169 en

INVESTIGATING FRAUD IN THE ONLINE ART MARKET
Top stories
page 7
Interview
The Edge of Middle Eastern art :
Stephen Stapleton
page 9
Museums
page 14
Galleries
page 18
Interview
Giving art back to Africa:
Barthlmy Toguo
page 21
Artists
page 26
Interview
Dogs in the Living Room:
with Farid Rasulov
page 27
Data
Tom Wesselmann
page 31
Auctions
page 36
Fairs & festivals
page 39
Untitled
Mark Landis
In the style of Honor Daumier
Courtesy of Oklahoma City Museum of Art.
Photo: Shannon Kolvitz
THIS DOCUMENT IS FOR THE EXCLUSIVE USE OF ART MEDIA AGENCYS CLIENTS. DO NOT DISTRIBUTE. www.artmediaagency.com
AMA NEWSLETTER
169
11 September 2014
In recent years, the online art market has exploded; according to a 2014 Hiscox report, it is now esti-
mated to be worth $1.57 billion. With both Christies and Sothebys opening online platforms and the
launch of a huge number of independent auction websites, the buying and selling of art has never
been easier or more accessible. Whilst the online art market moves towards the idea of art for eve-
ryone becoming a reality, this new-found inclusivity comes at a price as the market has found itself
fooded with fakes and forgeries.
Fine Art vs Accessible Art
The term online art market is one that encompasses a broad spectrum of retailers including those
who are part of the professional art world; including artists, galleries, auction houses, specialist on-
line auction platforms, and public auction sites, such as eBay and its Chinese counterpart, Taobao. At
the professional end of the spectrum, both Christies and Sothebys have seen great success in their
respective online platforms; after a shaky start with their initial ill-fated venture with eBay in 2002,
Sothebys fnancial report for the frst half of 2014 showed that participation in their online platform
BIDnow had almost doubled, and in April 2014 the site set a record for their most expensive work sold
in a live online auction (John James Audubons The Birds, which reached $3.5 million). The past month
has also seen the launch of Bidsquare, a new online auction site set up by reputable US auction houses
Rago, Brunk, Cowan's, Pook & Pook, Skinner and Leslie Hindman. Bidsquare only allows recognised
auctioneers to sell on their site, stating that our goal is to attract the most qualifed, serious bidders
to qualifed, serious auction houses. Concerning auction sites of this nature, buyers are confdent that
they are looking at the genuine article; works are checked over by industry professionals before they
are put up for sale and collectors are dealing with names that they know and trust. In fact, some are
even starting to prefer purchasing art in this way. Georgia Spray, of online auction platform The Auction
Room, says, Buying art online is an efcient and intuitive process which is unintimidating to frst-time
buyers as well as accessible to an international audience. At The Auction Room our absentee bidding
software enables clients to place maximum bids which are executed on their behalf if they are not able
to attend the auction, but at the same time our fnal live online room retains the theatre and excitement
of a traditional auction.
However, the rise of trustworthy auction sites has opened the gates for less authentic sellers; a greater
number of esteemed sellers means that it is easier for less reliable sites to blend in and pass themsel-
ves of as the real deal, as buying valuable art online becomes increasingly acceptable. Screenshot: eBay
AMA NEWSLETTER 169 2 11 SEPTEMBER 2014
The largest online public auction site is, undoubtedly, Californian multinational eBay, with members
numbering in the hundreds of millions. Although the site by no means deals exclusively with art, it still
shifts a huge number of works on a daily basis and whilst many of the items on sale belong to artists
trying to sell their own works, one can also fnd surprisingly bargainous works by well-known artists;
such as an original Henry Moore engraving, or a signed Warhol lithograph. The low prices for these
works may seem too good to be true; and in many cases, they are. In recent years, there have been
several high-profle cases of artists being prosecuted for making money through the sale of forged
artworks on the site. One such case is that of John Re, an American painter who made $1.9 million by
selling fake Jackson Pollock works on eBay, claiming that he happened upon a cache of Pollock pain-
tings when cleaning up an elderly widows basement. One can also cite the example of Michael Little,
who was caught selling simple glass pieces as original Dale Chihuly sculptures, or the recent wave of
fake Warhols and Harings; evidently, all of this suggests that art fraud is big business on eBay, so much
so that in a recent DailyBeast.com article, the site was referred to as an art forgers paradise. All of this
is despite the fact that, if caught, perpetrators can face prison sentences or hefty fnes; clearly there
must be a healthy proft to be made in order to make the risk worthwhile.
It is not just the reward which tempts forgers to try their luck in the online market. For starters, there are
obvious advantages to passing of a fake as genuine online as opposed to in person: it is more difcult
to inspect a piece in detail, there is no need for a concrete enterprise from which to sell the work and,
if somebody should ask for authentication, there is no need to produce it on the spot. Furthermore,
the clientele using sites like eBay tend to be less savvy than those buying from well-known art dealers
and so are more easily exploited. Sellers will create intricate back stories about how they came to fnd
the piece, use complicated vocabulary, and create excuses for missing authentication documents, as
tactics to make their incredible deals appear more credible. These knock-of pieces come with just
enough information to fool buyers who may not have much experience of the art market into believing
that they have genuinely stumbled across a bargain.
Forgeries and fakes are also an issue for Chinese auction site Taobao. Much like eBay the site does
not specialise in art, yet some high-profle transactions have taken place there notably when Be-
verly Hills-based Galerie Michel sold a Picasso painting and a Dali sculpture to Chinese collectors. It
has been known for some time now that the Chinese art market is growing rapidly, particularly the
increased interest in Western art which Taobao is all too ready to exploit. However, possibly more so
than eBay, Taobao has something of a reputation for fake goods across its merchandise; inauthentic
goods elsewhere on the site harm the reputation of all that is on sale, putting the trustworthiness of
the retailer in doubt.
The cost to the art market
Such a list of high-profle fakes being peddled on these sites does not seem to have prevented people
buying art from eBay or Taobao; but what damage is this doing to the art market as a whole? Ms Spray
says: Online art fraud can be a misleading concern about buying art online and often gives the online
art market bad press it does not always deserve. As long as buyers transact with trusted sites who are
as transparent and informative as possible, then this should not be a problem.
