アート・バーゼル、成功への宿命 (アーティストたちによって裸にされたアート・バーゼル、さえも) 2022年度 ART BASEL - Doomed To Succeed (ART BASEL Stripped Bare by Her Artists, Even) 2022 version

“Hauser & Wirth” owners, art dealers Manuela Wirth and Iwan Wirth, June 13th 2022 @ ART BASEL

No masks anymore in Basel.
Question: How do you show to the global art scene, that ART BASEL in Switzerland is back again?
Answer: The organiser sends with immense effort 20.000 VIP invitations around the world and your local top player has to get all the media attention.
Exactly that happened. On the Swiss fair’s first VIP day Hauser & Wirth announced that Louise Bourgeois “Spider” sold for 40 Mio US$, a record for the artist.
Hauser & Wirth stated that Bourgeois’ work was sold by and bought from a private collection. Please keep in mind, that sales at art fairs are self-reported by the galleries, making independent verification difficult, and works are often sold before the fair’s preview days. (H&W’s spokesperson declined to comment on when the work was sold). The gallery focused on American artists, obviously targeting collectors and the media from the U.S..

Iwan Wirth, June 14th 2022 @ ART BASEL

Thomas J Price interview in front of his work “Moments contained” (2022), Gallery Hauser & Wirth @ ART BASEL Unlimited

Zeng Fanzhi “E Series 2022, No. 10” 2022. Oil on canvas, 240 x 240 x 6 cm @ Gallery Hauser & Wirth

Zeng Fanzhi “E Series 2022, No. 10” 2022. Oil on canvas, 240 x 240 x 6 cm, detail @ Gallery Hauser & Wirth

Advertising by “Hauser & Wirth Zürich” in the city of Basel.
Left: Michael and Susan Hort family from New York

Read more @
The Art Megacollectors Who Live in Their Own Contemporary Museum
Jerry Saltz, Feb. 26 2016
Once a year, to coincide with the Armory Show weekend in March, megacollectors Michael and Susan Hort open the art-covered 17,000-square-foot spread of their downtown home to hundreds of art-worlders, who come to peruse the couple’s collection of more than 3,700 works of contemporary art. This time, they’ll be serving bagels next door.
full text:
https://www.vulture.com/2016/02/art-collectors-who-live-in-their-own-museum.html

Close by Fondation Beyeler during ART BASEL 2022:
モンドリアンノピュア・デザイン mondrian’s pure design
https://art-culture.world/articles/mondrian/

2022年6月13日：今日のバーゼル。天気が良くて、乾燥しています。マスクがどこでも必要はありません。
世界から2万人のVIPが来ます。グローバル・アート・シーンの中心。トップ・プレーヤーHauser & Wirthご夫妻は真剣なムード。バーゼル市の中、珍しく、Hauser & Wirth Zürichの広告ポスター。日本から来たアートディーラー達：Taka Ishii Gallery、Take Ninagawa、Tokyo Gallery+BTAP。Art Basel Unlimitedでは内藤礼のインスタレーション作 (Taka Ishii Gallery)。

As a reference, see older entries:

大注目を浴びた池田亮司 (アーティストたちによって裸にされたアート・バーゼル、さえも*) 2021年度
IKEDA Ryoji attracted considerable attention (ART BASEL Stripped Bare by Her Artists, Even*) 2021 version
https://art-culture.world/articles/art-basel-2021/

アーティストたちによって裸にされたアート・バーゼル、さえも*
ART BASEL Stripped Bare by Her Artists, Even*
https://art-culture.world/articles/art-basel-stripped-bare-by-her-artists-even/

最高かつ最も重要な絵画@アート・バーゼル（アーティストたちによって裸にされたアート・バーゼル、さえも*）2019年度
The best and most important painting @ ART BASEL (… Stripped Bare by Her Artists, Even*) 2019 version
https://art-culture.world/articles/art-basel-2019/

バーゼルのアート + カルチャー 2018 Art + Culture from Basel 2018
https://art-culture.world/articles/art-culture-from-basel-2018/

