON GENTRIFIED PSYCHEDELIA, and the artist Tobias Madison joined PAGE 170 is a reworking of a PERFOR­ Beatrix Ruf to read movingly from MATIVE LECTURE he delivered Fisher’s hugely popular and important that examined the role of the artist analysis of how capitalism represents in an era of gentrified psychedelia. and reproduces itself: Capitalist ‘I am an artist – I deal in the busi- Realism: Is There No Alternative? ness of mind expansion,’ offers Worthy to linger on is this trenchant Madison. His was an invitation to line: ‘WITH NEO-LIBERALISM, LOOK INWARDS and consider how, THE MORE IT IS NAMED, THE as technological advances of size LESS ITS DOCTRINES CAN POSE and scale grow in proportions, new AS POST-POLITICAL.’ The challenge sentiments come forward lacking of MARK FISHER’s WHAT IF YOU HELD A PROTEST shape and form. It is the role of the AND EVERYONE CAME?, PAGE 149; CAPITALIST REALISM AND NEO­ artist to LEND SHAPE to these new LIBERAL HEGEMONY, PAGE 160 recent writing is to feelings and sentiments. Madison invent new ways where people might considers art as a parallel entity

SIZE MATTERS! 34 – 35 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND aligned with a history of senti­­ments, the scale of the world and that of but one that operates OUTSIDE A the word – each being prone, as they LINEAR LOGIC of forwards and are now, to the monumentalising backwards. Art functions to create FORCES OF SOCIAL MEDIA. a communal consciousness and The final keynote speaker of the galvanizes new communities. 2017 VERBIER ART SUMMIT was the The artist DAVE BEECH THE SCALE OF artist Tino Sehgal who engaged his CONTEMPORARY ART, PAGE 191, new­ly appointed audience in a type of call and re- Professor at Valand Aca­­demy, Uni­ sponse performative conversation versity of Gothenburg, addresses size as he explored the need of society to and his own confusions with scale GENERATE RITUAL GATHERINGS as a young painting student. Beech to re-enact foundational categories goes on to look at the ECONO­ MIC­ and values across time. He led the DETERMINANTS of both size and audience to consider what happens scale in the supposed oversupply to an institution when it considers of artists and the scale of artistic growth and offered that, rather than production beyond that of demand growing in size, MUSEUMS might before turning to look at the rise of consider the more RADICAL POSI­ the national museum and its approach TION of expanding their opening to PRESENTING THE NATION times 24/7 × 365 days a year! through the collection following the My own thoughts gathered on seismic shifts in the post-revolution the theme of Size Matters! world of 1789. Returning to his own (De)Growth of the 21st Century Art collaborative art practice in the col- Museum following the Summit touch lective FREEE, Beech speculates as not only on a range of institutions to whether approaches to scale in and art world professions, but also the artwork and its wider social and positions, practices, images and institutional scale in which it objects. operates is not always already NICHOLAS SEROTA’s THE 21ST-CENTURY situated in conflict. He concludes TATE IS A COMMONWEALTH OF IDEAS, PAGE 41 essay, by stating that the only scale worth printed here, relays the scale of reima­gining and working in now is AMBITION HE BEQUEATHS Tate

SIZE MATTERS! 36 – 37 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND to integrate the museum with and in kept pace. Meanwhile, a palpable the common culture, and position degree of ‘GIGANTOMANIA’ has the institution to function as a conduit mirro­red the processes of globaliza- and conductor of a ‘COMMON­ tion since the late 1990S and this WEALTH OF IDEAS’. The wider impli­ has had as much impact on insti­tu­ cations of positing the museum – or tions as it has on the image and any institution irres­pective­ of its size objects circulating therein. and scale – as such, advances each Technological innovations – as an alternative RES PUBLICA, I have in mind Artificial Intelligence, or institution held in common by many. Virtual Reality, 3D video and printing, Aspira­ ­tions such as these stand in the opening of digital archives, strea­ stark relief to the THINKING and ming, online connectivity – are poten­ appro­aches of many allied art institu- tial engines of a QUALITATI­VELY tions, and here I am thinking of art DIFFERENT TYPE OF GROWTH fairs, art magazines, primary galleries, for art institutions and museums over secondary market operators, bien­n­a­ and above the mega-structure or les, art schools and beyond – mus­e­ ar­chi­tectural extension. In order to ums are by no means alone in this, realise such potential, institutions but are perhaps the most visible and need to REIMAGINE their understan­ extreme example – to growth, which ding and relations to both size and has often been largely one-dimensi­ scale. In turn, they must EVOLVE their onal and CENTRED ON SIZE, crude thinking and draw on lessons and measurement and quantity over and models from a more diverse range ABOVE SCALE, more nuanced social of contemporary examples – the dis- indicators and quality in the first two ruptive start-up, digital interfaces, vi- decades of the twenty-first century. ral media organizations and innova- As the allied institutions of the art tive collaborative or cooperative world have ‘grown’, the intellectual bodies – where emphasis is placed ambitions and abilities of those who on SMALL, FLEXIBLE, SPEEDY fill those institutions, or indeed fulfil responses to a changing landscape roles within the realm and range of and environment, not to mention an art world practices, have not really ever shifting social and ECONOMIC

