Art + Culture

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

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“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..

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Iwan Wirth, June 14th 2022 @ ART BASEL

Mark Bradford
Mark Bradford “Cobra” 2022. Mixed media on canvas. 183.5 x 244.8 x 5.4 cm @ Hauser & Wirth

See also:

Mark Bradford + Kerry James Marshall: ‘Black Art’ for American Art Flippers
https://art-culture.world/articles/mark-bradford-kerry-james-marshall-black-art-for-american-art-flippers/

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/

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

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

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

Glenn Ligon Stranger #94 2022. Oil stick and black gesso on canvas, 243.8 x 182.9 cm @ Hauser & Wirth
Glenn Ligon “Stranger #94” 2022. Oil stick and black gesso on canvas, 243.8 x 182.9 cm @ Hauser & Wirth
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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

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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/

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View from suite room of the Grand Hotel Les Trois Rois
View from the suite room of the Grand Hotel “Les Trois Rois”
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Topless at the Rhine in Basel

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First Choice Day

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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
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

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

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)

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Ukrainian bride performance by Olesya Lesnaya in front of the Messeplatz during ART BASEL 202
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

Cindy Sherman, Nam June Paik
Cindy Sherman, Nam June Paik
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
Jordan Wolfson Untitled 2022 UV print on plywood and dibond with gloss coat, aluminium. 253 x 184.2 x 45.7 cm @ Sadie Coles
Jordan Wolfson “Untitled” 2022. UV print on plywood and dibond with gloss coat, aluminium. 253 x 184.2 x 45.7 cm @ Sadie Coles
Jordan Wolfson Untitled 2022, detail 1
Jordan Wolfson “Untitled” 2022, detail
Jordan Wolfson Untitled 2022, detail 2
Jordan Wolfson “Untitled” 2022, detail
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
Book signing with Eduardo Terrazas @ Nils Stærk booth
Hans Ulrich Obrist congratulates Eduardo Terrazas
Curator Hans Ulrich Obrist congratulates Eduardo Terrazas @ Nils Stærk booth
In front of a photograph by Gordon Parks
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

happy to meet old friends again
happy to meet old friends again
Neil

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
Daniel Buchholz in der NZZ 13.6.2022, Seite 15
Galerie Buchholz booth @ ART BASEL 2022
Galerie Buchholz booth @ ART BASEL 2022
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
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. Artnet: “David Zwirner reported the sale of Wolfgang Tillmans’s seven inkjet photographs of a Concorde airliner for $1 million to Norway’s Astrup Fearnley Museum of Modern Art”
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
Richard Avedon
Richard Avedon “Allen Ginsberg and Peter Orlovsky, poets, New York, December 30,1963” Edition of 50 + 5 APs. Gelatin silver print @ Thomas Zander
Annie Leibovitz The Rolling Stones’ 1975 Tour of the Americas No. 1-4 2019 Silver gelatine prints; suite of 4, 9 prints each. Ed. 1:8 + 2 AP @ Hauser & Wirth
Annie Leibovitz “The Rolling Stones’ 1975 Tour of the Americas No. 1-4” 2019. Silver gelatine prints; suite of 4, 9 prints each. Ed. 1/8 + 2 AP @ Hauser & Wirth
Annie Leibovitz The Rolling Stones’ 1975 Tour of the Americas No. 1-4 2019 Silver gelatine prints; suite of 4, 9 prints each. Ed. 1:8 + 2 AP, detail
Annie Leibovitz “The Rolling Stones’ 1975 Tour of the Americas No. 1-4” 2019. Silver gelatine prints; suite of 4, 9 prints each. Ed. 1/8 + 2 AP, detail
Hans Bellmer
Hans Bellmer “Sans titre” 1938. Tirage argentique vers 1949, colorié à l’aniline, 14.5 x 13.9 cm @ Galerie 1900-2000
Tirage utilisé par Hans Bellmer pour illustrer le poème de Paul Eluard No XIII Jeux de la poupée.
Pierre Molinier Chaman 1966 Tirage argentique d’époque, 17.5 x 12.5 cm, 18.000 Euro @ Galerie 1900-2000
Pierre Molinier “Chaman” 1966. Tirage argentique d’époque, 17.5 x 12.5 cm, 18.000 Euro @ Galerie 1900-2000
Pierre Molinier Mandrake se régale – version préparatoire 1967 Tirage argentique d’époque, 17.6 x 12.6 cm, 4.500 Euro @ Galerie 1900-2000
Pierre Molinier “Mandrake se régale – version préparatoire” 1967. Tirage argentique d’époque, 17.6 x 12.6 cm, 4.500 Euro @ Galerie 1900-2000
Pierre Molinier Introit 1967 Photomontage d’époque, 17.6 x 17.9 cm, 8.000 Euro @ Galerie 1900-2000
Pierre Molinier “Introit” 1967. Photomontage d’époque, 17.6 x 17.9 cm, 8.000 Euro @ Galerie 1900-2000
Pierre Molinier Oh! Marie, mère de dieu 1965 Tirage argentique d’époque, 16.7 x 11.8 cm, 4.000 Euro @ Galerie 1900-2000
Pierre Molinier “Oh! Marie, mère de dieu” 1965. Tirage argentique d’époque, 16.7 x 11.8 cm, 4.000 Euro @ Galerie 1900-2000
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
Theaster Gates
Theaster Gates “Hardware Store Painting” 2020/2022. Steel pegboard, pegs and hardware store inventory; 487.7 x 853.5 cm @ Gray, Art Basel Unlimited 2022
Theaster Gate
Theaster Gates “Hardware Store Painting” detail, 2020/2022. Steel pegboard, pegs and hardware store inventory; 487.7 x 853.5 cm @ Gray, Art Basel Unlimited 2022

Compare with:

バーゼル市立美術館の学芸員フィアスコ:「ブラック・マドンナ」(キリスト教) vs. 「ブラック・天皇」(神道)
Curatorial Fiasco at the Kunstmuseum Basel: “Black Madonna” (Christianity) vs. “Black Tenno” (Shintoism)
https://art-culture.world/articles/curatorial-fiasco-at-the-kunstmuseum-basel-theaters-gates-black-madonna/

Acquavella booth
Acquavella booth
Balthus The Three Sisters 1954 Oil on canvas 60 x 120 cm @ Acquavella
Balthus “The Three Sisters” 1954. Oil on canvas, 60 x 120 cm @ Acquavella
Wayne Thiebaud Untitled (River and Farms Study) , n.d. Oil on wood, 31.1 x 31.1 cm @ Acquavella
Wayne Thiebaud “Untitled (River and Farms Study)”, no date. Oil on wood, 31.1 x 31.1 cm @ Acquavella
Wayne Thiebaud Civic Center 1986. Oil on canvas, 121.9 x 91.4 cm @ Acquavella
Wayne Thiebaud “Civic Center” 1986. Oil on canvas, 121.9 x 91.4 cm @ Acquavella
Wayne Thiebaud Civic Center 1986. detail, signature
Wayne Thiebaud “Civic Center” 1986. detail, signature

Wayne Thiebaud “Civic Center” @ Acquavella booth. Signed and dated 1986 twice.
This work had been auctioned and sold @ Sotheby’s New York “Contemporary Curated”, 06 March 2020. The estimate in 2020 was 2.500.000 – 3.500.000 USD.
Provenance:
Campbell-Thiebaud Gallery, San Francisco
Acquired from the above by the present owner in 1994

