Issue 36 £5.

00

‘Before m aking the list, I m ade fun of it; now that I a m on it, I dread being taken off.’ – Jerry Saltz (No. 73)

novem ber 2009

The def initive guide

to who’s who
in the artworld
 HAUSER & WIRTH NEW YORK

Paul McCarthy
SNOW WHITE
4 NOVEMBER — 24 DECEMBER 2009

32 EAST 69TH STREET

NEW YORK NY 10021
TELEPHONE +1 212 794 4970
FACSIMILE +1 212 794 4971
WWW.HAUSERWIRTH.COM

SNOW WHITE, GINGER THEN, 2009, CHARCOAL, OIL STICK, COLLAGE ON PAPER, 261.6 x 203.2 CM / 103 x 80 INCHES, PHOTO: ANN-MARIE ROUNKLE
CORYARCANGEL
DREI KLAVIERSTÜCKE, OP. 11
NOVEMBER 2009 – JANUARY 2010

SALZBURG AUSTRIA M I R A B E L L P L AT Z 2 T 43 662 881 393 F 43 662 881 3939 W W W. R O PA C . N E T

Jonathan Ellery

Ellery’s Theory of
Neo-conservative Creationism

Sculpture, sound and moving image

10th–29th November 2009

The Wapping Project

Wapping Hydraulic Power Station
Wapping Wall
London E1W 3ST

For more information contact

The Wapping Project
T +44 (0)20 7680 2080
marta@thewappingproject.com

Accompanied by a limited
edition publication available
from Browns Editions
www.brownseditions.com
Matthew Day Jackson “Dynamic maximum Tension” oct 10 - nov 21, 2009

uPcominG: DanieL RicHTeR nov 28 - jan 9, 2010

Keizersgracht 82, 1015 CT Amsterdam, The Netherlands , www.grimmfineart.com, Tel +31 (0) 20 4227 227, Fax +31 (0) 20 3301 965.
 K a n ta K i m u r a
Pat r i c K Fa b i a n Pa n e t ta

04.02 – 03.03.2010

Pa i n t i n g & S c u l P t u r e

in timeS
oF criSiS

Ludmila Bereznitsky & Partner Gallery, 2b Andriivsky Euviz, 04070 Kiew, Ukraine
www.bereznitsky-gallery.com
BART STOLLE
low fixed media show
December - January

Spasmodic variegated savage, 60 x 50 cm, acrylic on canvas

ZENO X GALLERY
MICHAËL BORREMANS - DIRK BRAECKMAN - MIRIAM CAHN - RAOUL DE KEYSER - JAN DE MAESSCHALCK - STAN DOUGLAS
MARLENE DUMAS - KEES GOUDZWAARD - NORITOSHI HIRAKAWA - YUN-FEI JI - KIM JONES - JOHANNES KAHRS
NAOTO KAWAHARA - JOHN KÖRMELING - MARK MANDERS - JOCKUM NORDSTRÖM - AVERY PREESMAN - JENNY SCOBEL
MARIA SEREBRIAKOVA - LUC TUYMANS - PATRICK VAN CAECKENBERGH - ANNE-MIE VAN KERCKHOVEN - CRISTOF YVORÉ

ZENO X GALLERY · LEOPOLD DE WAELPLAATS 16 · 2000 ANTWERP · BELGIUM · INFO@ZENO-X.COM · WWW.ZENO-X.COM

 Contents
on the cover:
The Winner, 2009, by Nigel Cooke,
courtesy Stuart Shave/Modern Art,
London

November 2009

DISPATCHES 31
Snapshot: Reka Reisinger
Now See This: Lynda Benglis;
Gordon Matta-Clark; Performa;
Tony Conrad; Ugo Rondinone;
Tatsuo Miyajima; Man Ray;
Anne Truitt; 1989: End of
History or Beginning of
the Future?; Marc Camille
Chaimowicz. Columns: Paul
Gravett discusses the work of
Janek Koza; Joshua Mack frets
about the implications of the
First Annual Art Awards at the
Guggenheim in New York; Marie
Darrieussecq sizes up France’s 32
new minister of culture;
Axel Lapp is excited by the
Hamburger Bahnhof rehang. The
42
Free Lance: Christian Viveros-
Fauné investigates Bruce High
Quality Foundation’s venture
into higher education. London
Calling: J.J. Charlesworth
looks at the UK’s increasingly
panicked attitude towards
the taking and publishing of
imagery. Top Five: The pick
of art to see this month, as
selected by Polly Staple.
Design: Hettie Judah wonders
at the future of consumer
46
design. Consumed: Index cards
by Peter Suchin; limited-
edition book by Dennis 36
Hopper; Ron Arad designs
at MoMA; Visionaire’s 2010
electronic calendar; Rosalind
Nashashibi limited-edition
print; print editions from
IMMA; Marilyn Minter tote bag;
short shorts from Creative
Time and American Apparel An
Oral History of Western Art:
Matthew Collings catches up
with Jean-Antoine Watteau.
Manifesto: Nigel Cooke

52

40

18 ArtReview
Untitled (Bench), 2009, oil on canvas, 11 x 10" © 2009 Tim Eitel/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

November 6–December 5, 2009

Tim Eitel

www.pacewildenstein.com
Invisible Forces

545 West 22nd Street New York City

 Untitled (Bench), 2009, oil on linen, 11 x 10" © 2009 Tim Eitel / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

November 6—December 5, 2009

545 West 22ND street NeW York citY
Tim eiTel

www.pacewildenstein.com
 Contents
November 2009

FEATURES
THE POWER 100
in association
with ruinart 73 rear view
The most powerful people

vital statistics 159

in the contemporary artworld

three takes on power What this year’s power list

131
Martin Creed, Assume Vivid
Astro Focus and Wilfredo
Prieto respond to the idea
of power
means, in a language everyone
can understand
A timeline of
significant art events
in the Past year 164
A lot can happen in 12 months,
not all of it forgettable –
here the highlights and low
moments of a tumultuous year
in the artworld (and beyond)

Strip 170
By Janek Koza

On the Town 172

West End openings in London,
Thomas Demand at the Neue
Nationalgalerie in Berlin

Off the record 174

Gallery Girl tries to get
on TV

73

20 ArtReview
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22 ArtReview
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24 ArtReview
 ConTRIBUTORS
NOVEMber 2009
Paul Gravett
Paul Gravett is a writer,
lecturer and broadcaster on
international comic art, and
writes a monthly column for
ArtReview on a graphic artist
of note (usually the creator
of that month’s Strip).
Gravett is also director of
Comica, an annual festival
and ongoing programme of
events based at London’s ICA.
This summer he curated the
first exhibition in Britain of
contemporary Chinese comics
and an exhibition on ‘Atom
Style’ comics inside one
of the balls of the Atomium
monument near Brussels.
Heinz Peter Knes
An artist and photographer
hailing from Gemünden am
Main, Heinz Peter Knes
came to wider international
attention when his
photography was featured on
the cover of Butt magazine
and subsequently in the
Taschen publication Butt
Book (2006), edited by
Wolfgang Tillmans. Knes works
regularly for a plethora of
edgy magazines, including
Nylon, Spex, 032c, Purple
and, of course, ArtReview,
for which he has taken some
of the New York portraits
for this year’s Power 100.
As a practising artist, he
is represented by Berlin’s
Galerie Crone.
26 ArtReview
Janek Koza
Janek Koza was born in 1970
in Wroclaw, Poland, where
he studied painting at the
Academy of Fine Arts. While
working there as an assistant
in the visual information
department, he developed
his interests in video and
animation, and has since
produced more than a hundred
animated films screened at
festivals worldwide. Koza has
had two books of his comics
published in Poland and
draws this month’s Strip for
ArtReview.
Heji Shin
Heji Shin’s photographs
of our Berlin-based power
players grace this year’s
Power 100. Born in 1976
in Seoul, Shin has lived
in Berlin since 1998.
She came to attention for
her cinematic, heavily
atmospheric photography,
in publications such as
032c, Achtung and Die Zeit
in Germany. Shin staged
images of Olivier Theysken’s
first collection for Rochas,
creating photos in which
the models appeared like
painted film stills. Shin
works mainly in editorial
and portrait photography.
Ian Pierce
Ian Pierce, a London-based
photographer and art director
whose favourite subjects
are people, buildings and
fashion, has worked recently
on a documentary project
with the artist Richard John
Jones, on-set on the feature
film Bedlam and backstage
Paul Gravett photo: Peter Stanbury
at the Peter Jensen/Laurie
Simmons collaboration during
September’s London Fashion
Week. He’s also involved in
a long-term project with an
architect and a series of
portraits of writers. For
this month’s ‘On the Town’,
he documented several long
evenings of gallery openings
in London’s West End.
 JAGANNATH PANDA 27 NOVEMBER 2009 –
THE ACTION OF NOWHERE 15 JANUARY 2010

7 DOVER STREET TEL. 00 44 (0) 20 7629 0090 WWW.ALEXIAGOETHEGALLERY.COM MONDAY TO FRIDAY 10AM–6PM
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2 rue Isidore Verheyden 1050 Bruxelles Belgique T +32 2 512 92 95 F +32 2 512 71 08
info@baronianfrancey.com www.baronianfrancey.com

TONY OURSLER NOVEMBER 13TH - JANUARY 9TH

DISPATCHES
November Snapshot 31

Now See This 32

The Free Lance / London Calling 34/40

Top Five 42

Design 44

Consumed 46

An Oral History of Western Art 56

snapshot reka reisinger

In this ongoing series, Reisinger provides us with the
work Elevation (2009). “I make lifesize card board cutouts
by hand (often self-portraits) and rephotograph them out
in the world using a view camera. I do not use any digital
manipulation. This one is being lifted into the air by
balloons at the Petrified Forest National Park [in
Arizona]; at one point it flew so far away it was only
visible as a dot over the desert. There were a few moments
when I felt a slight panic that I might lose myself.”

ArtReview 31
 DISPATCHES

now see this

work forms the centrepiece of this retrospective,
alongside documentation of his other admirably
rangy 1970s projects, from Fake Estates (parcels
of unwanted Manhattan ‘gutterspace’ that Matta-
Clark bought at auction in 1973–74 and designated
as art) to archive materials relating to Food, his
words Martin herbert shortlived restaurant-as-performance in a former
SoHo bodega.

This month marks 35 years since the most infamous
advertisement ever to appear in an art magazine
was published: a photograph, in the November 1974
Artforum, of a short-haired woman wearing nothing
but sunglasses and holding a latex dildo as an
ersatz erection. At once an advertisement for an
A more concerted take on the performative occupies
New York in November: once again, it’s time for
Performa (various venues, New York,
1–22 November, www.performa-
arts.org), whose third edition, Performa 09

VAGA, New York; William Kentridge, I Am Not Me, the Horse Is Not Mine, 2008, performance still, courtesy the artist and Performa, New York; Tony Conrad, Re-Framing
Lynda

clockwise from left: Lynda Benglis, still from Female Sensibility, 1973, videotape loop, 13 min 5 sec, courtesy Cheim & Read, New York, © the artist/licensed by
exhibition at Paula Cooper Gallery by
– organised, as ever, by tireless live-arts
Benglis (Irish Museum of Modern Art, maven RoseLee Goldberg – doubles as a celebration
of the centenary of Futurism, a cornerstone of
Dublin, 4 November – 24 January,
www.modernart.ie) and the culmination
of a series of ads-as-art, that image is what
the Louisiana-born artist is best known for.
She’s done far more, as this survey reaffirms.
From floor-based ‘fallen paintings’ in poured
latex and polyurethane made during the late 1960s
(decades before Polly Apfelbaum commandeered the
epithet) to her complex pleated sculptures in metal
of recent decades, Benglis has built on Minimalism
as vitally and variously as any of her coevals.
Her determined sensualising of its aesthetic was
barely understood until the 1980s; if she’s still
not sufficiently lionised, it’s probably mostly
because a) she’s female, and b) she’s still alive.

performance art if ever there was one. More than

150 artists, and 60 arts institutions, will
be involved in a show involving 11 specially
commissioned works and six premieres of works never
before seen in New York; the roll call ranges
from Tracey Emin to experimental rock vocalist
Mike Patton, from Kalup Linzy to Tony Conrad.
Those who miss Conrad live can still catch up with

Creatures, 2009, film still, courtesy Galerie Daniel Buchholz, Cologne & Berlin
this slippery Zelig of the American avant-garde
– microtonal drone violinist, former acolyte of
La Monte Young, performance artist, manufacturer
of electrified sound sculptures – as his career
continues its recent upswing, in a solo show in

Tony Conrad: Re-Framing

Berlin,

Creatures (Daniel Buchholz, Cologne,

Gordon Matta-Clark
In this sense, 30 October – 21 November, www.
(Museo Nacional de Bellas Artes, galeriebuchholz.de).
Santiago, 10 November – 3 January,
www.dibam.cl/bellas_artes), Benglis’s
contemporary, who died of cancer age thirty-five
in 1978, is her mirror image; and the Matta-Clark
memorial industry-cum-cult trundles on this month
in Santiago. That said, the show has meaningful
roots. The late artist’s father, the surrealist
Roberto Matta, was born in the city, and in 1971
Matta-Clark went there, apparently both to look for
him and to execute the first of his soon-to-be-
trademark architectural slicings inside the Museo
Nacional. A photographic series documenting that

32 ArtReview
 Ugo
Stripped Bare
If anyone is performing in the art of

Rondinone (Sadie Coles, London,

13 October – 21 November, www.
Painting and animation were the
first twin passions of Janek Koza,
sadiecoles.com), it is generally the viewer:
from top: Ugo Rondinone, still.life. (pine tree laying in a corner), 2008, two parts, bronze, paint, 12 x 517 x 542 cm, edition of 1 + 1AP, © the artist, courtesy Sadie Coles HQ, London;

one tends to do a sort of solo dance of pleasurable

born 1970, while studying and frustration through the Swiss jester’s shows.
working at the Fine Art Academy In his last substantial showing in London, at the
in Wrocław, the Silesian capital in Whitechapel Gallery three years ago, Rondinone
southwest Poland. The deliberately set up a stymieing environment full of oversize
sculptural lightbulbs, doorways that led nowhere
unslick, handmade marks of his
and a room in which a stalled, Beckettian
more than 100 cartoon films quiver
with a nervous fragility on their
smudged paper surfaces. He started
in 1993 with Erotic Confessions,
shown on local television and at festivals worldwide. A decade
later, these vignettes of vulnerable couples formed the basis of
a branching out into comics. Koza insists none of his work is
autobiographical: “They are only stories influenced by reality
around me. I prefer to be an observer.”
His output is part of a boom recently in alternative comics
in Poland, boosted by the proactive annual festival in October in
David Lynch’s turf of Lodz and by one-person publisher Kultura
Gniewu’s translations of today’s international stars and efforts
to introduce homegrown talents like Koza. Last year for Kultura
Gniewu he created Everything Is Wrong, wry tragicomedies
conversation bounced endlessly around. This is
about people’s struggles to survive and relate to others at work work that (like the artist’s contemporaneous series
and at home: a checkout clerk’s romance with a salesgirl in of drawings featuring fragmentary cityscapes,
Tatsuo Miyajima, C.F Lifestructurism – no. 14, 2008, 40 LEDs, courtesy the artist and Lisson Gallery, London

frozen foods cools rapidly as her job chills her body and her
emotions; an elderly cobbler turns to arson when he loses all his
customers to a supermarket which sells such cheap shoes that
nobody bothers to repair their worn ones any more.
Comics and animation still don’t pay enough to make
Koza’s living, but he’s staying productive and provocative. His
latest animation, for the song Parzydełko (Sting, 2008), by
My Endless Numbered Days, 2006, shown in his last
Sadie Coles exhibit) asks one, not without dry
wit, to accustom oneself to the succours of aimless
drift, lack of resolution and the potential absence
of any logic to life. And one might counterpoint
Rondinone’s evocation of stasis and circularity
Tatsuo
with the temporal obsessions of

Polish band Pustki, subtly insinuates a gay romance into the Miyajima (Lisson Gallery, London,
story of a fireman ‘burning with love’, who rescues another
fireman from an accident. Koza is also embarking on his first
25 November – 9 January, www.
full-length graphic novel. “I’m thinking about the roots of hate. lissongallery.com), who’s lately passed his
I want to write a story about the Jews’ genocide in Poland, but quarter-century of artmaking and whose signature
from the civilian side. I think rather about situations, not about
dates and names. I’m still not sure if I can manage this.”
Koza’s strip in this issue addresses a chilling scandal in
Poland from a few years ago. He created this for ArtReview as
part of Ctrl.Alt.Shift Unmasks Corruption, a compilation and
exhibition of political-reportage comics from as far afield as
Serbia, South Africa, China, India and New Zealand, organised
by campaigning charity Ctrl.Alt.Shift.

Work by Janek Koza is on show at Lazarides Gallery, London,

6–30 November, as part of this year’s Comica Festival

words Paul Gravett

arrays of rolling LED digits, accumulating
microseconds, seconds and minutes as we watch them,
are designed to place one utterly in the moment and
within a kind of technological sublime (or in the
case of the countdown machine Death Clock, 2005,
something more closely resembling terror).
 the free lance
The First
Next
Great Idea
A New York artist collective gives
recession malaise the finger –
by opening a free university
On a well-heeled stretch of West Broadway,
alongside a gourmet pizzeria and a Riodizio joint, a dented
metal door appears. A weathered sign attached to the door
by a parenthesis of masking tape reads, simply, ‘BHQFU’. It
announces an ingenious portal to the art of tomorrow.
The brainchild of the Bruce High Quality Foundation
– a staunchly anonymous artist collective that, among other
art-performances-with-fangs, once chased Robert Smithson’s
Floating Island (1973/2005) around New York Harbor in a skiff
ferrying a miniature of Christo’s The Gates (2005) – their new
venture is, in the electrifying lingo of its founders: ‘a university,
a space for higher education and research, a community of
scholars; an expansion of the BHQF practice to include more
participants (that’s where U come in); and a “fuck you” to the
hegemony of critical solemnity and market-mediocre despair’.
You may visualise this critic smiling broadly and pumping
his fist in the air now.
Impelled by the aspirational motto ‘professional
problems, amateur solutions’, the Bruces – as they prefer to
be called, in Dragnet parlance, to protect the innocent – have
34 ArtReview
formulated the first substantively original, forward-looking
idea of the Great Recession. That they have done so while
also querying the sustainability of a tired DIY gallery model
demonstrates only part of the genius of the Bruces’ critical
tack. Rather than snivelling about the market (New York critics
take note), they’ve preferred to identify artworld ‘problems’
and ‘solutions’ in a wholly coeval arena, in which legions of
collateral artworld vices reside: arts education.
A project that lives and breathes precisely at the much
heralded but rarely transited intersection of art and life,
BHQF prefigured BHQFU in a typically dynamic July lecture/
performance titled ‘Explaining Pictures to a Dead Bull’.
Invoking both St Joseph (Beuys) and the dead bull market, the
Bruces impertinently connected the broken lines among art, the
market and MFA programmes in what they called ‘a polemic
against rote learning’ that was also, necessarily, a broadside
against rote artmaking and – even more importantly – a bitch
slap struck at received postmodern pap.
Not quite an old-style manifesto nor the ‘institutional
critique’ that the formidable Roberta Smith of The New York
Times cosily thought she witnessed, the Bruces’ performative
pedagogy proves a significant departure from business as usual in
several key respects. Firstly, these fellows trade in contemporary
analysis trenchant enough to humble most curators and critics
(your modest interlocutor included). Secondly, they are artists.
Third, they are artists. In the fourth place, the Bruces have
bundled a set of related, heretofore unconnected ideas into what
may be the next $64,000 art question: ‘How can we imagine a
sustainable alternative to professionalised art education?’ To
continue in gameshow-speak, they have exposed arts education
for what it is: the system’s weakest link.
What BHQFU has already accomplished is a gift. The
fact that the Bruces – with the help of Creative Time – have
established a functioning free university in New York today is
miraculous. So, too, is the fact that BHQFU currently carries
a full roster of classes on topics such as ‘Art History With
words Christian Viveros-Faune
Benefits’ (a figurative and literal examination of the romance
‘between cultural funding and sex’), ‘Edifying’ (a set of lectures
that become performances, and vice versa) and, of course,
‘Build Your Own University’ (BYOU).
The true test for BHQFU is likely to come in its search
for sustainability – an issue that has bedevilled experiments in
arts education from Rudolf Steiner to Black Mountain College.
BHQFU may be around in ten years; then again, it may not.
Still, when it comes to the Bruces – as Martin Amis once wrote
about Gore Vidal – even their blind spots are illuminating. A
gift that keeps on giving, BHQFU is many things: a university,
a critique of the artworld and a work of art arrived at through
collaboration as a model for social relations. Above all, though,
BHQFU constitutes something sharper and more urgent today:
it is a first shot across the bow of a status quo probably still too
fucking frazzled to presently give a damn.
 D E U T S C H E B A N K & T H E S O LO M O N R . G U G G E N H E I M F O U N D AT I O N

Grey Area
Julie Mehretu
28.10.09
Julie Mehretu, Berliner Plätze, 2008 /2009 © Julie Mehretu

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 DISPATCHES

Alias Man Ray:

Paris
Turn back the clocks:

The Art of Reinvention (Jewish

Museum, New York, 15 November
Sound the trumpets: we have a new minister of culture! – 14 March, www.thejewishmuseum.

from top: Man Ray, Le violon d’Ingres, 1924, vintage gelatin silver print, Rosalind and Melvin Jacobs Collection, © 2009 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris;
org) tracks back to the 1920s and moves forward,

Anne Truitt, Valley Forge, 1963, acrylic on wood, 153 x 153 x 30 cm, the Rachofsky Collection, © Estate of Anne Truitt/Bridgeman Art Library, New York, courtesy Danese Gallery, New York
Christine Albanel, who fell into disgrace after the government’s
failure to pass a law against digital piracy, has been replaced using 200 works (photographs, paintings, films,
by Frédéric Mitterrand: yes, from the family of the former sculpture, etc) by the fabled dadaist/surrealist
president. His nephew. I have a hard time imagining him as to consider how his art was shaped, as the man
born Emmanuel Radnitzky became an expatriate in
a minister. This deliciously old-fashioned being, who seems
Paris, by attempts to leave behind his cultural
to have been born in a pastel singlet, spent his youth at the
Palace, the Parisian nightclub, disguised as a dragonfly or a
bumblebee. His voice marked my entire generation: he used
to read languid commentaries on documentaries about royal
families, in the evening, on the third channel of state-owned
television. He made a lyrical gesture of them, detached from
class struggle and other inconveniences of living on this planet.
At school we would imitate his elegant tone and his kilometre-
long sentences.
Frédéric Mitterrand directed a pretty Madame Butterfly
(1995), broadcast radio shows on France Culture and wrote
books. In La Mauvaise Vie (2005) he describes the difficulties
of being an ageing homosexual, and the melancholic resort to
prostitutes. This is a man with style, a kind manner, anything
but haughty, and rather whimsical. He was briefly on TF1, the
first private channel, and this apparently reinforced his love of
‘public service’, which is just about the only reason I can find
to explain his strange desire to be minister. Minister: the work
of a slave, the life of a dog, just about no room to manoeuvre,
meetings beginning at an hour when others are leaving the
nightclubs, endless worries and criticism.
This dragonfly of a man had just been named director of
the Villa Medici, in Rome: why didn’t he peacefully stay there
to watch dusk fall over the gardens? And what will become of
this luxurious residency for French artists now that he is gone?
Will the painters lie about in the fountains instead of working
for the Republic? One of his first blunders was to organise a
heritage. Meanwhile, it’s been 35 years since there
big party for his departure; back in Paris, Sarkozy hadn’t yet was a major retrospective of the work of American
informed the minister whom Mitterrand was to replace.
And his name, of course, is a problem in a right-wing Anne Truitt (Hirshhorn
painter/sculptor
government that invented the Ministry for Immigration and
National Identity, a title that evokes the dark hours of Pétain’s
Museum, Washington, DC, 8 October
wartime fascism rather than the few enlightened moments of – 3 January, www.hirshhorn.si.edu).
the Mitterrand era. I’ll ignore caustic comments to the effect
that Sarkozy is taking the mickey out of Mitterrand and persist
in asking this question: what is a man who has lived in the Villa
Medici doing messing around in the ministerial slog?

words MARIE DARRIEUSSECQ

36 ArtReview
 DISPATCHES

New York
While artists like Donald Judd were ostensibly
expunging personal references from their work,
Truitt – who died in 2004 – spent decades
intermingling Minimalism and the autobiographical
in her colouristic abstract paintings and columnar
geometric sculptures (not least in references
to the architecture of her childhood), in a
For all the hopes that this past year would bring us change we way that anticipates recent art’s programmatic
could believe in, events suggest that America is not a nation
ready for the drastically new. Take healthcare reform: the corruption of minimalist purities. And1989:
President came into office promising national coverage but
delegated the nitty-gritty to the House and Senate. Oops. Over
End of History or Beginning of the
the summer the Republicans floated horror stories of death Future? (Kunsthalle Wien, 9 October
panels and mandated euthanasia, and independent voters, on
whom Obama’s victory last November hinged, bought the bull.
– 7 February, www.kunsthallewien.
Barack’s poll numbers plunged while the Republicans’ rose. at) at once rewinds two decades to reconsider
Things are so screwy that many suspected Obama’s pep talk ‘the metaphors connected with the collapse of the
bipolar division of the world into East and
to schoolchildren on the first day of term was a veiled socialist West and the political upheaval, metaphors that are
plot. Health reform may still succeed, but how much can really
change when many don’t recall that the socialist threat crumbled
with the Berlin Wall? On the economic front, unemployment
may be over 10 percent, unofficially, but Wall Street indexes
have been on the rise, and compensation in the financial sector
remains strong, led by the $100 million or so Citibank (in which
taxpayers have a large stake) owe its trader Andy Hall. That’s a
bit of a political hot potato, but as for meaningful change, seems
governments on both sides of the Atlantic have joined banks in

Sophie Calle, Neue Wache, from Die Entfernung - The Detachment, 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009
pressuring the accounting industry to back off efforts to mandate
stricter financial oversight. As for the green shoots predicted for
an artworld suddenly freed from the corrupting influence of
cash, the last year proved that downsizing is just the flip side of
what we’ve been through; an obsession with money’s presence
has become a fixation on its lack. As most smaller dealers
struggled to stay open, flush players made acquisitions, much as
stronger banks picked off weaker competitors. Larry Gagosian,
for example, opened a new space in Athens and a street-level
store on tony Madison Avenue. Matthew Marks inaugurated
the season with a show of Vincent Fecteau, who used to show
at Feature, a vibrant if laissez-faire gallery that shuttered last
spring. What can we expect when the Guggenheim – which
should know better after years of expansion for expansion’s sake
– hosts Rob Pruitt’s First Annual Art Awards (modelled on the
Oscars) as a fundraising dinner? At best this stunt, which turns
the popularity contest that is the market into a moneymaking
performance, is an inside joke that says, ‘We know better, but
since we do, why not do it anyway?’ It’s the usual wink and nod
that still, it seems, calls the shots.

words Joshua Mack

more than ever of relevance for a wide variety of
different spheres of life’.

