Tuesday, May 8, 2012
‘THE SCREAM’ IS AUCTIONED FOR A RECORD $119.9 MILLION
‘The Scream’ Is Auctioned for a Record $119.9 Million
By CAROL VOGEL
Published: May 2, 2012
It took 12 nail-biting minutes and five eager bidders for
Edvard Munch’s famed 1895 pastel of “The Scream” to sell for $119.9 million,
becoming the world’s most expensive work of art ever to sell at auction.
Bidders could be heard speaking Chinese and English (and,
some said, Norwegian), but the mystery winner bid over the phone, through
Charles Moffett, Sotheby’s executive vice president and vice chairman of its
worldwide Impressionist, modern and contemporary art department. Gasps could be
heard as the bidding climbed higher and higher, until there was a pause at $99
million, prompting Tobias Meyer, the evening’s auctioneer, to smile and say, “I
have all the time in the world.” When $100 million was bid, the audience began
to applaud.
The price eclipsed the previous record, made two years ago
at Christie’s in New York
Munch made four versions of “The Scream.” Three are now in
Norwegian museums; the one that sold on Wednesday, a pastel on board from 1895,
was the only one still in private hands. It was sold by Petter Olsen, a
Norwegian businessman and shipping heir whose father was a friend, neighbor and
patron of the artist.
The image has been reproduced endlessly in popular culture
in recent decades, becoming a universal symbol of angst and existential dread
and nearly as famous as the Mona Lisa.
Outside of Sotheby’s, there was excitement of a different
kind, as demonstrators protesting the company’s longtime lockout of art
handlers waved placards with the image of “The Scream” along with the motto,
“Sotheby’s: Bad for Art.” Many in the group — a mix of union members and Occupy Wall Street
Monday, May 7, 2012
IN CELEBRATION, IN PRAISE OF ARTIST ANITA MAGSAYSAY-HO; 97
In celebration, in praise of artist Anita Magsaysay-Ho; 97
By: Sonia Ner
Philippine Daily Inquirer
3:22 am | Sunday, May 6th, 2012
To know Anita is to love her.
Aside from her immense talent, artist Anita Magsaysay-Ho
was a gentle, unassuming, generous and kind lady. She was not only a great
artist but also a great person. Those who had the privilege of knowing her
deeply mourn her passing on Saturday. She was 97.
As editor of the book, “In Praise of Women” by Alfredo
Roces, I had to interview Magsaysay-Ho many times over. For most Mondays from
February to June 2005, I spent a good part of the day with her in her seaside
condominium unit. Still blessed with good health and excellent memory then, she
gifted me and my colleague Din Din Araneta with spontaneous and unstructured
commentaries on a good number of her paintings.
As our sessions with her progressed, we got to
know more of her. When asked for comments on people who
faked her works and signed her name, she said, “Maybe they need the money.”
When asked what we should tell people who paid top
prices for what were passed off as authentic Anitas, she simply
said, “Please tell them they are good art pieces, but they are not
by me.”
COLOSSEUM SPONSORSHIP DEAL AT LAST HURDLE
Colosseum sponsorship deal at last hurdle
Final appeal due in May
By Ermanno Rivetti. Web only
Published online: 24 April 2012
Italian officials have approved a proposed €25m donation
for the restoration of the Colosseum given by Diego Della Valle, the owner of
the shoe and leather goods company Tod’s. The competition committee has also
described the deal as transparent.
Della Valle first agreed to the arrangement, which included
five years of rights to the building's image, with the mayor of Rome
The court froze the agreement between Della Valle and Alemanno
this January. A few days later, however, Uil’s appeal was withdrawn and the
deal now appears to be getting back on track.
The final hearing is scheduled for 9 May, when the regional
administrative court is due to consider the Codacon appeal.
Sunday, May 6, 2012
ANITA MAGSAYSAY-HO, PILLAR OF FILIPINO MOERNIST ART, PASSES AWAY AT AGE 97
Anita Magsaysay-Ho, pillar of Filipino modernist art,
passes away at age 97
05-May-12, 1:57 PM | Francine M. Marquez, InterAksyon.com
Painter Anita Magsaysay-Ho, one of the most important and
gifted Philippine modernists, passed away Saturday morning, at the age of
97.
