Sunday, February 17, 2013
Thursday, February 14, 2013
YOU HAVE EVERY RIGHT
February 16 – April 20, 2013
Opening Reception: February 16, Saturday, 4pm, Ateneo Art Gallery
Women Artists from Germany, Sweden, Australia, Denmark and Manila with a post-feminist edge are featured in an exhibition at the Ateneo Art Gallery from February 16-April 20. Opening reception is on Saturday, February 16, 4pm. The participating artists, Maria Cruz (Berlin/Sydney/Manila), Lizza May David (Berlin/Manila), Tracey Moffatt (Sydney/New York), Claudia Del Fierro (Chile/Sweden), Annika Eriksson (Berlin/Sweden), Lilibeth Cuenca Rasmussen (Copenhagen) and Kiri Dalena (Manila) have international careers that see them exhibiting around the US, Europe and Asia. Rasmussen was part of the Danish Pavillion at the 54th Venice Biennale, Del Fiero has was included in the 9th Havana Biennale in Cuba and the 4th Mercosul Biennial in Brazil, Moffatt has just recently had a solo exhibition at the MOMA New York, Eriksson was a part of the 2005 Venice Biennale, Cruz was a part of the PS1 International Studio Program in NY, Dalena’s video work was one of the select pieces to be included in the prestigious Short Film Festival in Oberhausen Germany and David has been shown widely in Europe and the Philippines.
The exhibition, YOU HAVE EVERY RIGHT, features contemporary female artists working with video, painting, photography, media and technology, creating process-oriented works that often involve collaborations, social interaction and the inclusion of real situations in their pieces. Their works reveals certain biographies wherein the personal becomes political. Manila, as a developing country, has been ranked high globally - as a country leading gender equality, closely following European counterparts. This makes it a very interesting point of interest for bold works that are open to in-depth research, chance and participation. This exhibition is curated by Lian Ladia.
Artist talks are also programmed to happen during the duration of the exhibition at the Ateneo Art Gallery (Feb 16, 2pm with Maria Cruz, February 17, 2pm with Lizza May David), The Ateneo Library of Women’s Writings (March 8, 2pm with Kiri Dalena), Alternative space 98B (February 17, 2pm with Claudia Del Fierro), and Green Papaya Art Projects (February 13, 7pm with Lilibeth Cuenca Rasmussen).
Wednesday, February 13, 2013
Monday, February 11, 2013
Sunday, February 10, 2013
Saturday, February 9, 2013
New York Old Master auctions preview: so much to see, so little time
Twelve sales in three days make the season a sprint rather than a stroll—but works by Batoni and Carracci are worth slowing down to see
By Paul Jeromack. Art Market, Issue 242, January 2012
Published online: 21 January 2013
Every year it gets worse. Each January, Sotheby’s and Christie’s
hold their annual Old Master blowout. And every year, they cram their competing sales into shrinking time periods, making it impossible for anyone to attend a paintings sale without missing a drawings sale and vice versa. Twelve sales (eight at Sotheby’s and four at Christie’s) are, with one exception, shoehorned into three days—30 and 31 January and 1 February. Avoiding the daytime crush is Sotheby’s evening sale of works from the estate of Giancarlo Baroni (29 January, including an early El Greco—The Entombment of Christ, mid-1570s, estimated at $1m to $1.5m). The scheduling is particularly frustrating this year because both houses feature unusually strong offerings. Here are some of the notable lots. New York
Christie’s big event is the Renaissance sale on 30 January, featuring paintings, drawings, prints and decorative arts. The star lot is a rare earlytondo by Fra Bartolommeo: The Madonna and Child, around 1495, in its original frame (est $10m-$15m). This is followed by not one, but two, Botticellis: the recently identified and very early Madonna and Child with a Pomegranate, painted in the early 1460s, when Botticelli was still in the studio of his teacher, Fra Fillippo Lippi (est $3m-$5m), and the “Rockefeller” Madonna and Child with the Young Saint John the Baptist, around 1493 (est $5m-$7m). More exciting is a later Italian painting—a rediscovered altarpiece of The Annunciation, around 1585, by Annibale Carracci, which until now was only known to the wider public from an old, undated black-and-white photograph.
Excluding the sketchy head studies and genre subjects of varying quality that appear at auction every so often and are attributed to various members of the Carracci family, paintings by Annibale are seldom encountered, and this well-preserved, relatively early work is of the highest quality, melding the influences of his cousin Ludovico, Titian and Correggio. It is the most important work by the artist to come to market since Boy Drinking, around 1582-83, which came from the Peter Jay Sharp collection and sold at Sotheby’s New York in 1994 for $2.2m, and which is now at the Cleveland Museum of Art. Christie’s estimates The Annunciation at $1.5m to $2.5m, which seems cheap.
Friday, February 8, 2013
Open it and they will come. You hope…
A number of galleries are making the move in search of the right area
By Charlotte Burns. Focus, Issue 242, January 2012
Published online: 16 January 2013
One of the great truisms about Los Angeles is the huge amount of cheap space available. But, in a city so vast and with such fast-moving cultural centres, finding the best place to establish a space can be complicated, according to galleries and LA real estate agents.