If that project sounds like it’s going to be on

the academic side of serious (there’s an extensive
sidebar of panel discussions and a ‘documentary
presentation of the historical events’ to contend
with), it also boasts a superb list of 37 artists,
from Marina Abramovic to Lars Laumann to Jane &
Louise Wilson, and a centrepiece reconstruction of
Ilya & Emilia Kabakov’s massive labyrinth of Soviet
bureaucratic offices, The Big Archive (1993).

In the same city, meanwhile, Marc Camille

38 ArtReview
 Chaimowicz (Secession, Vienna, 20
November – 24 January,
www.secession.at) demonstrates why
his obliquely dandyish work – which since the early
1970s has encoded and referenced cultural histories,
moved presciently between furnished environment and
performance, and latterly morphed into a kind of
expanded still life – has become such a touchstone
for younger artists: a voice from the past, relevant
again in the present, shaping the future.
Marc Camille Chaimowicz, For MvR, 2008 (installation view, Neue Nationalgalerie, Berlin, 2008). Photo: Uwe Walter
Berlin
Die Kunst ist super! (‘The art is super!’) is the title of the current
rehang in Berlin’s Hamburger Bahnhof, and what sounds like an
ironic marketing slogan is actually true. The art is great. It has
been a considerable wait since Udo Kittelmann took over as the
new director of the National Gallery, of which the Hamburger
Bahnhof is the contemporary-art branch. An installation by
Janet Cardiff & George Bures Miller aside, not much happened
for almost half a year. The roof of the main hall underwent some
repairs, and all the rooms had to be painted; yet the biggest
reason for the temporary closure seems to have been that much
of this year’s budget was spent in the previous one. However,
Kittelmann and his team used the time well.
Previously strict divisions between the different parts
of the collection are resolved, with the Hamburger Bahnhof’s
own acquisitions now displayed together with the distinctive
collections of Friedrich Christian Flick, Erich Marx and
Egidio Marzona. Scientific models, historic plaster casts of
Michelangelo sculptures and documentary films supplement
and reference the displays, establishing ideas beyond the gallery
space and asserting a relevance for art beyond its own history.
The main station hall, which since the foundation of
the museum had housed iconic sculptures by Anselm Kiefer,
Richard Long and Mario Merz, is now almost empty. In one
corner stands Robert Kuśmirowski’s Wagon (2006), a lifesize
replica of a Second World War railway car, bearing a variety of
historic and local references; in the other is an installation by
Roman Ondák, It Will All Turnout Right in the End (2005–6), a
model of Tate Modern’s Turbine Hall in a box; and somewhere
in between, Marcel Duchamp’s 1913 Roue de bicyclette (Bicycle
Wheel). It makes for a great space, as well as a rich visual essay
about representation and display. Kittelmann’s strength is that
he is a natural storyteller. He places the works in relation to each
other and develops an environment for exploration, at all levels.
The audience’s excitement is almost tangible.
Kittelmann’s opening show of Thomas Demand’s work at
the Neue Nationalgalerie across town equally takes the entire
building and its history and turns it into part of the exhibition.
The stories that Demand relates in his photographs of paper
models of historic locations are placed in a real space with its
own historic identity. The setting, by architects Caruso St John,
with grey and green curtains and fake cardboard walls, is itself a
sculptural installation.
Berlin has been missing a credible museum that leads
and forms a background against which the smaller institutions,
the private collections, the galleries and the artists’ spaces can
act out their programmes, and which they supplement. Udo
Kittelmann seems to have turned the National Gallery around
so that it can do just that.
words Axel lapp
 London calling
Fear of
Photographs
Paranoia about who’s out there looking at
our pictures is changing how we’re looking
at them, too
In September, clothing company American Apparel was
censured by the UK’s Advertising Standards Authority (ASA)
for an advertisement it ran in the urban style magazine Vice. The
photo sequence, of a twenty-three-year-old model in a fleece
hooded top, followed the brand’s current taste for styling its
shoots with the kind of eroticised, private-camera informality
that exists somewhere between ‘arty’ photographers such as
Corinne Day and Ryan McGinley, and the more straightforward
raunch of erotica or ‘soft porn’. The ASA banned the ad.
The ban was issued on the grounds that ‘the ad could be
seen to sexualise a model who appeared to be a child’, in a ruling
issued in response to a single complaint. Although its ruling
admitted that the target readership of Vice was unlikely to be
offended by the ad, the ASA concluded that the ad contravened
its code prohibiting anything that would be ‘likely to cause
serious or widespread offence’. Assuming that many thousands
of Vice readers were not offended enough to complain, we can
only wonder how the ASA came to its decision.
The issue of images that ‘sexualise’ children is fraught in
today’s paedophile-panic culture. But rather than responding
to any genuinely public concern, the ASA’s ruling seems to be
in thrall to the more general and poisonous hysteria that now
affects the taking and publishing of photographs. It’s as if, in
today’s nervous climate, there are types of images that cannot
be ‘let out’, not because of their content or what we make of
them, but because of a pervasive anxiety about an unspecified
malevolent spectator, out there, who might be looking.
Over the summer, it was announced that three French
curators, Stéphanie Moisdon, Marie-Laure Bernadac and
Henry-Claude Cousseau, would be prosecuted for an exhibition
they organised back in 2000. In August, it was reported that a
photography student at East Surrey College made a complaint
against a lecturer who had recommended that she look at images
of work by the well-known transgender artist Del LaGrace
Volcano. The lecturer now faces misconduct proceedings. In all
of these, the default assumption seems to be that we are either
vulnerable to the abusive intentions of others, or potential
abusers ourselves.
40 ArtReview
The notion that there are malevolent spectators out there,
looking to exploit the images the rest of us make and exhibit,
has started to feed back into the everyday uses of photography,
especially photography in public. A new report by UK think
tank the Manifesto Club (of which I’m a member), Policing the
Public Gaze: The Assault on Citizen Photography, details the
absurd expansion of petty regulations, codes of conduct and the
police’s regular misuse of antiterrorist legislation to restrict and
control the use of public photography by us, the public. What
is striking about the many instances cited is their common
mistrust of the intentions of the photographer: if you’re taking
a picture of kids (even your own), you must be a paedophile;
if you’re taking pictures of official buildings, or commercial
premises, you must be a terrorist. In the fevered imaginings
of official culture, the public has ulterior motives, and those
motives must always be suspicious in some way. In other words,
museums, curators, artists, art-college academics, journalists,
the general public and, yes, purveyors of brightly coloured
spandex leggings, now exist in a culture in which the worst
motives are assumed of everybody. Some people are fighting
back: the campaign group I’m a Photographer, Not a Terrorist!
has started organising flashmobs in which people turn up at a
public location and start, well, taking pictures of everything.
This widespread paranoia exists at a time when the
production and circulation of images, through the proliferation
words J.J. Charlesworth
of camera phones and the Internet, have created a technological
alternative to the traditional public sphere; through its lack of
regulation, the ‘digital commons’ causes further panic among
those authorities whose impulse is to monitor and surveil. If
nothing else, the Internet has become the perfect embodiment
of the shady, faceless world of the terrorist and the abuser. Both
the real and the virtual public sphere are now redefined by the
cultural institutionalisation of mistrust – mistrust of the public
by the authorities, but more corrosively, mistrust of other
people, and even of ourselves. Unless we start to challenge this
culture of mistrust, the cultural, artistic and democratic value of
photography, and our freedom to circulate them, will succumb
to a new culture built solely on the fear of images…
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 top five
What to see this month by 2 HEAD WIG
POLLY (Portrait of an Exhibition):
Selected by Paulina Olowska
Camden Arts Centre, London
STAPLE
25 September – 29 November)
www.camdenartscentre.org
Camden’s artist-curated shows
are among the best things they
do. Paulina Olowska is a great
choice, and her show sounds
elegant and bonkers at
the same time, an interesting
Director, Chisenhale Gallery, London mix of well-known and not
so well known artists:
Mathilde Rosier, Cathy Wilkes,
Jakub Julian Ziółkowski,
Cindy Sherman, Catherine
Sullivan. The common theme
is ‘perceptual ambiguity’:
if you know Olowska’s work,
the show makes sense through
that context. When you’re
curating a group show with
a big institution, you’re
often asked to be very clear
about your reasons for making
the show, whereas when artists
curate, particularly at
Camden, they’re given licence.
If regular curators could work
that way, I think you’d see
some more interesting shows.
3 Bonnie Camplin
SAS
Michael Benevento, Los Angeles
5 November – 23 December
www.beneventolosangeles.com
Michael Benevento often takes
1 London risks picking up European
artists who are not so well
known in the US, and seemingly
We seem to have a plethora of critically interesting has a real commitment to them.
retrospectives and group shows in London this This, British artist Bonnie
season. I’m a fan of Ed Ruscha (Hayward, 14 October Camplin’s first US solo show,
– 10 January), and the show should be great for the consists of drawings and
venue’s spaces. Pop Life (Tate Modern, 1 October sculpture, and apparently all
– 17 January) seems to be relating American Pop and develops from one drawing, a
YBA; also, the apparent focus on artists such as strange picture of a market
Keith Haring and Cosey Fanni Tutti suggests they’re scene with a lover’s tryst,
aiming to rewrite some narratives. John Baldessari framed by cherries. Camplin’s
(Tate Modern, 13 October – 10 January): an artist’s now really developing her own
artist. Comparing him and Ruscha, two Californians, moment. She often works with
and the New York-heavy Pop Life against Gustav video and performance, and
Metzger (Serpentine, 29 September – 8 November), uses sound and music in quite
you can start an analysis of what was happening uncategorisable ways. She’s
between the US and UK from the 1960s onwards. always testing the form; and
Then there’s Sophie Calle (Whitechapel, 16 October while her peers have had very
– 3 January). (The Tate, Hayward and Serpentine successful careers, she’s been
shows have three men; and the Whitechapel, quietly influential on a new
thankfully, seem to be giving a lot of big shows to generation.
women.) If I saw this lineup and wasn’t living in
London, I’d definitely think: that’s worth a trip.
42 ArtReview
4 Nairy Baghramian
Studio Voltaire, London
19 November – 19 December
www.studiovoltaire.org
Studio Voltaire are running
a great programme under
tight circumstances. Nairy
Baghramian is on a residency
there at the moment: I
first saw her work in Berlin
about three years ago,
some peculiar photos and
concrete objects, then a
piece at Munster Sculpture
Project that I really liked
for its bluntness. It was a
screen placed in a car park,
suggesting some kind of
division between public and
private space, and questioning
the significances we project
onto objects. A writer might
from left: John Baldessari, God Nose, 1965, oil on canvas, 173 x 145 cm, © the artist, private collection; Nairy Baghramian, Butcher,
be described as having an odd
turn of phrase; Baghramian has
the equivalent in sculpture.
Barber & Angler, 2009, sketch for upcoming installation at Studio Voltaire, London
5 Lecture
Performances
Kunstverein Cologne
24 October – 20 December
www.koelnischerkunstverein.de
I’m sure that this project
– which involves Fia
Backström, Robert Morris and
Martha Rosler, among others
– came out of the Kunstverein
Cologne’s exhibitions with
Mark Leckey and Seth Price.
I think the curators are
interested in looking at
the history of this format,
researching precedents and
asking what happens when an
artist veers off from an
academic assessment, and a
lecture becomes performative
in a different way.
Ronald Versloot
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 design

When Tom Dixon tells of his foray into the world of

The Swede
sex toys, he makes a striking point about the role design can
play in a market. Seven years ago the British designer was
approached by the founders of the Myla boudoir shops. They
dumped a crate of nasty plastic vibrators on his Habitat desk
and asked him to come up with an alternative. His input
brought extraordinary added value – the average vibrator in the

Hereafter
box retailed at £20; Dixon’s design, Bone, goes for about £200.
To Dixon the message is clear: if you’re looking for the next big
thing, don’t design chairs; fulfil a desire that is not yet satisfied.
Today the market for designer vibrators is so well served
that it’s only a matter of time before IKEA starts knocking
out a budget version (cue jokes about products that need to
be erected at home); so where can design add value now?
The industry is structured in a way that hardly encourages
independent designers to search for new needs. Most of the
producers dominating the domestic sector commission a A Scandinavian design studio
repetitive range of objects – chairs, tables, sofas – for a market
so saturated that the only way to add value is through celebrity,
second-guesses the future
luxury or editions.
What would be required for a freelance design studio
to investigate coming consumer needs in an informed way?
“Trendspotting and future forecasting are tools for economics
and marketing”, laments Ramia Mazé of the Interactive
Institute. “The idea of designing with statistics is relatively
new.” Mazé explains that at the more progressive end of the
electrical and electronics industries, design departments are
already engaged in contemplating the social impact of their
work and developing future strategies as well as aesthetics.
But for small independent studios, the advantage of accessing
economic data and thinking futuristically will not be evident
until the producers they serve demand and support it.
The Interactive Institute is a research facility, based
(of course) in Sweden, which for the last decade has brought

Interactive Institute’s Ramia Mazé demonstrates the Energy Curtain. Photo: Carl Dahlstedt.
together designers, artists and the IT industry to work out how

words Hettie Judah

to kick-start this demand. They produce visions of the future
and thought-provoking exhibits for an audience of consumers,
government agencies, industry, city planners and institutions. I
saw their touring show, Visual Voltage (which, following stops
in Shanghai, Washington, DC, and Brussels, is now in Berlin), in
a less-than-receptive state of mind; the ubiquity of the Swedish
vision as code for all things wholesome and progressive was
starting to grate. After a visit to London, in which the whole city
seemed to be IKEA-branded, right down to the tube maps, I
had greeted news that the flat-packers might become the only
company to take on Russian corruption and win with a huffy
shrug; IKEA vs. the Bratva had a certain Alien vs. Predator
quality to it, I felt.
Visual Voltage is a group of objects from research projects
exploring energy consumption, designed to provoke more
considered behaviour. In my Swede-sensitised state, my radar
was up for any hint of smug didacticism, and it didn’t disappoint;
design-world-darlings Front worked with the institute in 2004;
their Flower Lamp blooms for a well-behaved household but
closes as consumption increases. There was an electric cable
that glows as use augments, and photosensitive blinds that only
collect energy if closed during daylight. I tsk-ed delightedly
at the absence of any product that might have offered a more
practical solution to energy reduction than merely making
consumers feel guilty.
Chatting with Mazé and her colleague Magnus Jonsson
ten days later, I felt chastised at my churlish response to the
show: precisely because the institute doesn’t work towards
products, its employees have an astonishingly free remit. Using
a combination of creative, technical, scientific, political and
economic thought, they investigate subjects with no idea of what
they might end up with: one research strand has studied how
changing the balance of sounds in a truck cab can influence road
safety, another uses pervasive gaming to encourage teenagers
to think about the environment. Forget Alien vs. Predator – for
a glimpse of sparks flying, try design vs. economics; even in the
future, it seems, we’ll still desire the Swedish vision.

44 ArtReview
New Art Dealers Alliance AUStrALiA
Neon Parc Melbourne
CANAdA
Parisian Laundry Montreal
FrANCe
Galerie Carlos Cardenas Paris
Galerie Laurent Godin Paris
Galerie Hussenot Paris
GerMANY
ANDREAS GRIMM MUNCHEN
Munich
Galerie Christian Lethert
Cologne
Galerie Rupert Pfab dusseldorf
Pool Gallery Berlin
Jacky Strenz Frankfurt
ireLANd
Mother’s Tankstation dublin
itALY
1/9 Unosunove Arte
Contemporanea rome
JAPAN
ARATANIURANO tokyo
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OPENING PREVIEW 356 San Juan
thursday december 3, 10am – 2pm
SPAiN
daily admission is free and open to the public Galeria Marta Cervera Madrid
SwitzerLANd
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Geneva
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zurich
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USA
Altman Siegel Gallery
San Francisco
AMBACH & RICE Seattle
ATM Gallery New York
Baer Ridgway Exhibitions
San Francisco
Nicelle Beauchene Gallery
New York
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New York
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David Castillo Gallery Miami
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New York
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Jack Hanley Gallery
San Francisco
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Johansson Projects
San Francisco
The Journal Gallery Brooklyn
Klaus Von Nichtssagend Gallery
Brooklyn
Leo Koenig Inc. New York
Kim Light/Light Box
Los Angeles
Karyn Lovegrove Gallery
Los Angeles
La MaMa La Galleria New York
LaMontagne/Zevitas Gallery
Boston
moniquemeloche Chicago
On Stellar Rays New York
Rental New York
Renwick Gallery New York
Silverman Gallery San Francisco
Simon Preston New York
Small A Projects New York
Thomas Solomon Gallery
Los Angeles
Stephan Stoyanov Gallery
New York
SUNDAY LES New York
Twenty Twenty Projects Miami
Kate Werble Gallery New York
Western Exhibitions Chicago
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Y Gallery Queens
ZieherSmith New York
 Consumed
The pick of this month’s offerings from shops, 02
galleries and museums. Words Laura Allsop,

£450–£1,000
Claire Alliot-Soto, Alexander Springer

01

£25

04

$295
03

$85
01 02 03 04
Critic and artist Peter Photographs by actor, Coinciding with Ron Arad’s Visionaire’s 2010 calendar
Suchin has produced, for collector and artist late-summer/early-autumn is electronic and coincides
new London editions shop Dennis Hopper have been show No Discipline at with Smart’s first
Kaleid, a limited-edition collated for a new MoMA, the museum’s gift electric car, celebrating
boxset containing ten publication from Taschen. shop has stocked some the beginning of what
printed reproductions of Entitled Dennis Hopper: signature pieces by the Visionaire posits is
index cards he has doodled Photographs 1961–1967, it prolific designer. Whether the ‘decade of electric
and scribbled on. As part includes photographs of it’s smart kitchenware mobility’. High hopes
of an ongoing interest contemporaries ranging at affordable prices or aside, the calendar is a
in recording incidental from Andy Warhol to Paul classic furniture designs phenomenal repository of
thoughts and perceptions, Newman and documents the such as the curvilinear contemporary art, with 52
Suchin has been making easy freedom of West moulded polyethylene Little curators (ranging from
meticulous notes for more Coast living during the Albert Chair, a miniature Klaus Biesenbach to Hans
than 20 years. Peter 1960s. The book comes in version of the designer’s Ulrich Obrist) choosing
Suchin: Index, Scribble, two editions, one limited temperature-sensitive Well seven artists each to fill
Snapshot, Tract contains to 100 and including a Tempered Chair or even a the days. It’s a who’s who
reproductions of the cards signed print of Hopper’s wearable accessory in the of contemporary art: Bruce
along with essays by photograph Biker Couple form of the designer’s Nauman, Marina Abramovic,
Michael Hampton and Suchin (1961-9). signature Cappello hat Keren Cytter, Glenn Ligon
himself. (pictured), MoMA’s got it. and 361 others.
www.taschen.com
www.kaleideditions.com www.moma.org www.visionaireworld.com

46 ArtReview
 ga rdar eide einarsson_
tom burr_mircea cantor_ s gordon_shilpa gupta_
icini_ ougla y_
monica bonv _simon evans_cao fei_d -hemmer_elliott hundle _
n o le
olafur eliasso haghighian_rafael lozan l majerus_corey mccork n paci_
r e ia
natascha sad tthew day jackson_mich on dybbroe møller_adr
a im
emily jacir_m ebastian diaz morales_s issel tolaas_
_s s
aernout mik hiharu shiota_superflex_
c
pipilotti rist_

ry art
contempora

m o f mo dern art
museu
r 2009
5 septembe 2010
10 january

With support from

Sponsor of Louisiana Contemporary

Sponsor for Louisiana Museum of Modern Art 2009 Sponsor of architectural exhibitions at Louisiana supports Louisiana Live

Adrian Paci. Per Speculum, 2006 (film still). Color Film, 6:45 minutes. Courtesy Peter Blum Gallery, New York; Galleria Francesca Kaufmann, Milan; Galerie Peter Kilchmann, Zürich. www.louisiana.dk
 Consumed
07
$48
05
05
Artist Rosalind Nashashibi
has created a limited-
edition print to accompany
her solo show at the ICA,
London. The print, entitled
8 O’Clock Metamorphosis, is
a silkscreen reproduction
of an image from her
installation In Rehearsal
(2009), collaged onto
the replica of a page
from a book on African art.
Via numerous images and
a soundtrack, 8 O’Clock
Metamorphosis documents
the preparation of an
opera, and the edition
features what look like
studious stage technicians
hard at work.
www.ica.org.uk
48 ArtReview
05
£100
06
The Irish Museum of Modern
Art (IMMA) is launching a
series of limited-edition
prints to coincide with
its exhibition Traces, a
celebration of its… limited
editions. Isaac Julien (his
work pictured), Michael
Craig-Martin, Alex Katz,
Elizabeth Peyton and many
others have contributed,
while recent additions to
the series include works by
Louis le Brocquy, Patrick
Scott and Camille Souter.
The 31 screenprints,
etchings, lithographs and
cibachromes were donated to
benefit IMMA’s exhibition
and education programmes.
www.imma.ie
07
Tote bags are increasingly
the carrier of choice for
heavy catalogues at art
fairs and biennials. Artist
Marilyn Minter has teamed
up with boutique designers
Intermix to create a
limited-edition variety
to benefit breast cancer
charity Bright Pink. A
still from Minter’s Green
Pink Caviar (an eight-
minute film-riot of female
mouths devouring cakes,
released earlier this year
and featured in Madonna’s
recent tour, no less) will
feature on the bag.
www.foryourart.com
06
€900
08
$19.95
08
New York art agency
Creative Time – responsible
for projecting Doug
Aitken’s Sleepwalkers
(2007) on MoMA’s walls and,
this past summer, turning
former army base Governors
Island into a contemporary-
art trove – have teamed
up with sportswear brand
American Apparel to create
a pair of limited-edition
short shorts with ‘Creative
Time’ emblazoned on the
rear. All proceeds will
go towards supporting
Creative Time’s future
public art projects.
http://creativetime.org
 Tonight Nothing oil on canvas 180 x 250 cm 2009

MORGAN BETZ
8 - 22 november 2009

WILLEM Henri Polaklaan 12A

1018 CS Amsterdam

BAARS tel +31 204230607

cel +31 655300765

PROJECTS
www.baarsprojects.com
info@baarsprojects.com
Art|Basel|Miami Beach
3–6|Dec|09

Vernissage | December 2, 2009 | by invitation only

Catalog order: Tel. +49 711 44 05 204, Fax +49 711 44 05 220, www.artbook.com

The International Art Show – La Exposición Internacional de Arte

Art Basel Miami Beach, MCH Swiss Exhibition (Basel) Ltd., CH-4005 Basel
Fax +41 58 206 31 32, miamibeach@artbasel.com, www.artbasel.com

u
Evgeny Yufit, Transparent Grove, 1992

Letter from the IsLand

serp, evgeny yufIt, vLadImIr Kustov

8 October 2009 – 22 December 2009

7 Howick Place, London SW1P 1BB 020 7630 9585 www.orelart.com

 AN ORAL HISTORY OF WESTERN ART

In this ongoing series, the real people who created

the historic styles give their eyewitness testimony

NO 12:
WATTEAU

Jean-Antoine Watteau, L’Enseigne de Gersaint, 1721, oil on canvas, 163 x 306 cm. Photo: Jörg P. Anders. bpk / Schloss Charlottenburg, Stiftung Preußische Schlösser und Gärten
Jean-Antoine Watteau (1684–1721) was a French painter who invented
the genre of the fête galante: scenes of beautiful light-filled bucolic charm,
suffused with an air of theatricality.
interview by matthew collings