SIZE MATTERS! 38 – 39 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND CONTEXT FOR ART. There is a projected further into a future. great need for longer-term thinking My thinking here returns to a line and strategic planning regar­ding re- from the artist Robert Smithson: “Size mits, mission statements and how determines an object, but scale deter­ one might define ‘growth’ across a mines art.” Rather than size, it seems range of issues – buildings, audienc- that scale is the more powerful con- es, markets, educational agendas, cept and experience given its flexible collections, displays, com­m­un­i­ties and relational properties.Tech­nolo­ – based not on four year cycles, or gi­cal possibilities return us to André political calendars and changing Malraux’s Le Musée imaginaire, or governments, but 20, 40 or even museum without walls whose scale 50 year periods. and indeed size can offer a museum There is some agreement that as city, but so too one that operates artists are in the business of con­s­ with and on the very individual and cious­­ness raising and art lends shape expansive scale of the world and to NEW FEELINGS and sentiments­ word. The art that might disseminate as these coalesce in societies. The through technological images, but importance of art and the museum also the spectral image of new tech- as a site where communities come nologies, will lend both shape and together and see themselves and form to new sentiments and generate their FOUNDATIONAL VALUES new feeling when activated and pro- and beli­efs reflected back at them jected from within the NON TRANS­ is central in this. Art itself really pro- ACTIO­ NAL­ SPACE of a collective vides the strategies and approaches mind and creative consciousness. we need to consider and adopt in relation to growth: SLOW DOWN, THINK MORE and self-reflexively, and then think and act WITH A LON­GER FRAME of time and broader set of ambitions based in a notion of now, or the contemporary that stretches back in history and is

SIZE MATTERS! 40 – 41 INSERTING A NON-TRANSACTIONAL SPACE IN VERBIER AND BEYOND DAVE BEECH is a member of the art collective BIOGRAPHIES Freee, writer and Professor of Art at Valand Academy, Gothenburg. His book Art and Value, published by Brill in 2015, was shortlisted for the Deutscher Memorial Prize. His work had been exhibited at the Istanbul Biennial and the Liverpool Biennial. He is a regular contributor to Art Monthly, co-authored the book The Philistine Controversy, Verso (2002) with John TINO SEHGAL BEATRIX RUF IRMA BOOM Roberts, edited the MIT/Whitechapel book Beauty, and is a founding co-editor of Art and the Public Sphere journal. FISHER MARK MADISON TOBIAS BEECH DAVE JOHN SLYCE

IRMA BOOM is an Amsterdam-based graphic designer specialised in making books. For five years she worked (editing and concept/design) on the 2136- page book SHV Think Book 1996 –1896 commissioned by SHV Holdings in Utrecht. The Think Book was publi­shed in English and Chinese. Boom studied at the AKI Art Academy in Enschede. After graduation she worked for five years at the Dutch Government Publishing and Printing Office in The Hague.

In 1991 she founded Irma Boom Office, which works nationally and internationally in both the cultural and commercial sectors. Since 1992 Boom has been a senior critic at Yale University in the U.S. and gives lectures and workshops worldwide. She has been the recipient of many awards for her book designs and was the youngest ever laureate to receive the prestigious Gutenberg Prize for her com­ plete oeuvre. Boom received the 2014 Johannes Vermeer Prize

PRINCE CONSTANTIJN OF THE CISSIE FU KULENDRAN – the Dutch state prize for the arts – for her unpara­l­ lelled achievements in the field of graphic design from the Minister of Education, Culture and Science, Jet Bussemaker. H. BENJAMIN BRATTON NETHERLANDS KOOLHAAS REM CHRISTOPHER

DANIEL BIRNBAUM is the director of Moderna Museet in Stockholm. From 2000 to 2010 he was the