バーゼルのアート + カルチャー 2018（続報）
Art + Culture from Basel 2018 (follow-up)
https://art-culture.world/articles/art-culture-from-basel-2018-follow-up/

日本のポスト・ムラカミ世代：名和晃平と占部史人。長谷川祐子のとんでもないアーティストトーク@アートバーゼル2014年
Japan’s Post Murakami Generation – NAWA Kohei and URABE Fumito. An Absurd Artist Talk With HASEGAWA Yuko @ ART BASEL 2014
https://art-culture.world/articles/japans-post-murakami-generation-日本のポスト・ムラカミ世代/

スイスの「ハウザー＆ワース」が香港に新スペースオープン：「マーク・ブラッドフォード個展」、東京にギャラリー進出も間近？
Hauser & Wirth opens with Mark Bradford in Hong Kong, could be Tokyo next?
https://art-culture.world/articles/hauser-wirth-ハウザー-ワース-香港/

リステ・アートフェア・バーゼル、クール＆トップ、日本から参加した、説得力のあるアーティスト五月女哲平と田口行弘
LISTE – Art Fair Basel, cool & top, with strong + convincing artists from Japan: SOUTOME Teppei + TAGUCHI Yukihiro
https://art-culture.world/articles/liste-art-fair-basel-2019/

Topless at the Rhine in Basel

Now listen to Global director Marc Spiegler (whom I know since 20 years…, when he was still a journalist for The Art Newspaper.)

And listen please to the excellent answers, commentaries by art consultant Lisa Schiff (U.S.)

Geopolitics aside, the art world became broader, fundamentally no big changes. My impression is, that with the next ART BASEL edition, we’re back to normal.
We may even expect surprising, positive numbers sales-wise and a spike of visitors for this year.

Concerning the “fair value” of a work by an emerging artist, too much speculation is nowadays going on. Lisa Schiff says publicly, what most art specialists know and why they’re feeling annoyed:
“I don’t understand how people can pay up to 3 million dollars at auction for an artist under 30 who has never exhibited in a museum. Those reputations are not based on aesthetic quality but on investment bets and on word of mouth sharing of information. The highest price that it is acceptable to pay for a young artist is 25,000 dollars,”.

In this case, we’re talking about painter Anna Weyant, who is only 27 years old and has never been chosen by a curator for a museum show; means: a NOT critically acclaimed artist.
Read:
The Making of Anna Weyant, Art’s Hot New Superstar (22 May 2022)
https://www.thedailybeast.com/the-making-of-anna-weyant-arts-hot-new-superstar

In comparison to “ART BASEL Miami Beach” or “FRIEZE L.A.”, galleries tend to bring the best works to ART BASEL, Switzerland. The “trashy” works (Lisa Schiff’s words) will be send to the U.S., the serious ones to Europe. Which explains the difference regarding taste, knowledge, real interest in art between Europeans and U.S. citizens.

17th of June…

Two days ago art advisor Lisa Schiff appeared again, prominently on artnet with her profoundly written analysis about the art market. As she has the pulse on the Zeitgeist, from the “American perspective” so to speak, we should carefully take note about the facts she is actually concerning about.

artnet:
As an Art Advisor, I’ve Watched ‘Meme Art’ Destroy All Logic in the Art Market. Here’s What We Can Do About It
The traditional way of determining value in the art market has gone out the window. And that could be catastrophic for the entire system.
Lisa Schiff, June 15, 2022
https://news.artnet.com/opinion/meme-art-op-ed-lisa-schiff-2131139

Fair director of TOKYO GENDAI, TAKANE Eri 高根枝里 (left) with TOKYO GENDAI co-founder Magnus Renfrew マグナス・レンフリュー (center) @ P.P.O.W. booth Art Basel Switzerland. June 16th, 2022

Read more @
Today’s The Art Newspaper: “Could Japan rise again? New fair to launch in Tokyo in July 2023”
“TOKYO GENDAI”
https://art-culture.world/articles/tokyo-gendai/

2022/6/17:

Conversations | Going Neutral? Institutions and Climate Change

What choices are available to museums wishing to address the urgency of climate change while also needing to consider their financial resilience in 2022 and beyond? In a time of intensified geopolitical conflict and displacement, how can they ensure that culture and climate change remain on the agenda? From infrastructure to programming, how can institutions best respond? The directors of the Mori Art Museum, the Climate Museum, and M+ gather to reflect on current and planned actions in the museum sector that involve investing in a greener and fairer future.

