The Christie's Education Student Magazine
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The Christie’s Education Student Magazine CONTENTS Editor’s Note 5 Interview with Bernadine Bröcker Wieder 6 By Emma Searle When David met Jeff 14 By Francesca Rocchini National Identity and the Concept of Cultural Ownership 18 By Nefeli Stylianou Interview with Olivia Leahy 22 By Emma Searle A reflection on Brian Dillon’s 29 In The Dark Room: A Journey in Memory By Micaela Dixon Harrison Pearce: The Logical Game of Human Existence 32 By Krisztian Torok Absence 37 By Paul Éluard Is Copyright for Losers? 38 By Lotta Runge and Emma Searle Anti-Communism and homophobia: A psychoanalytic 48 analysis of Stanley Kubrick’s film Dr. Strangelove By Nathalie Soo 2019: the “Sunrise, Sunset” of Restitution? 50 By Jil Birnbaum Overheard at the Museum 53 By Jasmine Wong and Alexandra Aguirre When Fashion Meets Art 59 By Emma Searle Emerging Artists 61 Ma Haijiao by Lu Jing (Rain) Brie Ruais by Neil Maitland Sarah FitzSimons by Magdalena Hernández Martin Rachelle Dang by Emma Payne Cover and Inside Cover: Photographs (2014) shot on 35mm by Alexandra Aguirre C#18 is produced by students at Christie’s Education (ale-aguirre.com) Editor’s Note What do Michelangelo, Dr Strangelove, lace jackets, Editor in Chief Artificial Intelligence, copyright, and gallery wardens have Emma Searle in common? Well, nothing. Nothing at all. However, these Head Editor topics are addressed in the diverse topical articles of Ben Street the 18th issue of C#. Editor (New York submissions) Founded in 2012 by lecturers John Slyce and Lizzie Matthew Nichols Perrotte, the past six issues of C# have run in conjunction Art Editors with the Modern and Contemporary Art and Art World Chloe Harrison-Steward Practice courses. At its core, C# is a student-run magazine Jasmine Wong which provides Christie’s Education students with a slate Laura Montanes wiped clean to engage with the complexities of the dynamic Sub-Editors art world beyond their degree assignments. In this issue of Francesca Rocchini C#, the scope of the publication has been broadened so as to Nefeli Stylianou reflect the diversity of the programmes offered at Christie’s Pauline Holzman Education, as well as the vastness of the art world. The Rasha Hatoum C#18 is produced by students at Christie’s Education featured articles in this issue engage with contemporary Samantha Janazzo issues of the art world analysed through art historical, Yelnur Ukibayeva market, legal, political, and curatorial lenses. Online Editors The making of C#18 was truly a team effort. Despite their Jil Birnbaum busy schedules and commitments, the student editorial Micaela Dixon team members have managed to find the time to produce a Marketing Co-ordinator magazine, and have put many hours of effort and thought into Rosemary McAlonan this issue. I would like to thank Ben Street, Cecily Hennessy, Design and Artwork Matthew Nichols, Steve Baker, and Rosemary McAlonan for Steve Baker managing the editing, layout design, and marketing processes, and for providing the student team with invaluable guidance and encouragement. Lastly, thank you to all the students who submitted works to this issue, without whom C# would not exist. Our team Academic Directors’ Note was overjoyed by the large participation and we would like We are delighted with this new and to encourage all Christie’s Education students, regardless inspired edition of C#. It is the fruit of a of their programme of study, to submit to future issues. wonderful collaboration between students at our campuses in London and New York. I am very humbled and honoured to present to you the Great thanks are due to the industrious 18th issue of C#. Enjoy! editorial team and in particular to Emma for her skill and enthusiasm. Many thanks, Congratulations to all, Above: Illustrations by Emma Searle Jil Birnbaum Chloe Harrison-Steward Véronique Chagnon-Burke Laura Montanes, a graduate Editor in Chief Online Editor Art Editor of the MSc Art, Law and Jasmine Wong Micaela Dixon Samantha Janazzo Academic Director, New York Business programme. Art Editor Online Editor Sub-Editor Names are as follows, Emma Searle Cecily Hennessy Laura Montanes Pauline Holzman Rasha Hatoum clockwise from top: Academic Director, London Art Editor Sub-Editor Sub-Editor Editor in Chief Francesca Rocchini Yelnur Ukibayeva Nefeli Stylianou Sub-Editor Sub-Editor Sub-Editor 4 5 C#: Why do you think that exhibitions are so important? however, because we want include independent pro- fessionals whilst also assuring that our collectors are AN INtervIew wIth That’s a really good question. When you think protected. We had to figure out how we could avoid about art, to me, its value is in how it personi- letting in dealers who might approach