SIZE MATTERS! 212 – 213 BIOGRAPHIES Rector of Städelschule in Frankfurt and Director of its Hull (1989) and later completed a Ph.D. at the Uni­ver­sity kunsthalle Portikus. He is contributing editor of Artforum of War­wick in 1999 entitled Flatline Cons­tructs: Gothic in New York and has curated a number of large Materialism and Cybernetic Theory – Fiction. More exhibitions, including Airs de Paris at Centre Pompidou in recen­tly, he was a visiting fellow and a lecturer on Aural Paris (in co operation with Christine Macel) in 2007. & Visual Cultures at Goldsmiths College, a commis­si­o­ Birnbaum was the director of the 2009 Venice Biennale. ning editor at Zer0 books, an editorial board member He is the author of nume­rous books on art and of Interference: a journal of audio culture and Edinburgh philosphy and is the co-editor (with Isabelle Graw) of the University Press’s Speculative Realism series, and an Insitut für Kunstkritik series published by Sternberg acting deputy editor at The Wire. In 2009, Fisher edited Press. He recently joined the board of directors of Nobel the critical collection The Resistible Demise of Michael Media, the organization that manages all the events Jackson, and published Capitalist Realism: Is There surrounding the Nobel prizes.. No Alterna­tive?, an analysis of the ideological effects of neoli­bera­ lism­ on contemporary culture. In 2014, Fisher published­ Ghosts of My Life: Writings on Depre­ssion, BENJAMIN H. BRATTON spans the fields Hauntology and Lost Futures, a colle­ction of essays on of philosophy, art, design and com­puter science. He is similar themes viewed through the prisms of music, lm, Pro­fessor of Visual Arts and Director­ of the Center­ for and hauntology. He also contributed inter­­mi­t­tently to a Design and Geopolitics at the Univer­sity of Cali­for­nia, number of publications, including Fact and The Wire. San Diego. He recently foun­ded the school’s new Mark Fisher chose to leave this world in January 2017, Speculative Design under­gra­du­ate major. He is also a shortly before the Art Verbier Summit. Profe­ssor of Digital Design at The Euro­pean Graduate School; Visiting Faculty at SCI_Arc (The Southern Cali­fornia Institute of Archi­tec­ture); and, for 2016-18, CISSIE FU is Dean of the Faculty of Culture + Program Director at the Strelka Institute for Media, Community at Emily Carr University of Art + Design and Archi­tec­ture and Design in Moscow. Co-Founder of the Political Arts Initiative, which invites In The Stack: On Software and Sovereignty (MIT 21st-century image-nations of the political through digi­tal Press, 2015) Bratton­ outlines a new theory for the age technology and the creative and performing arts. of global computation and algo­­rith­mic gover­nance. He After an AB in Government and Philosophy at proposes that different genres of planetary scale com­ Harvard University, Cissie explored public interest law putation can be seen not as so many species evolving in Washington DC before moving to the University of on their own, but as forming a coherent whole: an acci­ Oxford for an MSt in Women’s Studies, an MSc in Poli­ dental megastructure that is both a compu­tatio­ nal­ infra­ tical Research and Methodology, and a DPhil in Politics structure and a new governing architecture. and International Relations. She lectured at Oxford and His current research project – The­ory and Design University College London prior to serving as Senior in the Age of Ma­chine Intelligence – is on the unex­pe­c­ Tutor and Director of Studies at Leiden University Col­ ted design challenges posed by A.I. lege in Leiden University’s Faculty of Governance and Global Affairs in The Hague. Having returned to Canada recently, she continues to be a regular guest curator MARK FISHER earned a Bachelor of Arts and performer at art institutions in and out of Europe. degree in English and Philosophy at the University of Fu’s research sits at the nexus of politics, philo­sophy,