Magsaysay-Ho won awards in several local and international
art competitions and exhibited works in major local and international art
galleries worldwide. Her well-known works depict figurative abstracts of
women at work, landscapes, and Philippine genre scenes. Her charcoal sketches
of female nudes are also widely recognized. Collections of Magsaysay-Ho's works
can be viewed in major museums and galleries such as the Metropolitan
Museum of the Philippines , the Yuchengco
Museum , the Lopez
Memorial Museum
and Library, and the Ateneo
Art Museum
Anita Magsaysay-Ho was born in 1914 and studied painting at
the University of the Philippines School of Fine Arts under prominent artist-teachers
such as Fabian Dela Rosa, Fernando Amorsolo and Irineo Miranda, according to
the book, "Anita Magsaysay-Ho: A Restrospective". It adds: "She
graduated in 1933 then went to continue her studies at the Art Students League
in New York and at the Cranbrook Academy of
Arts in Michigan
In 2008, Magsaysay-Ho paved the way for Filipino artists to
gain higher international recognition when a small painting of hers titled
"In the Market Place" broke price records at a Christie's auction in
Singapore, going for US$375,000 (about P15 million).
Her body was cremated on Saturday morning. Friends and
members of the public can pay their final respects at the Kapilya De la Virgen
at the Santuario de San Antonio in Forbes Park ,
Makati City
http://www.interaksyon.com/article/31115/anita-magsaysay-ho-pillar-of-filipino-modernist-art-passes-away-at-age-97?fb_comment_id=fbc_372198889492772_4281179_372692422776752
ANGGULO
Anggulo or (Angle) which could mean perspective and if given a word play could also mean chaotic (Ang Gulo)
The artists expressed their different ideas using their own perspective on how they see the pressing social issues of today. Anggulo exhibit would be an avenue for such expression of disorder and mundane world they live in.
The Artists: Jojit Solano, Bonifacio de Guzman Jr., Edmundo Calimlim Jr. and Patrick Fernandez are the "APATIRA" group from Pangasinan. Apatira is a Pangasinan word which literally means FOUR... The group was formed in 2004 after the 4 artists met up in a local exhibit. APATIRA is a brotherhood and ART is the blood that binds them together, working on a common goal of living the art on their province.
“Anggulo” will be opening at Sigwada Gallery on May 8, 2012, Tuesday at 6 pm. The show will run until June 1, 2012. Sigwada Gallery is located at 1921 Oroquieta St. Sta. Cruz, Manila. For more information, contact Sigwada at (02) 743-58-73 or email at sigwadagallery@yahoo.com
WHAT MAKES THE PORTRAIT OF WALLY CASE SO SIGNIFICANT?
What makes the Portrait of Wally case so significant?
It was the initiative taken by the US
By Judith H. Dobrzynski. Web only
Published online: 24 April 2012
If true art aims to change the world, perhaps no picture
has proven as successful lately as Egon Schiele’s 1912 tender, traditional
portrait of his mistress, Wally Neuzil. Far less graphic and edgy than the
works that made Schiele’s reputation, the painting is nevertheless destined for
iconhood because of its history as Nazi loot and the 13-year legal battle waged
for it, which was finally resolved in a 2010 settlement between the estate of
Lea Bondi Jaray, the US government and the Leopold Museum in Vienna. Now the
subject of a documentary called “Portrait of Wally,” which is due to premiere
at the Tribeca Film Festival in New
York
There have been plenty of restitution claims, before and
after, involving better works and more money. But early on in “Portrait of
Wally”, Willi Korte, an independent researcher who co-founded the Holocaust Art
Restitution Project, rightly says, “I can’t think of any other case that had
this effect, this significance. It is the case, out of all art restitution
cases that I can think of, that really shaped the discussion for the following
years.”