52 ArtReview
ArtReview How are you?
Watteau Very ill.
AR  Ah yes, the consumption. You died from it when you were
only thirty-seven. But you did a good painting before you
went: Gersaint’s Shopsign (1721). Tell me about that work.
W  Well, as the title says, it’s a sign. This guy Gersaint had a shop
selling pictures on a bridge in Paris and he commissioned
the sign from me. It’s oil on wood and very big – two panels
joined together to make one six-foot-wide expanse. The
picture is a double illusion: a view onto a scene that leads
onto another scene. You’re standing outside on the bridge;
you can see the cobbles at the bottom of the picture.
But it’s as if the facade is removed and there’s the whole
interior exposed. What you see in there is a metaphor
for the artworld, which is revealed to be full of vanity and
commercialism. The scenes and objects in the shop spell
out a story of shallowness. A woman looks in a mirror
instead of looking at art. An ignorant man has his face right
up against a canvas in order to see some sexy nudes at the
bottom of the picture; he doesn’t know you should look at
the picture as a whole, not just the sensational stuff. You
should take in the composition, the relationship of figures
to landscape and so on. The gallery guys encourage these
people, because they want to flatter them into parting with
their cash. A portrait of the king lies in a packing crate on
the floor: nobility brought low. A dog yaps: pointless noise.
AR  Fantastic, you’ve really got an imagination. It’s beautifully
painted, I notice. The lovely silvery colour and the masterful
touch: I pity the poor readers of ArtReview, who’ve only got
the reproduction to go on, with all its crudeness.
W  Yes, you get a very one-dimensional sense of art with
reproductions, the literal narrative, not the subtlety of
the painting – which is actually very important with this
particular work, because beauty redeems squalor. The
scene is one thing, the brushstrokes and composition
another.
AR What about all your other stuff ? Aristocrats going off
on escapist trips to pleasure islands for love and music
– what’s all that about?
W They are scenes painted for the newly wealthy who want
a vision of aristocracy to hang on their walls, so they can
fantasise deliciously about what it must be like to be born
noble, to live a life of refined happiness. Music and love,
picnics with beautiful people in beautiful surroundings, a
moment of pleasure suspended forever – that’s the subject
matter. The class aspect is of a certain interest in your
time, but then there’s the beauty of the paintings. This
aspect, the true interior life of art, is not so much separated
from the subject as intertwined with it, so it’s possible
to experience the painting as a set of echoes or rhymes,
with the structure constantly changing. You come in at
one point and feel the correspondences in a certain way,
and you can get lost in that. But then you might come in
somewhere else and it’s a different trip. These metaphors
of being lost in a pleasurable rather than alarming way, and
of going on a journey, are important both to the subject and
the content.
AR Gosh, that’s a lovely way of putting it. How do you feel
about Damien Hirst having his paintings at London’s
Wallace Collection, where a lot of your stuff is kept? He
did the paintings himself, without assistants.
W I think there’s something clever about him installing the
work in a place where everything revolves around patronage
(the power-people who commissioned masterpieces in
the Titian era, and then, from my time onwards, the new-
money people who took over the task of nurturing great
art). Having done the sale of the century on the night of
the big world-market crash, in 2008, the proposal that he
is now painting his own paintings makes sense, because it
tells us that he’s still telling a story about money. He shows
us that having understood conspicuous consumption he
now also understands reining in: even though it has changed
dramatically, he continues to understand the sensibility of
the moment.
AR Those pictures look like they were fun to do, but not much
effort went into them, as opposed to calculation about
what buttons to press to sell an idea. Laughable signs of
greatness include pseudoscientific diagrams à la Leonardo
and an all-blue palette à la Picasso c. 1903. Altogether they
make up a sort of joke on profundity, like the Tories in the
1980s enacting a joke on poshness.
How do you feel about Damien
Hirst having his paintings at
London’s Wallace Collection,
where a lot of your stuff is kept?
He did the paintings himself,
without assistants
W They do in fact fit very well with the vibe of the Wallace
Collection. It’s not the gallery’s awesome art that they
complement but its creepy heritage-site ambience. He
uses the Wallace Collection environment as a background
for his new products, as if he’s designing a display event in
a 1980s shop window.
AR The PR for the show quotes his own words, that the
pictures are ‘deeply connected to the past’. It goes on to
say that he has ‘opted to present these works in a classical
context, surrounded by Old Master paintings in the great
 AN ORAL HISTORY OF WESTERN ART
European tradition’. Obviously if an artist feels his stuff
is deeply connected to the past, then it’s only right that it
should be hung side by side with Rembrandt.
W But if the paintings aren’t much good, and the context is
bogus, and the press release megabogus, that doesn’t mean
Hirst is nothing. In fact it is possible to see this forthcoming
show not as a load of rubbish, or at least not as that alone,
but rather as the latest step in a consistent strategy – one
in which ‘rubbish’ is more a problem for uptight purists
(who eat themselves alive each day with envious hostility
anyway) than normal people.
AR In Charles Saatchi’s recent book, Hirst is linked to Andy
Warhol and Donald Judd, as well as Jackson Pollock.
Saatchi says that it is only these four names that the future
will recognise as anything more than footnotes.
W From a painting like Pollock’s Lavender Mist (1950) to a
painting like, say, Warhol’s Mustard Race Riot (1963), it
might seem there’s a big jump, and to Hirst’s current ‘blue
period’ concoctions, that’s a jump again. And in between are
all the Untitleds by Judd, variously mono- and multichrome.
I do think it’s worth considering this mad rainbow alliance,
however. Pollock is the odd man out, because although
he simplifies, he isn’t really a minimalist, whereas the
others pretty much are. Pollock is a refined sensualist who
is misunderstood as a shock-tactics sensationalist. His
paintings depend on a quivering sort of life that the canvas
has, the way the paint soaks in, the way each mark hits that
surface in a particular way, the way the surface breathes.
He makes touch crucial. What is important with the other
three is not a sensitive surface but a concept worked out in
advance and executed remotely. (With the new paintings,
Hirst does the work himself, but he’s really just being his
own assistant for strategic reasons.)
AR Warhol certainly has a good design sense. But ultimately it
is a sort of pseudophilosophy that counts with him, and his
visual sense is not really any more marvellous than that of
any other designer.
W Yes. Warhol is good at all sorts of things, but willing to
be a bit average too, if it pays, just as Judd often was (the
problem of appreciating Judd is more complicated than
just the inaccessibility of Judd exhibitions in which the
appropriate conditions prevail: in the last years of his life,
as he rode the 1980s art boom, he churned out a lot of
below-average stuff, just for money).
AR Hmm. A look of blankness links Warhol, Judd and Hirst.
But it is a misconception to think of Minimalism’s blankness
as actually blank. When art has great proportions, colour,
shape, delineation and impact, etc, to see it is to be
emotionally lifted.
54 ArtReview
Hirst does the work himself
for strategic reasons. He shows
us that having understood
conspicuous consumption he
also understands reining in
W Exactly, Matthew – so, between the late 1980s and early
90s Hirst’s imagery was even more literalist than Warhol’s.
His dead shark more emphatically embodies the concept
‘death’ than a photo of dead people under a crashed car
that is silk-screened repeatedly over a field of flat colour.
That would be a small achievement except that, because
of its minimalist presentation, Hirst’s shark has an infinite
capacity for metaphor. The glassy tank, the flatness, the
feel of a sort of ritzy glow surrounding death, the very
reflections in the glass, not to mention the fascination of
the physical being of the shark, its jaws and eyes and flaking
pale grey hide: all contribute to a compelling visual event.
We want to stare, and our thoughts race.
AR But as art goes a bit more popular, Hirst goes kitsch to fit
with the alteration in art’s mood.
W You can see the Hirst story as depressing or exhilarating,
depending on the perspective you take. Warhol’s sense of
the philosophy of the object, even if the philosophy doesn’t
translate into anything impressive once you remove the
framework of the object, and Judd’s sense of the thing not
being the thing, but the combination of the thing and the
space around it being the real thing: they both resonate in
Hirst. But at the same time he is independent. His influence
is society. His art of the late 1980s and early 90s was a
brilliant crystallisation (in the form of art) of the way in
which consumer objects were sold in the 80s. Display was
everything in that decade, and with these early works he is
the king of display. By the time of his Gagosian New York
shows, Hirst had reached a high point: a great giddiness of
surfaces. But even though the objects and narratives have
been on a steady slide downhill ever since, the essential
creative originality is still there. To see this involves seeing
him as most of society actually does see him, as the artist of
what really counts in your times: money.
Next month: Hogarth revs up art with stimulating scenes of
raddled tarts
 Marcel Odenbach, Still from: Niemand ist mehr dort, wo er anfing, 1989/90 Courtesy of the Artist and Galerie Crone, Berlin

1989
End of History or
Beginning of the Future?
Comments on a Paradigm Shift
10|09|09 – 07|02|10

Museumsplatz 1, A-1070 Vienna Daily 10 am – 7 pm, Thu 10 am – 10 pm

Info +43-1-52189-33 | www.kunsthallewien.at

inserat art review 24.7.09.indd 1 26.07.2009 0:51:33 Uhr

 BIRGIT
GABRIELE SCHOR
ABIGAIL SOLOMON-GODEAU

JÜRGENSSEN

VERBUND
VERBUND
sammlung

BIRGIT JÜRGENSSEN
First Monograph & Exhibition
Austrian artist Birgit Jürgenssen (1949–2003) was one of the most outstanding feminist avant-garde artists.
Initiated by the Sammlung Verbund, the first monograph of the artist will be published in November 2009 by Hatje Cantz.

Birgit Jürgenssen Monograph

Eds. Gabriele Schor, Abigail Solomon-Godeau
With texts by Elisabeth Bronfen, Sigrid Schade, Gabriele Schor, Abigail Solomon-Godeau, Geraldine Spiekermann et al.
The book will be published in German and English.

Birgit Jürgenssen Exhibition

The publication is accompanied by an exhibition of some 50 of the artist’s works from the Sammlung Verbund
which can be seen in the Vertical Gallery in the Verbund headquarters in Vienna.
25 November 2009 – 10 March 2010, registration necessary: sammlung.verbund@artphalanx.at

www.sammlung.verbund.at
 British Council Collection
My Yard
Whitechapel Gallery

2 October Selected by artists Whitechapel Gallery

– Jeremy Deller and 77–82 Whitechapel
Alan Kane. High Street
6 December 2009 London E1 7QX
Aldgate East
Supported by:
Admission free

whitechapelgallery.org

Paul Noble Villa Carl, 1997, pencil on paper. © The Artist.

Art Review Ad.pdf 11/9/09 17:13:11

CM

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 PANDORA’S SOUND BOX
Curated by Lara Pan
MICHAEL AERTS, DAVIDE BERTOCCHI, PIERRE BISMUTH, OLAF BREUNING,
DIANGO HERNANDEZ, AGNIESZKA KURANT, MATTHIEU LAURETTE,
ROBERT LAZZARINI, OSWALDO MACIA, TANJA OSTOJIC,
VADIM VOSTERS, CARLO ZANNI

2-22 November 2009 Wed - Sun 11am-7pm

White Box, 329 Broome Street, New York, NY, 10002 USA

Federico Luger
http://www.performa-arts.org/ http://www.whiteboxny.org/ Special thanks to: Coma Gallery

MADDER139

HAS NOW MOVED TO

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NESSIE STONEBRIDGE
Postures of Delirium

9 October - 22 November 2009

Tel: + 44 20 8980 9154

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info@madder139.com
 Art_Review_268mm(H)x96mm(W):Layout 1 9/9/09 15:24 Page 1

3 December 2009 - 6 February 2010

Cast Alfred MolinA, eddie redMAyne

Director MichAel GrAndAGe

Box office 0844 871 7624 principAl sponsor

www.donmarwarehouse.com EVA ROTHSCHILD COLD CORNERS 2009,

TATE BRITAIN © EVA ROTHSCHILD
Earlham STrEET, SEvEn dialS, london wc2 PHOTO: CHARLIE CRANE
YOUSSEF NABIL

october 17 - december 15, 2009

opening saturday, october 17, 6 p.m.
book available
text by
Pier Luigi Tazzi

Galleria Poggiali e Forconi, Firenze

www.poggialieforconi.it info@poggialieforconi.it
Manifesto by NIGEL COOKE
For this year’s Power 100 issue we asked painter
Nigel Cooke to produce a series of works
responding to the theme of ‘power’ in a much-
changed artworld.

Manchester-born and Canterbury-based, Cooke

paints scenes of disaffection and urban decay.
Hammer House of Horror motifs, graffiti and other
assorted pop-culture detritus litter his works,
which resemble the pages of an outsize graphic
novel. Cooke’s take on the artworld has always
been questioning, peripheral: in his recent
series New Accursed Art Club, which was shown
at Stuart Shave/Modern Art in 2008, he depicts
a cowed and self-doubting group of figures taken
to signify the wider art community. For this
issue he has created our cover and five other
works, typically bleak yet beautiful and perhaps
even redeeming takes on what power might mean
in an artworld wondering what to do in the face
of economic uncertainty.

Cooke completed a PhD in fine art at Goldsmiths

College in 2004, and that year was given a solo
show in Tate Britain’s Art Now space. Alongside
exhibiting with Stuart Shave/Modern Art, he has
had solo shows at the Moderna Museet, Stockholm,
the South London Gallery and New York’s Andrea
Rosen Gallery. His work is also featured in
collections including those of Tate, London,
MOCA, Los Angeles, the Guggenheim, New York,
and the Dakis Joannou Collection Foundation,
in Athens.
 4 September – 17 October

Paolo Piscitelli
Work

23 October – 28 November

nicholas nixon
Vincenzo castella
About Town

4 December – 22 January 2010

25 or 30 years Gallery
Part I
CONVERSATIONS
WITH THE OTHER SIDE
BEN JUDD & SIDSEL CHRISTENSEN

foAm, Amsterdam
4 September – 22 November 2009 “Today we’re going to go further!”
charlotte dumas
Paradis 7 pm Thursday 29th October
The David Roberts Art Foundation
111 Gt Titchfield St, London W1
Tel: 020 7637 0868 www.davidrobertsartfoundation.com

Galerie
Paul andriesse
Withoedenveem 8 [Detroit Building] NL-1019 HE Amsterdam
T +31 20 623 62 37 info@paulandriesse.nl www.galeries.nl/andriesse
aaron young — SEMPEr IDEM
october 20, december 17, 2009

20 rue de l’Abbaye, 1050 brussels t +32 (0)2 648 56 84 contact.brussels@alminerech.com www.alminerech.com

In association with

ArtReview 73
the power 100

Introduction

The usual tactic when introducing a list such as this one is to offer your excuses (for any perceived
errors or slights caused by the ranking process) in a statement pointing out that all such rankings
are to a certain degree subjective. With the Power 100, however, this (the subjectivity of it) is
especially true. Unlike other art ranking lists, we do not attempt to judge artists by their market
worth, dealers by their total sales or curators by the number and quality of reviews they get
or the volume of people who visit their shows. Instead, for the last four years, the selection
of the Power 100 has been based on four basic categories: having an influence on the kind of
art that’s being produced today; having influence on a global rather than a local scale; having
actually done something during the past 12 months; and having some influence over the market
for art. This year, reflecting more general trends and the fact that art that can survive without
wheelbarrows of cash is probably going to be the most enduring right now, this last factor was
given less weighting than the others.
Excuses aside, the Power 100 is an attempt to map out the general trends and forces that
shape the world of contemporary art, and importantly, to give them a degree of transparency
that they would not normally have.
The Power 100 is decided by a panel of international experts comprising ArtReview’s
editors and contributors, and an increasingly large number of artworld insiders who prefer,
for obvious professional and social reasons, to remain anonymous. Without any doubt, this
year saw the most disagreements as to the composition of the top ten, and to the identity of
the number one in particular. The general consensus was that, while museums rather than
commercial galleries are in a better position to show new and challenging work today, there
was no one individual who could be said to be shaping the face of the artworld right now. After
much debate, it was decided that perhaps it’s an approach rather than a person that’s shaping the
postrecession artworld. In general the list reflects the rise of flexible networks and freewheeling
curators with definite agendas to set in play over individuals or static large-scale institutions.
There are two important groups who, as in previous years, are excluded from the list:
art advisors and art magazines. The first are omitted because of the difficulty of distinguishing
whether power lies with a collector or with the network that influences the collector, the
second because we would have to work out where we stand on or off the list. There are some
administrative changes, too – museums are represented by their directors only. Where the panel
felt that other people in large institutions should be acknowledged, they are listed in side panels.
The museum entries on the list, however, represent the achievements of the institution as a
whole rather then the person named on the list.
ArtReview has partnered with Ruinart, a key supporter of the contemporary artworld,
on the 2009 Power 100 list. Ruinart’s other partnerships include Maarten Baas, India Mahdavi
and Patricia Urquiola.

Nigel Cooke The Inventory, 2009. Courtesy Stuart Shave/Modern Art, London

74 ArtReview
 the power 100

Hans Ulrich Obrist

Category: Curator
Nationality: Swiss
Last Year: 35

Anyone can do a lot; not everyone can do a lot and consistently do it well. Even fewer can keep doing it well, year upon
year; and of those who can, nobody does more, better, than Hans Ulrich Obrist. When the Swiss dynamo issued a six-
point curatorial statement relating to his Beijing Mini-Marathon in December 2008, the first point was: ‘Don’t stop. We
never stop’. It’s clearly the ubiquitous curator’s axiom, and Obrist’s third year of juggling a full quota of freelance work with
his job as co-director of exhibitions (to abbreviate his extensive title) at the Serpentine Gallery found him continuing at
full, burnout-defying speed. In the London institution, working alongside Julia Peyton-Jones, he helped shape a diverse
programme of solo shows ranging from glossy (Jeff Koons) to oblique (Rebecca Warren), from old (Gustav Metzger, b.
1926) to young (Luke Fowler, b. 1978), and continued his mission to introduce the West to the East via December’s lively
group show, Indian Highway – mounted shortly after Obrist jetted back from the East himself, having cocurated the 3rd
Yokohama Triennial. Then, from highways to Unbuilt Roads, this being the title of his springtime exhibition dedicated to
107 artists’ unfinished projects (an Obrist obsession) at e-flux’s project space in New York. Enough? No. Add the publication
of Obrist’s illuminating interviews books, A Brief History of Curating and On Curating; the acclaimed restaging of his and
Philippe Parreno’s ‘time-based exhibition’, Il Tempo del Postino (2007), at Art Basel. Factor in Daniel Birnbaum’s Venice
Biennale, whose concerns with networks and globalism strongly reflected an ongoing dialogue with Obrist. Add the lectures,
the predawn Starbucks seminars (aka the Brutally Early Club), the panel discussions, the – wait, can I have another 250
words, please?

Nigel Cooke The Reflection, 2009. Courtesy Stuart Shave/Modern Art, London

ArtReview 77
the power 100

Museum of
Modern Art

Kathy Halbreich

2
Associate Director

Halbreich came to MoMA from the Walker

Art Center last year, to fill the newly created
post of Associate Director, the
understanding being that Glenn Lowry
focuses on the money while she focuses on
the art. As she takes MoMA into the twenty-
first century, much is expected of her.

Ann Temkin
Glenn D. Lowry Chief Curator of Painting and Sculpture

Category: Museum Director Having joined MoMA in 2003, Ann Temkin

Nationality: American stepped into what is for many people
Last Year: 3 (with Associate Director Kathy modern art’s most prestigious curating post
Halbreich as the entry) last September, succeeding the
venerable John Elderfield. ‘I plan to take
a broader, more international
view than we did in the past’, Temkin said
back then. We’ll wait and see.
As The New York Times critic Holland Cotter has pointed out, in periods of market
excess, museums appear to have an excruciatingly slow time-lag. By the time art
makes its way into museums, it has already been internationally preapproved, so to Connie Butler
speak, by commercial galleries, fairs, sales. Not so now, with many New York galleries Chief Curator of Drawings
trotting out shows so safe they might as well be exhibited in padded cells. MoMA’s
contemporary exhibitions take on extra significance in such times, and this is exactly After a decade at MOCA, Los Angeles,
the kind of thing we’re expecting from Greater New York 2010, the next edition of an Butler moved east to MoMA in 2006.
exhibition organised by P.S.1 and MoMA, and held every five years that surveys artists Having established a reputation for
living and working in New York. With artists increasingly going their own way, and producing some of the most intellectually
surviving the brave new world without the big sale, 2010, curated by Klaus Biesenbach, and visually stimulating shows in LA, Butler
Connie Butler and Neville Wakefield, is looking more exciting than it frankly should. curated the hugely influential WACK! Art photo of Glenn D. Lowry: Timothy Greenfield-Sanders
Lowry was revealed as one of the biggest earners in the US nonprofit arts sector last and the Feminist Revolution, which started
year (this after taking a voluntary 10 percent cut in his salary), but with the help of at MOCA and has been touring ever since.
Kathy Halbreich (who in terms of the artworld is perhaps the real figurehead of New This year she organised MoMA’s Paul
York’s premier institution and who appeared in Lowry’s stead in last year’s version of Sietsema show.
this list, in acknowledgement of her key role in the rebuilding of MoMA), he’s steering
the MoMA ship in a positive direction: the exhibitions programme has benefited from
an increased emphasis on performance, including a major Pipilotti Rist installation Klaus Biesenbach
and performances from Yvonne Rainer, Roman Ondák and Mark Leckey, alongside Curator, Department of New Media and
the knockout shows we have come to expect, with Marina Abramović and Gabriel Performance Art
Orozco coming next year. Throw in their recent windfall, a surprise $10 million left in
a donor’s will, and MoMA’s future, on the whole, is looking rosier than it should. Biesenbach’s remit at MoMA was spruced
up this year when his became the
Department of New Media and Performance
Art. Biesenbach has become the specialist in
Nigel Cooke The Question, 2009. Courtesy Stuart Shave/Modern Art, London time-based media of all sorts.

78 ArtReview
 the power 100

Tate Modern

Sheena Wagstaff

3
Chief Curator

Wagstaff’s programming has been steady

in the eight years she’s been chief curator.
Solo exhibitions overseen by Wagstaff, of
artists such as Louise Bourgeois, Juan
Muñoz and Edward Hopper, have explored
darker, surreal undercurrents in twentieth-
century art. Next year will bring an
anticipated retrospective of Francis Alÿs as
well as the first Paul Gauguin exhibition
Sir Nicholas Serota in half a century.

Category: Museum Director

Nationality: British Frances Morris
Last Year: 4 Head of Collections (International Art)

Morris’s approach to hanging Tate Modern

thematically has changed the way it is seen.
Brrr, it’s tough out there, but the ever-affable Serota is coming out fighting for Dramatic juxtapositions are signatures of
Tate. The Department for Culture, Media and Sport revealed a £100 million this approach to the collection, which has
funding black hole for the arts in England in July that cash for Tate Modern’s £215 recently included a timely emphasis on Arte
million extension has fallen face-first into. Who made that phone call? “Ermm… Povera. Alongside contemporary works,
something to tell you… [mumbles].” At present Tate only have a third of the it’s been a record year for acquisitions at
money, but Serota is upbeat about continuing to open for the London Olympics in Tate, boosted by the d’Offay Artists Rooms
2012: ‘We are in discussion with a number of people who are more than capable donation, which inject some art with the
of giving us the large gifts that we will require for this project’, he said recently. power to bring out the brightest elements of
Still, put your best face on (again) for this year, Sir Nick, as chasing the money Tate’s collection.
is sure to consume much of your time, what with the £45 million refurbishment
of Tate Britain to fund too. All that said, Tate put on some huge exhibitions this
year, including Rothko and Bacon blockbusters, and braver fare in Bourriaud’s
Jessica Morgan
Altermodern: Tate Triennial, Baldessari, Balka, a daring tackling of art market Curator (Contemporary Art)
commercialism at an awkward moment in Pop Life and a staggeringly elegant
Roni Horn retrospective. Tate Liverpool’s programme also looks more exciting by Morgan’s group shows Common Wealth
the day, with a recent Michael Landy vs. Jean Tinguely exhibition, and Nam June (2003) and The World as a Stage (2007),
which she cocurated, identified artistic
Paik in 2010, as does that of Tate St Ives since the appointment of Martin Clark.
photo of Sir Nicholas Serota: © Manuel Vason

concerns that have only seemed to grow in

Though the shadow of the extension will loom large for the next few years, and a
significance since. Dominique Gonzalez-
period of hard graft and uncertainty lies ahead, the benefits for London and the
Foerster’s Turbine Hall commission fell a
UK will be staggering if it can be pulled off.
little flat, but John Baldessari: Pure Beauty,
curated by Morgan alongside LACMA’s
Leslie Jones, should delight here and on
its travels.

Nigel Cooke The Spiral, 2009. Courtesy Stuart Shave/Modern Art, London

ArtReview 81
the power 100

4
‘Biennales’, Daniel Birnbaum told Art+Auction in June, ‘are not
there to be loved. They are there to be discussed.’ Certainly the
Swedish curator’s turn as artistic director of the Venice Biennale
wasn’t universally adored. Some found Fare Mondi/Making
Worlds muted, cerebral, overly reflexive (Diedrich Diederichsen,
in Artforum, discerned riddling ‘Mr Spock art’); Marcus Verhagen,
for ArtReview, conversely praised Birnbaum’s ‘cool and wary
vision of modernity’. Commonly asserted, however, was that the
biennial model as a whole needs overhauling, leaving Birnbaum
– at forty-five, Venice’s youngest-ever director – looking relatively
blameless. And an intellectual regime might have been expected
from Birnbaum, who this year republished his 1992 work of Daniel Birnbaum
gastronomic-melancholic theory, As a Weasel Sucks Eggs: An Essay
on Melancholy and Cannibalism (coauthored with Anders Olsson). Category: Curator
In the run-up to Venice, he’d also curated the Turin Triennial and Nationality: Swedish
cocurated the 3rd Yokohama Triennial, and remains director of Last Year: 13
the Städelschule in Frankfurt, curator of the institution’s Portikus

photos: Giorgio Zucchiatti, courtesy Fondazione la Biennale di Venezia (4), Billy Farrell © Patrick McMullan, courtesy Gagosian Gallery, London (5)
gallery and a prolific critic. What Birnbaum knows about eggs,
clearly, is that they’re best divided among several baskets.

Ah, Gogo. The man with the one true global brand-name in luxury
contemporary art has become so acclimated to the higher altitudes

5
of this list that it seems he’s begun eschewing the oxygen of pure
commerce for the kind of free climbing once reserved for those
who trained in the rarified air of the world’s top museums. What
the hell are we talking about? Why, Picasso, of course. For a little
over two months last spring, at his no-longer-that-new 21st Street
space in Chelsea, Gagosian mounted a museum-quality show of
works centred on the Spanish master’s late mosqueteros, complete
with holdings from the collection of Bernard Ruiz-Picasso, the
Museo Picasso in Málaga, Spain (Picasso’s birthplace), and, of
course, the Museum of Modern Art in New York. What’s more, the
exhibition was curated by John Richardson, whose four-volume
Larry Gagosian biography of the artist (the third volume was brought out in 2007,
which means the Gagosian exhibition could only be fodder for the
Category: Gallerist fourth) promises to be the last word on the artist’s life and art, at
Nationality: American least for a little while. The catalogue featured original research
Last Year: 2 by younger Picasso scholars and newly translated texts related
to the ageing minotaur’s later years. Oh, and Annabelle Selldorf
– crafter of Ronald Lauder’s Neue Galerie, David Zwirner’s house
architect, literally – did the exhibition design. Lest art get in the
way of commerce (this is Gogo, remember), the gallery opened up
a storefront retail operation on Madison Avenue, which will sell
books, prints, limited editions, multiples and other items designed
and authored by all those who bask in the light of Gagosian’s star (or
shiver in his shadow).