Furthermore, the actual cost to the artists and their estates is huge. Large amounts of money are put
into trawling the internet, looking for fakes, and taking them down. So great is the problem of fraud that
in 2012, the Giacometti Foundation and the Picasso Estate founded the International Union of Modern
and Contemporary Masters to promote legal protection against the circulation of counterfeit works of
art. One of the issues with selling of forgeries online is that once they have been sold, they tend to
remain in circulation and are incredibly difcult to track; one particular Matisse forgery, for example,
was taken to experts on three separate occasions and each time was deemed inauthentic.
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Odalisque
Elmyr de Hory
In the style of Henri Matisse.
Courtesy of the Collection of Mark Forgy,
Photo: Robert Fogt
Preventing online art fraud
If online art fraud is as widespread as it would appear, then is there anything a buyer can do to avoid being caught
out, or are they better of avoiding buying online at all, even from reputable sellers? Josh Baer, of Baer Faxt and
advisor to eBay, says; Art fraud exists on and ofine it is up to buyers to be reasonable and for art sites like
eBay to be diligent in trying to stay one step ahead of fraudulent sellers. Ms Spray also advises caution: If you
are buying of regulated sites you have to be very informed about your market in particular categories there
can be a lot of fakes. It is possible to buy items of decorative value from these sites, but buyers cannot expect
to purchase items that will retain a market value or re-sale value it is a gamble in this respect. If one looks
at eBays guidelines, they are in fact quite thorough. There are very precise rules referring to the circumstances
under which one can refer to a work as genuine, ensuring that for a work to be described as such one must be
able to produce reasonable evidence to prove its authenticity; the policy also states that the seller must take
responsibility for the authenticity and legality of a genuine work. The regulations are also very strict regarding
the exact language used to describe pieces, such that it is very clear when a work is a reproduction or a replica.
In terms of enforcing their own rules, eBay do not vet each item as it is put up for sale on the site (undoubtedly
due to the sheer volume of items), but they do investigate complaints received within a very short space of time
(unlike Taobao, who can take up to two weeks to investigate a complaint by which time it is often too late).
Understandably, the high-octane nature of auctions means that waiting for a complaint to be investigated
may not be an option; in which case, the onus is on the buyer to use their common sense. In an article
written for BLOUIN ARTINFO, Abigail Esman reminds buyers that, You wouldnt buy a car youve never
driven, a house youd never entered. Let this be your guide in buying art. Before rushing into an exciting
bidding war on a supposed bargain, one must frst take the time to properly research the piece; and, if the
transaction involves a substantial sum, perhaps engage an expert for a second opinion. Researching the
provenance of a work is vital, as is seeing a certifcate of authentication. It is also worth looking up the work
online; if not purely to check that the image shown by the seller has not been pulled from a search engine.
Art forgery: a prevailing problem
Of course, as Mr Baer points out, forgery is, unfortunately, symptomatic of the art market; as long as art
is valuable, people will attempt to get their share of the proft. For example, it is difcult to forget the
example of the once-prestigious Knoedler gallery, which was forced to close in 2011 after they were
discovered to be selling fakes of prominent 20
th
century artists including Willem de Kooning, Jackson
Pollock and Mark Rothko. This case, amongst others, proves that even professionals and those with
experience in the art business can easily be duped by a skilled and knowledgeable forger.
Untitled
Mark Landis
In the style of Paul Signac.
Courtesy of Oklahoma City
Museum of Art
Photo: Shannon Kolvitz
The risk is always going to be greater when buying such an expensive item from somebody unknown
to the buyer, as Mr Baer summarises: By defnition buying from known sellers is safer thats why we
at eBay are also creating areas where we make this happen but if its too good to be true, watch
out that applies both on and ofine. Certainly there are bargains to be had, but one must always
remain rational. Jackson Pollock famously achieved the highest ever price for a work in auction when
his 1948 work Number 5 sold for $140 million at Sothebys; so if there is an original work being sold
online for several thousand, it is probably wise to be sceptical.
However, whilst the cost to the artist cannot be denied, one can raise the question of whether forgeries are
always inherently bad. For a collector looking to make a return on an investment, fnding out a work is a
worthless forgery is a disaster; however, for an amateur who believes that the work is real and gets pleasure
from it, is the authenticity of the piece of any real importance? Whats more, some even celebrate forgeries
as artworks in their own right; after all, many of those behind the fraudulent works are in fact highly skilled
artists themselves. Currently on tour is the exhibition Intent to Deceive: Fakes and Forgeries in the Art
World, which is displaying the works of some of the 20
th
centurys most notorious forgers alongside some
of the works they were attempting to replicate. These con artists were working well before the advent of
the Internet, showing that whilst some may be opportunistically exploiting the loopholes of the online art
market, there have always existed people seeking to make money from forged artworks.
For all the efort that the art market is putting in to improve the detection of fraudulent works, forgery
remains a lucrative business; and the online art market, too, shows no signs of slowing down. According
to the 2014 Hiscox report, almost 25% of 20 to 30-year olds surveyed said they frst bought art online
and the report predicts that the value of the online art market is set to rise to $3.76 billion by 2018.
In order to stem the fow of fraudulent works entering the market, it is up to both the industry and the
buyer to remain diligent and to evolve with this ever-changing market.

pepe gaitn
epiphany
christian berst art brut
kl ei n & berst
3-5, passage des gravilliers
75003 paris - france
september 9 > october 11, 2014
Top stories
LEGAL
Collector Bert Kreuk sues artist Danh Vo for $1.2 million
Dutch-born collector Bert Kreuk is suing the artist Danh Vo for around
$1.2 million for failing to deliver an artwork for Kreuk's exhibition Trans-
forming the Known which took place last year at the Hagues Gemeente-
museum. Kreuk bought the artwork for $350,000, yet he is claiming si-
gnifcantly more in damages from Vo as he claims the afair has had both
negative efects on his fnances and his reputation. It is predicted that the
trial will be a lengthy one.
