「モテすぎて疲れた@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*) 2024年度 "As I’m so hot and sexy, the attention is tiring @ Basel" (ART BASEL Stripped Bare by Her Artists, Even*) 2024 version
Sex is in the Air. Sex is in the Fair.
We LOVE the everlasting Decadence, Anarchy Decay + da Sex @ ART BASEL.
Nietzsche: Werde, der du bist.
Back to da hedonistic Normal.
The more you f*ck around, the more you’re gonna find out.
Growth and sustainability in Europe’s art ecosystem with excellent news from Swiss parent company of Art Basel, MCH Group, which returned with a small profit in the first half of this year 2024. The exhibition and marketing company is in the process of stabilizing its business.
“After several challenging years, the first significant progress has been made in the turnaround process,” says the company. The aim is “long-term financial health as a foundation for sustainable corporate success and significant growth”.
The bottom line was a net profit of 3.6 million after 4.7 million in the previous year.
The strong performance in the USA and the Middle East in the Experience Marketing division and by successful “Art Basel” trade fairs in Paris and Miami Beach will improve profitability and consolidate earnings.
Looking to the future, the focus in the second half of the year will be on achieving a break-even net result.
The MCH Group has been posting losses since 2017, as it had already been overwhelmed by the transformation process in the exhibition business before the coronavirus pandemic. It was plunged into a real crisis after the Swatch Group, the largest exhibitor at the Baselworld watch and jewelry fair, turned its back on the event. Although Baselworld is now history, MCH is now focusing on numerous other exhibitions – in particular the Art Basel art fair – and on experience marketing.
In this regard, all the efforts by the new ART BASEL Team, hand in hand with new MCH Group’s anchor shareholder James Murdoch bear fruit. Bravo.
Kathryn Hufschmid-Murdoch with husband James Murdoch
The funny aspect, from the perspective of an Art Basel veteran like me, lies in its branding, becoming the sexiest, money generating, event for U.S. music stars. “Cardi B says she was paid $1 million for a 35-minute set during Art Basel.”
It should have been written “Art Basel Miami Beach”.
https://www.papermag.com/cardi-b-basel-million-dollars-2658828959.html
Under normal circumstances you may see art dealers taking a swim in the Rhine river during Art Basel, but this year was too cold.
Topless at the Rhine in Basel
Check:
アート・バーゼル、壮麗さへの回帰 (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*) 2023年度
ART BASEL – The Return to its Grandeur (ART BASEL Stripped Bare by Her Artists, Even*) 2023 version
https://art-culture.world/articles/art-basel-2023/
In the fair’s early moments, cool flight attendants or hotel concierges dressed in tailored skirt suits, black, sexy high heels, black nylon stockings and slicked buns caught my attention.
Chosen liberated post-post feminism with self-controlling vulnerability. My demanding gaze towards the three female performers were noticed, evaluated, accepted and feed-backed. The more I followed them with my eyes, the more they put themselves into the center of ‘Mario’s Zone‘, my perspective, ignoring the rest of the audience.
Swedish artist Anna Uddenberg’s sculptural installation “Premium Economy”, shown jointly by Meredith Rosen Gallery and Kraupa-Tuskany Zeidler.
Priced at €180.000, Uddenberg’s installation comes with a script for the performers should the owner wish to activate it. “The performers have to be trained to enter/exit the sculptures,” Rosen explained, adding that it’s important that the cast: “can serve bad bitch energy.”
See more @
Sex Unlimited Potency: Premium Economy by Anna Uddenberg
セックス・アンリミテッド・ポテンシー：プレミアム・エコノミー by アンナ・ウッデンバーグ
https://art-culture.world/articles/anna-uddenberg/
The art market is growing and growing. Global sales rose from 39.5 billion Swiss francs in 2009 to 65 billion dollars last year. The financial crisis and corona were dampeners, but they have long since been overcome. And the art market is back to where it was in 2007, albeit in absolute figures and not adjusted for inflation. The main thing is that the randomly selected excerpt fits into my narrative of the art world as will and imagination.
Of course, the stakes are high. The fear is great that, as the figurehead of an entire industry, it will not be able to fulfil expectations. However, expectations by whom? By the artists? They are happy as we’re back to normal.