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
Alex Katz @ GRAY
Alex Katz @ GRAY
David Zwirner booth @ ART BASEL
David Zwirner booth @ ART BASEL
Oscar Murillo
Oscar Murillo “untitled (surge)” 2021.
Oil, oil stick and graphite on canvas and linen,
250 x 350 cm @ David Zwirner (with Collector Family Rubell)
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
POPE.L Identity What We Lose To Real For 2022. Acrylic, oil, wood, wood glue, duct tape, ballpoint pen, graphite, and push pins on three wooden panels. Overall 157.5 x 371.1 x 26.7 cm @ Mitchel-Innes & Nash
POPE.L “Identity What We Lose To Real For” 2022. Acrylic, oil, wood, wood glue, duct tape, ballpoint pen, graphite, and push pins on three wooden panels. Overall 157.5 x 371.1 x 26.7 cm @ Mitchel-Innes & Nash
POPE.L Identity What We Lose To Real For 2022. Acrylic, oil, wood, wood glue, duct tape, ballpoint pen, graphite, and push pins on three wooden panels, detail
POPE.L “Identity What We Lose To Real For” 2022. Acrylic, oil, wood, wood glue, duct tape, ballpoint pen, graphite, and push pins on three wooden panels, detail
Ernst Ludwig Kirchner Zwei Stehende Akte im Atelier ca.1908. Pastel on paper, 89 x 69 cm @ Mitchel-Innes & Nash
Ernst Ludwig Kirchner “Zwei Stehende Akte im Atelier” ca.1908. Pastel on paper, 89 x 69 cm @ Mitchel-Innes & Nash
Annette Lemieux Building Strong Bodies and Minds 1993-1994. Enamel ink and metal primer on aluminium. Diptych, each 171.4 x 152.4 cm, overall 171.4 x 304.8 cm @ Mitchell-Innes & Nash, Art Basel 2022
Annette Lemieux “Building Strong Bodies and Minds” 1993-1994. Enamel ink and metal primer on aluminium. Diptych, each 171.4 x 152.4 cm, overall 171.4 x 304.8 cm @ Mitchell-Innes & Nash, Art Basel 2022
Annette Lemieux Building Strong Bodies and Minds 1993-1994. Enamel ink and metal primer on aluminium. Diptych, each 171.4 x 152.4 cm, overall 171.4 x 304.8 cm, detail @ Mitchell-Innes & Nash, Art Basel 2022
Annette Lemieux “Building Strong Bodies and Minds” 1993-1994. Enamel ink and metal primer on aluminium. Diptych, each 171.4 x 152.4 cm, overall 171.4 x 304.8 cm, detail @ Mitchell-Innes & Nash, Art Basel 2022

see also last year’s exhibited work at the booth of Mitchell-Innes & Nash

Annette Lemieux Women’s Felt Suit (Prototype) 2012. Felt suit with hanger. 109.2 x 83.8 x 17.8 cm @ Mitchell-Innes & Nash, Art Basel 2021
Annette Lemieux “Women’s Felt Suit (Prototype)” 2012. Felt suit with hanger. 109.2 x 83.8 x 17.8 cm @ Mitchell-Innes & Nash, Art Basel 2021
Mariane Ibrahim Gallery booth @ ART BASEL 2022
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 @ ART BASEL 2022
Mariane Ibrahim Gallery booth with work by IDA Yukimasa 井田幸昌 @ 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
IDA Yukimasa 井田幸昌 SUMI 2022, detail 2
IDA Yukimasa 井田幸昌 “SUMI” 2022, detail
IDA Yukimasa 井田幸昌 SUMI 2022, detail 4
IDA Yukimasa 井田幸昌 “SUMI” 2022, detail
IDA Yukimasa 井田幸昌 SUMI 2022, detail 5
IDA Yukimasa 井田幸昌 “SUMI” 2022, detail

check:

右翼の為、1千600万円で販売した、アドルフ・ヒトラー像を描いた井田幸昌。ファック・ユー。
IDA Yukimasa painted a portrait of Adolf Hitler, which sold for 120.000 US$, for the Right-Wing. FUCK YOU.
https://art-culture.world/articles/ida-yukimasa-adolf-hitler/

Gianni Jetzer
(left) Gianni Jetzer.
Curator-at-Large, Hirshhorn Museum, Washington DC.
Incoming Director, Kunstmuseum St. Gallen
Waiting to enter the installation by Tania Mouroud Initiation Room nr. 2 1970 @ Art Basel Unlimited, Ceysson & Bénétière
Waiting to enter the installation by Tania Mouroud “Initiation Room nr. 2” 1970 @ Art Basel Unlimited, Ceysson & Bénétière
Work by 黄永砯
Work by 黄永砯
Work by Huang Yong Ping @ ART BASEL UNLIMITED 2022
Work by Huang Yong Ping @ ART BASEL UNLIMITED 2022
Huang Yong Ping @ ART BASEL UNLIMITED 2022
Huang Yong Ping @ ART BASEL UNLIMITED 2022
Huang Yong Ping
Work by Huang Yong Ping
Huang Yong Ping American Kitchen and Chinese Cockroaches 2019 Kitchen furniture, metal structure, resin; 373 x 373 x 274 cm @ Art Basel Unlimited, kamel mennour
Huang Yong Ping 黄永砯 “American Kitchen and Chinese Cockroaches” 2019. Kitchen furniture, metal structure, resin; 373 x 373 x 274 cm @ Art Basel Unlimited, kamel mennour
Martha Rosler Body Beautiful, or Beauty Knows No Pain, ca. 1966-1972 @ Art Basel Unlimited, Mitchell-Innes & Nash and Nagel Draxler
Martha Rosler “Body Beautiful, or Beauty Knows No Pain” ca. 1966-1972 @ Art Basel Unlimited, Mitchell-Innes & Nash and Nagel Draxler
Martha Rosler Body Beautiful, or Beauty Knows No Pain, ca. 1966-1972 @ Art Basel Unlimited, Mitchell-Innes & Nash + Nagel Draxler
Martha Rosler “Body Beautiful, or Beauty Knows No Pain” ca. 1966-1972 @ Art Basel Unlimited, Mitchell-Innes & Nash + Nagel Draxler
Jordan Wolfson ARTISTS FRIENDS RACISTS 2019-2020 20 holographic displays mounted on freestanding plywood wall, color, silent. Edition 4 of 6 + 2 AP @ Art Basel Unlimited, Sadie Coles HQ
Jordan Wolfson “ARTISTS FRIENDS RACISTS” 2019-2020. 20 holographic displays mounted on freestanding plywood wall, color, silent. Edition 4 of 6 + 2 AP @ Art Basel Unlimited, Sadie Coles HQ
Gerhard Richter Untitled (Drawings for SDI) 1986 @ Art Basel Unlimited, Sies + Höke
Gerhard Richter “Untitled (Drawings for SDI)” 1986 @ Art Basel Unlimited, Sies + Höke
Gerhard Richter Untitled (Drawings for SDI) 1986, detail 1
Gerhard Richter “Untitled (Drawings for SDI)” 1986, detail
Gerhard Richter Untitled (Drawings for SDI) 1986, detail 2
Gerhard Richter “Untitled (Drawings for SDI)” 1986, detail
Leonardo Drew Number 341 2022. Wood, paint, and sand. Dimensions variable @ Art Basel Unlimited, Goodman, Lelong, Anthony Meier
Leonardo Drew “Number 341” 2022. Wood, paint, and sand. Dimensions variable @ Art Basel Unlimited, Goodman, Lelong, Anthony Meier (650.000 US$)
Yoan Capote Isla (elegia) 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. 270 x 924 x 12 cm. Unique. @ Art Basel Unlimited, Continua
Yoan Capote “Isla (elegia)” 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. 270 x 924 x 12 cm. Unique. @ Art Basel Unlimited. Artnet: “Galleria Continua sold a Yoan Capote painting for €850,000 ($884,918) to a European institution”
Yoan Capote Isla (elegia) 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. 270 x 924 x 12 cm. Unique. Detail @ Art Basel Unlimited, Continua
Yoan Capote “Isla (elegia)” 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. 270 x 924 x 12 cm. Unique. Detail @ Art Basel Unlimited, Continua
Yoan Capote Isla (elegia) 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. Detail @ Art Basel Unlimited, Continua
Yoan Capote “Isla (elegia)” 2019-2022. Oil painting, nails, and fish hook on panels of linen mounted on plywood. Detail @ Art Basel Unlimited, Continua
5
7
8