Culver City—cluster central
“When we moved here nine years ago, it cost $1 per sq. ft. Now it’s much more, though still affordable,” says Tim Blum, the co-founder of Blum & Poe. “If you are doing great things in a great space, serious people will show up. But to keep growing with your artists you’ll have to keep up on real estate moves because to be at the top of the heap you must have great space, great programming, great parking and be easy to find,” he adds.
After the gallery bought and renovated a building in the area, others followed, and Culver City remains one of the few real gallery hubs in Los Angeles. Nonetheless, real estate agent Martin McDermott of Avison Young says that while galleries in the area “got close to pulling off a solid location, it lacks parking and amenities—and things works best when restaurants and bars join in with the galleries”.
Thursday, February 7, 2013
Keeping it strictly old school
LA teaching is still top for next generation of artists
By Charlotte Burns and Helen Stoilas. Focus, Issue 242, January 2012
Published online: 16 January 2013
Los Angeles’ art schools are the stuff of legend. Since the 1960s, students have flocked to the city to study under the likes of Allan Kaprow, Chris Burden, John Baldessari and Paul McCarthy. The system of artists teaching artists has made the city into a mecca for creative talent, although the local art market has struggled to establish itself as a major hub, and the city’s museums have yet to attract the visitors and patronage enjoyed by other centres such as New York or London. Such is the schools’ wealth and reputation that the Museum of Contemporary Art, Los Angeles (LA MoCA), recently embarked on discussions to create a partnership with the University of Southern California (USC), which is in the middle of an aggressive $6bn fundraising drive.
“LA is first and foremost a city where the schools dominate,” says Paul Schimmel, the former chief curator at LA MoCA. “The best and the brightest apply to LA because the schools have unprecedented success—if you get in, then you’re one step closer.”
“The MFA programmes attract a lot of talented young artists, but also established artists, fostering an intergenerational conversation. It is very Californian—the casual absence of hierarchy,” says Mieke Marple, the co-director of the Night Gallery.
The not-so-secret ingredient to the success of LA’s art schools is that the teachers are working artists themselves. “When you had people like Robert Irwin and Ed Moses teaching at UC Irvine in the 1960s, it demonstrated to the other schools that bringing in strong personalities creates a fulcrum around which you can build a programme,” says the director of the LA Louver gallery, Peter Goulds, who came to the West Coast as a University of California, Los Angeles (UCLA) visiting lecturer in 1972.
Wednesday, February 6, 2013
Munich to get its own Fourth Plinth
Scandinavian artists Elmgreen and Dragset are organising temporary art commissions in Germany
By Clemens Bomsdorf. Web only
Published online: 15 January 2013
Elmgreen and Dragset plan to bring their sculpture for Trafalgar Square’s Fourth Plinth to Germany. A replica of the artists’ boy on a hobbyhorse work, currently on view in London until April, is to be placed on Wittelsbacherplatz, a square in downtown Munich, as part of a €1.2m project to bring art in public spaces, organised by the Scandinavian artists. “For ages the Fourth Plinth was a problem for London. It just stood there, empty. Then it became one of the most fantastic art projects. Sometimes you need problems to get great ideas. Maybe Munich does not have enough problems, so we are bringing them one,” says Michael Elmgreen.
Elmgreen and Dragset have been commissioned by the German city to organise the temporary art project titled “A Space Called Public/Hoffentlich Öffentlich” (Hopefully public) starting 29 January and running until September. “We chose the two because they question public space with very unconventional projects and also have a good track record as curators,” says Hans-Georg Küppers, the director of Munich’s department of arts and culture.
The pair have invited other artists to participate, and the first work to go on view is Phantom by the British artist Stephen Hall, a reproduction of the empty Fourth Plinth itself. Other artists contributing to “A Space Called Public” include Kirsten Pieroth, Ragnar Kjartansson, Ivan Argote, Henrik Olesen, Han Chong and Peter Weibel.
Tuesday, February 5, 2013
Artist interview, Walid Raad: a mediator between worlds
The artist challenges historical narratives in his Islamic-inspired show at the Louvre this month
By Louisa Buck. Features, Issue 242, January 2012
Published online: 15 January 2013
The art of Walid Raad uses the language and procedures of museums and academia—the archive, the slide show, the PowerPoint presentation, the wall-mounted information panel, the documentary photograph—to exude an air of informative authority. In his illustrated lectures and his multimedia installations this month at the Louvre, and, among other places, at the 2002 Whitney Biennial, the 2003 Venice Biennale, Documentas 11 and 13 and London’s Whitechapel Gallery, the 45-year-old artist comes across as a scholarly researcher-historian, examining the recent history of his native Lebanon and, over the past five years, the forging of art history in the context of the new art institutions proliferating in the Arab world.
In his latest project, Raad, who divides his time between Beirut and New York, where he is associate professor of art at the Cooper Union, continues to assume the role of a documenter and assembler of information and artefacts. “Walid Raad: Preface to the First Edition”, his new show in the Louvre’s Salle de la Maquette (19 January-8 April), consists of a video, a sculptural installation and a publication. They each take as their starting point the museum’s new department of Islamic art and its collection of 18,000 objects, some of which are destined to be loaned to the new Louvre in Abu Dhabi.