In its 54th edition, the grande dame of art fairs opened with a few breaks in tradition. The new director of the Swiss fair recently spoke to the British daily newspaper Financial Times about her first edition after taking over the management of the fair last summer. Contrary to the usual Basel attitude of better-higher-further, Maike Cruse admits that the general economic and socio-political uncertainty has taken its toll on the trade. For sure, wars in Ukraine and Israel/Palestine can’t be ignored.
Against these ongoing wars’ backdrop, the biggest changes at Art Basel this year had not been taken place within the walls of the Messeplatz, where 286 galleries with 22 newcomers had been exhibiting their certainly high-calibre to at least interesting goods and hoping for buyers, but outside, where they spread out into the city of Basel with an extended parcours area.
Curated for the first time by Stefanie Hessler, Director of the Swiss Institute in New York, this year’s Parcours sector explored transformation and circulation in trade, globalization, and ecology processes. Hessler’s design weaved together 22 projects through empty stores and operational shops, a hotel, a restaurant, a distillery, and other everyday spaces on Basel’s Clarastrasse, the street running from Messe Basel to the river and connecting the new part of the city to the old town.
The aim was to strengthen traditional business at the main fair by attracting new, younger target groups, such as at the gates of Art Basel, where the Basel Social Club, an open-air commercial event organised by galleries, had been taking place since 2022.
Interestingly, 194 businesses (53 hotels and 141 restaurants) signed the ‘Charter against price excesses and for more hospitality’ this year. In 2023 there were 158 businesses. If you are on site, you can see that this calculation does not work out and is at best a waste of time when large hotels such as an otherwise moderate Motel One Hotel have quadrupled or quintupled their prices during the trade fair period. At the same time, the admission prices have been modified to accommodate the local public.
And so, with reduced admission prices and an opening up from a trade fair to more of a public fair, it will be possible to make a cosmetic correction to the visitor figures, which counted around 90,000 visitors before the start of the coronavirus pandemic in 2019, stood at 70,000 in 2022 and ended last year with 82,000 visitors.
Visitors can normally look forward to plenty of quality over the days of the fair. This is ensured by this year’s Art Basel selection committee with gallerists such as Sadie Coles (London), Peter Freeman (New York), Jochen Meyer (Berlin, Karlsruhe), Jan Mot (Brussels), NINAGAWA Atsuko (Tokyo), Franco Noero (Turin), Franck Prazan (Paris) and Prateek Raja (Kolkata).
Seen from the Tokyo perspective, we are very happy to have Ninagawa been chosen. Marvellous news, congratulations! The first Asian gallery been awarded with this prestigious, responsible task!
Compare with:
Inaugural “Art Week Tokyo” News with NINAGAWA Atsuko @ The Art Newspaper
「アートウィーク東京」開幕と蜷川敦子のニュース @ ザ・アート・ニュースペーパー（ロンドン・ニューヨーク）
https://art-culture.world/articles/art-week-tokyo-atsuko-ninagawa/
Tina Keng Gallery from Taipei was the first Taiwanese gallery to exhibit in the main area of the fair, while ROH Projects from Jakarta was showing the sound installation ‘Togar’ by Indonesian artist Julian Abraham for the first time.
Highlights in the main hall included John Baldessari’s ‘Commissioned Painting: A Painting by Patrick X Nidorf OSA’ from 1969 for $3.5 million at Sprüth Magers and Georg Baselitz’s painted yellow bronze ‘Dresdner Frauen – Die Elbe’, conceived in 1990 but only cast in 2003 for €2 million at Thaddaeus Ropac.
In the section of their ambitious ‘Unlimited’ projects, Hauser & Wirth was showing Henry Taylor’s “Untitled” from 2022 for $2.5 million, an installation of mannequins as a tribute to his brother, a former member of the Black Panther movement.
More @
Outstanding, thought-provoking body of work by Henry Taylor @ ART BASEL Unlimited 2024, Hauser & Wirth
ヘンリー・テイラー @ アート・バーゼル・アンリミテッド 2024
https://art-culture.world/articles/henry-taylor-art-basel-unlimited-2024/
In the same section, Gagosian was offering a wrapped VW Beetle by Christo (1963-2014) for around $4 million.
1961 Volkswagen Beetle Saloon, tarpaulin with grommets and ropes; 150 x 406.4 x 154 cm. (Gagosian Gallery) @ Art Basel Unlimited 2024. (In February 1963, on the occasion of Christo’s solo exhibition at Galerie Schmela in Düsseldorf, Christo and Jeanne-Claude wrapped a Volkswagen Beetle.)