Kreuk is a controversial fgure in the collecting world, and although he
has acknowledged his use of art as a form of investment, he claimed in an
interview with Sotheby's that Transforming the Known had nothing to
do with selling.
REPATRIATION
Stolen Cabrera paintings returned to Peru
Nine paintings by 19
th
century Peruvian artist Miguel Cabrera, which were
stolen from a church in Lima, Peru, have been returned to the country.
The paintings were stolen six years ago and smuggled out of Peru in
order to be sold on the international market. Eight of the paintings
were discovered in 2009 at an auction house in Iowa, USA, consigned
by an unidentifed dealer. The remaining painting was found for sale
in a New York auction house, where the FBI took possession of it ear-
lier this year. Upon learning that the works were of illegal origins,
the consignors relinquished all claims to the works. The FBI have not
revealed how the paintings came to be in the sellers' possession and
the investigation into the theft itself remains ongoing.
The works were returned to the Peruvian government Friday 5 Sep-
tember at a ceremony at the United States Attorneys Ofce in New York.
ARTICLE OF THE WEEK
Artwork flipping at an all time low according to Tutela Capital
Tutela Capital an art advisory and in-
vestment service, has recently released
new research on the phenomenon of art
fipping. This latest information seemingly
contradicts many media articles claiming
that art fipping is experiencing a moment.
Today the average period for holding
artworks is at the same rate as in 1995,
following a 20-year low in the year prior
to the recession, suggesting a buoyant
period for the market. The report entitled
Analysis of holding period for young ar-
tists since the 1980s proposes arguments
as to why the average time of holding an
artwork has varied signifcantly over the
last decade:
During the crisis period of 2009-2011,
there was a short supply of new young ar-
tists in the art market. The young artists of
the time did not have the time to build their
market at auction as the crisis led to fewer
sales and thus less exposure. The owners,
who are generally loss-adverse, kept the
young artists acquired prior to the crisis
in their collection/portfolio. As a conse-
quence, the pool of young artists was not
renewed during the crisis years because of
lack of liquidity and poor market circums-
tances. Therefore the perceived 'art fip-
ping' phenomenon may not be interpreted
as such, but be understood more as a com-
pensation efect from the crisis periods
lack of renewal. The short supply of young
artists and the willingness of owners and
need to renew art portfolios after abnor-
mally long holding periods may be seen
as contributing to this form of recent fast
market activity.
SCHOOL
Glasgow School of Art to host symposia on rebuil-
ding iconic Mackintosh library following fre
Following a fre in May which destroyed its ico-
nic Mackintosh building, Glasgow School of Art is
hosting symposia in Venice and Glasgow to dis-
cuss how to rebuild.
The frst meeting is to take place 18 October at
the Venice Architecture Biennale, where experts
will discuss the restoration of the 19
th
-century
building by architect Charles Rennie Mackintosh.
The Grade A listed building lost about a tenth of
its structure in May earlier this year during a fre,
which also destroyed some studios, the library
and archival stores, including ungraded artwork
by some of the school's students. A campaign
to raise 20 million to help save the building is
currently underway, and following the event in
Venice a second symposium is to take place in
Glasgow in spring 2015.
Head of the Mackintosh School of Architecture
at the GSA, Professor Christopher Platt, told The
Guardian: "What should the plans be for bringing
the Mackintosh building into full use once more
and how should we approach the particular issue
of the Macintosh library? These are highly com-
plex questions and by necessity any discussion
must involve contributions from many diferent
people and organisations from across the world."
SCHOOL
Vik Muniz to build art school in
Brazilian favelas
Brazilian artist and photographer
Vik Muniz is to build his second
art and technology school in the
slums of Rio de Janeiro.
The project is partnered with the
Massachusetts Institute of Tech-
nology in order to develop the
programme. Escolado do Vidiga-
la, in the neighbourhood of Vidi-
gal, will ofer free art classes to
local children between the ages
of fve and eight.
This is Muniz's second art school
of the same genre, having founded
the Centro Espacial Vik Muniz
an art institute within the school
Galpo Aplauso in 2006, also in
Rio de Janeiro. The school currently
has around 400 students from 200
favelas attending classes each year.
We want to prepare kids to live
and exist in a very visually challen-
ging environment and to be able to
act as producers as well as consu-
mers, explains Muniz to The Art
Newspaper. Their reality is very
diferent than that of the regular
art student, he tells db artmag.de.
RESTORATION
George Washington Lansdowne portrait to receive conservation and analysis work
The Smithsonians National Portrait Gallery, Washington DC, has planned conserva-
tion and analysis work on one of the most famous portraits of the frst American
president, George Washington. The work is entitled Lansdowne and was painted in
1796 by Gilbert Stuart.
Work on the painting will begin in 2016 in order to remove a yellowing varnish that
is currently distorting the original colours of the painting, before being analysed with
digital x-rays and infrared imagery that will reveal more about Stuart's technique and
any changes that could be hidden beneath the surface of the painting. The 18-month
project has been in the pipeline for several years, however it has been perpetually
delayed as the museum was reluctant to take its star attraction of display.
We are preserving this painting forever, for posterity, and at this point in its histo-
ry, it needs some attention, explained chief curator Brandon Brame Fortune to The
Guardian. Its still very, very stable. But we want to be sure our visitors are seeing it
looking its absolute best.
OBITUARY
Death of Emilio Botn, banker and arts patron
Emilio Botn president of Banco Santander and supporter of contemporary art,
with his strong family ties to the Fundacin Botn has passed away aged 79.
Although more widely known as the man who turned Banco Santander into the lar-
gest bank by value in the eurozone, he was also the patron of what is now Spain's
largest private cultural investment.
His family foundation was launched by his father in 1964, and boasts artists such
as Juan Muoz, Julio Sarmento, Tacita Dean and Gabriel Orozco amongst its collec-
tions. On its website, the foundation states that it aims to contribute to the develop-
ment of society through the promotion of creative talent and exploring ways to ge-
nerate cultural richness. His death comes during the construction period of the $106
million art centre, the Centro Botn in Santander, for which he was the benefactor.