Miranda Massie, Director, Climate Museum, New York
Mami Kataoka, Director, Mori Art Museum, Tokyo, and President, CIMAM (remote)
Suhanya Raffel, Museum Director, M+, Hong Kong (remote)
Moderator: András Szántó, author and cultural strategy advisor

Mami Kataoka is Director at Mori Art Museum. She joined the Mori Art Museum in 2003, taking on the role of Director in 2020. Beyond Tokyo, Kataoka has held positions at the Hayward Gallery in London, where from 2007 to 2009 she was the institution’s first International Curator; she has also acted as Co-Artistic Director for the 9th Gwangju Biennale (2012), Artistic Director for the 21st Biennale of Sydney (2018) and is currently Artistic Director for the Aichi Triennale 2022. Kataoka has been serving as a Board Member of CIMAM (International Committee for Museums and Collections of Modern Art) (2014-) and currently the President of CIMAM.

https://artbasel.com/stories/conversations-art-basel-2022-institutions-and-climate-change

Mori Art Museum Director and CIMAM President KATAOKA Mami 片岡真美, live @ ART BASEL Conversations, 16th of June 2022

During Art Basel, dinner party @ Fondation Beyeler. Amongst the guests, Ms. MIKI Akiko, Artistic Director of the Benesse Art Site Naoshima 三木あき子（ベネッセアートサイト直島インターナショナルアーティスティックディレクター）(Courtesy Mr. Jline)

Ukrainian bride performance by Olesya Lesnaya in front of the Messeplatz during ART BASEL 2022

Quote from The Art Newspaper:
“The performer, Olesya Lesnaya, is from Vinnytsia in west-central Ukraine. She fled in late March and is now being hosted as a refugee by Toche in Geneva. “It is highly important to constantly remind people what the reality of the situation is back home,” Lesnaya says.”
Link_https://www.instagram.com/olesya__lesnaya/?hl=en

Jordan Wolfson Untitled 2022. UV ink on plywood and dibond with gloss clear coat, acrylic marker, aluminium and steel hardware (253 x 184.2 x 45.7 cm) @ Gagosian booth — Jordan Wolfson “Untitled” 2022. UV ink on plywood and dibond with gloss clear coat, acrylic marker, aluminium and steel hardware (253 x 184.2 x 45.7 cm) @ Gagosian booth

Eduardo Terrazas Possibilities of a Structure Cosmos 1.1.229, 2016. Wool yarn on wooden board covered with Campeche wax. 4 panels each 90 x 90 x 4.5 — Eduardo Terrazas “Possibilities of a Structure: Cosmos 1.1.229” 2016. Wool yarn on wooden board covered with Campeche wax. 4 panels each: 90 x 90 x 4.5 cm @ Nils Stærk booth

Eduardo Terrazas 1.1.415, From the series Possibilities of a Structure, Subseries Cosmos 2022. Wool yarn on wooden board covered in Campeche wax. 90 x 90 cm — Eduardo Terrazas “1.1.415, From the series: Possibilities of a Structure, Subseries: Cosmos” 2022. Wool yarn on wooden board covered in Campeche wax. 90 x 90 cm @ Nils Stærk booth

