OUR SELECTION OF ARTISTS AT THE FAIR
Art Basel Miami Beach Edition DECEMBER 2016 SPECIAL ISSUE
ART BASEL MIAMI BEACH ARTISTS GUIDE
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ARTS DÉCORATIFS 1870-1930 | DEC. 5, 2016 DESIGN SELECTED | DEC. 15, 2016
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PAR PHILIPPE RÉGNIER
Art Basel Miami Beach presents each year a large choice of international artists represented by the most prominent galleries worldwide. Four different sectors are dedicated to specific projects. Galleries in the Nova sector present two or three artists showing new works that have been created within the last three years, allowing to discover never-before-seen pieces fresh from the artist’s studio. Positions sector is dedicated to the display of a single artist’s work, a selection of ambitious new talents from all over the globe. In Kabinett, galleries present in a specific space on their booth curated group or solo exhibitions on various topics. Survey shows art-historical projects to facilitate the rediscovery of works by unfairly neglected artists, benefitting from renewed visibility THIS GUIDE PRESENTS A here. For Art Basel Miami Beach, as well as for Art Basel VISION OF THE Hong Kong in March and Art Basel in June, Le Quotidien INTERNATIONAL de l’Art – The Art Daily News publishes its “Art Basel ART SCENE Artists Guide” focusing on a selection of artists and their SHOWCASED works exhibited in these sectors. In this guide, reknown AT ART BASEL MIAMI BEACH international specialists on these artists consider their THIS YEAR creations to present a vision of the international art scene showcased at Art Basel Miami Beach this year. Le Quotidien de l’Art – The Art Daily News is a French leading art publication which can be downloaded every day from our website. It covers the international art world and art market and has high qualified readership in Europe and worldwide. Enjoy discovering the artists we have selected this year for you in our special “Art Basel Miami Beach Artists Guide”.
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Le Quotidien de l’Art - - The Art Daily News -- Agence de presse et d’édition de l’art 231, rue Saint Honoré – 75001 Paris. -- PUBLISHER Agence de presse et d’édition de l’art, Sarl au capital social de 17 250 euros. 231, rue Saint Honoré – 75001 Paris. -- RCS Paris B 533 871 331 -- CPPAP 0314 W 91298 -- ISSN 2275-4407 -- www.lequotidiendelart.com -- Website hosted by Serveur Express, 16/18 avenue de l’Europe, 78140 Vélizy, France, tél. : 01 58 64 26 80 -- MAIN SHAREHOLDERS Patrick Bongers, Nicolas Ferrand, Guillaume Houzé, Jean-Claude Meyer -- PUBLISHER Nicolas Ferrand -- MANAGING EDITOR Philippe Régnier ([email protected]) -- ASSOCIATE EDITOR Roxana Azimi ([email protected]) -- ART MARKET EDITOR Alexandre Crochet ([email protected]) -- EXHIBITIONS, MUSEUMS AND CONSERVATION EDITOR Sarah Hugounenq ([email protected]) -- EDITOR-AT-LARGE Emmanuelle Lequeux, Pedro Morais, Natalia Valencia Arango -- LAYOUT Yvette Znaménak - - HEAD OF SALES Judith Zucca ([email protected]), tel: +331 82 83 33 14 -- TRANSLATION Louise Jablonowska, Simon Thurston - - SUBSCRIPTIONS [email protected], tél. : +331 82 83 33 13 -- GRAPHIC DESIGNER Ariane Mendez -- WEBMASTER Dévrig Viteau -- PUBLISHED IN FRANCE -- PRINTED IN USA by NuPress of Miami, Inc., 2050 NW 94th Ave., Miami, FL 33172, www.nupress.com © ADAGP Paris 2016 for their members works -- COVER PHOTO Carlos Amorales, El esplendor geométrico 9, 2015, silkscreen ink on wooden panels, 170 x 118 x 4 cm. (66.93 x 46.46 x 1.57 in.). Courtesy of the artist and kurimanzutto, Mexico City. Photo credit: Diego Pérez, 2015.
KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 05
Galerie Chantal Crousel, Paris – Stand L13 Jennifer Allora & Guillermo Calzadilla
BY ROXANA AZIMI
Jennifer Allora and Guillermo Calzadilla 1971 Birth of Guillermo Calzadilla in Havana, Cuba 1974 Birth of Jennifer Allora in Philadelphia, USA 1995 The duo began working together 2011 They represented the USA at the Venice Biennale
Jennifer Allora & Jennifer Allora and Guillermo Guillermo Calzadilla, Calzadilla may have represented the Dust Storm I, II, III, 2016, hand made USA at the Venice Biennale in 2011, prints from wood but the artist duo are still deeply template (ink on linen). Courtesy of attached to Puerto Rico, a territory the artist and Galerie whose hybrid nature comes from Chantal Crousel, Paris. the fact it is an American territory, but an unincorporated one, i.e. not a fully-fledged state. Recently they caused a sensation by installing a Dan Flavin neon in a grotto on the Caribbean island, a project produced by the Dia Art Foundation in New York, despite the refusal of the American minimalist artist’s estate. Puerto Rico is also at the origin Jennifer Allora & of their taste for engraving in every size, shape and color. Since the middle Guillermo Calzadilla, Dust Storm I, II, III, of the 20th century, the island has boasted a rich tradition of revolutionary, 2016, hand made avant-garde engravings: a tradition that Allora and Calzadilla add to using prints from wood template (ink on new technologies, graphics software and images they find on Internet. Like linen). Courtesy of their predecessors, they imbue this centuries-long practice with a political the artist and Galerie Chantal Crousel, dimension. The woodcuts that Galerie Chantal Crousel is presenting at Art Paris. Basel Miami Beach are entitled Dust Storm. They are made from images of a stranded American army base in Afghanistan, covered in sand pushed by strong winds: a metaphor for America’s foreign policy in the Middle East that seems stuck in the doldrums. l
KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 07
kurimanzutto, Mexico City – Stand G4 Carlos Amorales
BY NATALIA VALENCIA ARANGO
Carlos Amorales, El esplendor geométrico 1, 2015, silkscreen ink on wooden panels, 220 x 152 x 4 cm. (86.61 x 59.84 x 1.57 in.). Courtesy of the artist and kurimanzutto, Mexico City. Photo credit: Diego Pérez, 2015.
Carlos Amorales, Carlos Amorales’s work treats abstraction as a tool El esplendor with which to deconstruct language and form to inquire geométrico 13, 2015, Carlos silkscreen ink on into human perception and communication (or lack Amorales wooden panels, thereof). He expands the concept of drawing and collage 170 x 118 x 4 cm. 1970 Born (66.93 x 46.46 x into multiple bi-dimensional and three-dimensional in Mexico City, 1.57 in.). Courtesy forms, as well as into sound, film, and ephemeral actions. Mexico of the artist and kurimanzutto, Mexico He teases perception by forcing the spectator to feel 2003 Venice City. Photo credit: estranged vis-à-vis geometrical forms, thus tweaking Biennale, Italy Diego Pérez, 2015. their meaning and questioning their very existence. 2012 Documenta 13, Among other hermetic intentions, the artist alludes to Kassel, Germany modern art’s avant-garde revolutionary intentions and 2014 8th Berlin their prompt historical absorption into mainstream Biennale, discourses serving capitalist interests. His long-standing Germany project Archivo Líquido is a growing collection of graphic symbols that mutate in time and for each occasion that his work is exhibited. Amorales’s practice is especially interesting within the context of Mexico, a country with a heavily charged political history of social violence and an art historical tradition that addresses these matters in a direct representational and testimonial way. Amorales, by contrast, incites other types of reflections by purposely insisting on the erasure of context, thus establishing a philosophical approach to reality and to the meaning of art. l 21--29 JANUARY 2017 BRUSSELS
ONE OF THE MOST INSPIRING FAIRS IN THE WORLD NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 09
CLEARING, New York / Brussels – Stand N12 Harold Ancart
BY EMMANUELLE LEQUEUX