Interview
THE EDGE OF MIDDLE EASTERN ART :
AN INTERVIEW WITH STEPHEN STAPLETON
Can you explain how Edge of Arabia came about?
The project started when myself and a group of Saudi-based artists met in the south west corner of
the Arabian Peninsula on the eve of the last Gulf War. Before starting Edge of Arabia I felt rejected
by the existing art institution as the generation after the YBA I didnt feel the art scene in the
UK was a centre of energy that I wanted to focus on. Looking at the increasingly globalised and
networked world, I decided I wanted to be a travelling artist. Myself and a group of other British
artists started planning an expedition to the Middle East in 1999, before 9/11 happened. Then this
extraordinary event in America created this astonishing reaction. We were in the Middle East for
about a year from November 2002 through to mid-2003 , travelling in a beat-up truck, living
hand-to-mouth and selling our art. We were there at a time when perceptions were starting to shift.
We were taken by this idea that imagery and storytelling was at the heart of this; the media was
telling a story and it was diferent from what was happening on the ground. That put us in a really
interesting position as artists, sitting in cafs in Iraq, Iran, Saudi Arabia, with our friends, thinking;
"Why arent artists more involved in this?" We are storytellers, we are image-makers; Edge of Arabia
emerged from this moment in history.
It was also the beginning of the Internet in that region, and even our generation was only just star-
ting to use it. We could communicate faster than before and we could make friendships in strange
places. I had an extraordinary opportunity during that frst journey when I separated from the other
artists and went to Yemen, then into Saudi, pretty much on the day that Britain and America began
attacking Baghdad. I made friend with a group of Saudi artists that would become the core of Edge
of Arabia.
Stephen Stapleton is a British artist who, along with Saudi artists Ahmed Mater and Abdulnasser
Gharem, founded the artist collective Edge of Arabia in 2003. To date, the social enterprise has wel-
comed 300,000 visitors to its exhibitions, and is about to embark on a three-year road-trip around
the United States. AMA spoke to Stapleton to fnd out more.
Courtesy of Edge of Arabia
Interview
The foundation of EoA was a vision based on common concerns: why should artists be on the periphery
of this moment in history? Why should there be so little collaboration across the border between the
Islamic world and the Western world? Why cant artists be cultural activists? I was fascinated that these
artists were trying to speak, yet at the time not that many people were interested, not even in Saudi. The
artists with whom I was working were the new generation searching for a language that was contemporary
and local, breaking away to form a diferent movement that was more Modernist. We were lucky because
we were in the right place, at the right time. Two things were at the heart of our project: strong friendship,
which we felt was like an active resistance against the dominant narrative saying dont be friends across
these borders; and a common belief that artists on the edge hence Edge of Arabia of the internatio-
nal art market, are often at the centre of things. When theres a blind spot in somewhere like Saudi Arabia,
it is one of the most important places to look for artistic voices because thats where the fault line between
capitalism and Islamic ideas is most intense; and that is where much of the present tension originates.
How are you taking this message beyond the Middle East?
When we began, I set up a series of organisations in London and developed an independent platform
allowing us to do exhibitions and print books. We started building our own story; Edge of Arabia went to
London, Berlin, Istanbul, Venice, Riyadh, Jeddah, and back to London. Technically were a social enter-
prise, and Im very much a believer in that its important were independent, because things that start
out authentically can quickly become vehicles for something else, like commerce or the promotion of
luxury brands. The art world is complicated, especially in the Gulf, with all the money thats come into it.
Over the next three years were embarking on a huge road trip in the U.S, we want to go back to the
origins of what were good at, which is creating spaces for storytelling where artists from diferent
backgrounds and cultures can get together in an environment thats ours.
Courtesy of Edge of Arabia
Hannoun 1972-2009.
Taysir Batniji
Courtesy of the artist and Edge of Arabia
Interview
How is the project funded?
The way we funded ourselves from the beginning was by selling art, artists were provided funding,
grants and sponsorship. Through that, I think we were at the heart of creating the market for Sau-
di Arabian contemporary art. We legitimised it and created a dynamic between the growing local
community and the international art market that was suddenly starting to take interest. From there
we created EOA Projects, which is our gallery run according to our style. As its part-owned by Edge
of Arabia, it acts as an income stream for the non-proft projects. Its based on our unique unders-
tanding of the artists and what they need to develop as well as our empirical understanding of the
market and the growing audiences for the artists. Its very much a gallery that puts control in the
artists hands, working in collaboration with them. I think a lot of galleries are so competitive and
possessive but thats not our style; we want to empower the artist to work in a global way where
they have diferent points of sale. Weve had incredible success with several of the Gulfs top-sel-
ling artists. Over the course of time, the art market will flter out who it thinks is important, I believe
some of these artists are going to be real art history artists, and thats exciting because their mar-
ket is about to take of.
You talked about these artists being on the edge, outside of the main art scene; what
infrastructure was in place then and how did it affect Saudi art?
Back in 2003, in terms of infrastructure in Saudi, you had a centralised ministry-based operation.
We worked with that infrastructure but it was compromised, because it was linked to State interest
and had all the normal restrictions that comes with that. There was also private patronage: in Abha
there was Prince Khalid al-Faisal, an artist and a poet, who built an artists village with 20 studios;
Edge of Arabia wouldnt have happened without this place. There was hardly anywhere in Saudi
where artists could go. There was little formal art education, few art libraries or specialist art shops,
no public museums in terms of contemporary or Modern art; there was just this group of individuals
who were trying to support their local art communities: Prince Khalid al-Faisal; Princess Jawaher
Al-Saud, who set up the Al Mansouria Foundation in Jeddah; the Jameel family, our main sponsor
since 2008; and Hamza Seraf, who founded Athr gallery. As we travelled, we asked why the commu-
nities werent connected; people who arent connected get on with their own thing because nothing
builds without connectivity. I believe that creativity is a human right and a human instinct. Its not
like there was no creativity; it just didnt have a structure like were used to in Europe, whereby
when youre young you can choose art and go to art college. I was fascinated because I came out of
art school and then came to this place thinking imagine being a young person and not having ac-
cess to that. The idea that we could provide some of what was missing, that we could provide plat-
forms and publications, became a driving force. Whats amazing is that it has really worked. There
is a new energy now, especially in Saudi, for building cultural institutions, creating art shops and
art schools and connecting artists, and credit should go to a small group of energetic individuals
because I dont think it would have happened organically.
