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Quarterly Report 03/12 QUARTERLY REPORT 03/12 gerS (MATCH), JULY 2012 PHOTO BY Terje ÖSTLING get in touch: [email protected] titelseite/Frontcover: CHriStiAN ANDerSSON, StUDY FOR FIVE FIN TEXT: SHerMAN SAM PHOTO BY SHerMAN SAM Kunstgalerien werden breiter, grösser und strah- lender; wie zum Beispiel eine bestimmte Garage lassen. Die Technik, Steifen in Gebäuden zu Bigger is, well, even… in Basel, und natürlich Mega-Imperien wie platzieren, hebt die Umgebung hervor und 03 Pace, Zwirner, Hauser + Wirth und der allge- macht den Betrachter/Teilnehmer aufmerksam 2012 auf Farbe, Komposition und Form (in der Ver genwärtige Gagosian. White Cube wächst, wird - aber ebenfalls theatralischer. Sogar der White kleidung des eigentlichen Raums), die allesamt Cube selbst wurde von einer kleinen, kompak- von dem Gemälde ausgehen. Dies sind noch im- ten Boutique zu vier grossen, ballsaalartigen mer die Grundkonzepte seiner Arbeit. Buren’s BIGGER Parkhäusern voller Kunst. Es mag scheinen, Kunst arbeitetet zudem, auf geschickte Weise OCUMENTA !!! mit dem Design- und Dekorationsbereich, aber MENTA (13) ION HAVE YOU ALREADY BEEN TO D dass es eine Menge Platz für grosse Sachen gibt. WAREN SIE SCHON AUF DER DOCU INTRODUCT Dear collector (or young artist if you happen to schafft es dennoch, sich nicht nur darauf zu EINLEITUNG ING? ThiS TimE, THE EXhiBITION HAS Aber denken Sie daran, es gibt «gross» und E AUssTELLUNG (13) OR ARE YOU STILL GO be in your doctor or lawyer’s waiting room composition and form (in the guise of the space konzentrieren. Es ist viel mehr die Spannung HEN SIE NOCH? DIeses MAL HAT DI dann gibt es «GROSS»; denken Sie stattdessen ODER GE ITICISM. IT IS NOT SO MUCH THE SELECTED reading this), itself), which all originate from painting, are zwischen Kunst und Design, die seine Arbeit mmeN AUSGELÖST. WENIGER DIE RECEIVED A LOT OF CR still key concepts in his work. Buren’s art also, für den Moment an den Begriff «ausdehnend». seHR VIELE KRITISCHE STI AVE BEEN CRITICISED; spannend macht, und ob sie erfolgreich ist oder IERT, ISTS OR THEIR ART WORKS THAT H very cleverly, works closely to the space of deco- Vor etwa vierzig Jahren leistete die Kunsttheo- TLER ODER IHRE WERKE weRDEN KRITIS ART On a trip to Paris recently I had an epiphany: nicht hängt sehr davon ab, wie stark er sich an AUSGewÄHLTEN KÜNS ERSELF THAT APPEARS TO BE ration and design, yet it manages to resist fall- retikerin und Kritikerin Rosalind Krauss einen seLBST, DIE RATHER, IT IS THE CURATOR H BIGNESS is truly for the 21st century, prefera- diese Grenze hält. T es DIE AUssTELLUNGsmACHERIN ing into it. Rather it is that very tension between wichtigen Beitrag hinsichtlich der zunehmenden VIELmeHR IS ARIN HAS ALREADY GONE TO KASSEL AND bly big of the shiny variety. Think, for example, Excentriques[s] Travail in Situ, sein Beitrag ARIN WAR SCHON IN POLARISING. MARIANNA G art and design that keeps his work on edge, and Artikulation des Postmodernismus. «Sculpture ZU POLARISIEREN SCHEINT. MARIANNA G ING of Jeff Koons’ big and shiny dogs of the last cen- in the Expanded Field» fing einen Wendepunkt zur Monumenta, erfordert zudem, dass der Be- R HE REPORTS PREDOmiNANTLY ON INTEREST tury. Animals however seem to belong to an- where it fails or succeeds depends very