“These works are part of a larger, ongoing project that proceeds from the acceleration in the building of this new infrastructure for the arts in the Gulf, particularly in Abu Dhabi and Qatar,” Raad says, speaking on the telephone from his studio in New York. “I don’t know that much about Islamic art. All this is very new to me, but some of these objects I see in the display in the Louvre and at the Met—their lines, their forms and their colours—have been very productive for me. I saw the opening for a new kind of concept, a new creative act.”
This new concept manifests itself in Raad’s video, which features 28 Islamic artefacts from the Louvre that have been earmarked for its Jean Nouvel-designed sister museum on Saadiyat Island in Abu Dhabi. The video revolves around Raad’s notion that, “when these objects travel overseas, they will change in ways that are more insidious than the curators, conservators or museum directors could have predicted”. It is the story of these altered objects—how they have changed and why—that comprises Raad’s documentary film and the accompanying book, Preface to the Third Edition. “One person will be convinced that the objects themselves have changed and that change will only appear in certain photographs that this person will make,” he says.
Monday, February 4, 2013
Aristocrat’s Impressionist collection to be sold
Paintings by Monet, Sisley, Pissarro and Gauguin, estimated at more than £8m and assembled by ninth Earl of Jersey, to be auctioned at Sotheby’s next month
By Martin Bailey. Web only
Published online: 15 January 2013
Impressionist pictures owned by the Earl of Jersey are to be sold in London on 5-6 February. “They represent the best collection of Impressionism assembled by a British aristocrat,” according to Philip Hook, a senior specialist at Sotheby’s.
The ninth Earl of Jersey (1910-98) began to collect before the Second World War, initially under the influence of his second wife, the Hollywood actress Virginia Cherrill (she had been earlier married to actor Cary Grant). Most pictures were bought in the 1940s, initially for their house in Mayfair, in central London.
The two most important paintings coming up for sale are Monet’s snowscape Le Givre à Giverny, 1885, (est £4m-£6m) and Sisley’s La Tamise avec Hampton Church, 1874, (est £900,000-£1.2m). The Sisley, which has been recently cleaned, was done during one of the Paris-born artist’s visits to England.
Other works in the evening sale are Pissarro’s La Seine à Port-Marly, 1872, Monet’s Un moulin à Zaandam, 1871, Boudin’s Scène de plage à Trouville, 1868, and Gauguin’s La maison blanche, 1885, (est £800,000-£1.2m). The Gauguin appears to have been exhibited in the final Impressionist exhibition as “The Château of the English Lady”, which raises the intriguing question of who was owner of the house near Varengeville.
Sunday, February 3, 2013
Art Basel Hong Kong embraces Asian identity
Organisers announce the roll call for the first edition under new ownership
By Melanie Gerlis. Web only
Published online: 15 January 2013
Art Basel Hong Kong has announced the dealers who will be showing in what is officially its first edition (23-26 May). This is, in reality, a continuation of five years of growth of what was ArtHK, in which Art Basel acquired a controlling share nearly two years ago.
There are signs of some influence of the new parent company: the number of exhibitors is being “tightened”, says the Asian fair’s director, Magnus Renfrew (down from a total of 266 in 2012 to 245 this year), partly because dealers want larger booths in which to show their wares. There is also more emphasis on older works—in keeping with both the market’s trend away from contemporary art and Art Basel’s more historic presentation—but with a distinctly Asian feel. For example, says Renfrew, one newcomer this year is Tina Keng gallery, from Taiwan, a specialist in Asian modern masters; another is the Delhi Art Gallery, which will show work by modern Indian artists. Post-war Japanese work will be on view at the Los Angeles gallery Blum & Poe and New York’s McCaffrey Fine Art (both showing in the Hong Kong fair for the third year running). “There is a different aesthetic that can be difficult to understand, having more historical work should address that,” says Renfrew.
Organisers are keen to emphasise just how Asian this fair is; it had previously been criticised for neglecting its regional roots before its collector base was ready for the gloss (and prices) of the international art market. This year, organisers say that over 50% of galleries are from Asia and the Asia Pacific region—although this includes Western galleries that have set up shop in Asia, such as Gagosian and White Cube, both of whom recently opened in Hong Kong. The numbers are further swelled by the fair’s subsection Insights, which is dedicated to 47 galleries from Asia and the Asia Pacific region (including Turkey and the Middle East). But of the 171 galleries in the main section (and still using the criteria as above), the percentage of Asian galleries is still up, from 40% last year to 43% in 2013, considerably higher than at other international fairs.
Western newcomers this year include New York’s 303 and Peter Blum galleries, and Wentrup and Johnen Galerie from Berlin. Those not coming back include London’s Maureen Paley and New York’s Eleven Rivington, who both only exhibited at the fair last year, as well as art fair stalwart Cheim & Read (which has shown at the fair for the past two years and whose staff had Mandarin lessons prior to ArtHK’s 2011 edition). A spokesman for the gallery says they have decided to “take a year off”.