With complete familiarity Harold Ancart shares the CLEARING gallery booth with his workshop neighbour, Korakrit Arunanondchai, in a dialogue where each artwork maintains its individuality. The young Belgian artist, who was born in 1980, explores ideas of pattern and repetition in his pastel drawings, focusing on sizes and color variations, from a single image: a dazzling yellow flame, flickering against the depth of the night. This image has already been the focus of one of his exhibitions at the New York gallery, and is particularly important to him: it symbolizes the energy that was recently vital to him in order to cope with serious health problems. It also recalls of course his work on the combustion process and his burnt photographs: often heavenly shots suddenly plagued by suffering. Interacting with Arunanondchai’s “techno-Buddhist” sculptures, at the center of the room, these drawings are for the artist a sign of a revival in line with his original attempts to revisit the concept of sublime and observing nature, at work in his many canvases depicting bouquets and plants. l
Harold Ancart 1980 Born in Brussels, Belgium 2011 Melanchotopia, Witte de With, Rotterdam, The Netherlands 2014 The Great Acceleration, Taipei Biennial, Taipei, Taiwan 2016 There is no there there, The Menil Collection, Houston, USA
Harold Ancart, Untitled, 2015, oil stick on paper, 38 x 29 inches (96.5 x 74 cm). Courtesy CLEARING, New York, Brussels. Cory Arcangel Hernan Bas Cecily Brown Olafur Eliasson Jean Sébastien Grégoire Mark Hagen Cristina Lei Rodriguez Jillian Mayer Jorge Mayet Laurence Dreyfus Simone Pheulpin is happy to announce Ugo Rondinone Tomas Saraceno the 12th edition Soraya Sharghi Claire Tabouret of Chambres à Part Oscar Tuazon Life is beautiful Atelier d’Amis with the complicity of Atelier Février Isabelle Kowal, Didier Lazare Benitah Karen Chekerdjian and The Invisible Collection © Azeez Bakare Studios CSLB Studio Hélène de Saint Lager November 29th - December 3rd, 2016 Pierre Yovanovitch Chambres à Part 12 and surprises… 2228 Park Avenue #2, Miami Beach FL33139
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SPECIAL EDITION - Artists Guide
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Simões de Assis Galeria de Arte, Curitiba – Stand S9 Carmelo Arden Quin
BY NATALIA VALENCIA ARANGO
Carmelo Arden Quin was an Uruguayan painter associated with the Madí movement in Argentina and in France. He moved to Buenos Aires in the early 1940s, then to Paris in 1946, where he would remain, except for another short one-year-long sojourn back in Argentina in 1955. Arden Quin was a disciple of Joaquín Torres García and was influenced by his Carmelo ideas on universal constructivism. He Arden Quin began painting geometric forms that extended beyond orthogonal angles, 1913 Born in Rivera, Uruguay which settled some of the ideas he 1993 MoMA, would develop throughout his career New York, USA and that would contribute to the 1997 Museo principles of the Madí movement, Nacional Reina of which he was one of the founders Sofia, Madrid, in Buenos Aires in 1954, along with Spain Gyula Kosice, Martín Blaszko and 2010 Died in Rhod Rothfuss. Madí artworks created Savigny-sur- Orge, poetical associations between forms France 2013 Centre and music, architecture and utopic Pompidou, Paris, visions of the future, researching into possibilities of geometry by using Carmelo Arden unusual angles, supports and planes, and alternate polygonal forms. Its Quin, Lice, 1945, France Buenos Aires, oil on intentions were framed within rational understandings of geometrical cardboard, 42.5 x structures yet its flights of 29.5 cm. Courtesy Simões de Assis imagination created bizarre, Galeria de Arte, lyrical images that remind us Curitiba. of the exquisitely rich potential of avantgarde as a world of invention. l
Carmelo Arden Quin, Cubismeria, 1947, Buenos Aires, oil on cardboard, 63.5 x 49.5 cm. Courtesy Simões de Assis Galeria de Arte, Curitiba. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 12
Instituto de visión, Bogotá – Stand N3 Alberto Baraya
BY NATALIA VALENCIA ARANGO
Alberto Baraya 1968 Born in Bogotá, Colombia 2006 São Paulo Biennale, Brazil 2009 Venice Biennale, Italy 2014 Bronx Museum of Art, USA
Alberto Baraya, Herbarium of Artificial Plants - New Zeland Expedition. Courtesy of the artist and Instituto de visión, Bogotá.