collectors, fies human existence, and how much it is able to asking to buy their piece. This is the problem we are touch people and represent them. The only way battling. Therefore what we are trying to do is to turn Bernadine Bröcker Wieder to test the progression of people is through exhi- it around and enable independent professionals to bitions. They really show what the cultural value put forward their current projects and ideas, so the By Emma Searle of the art itself is. At the moment the art market collectors can then choose whether to respond to this. is a lot of the time focused on the sales and value This way the platform is about helping professionals appreciation of art through auctions. I think that at the conception stage to find partners. Whereas at C# sat down with Bernadine Bröcker, the CEO and co-founder of Vastari, exhibitions are, in a sense, a kind of counterbal- the moment Vastari is geared towards those who are ance to that. An artist that’s extremely popular at well beyond the conception stage (they have already to discuss her line of work. A graduate of Christie’s Education and Parsons School auction may be seen completely differently in the got the exhibition theme and their key partners and of Design, Bernadine has previously worked at an Impressionist and Modern Art museum world. are looking for their last few missing partners), Vas- tari Professionals will enable us to assist with the gallery in London, and is currently a member of the Professional Advisors to the C#: Do you have a favourite exhibition? earlier stages of the exhibition creation process. We International Art Market and the Worshipful Company of Arts Scholars. hope that Vastari Professionals will be live by the end I see so many and it changes every day, but I think of 2018. that the exhibitions that I find the most inspiring are those that are not necessarily simply monographic, C#: How do you hope to expand Vastari in the future? C#: Could you tell us in a nutshell what your but actually make you look at things in an entirely company Vastari does? new way. One exhibition that I really loved was the We have many things in the pipeline. People always Twombly and Poussin exhibition at Dulwich Picture think that we are going to suddenly turn around We are first and foremost a networking technology Gallery, curated by Nicho- and become a sales plat- company that tries to improve and simplify the pro- las Cullinan. The exhibition “WE AIM TO BUILD DIGITAL form, which is never going to cess of organising exhibitions. Our platform is pri- drew comparisons between happen. We are rather looking marily geared towards collectors who wish to loan Twombly and Poussin as they TOOLS TO MAKE THE WHOLE at catering for the whole life their objects to museums, as well as to museums both used Greek mythology EXHIBITION CREATION cycle of an exhibition from (and other exhibition producers), who would like to and allegory in their works, the conception stage all the broaden the outreach of their exhibitions. Ultimately, but in completely different PROCESS MORE EFFICIENT.” way to the end ticket revenue we want to help museums to build sustainable busi- ways. It was a really fasci- stage. We aim to build digital ness models for their exhibitions by decreasing costs nating way to draw lines across the centuries. I really tools to make the whole exhibition creation process through efficiency and increasing ticket sales. like exhibitions that highlight those kinds of inter- more efficient. generational links. At the moment we are already successful in filling C#: Could you talk a bit about your That said, I’ve seen some great monographic shows the partner-meeting and content-forming stages, career journey? too, for example, the Giacometti show that was at Tate which is what we have focused on so far. The next Modern earlier this year was amazingly curated. But stage for us will be to look at building a database that I’ve always been in the art world. I was first trained in generally I like exhibitions that are a bit more unex- helps with the due diligence process, so that curators Fine Art, and later on I got more and more involved pected. Good exhibitions tend to be very immersive and collectors can verify that a professional is what with the business side of the art world. I moved to and they really make you feel and understand the they are looking for. This enables professionals to London to do my Masters at Christie’s Education, theme through experience, which is a growing trend. see who people have worked with in the past, and the and whilst there I was lucky enough to get involved This is often referred to as “edutainment” (when kind of projects they have done. with the Masterpiece Art Fair. Whilst working at the something is an educational form of entertainment).