Saturday, May 5, 2012
ARTISTS STILL AWAIT RETURN OF WORK FROM 2010 DAKAR FESTIVAL
Artists still await return of work from 2010 Dakar
Some pieces are returned but shipping company awaits
payment from Senegalese government
By Georgina Adam. Web only
Published online: 23 April 2012
After more than a year’s delay, some of the works of art
loaned by more than 100 artists to the third World Festival of Black Arts and
Cultures (Fesman) have been returned to their owners. However, another group of
art is still blocked in Senegal
Fesman was held in Dakar Senegal Cape Town artist and lecturer
Johann van der Schijff, his work and many other pieces by artists mainly from
sub-Saharan Africa and South America, “are still stuck in Dakar
According to Van der Schijff, a Dakar-based shipping
company, SDV Senegal, has still not been paid; at press time, the company had
not responded to requests for comment. Last year Schijff launched an online
petition at change.org asking for the return of all the art. He says: “With the
2012 Dakar Biennale coming up I think it is outrageous that this situation has
still not been resolved.”
Friday, May 4, 2012
COLLECTORS MAKE CAREFUL CHOICES AT ART BRUSSELS
Collectors make careful choices at Art Brussels
The “best fair of the second division”, as one local dealer
describes it, is a typically relaxed and steady-paced event
By Anny Shaw. Web only
Published online: 23 April 2012
The 30th edition of Art Brussels (19-22 April), described
by the local art dealer Rodolphe Janssen as the “best fair of the second
division”, was a typically relaxed and steady-paced event, where buyers took
their time over purchases. During the preview on 18 April, Belgian and French
collectors were out in force: Alain Servais, Bruno van Lierde, Cédric Liénart
de Jeude, Gilles Fuchs and Nicolas Libert were seen greeting each other in the
aisles, while the Miami
The section of the fair dedicated to young and emerging
galleries, Hall 3, attracted bigger crowds than the section for established
galleries during the opening evening, although sales here were mixed. By the
time the fair had opened to the public on 19 April, the Los Angeles gallery
Honor Fraser had sold a Glenn Kaino tapestry to a European collector for around
$45,000, as well as one of three Annie Lapin paintings priced at around $20,000
to a collector from Barcelona, while the Amsterdam gallery Ron Mandos sold a
large-scale Rik Smits drawing for €15,000. Meanwhile, at the Los Angeles
Also in Hall 3, the London
Thursday, May 3, 2012
ITALIAN GOVERNMENT TO APPOINT COMMISSION TO CONTROL MAXXI
Italian government to appoint commissioner to control Maxxi
Board of directors for contemporary museum blames
government cuts for deficit
By Ermanno Rivetti. Web only
Published online: 19 April 2012
The board of directors of the Fondazione Maxxi has
expressed outrage at the ministry of culture’s sudden announcement that it was
transferring control of the foundation to a commissioner. The ministry says it
made the decision because the board was unable to set a satisfactory budget for
2012. The foundation, which runs Maxxi—Museo nazionale delle arti del XXI
secolo, Italy
The ministry issued the statement on 13 April following
concerns that the Maxxi’s 2011 deficit of €700,000 would only increase in the
future. The foundation had ten days to present its counter argument, and it did
so immediately, releasing a statement refuting the ministry’s reasons for the
decision. According to the foundation’s books, the museum, which runs on €10m a
year, received €7m from the government in 2010 while raising a further €3.3m
through ticket sales and sponsorship. In 2011, the government slashed its funds
by 43% to less than €4m, but the museum managed to generate more than half of
its required annual budget, raising €5.6m. Pio Baldi, the foundation’s
president, blames the €700,000 deficit on government cuts, but says that the
gap had been filled thanks to a €2.4m surplus generated by the museum between
2009 and 2010. He added that the only reason the foundation’s budget for 2012
was rejected was because of further government cuts.