Alberto Baraya has been an active explorer of the artificial flora that thrives in the contemporary world, a performatic intention that is part of his never ending project Herbario de Plantas Artificiales, where the artist applies the historical scientific method of taxonomical dissection to inorganic artificial plants that are mass-produced in China and decorate (or pollute) settings and environments across our globalized planet. Baraya’s method also applies to documenting flora specimens in the form of tattoos on people’s skins, or calculating “anthropometries” with outdated colonial instruments among people in Machu Picchu. In the latter, Baraya plays skillfully with political correctness and performativity in representations of the Other in the New World. As a white artist/explorer, he appears in the photos being “measured” by Native people, thus creating an uncomfortable situation for the viewer. Baraya deconstructs the colonial figure of the civilized rational white man –who tames the exotic otherness with his method– by inventing uncanny expeditions that disrupt temporalities and confront anachronic systems of thought and classifications of the world, thus defying the epistemological hegemony of the West and inquiring about the future of the natural world in post-industrial societies. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 13
Galerie 1900-2000, Paris – Stand K2 Marcel Broodthaers
BY ROXANA AZIMI
Marcel Broodthaers, the Belgian poet, bookseller, visual artist and admirer of Mallarmé, is one of those people who gets you lost in the twisting and turning paths of his brain, obliging you to continue on a demanding and complex walk through a labyrinth of words and signs. One day, the “good for nothing” had an idea. He would “invent something insincere”. The master of irony Marcel and the absurd imagined himself in the role of the curator of an imaginary Broodthaers museum, the Modern Art Museum 1924 Born in – Department of Eagles. An out-and- Brussels, Belgium 1969 Founds out Belgian in his irreverent attitude, the ‘Musée Broodthaers has left a body of work that d’Art Moderne, questions the meaning and the value of Département art. His oeuvre has a definite Surrealist des Aigles’ feel as well, for example his Pot-Lèvres (Jar Lips) or his saucepans full of Marcel Broodthaers, 1974 mussels that Marcel Duchamp would surely not disown. And what better Petite forme de moules, 1969, sculpture in Kunstmuseum symbol of ‘Belgian-ness’ than mussels, whose empty shells the artist collected mussel shells and Basel, Switzerland from a local restaurant and used to represent both excess and derision. For a resin, 14 x 18 cm. 1976 Died in Courtesy Galerie fan of puns and word play such as Broodthaers, ‘la moule’ (mussel) would 1900-2000, Paris. Cologne, Germany 2016 Retrospective have made him think of its homophone, ‘le moule’ (mould). In this we are at the MoMA, close to René Magritte, who in his essay Les mots et les images wrote that an New York, USA object is not so attached to its name that we cannot find another one that would suit it better. Broodthaers would surely have agreed. l
Marcel Broodtahers, Pot-Lèvres, 1965, glass jar, collage and cotton, 8 x 6,2 x 6,2 cm. Courtesy Galerie 1900-2000, Paris. SURVEY PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 14
espaivisor, Valencia – Stand S8 Graciela Carnevale
BY NATALIA VALENCIA ARANGO
Graciela Carnevale, Encierro (Confinement), 1968, #11, photographic register of the performance, B/W photograph, 31.5 x 21.5 cm. Courtesy The Artist & Espaivisor Gallery, Valencia.
In her seminal performances during the 1960s and 1970s and much within the spirit of the time, Argentinean artist Graciela Carnevale played with the space of art consumption as a philosophical platform from which to question real life and the performativity of collective actions Graciela and freedom under oppressive regimes. Her most celebrated work, along with Carnevale, Encierro (Confinement), 1968, the Grupo de Arte de Vanguardia de Rosario (Rosario Avant-Garde Art Group) #11, photographic was the Tucumán Arde Archive (1968), which gathers denunciations of the register of the performance, Argentinean dictatorship’s authoritarian intention to silence and obliterate B/W photograph, the unions and civil movements of the Northeast of the country. It was a 31.5 x 21.5 cm. Courtesy The collective effort involving intellectuals and instigating a truly activist posture Artist & Espaivisor that contributed to exert influence within resistant culture in the country Gallery, Valencia. and in Latin America, acting beyond the reduced audience Graciela and the resonance of contemporary art. As part of the Experimental Art Series in the Unit 22 art space in Rosario, Carnevale Carnevale staged El Encierro (Confinement) (1968), where 1942 Born in she locked down the audience inside the gallery, taking Marcos Juárez, Argentina them prisoners, in a social experiment that plainly alluded 2012 Brooklyn to the political repression of the country. The confinement Museum of Art, was finally broken after two hours by an external observer. USA The audience’s patient reaction of waiting during the 2014 MAM Museu confinement was as touching as maybe frustrating, as de Arte Moderna, it seems like a proof of art’s inability to many times go Rio de Janeiro, beyond its simulation strategies. l Brazil 2015 Migros Museum Für Gegenwartskunst, Zürich, Switzerland KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 15