And David Zwirner, now in its 30th year, is presenting 30 artists and major works from Alice Neel, Gerhard Richter, Wolfgang Tillmans to Joan Mitchell.
more @
大好きなジョディ・フォスター @ アート・バーゼル
Wolfgang Tillmans “Jodie in my kitchen” 2023
https://art-culture.world/articles/jodie-foster/
more @
私 (亜 真里男) と草間彌生、長い芸術の旅、アンプラグド
I (Mario A) and KUSAMA Yayoi, a long artistic journey, unplugged
https://art-culture.world/articles/mario-a-kusama-yayoi-草間彌生-亜真里男/
Compare with:
ジョアン・ミッチェルのアート・ディーラーが突然変更に：「このアート界はとても野蛮になった」/ (＋ ポンピドゥー・センター・メッス画像)
In the context of recent changes by Joan Mitchell’s art dealers: : “This art world has become so uncivilized” // (+ pics from the Centre Pompidou-Metz)
https://art-culture.world/articles/joan-mitchells-art-dealers-problem-this-art-world-has-become-so-uncivilized/
Compare with:
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/
In 1984, Keith Haring sprayed a mural measuring around 91 metres on panels along the Franklin D. Roosevelt East River Drive in New York City. The 30 panels, which were removed a year later, could be seen now at Art Basel Unlimited.
The Statements for Emerging Artists section featured works by Ahmed Umar (OSL Contemporary), whose Sudanese bridal dance performance was part of this year’s Venice Biennale. Another highlight worth seeing was the stand of Galerie KOW with contemporary art-historical positions in the context of hot topics: The who’s who of recent art history was represented with an installation by Anna Boghiguian, Candice Breitz, the CATPC collective with collaborative works by its member Blaise Mandefu Ayawo, who died recently at the Venice Biennale, Alice Creischer, Renzo Martens, Santiago Sierra, Franz Erhard Walther and Clemens von Wedemeyer.
One of the main features of Art Basel are the unexpected discoveries of excellent, fresh works of art that still smell of painting oil. For example, the PPOW gallery brought a brand new work by the popular Hilary Harkness to their booth. I was fascinated! Delighted to experience the feeling of satisfaction, thought-provoking engagement with this kind of work of art on the trade fair stand. Bravissimi!
More @
ヒラリー・ハークネスが創り出す魅惑の世界 (2/2)
The Fascinating World Created by Hilary Harkness (2/2)
https://art-culture.world/articles/https-art-culture-world-articles-hilary-harkness-2/
Another jewel had been brought to Basel by PPOW: David Wojnarowicz.
Actually New York City celebrates David Wojnarowicz’s 70th birthday with events across Manhattan, which will pay tribute to the late artist through readings, film screenings, music and a candlelit procession.
Compare with:
American Artist David Wojnarowicz Documentary “Fuck You Faggot Fucker”
https://art-culture.world/articles/american-artist-david-wojnarowicz-documentary-fuck-you-faggot-fucker/
“Flawless Finish” 2023, “Yes To All” 2012, “Wow 7” 2006 @ Mehdi Chouakri Art Basel 2024
“Bonus 1”, compare with:
PORTRAITS展 @ 東京丸の内の三井住友銀行東館：アートコレクター大林剛郎氏の素晴らしい活躍
Art Collector OBAYASHI Takeo
https://art-culture.world/articles/obayashi-takeo-art-collection-大林剛郎/
“Bonus 2”:
SONNTAG, 17. JANUAR 2021 #5
HAPPY 80TH BIRTHDAY HANS-PETER
Lieber Hans-Peter,
es war ein Samstag im November 1995, ich war 24 Jahre alt und lebte noch in Paris. Wie fast jeden Samstag stand ein Besuch der aktuellen Ausstellungen in den Pariser Galerien auf dem Programm. Diesmal bin ich Richtung Rue de Lappe gegangen, wo die legendäre Galerie Liliane et Michel Durand-Dessert Deine Arbeiten zeigte und ich ihnen zum ersten Mal begegnet bin. Hier fand auch mein erster „Kunstkauf“ statt, eine Text-Arbeit von Dir. Der Preis: die Kosten der Fotokopie. Du siehst, die Ausstellung hat mich spontan sehr beeindruckt!
Jetzt, 25 Jahre später, lebe ich längst in Berlin und Du nach wie vor in Düsseldorf, wo Du bald Deinen 80. Geburtstag feierst.