Wednesday, May 2, 2012
CALL TO CLOSE EVERY OTHER MUSEUM RAISES STORM IN GERMANY
Call to close every other museum raises storm in Germany
Artists respond that proposal would “destroy the base of
the public funding of culture”
By Clemens Bomsdorf. Web only
Published online: 19 April 2012
A call by a group of academics and cultural commentators to
close every second state-subsidised cultural institution—in particular art
museums and theatres—in response to the economic downturn has provoked a robust
response from German artists, filmmakers and writers. The proposal, by the
consultant and director of the Centre for Cultural Research think tank in
Berlin, Dieter Haselbach, the director of the state-funded Swiss arts council,
Pro Helvetia, Pius Knüsel, and academics Armin Klein, and Stephan Opitz (also
an official at the ministry of culture in the federal state of Schleswig-Holstein),
was set out in the recent book Der Kulturinfarkt (Cultural Heart Attack) as
well as in an article in the German magazine Der Spiegel. In an open letter
under the banner of “Akademie der Künste” (Academy of Arts
“This is not a concrete demand, but just a theoretical
[proposal],” says Opitz. “Expenditure for culture has increased without control
since the 1970s but many institutions cannot fulfil their task in an acceptable
way. They lack money for research, marketing and so on.” He maintains that
decreasing the number of institutions could [improve] quality with each
remaining institution getting more money. In addition, he argues, cultural
institutions should be organised differently and [be given] more detailed
targets, not only in regard to visitor numbers, but also guidelines about where
visitors should come from and what age groups in particular should be attracted
to the museums. “In Scandinavia , institutions
are already advanced in this field”, he says. Opitz referred to the letter from
the “Akademie der Künste” as reflecting an “uncivilised anger” and said the
authors were driven by unrestrained vested interests.
Tuesday, May 1, 2012
PHANTOMS OF ASIA: CONTEMPORARY AWAKENS THE PAST
Asian Art Museum Organizes its First Large-Scale Exhibition of Contemporary Art, Offering Unique Insight into Asian Mythologies and Belief Systems
SAN FRANCISCO, February 21, 2012—This May, the Asian Art Museum debutsPhantoms of Asia: Contemporary Awakens the Past, an ambitious exhibition exploring the complex, diverse, cross-cultural perspectives of Asian cosmology and spirituality through a compelling interplay of 140 artworks from the past and present.
Phantoms of Asia—the first large-scale exhibition of contemporary art organized by the Asian Art Museum—fills its special exhibition galleries with artworks by living artists and integrates new works throughout the museum’s renowned pan-Asian collections. Providing visitors with immersive experiences, the exhibition offers rare insights into a range of belief systems and mythologies that have shaped Asian cultures over the ages.
On view May 18–September 2, 2012, and featuring more than 60 works by 31 contemporary artists, including Hiroshi Sugimoto (Japan/USA), Apichatpong Weerasethakul (Thailand), Adeela Suleman (Pakistan), Raqib Shaw (India), and Choi Jeong Hwa (Korea), alongside 90 objects from the museum’s collections—some dating back 2,000 years—Phantoms of Asia challenges visitors to view traditional objects not as relics of the past, but as vibrant connections to the present.
“The concept of phantoms—or ‘spirits’—is elusive, yet it’s felt and shared across cultures and time periods,” said Jay Xu, museum director. “Through its emphasis on interconnectivity, this exhibition provides a rare opportunity to experience those ‘invisible forces’ in a tangible, accessible, and provocative way, with Asian art at the center.”
Curated by Mami Kataoka, chief curator of Tokyo’s Mori Art Museum, in collaboration with Allison Harding, assistant curator of contemporary art at the Asian Art Museum, Phantoms of Asia is organized around four themes: (1) Asian Cosmologies: Envisioning the Invisible; (2) World, Afterworld: Living Beyond Living; (3) Myth, Ritual, Meditation: Communing with Deities; and (4) Sacred Mountains: Encountering the Gods.