2022/7/2:

ART BASEL officially announced the number of visitors: 70.000. Means 20.000 less than the edition before the start of the COVID-19 pandemic in 2019. But more than I expected, pretty convinced the 90.000 visitors result in 2023 will be accomplished (if nothing bad happens on the global scale). Actually, the well-received documenta15 and the Venice Biennale manifested the yearning of seeing, experiencing contemporary art by huge numbers of visitors (without any masks).
Nothing for those loosing NFT collectors… (laugh)
First time participant Mariane Ibrahim brought Japanese newcomer IDA Yukimasa 井田幸昌 (32), whose mediocre painting “SUMI”, executed three months ago, sold for hyperinflated 120.000 US$. See my attached pics. Nothing new per se, on the contrary… old, boring European painting school. Myself recogognized in the picture one of the Japan-Germany-Italy fascist axis 枢軸国 protagonists: Adolf Hitler. I am strongly opposing IDA’s attitude for painting the portrait of Hitler. How about a topic like “make love not war”, close to NARA Yoshitomo 奈良美智?
As a veteran, an expert of the Japanese art scene, I can tell you, that this kind of retail-price for a 32 years old guy in Japan is overexaggerated, bubbly, “out of control”; the Japanese local art context speaks with different codes.
Consequently, he has been already put into the genre of “art flippers”, the so-called poor speculators, who want to quickly flip the work of emerging artists. Art consultant Lisa Schiff uses the term: “wrong, non-collectors”.
With no institutional back-up, nor any critical acclaim, IDA may experience frustrating, hard times in the years to come.
Time will tell…

Check:

右翼の為、1千600万円で販売した、アドルフ・ヒトラー像を描いた井田幸昌。ファック・ユー。
IDA Yukimasa painted a portrait of Adolf Hitler, which sold for 120.000 US$, for the Right-Wing. FUCK YOU.
https://art-culture.world/articles/ida-yukimasa-adolf-hitler/

Learn more via:

アートマーケットと現代アート・フリッパーについて Art Market and Art Flippers
https://art-culture.world/articles/art-market-and-art-flippers/

五木田智央の絵画が投機好きなアートとして @ ニューヨークタイムズ
GOKITA Tomoo’s Painting as Flip Art @ New York Times
https://art-culture.world/articles/gokita-tomoo-painting-as-flip-art-new-york-times/

「貧乏臭さ」の象徴:村上隆、ドラえもん、藤子・F・不二雄、ガゴシアン。アート・フリッパー:2020作を2021年4月のオークションへ
Symbol of “Shabbiness”: MURAKAMI Takashi, Doraemon, Fujiko Fujio, Gagosian. Art Flipper: Work of 2020 Selling at April 2021 Auction
https://art-culture.world/articles/takashi-murakami-doraemon-fujiko-fujio-ドラえもん/

ビハインド・ザ・シーン。例えばA.B.の場合 Behind The Scene. For Example The Case Of A.B.
https://art-culture.world/articles/behind-the-scene-ビハインド-ザ-シーン-例えばa-b-の場合/

北京・X Museumの共同設立者、黄勖夫(マイケル・ホゥアン Michael Xufu Huang)が現代アート・フリッパー(aka MOTHERFUCKER)であるという事実
Michael Xufu Huang 黄勖夫, co-founder of Beijing’s X Museum, is an Art Flipper (aka MOTHERFUCKER)
https://art-culture.world/articles/michael-xufu-huang/

“Bribed” journalism at Wall Street Journal: Gagosian pushing up Grotjahn for U.S. Art Flippers, 6 days before the exhibition
https://art-culture.world/articles/gagosian-grotjahn-for-u-s-art-flippers/

2022/7/3:

Surprisingly, one gallery stood out with a wonderful, like in former times, back-to-the-roots decision: the work has a price label attached!!
Name, title, price!! If sold: the red sticker! BRAVO to Mnuchin Gallery from New York! See the following pics.
On the contrary, and I’m very annoyed about this scandalous behaviour of arrogant Larry Gagosian regarding his Art Basel booth: since several years he doesn’t put any information labels close to the exhibited works. Neither is the staff, when being asked, politely giving any detailed informations. Disgusting and against the law.

Who is responsible for this kind of dissonance, closing both eyes?
This year’s ART BASEL selection committee, which will be re-shuffled constantly, was composed of seven galleries: SADIE COLES (London), PETER FREEMAN (New York), JOCHEN MEYER (Berlin, Karlsruhe), LUCY MITCHELL-INNES (New York), JAN MOT (Brussels), FRANCO NOERO (Torino), PRATEEK RAJA (Calcutta).

They should GAGOSIAN Gallery kick out of ART BASEL. No-one needs disgusting GAGOSIAN!


up-date 2022/8/10:

アーティ・パワープレイ:画家アンナ・ウェイアント (27) とラリー・ガゴシアン (77) の「交際中」
Arty Power-Play: Painter Anna Weyant (27) “is dating” Larry Gagosian (77)
https://art-culture.world/articles/larry-gagosian-anna-weyant/

Anna Weyant and Larry Gagosian
Anna Weyant and Larry Gagosian

ラリー・ガゴシアン @ アート・バーゼル
ラリー・ガゴシアン @ アート・バーゼル
John Currin @ Gagosian. No further information available.
John Currin @ Gagosian. No further information available.

Eventually a piece from the “Memorial series” 2020-21

John Currin, work detail @ Gagosian. No further information available.
John Currin, work detail @ Gagosian. No further information available.
John Currin, detail @ Gagosian. No further information available.
John Currin, detail @ Gagosian. No further information available.