82 ArtReview
 This is Pinault’s eighth straight year at the top end of the Power
100, and in each of these, the soft-spoken, self-made tycoon has
managed, in one way or another, to have a colossal impact on
the arc of contemporary art. Whether buying and opening the
Palazzo Grassi in Venice in 2006, upsetting the artworld with the
purchase (through his auction house, Christie’s) and subsequent
expansion from London and Zurich to Berlin and New York of the

6
gallery Haunch of Venison in 2007 or partially bankrolling Koons’s
occupation of the Château de Versailles in 2008, Pinault’s big-fish
movements in the little pond of contemporary art are impossible
to ignore. This last year was no exception, beginning with the
Palazzo Grassi’s hosting of Italics, an unorthodox survey of Italian
art from 1968 to 2008 curated by Francesco Bonami and featuring
more than a hundred artists. The polemical exhibition sparked its
fair share of controversy (for instance, Jannis Kounellis refused to
photos: © Luc Castel (6), visible behind Eli Broad: Andy Warhol, Self-Portrait, 1966, © The Andy Warhol Foundation for the Visual Arts, Inc, New York (7)

participate because he thought it warped the history of Arte Povera)

and cavalierly inconvenienced the history books. Meanwhile, after
winning a bid on Venice’s Punta della Dogana in 2008 against the
François Pinault Guggenheim, Pinault had the seventeenth-century customs house
restored and refurbished by Japanese starchitect Tadao Ando in
Category: Collector 14 months. With great fanfare Pinault inaugurated this addition
Nationality: French to his contemporary art empire during the opening of the biennial,
Last Year: 8 with Mapping the Studio, curated by Bonami and Alison Gingeras.
Although reviews of the show were certainly mixed, the utter
magnificence of the third richest man in France’s gesture was, well,
magnificent.

7
‘All too often, museum directors and curators are more interested in
what their peers think or collectors like myself think than educating
a diverse public’, Eli Broad told the Wall Street Journal earlier
this year. But his activities of the last 12 months might give a few
clues as to why museum directors and curators all too often think
the way they do. Together with his wife, Edythe, Broad operates
a foundation worth around $2.1 billion. The extension to the Los
Angeles County Museum of Art (LACMA) opened in February
2008 bearing Broad’s name and funded by $60 million from the
foundation. Later in the year he pledged $30 million to bail out LA’s
near-bankrupt Museum of Contemporary Art. ‘This is not a one-
philanthropist town’, Broad wrote in an LA Times opinion piece, Eli Broad
although you could be forgiven for thinking it is. Broad describes
his activities as ‘venture philanthropy’, which might translate Category: Collector
as ‘you don’t get something for nothing’. LACMA thought they Nationality: American
were getting Broad’s very significant (although not particularly Last Year: 10
diverse: the Guerilla Girls point out that the foundation collection
– as opposed to Broad’s personal collection – contains work by 194
artists, 96 percent of them white and 83 percent male) art collection
when they built the extension. A month before LACMA’s extension
(which shows works from the collection) was inaugurated, Broad
made it clear, in an interview in The New York Times, that this would
not be the case. Some called it the worst PR disaster in LACMA’s
history, others claimed that LACMA ‘got screwed’, but perhaps
Christopher Knight got it right in the LA Times when he described
Broad as ‘a hugely successful businessman who exchanges project
involvement for near-absolute control’. Whatever you think about
his motives and motivations, there’s no doubt that museums and
curators in LA in particular (though there are a number of other
museums bearing his name dotted around the US) will probably be
most interested in what Broad thinks for some time to come.
the power 100

e-flux began in 1999 with an email announcement about a small

exhibition in a Holiday Inn hotel room – a sort of prototypical
artist-run space – in New York’s Chinatown; by 2002 it had become
the artworld’s central broadcasting network for everything and
anything related to the visual arts, and perhaps more importantly,

8
it had become economically self-sustaining. From this platform,
artist Anton Vidokle and various collaborators, in particular
artist Julieta Aranda and writer Brian Kuan Wood, began a set of
projects related to their interests; now a decade on, and not exactly
art collective (e-flux itself), nor school (unitednationsplaza;
Night School), nor archive (e-flux video rental; Martha Rosler
Library), nor activist group (The Next Documenta Should Be
Curated By an Artist), but all of these things and none of them
at once, Vidokle’s organisation has become the centre of a body
of work – real work and artwork – at once avant-garde and
possibly instrumental to the renewal of artistic practice as such.
‘Artists’ initiatives these days from the start mimic existing
Anton Vidokle/e-flux, institutional and commercial structures: incorporate, establish
Julieta Aranda & a board of directors, sell memberships, produce benefit auctions
and market editions, sell artworks, etc’, Vidokle told Hans Ulrich
Brian Kuan Wood Obrist a couple of years ago. ‘To think that this has no effect on
their programming or the content they generate would be naive.
Category: Website There is virtually no period of experimentation before this type
Nationality: Russian, Mexican, American of “normalised” behaviour sets in.’ The only cloud on the e-flux
Last Year: Reentry (99 in 2004) horizon is that for coming generations their behaviour, no matter
how random and unpredictable, is now a kind of institution in its
own right, and might, therefore, become the new norm.

After two years of builders, hardhats and scaffolding, Iwona Blazwick

can justifiably be proud of having masterminded the opening in
April of the Whitechapel Gallery’s £13 million expansion (which
doubled the space of the original gallery), an occasion marked by
a cornucopia of new shows and commissions, including German
legend Isa Genzken and Turner Prize nominee Goshka Macuga.
Indeed, under Blazwick, the gallery’s profile and programme have
been significantly expanded in a manner that has propelled the
institution to the centre (rather than the slightly-out-of-the-way
east-of-centre) of the London artworld: as well as running a series

9
of festivals, events and education programmes, the gallery launched
in September the inaugural London Art Book Fair (featuring 80
publishers). It continues to host the MaxMara Art Prize for women
artists and, in an age when many similar galleries are courting
publicity and popularity, to push an agenda promoting established
and emerging female talent (the next round of exhibitions features
leading French artist Sophie Calle and the considerably lesser
known Inci Eviner). Onetime ICA director of exhibitions, then
head of exhibitions and displays at the Tate, Blazwick is a shrewd
power operator – she gave Damien Hirst his first major show and
once declared that the Tate Modern Turbine Hall ‘was in fact
just a rehearsal’ for her plans for the Whitechapel; last year she
was appointed chair of the Mayor of London’s cultural strategy
Iwona Blazwick
group. She also found time to be a juror for this year’s Carnegie
Art Award and to lure curator Achim Borchardt-Hume from Tate. Category: Museum Director
Meanwhile, and unsurprisingly, gossips tip her to succeed a previous Nationality: British
Last Year: 76
Whitechapel director for the top job at Tate – when (or if) Sir Nick
decides to step down.

84 ArtReview
 Pompidou Centre

Christine Macel

10
Chief Curator

This year Macel curated a Damián Ortega

exhibition as well as the French arm of
Philippe Parreno’s huge multivenue
retrospective-in-motion, and also wields
influence over the commercial galleries,
via the selection board of FIAC art fair.

Camille Morineau
Bruce Nauman Curator

Category: Artist Made history this year with elles@

Nationality: American centrepompidou, a year of showing only
Last Year: 45 female artists from the museum’s collection
– proving that, unlike other museums, they
have collected enough female artists
to do so, but also weaving a dramatic
alternative history.

The most important artist in the world? Who’s arguing? Not, one would imagine, many
people who saw Topological Gardens, Bruce Nauman’s stellar solo presentation in
Laurent Le Bon
the American Pavilion and two off-site locations at Venice this year. Not the Biennale Curator
jury that consequently awarded him a Golden Lion to match the one he received in
Part of the curatorial team for Voids, this
1999. And, obviously, not us. You can take Nauman historically: he’s a pioneer of
year’s challenging investigation into the art
postmedium practice and expanded forms of sculpture; while exploring issues of
of nothing. Le Bon directs planning team for
communication and how meaning is conveyed, he’s displayed a haunting sensitivity
Pompidou’s first regional museum, Centre
to life’s dead ends, circularities and cruelties; he’s a longstanding ironist and wit
Pompidou-Metz, opening early next year.
whose classic 1967 neon text piece, The True Artist Helps the World By Revealing
Mystic Truths, balances brilliantly on a knife-edge between sincerity and sarcasm.
The list of people he’s influenced ranges from Mike Kelley to Rachel Whiteread to
Tim Hawkinson. Yet his own art uncannily resists dating, and as he heads towards Bernard Blistène
seventy, the man who lit out for the seclusion of a New Mexico ranch in the mid- Director of Cultural Development
1980s is clearly not ready to be a historical figure. This year found Nauman marking
the 40th anniversary of the moon landings by skywriting the phrase ‘Leave the Currently overseeing the Pompidou’s first
earth alone’ above Pasadena: a statement that could refer to ecological concerns, the five-week new festival, responsible for taking
loneliness of an astronaut’s voyage into the ether or mortality, and whose ambiguity, the museum into new territories of
performance, theatre, interaction and music,
subtlety and sadness are classic Nauman. ‘Check any of the top 100 or top 10 lists in
with contributions from Carsten Höller,
the art glossies that track the ups and downs of artists’ popularity among collectors
Jorge Pardo, Elmgreen & Dragset, Tobias
photo: Carlos Basulado

and institutions and you will find that name firmly positioned at or near the summit’,
Rehberger and Ulla von Brandenburg.
wrote Robert Storr this year. Well, this is the list, Mr Storr; but it’s wholly true about
Nauman, and deservedly so.
the power 100

11
Iwan Wirth
12
David Zwirner
Category: Gallerist Category: Gallerist
Nationality: Swiss Nationality: German
Last Year: 5 Last Year: 7

Still in his late thirties, Europe’s leading dealer can boast an
international gallery empire: this September, he opened his
first New York venue. Bad timing? Hauser & Wirth began
in recession-struck 1992. As Wirth told Art+Auction in
February: ‘Now is also a fantastic moment to expand.’ The
Manhattan venue launched by remaking Allan Kaprow’s
seminal 1961 environment Yard; simultaneously, Wirth
keeps diversifying, signing up New Delhi-based Bharti
Kher while representing both ninety-eight-year-old
Louise Bourgeois and twenty-eight-year-old Jakub
Julian Ziolkowski. ‘I am not
‘I am a good salesman because I peddle good stuff.’ So said
David Zwirner back in March. One can’t fault the man
for straight talking. This past year saw Zwirner closing
sales on $2 million paintings by Martin Kippenberger,
$1m paintings by Neo Rauch (to Brad Pitt, no less) and
nearly entire shows by Lisa Yuskavage. (One thing he
supposedly couldn’t sell was a portrait of Bernie Madoff
by Yan Pei-Ming; but we think he’s got balls for even trying.)
In addition to the estates of Sandback, Taylor and Matta-
Clark, Zwirner picked up those of Alice Neel and Dan
Flavin. And to show all this ‘good

photos: Felix Clay, courtesy Hauser & Wirth, Zurich, London & New York (11), Grant Delin (12), Martin Schoeller (13), Johnnie Shand Kydd (14)
afraid of the current difficult stuff’? This autumn a new space,
climate and actually think we which will pick up Zwirner’s side
are in a great position’, Wirth of his now-closed partnership
recently told ARTINFO. It’s hard with Iwan Wirth (the new space
to disagree. is appropriately branded just
Zwirner), opens across the street
from the current gallery, on what
we might as well call Zwirner St.

13
Jeff Koons
14
Jay Jopling
Category: Artist Category: Gallerist
Nationality: American Nationality: British
Last Year: 11 Last Year: 6

Who could fail to be surprised
when watching Gus Van Sant’s
tear-jerker Milk last year to find
Jeff Koons sagely offering Sean
Penn (as Harvey Milk) a bit of
advice towards the beginning of
his political career? What rendered the scene surreal was
not so much the incongruity of artistic intentions (Gus
Van Sant and Koons?) as the hitherto unconsidered
possibility of one of the most photographed faces in
contemporary art successfully playing someone else.
I say ‘successfully’ because any lingering doubts could
only be dispelled by end credits. Did he do it... for the
money? If one were to judge by his ‘performance at
auction’, Koons is doing alright. His Moustache (2003),
which this year featured in his first-ever institutional
show in London, at the Serpentine, sold for £1.1 million
at Christie’s in June. One doubts that a turn to the silver
screen has anything to do with issues of cash flow.
Just a short fall for Jay Jopling
this year. Given the numbers of
galleries closing down or moving
to cheaper digs, Jopling’s
White Cube has weathered the
recession pretty well, with the
gallery represented at most major art fairs, and a string of
solo shows over the last year by heavy-hitters and media-
friendly artists (Georg Baselitz, Tracey Emin, Gilbert &
George) as well as others by more recent additions to his
stable (Rosson Crow, Zhang Huan). Being papped with
singer Lily Allen after separating from artist wife Sam
Taylor-Wood caused a bit of a media storm in the new
year, but it’s since been business as usual for London’s
premier blue-chipper.

86 ArtReview
 15
Marian Goodman
Category: Gallerist
Nationality: American
Last Year: 17
The always understated, ever-present and much-
respected keeper of contemporary art’s precinct of high-
seriousness, Marian Goodman weathered the economic
tumult by watching her gallery’s artists rack up accolades
photos: Michael Goodman (15), Timothy Greenfield-Sanders (16), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Paris (17), Pierre-Jean de San Bartolomé (18)
for major institutional exhibitions. Steve McQueen’s
Giardini reigned at the Venice Biennale: Jerry Saltz
called the film ‘haunting’ and a ‘real Venetian death
trip’. John Baldessari, whom Goodman scooped up only
recently, is being honoured with a major exhibition at
Tate Modern. Dan Graham got one that travelled from
MOCA to the Whitney to the
Walker, and Thomas Struth’s
Old Master photographs found
welcome walls at the Pulitzer in
St Louis.
17
Takashi Murakami
Category: Artist
Nationality: Japanese
Last Year: 28
Along with running his
production company, Kaikai
Kiki, and his biannual art fair,
GEISAI, the only artist to be a
candidate on Time magazine’s
100 Most Influential People shortlist found a bit of time
to churn out a few exhibitions in 2009. After a solo at
London’s Gagosian, and another at Larry’s Chelsea digs
in New York, Murakami geared up for yet one more at
Emmanuel Perrotin in Paris (rumour had it that the
whole show was sold out before it was even uncrated). It
wasn’t the best auction year for the Japanese impresario
– never mind his $2.6 million diamond-encrusted coup
with Pharrell Williams at Art Basel this summer – but
Murakami seems here to stay. Not least because, via his
studio system and art fair, his influence is not limited to
his artworks.
Agnes Gund
16
Category: Collector
Nationality: American
Last Year: 29
Glance over the list of donors to New York cultural
organisations, major and minor, or follow the faces
appearing in the society pages (at art events), and
one name appears consistently. But Agnes Gund’s
support, and her presence, reflect a commitment to
the nation’s increasingly stressed institutions that goes
beyond cheque writing and hobnobbing. She makes
the connections that get things done, whether it’s the
establishment of a programme to instruct museum
directors in the increasingly critical business aspects of
their jobs or the ongoing Studio
in a School, founded by Gund in
1977, to bring artists into New
York’s public schools. Her efforts
to keep art in the public dialogue
continue to set the standard for
committed engagement.
18
Alfred Pacquement
Category: Museum Director
Nationality: French
Last Year: 24
Director of the Pompidou since
2000, Pacquement’s current
claim to fame has a lot to do
with a (comparatively) modest
plan to expand and decentralise
the Pompidou and its collections. With plans in the
offing to partner up with the Palais de Tokyo in order to
host more midcareer solo surveys and create a mobile
Pompidou around France, the most concrete fruit of
these intentions to date is Pompidou-Metz. The centre,
which was originally meant to open in 2007 for the 30th
anniversary of the Pompidou, is a bit behind schedule
but should be opening next year. In the meantime, under
the aegis of Pacquement, the mothership continues
to host provocative and much-discussed exhibitions,
from Traces du sacré last year to Voids and elles@
centrepompidou, the latter consisting of a novel rehanging
of the contemporary collection, exclusively featuring
work by women artists.
the power 100
19
Peter Fischli &
David Weiss
Category: Artists
Nationality: Swiss
Last Year: New
Opinion is remarkably undivided on Fischli/Weiss. They’re
recognised masters of deadpan enquiry into the everyday,
increasingly obviously so thanks to their retrospective
Flowers & Questions, which toured institutions from 2006
to 2008. To follow, and mindful of a 2009 exhibition at
Madrid’s Reina Sofía museum collating their ‘Rat and
Bear’ works, the Swiss pair
reanimated their tragicomic
animal phenomenologists – who,
in Part of a Film with Rat and
Bear (2008), float hilariously
and plaintively around Milan’s
Palazzo Litta. If their animal
avatars are lost in space, Fischli/
Weiss – who this year celebrate
30 years of working together –
are as surefooted as ever.
21
Barbara Gladstone
Category: Gallerist
Nationality: American
Last Year: 26
It could have been a terrible year
for gallerist Barbara Gladstone:
she was named as a personal
victim of Bernie Madoff ’s
notorious Ponzi scheme.
Thankfully, the pension she
had with him for her employees
was shut down in 2008, sparing
the gallery the staff cuts that
have affected so many others.
With her spaces in New York and Brussels unaffected,
she has mounted several impressive exhibitions this
year, including those by big-hitters Matthew Barney
and Thomas Hirschhorn, as well as more economically
adventurous offerings, such as a show of comic-book art
over the summer.
88 ArtReview
20
Mike Kelley
Category: Artist
Nationality: American
Last Year: 61
Three decades into a career known for dense multimedia
installations articulating the anxieties deep within
American culture, and with a profound pedagogical
influence on recent art, Mike Kelley nevertheless
remains a rogue, outsiderish presence. Projects like
A Voyage of Growth and Discovery (2009), currently
showing at Long Island’s
SculptureCenter, don’t hurt:
it’s a six-channel, two-and-a-
half-hour video collaboration
with artist Michael Smith,
narrating an oversize baby’s
traumatic life. Kelley, as his
work has long attested, was
once a punk from Ann Arbor,
Michigan; he still is, somehow,
as a fiftysomething represented
by Gagosian. Quite a feat.
22
Steven A. Cohen
Category: Collector
Nationality: American
Last Year: 12
In that part of the artworld
where money talks and bullshit
walks, Cohen, 87th on the
Forbes 2009 list of billionaires
(net worth $5.5 billion, down
from a 2008 estimate of $8b),
still dominates conversations.
His acquisitions dazzle, both
for quality and price, and all
the more now that dosh has
become a wee bit scarcer. Along
with his collection, Cohen has picked up 5.9 percent of
Sotheby’s common stock, and last spring the auction
house mounted a show of 20 pieces from his private and
rarely seen holdings. Works by Van Gogh, Modigliani,
Matisse, Lucian Freud and Cindy Sherman suggested
that there was more to Cohen’s hoard than sheer buying
power and more to Sotheby’s than rank commerce. But
the marriage ultimately indicated what cosy bedfellows
art and commerce continue to make. For richer and for
poorer, as the wedding vow states.
Agnes Gund photographed by Juergen Teller, 11 September, New York
Kathy Halbreich photographed by Heinz Peter Knes, 15 September, New York
Glenn D. Lowry photographed by Heinz Peter Knes, 15 September, New York
Eli Broad photographed by Michael Evanet, 10 September, Los Angeles
Iwan Wirth photographed by Robi Rodriguez, 16 September, London
John Baldessari photographed by Heinz Peter Knes, 17 September, New York
David Zwirner photographed by Juergen Teller, 11 September, New York
Iwona Blazwick photographed by Robi Rodriguez, 14 September, London
 23
Dominique Lévy &
Robert Mnuchin
Category: Gallerists
Nationality: American
Last Year: 20 Whitney Museum of
L&M propel the major deals in the US auctions. Love American Art
and money? No, it’s Lévy and Mnuchin of L&M Arts.
Rulers of the New York secondary market, they are
moving forcefully into primary territory with the opening Donna De Salvo
of their LA gallery. Though delayed somewhat by permit
issues, it’s a big project (two linked ‘pavilions’ set in a Chief Curator and Associate Director
of Programs
375-square-metre garden and comprising 110 square
metres of exhibition space each). And it’s a showstopper
A guiding hand in most everything that is seen
of an opening for September 2010 – Paul McCarthy’s
or heard (and sometimes smelled, touched
first exhibition in an LA gallery
and tasted) at the Whitney. This month brings
since 1998. McCarthy says he’s
Roni Horn aka Roni Horn, a survey of the
‘pretty excited’. So are we. artist’s work, which was organised by De Salvo
along with Carter Foster, also of the Whitney,
and Mark Godfrey of Tate Modern (De Salvo’s
old stomping ground, and where the show ran
from February through May). Exhibitions like
these seem to be De Salvo’s bread and butter:
important works by important artists with
important things to say.

24 Shamim M. Momin
Adjunct Curator

Cocurator of the 2004 and 2008 Whitney

photo: © Dawoud Bey (background: © Sol LeWitt/Artists Rights Society (ARS), New York) (24)

Adam D. Weinberg biennials, and director and curator of the

Whitney branch at Altria from 2000 to 2008,
Momin cofounded the Los Angeles Nomadic
Category: Museum Director
Division (LAND) this year. The nonprofit
Nationality: American
LAND, which she also directs, aims to meet
Last Year: 36 (with curator the need for a public arts organisation in the
Donna De Salvo as the entry) city.

Under the affable Weinberg’s

six-year watch the Whitney Chrissie Iles
has continued to keep one foot Curator
firmly in the contemporary.
The past year has seen exhibitions of Elad Lassry and Formerly director of the Museum of Modern
Lucinda Childs and retrospectives of Dan Graham and Art, Oxford, and cocurator of the 2004 and
William Eggleston. For the 2010 biennial, the pairing of 2006 Whitney biennials, as well as the
Francesco Bonami with young Whitney curator Gary Whitney’s current Dan Graham retrospective
(which travelled from MOCA, LA). Iles’s
Carrion-Murayari (responsible for last year’s punchy
interests in film, video and minimalist and
exhibition series Television Delivers People, which
process-based art of the 1960s and 70s are
included artists such as Alex Bag and Keren Cytter) is
clearly reflected in the Whitney’s artistic
a canny one for a New York in which sales have not so
policy.
readily been propelling new artists into the foreground.
A twenty-first-century museum is also under way: Renzo
Piano’s designs for Whitney downtown, a 17,000-square-
metre building in the Meatpacking District by High Line
park, have just been revealed.
the power 100

25 26
Amy Cappellazzo
Marc Glimcher
& Brett Gorvy
Category: Gallerist Category: Auction House
Nationality: American Nationality: British/American
Last Year: 22 Last Year: 15

No one was immune to the economic crisis, and
PaceWildenstein, one of the largest, most professional
and oft-envied galleries in New York, had to lay off
12 percent of its staff. Things are not all bad, though.
Glimcher brokered what must be one of the artworld’s
largest private sales: $310 million in Rothkos from the
Merkin collection to an anonymous buyer. Sterling Ruby
and David Hockney joined the gallery. Lucas Samaras
represented Greece at the
Venice Biennale. And Glimcher
launched Artifex Press, a first-
of-its-kind digital publishing
platform for the production
and distribution of catalogues
raisonnés (Sol LeWitt, Agnes
Martin and Chuck Close are
in the lineup); oh, and Pace
celebrates its 50th anniversary
this spring.
Gone are the guarantees. Well, not exactly. Some just
won’t go away; like the one of $40 million for a Francis
Bacon painting, on which Christie’s allegedly reneged
when markets turned south last autumn (according to
reports, Gorvy was one of the ‘big guns’ dispatched to
secure the work in the first place). Nevertheless, last
May’s Evening Sale for contemporary art reached close
to $94 million. Though this was paltry compared to the
$348.2 million pulled in the
previous year, 50 of the 54 lots
sold, which is something of a
triumph in itself, and included
records for David Hockney,
Claes Oldenburg and Kerry
James Marshall.

27
Cheyenne Westphal
28
Ann Philbin
& Tobias Meyer
Category: Auction House Category: Museum Director

photos: Kerry Ryan McFate, courtesy PaceWildenstein, New York (25), Alia (28)
Nationality: German Nationality: American
Last Year: 16 Last Year: 39

Responding to last year’s Today there seem to be two

drastic declines at the Sotheby’s
Contemporary Art sales in New
York in November, Tobias
Meyer told one reporter that
the ‘silly money’ was gone and
that he was now actually a bit
relieved to be auctioneering to
a ‘responsible and intelligent
audience’. Um... Tobias? Even
the Russians? Regardless, it’s
still trouble when even the auction houses are getting
in on the economic-crisis-will-cleanse-the-artworld’s-
soul shtick. Meyer and Westphal still muscle through,
and anyone who can engineer the public sale of a Dan
Colen for close to $400K must still have some kind of
magic touch.
players in the LA museum
scene – Eli Broad, who rescued
MOCA from fiscal disaster and
built his own Renzo Piano-
designed place – and Ann
Philbin, who’s kept the Hammer
Museum (which she directs) on
course and ahead of the game.
This year the Hammer mounted
a show of work by young LA sculptors – all donated by
savvy collectors Dean Valentine and Amy Adelson – and
a Charles Burchfield retrospective curated by Robert
Gober. Philbin also hired Douglas Fogle, curator of
the last Carnegie International and a veteran of Kathy
Halbreich’s reign at the Walker, ensuring that her
institution remains innovative and fresh.

98 ArtReview
 29
Matthew Higgs
30
Matthew Marks
Category: Curator Category: Gallerist
Nationality: British Nationality: American
Last Year: Reentry (81 in 2006) Last Year: 27

When White Columns turned 40 this year, David Byrne
and Cindy Sherman were among the birthday-party
guests; an auction raised $300,000 for Manhattan’s
oldest alternative art space. Matthew Higgs, director
and chief curator, deserves credit: everyone respects
him, and given the prodigious number of variously punk-
spirited and cross-generational shows the English ex-
pat has put on since 2004, there’ve been opportunities
aplenty to fail. Meanwhile,
somehow, Higgs maintains
a parallel career as an artist,
exhibiting his droll, language-
based conceptualism this year
at New York’s Murray Guy and
in 2008 at London’s Wilkinson.
We’ll have what he’s having.
Some called it a response to the downward-
spiralling economy, the fact that Matthew Marks was
conspicuously absent from this year’s Armory Show
(which, we seem destined to remind you in these pages,
the dealer had a hand in beginning back in 1994, when
it was the Gramercy International Contemporary Art
Fair). But if you were paying attention, you would have
noticed that in addition to impressive booths at Art
Basel Miami Beach and the
well-heeled Art Show, Marks
did a turn at Design Miami.
With a spare booth dedicated to
the ‘domestic furniture’ of Roy
McMakin, Marks demonstrated
a flexibility that few gallerists
would, or could, risk.