SIZE MATTERS! 214 – 215 BIOGRAPHIES and performance, with a focus on contem­porary Art in Warsaw (2016), Co-Workers: Network As Artist, manifestations of the political through individual and Musée d’Art Moderne de la Ville de Paris (2015) and collective action and expression. Suspending divi­si­ons Art Turning Left: How Values Changed Making, Tate of theory/practice, contemplation/action, and analysis/ Liverpool (2013). Forthcoming exhi­bitions­ include shows performance, she seeks common ground where thin­ at Hamburger Bahnhof – Museum für Gegenwart in king, making, and acting are equally foundational to Berlin and Tensta Konsthall in Stockholm. being human, which, when taken as the starting point of political theorising, casts performance – of identity, TOBIAS MADISON is a Swiss born artist who will, and responsibility – as a powerful source for poli­ lives in New York City. Madison shuttles bet­ween refusal tical awakening and a robust realisation of citizenship. and parti­cipation, withdrawal and exposure, co­m­­­munal On the premise that the aesthetic refracts the spirit and calcu­la­ted outsour­cing. In doing so, he works ethi­cal and the political, Fu draws from artistic prac­tices his way along the edges of found formats: the work, the for her current book project on the politics of silence, exhibition, as well as the figure of the “young” artist. tow­ards resuscitating silence as a positive political Madison’s artistic practice resists simple categor­i­za­ concept which can articulate and embrace the cons­ tions, but at its core is the fundamental question of self- tructive ambiguities between attachment and deta­ch­ determination. His work shows a continued inte­rest in ment in political practices of speech and action. drama, technology, and an almost inhuman sense of self sufficiency. REM KOOLHAAS founded OMA in 1975 He has had institutional solo exhibitions at the Swiss toge­ther with Elia and Zoe Zenghelis and Madelon Institute in New York City (2010) curated by Gianni Jetzer, Vriesendorp. He graduated from the Architectural the Kunstverein Munich (with Bart van der Heide), many Association­ in London and in 1978 published Delirious group exhibitions, a solo at the Kunsthalle Zürich (with New York: A Retroactive Manifesto for Manhattan. In Beatrix Ruf), NO; NO; H, E P, a Frieze commission in 1995, his book S, M, L, XL summarized the work of OMA 2014. In April 2015, Madison returned to Kunsthalle in “a novel about architecture”. He heads the work Zurich (directed by Daniel Baumann) to play in Theater of both OMA and AMO, the research branch of OMA, der Überforderung [Theatre of Excess], a month-long ope­rating in areas beyond the realm of archi­te­c­ture performance with daily open rehearsals directed by such as media, politics, renewable energy and fashion. Barbara Weber, which “precipitated” in five premieres. Koolhaas is a professor at Harvard University where Madison teaches a monthly seminar in the master’s he conducts the Project on the City. In 2014, he was program of the HEAD in Geneva and contributes regu­ the director of the 14th International Architecture Exhi­­­­­bi­ larly as a critic to magazines such as Texte zur Kunst, tion of the Venice Biennale, entitled “Fundamentals”. Frieze, May and Flash Art.

CHRISTOPHER KULENDRAN HRH PRINCE CONSTANTIJN OF THOMAS works through the processes by which THE NETHERLANDS advises companies art produces reality. Thomas’s work has been included on their digital innovation stra­tegies.­ The Dutch Gover­ in the 11th Gwangju Biennale (2016), the 9th Berlin n­ment appoi­n­ted him as Special Envoy of Startup Delta, Biennale (2016), Bread and Roses, Museum of Modern with the ambi­­tion to make the Nether­lands the best