Read also:

John Currin
GAGOSIAN | 541 WEST 24TH STREET

quotes:

Many right-wingers in the United States see Donald Trump as towering, blond, and strong: a homegrown model of the Aryan ideal. In reality, he’s just a little over six feet tall, and the flaxen color of his starchy locks, at least these days, is almost certainly due to something cheap and bottled. “Make America Great Again,” a slogan that’s supposed to evoke visions of a white, postwar, and prosperous US, is corrosive propaganda, a strain of poisonous nostalgia that grows out of troubled times. Trump is a travesty of power and virility, a deep-discount Übermensch who rose from the most abysmal of expectations. He seems to me a character straight out of a John Currin painting.
Currin has always had an acidic view of canonical whiteness and Western exceptionalism. His parodic art-historical pastiches—often featuring hilarious portrayals of oblivious, grotesquely endowed women or emasculated, ugly, and overcompensating men—are potent amalgams of old-master grandeur, pornographic schlock, and WASPy self-loathing. Thwarted male desire (and its corollary, unrepentant male chauvinism) are recurrent themes. The artist charts the detumescence of the patriarchal imagination like few others: His world is a heterosexual hell, populated by homely Ice Storm–era swingers, middle-class cretins, and the terminally clueless. Currin’s people are immanently loathsome. They rightfully deserve our scorn.

quote:

Though one wonders who in their right mind would ever call the emotional and intellectual stuntedness on display in these images “modern.” It seems that Currin’s brand of transgression has grown into something banal, inane—what once spit hot venom now only passes gas, and weakly. The paintings here enervated more than they irritated, and the artist’s schtick makes me think of those past-their-prime male comedians who double down on their sexist jokes as the audience boos them into oblivion. Each canvas felt like a vindictive gag by an outrageously successful painter who, at fifty-nine, still can’t stop himself from placing his spouse—an accomplished sculptor he’s been with for nearly twenty-five years—into these increasingly pointless and degrading tableaux.
I’d like to believe that Currin is much smarter than his work suggests. But what does that matter when a cynical misogynistic worldview pays off—it helped get Trump into the White House, after all. Like the Donald, Currin is a straight, blond, wealthy white guy who’s perfected the art of the low blow. Maybe it’s because hatefulness, poorly disguised as satire here, offers up a pretty addictive high that clearly pays big dividends.

full text @
https://www.artforum.com/print/reviews/202201/john-currin-87536

Kazuo Shiraga Shiu Praying for rain to stop 1973. 3.850.000 US$ @ Mnuchin Gallery
白髪一雄 Kazuo Shiraga “Shiu (Praying for rain to stop)” 1973. 3.850.000 US$ @ Mnuchin Gallery
Kazuo Shiraga Shiu Praying for rain to stop 1973, detail 1
白髪一雄 Kazuo Shiraga “Shiu (Praying for rain to stop)” 1973. Detail
Kazuo Shiraga Shiu Praying for rain to stop 1973, detail 2
白髪一雄 Kazuo Shiraga “Shiu (Praying for rain to stop)” 1973. Detail
Kazuo Shiraga Shiu Praying for rain to stop 1973, detail 3
白髪一雄 Kazuo Shiraga “Shiu (Praying for rain to stop)” 1973. Detail
15

See also:
白髪一雄・フット・ペインティング SHIRAGA Kazuo – Foot Paintings
https://art-culture.world/articles/shiraga-kazuo-白髪一雄/

Ruth Asawa Untitled SF.005, Undulating Parallelograms with White 3 in Lower Right Corner 1951-1952. 165.000 US$ @ Mnuchin Gallery
ルース・アサワ Ruth Asawa “Untitled (SF.005, Undulating Parallelograms with White 3 in Lower Right Corner)” 1951-1952. 165.000 US$ @ Mnuchin Gallery
13
Philip Guston The Day 1964. 4.000.000 US$ @ Mnuchin Gallery
Philip Guston “The Day” 1964. 4.000.000 US$ @ Mnuchin Gallery
2
David Hammons Untitled 1968. 350.000 US$ @ Mnuchin Gallery
David Hammons “Untitled” 1968. 350.000 US$ @ Mnuchin Gallery
12
Andy Warhol Mao 1973. 4.500.000 US$ @ Mnuchin Gallery
Andy Warhol “Mao” 1973. 4.500.000 US$ @ Mnuchin Gallery
11 copy
Andy Warhol Mammy (from Myths) 1981, Acrylic and silkscreen ink on canvas, 152.4 x 152.4 cm @ Acquavella
Andy Warhol “Mammy (from Myths)” 1981, Acrylic and silkscreen ink on canvas, 152.4 x 152.4 cm @ Acquavella
Andy Warhol Gun 1981-82, Synthetic polymer and silkscreen ink on canvas, 40.5 x 50.6 cm @ White Cube
Andy Warhol “Gun” 1981-82, Synthetic polymer and silkscreen ink on canvas, 40.5 x 50.6 cm @ White Cube
Damien Hirst No Love Found 2008 Stainless steel, glass and cubic zirconia, 91 x 137 x 10 cm, detail @ White Cube
Damien Hirst “No Love Found” 2008. Stainless steel, glass and cubic zirconia, 91 x 137 x 10 cm, detail @ White Cube

See also:
The Great Liar From The Tiny British Empire, Art Worker Damien Hirst @ A Rental Gallery In The Great Empire Of Japan. Hirst’s Fucked-Up “Cherry Blossoms” Show Really Sucks! ROFL!!
小イギリス帝国の大嘘つき、アートワーカー ダミアン・ハースト @ 大日本帝國の貸画廊。ハーストの超ダサい桜展!爆笑!!
https://art-culture.world/articles/liar-damien-hirst-sucks/

2022/7/4

Reflecting on the arrangements and coordination made by the organising committee of Art Basel (chapeau to Marc Spiegler!) with the local museums in Basel and Zürich by playing safe and showing block-buster artists, remind me that in difficult times all parties have to come together and find win-win solutions. Even giving the hand to the devil, means to commercial, only for profit working, art dealers like Hauser & Wirth.

Before I continue with my focus on other Japanese artists, may I throw one more question into the art market arena:
Why on earth do you invite VIPs to the “First Choice Day”?
As VIP, you enter the booth in the first minute…, and the dealer declares the art piece being already sold. Waste of time. Disappointment.
In fact, everybody beforehand received the “preview-pdfs” by their art dealers and decided/ordered from home to make the deal or not.

Quote from artnet:
There was a fair amount of grumbling from buyers about the level of pre-selling ahead of the fair. Several dealers and advisors reported that work by hot young market stars all sold from PDF previews as soon as they were sent out; with the hype around these names and their sky-high prices at auction, they could have been sold many times over. 
“You used to be able to drink a glass of champagne, buy a work, and create a nice memory. But now, the buying process is horrible,” Pozzoni said. “I’m becoming more cynical by the day. I’m not looking at the aesthetic pleasure of the piece anymore but for its financial return.”

Quotes from the New York Times:
“However, international collectors, particularly in Asia, have become comfortable about engaging with and buying art online at significant price levels. Nowadays Basel exhibitors inundate their clients with online pre-fair offers, and as a result many of the works in the booths are either presold or reserved on a time-limited basis, awaiting confirmation by a collector or their adviser.”

“I had four minutes to make a decision, and there were two others waiting right behind me,” said New York- and Florida-based adviser Kimberly Gould. She was describing how she bought the large, sumptuous 2003 canvas “New York Ice Cream,” by pioneering Black American abstract painter Ed Clark, who featured in the influential touring museum show “Soul of a Nation: Art in the Age of Black Power.” The Clark was on offer at a nonnegotiable $1.2 million on the booth of New York dealership Mnuchin. “I said, ‘OK, confirmed,’” Gould added. “Decisions have to be made so quickly.”

Full text:
Sales at Art Basel Fair don’t show signs of downturn
https://www.nytimes.com/2022/06/16/arts/design/art-basel-fair-sales-louise-bourgeois.html

Therefore I recommend to change the name into “SECOND Choice Day” for VIPs, lol.