Aus diesem Anlass habe ich einige Weggefährten und Aficionados um einen kurzen Text zum Thema „Hans-Peter Feldmann“ gebeten. Interessant ist, dass alle – wie ich selbst ja auch – von ihrer ersten Begegnung mit Dir beziehungsweise Deiner Kunst berichten.
Helena Tatay, die einige Deiner Ausstellungen kuratiert hat, erzählt von Eurer ersten Begegnung, ebenso Lisa Spellman, Deine New Yorker Galeristin. Und auch Stéphanie Moisdon, die Du von verschiedenen Ausstellungen und der École de Stéphanie her kennst, erinnert sich. Schliesslich kam kürzlich noch ein Brief von einer Giulietta Valente mit der Bitte, ihn an Dich weiterzuleiten. Ich habe sie gefragt, ob es in Ordnung ist, ihn stattdessen in dieser Spezialausgabe von JOURNAL abzudrucken – sie war einverstanden…
Lieber Hans-Peter, nun bleibt mir – zusammen mit meinen Mitarbeitern – nur noch, Dir zum Geburtstag zu gratulieren:
Herzlichen Glückwunsch!
Dein Mehdi
https://mehdi-chouakri.com/journal-5-de/
ロイヤル・アッシャー・ダイヤモンド
この歴史ある名簿には昭和天皇、エリザベス女王をはじめとする世界の王室、各国首脳の署名が記録されている。
The company also has regional headquarters in New York City (Royal Asscher of America) and Tokyo (Royal Asscher of Japan).
After the war
Only ten Asscher family members and fifteen of the five hundred polishers survived the Holocaust. Although once the world’s diamond polishing capital, the diamond industry in Amsterdam was virtually wiped out during the war, including the Asscher Diamond Company. Antwerp subsequently emerged as a major diamond polishing center.
In 1946 Joop and Louis Asscher were invited to utilize their expertise to start a new company in New York, but they chose to remain in their home of Amsterdam and rebuild the Asscher Diamond Company. At this point during the 1950s and 1960s the company began exploring new markets and became a prominent diamantaire in Japan.
The Golden Book
The company keeps a “Golden Book” of visitors, who have included Emperor Hirohito of Japan, Queen Elizabeth II of the United Kingdom, and Queen Juliana and Prince Bernhard of the Netherlands. Royal Asscher jewellery is often seen at red-carpet events.
https://ja.wikipedia.org/wiki/ロイヤル・アッシャー・ダイヤモンド
https://en.wikipedia.org/wiki/Royal_Asscher_Diamond_Company
https://ccercle.com/carol-nicholass-birthday-weekend/
“Oil on canvas” is wrong. It should be written as “Acrylic on canvas”.
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/
See also:
Richard Prince リチャード・プリンス @ Gagosian Beverly Hills 2020
https://art-culture.world/articles/リチャード・プリンス-gagosian-beverly-hills-2020/
Kader Attia “Intifada: The Endless Rhizomes of Revolution” 2016
Kader Attia’s installation uses the letter ‘Y’ as a figure of branching and splitting, joining and holding together. The single epistemological figure grows into a rhizomatic structure of slingshots, reminiscent of young trees and Nature’s reproductive and branching agency. It also recalls the First Intifada 1987 (also known as the Stone War), when Palestinian youths used such devices to throw stones at heavy weaponry. The work physically and aesthetically evokes the inherited nature of traumas that are passed down from one generation to the next, shaping the biographies of individuals – and thus the destiny of entire societies for centuries. It serves as a metaphor for the organic reappropriation of Nature’s resilience and resistance to the human species and for the endless agency of revolution through which oppressed societies have always emancipated themselves.
元クリスティーズ・グローバルCEO ジュッシ・ピルケネン Jussi Pylkkänen
See also:
フランソワ・ピノーの三番目の刺激的な現代美術館、再建築 by 安藤忠雄
Exciting 3rd Contemporary Art Museum for François Pinault, rebuild by ANDO Tadao
https://art-culture.world/articles/francois-pinault-art-museum/
現代美術コレクター、兼オークションハウス・クリスティーズ社長フランソワ・ピノー氏のコレクション展 in モナコ公国
Contemporary Art Collector, Christie’s Auction House Owner François Pinault Shows His Collection In The Principality of Monaco
https://art-culture.world/articles/pinault-collection-ピノー・コレクション/
SHIOTA Chiharu usually draws from her personal life to address universal matters. That much is readily apparent in The Extended Line (2023–24), in which 93 or so miles of red string hanging from the ceiling. This stringy rain is pouring into a bronze cast of the Berlin-based artist’s open hands, out of which fly thousands of white papers, butterflies flocking to the sky. This jaw-dropping installation, which you can see from almost any vantage point in the Unlimited space, conveys Shiota’s experience as a cancer survivor. “What does it mean to be human? I am asking questions which I believe everyone-one is dealing with during their lifetime, and not really getting to a clear conclusion,” she said in a statement. “I believe in the strength of asking those questions together. While we have no answer, we still have the same suffering, regrets, and joys in life.”