SIZE MATTERS! 216 – 217 BIOGRAPHIES place to start, build, grow, and scale up innovative Nefkens/MACBA Award, Prix de Rome, Erasmus Prize busi­nesses. Prince Constantijn has a back­ground in and the Turner Prize. At the Stedelijk Museum government, mana­gement consulting and policy Amsterdam, Beatrix Ruf has initiated exhibitions with, research & advice, at the European Commission, among others, Tino Sehgal, Ed Atkins, Liam Gillick, Ministry of Foreign Aff­airs, Booz Allen & Hamilton and Isa Genzken, Avery Singer, Jordan Wolfson and Seth the RAND Corporation. Most recently he was Chief of Price. She has also initiated an extensive and ambi­ Staff of Neelie Kroes, Vice Presi­dent of the European tious new collection display, which will open to the public Commission in charge of the Digital Agenda for Europe. in 2017. He went on to establish his own ad­vi­sory business and initiated the cou­ntry’s biggest ever startup event ‘Startup TINO SEHGAL originally studied political eco­ Fest Europe’, rea­ching over 36.000 people at 30+ events nomics and dance and then crossed over to the visual in 16 loca­tions. He is passionate about culture and arts in 2000. He achi­e­ved international recognition art, which is reflected in various board and advisory for his ground­breaking, experimental work presented positions at Stedelijk Museum Amster­dam, World Press at the Venice Biennale, Documenta in Kassel, the Photo, Prince Claus Fund for Culture and Develo­pment Guggen­heim Museum in New York and Tate Modern and the Netherlands Violin Concours. Constantijn has in London. The Stedelijk has worked with Sehgal from master degrees in law en business administration the outset of his career, presenting his work in 2004 from Leiden University and INSEAD respectively. He and 2006; the museum acquired his first work in 2005: lives in The Hague is married and has 3 children. Instead of allo­wing some thing to rise up to your face dancing bruce and dan and other things (2000). BEATRIX RUF is the Director of the Stedelijk For Sehgal, an artwork consists of a live encounter Museum Amsterdam. After completing her studies, between artwork and viewer. Sehgal does not make she was Curator at Kunstmuseum Thurgau, Warth objects; he creates ‘situations’ within the museum from 1994-1998 and Director of Kunsthaus Glarus, space, in which interpreters enact choreographed Glarus from 1998-2001. In 2001, Ruf was appointed actions and occasionally converse with visitors. Director of Kunsthalle Zürich, overseeing a substantial These encounters offer the visitor a wholly unique expansion project launched in 2003 and concluded experience of live artwork in 2012. In 2006, she curated the third edition of the Tate Triennial in London and was Co-Curator of the NICHOLAS SEROTA was appointed Chair of Yokohama Triennial in 2008. She has been a member Arts Council England in February 2017. of the think tank core group of the LUMA foundation Born in London in 1946, he studied Economics and since 2010. In 2013 Ruf co-founded POOL, a post­gra­ History of Art at the University of Cambridge and the duate curatorial program in Zürich. Ruf is a member of Courtauld Institute, London. He joined the Arts Council several Advisory and Programme Committees amongst of Great Britain’s Visual Arts Department as a regional others: Istanbul Modern, the Bundes­kunst­halle Bonn, art officer in 1970 and then worked as a curator at the Garage Moskow, MAXXI Rome, the Samdani Foun­d­a­ Hayward Gallery. From 1973-76 he was director of the tion Bangladesh and serves frequently as a jury member Museum of Modern Art, Oxford and he then became in award committees, among them the Guggenheim the Director of the Whitechapel Gallery from 1976-88. Museum’s Hugo Boss Prize, the Absolut Award, Han

SIZE MATTERS! 218 – 219 BIOGRAPHIES Nicholas Serota was the Director of Tate from 1988 took place in Verbier, Switzerland in 2015 and 2016, to May 2017. During this period Tate has opened Tate followed by the inaugural Verbier Art Summit in January St Ives (1993) and Tate Modern (2000, extended in 2017: Size Matters! De(Growth) of the 21st Century 2016), redefining the Millbank building as Tate Britain Art Museum which was organised in partner­ship with (2000). Tate has also broadened its field of interest museum director Beatrix Ruf and her cura­torial team to include twentieth-century photography, film, perfor­ at the Stedelijk Museum Amsterdam, the Netherlands. mance and occasionally architecture, as well as col­lec­ ting from Latin America, Asia, the Middle East and Africa. JOHN SLYCE is a writer and critic based in Since 2010, the national role of the Gallery has been Lon­don. He has written extensively on the work of further developed with the creation of the Plus Tate Sarah Sze, Gillian Wearing, Michael Landy, Carey Young, network of 35 institutions across the UK and Northern Cullinan Richards, Allen Ruppersberg, Rodney Graham, Ireland. In recent years, he has curated or co-curated Pipilotti Rist, Charles Avery and Becky Beasley and has a number of exhibitions at Tate, including Cy Twombly, regularly contributed essays, reviews and inter­views Gerhard Richter, Matisse: the Cut-Outs. to major art maga­zines and journals since the 1990s. Nicholas Serota has been a Trustee of the Archi­te­ Slyce is a tutor at the Royal College of Art and is cture Foundation and a commissioner on the Com­mi­s­ located in the painting programme within the School sion for Architecture and the Built Environment. He was of Arts and Humanities. His research interests include a member of the Olympic Delivery Authority which was the legacy of conceptualism and the trajectory of pra­c­ responsible for building the Olympic Park in East Lon­don tices centred on the move from studio to a post-studio for 2012. He is a member of the Executive Board condition and contemporary modes of art pro­duc­tion, of the BBC. circulation and display. Slyce has been involved with the Verbier Art ANNELIEK SIJBRANDIJ was born in Breda, Summit from the very start and has been on the Board the Netherlands, in 1976. She studied Law at the Uni­ of Advi­sors of the Verbier | Art Untold Association ver­­sity of Groningen, the Netherlands, and graduated since January 2016. in 2000. She joined Andersen in Amsterdam as a tax lawyer in 2000 and was seconded to London in 2002, where she continued to work for professional services firm Deloitte UK for 10 years. In 2012, she followed her passion for art and studied Modern & Contem­po­rary Art and art world practice in London. Since 2013, Anneliek dedicates all her time and ener­gy to the Verbier Art Summit, the exclusive global platform where the art world meets the most inno­vative thought leaders. In 2014 she founded the Verbier | Art Untold Association together with Marie-Hélène de Torrenté and Julie Daverio, and became the president & treasurer of the non­profit Association. Two small events