Book signing with Eduardo Terrazas @ Nils Stærk booth

Curator Hans Ulrich Obrist congratulates Eduardo Terrazas @ Nils Stærk booth

In front of a photograph by Gordon Parks

Kenjiro Okazaki 岡﨑乾二郎 4 Paintings Series 2018 Acrylic on canvas Around 23 x 18,5 x 3 cm each. Unique. 45.000 US$ @ galerie frank elbaz — Kenjiro Okazaki 岡﨑乾二郎 “4 Paintings Series” 2018. Acrylic on canvas. Around 23 x 18,5 x 3 cm each. Unique. 45.000 US$ @ galerie frank elbaz

Kenjiro Okazaki 岡﨑乾二郎 4 Paintings Series 2018 Acrylic on canvas, detail 1 — Kenjiro Okazaki 岡﨑乾二郎 “4 Paintings Series” 2018. Acrylic on canvas, detail 1

Kenjiro Okazaki 岡﨑乾二郎 4 Paintings Series 2018 Acrylic on canvas, detail 2 — Kenjiro Okazaki 岡﨑乾二郎 “4 Paintings Series” 2018. Acrylic on canvas, detail 2

Kenjiro Okazaki 岡﨑乾二郎 4 Paintings Series 2018 Acrylic on canvas, detail 3 — Kenjiro Okazaki 岡﨑乾二郎 “4 Paintings Series” 2018. Acrylic on canvas, detail 3

Kenjiro Okazaki 岡﨑乾二郎 4 Paintings Series 2018 Acrylic on canvas, detail 4 — Kenjiro Okazaki 岡﨑乾二郎 “4 Paintings Series” 2018. Acrylic on canvas, detail 4

Compare with:
岡﨑乾二郎個展：超ダサくて、面白くない、気取った描き方
Solo show by OKAZAKI Kenjiro: a painterly process which is pretentious, dull and sucks
https://art-culture.world/articles/okazaki-kenjiro-岡﨑乾二郎/

Ja’Tovia Gary Precious Memories (Tower) 2020 SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum ed.2:2. 65.000 US$. @ galerie frank elbaz — Ja’Tovia Gary “Precious Memories (Tower)” 2020. SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum, ed.2/2. 65.000 US$. @ galerie frank elbaz

Ja’Tovia Gary Precious Memories (Tower) 2020 SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum — Ja’Tovia Gary “Precious Memories (Tower)” 2020. SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum, detail

Ja’Tovia Gary Precious Memories (Tower) 2020 SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum, detail 2 — Ja’Tovia Gary “Precious Memories (Tower)” 2020. SD video and SD video from 16mm film on 3 CRT monitors, acrylic, dried cotton, moss, dried helichrysum, detail

2022/6/19

check it out! @
リステ・アートフェア・バーゼル、クール＆トップ、日本から参加した、説得力のあるアーティスト五月女哲平と田口行弘
LISTE – Art Fair Basel, cool & top, with strong + convincing artists from Japan: SOUTOME Teppei + TAGUCHI Yukihiro
https://art-culture.world/articles/liste-art-fair-basel-2019/

Yesterday a one-page feature about German art dealer Daniel Buchholz in the Neue Zürcher Zeitung caught my eye. Amongst his successfully practicing artists are names like veteran Isa Genzken, who taught him a lot about being an art worker in the global art industry. Besides prominent photographer Wolfgang Tillmans, Anne Imhof, who in 2017 won the Venice Golden Lion for her artistic practice in the German Pavillion, stands out with an eclectic out-put, as actually conservative oil painting (à la Gerhard Richter?) seems to be her latest “approach” in conquering the art market. (see attached pic)
Daniel Buchholz emphasised in the article, that caring of his artistic protégés includes advice, storage and the creation of an archive, as well as the maintenance of their secondary market – something through support purchases at auctions, which is rarely talked about.
Nota bene: “through support purchases at auctions”.
I have never read such a “taboo-sentence” from another art dealer in the world. In this regard, we have to give applause to Buchholz for being straight forward while showing a fine, honest attitude. One reason, why he is highly respected in the German art scene.