Jorge Mara - La Ruche, Buenos Aires – Stand H2 Horacio Coppola
BY NATALIA VALENCIA ARANGO
Horacio Coppola was an avant-garde Argentinean photographer and Horacio filmmaker who lived in Buenos Aires and Europe and whose first marriage was to German photographer Grete Stern. The artist was a disciple of Coppola 1906 Born in Walter Peterhans at the Bauhaus in Berlin during the 1930s, with whom Buenos Aires, he learned the intricacies of capturing texture by mean of layering shades Argentina and light in order to expand the photographic field of vision. Having met 2006 Museo Stern at the Bauhaus, Coppola fled Nazi Germany with her to London and de Arte began experimenting by photographing the daily life of the city and its social Latinoamericano, reality through a modernist approach to image-making that included a tinge MALBA, Buenos of surrealist intentions in the framing of the subjects. Coppola and Stern Aires, Argentina moved to Buenos Aires in 1935, bringing with them avant-garde ideas and 2008 Fundación quickly befriending the intellectual and artistic circles. Coppola dedicated an Telefónica, Madrid, Spain important part of his practice to exploring various mythologies of the city, 2012 Died in especially by means of a state commission he was granted during the city’s Buenos Aires, th 400 anniversary in 1936. Coppola’s views of Buenos Aires are filled with Argentina intensity, finding uncanny moments in mundane matters and narratives of 2015 MoMA, strangeness within the modern discourse of its architecture. l New York, USA
Horacio Coppola, Still Life with Egg and Twine, gelatin silver print on paper, 21 x 25,6 cm, Vintage copy, Horacio Coppola, Toldos, gelatin silver print on paper, 1932. © Estate of Horacio 17 x 11,5 cm, vintage copy, Buenos Aires, 1931. © Estate Coppola. Courtesy Galería of Horacio Coppola. Courtesy Galería Jorge Mara - Jorge Mara - La Ruche, La Ruche, Buenos Aires, 2016. Buenos Aires, 2016. POSITIONS PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 16
Galerie Max Mayer, Düsseldorf – Stand P8 Melanie Gilligan
BY EMMANUELLE LEQUEUX
Melanie Gilligan, The Common Sense, 2014, 15-channel video installation (3 chapters), 15 x 6.5 min. Is this Courtesy the artist really science and Galerie Max Mayer, Düsseldorf. fiction? Melanie Gillingan’s work propels us into an ultimately very close future, where social networks have got the better of our states of consciousness, and where ultra-connected people lead to an unpleasant insanity. This reflection at work in the impressive video installation called The Common Sense must be kept in mind upon discovering her new work presented by Galerie Max Mayer. Passionate about the socio-political domain and until now best Melanie known for her videos, the Canadian artist born in 1979 designed a series Gilligan of sculptures that she calls “animated”. These are namely cubes built from 1979 Born in monitors, and trapped in a network of pipes joining them to the walls of the Toronto, Canada booth. On these screens, abstract animations create the illusion of a single 2010 Manifesta 8, form, or one that is cut in two. The artist wants to give us the illusion that the Murcia, Spain world described in her videos is ours already. Just like in her fiction where the 2015 De Appel network has become the god and master of reality, this rhizomatic sculpture Arts Centre, presents a sort of parable, at a time which marks a turning point in the Amsterdam, The practice of the artist who is also renowned for her critical writing, published in Netherlands Artforum and Texte zur Kunst. l 2016 Incorporated!, Les Ateliers de Rennes, Rennes, France KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 17
Galerie Lelong, Paris / New York – Stand G1 Andy Goldsworthy
BY ROXANA AZIMI
Andy Goldsworthy, Hazel stick throws, Banks, Cumbria,10 July 1980, 1980, Suite of nine vintage black and white photographs, Each: 12.5 x 18 inches (31.5 x 46 cm). © Andy Goldsworthy. Courtesy Galerie Lelong, New York and Paris.