How important is it for artists to engage in political and social issues?
Its pretty impossible to ignore, don't you think? I dont think you can live at this time in history and
not be politically and socially engaged. Were looking at a crisis of sorts, and artists, poets and wri-
ters are essential in that dialogue because they act as a mirror to society. They can imagine multiple
perspectives and they stand for a new kind of education. A lot of whats happening in the region at
the moment seems to go back to education. I think the most important artists now are activists but
theyre also teachers, and theyre a very interesting window for people in the West; a window which
can turn peoples attention away from the trap of polemical politics. Obama today announced;
What just God would condone all of this happening [in Iraq]? and hes falling into the trap of OK,
so now its about God is it? And whose side is God on? Then were stuck.
Artists in the Middle East are important. Locally, theyre unofcial recorders of history but they're
cautious of the media game. Theyre also custodians of this culture thats quickly disappearing with
all of the building and the arrival of the consumer-capitalist machine. Theyre mediators both within
their society and internationally. They have real soft power the artists were working with, more so
than artists in the West, because theres much more at stake in the relationship between artists and
their society in the Middle East. At this moment in history, these artists are really signifcant because
theyre engaged on the front-line of the ideas, politics and possibilities of that region.
Interview
Contemporary art has traditionally been very Euro and US-centric; do you see this changing?
Totally; I think thats the moment were in. The evidence is all there, institutions are completely
opening up Britain has taken a lead on that, with the British Museum, Tate, and the V&A. Were
working in America now and theyve just had their frst big institutional show of Middle East art at
The New Museum; people are starting to realise that that chapter of Euro-American art history is
over. Its globalised now, with protagonists in China and in the Middle East, you have people like
Ahmed Mater, Walid Raad, Shirin Neshat and various artists from Iran, from Egypt. Its going to be
interesting because it will show that the 20
th
century was a collusion of various centres: Paris, New
York, London. Now there are people researching what was happening in Egypt in the 1920s; there
was stuf happening that was part of the Modernist movement, it just hasnt been put in the books.
So its really fascinating, and when the history of 21
st
century art is written, there will be a more
balanced geographical representation than there was before.
Edge of Arabia is involved in several initiatives to inspire the next generation of artists; what is
the benefit of getting young people involved in art, and how important is art education?
You can complain about the present, but it always has seeds in the past. Art education has to be
seen in the broadest sense, where its about a creative and tolerant approach to life and allowing
for multiple perspectives. Were involved in education locally in the Middle East through our artist
partners, who do a lot of workshops and fll the gap in formal education. Were also doing a lot of
work abroad, trying to provide quality content for people outside of the region so they can unders-
tand whats going on there. Whats absolutely fundamental is to develop stories and content that
feeds into the educational system, because thats where you really change things. Im a product of
my education; my secondary school art teacher was my inspiration for a lot of the things Ive built
and that wasnt about art; it was about looking at the world with a certain attitude. In the context of
the Middle East, creativity is about moderate voices and looking at the problems of the world with
imagination. Words we dont like to use in the contemporary art world; like hope, wonder and em-
pathy; are strong values in art education because you see into someone elses world through artistic
practices and stories, beyond language and all those barriers that divide us, because what we see is
something that everyone has in common, and thats really important. Courtesy of Edge of Arabia
Museums
HUMAN RESOURCES
Tate curator Jessica Morgan named Director of Dia Art Foundation
Jessica Morgan, who has been a curator at the Tate Modern
since 2002, has been named Director of New York's Dia Art
Foundation.
Morgan's appointment comes at a difcult time for Dia Foun-
dation, which has been without a leader since the departure
of Philippe Vergne earlier this year. For some years, the foun-
dation has been struggling to raise funds for a new space in
Manhattan which would help support living artists with long-
term projects. Whilst Morgan's role at the Tate was primarily
curatorial, due to cutbacks in government funding she also
has experience with fundraising projects. Morgan's job will not
only involve raising the necessary funds for the foundation's
future endeavours, as she also plans to help the foundation
stand out in a city in which many Modern and contemporary
art institutions are already vying for recognition.
Whilst there are clear plans for the Dia Foundation's future,
the selection committee wanted someone who was able to
take strong managerial decisions. Nathalie de Gunzburg, the
chairwoman of Dias board, told the New York Times, Will she
keep the project the way it is? I dont know. We have unanswe-
red questions until shes here.
ARTICLE OF THE WEEK
Centro Botn, the largest cultural investment in Spain, takes shape
Centro Botn, a contemporary art centre
completely funded by the family founda-
tion of the late banker Emilio Botn III, in
construction in Santander, Spain, and is
set to be fnished in 2015.
Currently the largest cultural investment
in Spain, the $106 million centre has
been designed by the architect Ren-
zo Piano, who also designed the Centre
Pompidou in Paris. Cuts to public funding
have lead to a greater role being played
by private collections in Spain's art and
cultural scene in recent years, and the
foundation looks to become a key player,
the Fundacin Botn already having es-
tablished links with the Prado in Ma-
drid. Benjamin Weil has been hired as a
curator at the new centre.
The project, which was announced in 2012,
has come under criticism by ecological acti-
vists, lawyers and locals who note the use of
public land for the construction and have ac-
cused the family of vanity. However, many
have also praised the investment in the hope
that it will bring attention and revenue to the
surrounding area, much like the Guggenheim
did in the neighbouring city of Bilbao.
DIPLOMACY
UK museums to go ahead with Kremlin loans
Amidst rising tensions between Russia and the West, leading
museums in the UK are continuing with their plans to loan
major works to the Kremlin Museums, Moscow.