The free-standing 16 x 9 meter installation consists of hundreds of kilometers of red ropes hanging above the artist’s open hands and arms from which red papers seem to be flying out.
More @
塩田千春作：孤独と生命線の神秘な相関巣 (過去サイト・アーカイブの再投稿、2013年2月3日)
SHIOTA Chiharu: Mysterious Nest-specific Correlations Between Loneliness and Lifelines (repost from the archive, 2013/2/3)
https://art-culture.world/articles/shiota-chiharu-shiota-塩田千春/
塩田千春展 「魂がふるえる」@ 森美術館、総入館者数が66万6千人を記録
SHIOTA Chiharu “The Soul Trembles” @ Mori Art Museum Tokyo closes with a record number of visitors: 666.000
https://art-culture.world/articles/mori-art-museum-shiota-chiharu-森美術館-塩田千春/
One of the audience magnets at Art Basel Unlimited was the intriguing office-like space where kids were fascinated by Ryan Gander’s amazing work. Crouching people taking pictures of a female gorilla hidden under a desk. “It’s alive!” one boy shouted, noticing that the gorilla was moving. Fortunately, it was just an animatronic sculpture, but still, with its low-pitched groan and its wiggling fingers and toes, this animal seems oddly realistic. Gander named her Brenda, and per a description for this work, she is learning how to count, a skill she needs to work her job and serve capitalism. The installation, titled “School of Languages” (2023), supposedly contains a fan that blows “a faint scent of damp and urine.” Fortunately, at my visit, I could not smell anything. I should have asked Ryan Gander, when seeing him relaxing outside the venue.
“School of Languages” explores the relationship between our evolutionary past and the dynamics of contemporary society, shaped by relentless capitalistic growth, speed, and skewed notions of progress. Upon entering the space viewers encounter a corporate-looking office desk alongside an electric floor fan and a digital wall clock. The fan blows a faint scent of damp and urine. Nestled beneath the desktop is a life-size female gorilla. Despite her timid demeanour, she displays a desire to learn, using fingers to notate units. The purpose of her act of recording, whether units of time, currency, or an accumulation or decline of another quantity, remains unclear. At second glance, the wall clock merges two displays into a single object, diverging at odd angles to create an illusion of double-vision.
In the context of ART+CULTURE’s sensitiveness, let me introduce you on this occasion a typical situation / occurrence during this Art Basel fair 2024.
I had an engaging dialogue in German language with the most powerful woman in the global art market, very sympathetic Cheyenne Westphal (Global chairwoman of Phillips) at the booth of PACE.
4大メガギャラリー「ペース」が東京進出 副社長＆創業者に聞く“狙いや展望”【河﨑太郎のアートBIZ】
Later I found Kenny Schachter talking to auctioneer and chairman of Sotheby’s Europe Oliver Parker at the WHITE CUBE booth.
Refer also to my text about Japanese TERASE Yuki:
Sotheby’s Harsh Reshuffle: After Amy Cappellazzo and Kevin Ching, Next Prominent Figure TERASE Yuki Bites the Dust
サザビーズのコンテンポラリーアート部門アジア地区部長・寺瀬由紀氏を巡って
https://art-culture.world/articles/terase-yuki-寺瀬由紀/
Christie’s, Sotheby’s, Phillips… top representatives from the auction houses showing up in Basel at the propriate booths.
More @:
Art world darling, cool Kenny Schachter @ Art Basel
アート界の寵児、クール ケニー・シャクター ＠ アート・バーゼル
https://art-culture.world/articles/kenny-schachter/
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/
“Black Artist” vs. “Yellow Artist” in the context of “Henry Taylor @ Blum & Poe Tokyo”
https://art-culture.world/articles/black-artist-vs-yellow-artist-in-the-context-of-henry-taylor-blum-poe-tokyo/
Denes’ conceptional practice is distinctive in terms of its engagement with aesthetics and socio-political ideas. Art Basel’s iteration also featured a billboard image of Denes’ original wheatfield and a monitor playing a film about the original project, where the concept of food, energy, commerce, world trade, economics as well as mismanagement, waste, world hunger, and ecological concerns are challenged.