Nagel Draxler booth @ Art Basel 2022
Nagel Draxler booth @ Art Basel 2022

Following are two works by Kader Attia, curator of this year’s, very well received, 12th Berlin Biennale. Please check the video, to hear what Attia wants to transmit:
https://www.ardmediathek.de/video/rbb-kultur/portraet-kader-attia-kurator-der-12-berlin-biennale/rbb-fernsehen/Y3JpZDovL3JiYi1vbmxpbmUuZGUvcmJia3VsdHVyLzIwMjItMDYtMTFUMTg6MzA6MDBfZWIwMzAxZTMtZjljYS00ZDdiLWI4OWQtNTc4YmE2MmEyM2UwL2F0dGlhLWthZGVyLWJlcmxpbi1iaWVubmFsZS1rdXJhdG9yLWt1bnN0LWV2ZW50

Kader Attia Culture, Another Nature Repaired 2014-2020. Teak wood sculpture, metal stand, 234 x 50 x 50 cm @ Nagel Draxler
Kader Attia “Culture, Another Nature Repaired” 2014-2020. Teak wood sculpture, metal stand, 234 x 50 x 50 cm @ Nagel Draxler
Kader Attia Untitled 2020. Wooden Dogon gorilla mask from Mali, mirror fragments, black pigment. Mask 50 x 30 x 25 cm @ Nagel Draxler
Kader Attia “Untitled” 2020. Wooden Dogon ‘gorilla’ mask from Mali, mirror fragments, black pigment. Mask 50 x 30 x 25 cm @ Nagel Draxler
Blinky Palermo, signed Peter Heisterkamp Mann und Frau 1963 Acrylic on canvas 72 x 67 cm @ Nagel Draxler
Blinky Palermo, signed Peter Heisterkamp “Mann und Frau” 1963. Acrylic on canvas, 72 x 67 cm @ Nagel Draxler
Gerhard Richter Rot-Blau-Gelb 1973. Oil on canvas, 200 x 200 cm @ Ben Brown Fine Arts
Gerhard Richter “Rot-Blau-Gelb” 1973. Oil on canvas, 200 x 200 cm @ Ben Brown Fine Arts
Gerhard Richter Rot-Blau-Gelb 1973. Oil on canvas, 200 x 200 cm @ Ben Brown Fine Arts, detail1
Gerhard Richter “Rot-Blau-Gelb” 1973. Oil on canvas, 200 x 200 cm, detail @ Ben Brown Fine Arts
Gerhard Richter Rot-Blau-Gelb 1973. Oil on canvas, 200 x 200 cm @ Ben Brown Fine Arts, detail2
Gerhard Richter “Rot-Blau-Gelb” 1973. Oil on canvas, 200 x 200 cm, detail @ Ben Brown Fine Arts
Gerhard Richter Abstraktes Bild 2001. Oil on Alu Dibond, 50 x 72 cm @ Ben Brown Fine Arts
Gerhard Richter “Abstraktes Bild” 2001. Oil on Alu Dibond, 50 x 72 cm @ Ben Brown Fine Arts
Gerhard Richter Abstraktes Bild (593-4) 1986. Oil on canvas, 120 x 80 cm @ Edward Tyler Nahem
Gerhard Richter “Abstraktes Bild (593-4)” 1986. Oil on canvas, 120 x 80 cm @ Edward Tyler Nahem
Gerhard Richter @ Gagosian with no information available, Art Basel 2022
Gerhard Richter “Abstraktes Bild” @ Gagosian with no information available, Art Basel 2022
Gerhard Richter @ Gagosian with no information available, detail
Gerhard Richter @ Gagosian with no information available, detail
Gerhard Richter 930-2 Strip 2013. Digital print on paper mounted between Alu Dibond and Perspex (Diasec) , 200 x 1000 cm @ Marian Goodman
Gerhard Richter “930-2 Strip” 2013. Digital print on paper mounted between Alu Dibond and Perspex (Diasec) , 200 x 1000 cm @ Marian Goodman
Gerhard Richter 930-2 Strip 2013. Digital print on paper mounted between Alu Dibond and Perspex (Diasec) , 200 x 1000 cm, detail @ Marian Goodman
Gerhard Richter “930-2 Strip” 2013. Digital print on paper mounted between Alu Dibond and Perspex (Diasec) , 200 x 1000 cm, detail @ Marian Goodman

Regarding Gerhard Richter, please check this link!
亜 真里男と「ゲルハルト・リヒターの作品」の関係性
…for comparative studies in the context of MOMAT’s “Gerhard Richter” exhibition
https://art-culture.world/articles/gerhard-richter-works-by-mario-a/

LDGR Booth with art dealers Dominique Lévy (left) and Amalia Dayan (right)
LDGR booth with art dealers Dominique Lévy (left) and Amalia Dayan (right)

Dominique Lévy, Brett Gorvy, Amalia Dayan and Jeanne Greenberg Rohatyn joined hands to become the new gallery LGDR.
Ex-art dealer of Luxembourg & Dayan, granddaughter of Moshe Dayan, Amalia Dayan is married to world-famous collector and art dealer Adam Lindemann. Japanese collector MAZAWA Yusaku bought their Basquiat via Sotheby’s, which again had been re-sold this year 2022 by MAEZAWA in Hong Kong.
About Adam Lindemann, check:

#USABS U.S. ARTY BULL SHIT. NFTデジタル・アーティスト ビープル:「美術史の流れを変えたい」や「悪役である」というメリット
#USABS。NFT Digital Artist Beeple: “I want to change the course of art history” and the merit of “being the bad guy”
https://art-culture.world/articles/nft-beeple-digital-artist-ビープル/

LGDR, a new global consortium: Dominique Levy, Brett Gorvy, Amalia Dayan & Jeanne Greenberg Rohatyn

Sigmar Polke Untitled 2000. Acrylic and interference color on canvas, 100 x 80 cm @ LGDR
Sigmar Polke “Untitled” 2000. Acrylic and interference color on canvas, 100 x 80 cm @ LGDR
Kerry James Marshall La Venus Negra 1984. Acrylic on paper, 152.4 x 101.6 cm @ LGDR
Kerry James Marshall “La Venus Negra” 1984. Acrylic on paper, 152.4 x 101.6 cm @ LGDR
David Hammons
David Hammons Venus 1968.
Grease and pigment on paper, 101.6 x 75.9 cm @ LGDR
David
David Hammons Venus 1968.
Grease and pigment on paper, 101.6 x 75.9 cm, detail @ LGDR
Robert Ryman Untitled 1964. New Masters vinyl polymer paint on aluminium. 45.7 x 45.7 cm @ LGDR
Robert Ryman “Untitled” 1964. New Masters vinyl polymer paint on aluminium. 45.7 x 45.7 cm @ LGDR

See:
ロバート・ライマン Robert Ryman R.I.P.
https://art-culture.world/articles/robert-ryman-r-i-p/

ロバート・ライマン展 @ 新空間「ファーガス・マカフリー東京」ギャラリー
Robert Ryman @ New Gallery Space of Fergus McCaffrey Tokyo
https://art-culture.world/articles/robert-ryman-new-gallery-space-of-fergus-mccaffrey-tokyo/

teamLab The World of Irreversible Change 2022 No.81846.EC1 @ PACE
teamLab “The World of Irreversible Change” 2022. No.81846.EC1 @ PACE
teamLab The World of Irreversible Change, detail1 2022 No.81846.EC1 @ PACE
teamLab “The World of Irreversible Change” detail. 2022. No.81846.EC1 @ PACE
teamLab The World of Irreversible Change, detail2 2022 No.81846.EC1 @ PACE
teamLab “The World of Irreversible Change” detail. 2022. No.81846.EC1 @ PACE
Booth of annet gelink gallery
Booth of annet gelink gallery

Artist KOIZUMI Meiro’s representant in Europe, annet gelink gallery. Please check the following links, too.