Daniel Buchholz in der NZZ 13.6.2022, Seite 15

Isa Genzken More Light Research 1992 Lacquer on canvas, 51 x 41 cm @ Galerie Buchholz IG:M 1992:106 — Isa Genzken “More Light Research” 1992. Lacquer on canvas, 51 x 41 cm @ Galerie Buchholz IG/M 1992/106

Isa Genzken More Light Research 1992 Lacquer on canvas, 51 x 71 cm @ Galerie Buchholz IG:M 1992:107 — Isa Genzken “More Light Research” 1992. Lacquer on canvas, 51 x 71 cm @ Galerie Buchholz IG/M 1992/107

Anne Imhof Untitled 2022 oil on canvas 205 x 370 x 3.5 cm @ Galerie Buchholz — Anne Imhof “Untitled” 2022. Oil on canvas, 205 x 370 x 3.5 cm, 100.000 – 200.000 US$ @ Galerie Buchholz ART BASEL 2022

Anne Imhof Untitled 2022 oil on canvas 205 x 370 x 3.5 cm, detail @ Galerie Buchholz — Anne Imhof “Untitled” 2022. Oil on canvas, 205 x 370 x 3.5 cm, detail @ Galerie Buchholz ART BASEL 2022

Wolfgang Tillmans (from the silver works series) 2022, 5 unique c-prints, framed. Unique piece. @ Galerie Buchholz booth

Wolfgang Tillmans concorde 1 — Wolfgang Tillmans “Concorde L449-19, 21, 22, 23, 25, 27, 28” 1997. Photography. 7 inkjet prints on paper, clips; 201 × 138 cm each. Edition 1 of 1 + 1 AP. 750.000 – 1.000.000 US$ @ Galerie Buchholz, ART BASEL UNLIMITED 2022

Wolfgang Tillmans 2 concorde — Wolfgang Tillmans “Concorde L449-19, 21, 22, 23, 25, 27, 28” 1997. Photography. Detail @ Galerie Buchholz, ART BASEL UNLIMITED 2022

Compare with my pictures from 2017:

Wolfgang Tillmans concorde 4 — Wolfgang Tillmans “Concorde L449-19, 21, 22, 23, 25, 27, 28” 1997. Photography. 7 inkjet prints on paper, clips; 201 × 138 cm each. Edition 1 of 1 + 1 AP. @ Fondation Beyeler 2017

Wolfgang Tillmans concorde 3 — Wolfgang Tillmans “Concorde L449-19, 21, 22, 23, 25, 27, 28” 1997. Photography. 7 inkjet prints on paper, clips; 201 × 138 cm each. Edition 1 of 1 + 1 AP. @ Fondation Beyeler 2017, detail

Gillian Wearing Self Portrait January 2022 Watercolor on paper @ REGEN PROJECTS — Gillian Wearing “Self Portrait January 2022” 2022. Watercolor on paper @ REGEN PROJECTS, ART BASEL 2022

Theaster Gates @ GRAY. Two works Cousins + PICKLs both 2022 — Theaster Gates @ GRAY. Two works: “Cousins” + “PICKLs” both 2022

Theaster Gates PICKLs 2022. Industrial oil-based enamel, rubber torch down, bitumen, wood and copper, 90.2 x 118.1 x 5.1 cm, detail @ GRAY — Theaster Gates “PICKLs” 2022. Industrial oil-based enamel, rubber torch down, bitumen, wood and copper, 90.2 x 118.1 x 5.1 cm, detail @ GRAY

Theaster Gates Cousins 2022. Wood-fired brick and stoneware vessel @ GRAY — Theaster Gates “Cousins” 2022. Wood-fired brick and stoneware vessel @ GRAY

Alex Katz Ada with Bathing Cap No.3 1965. Oil on board, 30.5 x 35.6 cm @ GRAY — Alex Katz “Ada with Bathing Cap No.3” 1965. Oil on board, 30.5 x 35.6 cm @ GRAY

Yayoi Kusama 草間彌生 INFINITY-NETS (KFMRB) 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) @ David Zwirner booth ART BASEL 2022 — Yayoi Kusama 草間彌生 “INFINITY-NETS (KFMRB)” 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) @ David Zwirner booth ART BASEL 2022