Andy Goldsworthy is known for his cairns, those wavering, egg-shaped mounds of stones that established his reputation. A successor to the land art movement, the British artist loves nature and working outdoors with materials found on site, such as twigs, leaves Andy Goldsworthy, and pebbles. Above all, he appreciates Black sand Morecambe the ephemeral things, the signs of Bay, Lancashire, October 1976, 1976, corrosion and predictable erosion: Vintage black and sand sculptures washed away by the Andy white photograph, 15.75 x 9.75 inches tide, piles of branches disturbed by the Goldsworthy 1956 Born in (40 x 24.8 cm). slightest breeze, crevices and cracks © Andy Goldsworthy. Cheshire, Great that ruin his sculptures in the end. Courtesy Galerie Britain Lelong, New York and Less well-known are his performances Paris. 2001 Stone river, from the 1970s-1980s, of which he Cantor Arts has kept a trace in photos. In those Center, Stanford presented by Galerie Lelong he is University, USA in the great outdoors, kneeling, his 2005 The National face blackened with sand. Elsewhere Gallery of Art, he can be seen throwing branches, Washington, USA spitting and burying himself. Like his 2011 Tate Britain, London, United sculptures, he does not wish to leave Kingdom an indelible mark on the landscape, 2016 Domaine de but to keep a record of his fleeting Chaumont-sur- passage. l Loire, France NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 18
Galerie Crèvecœur, Paris – Stand N10 Renaud Jerez
BY PEDRO MORAIS
How has the work of Renaud Jerez that was once affiliated with post- internet art changed? A careful study would have easily verified that he Renaud Jerez still distanced himself from virtual reality’s optimistic futurism, in order to 1982 Born in embody his mummy-like sculptures in a very concrete materiality of pipes and Narbonne, fittings, mirroring a tainted reality. “A computer is also about the touch of France 2014 Inside China. fingerprints on a screen, hairs that have fallen on a keyboard. Flesh and skin L’intérieur du always complicate algorithmic information architecture”, the artist states. géant, Consequently, he resolutely brings the culture of images into opposition not Palais de Tokyo, only with the materiality embodied Paris, France by his characters but also the urge 2015 Triennial: to project an incredibly personal Surround account. If empathy plays an Audience, The essential role in our understanding New Museum, of others, is it possible to transfer New York, USA 2016 ICA, Miami, it to inert matter and objects? USA Drawing from an alternative history of modern sculpture, incorporating the female counterpart of surrealism, fuelled by a sometimes biographical relationship with the body and figuration (Dorothea Tanning, Louise Bourgeois, Eva Aeppli), Renaud Jerez has no hesitation in using the palpable idea of a doll. These are sometimes decaying or associated with stuffed psychological
Renaud Jerez, Yi, surroundings (Victorian suburban 2016. Courtesy houses, children’s bedrooms), Galerie Crèvecoeur, Paris. revealing a Californian influence, a folk mysticism with pink blankets, Tiffany lamps and eye-shaped embroidery. He acknowledges his present interest in fairy tales that is Renaud Jerez, Yummy, indicative of impulses, not denying 2016. Courtesy Galerie Crèvecoeur, any romantic investment. l Paris. KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 19
Galerie Nagel Draxler, Berlin / Cologne – Stand B9 Mike Kelley
BY EMMANUELLE LEQUEUX
It took exactly seven days for them to come to fruition. Between Mike Kelley Christmas and New Year 1994, Mike Kelley created seven canvases in a series 1954 Born in that he called Paintings in Time. Every day, he resumed the same image, simply Detroit, USA varying gestures and shades of grey. In line with his earliest works, they 1988 Aperto ‘88: are all executed in black and white on oval canvases evoking the shape of a Venice Biennale, mirror. They present figures that reoccur in the world of the Venice, Italy. 1992 Californian: beaver, donkey and intestines. Only the Documenta IX, first and last ones vary in their pattern and shape, Kassel, Germany the one produced on the last day of the year is 2012 Died in Los bisected. The artist, who passed away too soon Angeles, USA in 2012, considered them a counterpart to 2012 Mike Kelley: his series Timeless Paintings, as he described Themes and in a text analyzing the process by which Variations from works emerge that he unveiled in the major 35 Years. The exhibition “Educational Complex Onwards Stedelijk Museum, Amsterdam, The 1995-2008” at Wiels in Brussels. For him Netherlands they constituted a sort of conceptual and mystique exercise in style, evolving from an almost performative ritual. l
Mike Kelley, Paintings in Time (detail), 1994, Set of 7 paintings, acrylic on wood. 6 pieces: 46.5 x 33 inches, 1 piece: 46.5 x 16.5 inches / 6 pieces: 118 x 83.8 cm, 1 piece: 118 x 41.9 cm. Courtesy Galerie Nagel Draxler, Berlin, Cologne. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 20
Silvia Cintra + Box 4, Rio de Janeiro – Stand N31 Cinthia Marcelle
BY PHILIPPE RÉGNIER
Cinthia Marcelle 1974 Born in Belo Horizonte, Brazil 2007 Biennale de Lyon, France 2010 Future Generation Art Prize, Pinchuk Art Centre, Kiev, Ukraine 2013 Sharjah Biennial, Sharjah, United Arab Emirates Cinthia Marcelle, em- 2016 MoMA PS1, entre-para-perante (in- between-for-before), New York, USA 2015, acrylic paint on fabric, shoelaces on hardware. Courtesy Silvia Cintra + Box 4, Rio de Janeiro.