Three imposing mud sculptures of two armed men and a submitted (or maybe playful?) dog stand in front of a door leading to a screening room. Inside, Almine Rech gallery chose to show The Watchman (2023), the last episode of a tetralogy by Lebanese artist and filmmaker Ali Cherri. In this highly aestheticized 26-minute video, a character named Sergeant Bulut maintains a lonely vigil on top of a watchtower, expecting an enemy that never shows. Cherri debunks the notion that there is a duty to serve your country—an idea that is deeply embedded in the rhetoric of war more broadly. There is something Sisyphean about Bulut’s effort, which strips him of all heroism. Similarly, the soldiers guarding the entrance to the screening room are not as tough as they seem.
Check also:
Venice Biennale 2024 with the title: “Foreigners Everywhere”. Contemporary Art Star MOHRI Yuko @ Japan Pavilion. Can MOHRI challenge ‘L’Arte dei rumori’ by Italian Futurist Russolo?
ヴェネツィア・ビエンナーレ 2024のテーマ：「外人だらけ」。現代美術のスター 毛利悠子 @ 日本館。
https://art-culture.world/articles/mohri-yuko-毛利悠子/
Check also:
Wayne Thiebaud @ Beyeler Fondation ウェイン・ティーボー 個展
@ バイエラー財団、スイス
https://art-culture.world/articles/wayne-thiebaud-beyeler-fondation/
Acquavella Galleries
More @
マイ スィクスティーンス ガールフレンド 春美 バルテュス
My Sixteenth Girlfriend Harumi Balthus
https://art-culture.world/articles/my-sixteenth-girlfriend-2003/
Attention. As my comment, I hereby want to add, that this painting by Foujita is NOT “Oil on canvas”.
Check also:
藤田嗣治・Léonard Foujitaの作品との出会い
Encountering the works by Léonard Tsuguharu Foujita
https://art-culture.world/articles/foujita-tsuguharu-leonard-tsuguharu-foujita-kimiyo-藤田嗣治/
Check also the running exhibition at the Fukuoka Asian Art Museum:
Fukuoka Prize (Arts and Culture) Commemoration Exhibition: Kimsooja
福岡アジア文化賞受賞記念 キムスージャ展
Sep 14, 2024 〜 Oct 29, 2024
Fukuoka Asian Art Museum
Japanese:
https://faam.city.fukuoka.lg.jp/exhibition/21391/
English:
https://faam.city.fukuoka.lg.jp/en/exhibition/21397/
Award Citation
Kimsooja gained international presence as an artist for her work based on Asian culture during the 1990s, when modern art broadened its Western-centric horizons to include more diverse cultures. She has garnered much attention, such as for her vivid installations featuring traditional Korean bottari wrapping cloth, and her mobile performance/social sculpture, which involved a truck loaded with bottari. Since the late 2000s, she has developed installation works that use the characteristics of light to fill whole spaces with spectrums of light. The way that her work steers viewers to her grand philosophy of life and universal truth has won high praise across cultures.
Kimsooja was born in Daegu, Republic of Korea, in 1957. She studied at Hongik University in Seoul and the Ecole Nationale Supérieure des Beaux-Arts in Paris in the 1980s. She was an artist-in-residence at the P.S. 1 Contemporary Art Center in New York from 1992 to 1993, where she used bottari in her art work for the first time. A big and colorful cloth used to wrap up miscellaneous goods in everyday use, bottari can be seen as a microcosm in which the act of sewing and wrapping symbolizes women’s labor and life itself. At the same time, it also suggests an aspect of globalization, where people are forced to move and migrate for political and economic reasons.
Between 1999 and 2001, she created one of her most famous works: A Needle Woman. In this video piece, Kimsooja was filmed from behind while standing motionless in the middle of busy streets in Tokyo, New York, London, Mexico City, Cairo, Delhi, Shanghai and Lagos. By bringing the alien element of stillness into the chaos of urban environments, her tranquil body appears to exist in a different flow of time. This masterpiece delves into the senses of locality and spatiality that can anchor us in the era of globalization.