Yayoi Kusama INFINITY-NETS (KFMRB) 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) , detail1 @ David Zwirner booth ART BASEL 2022 — Yayoi Kusama INFINITY-“NETS (KFMRB)” 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) , detail @ David Zwirner booth ART BASEL 2022

Yayoi Kusama INFINITY-NETS (KFMRB) 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) , detail 2 @ David Zwirner booth ART BASEL 2022 — Yayoi Kusama “INFINITY-NETS (KFMRB)” 2018. Acrylic on canvas, 162.6 x 161.9 cm (KUSYA0821A) , detail @ David Zwirner booth ART BASEL 2022

Yayoi Kusama 草間彌生 ABOVE OF LOVE 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) @ VICTORIA MIRO booth ART BASEL 2022 — Yayoi Kusama 草間彌生 “ABOVE OF LOVE” 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) @ VICTORIA MIRO booth ART BASEL 2022

Yayoi Kusama 草間彌生 ABOVE OF LOVE 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) detail @ VICTORIA MIRO — Yayoi Kusama 草間彌生 “ABOVE OF LOVE” 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) detail @ VICTORIA MIRO

Yayoi Kusama 草間彌生 ABOVE OF LOVE 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) detail — Yayoi Kusama 草間彌生 “ABOVE OF LOVE” 2015. Acrylic on canvas, 162 x 130 cm (KUSA 991) detail

GENERAL IDEA Blue (Klein Pla©ebo) 1991 2019 Acrylic on wood and acrylic and gold leaf on wood. 9 groups of 9 elements. @ MITCHELL-INNES & NASH — GENERAL IDEA “Blue (Klein Pla©ebo)” 1991/2019 Acrylic on wood and acrylic and gold leaf on wood. 9 groups of 9 elements. @ MITCHELL-INNES & NASH

Mariane Ibrahim Gallery booth @ ART BASEL 2022

Amoako Boafo PUPPY BLANKIE 2022. Oil on paper transfer on canvas. 211 x 210 cm. 400.000 US$ @ Mariane Ibrahim — Amoako Boafo “PUPPY BLANKIE” 2022. Oil on paper transfer on canvas, 211 x 210 cm. 400.000 US$ @ Mariane Ibrahim

Amoako Boafo PUPPY BLANKIE 2022. Detail @ Mariane Ibrahim — Amoako Boafo “PUPPY BLANKIE” 2022. Detail @ Mariane Ibrahim

Amoako Boafo PUPPY BLANKIE 2022. Detail — Amoako Boafo “PUPPY BLANKIE” 2022. Detail

Mariane Ibrahim Gallery booth with work by IDA Yukimasa @ ART BASEL 2022

Mariane Ibrahim Gallery booth with work by IDA Yukimasa 井田幸昌 @ ART BASEL 2022

IDA Yukimasa 井田幸昌 SUMI 2022. Oil on canvas, 194 x 162 cm. 120.000 US$ @ Mariane Ibrahim — IDA Yukimasa 井田幸昌 “SUMI” 2022. Oil on canvas, 194 x 162 cm. 120.000 US$ @ Mariane Ibrahim

IDA Yukimasa 井田幸昌 SUMI 2022, detail 1 — IDA Yukimasa 井田幸昌 “SUMI” 2022, detail 1

IDA Yukimasa 井田幸昌 SUMI 2022, detail 2 — IDA Yukimasa 井田幸昌 “SUMI” 2022, detail 2

IDA Yukimasa 井田幸昌 SUMI 2022, detail 4 — IDA Yukimasa 井田幸昌 “SUMI” 2022, detail 2

IDA Yukimasa 井田幸昌 SUMI 2022, detail 5 — IDA Yukimasa 井田幸昌 “SUMI” 2022, detail 4

yukimasaida
The language of music and the language of painting.
We are connected by it.
Sumi – chan, you are truly a beautiful man.
Great session no,2. with @cateen8810
https://www.instagram.com/p/Cb9_NtLuPw9/