In her installations, videos and performances, Cinthia Marcelle addresses social and political questions to which she gives an aesthetic interpretation using her own artistic vocabulary. She fuels her inspiration by travelling, studying the day-to-day life of the people in the countries she visits and addressing the notion of work, both its symbolic significance and the totally futile nature that it can sometimes assume. It is in this same vein that the artist produced a site-specific work at MoMA PS1, which is currently on show in what is her first New York exhibition. With the help of workers, she inserted 20,000 sticks of chalk into the joints between the bricks of the art centre in a reference to the past of the building, a former school. At Nova, Cinthia Marcelle is presenting an installation that tackles the issue of imprisonment in Brazil. Striped flags hang from the walls; their black stripes have been repainted white to symbolically transform the space into a prison Cinthia Marcelle, courtyard. The floor is covered with C II (detail), 2015, shoelaces, which inmates traditionally 130 x 75 x 100 cm (flags) and have to relinquish for safety reasons. 167,5 x157,5 cm Here the artist is exploring another (hardware), acrylic paint on fabric kind of confinement, one that is not and shoelaces only psychological, but eminently on hardware, single piece. Courtesy physical as well, using a sparse Silvia Cintra + Box 4, vocabulary in an oblique reference to Rio de Janeiro. minimal art. l NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 21
mor charpentier, Paris – Stand N19 Oscar Muñoz
BY ROXANA AZIMI
For Oscar Muñoz, photography is not just about taking a photo. It is not about fixing the moment either, Oscar Muñoz 1951 Born but rather capturing its dissolution and inexorable in Popayán, elimination. God knows however that the Columbian Colombia photographer is haunted by the question of memory, first 2007 Took part and foremost the collective memory of his country, which in the Venice is marked by disappearances. But Muñoz knows that Biennale, Italy memory crumbles and vanishes becoming a blank page. He 2014 Exhibition at also knows that rekindling lost memories is difficult. This the Jeu de Paume, is the subject of Haber Estado Allí, which mor charpentier is Paris, France presenting in Nova. The starting point for this work is the dead body of Jorge Eliécer Gaitán, a Colombian politician who was assassinated in 1948. The photo was taken after the autopsy and published in a special edition of El Tiempo. The portrait wavers before our eyes and eludes our gaze; the image is nothing more than a shapeless emulsion. What is most striking in this fade to white is no longer the main subject, but Oscar Muñoz, Haber the extras, in other words the sheer amount of people who have fought their Estado Allí, 2011- way into the frame. These people are condemned to sink into oblivion and yet 2015. Courtesy of mor charpentier and they are fighting to be part of a piece of history. As the great French cinema of the artist. critic André Bazin so aptly said, photography doesn’t create eternity. l
Oscar Muñoz, Haber Estado Allí, 2011- 2015. Courtesy of mor charpentier and of the artist. SURVEY PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 22
Roberts & Tilton, Los Angeles – Stand S6 Betye Saar
BY ROXANA AZIMI
If there is a central theme underlying ninety-year-old Betye Saar’s forty-year-long career, it is undoubtedly the question of spirituality and rituals in art. In her altar-like assemblages overflowing with historical and personal jumble unearthed in flea markets and elsewhere, which are not dissimilar to Joseph Cornell’s boxes or the madness of Simon Rodia’s Watts Towers, she merges gypsy, voodoo and native American culture. It is her way of obliquely addressing those niggling subjects that preoccupy her, first and foremost the question of identity, that of an African-American woman. “My work moves in a creative spiral with Betye Saar with Mti, the concepts of passage, crossroads, death and 1978. Photo: Lezley Saar. Courtesy of rebirth, along with the underlying elements of race Roberts and Tilton, and gender”, she says. Her work is neither a Los Angeles. brutal confrontation, nor an artistic way of giving somebody the finger: it works on our conscience in a more muted, captivating and finally more effective manner. As she says herself, she has never really been interested in revolution, but rather in evolving the consciousness so black people are seen as human beings, not caricatures or derogatory stereotypes, such as mammy figures straight out of a musty Confederate-like vision. l
Betye Saar 1926 Born in Los Angeles, USA 1972 The Liberation of Aunt Betye Saar, Mti, 1973, mixed media floor assemblage. Jemima 42.5 x 23.5 x 17.5 in 2016 Retrospective (107.95 x 59.69 x 44.45 cm). at the Fondazione Photo: Robert Wedemeyer. Courtesy Roberts & Tilton, Prada, Milan, Italy Los Angeles. SURVEY PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 23
Galerie Georges-Philippe & Nathalie Vallois, Paris – Stand S2 Jacques Villeglé
BY ROXANA AZIMI