SIZE MATTERS! 220 – 221 BIOGRAPHIES

Size Matters! This publication follows Size Matters!, (De)Growth of the 21st Century Art Museum the programming conceived with the same title by 2017 Verbier Art Summit the Stedelijk Museum Amsterdam in collaboration with Verbier | Art Untold Association on the occasion Organisation of the inaugural Verbier Art Summit, 19, 20 and 21 Verbier | Art Untold Association January 2017, Verbier, Switzerland.

Curators © 2017 the authors, Verbier Art Summit, Stedelijk Beatrix Ruf, Margriet Schavemaker, Museum Amsterdam and Koenig Books London. Bart van der Heide Editors Moderators Beatrix Ruf, John Slyce Natasha Bonnevalle, Margriet Schavemaker, John Slyce, Robert Wolfe Contributors Dave Beech, Daniel Birnbaum, Benjamin Bratton, Keynote Speakers Mark Fisher, Cissie Fu, Rem Koolhaas, Benjamin Bratton, Dave Beech, Cissie Fu, Christopher Kulendran Thomas, Tobias Madison, Rem Koolhaas, Christopher Kulendran Thomas, HRH Prince Constantijn of the Netherlands, Tobias Madison, HRH Prince Constantijn of the Beatrix Ruf, Tino Sehgal, Nicholas Serota, Netherlands, Tino Sehgal, Paul Spies Anneliek Sijbrandij, John Slyce

The Verbier Art Summit Team thank Design Irma Boom Office All 2017 Summit participants, Marie­ Louise Albada Jelgersma, Nicolas Bernheim, Natasha Bonnevalle, First published by Koenig Books, London Quirijn Bolle, Brigitte Borel, Pierre­-Henri Bovsovers, Marcus Bratter, Jacques Cordonier, Bertrand Koenig Books Ltd Deslarzes, Jasper van den Driest, Fried­-Jan van At the Serpentine Gallery den Eerenbeemt, Pierre­-André Gremaud, Harry Kensington Gardens Tappan Heher, Frederik Jacobovits de Szeged, London W2 3XA Dakis Joannou, Alexa Kusber, Jean-Edouard­ van www.koenigbooks.co.uk Praet, Axel Roduit, Eloi Rossier, Boy van Schelt, Caspar Schübbe, Joël Sciboz, Kiki Thompson, Printed in Germany Dominique Vouilloz, and Robert Wolfe. Distribution Special Thanks to Germany, Austria, Switzerland / Europe Beatrix Ruf and her team at the Stedelijk Museum Buchhandlung Walther König Amsterdam, Dorine de Bruijne, Bart van der Heide, Ehrenstr. 4 Margriet Schavemaker, Sophie Tates and Kyra D – 50672 Köln Wessels for sharing their ideas & vision, and co­- T +49 (0) 221 / 20 59 6 53 designing the format of the Verbier Art Summit. [email protected]

UK & Ireland Cornerhouse Publications Ltd. – HOME 2 Tony Wilson Place UK – Manchester M15 4FN T +44 (0) 161 212 3466 [email protected]

Outside Europe D.A.P. / Distributed Art Publishers, Inc. 75 Broad Street, Suite 630 USA – New York, NY 10004 2017 Verbier Art Summit T +1 (0) 212 627 1999 Het Stedelijk Museum wordt ondersteund door: Hetis supported Stedelijk Museum by: wordt ondersteund door: [email protected] HetHet Stedelijk Stedelijk Museum MuseumHoofdsponsor wordt wordt ondersteund ondersteundPartner door: door: HetHet Stedelijk Stedelijk Museum MuseumHoofdsponsor wordt wordt ondersteund ondersteundPartner door: door: ISBN 978-3-96098-261-6 HoofdsponsorHoofdsponsor PartnerPartner HoofdsponsorHoofdsponsor PartnerPartner Stedelijk Museum cat.no. 940

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