31
Tim Blum &
32
Gavin Brown
Jeff Poe
Category: Gallerists Category: Gallerist
Nationality: American Nationality: British
Last Year: 48 Last Year: 57

It’s said of Larry Gagosian The enterprising Mr Brown

that he always expands in a continued to walk a fine line
recession. He’s not the only between commerciality and cool
one. LA dealers Blum & Poe this year, his gallery alternating
are moving into what will sprawling, funky installations
be one of the West Coast’s ( Jo n a t h a n H o r o w i t z ’s
biggest commercial galleries, a celebratory, president-in-
2,000-square-metre space on waiting-themed Obama 08
La Cienega Boulevard featuring last October; January’s loose-
three exhibition spaces and a limbed hipster group show The
225-square-metre project space. Then again, Blum & Living and the Dead) with solos by bankable daubers
Poe have been bucking trends for years, not least by like Peter Doig and Verne Dawson. The rest of the roster
photo: Andrea Spotorno (31)

being the first gallery to settle in the consequently didn’t disappoint either: with Mark Leckey scooping
booming Culver City area, in 2003. What’s collateralising up the Turner Prize and Elizabeth Peyton doing weird
the trade-up is their stellar list of artists, from blue- collaborations with Matthew Barney, Brown appears to
chip names like Keith Tyson and Takashi Murakami to have his finger in the right pies and on the pulse.
current golden boy Mark Grotjahn and the increasingly
ubiquitous Sharon Lockhart. Coming up on 15 years,
theirs is a dealing team that knows about happy returns.
the power 100
33
Ralph Rugoff
Category: Museum Director
Nationality: American
Last Year: 74
When Ralph Rugoff assumed the directorship of the
Hayward Gallery in 2006, The Guardian – noting
his playful experimentation during six years at CCA
Wattis, in San Francisco – wagered that people would be
queuing up ‘to be dangled upside down by their ankles’.
Kinesthetic antics have, indeed, become the Hayward’s
speciality. Last summer’s Walking in My Mind offered
hallucinatory environments and a vast pornographic
workshop. ‘Smart populism’ has remained the watch-
word this year, via Andy Warhol
and Ed Ruscha shows. With an
upstairs Project Space deliver-
ing the speedy counterpoint
to weighty institutional shows,
and presuming Rugoff and his
cocurators can keep pleasing
tourists and insiders, the
Hayward’s future looks rosy.
35
Anne Pasternak
Category: Curator
Nationality: American
Last Year: New
Creative Time, the Public Art
Fund’s edgier little sister, led
by Anne Pasternak, have shown
fearlessness in reacting to the
current economic climate.
This year they helped Jeremy Deller drag a burnt-
out car wreck from Baghdad across America to start
conversations about Iraq, and took on issues of social
justice in a recent daylong summit of bright art minds.
Their free university BHQFU, run with the Bruce High
Quality Foundation, aspires to rip up the commercially
influenced art-education book and rewrite it from
scratch. And they have their own brand of tiny booty
shorts. Looks like they are having a go at remaking the
artworld.
100 ArtReview
34
Liam Gillick
Category: Artist
Nationality: British
Last Year: 86
Having pulled off the tricky feat of being a British artist
based in New York representing Germany at the Venice
Biennale with a talking cat, Liam Gillick continues to be
a reference point for critically complex, intellectually
ambitious art. With his yearlong ‘retrospective’
concluding at the Museum of Contemporary Art,
Chicago, an MIT book of essays by leading theorists
devoted to his work, a solo show at the MAK in Vienna
and architectural collaborations in Vancouver and
Mexico, you’d think Gillick
wouldn’t have any time to teach
at Columbia, Bard College and
Harvard. But he does.
36
Dakis Joannou
photos: Ari Marcopoulos (33), Timothy Greenfield-Sanders (35), Nicholas Samartis (36)
Category: Collector
Nationality: Greek
Last Year: 31
What Greek industrialist
Dakis Joannou has done for
contemporary art in Greece
cannot be underestimated. Not
just another big-game hunter
who collects Koons, Hirst, Cattelan and Gupta, Joannou
established the nonprofit Deste foundation in Athens
in 1983, which hosts exhibitions of high international
calibre, and inaugurated the Deste prize in 1999 –
awarded biennially to a Greek artist living in Greece
or abroad. After the 2008 unveiling of his headline-
grabbing 35-metre yacht, Guilty, whose exterior
was designed by Koons, 2009 seems to have been a
comparatively quiet year for the billionaire. Still, his
ongoing commitment to contemporary art should
continue to be applauded.
 37
photos: © 2007 Sidney B. Felsen (37), Wolfgang Tillmans, courtesy Galerie Daniel Buchholz, Cologne & Berlin (38), Mara McCarthy, courtesy the artist and Hauser & Wirth, Zurich, London & New York (39)
John Baldessari
Category: Artist
Nationality: American
Last Year: 88
It’s Baldessari Time: a Golden Lion for Lifetime
Achievement at Venice, followed by John Baldessari:
Pure Beauty, a generous retrospective opening at
Tate Modern this month. Wholly deserved (if belated;
he’s seventy-eight), given that the Californian’s slyly
comic conceptual strategies and legendary tutoring
have inspired generations of artists. Baldessari’s last
exhibition at Marian Goodman, in winter 2008, featured
a lot of furrowed eyebrows that, the artist suggested, said:
‘Aren’t we all worried?’ His own
frown is, assumedly, now turned
upside down.
39
Paul McCarthy
Category: Artist
Nationality: American
Last Year: 62
It’s been another good year for
LA artist Paul McCarthy. Fresh
from curating Part 2 of his Low
Life Slow Life show at the CCA
Wattis, in San Francisco, which
closed in May, he is due to open L&M Arts’s new LA
gallery space with a show next September, currently has
a solo show at New York’s Hauser & Wirth following one
at the gallery’s Zurich space in the summer, and will have
a sculpture sit in Regent’s Park for six months following
Frieze Art Fair. Not bad going. Oh, and he somehow
manages to fit in being professor emeritus in UCLA’s art
department as well.
38
Isa Genzken
Category: Artist
Nationality: German
Last Year: New
Two years after representing Germany at the Venice
Biennale with the exhibition Oil, Genzken received her
first retrospective at London’s Whitechapel Gallery, a
mammoth show that is currently touring to Museum
Ludwig in Cologne. It is a timely look at the work of an
artist whose influence is being found in many younger
artists’ work, particularly those who share her interest
in the ruins of material culture. With a four-decade
career under her belt, as well as the International Art
prize and Wolfgang-Hahn-
Prize, Genzken’s place in the art
firmament is secure.
40
Michael Govan
Category: Museum Director
Nationality: American
Last Year: 21
A stormy year for Govan,
beginning as he waded in with
an unsuccessful merger offer
for struggling MOCA. His own
institution, the Los Angeles
County Museum of Art, was also straining financially, and
thunder descended when Govan scrapped the museum’s
long-running weekend film programme. Protests began,
letters from luminaries such as Martin Scorsese flew in,
urging that film be treated as an art; the programme has
been temporarily reinstated. Some canny deaccessoning
has given way to collection-strengthening acquisitions,
however, and a clement spell may lie ahead, with a new
sparky contemporary art curator in the shape of the
Menil Collection’s Franklin Sirmans, and an injection
of cash from the Getty Foundation to consider postwar
LA art.
the power 100

41
Eugenio López
42
Cindy Sherman
Category: Collector Category: Artist
Nationality: Mexican Nationality: American
Last Year: Reentry (47 in 2007) Last Year: 82

Eugenio López, sole heir to Jumex, one of the world’s Cindy Sherman’s year has been a good one. Her most
largest drinks companies, has spent the last 20 years recent series of photographs, large-scale portraits of
putting contemporary Mexican art on the map. Among ageing society dames, opened to rave reviews in New York
his achievements: a collection of nearly 2,000 works, last November, and then later in Berlin and London. Her
soon to move to a David Chipperfield-designed building continued presence in every top collector’s stores (not
in the centre of Mexico City; early and consistent to mention in the inaugural show at François Pinault’s
support for artists such Gabriel Orozco and galleries new Punta della Dogana space in Venice) ensures she is
such as Kurimanzutto; and a one of the most bankable as well
curatorial programme which as critically acclaimed artists
has brought Tate’s Jessica working today.
Morgan and Philippe Vergne
(now director of Dia), among
others, to his private museum.
And as anyone who’s been to
his openings can attest, he does
it all with supreme panache. If
you haven’t been, a selection of
works from the collection are on
show at Vienna’s MUMOK.

43 44

photos: Mark Seliger, courtesy the artist and Metro Pictures, New York (42), Mauricio Donelli (44)
Patricia Phelps
Ai Weiwei
de Cisneros
Category: Artist Category: Collector
Nationality: Chinese Nationality: Venezuelan
Last Year: 47 Last Year: 41

It’s not every artist who’s taken
seriously enough to get beaten
up by the police for asking too
many questions, but then Ai
Weiwei is not every artist. The
fifty-two-year-old Chinese art
star is also one of his country’s
leading activists and dissidents.
Having spent much of 2009
compiling a list of all the children
who died in the Sichuan earthquake of May 2008, Ai
was assaulted by police in August while trying to testify
in defence of another activist. He needed emergency
surgery a month later for a brain haemorrhage, while
preparing for a big show at the HDK in Munich. Never
one for the easy way out, Ai shows that art isn’t all empty
glitz and celebrity.
A vital champion and collector
of Latin American art, Patricia
Phelps de Cisneros is known for
an impressive collection and for
the Fundación Cisneros, a private
philanthropic organisation
tasked, among other things,
with increasing awareness of
Latin America’s contributions
to world culture. The Colección
Patricia Phelps de Cisneros (CPPC) is thought to be the
best ever assembled collection of Latin American art, and
institutions across the US are waiting with bated breath
to find out if they will benefit from donations now that its
period of itinerancy is officially over. Phelps de Cisneros
also sits on the board of trustees at MoMA and the Tate’s
International Council.

102 ArtReview
 45
Annette Schönholzer &
46
Diedrich Diederichsen
Marc Spiegler
Category: Art Fair Directors Category: Critic
Nationality: Swiss/American Nationality: German
Last Year: 23 Last Year: New

Annette Schönholzer and Marc Spiegler run Art Basel
and its sister fair at Miami Beach, among the biggest
events on the art market calendar. This summer’s Art
Basel went much better than many people had expected
(attendance was up on the previous year), but the Miami
edition (like most art fairs) looks a little more shaky:
a reported 60 galleries (including big names such as
Maureen Paley and Arndt &
Partner) will not be returning in
December. Perhaps that’s why
this winter’s fair promises some
interesting improvements and
additions that should keep its
influence up, with larger booths
for dealers, emerging artists
occupying the central space and
an installation by Pae White
taking up the waterfront space.
Academic, writer, curator, this former editor of German
music magazines Sounds and Spex, and current professor
at Vienna’s Academy of Fine Arts is that rare individual
who can marry criticism of art and music without
coming across as a fool. He produces an avalanche of
fiercely analytical yet occasionally breezy writing to wide
admiration, and this year curated Rock – Paper – Scissors,
an exhibition at Kunsthaus
Graz on art’s relationship to
pop music. His 2008 book On
(Surplus) Value in Art employs
a Marxist approach to the
dematerialisation of the art
object in the face of filesharing
and download culture in a
weakened economy, revealing a
rare voice willing to step up and
face some of art’s most pressing
concerns.

47 48
Richard Prince Damien Hirst
Category: Artist Category: Artist
Nationality: American Nationality: British
Last Year: 19 Last Year: 1

‘I drive a beat-up Volvo. I keep Following a storm of criticism

time with a $15 watch. I wear and consternation after his
dungarees and T-shirts’, Richard straight-to-market auction
Prince told Portfolio earlier this at Sotheby’s, Hirst seems to
year, describing his love of a have decided to step back and
simple life before adding that take stock, mothballing much
in his spare time he’s ‘learning of his usual activity – ending
to fly my own plane’. This split production on some lines,
personality has been on view closing studios and reducing
in the artist’s exhibitions this staff. His quietude means he
past year, from his wrapping of the Hong Kong Museum hasn’t been setting the media agenda: Saatchi’s ‘off-form’
of Art to appearing at the cool beating heart of the comments, Hirst’s ill-judged copyright feud with a young
exhibition Sonic Youth Etc.: Sensational Fix. Auction graffiti artist and protests over his butterfly-decorated
photo: David Bailey (48)

prices for his work have plummeted, and he’s being sued
for alleged copyright infringements, but Prince has been
on display where it matters most: at the Met, in The
Pictures Generation; Gagosian Madison Avenue, in a
solo show; and not least Pinault’s new Dogana space in
Venice.
bicycle for Lance Armstrong were PR low-points. But a
massive retrospective at the PinchukArtCentre in Kiev
shows that artworld still loves the old-bad-boy of Britart,
and his current show of macabre blue paintings at
London’s Wallace Collection may signal the emergence
of a calmer, more contemplative Hirst.
the power 100
49
Bernard Arnault
Category: Collector
Nationality: France
Last Year: 32
Last year we paraded French multibillionaire Bernard
Arnault as proof that money alone can’t get you to the
top of this list, pointing out that, despite his staggering
wealth, he still lagged behind Pinault in our ranks (who
is comparatively less rich). But it was speculated that
this order could change with the opening of Arnault’s
Gehry-designed museum to house a not inconsiderable
private collection. Well, the museum still isn’t open, and
Arnault, along with everyone else in the world, got a bit
poorer (according to Forbes).
No cause for panic: he’s still the
15th richest man in the world,
and the richest in France. And
his group continues to host
exhibitions and sponsor art-
related events. So we’ll keep our
eye on him in the year to come.
51
Amanda Sharp &
Matthew Slotover
Category: Art Fair Directors
Nationality: British
Last Year: 25
‘Frieze week’ has become a
London institution; galleries
save their best shows for it,
and not even the most devoted
reveller can attend all the
parties, dinners and special events. But what of the
catalysing event at its centre? Last year’s Frieze Art
Fair opened shortly after the markets crashed; it wasn’t
a washout, but the fair founded by Frieze magazine’s
Sharp and Slotover still looks a bit fragile, despite
its usual fizzy distractions: the number of New York
galleries attending has halved since 2007, and while
demand for booths has apparently been strong, Frieze
is clearly profiting from the sinking satellite fairs. A new
section, Frame, featuring solo shows and modelled on
Basel’s Art Statements, was allegedly so inundated with
applications that it has doubled its expected size. Still,
the operative adage here is ‘wait and see’.
104 ArtReview
50
Massimiliano Gioni
Category: Curator
Nationality: Italian
Last Year: 78
This year Massimiliano Gioni outdid previous
achievements (cocurating Manifesta in 2004 and the
Berlin Biennale in 2006, for instance) by helping define
a generation. At New York’s New Museum, where he’s
director of special exhibitions, the debonair Italian
co-organised The Generational: Younger than Jesus,
featuring 50 artists from 25 countries. Under thirty-three,
making art and not included? Consider yourself out. And
while Gioni himself – who in spare moments is artistic
director of Milan’s Trussardi
Foundation – is, at thirty-five,
comparatively wizened, he’ll still
be the youngest ever director of
the Gwangju Biennale when he
organises the 2010 edition.
52
Joel Wachs
Category: Arts Administrator
Nationality: American
Last Year: New
Committed, passionate and
voraciously curious, Joel Wachs,
president of the Andy Warhol
Foundation for the Visual Arts,
oversees millions in grants to
innovative institutions, curatorial research projects
photos: Selva Barini (50), Linda Nylind (51)
and under-the-radar artists in places as varied as
Beirut and Alabama. A tireless advocate, Wachs travels
constantly, working a vast network in support of the
institutions, projects and artists he believes in, thereby
setting the standard for targeted, effective engagement.
He promised his private collection, assembled with a
discerning, independent eye, to MOCA (he was formerly
an LA politician), and he does not sit on the controversial
Art Authentication Board.
Matthew Higgs photographed by Heinz Peter Knes, 14 September, New York
Gavin Brown photographed by Juergen Teller, 14 September, New York
Ralph Rugoff photographed by Ari Marcopoulos, 13 September, London
Anton Vidokle photographed by Heinz Peter Knes, 19 September, New York
Peter Schjeldahl photographed by Juergen Teller, 14 September, New York
Liam Gillick photographed by Heinz Peter Knes, 17 September, New York
 53
Victor Pinchuk
Category: Collector
Nationality: Ukrainian
Last Year: 67
Ukraine’s second-wealthiest businessman, Victor
Pinchuk, has been busy bolstering his position as an
artworld player this year. For one, he was revealed to
be the fourth stakeholder in Damien Hirst’s diamond-
encrusted £50 million skull, For the Love of God (2007).
He also staged a major exhibition of Hirst’s work at
his art centre in Kiev, as well as bankrolling Ukraine’s
national pavilion (curated by a heavyweight boxer) at
the Venice Biennale. While his friends include Elton
John and Steven Spielberg,
Pinchuk hasn’t forgotten
his homeland and is keen to
promote the art scene there:
the PinchukArtCentre Prize is a
new award for young Ukrainian
artists.
55
Marina Abramovic
photos: courtesy PinchukArtCentre, Kiev (53), Mathieu Malouf (54), Reto Guntli (55)
Category: Artist
Nationality: Serbian
Last Year: New
It’s a surprise that Marina
Abramović has never made this
list before, given that she has
been one of the most consistent
and influential performance
artists for more than 30 years. This summer she curated
an ambitious group show in Manchester; next year she
has a huge retrospective at MoMA, with a biography
due as well. Meanwhile Irish playwright John Breen
is immortalising her in an opera he is composing –
hopefully he’ll do a better job than the caricature of her
12-day fasting performance at the Sean Kelly Gallery in
2002 that appeared in an episode of Sex and the City.
Not that Abramović objected: ‘It’s fantastic’, she told
The New York Times, ‘the popular culture absorbing
me’. That someone who gorges on honey and wine
before carving stars on her belly, whipping herself and
lying on a cross of ice (Thomas Lips, 1975) can hit the
mainstream is saying something indeed.
54
Udo Kittelmann
Category: Museum Director
Nationality: German
Last Year: Reentry (55 in 2003)
The job that Udo Kittelmann took on this year, as
director of Berlin’s Nationalgalerie, is no easy one. The
Nationalgalerie consists of five very different institutions,
including the Hamburger Bahnhof, Europe’s largest
museum of contemporary art. Funding is scarce and
the staffing level is alarming, yet with his opening shows
he set a new standard and gave these museums a new
life. Combining popularity with glamour, he turned the
Hamburger Bahnhof from a museum that was marred
by its reliance on collectors and their influence into an
exciting and fresh exhibition
space. Meanwhile a large-
scale retrospective of work by
Thomas Demand has reopened
Mies van der Rohe’s iconic
Neue Nationalgalerie space to
rave reviews.
56
Michael Ringier
Category: Collector
Nationality: Swiss
Last Year: 42
Liam Gillick, Aleksandra Mir,
Christopher Williams, Matt
Mullican, Richard Prince,
Richard Phillips, Fischli &
Weiss, Josh Smith – the list of
artists who in recent years have designed the annual
report for Michael Ringier’s media holdings is impressive,
and would be respectable for any art publisher, which
is, of course, one of his identities: he owns JRP Ringier
and also the German art and lifestyle glossy Monopol.
But Ringier is also one of Switzerland’s most assiduous
and multidimensional collectors, and seems to be aiming
for a higher public profile for his collection of almost
2,000 works by more than 200 artists – with a first
comprehensive presentation last year in Lucerne and
the current solo exhibition of Mark Morrisroe in Berlin’s
Kunsthalle Koidl.
the power 100

57 58
Richard Serra
Gerhard Richter
Category: Artist Category: Artist
Nationality: German Nationality: American
Last Year: 18 Last Year: 33

It’s not all work and no play for Gerhard Richter: Last year Hal Foster discerned a ‘late style’ that ‘combines
according to Stella McCartney, the seventy-seven-year- simplicity and grandeur’ in Promenade (2008), Richard
old artist attended one of the designer’s shows. Still, it’s Serra’s staggering, staggered parade of metal uprights
mostly work. According to his website, Richter kept up for Paris’s Grand Palais. This year, alongside memorable
a barrelling pace in 2009, including 11 solo exhibitions shows of disorienting new sculptures at Gagosian in
– among them an unprecedented show devoted to London and a retrospective of drawings at the Kunsthaus
portraits at London’s National Portrait Gallery; and as Bregenz, the American received an unlikely accolade:
if to showcase his legendary stylistic pluralism, Gerhard Out-of-round X (1999), a work
Richter: Abstract Paintings at on paper featuring an abyssal
Haus der Kunst, Munich – and black hole, graced the cover of
19 group shows. Phew. Well, drone-metallers Sunn O)))’s
when you’re widely considered Monoliths and Dimensions
to be Europe’s greatest living (2009). Well, who’s more
painter, people will ask. heavy metal than Serra?
Seventy this month, the ‘man
of steel’ remains indisputably
the leading sculptor of his
generation.

59
RoseLee Goldberg
60
Kasper König
Category: Curator Category: Museum Director
Nationality: South African Nationality: German
Last Year: New Last Year: Reentry (25, with his family, 2005)

When RoseLee Goldberg It is not just his career that is

founded Performa, New York’s extraordinary – early success as a
performance art biennial, in curator, professor in Düsseldorf,
2004, her aim was ‘to show director of the Städelschule
the relevance of live art as in Frankfurt and, for almost
an innovative and important ten years now, director of the photos: Hubert Becker (57), Patrick McMullan (59)

contemporary art form’. That influential Museum Ludwig in

has certainly since been realised
– not just through Performa’s
impressive programme but
also in the artworld’s renewed interest in performance
art (MoMA, for example, spruced up its department of
New Media, now helmed by Klaus Biesenbach, to include
performance art). Perfoma’s third edition opens this
month and features an incredible list of commissioned
works by artists including Guy Ben-Ner, Dominique
Gonzalez-Foerster and Mike Kelley, and premieres by
Tacita Dean and Joan Jonas.
Cologne, founding along the way
the decennial Skulptur Projekte
Münster and Frankfurt’s
Portikus – there’s also his family. The Königs have to
be the single best-connected family in the artworld,
from Kasper’s wife, the art dealer Barbara Weiss, to his
two sons and their tremendously successful galleries in
New York (Leo Koenig Inc) and Berlin (Johann König,
number 88 on this list), to his brother’s publishing and
bookshop emporium, Walther König Books, reaching
audiences all over the world.

112 ArtReview
 61 62
Monika Sprüth &
Roberta Smith
Philomene Magers
Category: Critic
Nationality: American Category: Gallerists
Last Year: 71 Nationality: German
Last Year: Reentry (87, as Sprüth Magers Lee, in 2005)
Now in her 23rd year at The New York Times, the paper’s
chief art critic remains our clearest and rangiest day-to- Monika Sprüth and Philomene Magers have been
day critic. In two consecutive days in September alone, powerful forces in the artworld for more than 20 years.
the paper first ran Smith’s multi-interview financial First opening separate galleries in Cologne, they became
investigation of Manhattan’s art scene and then her successful promoting the work of artists such as Cindy
inventively lyrical piece on Monet (one panel of Water Sherman, Barbara Kruger and Jenny Holzer, and later
Lilies conversing with others like ‘a glissando of violins’). John Baldessari and Andreas Gursky. After combining
If dilettantism is easy, mastering the big picture and the forces in the late 1990s, their business has expanded,
glimmering detail isn’t; Smith taking in a gallery in London
simply makes it look that way. and a museum-scale space in
Berlin. Successful recent shows
include the European debut of
Sherman’s latest series and a
Fischli /Weiss show before that,
while gallery artists Baldessari
and Thomas Demand are
currently enjoying solo shows
at Tate Modern and the Neue
Nationalgalerie, respectively.
photos: Julia Stoschek (62), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Miami & Paris (64)

63
Germano Celant
64
Emmanuel Perrotin
Category: Curator Category: Gallerist
Nationality: Italian Nationality: French
Last Year: Reentry (63 in 2002) Last Year: 64

Four decades after he coined The ‘French Gagosian’ has had a

the term Arte Povera, Germano mixed year. Forced to mothball
Celant is still moulding his Miami outpost in January,
perceptions of art in and Perrotin earlier announced
outside Italy. Senior curator the formation of a production
of contemporary art at the company, Artists’ Dreams,
Guggenheim, New York, Celant to build on the Paris dealer’s
has also been director of the success in finding backers to
Prada Foundation since 1995, realise large works (eg, Piotr
overseeing its admirable stream Uklanski’s 1996 Untitled (Floor
of biannual shows: the most recent being by Natalie Dance)). The first major project announced under these
Djurberg. And when, by 2012, the organisation opens its auspices (investors take a percentage of the dealer’s cut,
1,600-square-metre Rem Koolhaas-designed landmark its size determined by how long the work takes to sell),
of a museum in Milan – a venue for the 500-plus Xavier Veilhan’s epic sculptural array for Versailles,
contemporary artworks Miuccia Prada has collected opened in September. Last November Damien Hirst
since 1993 – he’ll run it. Celant, says Mrs Prada, ‘taught reignited his relationship with Perrotin after 19 years;
me quality’. Enough said. a show is planned for April. And with the comparably
bankable Takashi Murakami’s self-portraits recently
gracing his gallery walls, this gallerist seems to be doing
just fine.
the power 100

65 66
Beatrix Ruf
Peter Schjeldahl
Category: Critic Category: Curator
Nationality: American Nationality: German
Last Year: 72 Last Year: New

A relatively quiet year for the New Yorker’s virtuosic
chief art critic, though it should be allowed that a) we’re
still digesting his dazzling 2008 collection of columns,
Let’s See; and b) he did have an online spat with Geoff
Dyer which ended with Schjeldahl calling the English
novelist a ‘motherfucker’. Flame wars aside, he continues
to look, think and write on a level several leagues above
his peers. On the New Museum’s Younger than Jesus, to
select a random example: ‘Novelty keeps us spry, and
it cleans up after itself by being gone in a minute.’ This
year, once again, the author
of that worldly-wise slap was
pretty much unassailable.
Beatrix Ruf sports a many-feathered cap. Alongside
numerous independent curatorial projects (2006 Tate
Triennial, 2008 Yokohama Triennial…), she curates the
Ringier collection, holds an editorial post at publishers
JRP Ringier and writes prolifically. But it’s her eight
years as director/curator of the Kunsthalle Zurich that
have gilded her rep: via shows by General Idea, Trisha
Donnelly, Tris Vonna-Michell and many more, she’s
presided over a programme that’s hip but never shallow,
and almost certainly the sharpest on the kunsthalle
circuit: if you’re an artist at
midcareer or before, under Ruf’s
roof is where you want to be.