much on ET GLÜCKLICHERweIse VORWIEGEND ÜBE FORTUNATELY S hinsichtlich der Änderungen im Skulptur-Be- trachter den Raum von verschiedenen Neben- KAssel – uND BERICHT other moment already. You might be fooled by how tight he clings to this borderline. eingängen betritt und verlässt, so dass der Besu- . WORKS OF ART. Excentriques[s] Travail in Situ, his Monu- reich ein. Sie beschreibt diesen Moment, in dem seHENsweRTE KUNSTweRKE the small art thing which is soooo much the «das Feld dem Künstler sowohl eine ausgedehn- cher den gesamten Raum und somit das Kunst- fashion across the Atlantic right now, but really menta contribution, also requires the viewer to . IT te aber auch endliche Anzahl an Positionen zur werk selbst durchqueren muss. Hier erkennen AS BEEN WRITTEN ABOUT MONUMENTA after “unmonumental” in New York’s New enter and exit from different side entrances, Sie, dass Buren seinen Streifen nicht wirklich BEN WURDE BISHER ZUR MONUMENTA, UNTIL NOW, LESS H making the visitor promenade the length of the Beschäftigung und Erforschung bietet. Es bietet ETWAS weNIGER GesCHRIE IBLE AND IS DEVELOPING Museum the moment has been drifting towards gegen einen Kreis eingetauscht hat. Die Stützen, HR ATTRAKTIV IS CERTAINLY MORE EASILY ACCESS entire space, and thus the piece itself. Here you zudem die Organisation von Arbeit, die nicht E SICHER LEICHTER ZUGÄNGLICH IST UND se ARVELLOUS largeness and grandeur. The painter Tess Jarray, abhängig von den Möglichkeiten eines be- welche die bunten Scheiben halten, wurden in DI ION IN THE M in discussing the current Royal Academy Sum- realise that Buren has not actually sacrificed his PALAIS JAHR FÜR JAHR IHRE RADIANCE YEAR BY YEAR AS AN ATTRACT stimmten Mediums ist». Was sie damit sagen einem Muster mit schwarzem Klebebank be- IN Dem WUNDERBAREN GRAND OCUMENTA, THE PARISIAN mer Show, described the current situation as an stripe for a circle. The stilts that hold up the klebt und schaffen auf diese Art ein diskretes seR AUssTELLUNG HAT, GRAND PALAIS. IN CONTRAST TO D coloured discs have black tape stuck on them in will, ist einfach, dass es mehr gibt als nur die STRAHLKRAFT E NTWICKELT. DIE PARI ISHED ARTISTS “epidemic of giganticism in museums across the Muster; ein Gegenstück zu dem runden Muster R BITION HAS ALWAYS INVITED VERY ESTABL world.” It is not just museums, art galleries are alternation, and voila a discreet pattern emerg- OCUMENTA, seIT IHRem BEGINN Imme EXhi IM GEGENSATZ ZUR D ANIEL BUREN ThiS YEAR. ShERMAN becoming wider, taller and generally shiner as es; a counter point of the circular pattern above ELADEN, WIE IN DIesem JAHR SINCE ITS OUTSET, SUCH AS D it. The flag with a circle made up of blue stripes seHR ETABLIERTE KÜNSTLER EING HE "BIG IS BEAUTIFUL" well; witness a certain garage in Basel, and, of S KRITISCH SAM, HOWEVER, IS RATHER CRITICAL OF T waving gently above the dome is the real sign of N. SHERMAN SAM ZEIGT SICH ALLERDING course, uber-empires like Pace, Zwirner, Hauser DANIEL BURE + Wirth and, naturally, the ubiquitous Gago- Buren’s hand. This is not the only distinction for TeNDENZ IN DER HEUTIGEN TREND IN TODAY'S ART WORLD. GEGENÜBER EINER «BIG IS BEAUTIFUL»- sian. White cubes are growing but also becom- the Frenchman, what is unusual in his oeuvre is ing more theatrical, even the White Cube itself