アルテス・ムンディ賞9のファイナリストに選ばれた小泉明郎さんに大きな注目
Artes Mundi 9 shortlisted KOIZUMI Meiro attracts considerable attention
https://art-culture.world/articles/koizumi-meiro-artes-mundi-9-小泉明郎/

エスプリ・アーティスティック* 小泉明郎、丹羽良徳、折元 立身、グスタフ・クリムト、名古屋 覚
Esprit Artistique* KOIZUMI Meiro, NIWA Yoshinori, ORIMOTO Tatsumi, Gustav Klimt, NAGOYA Satoru
https://art-culture.world/articles/koizumi-meiro-niwa-yoshinori-orimoto-tatsumi-gustav-klimt-satoru-nagoya/

アーティスト小泉明郎氏に2017年の日本現代アート透明賞 JCATP
KOIZUMI Meiro wins 2017 Japanese Contemporary Art Transparency Prize
https://art-culture.world/articles/koizumi-meiro-wins-2017-japanese-contemporary-art-transparency-prize/

小泉明郎 Meiro Koizumi Discovering the Night #2 2015. Charcoal on paper, black wooden frame @ annet gelink gallery
小泉明郎 Meiro Koizumi “Discovering the Night #2” 2015. Charcoal on paper, black wooden frame @ annet gelink gallery
小泉明郎 Meiro Koizumi Discovering the Night #2 2015. Detail. Charcoal on paper, black wooden frame @ annet gelink gallery
小泉明郎 Meiro Koizumi “Discovering the Night #2” 2015. Detail. Charcoal on paper, black wooden frame @ annet gelink gallery
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村上隆 Takashi MURAKAMI “Murakami.Flower #0894 Flower Enjoying Tasty Udon” 2022. Acrylic and platinum leaf on canvas mounted on aluminium frame, 60 x 60 x 5.08 cm. Unique @ PERROTIN
村上隆 Takashi MURAKAMI Murakami.Flower
村上隆 Takashi MURAKAMI “Murakami.Flower #0894 Flower Enjoying Tasty Udon” 2022. Acrylic and platinum leaf on canvas mounted on aluminium frame, 60 x 60 x 5.08 cm. Detail. Unique @ PERROTIN
村上隆 Takashi MURAKAMI Murakami.Flower
村上隆 Takashi MURAKAMI “Murakami.Flower” @ PERROTIN, same place, different day. Photo courtesy Alexandre D.
村上隆 Takashi MURAKAMI, CLONE X × TAKASHI MURAKAMI #9544 Bunny Splash, 2022. Acrylic on canvas mounted on aluminum frame, 1500×1500×50.8 mm
村上隆 Takashi MURAKAMI “CLONE X × TAKASHI MURAKAMI #9544 Bunny Splash” 2022. Acrylic on canvas mounted on aluminum frame, 1500×1500×50.8 mm @ PERROTIN booth Art Basel 2022

Check it out!

村上隆とNFT:芸術家は、死ぬまでの短い数十年間で、その後何百年も対応可能な作品を作らねばなりません。(Part 1)
MURAKAMI Takashi thinks, to be remembered hundreds of years later, he has to join shitty NFT: “Murakami Flowers” for dumb NFT digital money speculators (Part 1)
https://art-culture.world/articles/murakami-takashi-村上隆-nft-murakami-flowers/

村上隆とNFT:芸術家は、死ぬまでの短い数十年間で、その後何百年も対応可能な作品を作らねばなりません。 (Part 2)
MURAKAMI Takashi thinks, to be remembered hundreds of years later, he has to join shitty NFT: “Murakami Flowers” for dumb NFT digital money speculators (Part 2)
https://art-culture.world/articles/murakami-flower-2022/

世界のNFT作品70%下落。今日の村上隆:すでに入札をしてくださっていた方々には誠に申し訳ないのですが、より便利に楽しく安心して私のNFT作品を楽しんで頂く為にも、今回の取り下げをご理解頂けますと幸いです。
NFTs prices linked to art down 70%. MURAKAMI Takashi, today: I sincerely apologize to those who have already put in their bids, but I hope you will understand the logic behind this withdrawal, the aim of which is to later allow you to enjoy my NFT works more conveniently and with peace of mind.
https://art-culture.world/articles/murakami-takashi-nft-apology/

TOKYO GALLERY + BEIJING TOKYO ART PROJECTS @ Art Basel 2022
TOKYO GALLERY + BEIJING TOKYO ART PROJECTS @ Art Basel 2022
榎倉康二 ENOKURA Koji Untitled 1980. Acrylic on canvas, detail, 373 x 221 x 22.5 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
榎倉康二 ENOKURA Koji “Untitled” 1980. Acrylic on canvas, detail, 373 x 221 x 22.5 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
菅 木志雄 SUGA Kishio PROTRUSION 925K 1992 Wood, acrylic paint, 129 x 109 x 7 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
菅 木志雄 SUGA Kishio “PROTRUSION 925K” 1992. Wood, acrylic paint, 129 x 109 x 7 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
菅 木志雄 SUGA Kishio PROTRUSION BLACK 1987 Veneer board, lacquer 126 x 116 x 5 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
菅 木志雄 SUGA Kishio “PROTRUSION BLACK” 1987. Veneer board, lacquer, 126 x 116 x 5 cm @ TOKYO GALLERY + BEIJING TOKYO ART PROJECTS
Hanne Darboven Ost-West-Demokratie 1983. Felt-tip pencil on postcards and paper, flags of the USA, FRG, GDR, and Soviet Union made of fabric, and photographs; 190 parts, 50 x 70 cm each @ Kewenig, Art Basel Unlimited
Hanne Darboven “Ost-West-Demokratie” 1983. Felt-tip pencil on postcards and paper, flags of the USA, FRG, GDR, and Soviet Union made of fabric, and photographs; 190 parts, 50 x 70 cm each @ Kewenig, Art Basel Unlimited
Hanne Darboven Ost-West-Demokratie 1983. Felt-tip pencil on postcards and paper, flags of the USA, FRG, GDR, and Soviet Union made of fabric, and photographs; 190 parts, 50 x 70 cm each @ Kewenig, Art Basel Unlimited
Hanne Darboven “Ost-West-Demokratie” 1983. Felt-tip pencil on postcards and paper, flags of the USA, FRG, GDR, and Soviet Union made of fabric, and photographs; 190 parts, 50 x 70 cm each @ Kewenig, Art Basel Unlimited
Hanne Darboven Ost-West-Demokratie 1983. detail1
Hanne Darboven “Ost-West-Demokratie” 1983, detail
Hanne Darboven Ost-West-Demokratie 1983. detail2
Hanne Darboven “Ost-West-Demokratie” 1983, detail
Hanne Darboven Ost-West-Demokratie 1983. detail3
Hanne Darboven “Ost-West-Demokratie” 1983, detail
Susan Philipsz
Susan Philipsz “Slow Fresh Fount” 2021. Installation with sound; 4 single barrels and 3 double barrels made of galvanised steel, color black; 7 channel audio WAV files, random loop; Dimensions variable; Edition 1 of 3 + 2 AP. @ Tanya Bonakdar and Konrad Fischer, Art Basel Unlimited 2022
Susan Philips
Susan Philipsz “Slow Fresh Fount” 2021. Detail. Installation with sound; 4 single barrels and 3 double barrels made of galvanised steel, color black; 7 channel audio WAV files, random loop; Dimensions variable; Edition 1 of 3 + 2 AP. @ Tanya Bonakdar and Konrad Fischer, Art Basel Unlimited 2022