The V&A, National Galleries of Scotland and Glasgow Life (the
organiser in charge of Glasgow's museums) have decided to
proceed with the loans, ahead of an exhibition dedicated to
Scottish architect and designer Charles Rennie Mackintosh
due to start 5 September. John Leighton, the director of the
NGS, tells The Art Newspaper of the decision: Our trustees
are obviously very mindful of the wider political context but
feel that is important for cultural dialogue and exchange to
continue, which is why they decided to maintain their sup-
port for the Mackintosh exhibition in Moscow.
The exhibition forms part of the UK-Russia Year of Culture, an
initiative which has been somewhat undermined by the dete-
rioration of UK-Russia relations in the wake of the confict in
Ukraine in July, the UK government ofcially withdrew all
support of UK-Russia events. Whilst an exhibition dedicated to
the YBAs, due to take place in September 2014 has already been
cancelled; a Francis Bacon retrospective set to take place in De-
cember at the Hermitage, St. Petersburg, is still expected to run.
RETIREMENT
Longtime director of Brooklyn Museum announces retirement
Director of the Brooklyn Museum for the past 17 years, Arnold
Lehman has announced his retirement from the post, efective
around June next year.
The museum is about to launch a sereis of long-term projects inclu-
ding one dedicated to increasing the institution's endowment and a
planned renovation of its Beaux-Arts building, both of which could
take several years. Lehman told The New York Times, Both of these
projects could go on for at least fve or six years. A new pair of hands
and a new brain will be good for the museum.
Lehman's time at the museum has not been without controversy.
A 1999 show of Young British Artists led to a row with the city's
mayor at the time, who threatened to cut the museum's funding
due to ofence caused by an artwork by Chris Ofli. Despite other
contentious managerial decisions, under Lehman visitor numbers
signifcantly increased and the museum's endowment more than
doubled. He also managed to diversify the museum's audiences
by putting on shows appealing to both international and local
visitors. A committee has been formed to select Lehman's successor.
Model Centro Botn
ANNIVERSARY
ZKM Karlsruhe turns 25
Founded in 1989, the Centre for Art and
Media Karlsruhe, is celebrating its 25
th
anni-
versary this year. To honour the occasion the
museum looks back over 300 exhibitions,
354 publications and the presence of 500
guest artists.
The ZKM Karlsruhe was the frst museum to
exhibit and collect art of all genres; as part
of the celebrations current exhibitions on
show explore the artistic infuences at the
time of the museum's conception, including
the revolutionary genre of Action art present
in Germany between the 1960s and 1980s.
Exhibitions include Beuys Brock Vostell on
display until 9 November 2014; Claus Bre-
mer: mitspiel. theater und poesie 19491994
until 5 October 2014; and CIVIC RADAR. Lynn
Hershman Leeson the Retrospective from 13
December 2014 to 29 March 2015.
The anniversary weekend 12 to 14 Sep-
tember 2014, will also see the launch of two
new technology-based innovations for the
museum. Firstly, the new website relaunch
where exhibitions, events, productions, pu-
blications, works, videos and audio fles pro-
duced since 1989, are integrated with one
another; the site also pays homage to all the
people that have infuence and sculpted ZKM
since its opening. There will also be an app
launched, entitled "Motion Picture 2.0 tech-
nology", which provides a new method of re-
cording and reproducing images.
The highlight of the weekend however, will
be Kraftwerk's return to the ZMK for a series
of three sold out concerts.
PROJECT
Duncan collection to be housed in new contemporary art museum in Iowa
Karen and Robert Duncan are two Iowa-based collectors whose 2,000-pie-
ce collection features works ranging from Louise Bourgeois and Bruce
Nauman to Yinka Shonibare and Kiki Smith as well as Georgia OKeefe,
Beverly Pepper, Niki de Saint Phalle and Judith Shea. They have unveiled
plans to turn the Carnegie library in their hometown of Clarinda, Iowa, into
a private contemporary art museum. We tend to be so focused on the two
coasts and a place like Chicago, explains Lisa Corrin, director of Northwes-
tern Universitys Block Museum of Art in Evanston, Illinois, to the Wall Street
Journal. But there are extraordinary people who are very serious about
contemporary artacquiring great works, putting together collections
far away from the usual centers. I think [the Duncans] are some of the most
interesting people doing this that Ive met in a long time.
However the museum plans have been met with some criticism with some
claiming that the collection lacks direction, yet George W. Neubert, who
later served as director of the San Antonio Museum of Art in Texas, tells the
WSJ I think thats what brings energy to it [..] Youre going to encounter the
unexpected. It refects them as individuals.
LOAN
Versailles loans hundreds of pieces to Beaux-Arts Museum in Arras
As part of a ten-year partnership between Chteau de Versailles and the Nord-
Pas-de-Calais region, Versailles is to loan over 100 pieces to the Beaux-Arts
Museum in Arras in an exhibition that opens on 27 September 2014.
Aiming to spread the cultural heritage contained at Versailles to other parts
of France, the partnership was initiated by the regional council, signed in
2011. The region, containing the Louvre-Lens and 43 Muse de France
museums, will host the pieces for 18 months, until March 2016. The frst
exhibition held by the collaboration Roulez Carrosses from March
2012 until November 2013 , was a huge success, displaying a selection
of horse drawn carriages from Versailles.
The latest exhibition will present a selection of pieces from the 17
th
and
18
th
centuries; including a bust of Louis XIV, Gobelins tapestries, Dau-
phin's writing desk and Marie Antoinette's porcelains. The exhibition
will be organised into six sections, immersing the visitors in the spaces
and atmosphere of the famous Chteau.
KRAFTWERK-K20 Roboter
BOETTCHER
WHAT'S ON
SWEDEN
"A Way of Life": Swedish photography at Moderna Museet
A Way of Life: Swedish Photography from Christer Strmholm until Today is
being held at Moderna Museet, Stockholm, until 15 February 2015, displaying
over 350 works from 29 diferent photographers.
The photographers on show range from the infuential Christer Strmholm whom
The Guardian's Sean O'Hagan described as the father of Swedish photography
; to more contemporary artists such as JH Engstrm, whose 2014 series Tout
Va Bien is the most recent to be featured; and Anna Clarn, whose work made its
debut in the 1990s.