that he has created a space within the space. If KUN STwe LT. ISE A RENDEZ-VOUS ING ART BASEL, I WAS ABLE TO ORGAN went from a small compact boutique to four his earliest work had been prominent in their DUR anti-art or lack-of-art qualities that extended ITZ AND GABRIEL FLÜCKIGER. very large, ballroom-sized, parking lots for art. WISCHEN BETWEEN ANTJE VON GRAEVEN the possibility for painting to occur in a greater RT BAseL KONNTE ICH EIN ReNDEZVOUS Z So it would seem that there is plenty of space WÄHREND DER A ICLE, YOU WILL BE WELL PREPARED context, then by creating a place that was pro- R ORGANISIEREN. ThANKS TO GABRIEL'S ART for big things. EVENITZ UND GABRIEL FLÜCKIGE IVE AT grammed with other cultural activities (circus, ANTje VON GRA HARD VON GRAEVENITZ'S RETROSPECT Take note however there is “big”, and then E BesTENS VORBEREITET WHEN YOU VISIT GER concerts, performance), Buren’s art work has DANK GABRIELS ARTIKEL weRDEN SI there is “BIG”; rather lets think through the PEKTIVE IN THE COLLECTION IN AUGUST. term “expansive” for the moment. Some forty taken on an expanded (yes, that word again) E GERHARD VON GRAEVENITZ’ ReTROS seIN, weNN SI years ago, the art theorist and critic Rosalind and inclusive nature: a stage, set or even plat- UCHEN. form. Just like placing the stripes in the archi- DER COLLECTION IM AUGUST Bes RISTIAN ANDERSSON'S Krauss added an important document to the SimULTANEOUSLY, WE WILL BE HOLDING Ch tectural surrounds, the focus of Buren’s art is AT growing articulation of postmodernism. “Sculp- N THE GARAGE. CHRISTIAN THOUGHT TH constantly diffused, and, yet, contradictorily, in HRISTIAN ANDERssONS FIRST SOLO EXhiBITION I ture in the Expanded Field” captured a pivotal GLEICHZEITIG FINDET IN DER GARAGE C LLUSTRATE THE moment in the changes going on the genre that focus. In this case it is all around. As his ideas STIAN FAND ALICE HENKES UNDERSTOOD him WELL AND WE I have evolved, it has gained a certain luminosity, ELAUssTELLUNG MIT UNS STATT. CHRI BITION we call “sculpture”. She describes the moment ERSTE EINZ HOTOS OF THE ARTIST DURING THE EXhi colour has taken on a more expansive quality, EN UND WIR ILLUSTRIEREN PREVIEW WITH TWO P when “the field provides both for an expanded SICH VON ALICE HENKes GUT VERSTAND IVE YOU A as if taking on the quality of light. It is not emo- IONS. EVEN THE COVER PICTURE SHOULD G but finite set of related positions for a given art- I FOTOS Des KÜNSTLERS BEI DEN PREPARAT tive like Matisse. By using mirrors, glass, stripes, DIese VORSCHAU MIT Zwe OW". ist to occupy and explore, and for an organiza- LBILD SOLL TASTE OF THE "GREAT AND SECRET Sh tion of work that is not dictated by the condi- sound, lights and colour in his work, Buren has SVORBEREITUNGEN. AUCH DAS TITE AUssTELLUNG tions of a particular medium.” Her point very created a tension between subject and object, E «GREAT AND SECRET SHOW» that is environment and art, hence the gaze of DANieL BUreN, ExceN IHNEN EINEN VORGesCHMACK AUF DI COTTISH FAmiLY? simply is that there is more than just the formal triQUE(S), trAVAIL IN SitU, 2012 HAT? AN EXTINCT NOBLE S PHOTO BY FLOreNT D FiTZROVIA - WHAT IS T nature of the object, it implies there is a broader the viewer is constantly being pulled between ArrAULT GEBEN.
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