67 68
Okwui Enwezor Nicolas Bourriaud
Category: Curator Category: Curator
Nationality: American Nationality: French
Last Year: 83 Last Year: New

Okwui Enwezor has been an
admirable multitasker for years
– helming expos (Documenta
11, and biennials in Seville,
Johannesburg and, in 2008,
Gwangju), curating museum
shows, theorising (he’s currently completing two books)
and lecturing. In April, Bard College honoured Enwezor
with its annual Award for Curatorial Excellence. Perhaps
this encomium focused his attentions, because in
September he resigned as dean of San Francisco School
of Art, promising to devote himself to exhibitions and
writing. Expect curatorial excellence in the near future.
photos: Sigrid Rothe (65), Jeff Weiner (67), © Mikael Olsson (68)
Not content with coining the
term ‘relational aesthetics’ for
a generation of art students,
Nicolas Bourriaud spent last
year coming up with a new buzz-
concept, the ‘altermodern’,
which he applied to curating and reinvigorating the
latest edition of Tate Britain’s slightly fading triennial
format. Breaking with convention, Bourriaud staged
a yearlong programme of ‘prologues’ leading up to the
exhibition itself, which was loved by visitors and loathed
by Britain’s dim-witted newspaper art critics, proving
that Bourriaud still has the knack for polarising opinion
and provoking debate. Lately he’s been publishing The
Radicant, his book-length essay on twenty-first-century
modernity, in several European languages and advising
on the Ile Seguin ‘island of culture’ being masterplanned
by Jean Nouvel in Paris.

114 ArtReview
 69
Karen & Christian Boros
Category: Collectors
Nationality: German
Last Year: 90
It has now been just over a year since Christian Boros
and wife Karen opened the Berlin air-raid shelter
that houses their collection and provides the (literal)
foundation for their penthouse flat to the public.
Breathtaking location and spectacular installation of
the works immediately turned it into one of the major
art attractions of the German capital, and the demand
for tickets continues to be accordingly high. It has
also propelled the Boroses into a different league,
because even though the ‘bunker’ and its contents
remain technically private, the
collection now has a very public
face.
71
Maurizio Cattelan
Category: Artist
Nationality: Italian
Last Year: 68
Maurizio Cattelan knows how
to goad the mass media and
popular imagination: waxwork
dummies of Pope John Paul
II felled by a meteorite and
photos: Heji Shin (70), Pierpaolo Ferrari (71)
Hitler kneeling in prayer are
two standouts. Similarly, it was hard during 2008 not
to notice his taxidermic horse, Untitled (2007), its
head seemingly buried in the wall from which it was
hung, the highlight of the New Museum’s show After
Nature and now prominent in Pinault’s Dogana, in
Venice. If nothing else, Cattelan’s works tend to become
ubiquitous from constant exhibition and a doting media.
It’s been a quieter 2009, however, although the Paduan
artist must have been amused to be awarded the Rome
Quadrennial’s career achievement prize back in March.
Look out for a major solo show at the Menil Collection,
Houston, in February.
70
Isabelle Graw
Category: Critic
Nationality: German
Last Year: New
Two years ago Isabelle Graw gave a lecture entitled
‘Long Live Criticism!’, as if we were in any doubt of
her enthusiasm and commitment. The Berlin-based
magazine Texte zur Kunst, edited and cofounded (in
1990) by Graw, has continually nailed its colours to
the mast of serious, often philosophically grounded
criticism, enthusiastically supported by artists’ editions.
With an increasing number of English-language and
online articles, the magazine is gaining ground as a
serious publication of choice for aspiring academics and
curators. Graw, alongside Daniel
Birnbaum, set up the Institut für
Kunstkritik at the Städelschule,
and recently began publishing a
series of considered books based
on the lectures given there.
72
Charles Saatchi
Category: Collector
Nationality: British
Last Year: 14
After a three-year hiatus,
the Saatchi Gallery finally
reopened in October last year.
This time, what with free
entry and purpose-designed
galleries, the adman who made
his name collecting YBAs seems to have got the right
venue to exhibit his ever-shifting collection. Chunky
geographic shows of work from China, the Middle East
and now the US haven’t exactly wowed the critics, though
Saatchi’s brand-name still pulls in the crowds of art-
aspiring youngsters. Nor did his amusingly cranky Q&A
book produce many real insights into this previously
secretive and private figure – was this merely a teaser for
Saatchi’s upcoming art-talent reality TV show? Perhaps
his many critics miss that, in the end, Saatchi’s greatest
work of art may be his own celebrity. High-profile, low-
impact – where does he go from here?
the power 100

73 74
Jasper Johns
Jerry Saltz
Category: Critic Category: Artist
Nationality: American Nationality: American
Last Year: 79 Last Year: 9

This year Jerry Saltz has set out to prove that art ‘We worked for years to get rid of all that’, Rothko
critics still matter by turning criticism into something notoriously said of Jasper Johns’s flag and target paintings.
of a performance art. He recently challenged talk show Tough luck: approaching his eightieth birthday and
host Glenn Beck to curate a show of ‘degenerative art’ having outlived his former coeval Rauschenberg, Johns
in New York, for example, in a counter-swipe at the is apparently demonstrating no inclination to hang up
weeping TV demagogue and his frequent attacks on his brushes; museum curators show no signs of forgetting
the artworld. Saltz has promised he will secure a top- his preeminence, either. In the past year, following the
rate venue and reviews (Beck doesn’t seem impressed, Metropolitan Museum’s much-praised, tonally specific
though). Saltz meanwhile was Jasper Johns: Gray in 2008,
inundated with support for a Johns has enjoyed an 87-work
viral Facebook campaign he ‘Focus’ exhibition at MoMA,
initiated that lamented the in honour of the institution’s
underrepresentation of women purchase of a new series of
artists in major institutional works on paper. Meanwhile, in
collections. And now he turbulent market times Johns
has been nominated for a enjoys an auction value secured
writing award at Rob Pruitt’s by his living-legend status and by
performance-based artwork, collectors clinging jealously to
the First Annual Art Awards, at his works. And, really, who can
the Guggenheim. blame them?

75
Louise Bourgeois
76
Thaddaeus Ropac
Category: Artist Category: Gallerist
Nationality: American Nationality: Austrian
Last Year: 81 Last Year: Reentry (78 in 2005)

Louise Bourgeois spent much of Thaddaeus Ropac is one of

photos: Ravi Sawhney (73), Dimitris Yeros (75), Pierre Ira (76)
the past year being celebrated, Europe’s foremost blue-chip
via a touring retrospective gallerists. At his space in
– which closed its five- Salzburg, which he opened in
museum tour at the Hirshhorn, 1983, and one in Paris, which
Washington, DC, in May – and opened seven years later, he
the documentary movie Louise consistently mounts shows
Bourgeois: The Spider, the by a roster of high-calibre
Mistress and the Tangerine artists, including Gilbert &
(2008). At ninety-eight, the George, Georg Baselitz and
indefatigable New York-based French-born artist, one Alex Katz. He has also been instrumental in supporting
of the world’s most respected and influential sculptors the Austrian art scene, representing artists including
and an icon of feminist art in particular, might well sit Gerwald Rockenschaub and Arnulf Rainer. Described as
back. But no: last month, A Stretch of Time: 40 Jahre both dapper and discreet by France’s Le Figaro, Ropac
opened at Cologne’s Karsten Greve gallery, including maintains a standing in the artworld that is as quietly
works from this year. We don’t know how she does it, but assured as he seems to be.
we’re glad she does.

116 ArtReview
Johann König photographed by Heji Shin, 17 September, Berlin
Amanda Sharp and Matthew Slotover photographed by Robi Rodriguez, 17 September, London
Joel Wachs photographed by Heinz Peter Knes, 15 September, New York
Monika Sprüth and Philomene Magers photographed by Heji Shin, 16 September, Berlin
Richard Serra photographed by Juergen Teller, 12 September, New York
Sarah Morris photographed by Heinz Peter Knes, 17 September, New York
Alberto and David Mugrabi photographed by Juergen Teller, 11 September, New York
Massimo De Carlo photographed by Robi Rodriguez, 10 September, London
 77 78
Thelma Golden
Mera & Don Rubell
Category: Collectors Category: Museum Director
Nationality: American Nationality: American
Last Year: 38 Last Year: 73

Mera and Don Rubell are Miami’s first couple of art Being associated with a new idea can last your whole
collecting, celebrated for helping put the city (where career. Thelma Golden, director and chief curator
the Rubell Family Collection, open to the public, is of New York’s Studio Museum in Harlem, made
housed) on the artworld map. They began collecting her name curating the controversial Black Male:
in the mid-1960s and now have one of the world’s Representations of Masculinity in Contemporary
premier contemporary art collections, boasting work American Art at the Whitney in 1995, and has since
by Jean-Michel Basquiat, Cindy Sherman, Charles become the leading curatorial voice of an emerging
Ray, Jeff Koons and Paul McCarthy, to name but a ‘post-black’ generation of African American artists.
fraction. Their parties during Under her directorship, the
Art Basel Miami Beach are Studio Museum has pushed
legendary, and works from confidently on, with critically
their collection are frequently well-regarded solo exhibitions
loaned to major institutions. In by Kalup Linzy and Shinique
the last year they have forged Smith in 2009. How Golden will
a partnership with the Palm navigate the cultural politics of
Springs Art Museum, which race under the first ‘post-white’
kicked off with a show of the American President will be
Rubells’ Keith Harings. worth watching.

79
Sarah Morris
80
Carolyn Christov-Bakargiev
Category: Artist Category: Curator
photos: Chi Lam (77), Timothy Greenfield-Sanders (78), Ryszard Kasiewicz (80)

Nationality: American Nationality: American

Last Year: New Last Year: New

While making eight films Chief curator at Turin’s

since 1998, six of them city- Castello di Rivoli Museum of
specific and all accompanied, Contemporary Art since 2001,
in Olympian postmedium formerly senior curator at New
style, by hyperslick, diagram- York’s P.S.1 and boasting a CV
like paintings implying nested brimming with bold curatorial
power structures, Morris has moves, Carolyn Christov-
filmed, among others, Bill Bakargiev is currently clutching
Clinton (in Capital, 2001) and one of her profession’s grails.
Brad Pitt (Los Angeles, 2004). In December, she was named
In the past year, the artist completed her most testing artistic director of Documenta 13, which opens in 2012.
project yet, Beijing (2009), shot in the secretive Chinese As her stewardship of 2008’s Biennale of Sydney proved,
capital during the Olympics. Emerging as a dazzlingly she knows about expos; and as was demonstrated by The
modern meditation on power, spectacle, architecture Pantagruel Syndrome – her 2005 curatorial exploration
and smokescreens, it reaffirms that, when it comes to (with Francesco Bonami) of contemporary excess
positioning herself where the action’s happening, Morris and giganticism – she knows about big. What better
is contemporary art’s designated hitter. preparation for the hassles of Kassel?
the power 100

81 82
Anita & Poju Zabludowicz Paul Schimmel
Category: Collectors Category: Curator
Nationality: British Nationality: American
Last Year: 97 Last Year: 40

Not everything is possible, even when you possess the
18th-biggest fortune in the UK (according to 2009’s
Sunday Times Rich List). In February, Anita & Poju
Zabludowicz suspended plans to build a museum for
their 1,000-plus collection of artworks in downtown
Las Vegas, citing a constraining city-imposed deadline.
But 176, their London gallery in a converted chapel, is
going strong, showcasing young artists, offering guest
curatorships and mounting sterling group shows.
Judging by their continued support of the Zoo Art Fair
and Anita recently exhibiting
her photography collection and
talent-spotting young snappers
in New York, theirs remains a
model of restlessly committed
art philanthropy.
Late last year, LA’s flagship Museum of Contemporary
Art was gasping for money like a dying fish. Tragedy
has been avoided with $30 million from Eli Broad, and
further support rallied since. Throughout this crisis,
MOCA’s world-beating exhibitions, including Martin
Kippenberger and Marlene Dumas retrospectives,
WACK! and © MURAKAMI, were touring the globe.
Now breathing a little again, MOCA and Chief Curator
Paul Schimmel will be focusing on home turf, with
the hugely ambitious exhibition Wasteland: Art After
Earth Art (including a mega-
installation in the Mojave Desert
by Christoph Büchel – yikes),
a Jack Goldstein retrospective
and a bold reappraisal of 1970s
California art.

83
Jose, David &
84
Sadie Coles
Alberto Mugrabi
Category: Gallerist
Category: Collectors Nationality: British
Nationality: American Last Year: 34
Last Year: 43
Sadie Coles is a mainstay on this
Although the Mugrabis – list; known for her commitment
father Jose and sons David and to her artists, and her energy
Alberto – have yet to corner in locating young, interesting
the market in Warhol (they talents, she is a gallerist with
claim to own 800 pieces), vision and international clout.
with their deep pockets and obsession with stars of the She consistently puts on impressive shows by her stable
recent bubble – Hirst, Basquiat and Wool – they are the of artists in her two spaces in Mayfair, while heavy hitters
‘market makers’ who hold up the rest of the trade. Lately continue to get the big institutional treatment: Elizabeth
this kind of business has been controversial; but the Peyton’s Live Forever toured to London’s Whitechapel
Mugrabis have been amassing their portfolio for more this summer and is now at the Bonnefantenmuseum in
than 20 years, and having bought like hell during the last Maastricht. Peyton also collaborated with gallery artist
photo: Juergen Teller (84)

downturn, they know how to play the game for the long Matthew Barney on performance-art piece Blood of Two
term. on Hydra in Greece over the summer.

126 ArtReview
 85
Daniel Buchholz
Category: Gallerist
Nationality: German
Last Year: Reentry (80 in 2005)
Daniel Buchholz is a steady force in the artworld. Coming
from a family of book dealers, he opened his gallery in
Cologne 20 years ago, and has worked ever since with
an impressive and very particular stable of artists, many
of whom had their first shows with him: Tomma Abts,
Cosima von Bonin, Cerith Wyn Evans, Isa Genzken,
Jack Goldstein, Henrik Olesen and Wolfgang Tillmans
among them. For years he refused to expand his gallery
to Berlin, but under pressure from artists wishing for
representation in the new art capital, he finally relented,
opening a second space in very
bourgeois Fasanenstrasse, a
further sign of blazing his own
trail to the art market.
87
photos: Thierry Bal (86), Devin Blair (87), Alexis Zavialoff, courtesy Johann König, Berlin (88)
Maureen Paley
Category: Gallerist
Nationality: American
Last Year: 70
The former Russian-trained
ballet dancer kept her balance
in 2009, with the gallerist’s
bigger artists spread across
institutions: Michael Landy at
Tate Liverpool, Rebecca Warren
at the Serpentine, Wolfgang Tillmans in a spotlight room
at the Venice Biennale. Maybe such security justifies her
gallery programme, which this year skewed particularly
unpredictable, from Lars Laumann’s lengthy, uneasy
film about a death-row prisoner to scrambled painterly
abstractions by LA-based newcomer David Ratcliff.
But this year also marks 20 years since Paley set up in
Bethnal Green, the first dealer to do so; when she takes
risks, they tend to pay off.
86
Victoria Miro
Category: Gallerist
Nationality: British
Last Year: 58
When the downturn struck last October, Victoria
Miro’s exhibition programme mirrored it perfectly: Too
Late, Elmgreen & Dragset’s simulacrum of an emptied
nightclub, suggested terminated revelry. In the ensuing
choppy waters, the dealer’s programme has steered,
perhaps tactically, towards established names: Tal R,
Alice Neel, Yayoi Kusama. Lest one suspect complacency,
though, in March Miro mounted The Collection, which
combined live dance (orchestrated by choreographer
Siobhan Davies) with art devoted to movement or
engagement with space: a
reminder that, while Miro may
have an enviable roster of big
names, she’s still a gambler at
heart.
88
Johann König
Category: Gallerist
Nationality: German
Last Year: Reentry
(27, with his family, 2005)
Johann König started his Berlin
gallery at the precocious age of
twenty-one, a headstart granted,
no doubt, by family connections
(he comes from a household of
art publishers and museum directors). However, having
hit the ground running, König hasn’t dropped pace for a
second – his gallery now has a reputation for identifying
and then supporting artists of a sensual yet conceptual
bent, including Jeppe Hein, Jordan Wolfson, Tue
Greenfort, Tatiana Trouvé and Michaela Meise. There’s
no doubt that the gallery is seen as a European hive of art
cool. No doubt either that artists showing at the gallery
tend to go on to have big careers.
the power 100

89 90
Maria Lind
Nicolai Wallner
Category: Gallerist Category: Curator
Nationality: Danish Nationality: Swedish
Last Year: New Last Year: New

With a lineup of artists that mixes local superstars such as Maria Lind, director of the graduate program at the Center
Jeppe Hein and Elmgreen & Dragset with international for Curatorial Studies at Bard, has scads of experience to
names such as Douglas Gordon, Daniel Buren and impart to the curators of tomorrow, having been director
Richard Tuttle, Wallner (who opened his gallery in of Swedish studio programme IASPIS, director of the
1993) is a gallerist who thinks big. Bigger, indeed, Munich Kunstverein, cocurator of Manifesta 2 and
than the business of simply selling art. In September curator at Moderna Museet, Stockholm. This year
Wallner moved his gallery into a Carlsberg truck depot, she received the Walter Hopps Award for Curatorial
together with fellow gallerist Nils Stærk, an artist-run Achievement and oversaw an outstanding programme
space (initiated by Wallner) of exhibitions (and attendant
called IMO and a space for catalogues) at Bard’s Hessel
graduate students of the Royal Museum, including The
Danish Academy of Fine Arts, as Greenroom, a survey of the
part of an attempt to generate a documentary in contemporary art,
new arts district in Copenhagen and Rachel Harrison’s Consider
(and take advantage of 800 the Lobster retrospective, during
square metres of exhibition which artists including Allen
space). What’s next? He’s Ruppersberg and Andrea Zittel
working on plans to set up a were invited to collaborate
kunsthalle, of course. with Harrison in rehanging the
Marieluise Hessel Collection.

91
Massimo De Carlo
92
Mario Cristiani, Lorenzo
Fiaschi & Maurizio Rigillo
Category: Gallerist Category: Gallerists
Nationality: Italian Nationality: Italian
Last Year: New Last Year: New

During the last recession, Mario Cristiani, Lorenzo

Massimo De Carlo worked Fiaschi and Maurizio Rigillo
night shifts as a chemist while opened Galleria Continua off
running his gallery during the the beaten track, in the historic
day. But Italy’s heaviest-hitting Tuscan town of San Gimignano,
showroom wasn’t built on hard back in 1990. Four years ago
graft alone. The combination this pioneering spirit led to
of artists would look unlikely the opening of a gallery in
elsewhere, with edgy young Beijing’s 798 district, where they
things such as Spartacus show a mixture of Eastern and
Chetwynd and Steven Claydon rubbing up against the Western artists, such as Chen Zhen, Daniel Buren and
likes of Carsten Höller and Lawrence Weiner, though Anish Kapoor. Two years later the trio completed their
perhaps what links them is an indisputably challenging unholy (or at least atypically located) trinity of art spaces
view of art. De Carlo has a stealthy approach to his with the opening of Le Moulin, in Boissy-le-Châtel,
new London gallery during these dark financial days, near (rather than, of course, in) Paris. The various and
having launched in a tiny space, under the ‘pseudonym’ unique opportunities afforded by these spaces have led
Carlson, in order to check things out before moving to to Continua working with leading artists from around
larger premises next year. the world.

128 ArtReview
 93 94
Toby Webster
Rirkrit Tiravanija
Category: Artist Category: Gallerist
Nationality: Thai Nationality: British
Last Year: New Last Year: New

Rirkrit Tiravanija and the artists associated with him, This year artist Douglas Gordon described Toby Webster
Philippe Parreno, Pierre Huyghe, et al., went institutional as a modern magician with a gilded tongue. A sinister
this year, with group survey theanyspacewhatever at the image, but Webster’s Modern Institute continues to
Guggenheim, New York, and the restaging of Il Tempo del exert a miraculous gravitational pull that first attracts
Postino (2007) at Art Basel. Terms such as ‘situations’ artists to Glasgow and then gives them little reason to
and ‘relations’ have gained increasingly stable ground, leave. The art is slick, despite the fact that the premises
though it is projects such as The Land (1998–), an are a tiny, rather battered space in a highrise building:
experiment in generating a self-sustaining open space ‘of Glasgow through and through. The artists, many of whom
and for social engagement’ out don’t bother with a London
of an artistic community, that gallery, continue to dominate
reveal continually influential attention. Martin Boyce
and challenging developments represented Scotland at Venice,
in his work. In the past year Richard Wright is Turner Prize-
Tiravanija has carried these nominated, Jeremy Deller took
investigations into drawing, over Manchester in July with
seen at New York’s Drawing Procession. All of which has
Center, in which the artist made the Modern Institute a
assigned drawings of protest model for galleries around the
to Thai artists. world.

95
Long March Space
96
Nicholas Logsdail
Category: Gallerist Category: Gallerist
Nationality: Chinese Nationality: British
Last Year: 93 Last Year: 91

Founded in 2002 by artist Lu Just when it was looking like

Jie with Qiu Zhijie, the Long Logsdail might not have the
March is a complex operation stomach to take Lisson Gallery
that encompasses dealer, and its displays of classy
gallery, curator, commercial conceptualism through another
enterprise and publishing recession, he’s showing signs
house. It involves 250 artists that his gastric organ is in the
working on 12 sites along the rudest of health: it seems that
historical Long March route Lisson, after its years of glorious
(undertaken during the 1930s northwest London isolation, is
by Mao Zedong’s Red Army) as well as a gallery, the Long becoming part of a scene. Trendy not-for-profit space
March Space, in Beijing’s 798 district. Having shown at the Showroom (which 20 years and a few letter changes
photo: Porter Hovey (94)

Frieze Art Fair last autumn, Long March’s expanding
ambitions were further signalled this year with an artist,
Guo Fengyi, in Art Basel’s Art Statements section.
in the postcode ago was a generator for London’s East
End scene) has opened up round the corner, along with
a Serpentine Gallery project space. Now that Logsdail
can’t really make it to the mountains any more, they’re
coming to him. Along with his son, Alex, who’s crossing
the pond from New York gallery Team, and a new wave
of artists, including Ryan Gander.
the power 100
97
Harry Blain &
Graham Southern
Category: Gallerists
Nationality: British
Last Year: 51
Haunch of Venison (the Christie’s-owned gallery that
Blain and Southern founded and direct) announced
that its Zurich branch is to close at the end of this year,
and both its New York director and a number of artists
have parted ways with the organisation. Meanwhile its
enormous temporary premises at the back of London’s
Royal Academy (rented at a reported £4 million-
plus for three years) has opened. Yet with so many
new exhibitions, and ones that don’t so much open as
pop up out of nowhere, the
megagallery is turning into a
programmatically confusing
space. Though an artworld
juggernaut, it’s hard to tell if
anyone’s behind the wheel.
Maybe that doesn’t matter: HoV
will keep on truckin’ regardless.
99
Peter Nagy
Category: Gallerist
Nationality: American
Last Year: 95
Peter Nagy’s Nature Morte was
the first Indian art gallery to be
accepted in Art Basel (in 2006)
and has been closely linked to
the rise of the Subcontinent’s international superstars
(Subodh Gupta, Bharti Kher, Jitish Kallat, Raqs Media
Collective). The past year has not been without setbacks
for Nagy, and not just because India hasn’t been the
new China. Bose Pacia, the New York gallery with
which Nature Morte is partnered, is relocating as part
of a recession-inspired regrouping. But Nagy’s Berlin,
Kolkata (with Bose Pacia) and New Delhi galleries make
him a key interface betweeen the Western and South
Asian art scenes – a fact driven home by the crowds of
people who visited his booth at India Art Summit this
summer.
130 ArtReview
98
Clare Hsu
Category: Curator
Nationality: British
Last Year: New
Clare Hsu is executive director and cofounder of the Hong
Kong-based Asia Art Archive, a nonprofit organisation
dedicated to documenting the recent history of visual
art from the region within an international context.
An education and resource centre, the AAA boasts
more than 20,000 volumes of reference material and
supports various research projects and public education
programmes throughout the region, designed to reinforce
the importance of art as an integral part of any successful
society. Now that the art-market
bulls have lost their balls, it’s
easier to appreciate the fact that
endeavours like this one actually
provide for a sustainable, vibrant
and innovative art scene.
100
photos: Andrea Spotorno (97), Bharat Sikka (99), Time magazine, Europe edition, 28 September 2009 (100)
Glenn Beck
Category: Talk Show Host
Nationality: American
Last Year: New
“I’m going to show you
something that should scare the
living daylights out of you…” US
talk show host Glenn Beck is a
man whose attitude towards the arts (especially public
art in New York) can be described as reactionary at best
and crazed (references to a sinister ‘movement’) at worst.
With support from millions of dispossessed viewers, he
has upbraided the National Endowment for the Arts
(NEA) for its ‘progressive’ sympathies and especially
for commissioning art he considers propaganda for the
Obama administration (not, perhaps, entirely without
reason). The NEA has been forced to take him seriously.
How long-term Beck’s interest in the arts will be is
debatable. But with Beck set up as the Joker against
whom New York magazine art critic Jerry ‘Hollywood’
Saltz can style himself the artworld’s Dark Knight, this
one might have legs.
 Three takes
on power
ArtReview invited three artists, Martin Creed, Assume Vivid Astro Focus and
Wilfredo Prieto, to contribute a work on the subject of ‘power’

In association with
Martin Creed Work No. 748, 2007, c-type print, 36 cm x 38 cm. Courtesy the artist and Hauser & Wirth, Zurich, London & New York
Assume Vivid Astro Focus Nuke Trannie, 2008. Courtesy Deitch Projects, New York
Wilfredo Prieto Politically Correct, 2009, watermelon. Courtesy Taka Ishii Gallery, Tokyo & Kyoto
 the power 100