The curator, Anna Tellgren, says the exhibition demonstrates how strong and interesting
the Nordic photography scene is now; while the press release explains that it explores
the private, intimate, inquisitive and subjective tendencies in Swedish photography.
The title of the exhibition comes from a lecture by Christer Strmholm, in which he
said: for me, working with photographic images is a way of life.
UNITED KINGDOM
Julie Blackmon: Home Grown at The Photographers Gallery, London
Home Grown, an exhibition by the American photographer Julie Blackmon, will
be on display at The Photographers' Gallery, London, from 4 September to 26
October 2014.
This is to be Blackmon's frst solo exhibition in the UK, following on from her 2006
series, Domestic Vacations,which won frst place at Photospiva in the same year.
Her work is held in public collections such as the FAIF collection in Zurich, and
The Museum of Fine Arts in Houston, Texas.
Inspired by the 17
th
-century Dutch painter Jan Steen, Blackmon's photographs aim
to capture the chaos and harmony of daily life; she often uses members of her
own family as models, carefully composed in domestic scenes where tiny details,
such as children's toys discarded on the foor, family pets or instruments, balance
the sense of composure with a more tumultuous element. Images such as Queen
playfully evoke painterly tradition Blackmon's niece in a dress eerily reminds the
viewer of Velsquez's Las Meninas and the timelessness of family relationships.
UNITED STATES
Ernest Cole's first solo museum
exhibition at NYU's Grey Art Gallery
An exhibition of photographs by the
photojournalist Ernest Cole will be
displayed at NYU's Grey Art Galle-
ry, New York, from 3 September to 6
December 2014. 120 prints of Cole's
work, organised by Gothenburg's
Hassleblad Foundation (to whom
Cole's archive was donated) will be
displayed in the exhibition curated by
Gunilla Knape.
Cole, who died in 1990, was a black
photojournalist in South Africa during
the Apartheid, whose photos docu-
ment the everyday lives and struggles
of black people at the time. His 1967
book House of Bondage exposed the
inequality and racism inherent in the
system, and although banned in his na-
tive country, it circulated illegally, beco-
ming a crucial work not only for Cole's
career but for activist photography in
South Africa as a whole. Many of his
photos ofer a striking social commenta-
ry, such as one captioned by the photo-
grapher All stand packed together on the
foors and seats shows black commu-
ters crammed together on a public bus.
This exhibition will be Cole's frst solo
museum exhibition.
Chaise (2013)
Julie Blackmon
COMING SOON
AUSTRIA
Cosima von Bonin at Mumok, Vienna
From 4 October 2014 until 18 January
2015, the Museum Moderner Kunst, Vien-
na, is to present Hippies use side door.
The year 2014 has lost the plot, an exhi-
bition dedicated to Cosima von Bonin.
The exhibition will be the largest dedi-
cated to the artist ever to go on display
in Austria. Curated by Karola Kraus, the
retrospective presents a range of more
than 100 works by von Bonin, from
her earliest works to her most recent.
Hippies use side door allows visitors
a glimpse at the prolifc career of von
Bonin, who increasingly turned to ins-
tallations; one can see how she encom-
passes space into her work at Mumok,
using the building for its execution. To
show the strong relationship between
music and fne art found in von Bonin's
work the groups Tocotronic and Phan-
tom Ghost will perform concerts to ac-
company the exhibition.
German artist Cosima von Bonin was
born in Mombasa, Kenya in 1962 and
grew up in Austria before studying at
the University of Fine Arts in Ham-
burg. She built her reputation around
her large-scale soft-toy sculptures
which evoke ideas of fatigue, laziness,
relaxation and death.
FRANCE
Muse dOrsay refects on seven years
of acquisitions
From 18 November 2014 to 22 Fe-
bruary 2015, the Muse dOrsay, Paris,
is to show the temporary exhibition
Seven Years of Reflection.
For this group exhibition, the museum fo-
cuses on its own collection, showing, as
the title of the exhibition suggests, works
that they have acquired over the course of
the last seven years. The goal of the mu-
seum is twofold: they can show how much
the museum's collection has expanded in
this relatively short stretch of time and,
more generally, to demonstrate the issues
involved in developing national collec-
tions. The Muse dOrsay has the beneft
of being awarded a greater budget for
acquisitions than most national institu-
tions; however the period on which the
museum focuses (1848-1914) is a parti-
cularly dynamic sector of the art market.
Commissioned by Guy Cogeval, president
of the Orsay and Orangerie museums, the
exhibition will take place on the ffth foor
of the establishment and will include Por-
trait dYvonne Lerolle en trois aspects by
Maurice Denis (1870-1943), an oil pain-
ting acquired by the museum in 2010.
SPAIN
Sigalit Landau at MACBA
From 21 November 2014 to 15 February 2015, the Museu d'Art Contemporani Barcelona
(MACBA) is to show Phoenician Sand Dance, an exhibition dedicated to Sigalit Landau.
The exhibition explores the way that the contemporary artist uses human bodies to create
the living sculptures in her videos. Landau explores the contradiction between the move-
ment of life and the stasis of death through the body, showing the inside of the body its
organs and its bones to show the continuous movement of power and vulnerability.
Israeli artist Sigalit Landau was born in 1969 in Jerusalem and grew up between Israel,
England and the United States. She studied at the Bezalel Academy of Arts and Design in
Jerusalem where she participated in an exchange with Cooper Union School of Art and
Design in New York. She gave her frst solo show in 1995 at Israel Museum and since,
has exhibited in galleries in London, New York, Paris, Belgrade and Sydney. Her works
form part of permanent collections at Kunstmseum Kloser (Magdeburg), Centre Pom-
pidou (Paris) Tel Aviv Museum of Art, Brooklyn Museum (New York) and MUSAC (Spain),
amongst others.
UNITED KINGDOM
Guy Bourdin: Image Maker at Somerset House
Somerset House, London, is to present "Guy Bourdin: Image Maker" an exhibition of
work by fashion photographer Guy Bourdin from 27 November 2014 to 15 March 2015.