In 2006, she introduced another piece To Breathe – A Mirror Woman use natural light for the first time at the Palacio de Cristal in the Museo Nacional Centro de Arte Renia Sofia, Madrid. In this work, light was used as a non-physical medium to envelop the space in light to represent the structure of the universe according to the Korean Obangsaek theory of five colors and the theory of the five elements.
Meanwhile, she participated in the Venice Biennale several times as well as in solo exhibitions at world-famous art galleries and in international exhibitions. In Japan, she began to participate in group exhibitions in the late 1980s. Later in 1999, she became an artist-in-residence at the Center for Contemporary Art in Kitakyushu. She has also exhibited her work at the National Museum of Modern Art in Tokyo, the Fukuoka Asian Art Museum, Yokohama Triennale and Echigo-Tsumari Art Triennale. Recently in 2022, her stained glass installation was put on permanent display in Cathédrale Saint-Étienne in Metz, France, and exhibited To Breathe – Constellation at the Bourse de Commerce, Paris, in 2024, where she covered the whole floor with mirrors.
In the current era, where separation and conflict are becoming more widespread, Kimsooja’s magnificent art makes us aware once more of the workings of all things in nature, and the harmony and balance of the world. For her ceaseless efforts and creativity, she is truly worthy of the Arts and Culture Prize.
https://fukuoka-prize.org/en/laureates/detail/ba5c0827-c69d-4a32-8cac-5437f9370d4d
Exklusive Neo Rauch Skulptur- Der Ergründer
165.777 € VB
Nur Abholung
20099 Hamburg-Mitte – Hamburg St. Georg
10.09.2024
480
Beschreibung
Für Kunstliebhaber und Sammler biete ich eine einmalige Gelegenheit: „Der Ergründer“ von Neo Rauch. Diese beeindruckende Bronze-Skulptur aus dem Jahr 2023 ist weltweit auf nur 30 Exemplare limitiert und daher äußerst begehrt! Mit einer Höhe von ca. 40 cm besticht sie durch ihren kraftvollen Ausdruck und die typische Detailverliebtheit von Rauch, einem der renommiertesten deutschen Künstler.
Maße: 40 x 14,9 x 21 cm
Material: Bronze
Limitierung: 30 Exemplare
—-Neo Rauch—-
Diese Skulptur ist ein echtes Highlight in jeder Kunstsammlung und bietet Sammlern eine seltene Chance, ein wertvolles Werk des international gefeierten Künstlers zu besitzen.
Regarding Klaus Biesenbach, see also:
日本の文化を象徴する「菊」：アナルセックスと皇室の紋章
木村了子 KIMURA Ryoko ・アンディ・ウォーホル Andy WARHOL ・トム・オブ・フィンランド Tom of Finland
https://art-culture.world/articles/japanese-imperial-emblem-chrysanthemum/
The art insider noticed that Art Basel completed detached itself from the Folklore-Art-Venice Biennale. The synergies between the Italians and Swiss, which were previously perceived as good, have had their day and become obsolete. One of the reasons may be the differences in the quality of the art workers’ output.
Only Punta della Dogana stood out positively, but this has become a given with Pinault’s concept.
Artists / art workers are thinking a lot about their peculiar nexus of ageism and sexism these days, which really needs its own word like misogynoir. Detached from Instagram, having not succumbed to the seductive ‘remedies’ offered by cosmetic beauty practices.
I also have to congratulate the selection committee for sticking to the strict anti-commercial line.
Art dealers like König or Mariane Ibrahim had been kicked out; galleries that could not be described as having integrity, like Eigen+Art, were posted to the outside area of the fair. It sends lasting signals of vigilance to other galleries, implying future ones.
Despite the weak yen, four galleries from Japan were able to take part in the fair. Taka Ishii, Take Ninagawa, Tokyo Gallery + BTAP and as newcomer: The Third Gallery Aya from Osaka.
Check also the running museum retrospective at Yokosuka Museum of Art:
瑛九 Ei-Q
– まなざしのその先に Beyond the Gaze –
2024 September 14 〜 2024 November 4
2024年9月14日 〜 2024年11月4日
Japanese:
https://www.yokosuka-moa.jp/archive/exhibition/2024/20240914-861.html
English:
https://www.yokosuka-moa.jp/en/archive/exhibition/2024/20240914-861.html
Regarding this exceptional Art Basel Unlimited exhibition about Robert Frank, more @
Robert Frank, born in Zürich vs Mario A, born in Baden/Switzerland
「The Americans」を巡って
https://art-culture.world/articles/robert-frank-americans/
Art dealers normally describe their situation during Art Basel by saying, “We’re doing OK, but it doesn’t feel great.” The sentiment summarises much of what’s happening in the global art market, which is hard to analyse (wrong numbers and wrong statistics!) and very hard to decipher.