The top 100 at a glance

2008
1. Damien Hirst
2. Larry Gagosian
3. Kathy Halbreich
4. Sir Nicholas Serota
5. Iwan Wirth
6. Jay Jopling
7. David Zwirner
8. François Pinault
9. Jasper Johns
10. Eli Broad
11. Jeff Koons
12. Steven A. Cohen
13. Daniel Birnbaum
14. Charles Saatchi
15. Brett Gorvy & Amy Cappellazzo
16. Tobias Meyer &
Cheyenne Westphal
17. Marian Goodman
18. Gerhard Richter
19. Richard Prince
20. Dominique Lévy &
Robert Mnuchin
21. Michael Govan
22. Marc Glimcher
23. Annette Schönholzer,
Marc Spiegler
24. Alfred Pacquement
25. Matthew Slotover &
Amanda Sharp
26. Barbara Gladstone
27. Matthew Marks
28. Takashi Murakami
29. Agnes Gund
30. Sheikh Mohammed bin Zayed
al Nahyan
31. Dakis Joannou
32. Bernard Arnault
33. Richard Serra
34. Sadie Coles
35. Julia Peyton-Jones &
Hans Ulrich Obrist
36. Donna De Salvo
37. Simon de Pury
38. Don & Mera Rubell
39. Ann Philbin
40. Paul Schimmel
41. Patricia Phelps de Cisneros
42. Michael Ringier
43. Jose, Alberto & David Mugrabi
44. Chris Kennedy
45. Bruce Nauman
46. Cy Twombly
47. Ai Weiwei
48. Tim Blum & Jeff Poe
49. Andreas Gursky
50. Olafur Eliasson
51. Harry Blain
& Graham Southern
52. Jeff Wall
53. Peter Doig
2009
54. Roman Abramovich & 1. Hans Ulrich Obrist
Dasha Zhukova 2. Glenn D. Lowry
55. Bruno Brunnet, Nicole Hackert, 3. Sir Nicholas Serota
Philipp Haverkampf 4. Daniel Birnbaum
56. Marlene Dumas 5. Larry Gagosian
57. Gavin Brown 6. François Pinault
58. Victoria Miro 7. Eli Broad
59. Mitchell Rales 8. Anton Vidokle, Julieta Aranda
60. Yvon Lambert & Brian Kuan Wood
61. Mike Kelley 9. Iwona Blazwick
62. Paul McCarthy 10. Bruce Nauman
63. Banksy 11. Iwan Wirth
64. Emmanuel Perrotin 12. David Zwirner
65. William Acquavella 13. Jeff Koons
66. Lucian Freud 14. Jay Jopling
67. Victor Pinchuk 15. Marian Goodman
68. Maurizio Cattelan 16. Agnes Gund
69. Cai Guo Qiang 17. Takashi Murakami
70. Maureen Paley 18. Alfred Pacquement
71. Roberta Smith 19. Peter Fischli & David Weiss
72. Peter Schjeldahl 20. Mike Kelley
73. Thelma Golden 21. Barbara Gladstone
74. Ralph Rugoff 22. Steven A. Cohen
75. Robert Gober 23. Dominique Lévy
76. Iwona Blazwick & Robert Mnuchin
77. Richard Armstrong 24. Adam D. Weinberg
78. Massimiliano Gioni 25. Marc Glimcher
79. Jerry Saltz 26. Amy Cappellazzo & Brett Gorvy
80. Reena Spaulings 27. Cheyenne Westphal
81. Louise Bourgeois & Tobias Meyer
82. Cindy Sherman 28. Ann Philbin
83. Okwui Enwezor 29. Matthew Higgs
84. Jeanne Greenberg Rohatyn 30. Matthew Marks
85. Shaun Caley Regen 31. Tim Blum & Jeff Poe
86. Liam Gillick 32. Gavin Brown
87. Miuccia Prada 33. Ralph Rugoff
88. John Baldessari 34. Liam Gillick
89. Francesca von Habsburg 35. Anne Pasternak
90. Christian Boros 36. Dakis Joannou
91. Nicholas Logsdail 37. John Baldessari
92. Subodh Gupta 38. Isa Genzken
93. Long March Project 39. Paul McCarthy
94. Paula Cooper 40. Michael Govan
95. Peter Nagy 41. Eugenio López
96. C.E.B. Reas 42. Cindy Sherman
97. Anita & Poju Zabludowicz 43. Ai Weiwei
98. Guy & Myriam Ullens 44. Patricia Phelps de Cisneros
99. Laurent Le Bon 45. Annette Schönholzer
100. Thomas Kinkade & Marc Spiegler
46. Diedrich Diederichsen
47. Richard Prince
48. Damien Hirst
49. Bernard Arnault
50. Massimiliano Gioni
51. Amanda Sharp
& Matthew Slotover
52. Joel Wachs
53. Victor Pinchuk
54. Udo Kittelmann
55. Marina Abramović
56. Michael Ringier
57. Gerhard Richter
58. Richard Serra
59. RoseLee Goldberg
60. Kasper König
61. Roberta Smith
62. Monika Sprüth
& Philomene Magers
63. Germano Celant
64. Emmanuel Perrotin
65. Peter Schjeldahl
66. Beatrix Ruf
67. Okwui Enwezor
68. Nicolas Bourriaud
69. Karen & Christian Boros
70. Isabelle Graw
71. Maurizio Cattelan
72. Charles Saatchi
73. Jerry Saltz
74. Jasper Johns
75. Louise Bourgeois
76. Thaddaeus Ropac
77. Mera & Don Rubell
78. Thelma Golden
79. Sarah Morris
80. Carolyn Christov-Bakargiev
81. Anita & Poju Zabludowicz
82. Paul Schimmel
83. Jose, Alberto & David Mugrabi
84. Sadie Coles
85. Daniel Buchholz
86. Victoria Miro
87. Maureen Paley
88. Johann König
89. Nicolai Wallner
90. Maria Lind
91. Massimo De Carlo
92. Mario Cristiani, Lorenzo
Fiaschi & Maurizio Rigillo
93. Rirkrit Tiravanija
94. Toby Webster
95. Long March Space
96. Nicholas Logsdail
97. Harry Blain
& Graham Southern
98. Claire Hsu
99. Peter Nagy
100. Glenn Beck

ArtReview 135
Gawel Kownacki and Magdalena Kownacka photographed by Michal Kawecki, 24 September, Krakow
 Rebirth of the Dead Hero | Oil on canvas | 300 x 200 cm | 2009

Rokni Haerizadeh
15 Nov. 09 — 07 Jan. 10

B21 GALLERY | Dubai

www.b21gallery.com
Galerie Eve

BASUDEP BISWAS
www.galerieeve.com

No. 5 Tank Road Nagarathar Building Tel. (65) 6835 7882 krisstel@galerieeve.com Thursdays to Sundays 12 - 6 pm
#04-03 Singapore 238061 Fax. (65) 6235 4868 (65) 9099 3965 For Appointments
Sheer Sliver
13 November
20 December 09

Ceri Hand Gallery

12 Cotton Street, Liverpool L3 7DY
T: +44 (0)151 207 0899
info@cerihand.co.uk
www.cerihand.co.uk
Opening hours Wednesday – Saturday
10am – 6pm or by appointment

Supported by

22 October 2009 – 5 April 2010

Admission free
Daily 10.00–17.30
Thursdays & Fridays until 20.30
www.britishmuseum.org

British Museum
Great Russell Street
London WC1B 3DG

Diego Rivera. Emiliano Zapata and his horse, 1932. Presented by The Art Fund.
© 2009, Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico D.F./DACS.
 Natasha Akhmerova Gallery

The Mission of the Gallery

The primary focus of the gallery is to provide an

international platform for emerging and mid-carrier
artists from Russia and post-Soviet countries in
order both to foster their carriers and to represent
to the international art world the vibrant and
dynamic art scene developing in these countries.

We also open our space to select non-Russian

artists of exceptional imagination.

Since we strongly believe in the inspired creative

energy and innovative potential of Russian art, we
strive to diminish its relative isolation from the
Western mainstream art world, caused by well-
known political and historical conditions, and to bring
wider recognition to underappreciated master art-
ists of the post-Soviet period, as well as to bridge
the gap between the markets and mentalities of
Western European and Eastern European art.

Galerie Barbarian Art Tel. +41 44 280 45 45

Bleicherweg 33 Fax. +41 44 280 45 47
CH-8002 Zurich www.barbarian-art.com
Switzerland info@barbarian-art.com
 i
sendyou
this

artists websites
technology for art

what's on
cultural exchange
art hub gallery

isendyouthis
craig@isendyouthis.com
01803 722220
www.isendyouthis.com
 Richard Mortensen “avignon i”. Fernand Léger “composition murale”.

The Bukowski
Modern Sale
Preview: october 17 - 25 Auction: october 27 - 30
paintings, sculpture, prints, design furniture, carpets, silver, glass, ceramics

Pablo Picasso Roberto Matta Roberto Matta Yves Klein

“tête de femme (de profil)”. “untitled”. “untitled”. “Venus bleue”.

fine art auctioneer since 1870

arsenalsgatan 4, box 1754, s-111 87 stockholm, sweden. phone +46 8 614 08 00. telefax + 46 8 611 46 74. www.bukowskis.se
China Guardian 2009 Autumn Auction
Preview
November 18-20, 2009

Auction
November 21-24, 2009

Venue
Conference Center,
Beijing International Hotel
( 9 Jianguomennei St., Beijing )

Auction Items
Chinese Painting and Calligraphy
Porcelain, Jade and Works of Art
Chinese Oil Painting and Sculpture
Rare Books and Manuscripts

1 Tang Mu Li
1 FIGHTING IN THE NORTH AND SOUTH 1977
Oil on canvas 118 × 232.2cm
2 Fu Zhigui
THE CHARACTERS OF GOOD 1974

2 Oil on canvas 240 × 200cm

3 3 Xiao Feng Song Ren

NORMAN BETHUNE 1973-1974
Oil on canvas 134× 156cm

Headquarters
2-603 Henderson Center, 18 Jianguomennei St., Beijing 100005, China Hong Kong Office Taipei Office Japan Office USA Liaison, New York
Tel: (86-10) 6518 2315 Fax:(86-10) 6518 3915 (852) 2815 2269 (886) 2 2550 5222 (81-3) 6240 5668 (1) 917 825 9038
E-mail: mail@cguardian.com website：www.cguardian.com/english hkoffice@cguardian.com.hk twoffice@cguardian.com.tw jpoffice@cguardian.com richard@cguardian.com
Art Review advertisement. April 2009.
Contacts: Christopher Thompson on 020 7272 4831 or Joanna Pocock (designer) on 07984 638 114

Jacquie gulliver thomPson

Paintings 1996 – 2007

Site-specific projects along the River Trent in Nottingham

Summer – Autumn 2009
Curated by Jennie Syson

A series of new artists’ commissions, reading rooms, a symposium

Action Men, 2000, Oil on canvas, 92cm x 92cm

& a three-part publication

John Newling
Annexinema
The Magnificent Revolution
Rebecca Beinart
S Mark Gubb
Peter Greenaway
Mark Harasimowicz
Tristan Hessing
21st August
Hinterland Launch
Clifton Bridge
Modern Baroque 26th November
Hinterland Symposium
30 November - 5 December
Broadway Media Centre
Enquiries before and after exhibition:
www.hinterlandprojects.com
tel/fax 0207 272 4831
email gulliver@cwthompson.fsnet.co.uk 28 Cork Street
Enquiries during exhibition: London W1S 3NG
tel 0207 437 2812 www.galleryincorkstreet.com
website www.jacquiegulliverthompson.com Mon to Fri 10 - 6 & Saturday 10 - 4
 15 Oct -
28 Nov 2009

24 Old Gloucester Street, London WC1N 3AL. Tel: +44 (0)20 7242 7367
Fax: +44 (0)20 7405 1851 email: art@octobergallery.co.uk
Open: Tues - Sat 12.30-5.30 or by appointment.
Romuald Hazoumé, Wax Bandana, 2009. Mixed media, 27 x 12 x 27cm

half_page_Ad.indd 7 29/09/2009 15:57

Edinburgh Art Fair
20th - 22nd November
Edinburgh Corn Exchange

65 Galleries: Crèche: Wrapping service: Café & Bar

Edinburgh Corn Exchange, 11 Newmarket Road, EH14 1RJ
Doors Open 11am - 6pm Friday & Saturday.11am - 5pm Sunday. Admission £5 Concessions £4

For further information telephone 01875 819 595 or visit

www.artedinburgh.com
WIN one of 3 original ADVERTISEMENT

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listings: museums and galleries
UNITED STATES, NEW YORK
Edward Tyler
Nahem Fine Art
37 West 57th Street
New York, NY 10019
T +1 212 517 2453
etnahem.com
PACEWILDENSTEIN
545 West 22nd Street
New York, NY 10011
T +1 212 989 4258
pacewildenstein.com
Tim Eitel : New Paintings from
2007– 2009 6 Nov– 5 Dec
Maya Lin: Three Ways of Looking
at the Earth to 24 Oct
32 East 57th Street
David Hockney: Recent Paintings
23 Oct–24 Dec
534 West 25th Street
David Hockney: Recent Paintings
23 Oct–24 Dec
White Box
329 Broom Streeet
New York, NY 10002
T + 1 212 714 2347
whiteboxny.org
White Noise III:
Pandora’s Sound Box
2–22 Nov
David Zwirner
525 West 19th Street
New York, NY 10011
T +1 212 727 2070
davidzwirner.com
UNITED STATES
Art Los Angeles
Contemporary
7176 W. Sunset Blvd.
Los Angeles, CA 90046
T +1 323 851 7530
fairgroundsllc.com
artlosangelesfair.com
Art Los Angeles Contemporary at
the Pacific Design Center blackratpress.co.uk
West Hollywood 28–31 Jan
154 ArtReview
UNITED KINGDOM, CYNTHIA CORBETT ROBILANT + VOENA
LONDON GALLERY 38 Dover Street
An offsite exhibition at London W1
20 HOXTON SQUARE Sphinx Fine Art T +44 (0) 20 7409 1540
33 Portland Place 125 Kensington Church Street robilantvoena.com
London W1 London W8 Back to the Future; Young Artists
T +44 (0) 20 7225 0066 T +44 (0)20 8947 6782 Look to Old Masters
20hoxtonsquare.com thecynthiacorbettgallery.com to 8 Nov
The Embassy: Group Show Young Masters: An exhibition
15–19 Oct featuring emerging and newly THE WAPPING PROJECT
Lawrence Owen: Golden Book established artists whose work is Wapping Hydraulic Power Station
to 7 Nov inspired by Old Masters. Wapping Wall
to 4 Nov London E1
AFFORDABLE ART FAIR T +44 (0)20 7680 2080
Battersea Evolution DAVID ROBERTS thewappingproject.com
Battersea Park FOUNDATION Jonathan Ellery’s Theory of Neo-
London SW11 111 Great Titchfield St conservative Creationism
T +44 (0)20 8246 4848 London W1 10–29 Nov
affordableartfair.com T +44 (0)20 7637 0868
The place to discover and buy davidrobertsartfoundation.com UNITED KINGDOM
paintings, drawings, sculpture, Conversations with the Other Side:
photography and original prints An invitation to enter another AXIS
– all priced between £50 and dimension and communicate with Round Foundry Media Centre
£3,000 22–25 Oct a world beyond time and space. Foundry Street, Leeds
A one-night event by Ben Judd & T +44 (0)8453 628 230
A FOUNDATION Sidsel Christensen axisweb.org
Rochelle School Arnold Circus 29 Oct, 7pm The online resource for
London E2 contemporary art
T +44 (0)20 7729 8275 TATE BRITAIN
afoundation.org.uk Millbank BRIDPORT ART SCENE
whitneymcveigh.co.uk London SW1 St Michael’s Studios,
Whitney McVeigh: New Work T +44 (0)20 7887 8888 Bridport, Dorset
Solo exhibition of new work by the tate.org.uk/britain T +44 (0)1308 424582
American-born artist. The bridport.org
exhibition will showcase a selection GALLERY IN CORK STREET November Open Studios
of large-scale monoprints, collages 28 Cork Street Bridport Literary Festival
and works on found paper London W1 countertext09
to 1 Nov T +44 (0)20 7287 8408 Bridport Arts Centre
galleryincorkstreet.com 13–22 Nov
Louise Blouin Jacquie Gulliver Thompson John Ragg RA
Foundation to Nov 20 Sep–8 Nov
3 Olaf Street Sally McLaren & Jacy Wall:
London W11 ALEXIA GOETHE GALLERY Prints & Paintings
ltbfoundation.org 7 Dover Street Sladers Yard
Kandinsky Prize in London London W1 14 Nov–20 Dec
17 Oct–10 Dec T +44 (0)20 7629 0090
alexiagoethegallery.com CASS SCULPTURE
BLACK RAT PRESs Blair Thurman to 13 Nov FOUNDATION
83 Rivington Street Goodwood, Chichester
London EC2 MADDOX ARTS West Sussex
T +44 (0)20 7613 7200 52 Brook’s Mews T +44 (0)1243 538 449
London W1 sculpture.org.uk
Lucas Price to 13 Nov T +44 (0)20 7495 3101 Monumental contemporary
maddoxarts.com sculpture set in 26 acres of idyllic
BUSHMAN PROJECT Nick Veasey 30 Oct–5 Dec woodland to 8 Nov
Canary Wharf Shopping Centre
Canada Square, Canary Wharf MAUREEN PALEY CORNER HOUSE
London E14 21 Herald Street 70 Oxford Street
bushmanproject.co.uk London E2 Manchester
Original Bushman Art from Kuru, T+44 (0)20 7729 4112 T +44 (0) 161 228 7621
Ghanzi, Botswana from 21 Oct maureenpaley.com cornerhouse.org
Anne Hardy to 22 Nov Artur Żmijewski: The first
major UK survey of one of the
most consistently challenging,
provocative and profoundly
thoughtful artists in Europe
13 Nov–10 Jan
CERI HAND GALLERY Xavier Hufkens GERMANY Galerie Bertrand &
12 Cotton Street, Liverpool Rue Saint-Georges 6–8 Gruner
T +44 (0)1512 070 899 1050 Brussels ARNDT & PARTNER 16, rue du Simplon
cerihand.co.uk T +32 2 639 6730 Invalidenstraße 50–51 1207 Geneva
Bedwyr Williams to 25 Oct xavierhufkens.com D-10557 Berlin T +41 227 005 151
Samantha Donnelly: Sheer Sliver Antony Gormley to 22 Oct T +49 30 280 8123 bertrand-gruner.com
13 Nov–20 Dec Eric Wurm to 3 Dec arndt-partner.de Mustafa Maluka to 31 Oct
Khosrow Hassanzadeh Richard Kern 5 Nov–19 Dec
DUNDEE CONTEMPORARY Galerie Rodolphe to 14 Nov
ARTS Janssen Galerie Thaddaeus
152 Nethergate 35, rue de Livourne Bereznitsky Gallery Ropac
Dundee Scotland 1050 Brussels Heidestraße 73 Mirabellplatz 2
T +44 (0)1382 909 900 T +32 2 538 0818 10557 Berlin 5020 Salzburg
dca.org.uk galerierodolphejanssen.com T +49 (0)307 008 1256 T +43 662 881 393
Thomas Hirschhorn to 29 Nov Torbjorn Rodland Oct bereznitsky-gallery.com ropac.net
Lisa Sanditz Nov–Dec Gilbert & George
EDINBURGH ART FAIR CONTEMPORARY FINE to 21 Nov
The Edinburgh Corn Exchange Galerie Almine Rech ARTS GALERIE
11 Newmarket Road 20 Rue de l’Abbaye Am Kupfergraben 10 Galerie Urs Meile
Edinburgh B-1050 Brussels 10117 Berlin Beijing-Lucerne
T +44 (0)1875 819 595 T +32 26 485 684 T +49 (0)30 288 7870 Rosenberghoehe 4
artedinburgh.com alminerechgallery.com cfa-berlin.com 6004 Lucerne
Scotland’s largest art fair returns Aaron Young T +41 414 203 318
for its 5th year, selling thousands 20 Oct–17 Dec DEUTSCHE GUGGENHEIM galerieursmeile.com
of original artworks from hundreds Unter den Linden 13/15 Qiu Shihua to 24 Oct
of national and international think.21 10117 Berlin
artists 20–22 Nov rue du Mail 21 T +49 (0)30 20 2093 ITALy
Brussels 1050 deutsche-guggenheim.de
WOLVERHAMPTON ART T +32 2 537 87 03 Abstraction & Empathy to 16 Oct ARTEFIERA ART FIRST
GALLERY think21gallery.com Julie Mehretu 28 Oct–6 Jan Quartiere fieristico di Bologna
Lichfield Street Angelo Plessas Viale della Fiera, 20
Wolverhampton to Oct 24 LUMAS Berlin 40127 Bologna
T +44 (0) 1902 552 055 Hackesche Höfe T +39 051 282 111
wolverhamptonart.org.uk ZENO X GALLERY Rosenthaler Straße 40/41 artefiera.bolognafiere.it
Vered Lahav: Sleepless Leopold De Waelplaats 16 10178 Berlin 21–29 Jan
to 23 Jan B-2000 Antwerp T +49 (0)30 2804 0373
T +32 32 161 626 lumas.com Alfonso Artiaco
HINTERLAND zeno-x.com Piazza dei Martiri 58
1 Thoresby Street, Nottingham Anne-Mie Van Kerckhoen WENTRUP Gallery 80121 Naples
annexinema.org 22 Oct–28 Nov Tempelhofer Ufer 22 T +39 081 496 072
hinterlandprojects.com 10963 Berlin-Kreuzberg alfonsoartiaco.com
NETHERLANDS Berlin, janwentrup.com
ISENDYOUTHIS.COM Dichte Fichten Dichten Dich Galleria Massimo De
Lamper Head, Conworthy, Totnes Galerie Paul Andriesse to 6 Nov Carlo
T +44 (0)1364 653 208 Gebouw Detroit/ Detroit Building via Giovanni Ventura 5
Art slide show, artist portfolio Withoedenveem 8 AUSTRIA 20135 Milan
gallery guide, exhibition guide 1019 HE Amsterdam T +39 02 70 003 987
& artist directory Vincenzo Castella: About Town Galerie Hubert Winter massimodecarlo.it
Jan Van de Pavert: Breite Gasse 17
TATE LIVERPOOL Monumenten en paviljoens A-1070 Wien Galleria Continua
Albert Dock 23 Oct–28 Nov T +43 (0)1524 09 76 Via del Castello, 11
Liverpool galeriewinter.at 53037 San Gimignano
T +44 (0)1517 027 400 GRIMM FINE ART Lei Xue 17 Nov–21 Dec T+39 0577 943 134
tate.org.uk/liverpool Keizersgracht 82 galleriacontinua.com
Joyous Machines: Michael Landy 1015 CT Amsterdam SWITZERLAND Mona Hatoum/Jorge Macchi/
and Jean Tinguely to 10 Jan T +31 (0)20 422 7227 Margherita Morgantin to 7 Nov
grimmfineart.com Galerie Guy BArtschi
Belgium rue du Vieux-Billard 3a Galleria Riccardo Crespi
VAN ABBE MUSEUM 1205 Geneva via Mellerio n° 1
Galerie Baronian- Bilderdijklaan 10 , Eindhoven T +41 22 3 100 013 20123 Milan
Francey T +31 (0)40 238 1000 bartschi.ch T +39 (0)289 072 491
2 rue Isidore Verheyden vanabbemuseum.nl riccardocrespi.com
1050 Brussels Lissitzky 19 Sep–5 Sep 2010 Eugenia Vanni to 7 Nov
T +32 25 12 9295
baronianfrancey.com Fondazione Gervasuti
Gilbert & George to Oct 31 Castello 994, 30122 Venezia
Tony Oursler 13 Nov–9 Jan gervasutifoundation.org
Distortion to 22 Nov
PEGGY GUGGENHEIM
COLLECTION
Dorsoduro 701
I-30123 Venezia
T +39 (0)41 2405411
guggenheim-venice.it
Federico Luger
Via Domodossola 17
Milan 20145
T +39 026 739 1341
federicolugergallery.com
Galleria Franco Noero
Via Giolitti 52A
10123 Turin
T+39 011 882 208
franconoero.com
Galleria Lorcan O’ Neill
Via Orti d’Alibert 1e
00165 Rome
T +39 06 68 892 980
lorcanoneill.com
GALLERIA PACK
Foro Bonaparte, 60
20121 Milan
T +39 (0)286 996 395
galleriapack.com
Peter Belyi to 28 Nov
Galleria Poggiali e
Forconi
Via della Scala, 35
50123 Florence
T+39 055 287 748
poggialieforconi.it Sat 2–6:30
Youssef Nabil 17 Oct–15 Dec
Monica De Cardenas
Via Francesco Viganò 4
20124 Milan
T +39 02 29 010 068
Prometeogallery
Via Giovanni Ventura 3
20134 Milan
T+39 02 2692 4450
prometeogallery.com
Fondazione Sandretto
Re Rebaudengo
Via Modane, 16
10141 Torino
T +39 011 379 7600
fondsrr.org
AMT – Torri & Geminian
Via L. De Bernardi, 1
20129 Milan
T +39 02 45499769
amtgallery.com T +33 (0)142 729 900
Lucia Leuci to 20 Nov
FRANCE SPAIN Japan
FIAC Galeria Elba Benitez Scai the Bathhouse
Grand Palais & Louvre San Lorenzo 11 Kashiwayu-Ato
Paris 28004 Madrid 6-1-23 Yanaka, Taito-ku
fiac.com T+34 91 308 04 68 Tokyo 110-0001
22–25 Oct elbabenitez.com T +813 3821 1144
Hreinn Fridfinnson Nov scaithebathhouse.com
Fondation Cartier Julian Opie
261 Boulevard Raspail GALERIA HELGA de ALVEAR 16 Oct–14 Nov
75014 Paris c/ Doctor Fourquet 12
T +33 142 185 650 28012 Madrid EST-OUEST AUCTIONS Co,
fondation.cartier.com T +34 914 680 506 Ltd
Né dans la rue: Grafitti to Nov 29 helgadealvear.com 2-5-15 Higashigotanda
Prudencio Irazabal Shinagawa-ku Tokyo 141-0022
Galleria Continua to 19 Nov Japan
Le Moulin (Paris) T+81 (0)3 5791 3131
46, rue de la Ferté Gaucher Laboral Centro de Arte est-ouest.co.jp
77169 Boissy-le-Châtel y Creacion Industrial
Seine-et-Marne Los Prados, 121 China
T +33 164 203 950 33394 Gijón
galleriacontinua.com T +34 985 133 431 10 Chancery Lane
Sphères 2009 24 Oct–30 May laboralcentrodearte.org Gallery
G/F, 10 Chancery Lane, Central,
Galerie Laurent Godin CAC Malaga Hong Kong
5, rue du Grenier St Lazare C/ Alemania, s/n T + 852 2810 0065
75003 Paris 29001-Málaga 10chancerylanegallery.com
T +33 142 711 066 T + 34 952 12 00 55 10 Chancery Lane Gallery Annex
laurentgodin.com cacmalaga.org Unit 614, Chai Wan Industrial
Delphine Coindet City Phase 1, 60 Wing Tai Road,
22 Oct–5 Dec MALTA Chai Wan, Hong Kong
Galerie Lelong Paris Jason Lu Artside Gallery
13, rue de Téhéran Portobello Court P.R. China, Gallery Artside, PO
75008 Paris St. Teresa Square Box 8503, No.4 Jiu Xianqiao
T +33 145 631 319 Marsascala Road, 798 Art Zone,
Open Tues–Fri 10:30–6 T +356 7933 3338 Chaoyang district
jasonlu.com T + 86 10 5978 9192
galerie-lelong.com artisde.org
Pierre Alechinsky 16 Oct–21 Nov PORTUGAL Kim MuKee: Murmuring Tree
Make a Trip to Beijing
Galerie Emmanuel Cristina Guerra 24 Oct–24 Dec
Perrotin Rua Santo Antonio à Estrela
76, rue de Turenne 1350-291 Lisbon AYE GALLERY
75003 Paris T +351 (0)21 395 95 59 Room 601, Unit 3
T +33 (0)142 167 979 cristinaguerra.com Yonghe Garden, Yard 3
galerieperrotin.com Dongbinhe Road, An Ding Men
Farhad Moshiri/Jean Michel- SWEDEN Dongcheng District
Othoniel 22 Oct–1 Jan Beijing 100013
Moderna Museet T +86 (0) 10 8422 1726
Galerie Almine Rech Slupskjulsvägen 7–9 Open Tue–Sun 10–6
19, rue de Saintonge Stockholm ayegallery.com
75003 Paris Dalí Dalí Featuring Francesco
Tel +33 145 837 190 Vezzoli to 17 Jan China Guardian
galeriealminerech.com
Auctions
Daniel Lergon Russia
2-603 Henderson Center, 18
22 Oct–19 Dec
Jianguomennei St, Beijing,
XL GALLERY
China
Galerie ThaddAeus 105120 Moscow, 4
T + 86-10-6518-2315
Ropac Siromiatnichesky per 1, Winzavod
cguardian.com
7, rue de Saintonge T +7 495 7758373
China Guardian 2009 Autumn
75003 Paris Open Tue–Sun, 13–19
Auction at the conference center
xlgallery.ru
Beijing Intl Hotel
ropac.net
21–24 Nov
Francesco Clemente to 7 Nov