Painting within Painting. Galerie Georges-Philippe & Nathalie Vallois (Paris) dipped into Jacques Villeglé’s catalogue raisonné and selected one of its twelve themes for this show that covers the period from his collaboration with Raymond Hains on the experimental film Pénélope, until the end of the 1990s. No other title would have matched the eloquence of ‘Painting within Painting’, precisely because Villeglé’s originality resides in the way he ‘painted’ without actually touching a brush. In answer to Pollock’s action painting, Villeglé presented his ‘inaction painting’, which in principle excluded any Jacques hard work: Villeglé simply detached Villeglé posters that had been ‘tormented’ 1926 Born in by anonymous passers-by in the Quimper, France métro or in the streets. Their rips and tears dismembered any words they Jacques Villeglé, bore, thereby neutralizing their political or advertising discourse without the Quai des Célestins, 1971 Villeglé August 1964, Retrospective artist even having to take a stand. In 1959, he conjured up the figure of the Ripped posters 1949-1971, ‘Lacéré anonyme’ as a way of recognizing the role of “the mass of clandestine mounted on canvas, 224 x 224,5 cm. Moderna Museet, ‘laceraters’” and establishing their “genius that the mechanisms of the art market Courtesy Galerie Stockholm, confer upon the sole artists - kidnappers, voyeurs and collectors that they are”. GP & N Vallois, Paris. Sweden Although he stood apart from 2008 Jacques traditional professional notions Villeglé, La Comédie Urbaine, of working with one’s hands and Centre Pompidou, virtuosity, ‘the apathetic anarchist’ France reasserted his rights when it came to cropping the image. l
Jacques Villeglé, 14 Juillet, December 1960, Ripped posters mounted on canvas, 50,5 x 61,5 cm. Courtesy Galerie GP & N Vallois, Paris. KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 24
A Gentil Carioca, Rio de Janeiro – Stand J12 Alfredo Volpi
BY NATALIA VALENCIA ARANGO
Alfredo Volpi, Cinéticos mosaicos / Bandeirinhas estruturadas, Déc 1970, tempera on canvas, 47,9 x 68 cm / 18.8 x 26.7 inches. Courtesy A Gentil Carioca, Rio de Janeiro. Alfredo Volpi was a prominent modernist painter born in Italy and Alfredo Volpi emigrated at a young age to Brazil, where he spent most of his career and 1896 Born in where he was associated with geometrical abstractionism. His work had a Lucca, Italy demure, apparently simple essence that related to the poetical potential of 1953 São Paulo everyday life. He abstracted urban motifs from social environments –such as Biennale, Brazil flags, facades, arches– into planes of color and geometric forms. His practice 1988 Died in São dialogued with the Neo-Concrete movement in Brazil along the 1960s, posing Paulo, Brazil a particular point of view that neither adhered to Neo-Concrete premises but 2006 MAM São neither reduced the practice to only Paulo, Brazil 2010 MoMA, Alfredo Volpi, color and form. If historical abstract New York, USA Fachada, 1960, painting is a contemporary commodity tempera on canvas, 108 x 72 cm / –a bourgeois decoration luxury that 42.5 x 28.3 inches. would seem to fit any model or Courtesy A Gentil Carioca, Rio de environment because of its apparent Janeiro. universalism–, Volpi’s work, when analysed in detail, might be able to spark new reflections of the diversity or interests of the modernist painters in Brazil, the nuances between movements and the complex historical cultural panoramas these allude to. Volpi was interested in finding unifying symbols behind the architecture of modern life, an intention that we might call spiritual and whose simplicity is its own life force. l NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 25
47 Canal, New York – Stand N25 Anicka Yi
BY PEDRO MORAIS
Anicka Yi had an epiphany when she read the book by the art historian Anicka Yi Caroline A. Jones, Eyesight Alone (2005), about Clement Greenberg, the guru 1971 Born in of 20th century modernism, and the anxiety associated with the repression of Seoul, South Korea smell and other senses apart from vision. This artist, who was born in Seoul, 2014 The Great grew up in Florida and California. She then settled in New York developing Acceleration, Taipei work specifically on repressed senses in art and attachment to memory and to Biennial, Taiwan 2015 Kunsthalle potential narratives enshrined in biological matter. Her interest in science is Basel, Basel, established through unusual materials like scent, taste, bacteria and perishable Switzerland substances. I “re-shift the focus of this hierarchical system with humans on the 2016 Faisons top and all the organisms on the bottom”, she explains to W in October. “The de l’inconnu un bacteria pieces definitely foreground that... This organism has been around and will allié, Lafayette be around long after humans are gone”. She proposes other associations between Anticipation chemical and organic elements, through research on genetic modification and – Fondation the bureaucratisation of the body, in installations similar to a laboratory that d’entreprise nonetheless keep a sense of affects and pathos. “One of the reasons I’ve been Galeries Lafayette, Paris, France attracted to olfaction is because we know so little about it”, she continues. “We 2016 Hugo Boss don’t have a way of talking about all things olfactive... It’s always analogy based. Prize Winner Like, ‘Oh, that smells citrusy.’ But if you’ve never smelled citrus, how would you know what that is?” l
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