It is a truism within the art industry that the art market is not a monolith. Yet the impulse to accept a challenging narrative during the ongoing market correction suggests that knowing this mantra and applying it are often two separate tasks.
This kind of friction between facts and feelings aligns with a similar one about the wider global economy since society at large moved on from the Covid-19 pandemic.
My feeling and observation say, that a twin consensus exists. First, that the speculators who drove that flip-art-buying have now all but disappeared from the market. Second, that this disappearance has done almost no damage to sell primary market works by other young artists. It was never the business model for art dealers, so it had no relationship to either their roster or their collectors.
As a fact, two transactions are not the same, neither collectors are the same, and each collection’s purpose and philosophy is different.
The diversity of perspectives within the contemporary art collector base makes it a herculean task to draw the types of sweeping conclusions observers tend to want from the sales activity at major art fairs like Art Basel or Frieze.
Nonetheless, from the primary to the secondary market, and from dealers to advisers to collectors, one final point of consensus is that the slower pace of deal-making comes with the silver lining of deeper engagement, more thoughtful conversations and thus stronger bonds built between dealers, artists, collectors and institutional curators. Which should be applauded.
In the meanwhile, Art Basel Switzerland has become the gold standard for art fairs around the world. However, initially, Art Cologne, FIAC or the Armory Show had been close, serious rivals.
Not surprisingly, top international dealers were noticeably playing safe at this year’s fair by offering classic contemporary works from the last 80 years. That’s exactly what Art Cologne and FIAC were famous for. Pace, in collaboration with Paris dealer Galerie Lelong, sold three new editions of Jean Dubuffet’s monumental, playful 1970 painted bench sculpture, “Banc-Salon” for Euro 800.000 each.
Iwan Wirth, who sold Hans Bellmer works when young, conceded in his statement that the market had returned to a “more humane pace”. Whatever that means.
One collector noticed, that “Young artists are very expensive. You’re being asked to pay US$ 20.000 or US$ 30.000 for a work by an emerging name and you don’t know if you’ll ever get your money back. You’re put on a waiting list, but young collectors don’t want to play that game any more. More and more are walking away.” Exactly the result of emerging, non-professional dealers, who don’t understand the way of serious art dealing in the more experienced European art world.
Hardcover, printed with 6 colours and a varnish, with bostonian bindings in two different fabrics imported from Japan, book block with gilded edges. 416 pages; in a gloss lacquered box lined with natural linen. EUR 1.250 @ TASCHEN, Art Basel 2024
See also:
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/
Check:
Art world darling, cool Kenny Schachter @ Art Basel
アート界の寵児、クール ケニー・シャクター ＠ アート・バーゼル
https://art-culture.world/articles/kenny-schachter/
Check:
Maurizio Cattelan @ Gagosian New York 2024
https://art-culture.world/articles/maurizio-cattelan-マウリツィオ・カテラン/
See also:
世界一のアートディーラー、New York City ラリー・ガゴシアンを巡って
World’s No.1 Art Dealer, Larry Gagosian from New York City
https://art-culture.world/articles/larry-gagosian/
See also:
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/
See also:
私 (亜 真里男) と草間彌生、長い芸術の旅、アンプラグド
I (Mario A) and KUSAMA Yayoi, a long artistic journey, unplugged
https://art-culture.world/articles/mario-a-kusama-yayoi-草間彌生-亜真里男/
Bonus Pic, CCCS:
Compare with older editions of Art Basel:
アート・バーゼル、壮麗さへの回帰 (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*) 2023年度
ART BASEL – The Return to its Grandeur (ART BASEL Stripped Bare by Her Artists, Even*) 2023 version
https://art-culture.world/articles/art-basel-2023/
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
https://art-culture.world/articles/art-basel-2022/
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/
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/
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/
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/
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/
ここに載せた写真、やスクリーンショットは、すべて「好意によりクリエーティブ・コモン・センス」の文脈で、日本美術史の記録の為に発表致します。
Creative Commons Attribution Noncommercial-NoDerivative Works
photos: cccs courtesy creative common sense