Compare with:

スーザン・フィリップスの、繊細な地震計の感覚:内外のスペースを”巡聴”
Delicate, Seismic Sensitivities by Susan Philipsz: Listening Around Inner & Outer Spaces
https://art-culture.world/articles/susan-philipsz-スーザン・フィリップス/

Rebecca Horn
Rebecca Horn “Bee’s Planetary Map” 1998. 21 straw baskets, wire, motors, broken mirror disk, broken glass, metal rods, wooden stick, stone, sound, lights; Dimensions variable. @ Sean Kelly and Thomas Schulte, Art Basel Unlimited 2022
Elmgreen & Dragset Boy With Gun 2021. No.82051 @ PACE
Elmgreen & Dragset “Boy With Gun” 2021. No.82051 @ PACE
Elmgreen & Dragset “Boy With Gun” 2021. Detail. No.82051 @ PACE
Elmgreen & Dragset “Boy With Gun” 2021. Detail. No.82051 @ PACE

See last year’s work of Elmgreen & Dragset @ Art Basel:
よそ者 outsider
https://art-culture.world/articles/outsider/

Carolee Schneemann Up to and Including Her Limits with Kitch 1974. Ink and collage on paper, 35.6 x 43.2 cm @ P・P・O・W
Carolee Schneemann “Up to and Including Her Limits with Kitch” 1974. Ink and collage on paper, 35.6 x 43.2 cm @ P・P・O・W
Nan Golden Narcissus by the Lake 2014 Archival pigment print Edition of 3 @ Marian Goodman
Nan Goldin “Narcissus by the Lake” 2014. Archival pigment print. Edition of 3 @ Marian Goodman
Collector Uli Sigg (center)
Collector Uli Sigg (center)
Yan Pei-Ming Bouquet de roses 2022. Oil on canvas, 61 x 50 x 2 cm @ MASSIMODECARLO
Yan Pei-Ming “Bouquet de roses” 2022. Oil on canvas, 61 x 50 x 2 cm @ MASSIMODECARLO

Artist Mark Grotjahn:

“Bribed” journalism at Wall Street Journal: Gagosian pushing up Grotjahn for U.S. Art Flippers, 6 days before the exhibition
https://art-culture.world/articles/gagosian-grotjahn-for-u-s-art-flippers/

前澤友作の米国アーティスト・ダーリン、マーク・グロッチャンの作品:クリスティーズのロンドン・オークションで下落
MAEZAWA Yusaku’s American Artist Darling Mark Grotjahn @ Christie’s London & Lévy Gorvy : Sharp Depreciation
https://art-culture.world/articles/maezawa-yusaku-mark-grotjahn-christies/

Grothan @ Gagosian without any information.
Grotjahn @ Gagosian without any information
Grothan, detail @ Gagosian without any information
Grotjahn, detail @ Gagosian without any information
Grothan
Grotjahn, detail @ Gagosian without any information
Jean-Paul Riopelle Au pil de son masque 1978. Oil on canvas, 116.2 x 88.9 cm @ Acquavella
Jean-Paul Riopelle “Au pil de son masque” 1978. Oil on canvas, 116.2 x 88.9 cm @ Acquavella
Jean-Paul Riopelle Au pil de son masque 1978. Oil on canvas, 116.2 x 88.9 cm, detail
Jean-Paul Riopelle “Au pil de son masque” 1978. Oil on canvas, 116.2 x 88.9 cm, detail
Jean-Paul Riopelle Au pil de son masque 1978. Oil on canvas, detail
Jean-Paul Riopelle “Au pil de son masque” 1978. Oil on canvas, detail
Francis Bacon Pope Circa 1958. Oil on canvas, 195.9 x 141.9 cm @ Helly Nahmad gallery
Francis Bacon “Pope” Circa 1958. Oil on canvas, 195.9 x 141.9 cm @ Helly Nahmad gallery (Last traded at Sotheby’s in 2019)
Amedeo Modigliani Jeune fille à la chemise rayée 1917. Oil on canvas, 92 x 60 cm @ Helly Nahmad gallery
Amedeo Modigliani “Jeune fille à la chemise rayée” 1917. Oil on canvas, 92 x 60 cm @ Helly Nahmad gallery
Amedeo Modigliani Jeune fille à la chemise rayée 1917, detail 1
Amedeo Modigliani “Jeune fille à la chemise rayée” 1917, detail
Amedeo Modigliani Jeune fille à la chemise rayée 1917, detail 2
Amedeo Modigliani “Jeune fille à la chemise rayée” 1917, detail
Carsten Höller Pangolin 2022 Skin colour-tinted soft polyurethane, cow horns, and blue glass eyes. 22 x 48 x 52 cm @ MASSIMODECARLO
Carsten Höller “Pangolin” 2022. Skin colour-tinted soft polyurethane, cow horns, and blue glass eyes. 22 x 48 x 52 cm @ MASSIMODECARLO
Alicia Kwade
Alicia Kwade “Les Sieges des Mondes” 2022, in the City of Basel, “Parcours” (König Gallery)
野口 勇 NOGUCHI Isamu Trinity 1988 AP 2 of 2 (From an edition of 8) Bronze plate, 142.2 x 55.9 x 55.9 cm @ White Cube
野口 勇 NOGUCHI Isamu “Trinity” 1988. AP 2 of 2 (From an edition of 8) Bronze plate, 142.2 x 55.9 x 55.9 cm @ White Cube

see also:

ノグチ・イサム、ロバート・キャンベル、松下まり子、ヴィルヘルム・フォン・グレーデン& オスカー・ワイルド、アサクサ・キュレーション
NOGUCHI Isamu, Robert Campbell, MATSUSHITA Mariko, Wilhelm van Gloeden & Oscar Wilde, ASAKUSA-Curation
https://art-culture.world/articles/noguchi-isamu-robert-campbell-matsushita-mariko-wilhelm-van-gloeden-oscar-wilde-asakusa-curation/