The exhibition includes artworks by contemporary artists hailing from Canada, China, Hong Kong, India, Indonesia, Iran, Japan, Korea, Taiwan, Thailand, Pakistan, the Philippines, Singapore, Tibet, and the U.S. Many of the contemporary installations are new or site-specific commissions. When combined with objects from the museum’s collections, these artworks represent a vast array of materials, forms and media, including works of stone, metal, fabric, wood, and modern materials; and masks, textiles, sculptures, ceramics, film and video, photographs, and paintings.
Expressing the museum’s new aspiration to “awaken the past and inspire the next,” the building itself will undergo a transformation to meet the full-scale challenges of the exhibition, starting with a 24-foot installation outside the museum, moving into the building’s public courtyards, and finally throughout the special exhibition and collection galleries.
In all, 31 artists will participate in Phantoms of Asia:
Poklong Anading – Philippines
Ringo Bunoan – Philippines
Heman Chong – Singapore
Lin Chuan-Chu – Taiwan
Guo Fengyi – China
Hyon Gyon – Korea
NS Harsha – India
Choi Jeong Hwa – Korea
Pouran Jinchi – Iran
Jompet – Indonesia
Aki Kondo – Japan
Sun K. Kwak – Korea/USA
Fuyuko Matsui – Japan
Prabhavathi Meppayil – India
Motohiko Odani – Japan
Jagannath Panda – India
Araya Radsjarmrearnsook – Thailand
Varunika Saraf – India
Raqib Shaw – India/United Kingdom
Jakkai Siributr – Thailand
Yoshihiro Suda – Japan
Hiroshi Sugimoto – Japan
Adeela Suleman – Pakistan
Charwei Tsai – Taiwan
Howie Tsui – Hong Kong/Canada
Apichatpong Weerasethakul – Thailand
Palden Weinreb – USA/Tibet
Bae Young Whan – Korea
Adrian Wong – USA/Hong Kong
Lin Xue – China/Hong Kong
Takayuki Yamamoto – Japan
CHAMELEON’S CONVENTION
Dante Perez digs deeper into his subconscious in “Chameleon’s Convention”, which opens on May 2 at Galerie Anna, The Artwalk, Fourth Floor, Megamall-A, Mandaluyong City. The show runs until May 16.
For inquiries, call 470-2511 or email galerie.anna@yahoo.com.
MONTEVIDEO MUSEUM REOPENS AFTER RENOVATION
Aims to bring world-class exhibitions and cultural exchanges
to the city
By Nicolas Smirnoff. Web only
Published online: 19 April 2012
The Bohemian Gallery and Museum
of Contemporary Art in Montevideo
One of the museum’s main objectives is to introduce
world-class exhibitions to Montevideo Uruguay Overland Park , Kansas
The inaugural exhibitions in Montevideo US
and Uruguay
Monday, April 30, 2012
EYE ON THE PHILIPPINES
TALK ABOUT GLOBAL EXPOSURE! - Up to 250 million people
around the world are expected to tune in to CNN's week-long feature of of our
country next week - 'Eye On the Philippines'
This kind of worldwide exposure simply can not be bought as
it's shows like these that lend global credibility to emerging countries, and
which so often leads to a dramatic increase in interest amongst foreign
investors.
Please Like and Share ♥
======
Below is a full list of airtimes (all times are in Manila time)
*Daily Reports and Coverage*
Mon April 30 to Fri May 4 at 0700 (live reports) on ‘World
Report'
Mon April 30 to Fri May 4 at 2100 on ‘World Business Today'
*‘Eye On The Philippines
Fri May 4 at 2300
Sat May 5 at 1800, 2330
Sun May 6 at 0830
*Talk Asia : Interview with
the Ayala Brothers*
Fri April 27 at 1730
Sat April 28 at 2000
Sun April 29 at 0630, 1330
Mon April 30 at 0830
Tue May 1 at 1530
Thu May 3 at 1230
*Talk Asia : Interview with
President Benigno S. Aquino III*
Fri May 4 at 1730
Sat May 5 at 2000
Sun May 6 at 0630, 1330
Mon May 7 at 0830
Tue May 8 at 1530
Thu May 10 at 1230
Sunday, April 29, 2012
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