Institutions of Chinart
D1 Fengde International Plaza
No. 6 Hangkong Road
Wuhou Section, Chengdu
Sichuan Province 610041
T +86 28 8526 7130
institutionsofchinart.org
Reshaping History: Chinart from
2000 to 2009 23 Apr–18 May
Ov gallery
19C Shaoxing lu
Shanghai 20002
T+ 862 15 465 7768
ovgallery.com
Late Show: Through the Lens of
Jiang Guozhe to 5 Dec
SINGAPORE
GALERIE EVE
No 5 Tank Road Nagarathar
Building #04-03, 238061
T +65 9099 3965
Open Thu–Sun 12–6
galerieeve.com
Eagle’s Eye Art Gallery
9 Stamford Road
Stamford House #01-01, 178885
T + 65 6339 8297
elitepainter.com
KOREA
Artside Gallery
170 GwanHoon-dong Jongro-gu,
Seoul 110-300
T+ 82 2 725 1020
artside.org
GAAIN GALLERY
512-2 Pyungchang-dong,
Jongno-gu, Seoul 110-848
T +82 2 394 3631
gaainart.com
Television12 gallery
2nd floor, 360-12 seokyo-dong
mapo-ku, Seoul
T +82(10)2 922 3150
television12.co.kr
Watergate
211–21 5F Watergate bldg.
Nonhyeon-dong, Gangnam-gu
Seoul 135-996
T +82 (2) 540 3213
changart.com
Gallery Yeh
532-9 shinsa-dong, Gangnam-ku
Seoul 135-888
T+82 2 542 5543
galleryyeh.com
Insun Choi to 19 Nov
listings: museums and galleries
Hong Kong Taiwan
10 Chancery Lane SOKA ART CENTER TAIPEI
Gallery 2F, No. 57, Dunhua South Road
G/F, 10 Chancery Lane, Central, Sec. 1, Taipei, 10557,
Hong Kong Taiwan
T + 852 2810 0065 T: +886-2-2570-0390
10chancerylanegallery.com Open Tue– Sun 11– 9
soka-art.com
Schoeni Art Gallery
21–31 Old Bailey Street, Central, Eslite Gallery
Hong Kong 5F, No. 11, Songgao Rd., Taipei
T +852 2869 8802 11073, Taiwan
Open Mon–Sat 10:30–6:30 T+886.2.8789.3388 ext. 1588
schoeni.com.hk Open Tue–Sun 11–7
gallery@eslite.com.tw
Eslite Gallery eslitegallery.com
5F, No. 11, Songgao Rd. Cai Guo Qiang
Taipei 11073 21Nov–21 Feb
T+886.2.8789.3388
Open Tue–Sun 11–7 Turkey
eslitegallery.com
Beyaz Art
India İz Plaza Giz, Kat:19 D:70, Maslak
İstanbul –TURKEY
Arushi arts T +90212. 290 70 50
C-36, Okhla Industrial Area info@beyazart.com
Phase-1 beyazart.com
New Delhi 110020
T +91 11 41435490/91,
Open Mon–Sat 11–6
eindiaart.com
BRAZIL
A Gentil Carioca
Rua Gonçalves Ledo, 17 sobrado,
Centro
Rio de Janeiro
T +55 (0)21 22221651
agentilcarioca.com.br
Galeria Leme
Rua Agostinho Cantú 88
05501-010 São Paulo
T +55 (0)11 - 3814 8184
galerialeme.com.br
Galeria Nara Roesler
Avenida Europa 655
01449-001 São Paulo
T +55 (0)11 - 306 32 344
nararoesler.com.br
Galeria Luisa Strina
Rua Oscar Freire, 502
01426-000, São Paulo - SP
t +55.11.3088-2471
galerialuisastrina.com.br
Galeria Fortes Vilaca
Rua Fradique Coutinho 1500
05416-001 São Paulo - SP
T +55 11 3032 7066
fortesvilaca.com.br
ArtReview 157
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 Vital Statistics
That Was Then…
The Strip
On the Town
Off the Record

ArtReview 159
Rear view: The power 100

Vital Statistics
Art lovers are, by definition, visually minded people. Bearing this in mind, we invited the pale
and obsessive nerds who work in ArtReview’s Department of Advanced Aesthetico-Statistical
Analysis to interpret this year’s Power 100, using the comprehensible form of scientific graphics
and Excel-hardened facts. What follows, we’re proud to announce, is a polymnemonic articulation
of contemporary art’s cosmophrenic and radial spectrodynamics, which may serve furthermore
as a guide to getting to the top of the charts and eating the biggest slice of pie.

The rise of the curator

160 ArtReview
Battle of the sexes
2008

2009
Rear view: The power 100

Are some countries more sexually equal

than others?

162 ArtReview
How the world eats the art pie
2008

2009
Rear view: The power 100

That was then...

2008-9
Twelve months of turmoil and change, plus a few parties:
ArtReview presents the highs and lows of a year that witnessed
historic elections, government takeovers, freak snowfalls and a
heavy dose of births, deaths, divorces and relocations.

October London’s auction

2008 houses hold

disappointing postwar
and contemporary art
sales, with many lots
Charles Saatchi’s new failing to sell
gallery opens at Duke
of York’s HQ on King’s Alvaro Siza, the seventy- theanyspacewhatever,
Road, London five-year-old Pritzker a retrospective of
Prize-winning Portuguese ‘relational’ art, opens
Barbara Gladstone architect, is announced at the Guggenheim,
donates major fund to as the 2009 Royal Gold New York
It emerges that Scotland’s
New York’s New Museum Medallist by the Royal Lighthouse centre for
to support lectures and Institute of British Laurent Grasso wins the
architecture and design
presentations, in honour Architects Marcel Duchamp Prize
is facing a deficit of
of her son Stuart Regen,
£300,000, forcing it to ask
founder of LA’s Regen Dominique Gonzalez- Cameron Jamie
for increased funding from
Projects, ten years after Foerster’s Turbine Hall wins the inaugural
Glasgow City Council to
his death project, TH.2058, opens $100,000 Yanghyun
avoid shutdown
at Tate Modern as the Prize, honouring an
ninth commission in the international artist of
London’s ICA announces
Unilever Series outstanding repute
the closure of its Live and
Media Arts department;
Foster + Partners director Ekow Eshun’s
announced as designers statement that ‘the art
for new interior of the form lacks depth and
landmark New York cultural urgency’ causes
Public Library consternation
The auction house
Phillips de Pury &
Company is acquired by
Russia’s largest luxury
retail company, the
Mercury Group

164 ArtReview
November December
MOCA, LA, accepts a
Mark Leckey wins the $30 million bailout from
Turner Prize Eli Broad to save the
Prospect.1, the first New
struggling institution;
Orleans art biennial,
London’s Photographers’ director Jeremy Strick
set up in the wake of
Gallery opens in new steps down after 9 years
Hurricane Katrina, opens
Soho premises
Alanna Heiss,
Two major museum
Carolyn Christov- who founded P.S.1
projects are announced
Bakargiev named artistic Contemporary Art Center
in Beijing: the expansion
director of Documenta 13 in an old schoolhouse
of the National Art
in Long Island City,
Museum into an 80,000-
Artist Keith Arnatt, Queens, in 1971, retires
square-metre site next to
best known for his after 37 years in charge
the ‘Bird’s Nest’ stadium
MOCA, LA, announces photographic work, dies
and a new museum
that the museum is in
for contemporary art
crisis, facing severe Francesco Bonami
at the Beijing Yihaodi
financial difficulties announced as curator
International Artbase
of the 2010 Whitney
Art Basel Miami Beach 2008
Art Basel Conversations / Art Salon: Public Encounters

The Double Club, a Biennial

with Leading Cultural Figures

Israeli designer Ron Art Basel Conversations

Congolese/Western    
By staging public encounters between leading cultural figures, the morning

Arad is the subject of

Art Basel Conversations offer the audience of Art Basel Miami Beach access to

    
first-hand information on important aspects of the international artworld. Taking

fusion club dreamed up

place since 2004 in both Basel and Miami Beach, Art Basel Conversations is a
forum that encourages a lively exchange of ideas, through
  a series of platform

a retrospective at the
discussions that can range from single artists
within
  
exploring their 
practice
to larger
panels that include the leading players
 regional  and
scenes fieldsof


by Carsten Höller and artistic activity. Presenting their 

and upcoming
current  on
projects, reporting 
 
on the  they face, these

Pompidou Centre, Paris

 
their experiences and commenting challenges speakers
provide an insider's view and open up the
 opportunity 
for 
dynamic and inspiring
   
funded by the Prada
dialog. After each Art Basel Conversation, there istime for 
 allotted
approach the panel in a more informal fashion. The ArtBasel
the
Conversations
audience to
  
 
forum 
promises to be intellectually exciting this year, as panelists include  
renowned
such
 
Foundation, opens in
artists, collectors, curators, and critics as Chuck Close, Vik Muniz, Richard Flood,
Hans Ulrich Obrist, Thelma Golden, Glenn Ligon, Billy Al Bengston, and Paul 

Barack Obama wins US
Schimmel, to name only a few. Panel topics include: “The Future of the Museum:
Africa, America and the World,” “Public/Private: The Artist as Philanthropist” and

London
“Artistic Production: Los Angeles, an Alternate Art World Model?”

presidential elections Art Salon

Taking place in the afternoon, Art Salon is an open platform for discussion with an
emphasis on current themes in contemporary art. Informal in its format, yet interna-
tional in scope, Art Salon encourages experimental discussions, presentations
and events such as book signings, with the range of speakers including artists,

Damien Hirst/Science curators, authors, and architects. The program offers an intimate experience for the

Daniel Birnbaum-curated
audience, allowing them to engage with prominent and thought-provoking guests
on a variety of current events in the visual arts, as well as to explore the challenges

slims down, letting go of

of artistic practice within the public realm. Participants include prominent artworld
personalities such as Harald Falckenberg, Francesco Vezzoli, Dan Graham,

Turin Triennial, 50 Moons Christine Macel, Scott Rothkopf, Dan Cameron, Olga Viso, Alanna Heiss, Richard

17 fabricating staff
Feigen, Josh Baer, Jerry Saltz and Shirin Neshat.

of Saturn, on the theme of


Art Basel Conversations

 program




  


Thursday, December 4, 2008, 

Talk
 Artist  
Premiere:  

melancholy, opens
   
     
Chuck Close, Artist, New  
 York

The Museum of Islamic


Vik Muniz,     
Artist,  York 
New  
     
     
  
 

Art, designed by ninety-

   
    
  

Tenerife Arts Space,

    
 
   

one-year-old architect
January
   

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designed by Herzog & de

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I.M. Pei, who describes it

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Meuron, opens in Santa

as his last major cultural
Cruz de Tenerife
building, opens in Doha
The Times names British
New York’s Rivington Museum director Neil
Arms gallery announces MacGregor ‘Briton of the
that it will close Tate and the National
Year’
Museums of Scotland
Emily Jacir wins the jointly acquire the
Beirut Art Center,
$100,000 Hugo Boss collection of dealer
a major nonprofit
Prize Anthony d’Offay on
contemporary art space,
behalf of the nation.
opens with group show
New York auctions Valued at £125 million,
Closer
experience the sharp drop the collection was sold ‘at
in sales seen in London cost’ (around £26 million)
Tony Hart, a beloved
the month prior British children’s TV
Charles Saatchi reveals
art presenter, dies
Chinese artist Yao Lu that he will launch a
wins BMW–Paris Photo reality TV show for
Prize for contemporary aspiring artists
photography
Polish artist Miroslaw
Balka is revealed as the
10th artist to receive the
Turbine Hall Unilever
Series commission at
Tate Modern
Rear view: The power 100

February
Dan Graham’s first US
retrospective opens at
MOCA, LA

A freak heavy snowfall

in London cancels
the private view, but
Altermodern: Tate
Triennial, curated by
Nicolas Bourriaud,
The Yves Saint Laurent
opens at Tate Britain
and Pierre Bergé
collection goes to auction
Murcia announced as
in Paris, breaking records
next hosts of Manifesta,
and raising $484 million
in 2010
Arts Council England
Mark Wallinger wins
announces 24 percent cut
commission to create a
in its staffing levels
£2 million giant sculpture
in Ebbsfleet, Kent
Daria Zhukova named
as new editor of POP
It is announced that
magazine
Yoko Ono and John
Baldessari are to receive
Raven Row, a new not-for-
Golden Lions for Lifetime
profit gallery established
Achievement at the 2009
by Alex Sainsbury, opens
Venice Biennale
in Spitalfields with a Ray
Johnson retrospective

X, a one-year not-for-
profit project space
initiated by Elizabeth
Dee, opens in the former
Dia Center for the Arts
building in New York

March
Haunch of Venison
open new space at Royal
Academy building, in
the former Museum of
Mankind, London François Pinault’s
collection is exhibited
J. Paul Getty Trust at Garage Center
slashes operating budget for Contemporary
by 25 percent Culture, Moscow

The 9th Sharjah Biennial, Paul Graham wins the

Provisions for the Future, £30,000 Deutsche Börse
opens Photography Prize

B A I B A K OV
A R T P R OJ E C T S
2008/2009
PRESENTATION

166 ArtReview
April
James Turrell Museum
Tate Modern is granted opens in Colomé,
planning permission for Argentina
a £215 million extension The New Museum’s
designed by architects The Pinchuk Art Centre,
new triennial, The Kiev, opens Requiem
Herzog & de Meuron Generational: Younger – a major Damien Hirst
than Jesus, opens, retrospective
The Whitechapel featuring only
Gallery reopens to the artists under the age
public after an extension The Turner Prize 2009
of thirty-three nominees are announced:
into the neighbouring
library, which has taken Lucy Skaer, Enrico David,
Robert Adams collects Richard Wright and Roger
more than two years $61,000 along with
to complete. Opening Hiorns
Hasselblad Foundation
exhibitions include an Award for photography
Isa Genzken retrospective Auction houses Christie’s
and a yearlong and Sotheby’s both
Author J.G. Ballard dies announce job cuts and
commission from
Goshka Macuga department mergers in
A new foundation face of recession
to support the work
of Native American,
Native Hawaiian and
May
Alaska Native artists is
announced, supported by New York collectors give
$10 million from the Ford New Zealand its biggest-
Foundation ever art donation, handing
a collection of paintings by
Cézanne, Picasso, Matisse,
Gauguin and others to
Auckland Art Gallery

elles@centrepompidou
opens at the Pompidou
Centre, Paris – a year
devoted to showing solely
women artists in the
museum’s collection

Architect Norman Foster

wins Spain’s Principe de
Asturias de las Artes award

David Zwirner and Hauser

& Wirth announce the
opening of new galleries in
New York

Michael Haneke wins the

Palm d’Or in Cannes for
The White Ribbon

Ben Bradshaw appointed

culture secretary for Britain
Rear view: The power 100
June
François Pinault’s new
museum for his collection,
in the Punta della Dogana,
the old customs house in
Venice, opens
Venice Biennale and
Fare Mondi/Making
Worlds, curated by
Daniel Birnbaum, opens
Golden Lion for Best
National Participation
in Venice goes to the
US for Bruce Nauman’s
Topological Gardens
Best Artist in Fare Mondi/
Making Worlds at Venice
goes to Tobias Rehberger
for his café decor in the
Biennale pavilion
Silver Lion for a
Promising Young Artist
in Fare Mondi/Making
Worlds goes to Nathalie
Djurberg
Albion Gallery and the
Fitzrovia branch of the
Approach both announce
closure in London
Michael Jackson, pop
icon, dies from heart
attack following a reaction
to various painkillers
Art collector and
philanthropist Agnes
Gund is announced as
chair of directors of P.S.1
German dancer
and choreographer
Pina Bausch dies
168 ArtReview
July
Haunch of Venison
announce that they are
to close the gallery’s
Zurich space
In London Antony
Gormley’s Fourth Plinth
project, One & Other, in
Trafalgar Square, attracts
a deluge of commentary
about art for the reality-
television generation
New York scenester artist
Dash Snow is found dead
from a drug overdose in
the Bowery’s Lafayette
House hotel
Nicholas Baume
announces departure
from ICA Boston to
become director and chief
curator of New York’s It emerges that several
Public Art Fund flagship London museum
projects, including
LACMA announces extensions for the BFI
the closure of its film and Tate Modern, are
programme, news under threat due to a UK
greeted by fierce government spending
criticism from deficit of £100million
film luminaries such in the Department of
as Martin Scorsese Culture, Media and Sport
Bob and Roberta Smith
and Wolfgang Tillmans
are appointed as Tate
Trustees
Legendary choreographer
and dancer Merce
Cunningham dies
Photographer Annie
Leibovitz is sued by Arts
Capital Group for failing
to meet the terms of her
loan agreement with them
August
Theatre producer Rocco
Landesman is approved as
President Obama’s choice
to lead the National
Endowment for the Arts
Kiki Smith awarded
50th Edward MacDowell
Medal
Artist Ai Weiwei reveals
that he has been detained
and beaten up by Chinese
police, in order to prevent
him and others from
attending the trial of an
activist investigating the
Beijing earthquake
Controversy brews
around Prince Charles’s
charity and heavy
involvement with
architecture decisions
after several high-profile
projects of which he was
critical are changed
Banksy’s exhibition at
Bristol Museum closes
after 12 weeks, becoming
the most popular in the
UK, with visitors reaching
300,000, some after
queuing for up to six
hours to see the show, and
donating around £45,000,
roughly the amount
of donations normally
received in an entire year
Gagosian opens a new September
gallery space in Athens
The Lighthouse, Paul Shanley, publisher
Glasgow’s centre for of Art in America during
design and architecture, the 1970s and 80s, dies 3rd Moscow Biennale
announces closure opens at the Garage
due to bankruptcy Colombo’s first art Center for Contemporary
biennial, Imagining Peace, Art in Moscow
opens four months after
the final defeat of the A survey of women artists
Tamil Tigers and Surrealism, Angels
of Anarchy, opens at
11th Istanbul Biennial, Manchester Art Gallery
What Keeps Mankind
Alive?, curated by Zagreb ArtTLV, Tel Aviv’s second
collective What, How & citywide art exhibition
for Whom, opens (rebranded this year as
a biennial), is launched
LA collector Richard
Weisman offers a $1
million reward for the
safe return of a collection
Andy Warhol portraits
stolen from his home
10th Lyon Biennale,
The Spectacle of the
Everyday, curated by
Hou Hanru, opens
the strip: by Janek Koza

170 ArtReview
on the town:

10 September
Down and out in London: West End openings

16 September
Thomas Demand, Nationalgalerie, Neue Nationalgalerie, Berlin

photography ian pierce and Mathieu MALOUF

2

B
A

3
C

172 ArtReview
 H

Down and out in London

1 Gallerist Massimo De Carlo
2  Artist Charles Avery
3 Tate Modern director Vicente Todoli
4 Artist Alan Kane
5 Gallerist Pilar Corrias and Inverleith House director
Paul Nesbitt
6 Artist Ryan McGinley
7 Artist Wolfgang Tillmans
8 Phillida Reid and gallerist Stuart Shave
9 Poet Mei-mei Berssenbrugge and artist Richard Tuttle
10 Artist David Batchelor and Camden Arts Centre director Jenni Lomax
11 Gallerist Kenny Schachter

Thomas Demand
A Kunstsammlung Nordrhein-Westfalen director Marion Ackermann
and Sean Rainbird, director of the Staatsgalerie Stuttgart
b  Gallerist Johann König and Art Cologne director Daniel Hug
C Artist Thomas Scheibitz
D Publisher Angelika Taschen, novelist Daniel Kehlmann,
6 7 and Nationalgalerie director Udo Kittelmann
E Artist Jordan Wolfson, 032c’s Joerg Koch and
Sprüth Magers’s Johannes Fricke-Waldthausen
F Artist Olafur Eliasson and Marion Ackermann
G Gallerist Philomene Magers, artist Andreas Gursky and
gallerist Matthew Marks
H A liveried BMW
I Artist Mark Wallinger
J Colección Jumex director Abaseh Mirvali and artist Daniel Richter
K Artist Thomas Demand

11

10

K
 Tuesday, September 22, 2009 19:20

Subject: off the record

Date: Tuesday, September 22, 2009 19:19
From: gallerygirl@artreview.com
To: <office@artreview.com>
Conversation: Barging in, barging out

To an insalubrious former school in Shoreditch, no doubt closed down after several

shootings, where I am to meet six of the hottest young unsigned art stars, ready
and primed for market saturation. Yes – I’ve blagged my way behind the scenes on
the top-secret location of Charles Saatchi’s television series. After an audacious open
call to the unknown, the overlooked, the depressed, the insane and the trucker from Hull
who wants to be a Teutonic expressionist painter, a list of young wannabes has been
thrown together for an Apprentice-like series of tasks. Despite the fact that I’m better
looking than most people in the artworld, I’m not here to pass on the benefits of my
artworld wisdom (which is odd, really, now that I’m a highly respected columnist); rather,
I’m here to lift one or preferably three ‘artists’ for our otherwise empty gallery roster.
Of course, that’s not going to get me into Saatchi’s top-secret filming location (cunningly
hidden away where no one would expect to find anything secret: in the place where the
artworld eats). Quickly realising that tight security is the order of the day, I slipped in
claiming to be Terence Rodrigues’s personal assistant – Terence is an ‘art dealer, art expert
and art journalist’ who once made an insipid six-part documentary on art for the BBC.
He isn’t actually one of the judges, either, but I know that the BBC will have to back their
man. It works. Hurrah for the BBC – no one gets left behind! Inside the experts are
gathered: a proper TV presenter, Matthew Collings, is joined by Tracey Emin, Frank Cohen
and, somewhat incongruously, the director of the Barbican Art Gallery, Kate Bush.
I’m expecting tantrums, tears and Teutonic expressionist painting. Instead I get six young
artists drinking cups of tea and making sculpture, waiting for the nice young chaps in the
kitchen to roast some quail. This is no good – we got rid of all the sculptors because of their
production costs, and I fucking hate quail. And no sign of Mr Saatchi, either, to let me
know which of these remarkably pleasant young people he intends to enrich by putting
them in a group show alongside other groovy young British artists, such as the delectable
Phoebe Irwin and the broodingly handsome Peter Peri, in deepest Russia next year.

In the search for collectors, I go off to Outset’s Contemporary Art Canal Boat Tour.
Trusting in safety in numbers, the Tate’s favourite group of collectors is braving the
East End, but wisely avoiding all roads and pavements. The level of random danger is
so high that they’ve chartered a boat to sail slowly down the litter-strewn environs of
Regent’s Canal, ignoring the abuse of passing cyclists, in order to strategically leap out
into the Drawing Room, Chisenhale and Matt’s Gallery. It’s hammering with rain and
the canal is putrid with green stuff. Luckily an indefatigable culture-supremo from the
London Borough of Hackney is on hand to point out local beauty spots to the utterly
bemused but resolutely upbeat collectors. “Look”, she says, “there’s the Kingsland Road!”
as we sail under a tunnel where feral twelve-year-olds try to throw concrete on us. As we
ponder the legend that is the Russian Bar, I head inside the boat to avoid the rain and tuck
into my boxed lunch by Arnold & Henderson. Fucking quail again.

GG

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174 ArtReview
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