奈良美智 NARA Yoshitomo Hey! Ho! Let’s Go! 2011 Acrylic on found signboard (diptych) Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm @ Edward Tyler Nahem
奈良美智 NARA Yoshitomo “Hey! Ho! Let’s Go!” 2011. Acrylic on found signboard (diptych). Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm @ Edward Tyler Nahem
奈良美智 NARA Yoshitomo Hey! Ho! Let’s Go! 2011 Acrylic on found signboard (diptych) Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm
奈良美智 NARA Yoshitomo “Hey! Ho! Let’s Go!” 2011. Acrylic on found signboard (diptych). Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm
奈良美智 NARA Yoshitomo Hey! Ho! Let’s Go! 2011 Acrylic on found signboard (diptych) Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm, detail @ Edward Tyler Nahem
奈良美智 NARA Yoshitomo “Hey! Ho! Let’s Go!” 2011. Acrylic on found signboard (diptych). Left 159.4 x 87.6 x 5.1 cm, right 161.3 x 88.9 x 5.1 cm, detail @ Edward Tyler Nahem
Lee Ufan (front) Relatum – Lover 2003-2017. Two stones and two iron plates. Installed 228 x 140 x 46 cm @ Lisson
Lee Ufan (front): “Relatum – Lover” 2003-2017. Two stones and two iron plates. Installed: 228 x 140 x 46 cm @ Lisson
Lee Ufan Dialogue 2019. Acrylic on canvas. 218 x 291 x 6 cm, detail @ Lisson
Lee Ufan “Dialogue” 2019. Acrylic on canvas. 218 x 291 x 6 cm, detail @ Lisson
Lee Ufan a 2019. Acrylic on canvas, detail @ Lisson
Lee Ufan “Dialogue” 2019. Acrylic on canvas. 218 x 291 x 6 cm, detail @ Lisson
内藤 礼 NAITO Rei @ Art Basel Unlimited 2022
内藤 礼 NAITO Rei @ Art Basel Unlimited 2022 (Taka Ishii Gallery)
内藤 礼 NAITO Rei breath 2018-2022. Installation water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm
内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, 80.000 Euro
内藤 礼 NAITO Rei “breath” 2018-2022.
内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail
内藤 礼 NAITO Rei breath 2018-2022. Installation water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail1
内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail
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内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail
内藤 礼 NAITO Rei breath 2018-2022. Installation water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail3
内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail
内藤 礼 NAITO Rei breath 2018-2022. Installation water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail2
内藤 礼 NAITO Rei “breath” 2018-2022. Installation: water, painted stainless steel, flower, glass jar, mirror; 600 x 1000 x 1250 cm, detail
Taka Ishii Gallery director UEMATSU Elisa 上松エリサ
Taka Ishii Gallery director UEMATSU Elisa 上松エリサ

See also:

#judithbenhamouhuet #jbhreports #artTakayuki Ishii, Taka Ishii gallery Tokyo about Rei Naito, Art Basel Unlimited 2022

Rei Naito speaks about Hiroshima

毛利悠子 MOHRI Yuko
毛利悠子 MOHRI Yuko “Moré Moré (Leaky): Vitrine #4” 2022. Bucket, hose, tank, pump, Ladle, plastic bottle, LED light, plastic foliage, plastic pear, 
180 × 90 × 50 cm @ mother’s tankstation
毛利悠子 MOHRI Yuko mother’s tankstation
毛利悠子 MOHRI Yuko “Moré Moré (Leaky): Vitrine #4” 2022. Bucket, hose, tank, pump, Ladle, plastic bottle, LED light, plastic foliage, plastic pear, 
180 × 90 × 50 cm @ mother’s tankstation

Influenced by the state of infrastructural supply in post-Fukushima Japan, Yuko Mohri’s kinetic sculpture twitchingly pumps water around a sealed glass cabinet, inspired by the improvised solutions of Tokyo subway staff to save passengers from ubiquitous leaks. Similarly, an electrified candelabra flickers and wanes, reminding us of the frailty of things.

Relaxing in Basel, from left architect 小室舞 KOMURO Mai and artist 毛利悠子 MOHRI Yuko
Relaxing in Basel, from left: architect 小室舞 KOMURO Mai and artist 毛利悠子 MOHRI Yuko
小室舞 KOMURO Mai 毛利悠子 MOHRI Yuko
小室舞 KOMURO Mai, 毛利悠子 MOHRI Yuko and me

Contemporary art remains constantly in fluxus. Galleries, art dealers come and go. On the average, the life span of a gallery is around 20 years, as some already give up after 3 years.

What are you doing as an artist, art worker, when your dealer / gallery decided to close down business? Like New York’s Gavin Brown’s Enterprise or Tokyo’s Gallery Koyanagi, which silently scaled down its artists’ line-up?
In fact, several artists of Koyanagi switched to Taka Ishii Gallery (website info).
Obviously, I was surprised to find NAITO Rei under the name of Taka Ishii Gallery at Art Basel Unlimited, see the above pics.

Why Gavin Brown’s Move to Gladstone Suggests New York Galleries Are Worse Off Than We Thought (and Other Insights)
https://news.artnet.com/opinion/gavin-brown-gladstone-gray-market-1897239

非常に魅力的な展覧会:ミヒャエル・ボレマンスとマーク・マンダース @ ギャラリー小柳
Captivating Exhibition at Gallery Koyanagi: Michaël Borremans and Mark Manders
https://art-culture.world/articles/michael-borremans-mark-manders-gallery-koyanagi/

As mentioned in this year’s text, art practice is directly linked to commercialism and arty branding.
Entrepreneurial and art management skills define your success in the international art world.
The term “art worker” became more appropriate in this highly competitive, “non-bohemian” century.

日本ではアーティストの時代が終わった。これから、エッセンシャルワーカー、セックスワーカー、ソーシャルワーカーと同じ、アートワーカーになる。
We have to change in Japan the word “artist” into the word “Art Worker” (similar to “Essential Worker”, “Sex Worker” or “Social Worker”)
https://art-culture.world/articles/japanese-art-worker-日本-アートワーカー/

I regard the creative period of an art worker between the age 25 and 60 as the most exciting, challenging and prosperous one.
The social welfare safety net should apply to those art workers over 60.
While the art dealer works about 20 years, the artist / art worker has to switch her/his gallery at least three times.

This kind of fluctuation exists at Art Basel, too. Each edition changes about 20-30% of its galleries’ line-up. The selection committee, with its constantly changing members, focusses on the relevance of the gallery in the context of the global art scene. Ergo, it’s up to the artist / art worker to become and remain relevant in the contemporary art world. Your task as an artist is to create cutting-edge works which elevate your gallery to a level that allows the committee to invite you to the most important and prestigious art fair of the world, namely Art Basel in Switzerland.

In this Japan-focussed ART+CULTURE context, may I mention that I encountered at Art Basel, besides the three participating Japanese galleries Taka Ishii Gallery, TAKE NINAGAWA, Tokyo Gallery + BTAP, also members of the TARO NASU gallery and the collector OBAYASHI Takeo 大林剛郎, who is the chairperson of the ongoing AICHI TRIENNALE (until 2022/10/10).
https://aichitriennale.jp/en/news/2020/004524.html

Recapitulating, two artists were in the limelight: NAITO Rei 内藤 礼 and MOHRI Yuko 毛利悠子.
NAITO, born in 1961 in Hiroshima, invites quiet contemplation superbly shown at places like the Benesse Art Site Naoshima. At (hectic) Basel Unlimited she has conceived an installation, titled “breath”, composed of a long and very narrow metal canal containing water, flowers, as symbols of life, and tiny mirrors reflecting one other, as symbols of death.
MOHRI, whom I met in Basel, see above pics, seems to be quite happy how her successful career is proceeding. One of her favourite galleries has always been mother’s tankstation, from Dublin/London.
When I was engaged with the LISTE art fair (through the gallery AOYAMA MEGURO), I often had a stimulating conversation with the dealers of mother’s tankstation. Happy to see they realised the big jump into Art Basel and showing MOHRI’s exciting, kinetic sculptures. My dream is…, that hopefully in the near future very sympathetic MOHRI can exhibit her creative installations in the nearby Tinguely Museum, which matches her artistic practice perfectly. And of course, collaborating with excellent architect KOMURO Mai 小室舞 in the context of a new building.

Tokyo-Basel, June-August 2022
Mario A