Marking the UK's largest show of his work to date, the exhibition will feature over 100
works from his career, focusing on the period between 1955 to 1987. Bourdin was the
apprentice of celebrated photographer Man Ray and made his career debut at Vogue
Paris, and this broad range of work including Polaroid test shots, double-page spread
layouts and contact sheets aims to show how his rich and mysterious aesthetic was
used to sell fashion. Establishing the idea that the product is secondary to the image, Bour-
din's 40-year career has been a continual source of inspiration for contemporary fashion
photographers including Tim Walker and Nick Knight.
"Guy Bourdin: Image Maker" is curated by Alistair O'Neil, who has previously worked on
"SHOWstudio: Fashion Revolution" (2009), "Valentino: Master of Couture" (2012) and
"Isabella Blow: Fashion Galore!" (2013), for Somerset House.
Image from Vogue Paris, May 1970
Courtesy of The Guy Bourdin Estate, 2014
Galleries
ARTICLE OF THE WEEK
New gallery Union Pacifc to open in London this month
Opening this September is a new London
gallery Union Pacifc. The project is foun-
ded by Nigel Dunkley and Grace Schofeld
and will host its inaugural exhibition Union
from 14 September until 25 October 2014 at
17 Goulston Street, East London.
Nigel Dunkley studied Fine Art at Golds-
miths University in London, before ope-
ning and co-directing N/V_PROJECTS, a
project space in Peckham, London which
transformed into an ongoing nomadic cu-
ratorial project and online blog. Dunkley
then went on to act as gallery manager for
Carlos/Ishikawa from 2013-2014, before
embarking on Union Pacifc.
Grace Schofeld studied Fine Art at
University of the Arts London before ta-
king a four-year role at Gagosian London,
alongside which she co-directed The
Sunday Painter gallery in London before
leaving both previous roles to join Dun-
kley.
Speaking to AMA the duo explained: We
feel this is an incredibly interesting and for-
tunate time in London to begin a gallery, fo-
cusing on helping emerging artists to realise
ambitious and exciting projects.
Union is to feature the work of artists:
Olga Balema, Adriano Costa, Jan Kiefer,
Aude Pariset, Max Ruf, Yves Scherer, Julie
Born Schwartz and Pedro Wirz.
OPENING
Owen James Gallery opening in Brooklyn
Owen Houhoulis, previously of the Brooke Alexander Gallery, is opening the Owen James Gal-
lery in Brooklyn, New York.
The gallery will specialise in artists from South East Asia and New York City. Its inaugural
show, Death and the Sea to open on 12 September 2014 will be by US-based
artist Richard Bosman; who uses woodcut, etching and linocut to demonstrate his rela-
tionship to the sea. Alongside Bosman, the gallery currently represents Takuji Hamanaka,
Rena To Orara, Raymond Pettibon, Bruce Nauman and H. C. Westermann.
Opening of Galerie ric Mouchet in Paris
Galerie ric Mouchet is to open its doors 18 October 2014 at 45 rue Jacob in the 6th arrondisse-
ment, Paris, at the heart of the city's historical cultural centre.
The new space was founded by ric Mouchet, an expert in graphic arts and art collector who
specialises in the 1970s and 1980s. In opening a gallery, he aims to bring together his passion
and knowledge to create a space dedicated to contemporary art.
For its inaugural exhibition, the gallery is to show La Chaux-de-Founds, by Matthieu Gafsou.
Leiko Ikemura. Zarathoustra
1455, rue Sherbrooke O. Montreal
HUMAN RESOURCES
Maureen Bray to become director at
David Nolan gallery
Maureen Bray has left her position at
Sean Kelly Gallery to become director
at David Nolan Gallery, New York.
Sean Kelly Gallery in New York, at
which Maureen Bray was also a direc-
tor, is dedicated to representing pro-
vocative artists with their schedule,
which originally included Marina
Abramovi. The gallery also partici-
pates in art fairs including Art Basel.
Manhattan's David Nolan Gallery also
represents contemporary artists such
as Ian Hamilton Finlay, Alice Maher;
and participates in EXPO Chicago and
Frieze Masters.
WHAT'S ON
BRAZIL
Tapia Tapume at Galeria Leme
Tapia Tapume is a group exhibition at Galeria Leme,
So Paulo, running until 4 October 2014.
The works displayed are connected by their investiga-
tion into the urban developments of the city and the
way in which the city handles its memory, separated
into four sections as follows: the building of the gallery
itself, processes of construction and deconstruction, ur-
ban and architectural development of the city and fnal-
ly land and construction techniques.
An example of the works displayed is Os trs porquinhos
do bosque (The three little pigs), by Sandra Gamarra, an
illustrated book which reworks the fable into the context
of So Paulo itself with each of the pig's houses repre-
senting a stage in the city's development, interweaving
the fctional and the historical. Momentum #3 and Mo-
mentum # 4, by Francesco Di Tillo, overlap images of
destruction in So Paulo with postcards of post-WWII
Europe, in turn overlaying the two temporal moments.
TAIWAN
Zhu JinShi at Michael Ku Gallery
Chinese artist JinShi is to exhibit Fu Hang Tai, his frst
solo exhibition in Taiwan, at the Michael Ku Gallery in
Taipei from 6 September to 19 October.
The exhibition will be made up of fve sets of works
made between 2013 and 2014, mostly composed of
abandoned objects collected by the artist with the title
of the exhibition coming from the places in which these
objects were found: Fuyang, Hangzhou and Taizhou. The
work Fu Hang Tai, the exhibition's namesake, features
tunnels dug through these objects and a laser beam cast
through the tunnels. JinShi said that in using a laser he
wanted to imitate the irresistible violence in our reality,
like laser beams, straight and unquestionable, which pe-
netrate and also destroy everything.
JinShi is Professor of Sculpture at the China Academy of
Art. His 2009 solo exhibition Unrealistic Reality won
the Of Festival Saab Award at Photo Espaa, and in the
same year he was awarded the Grand Prize of the Artists'
Invitational Exhibition at Beijing's 798 art festival.
UNITED KINGDOM
Thrse Oulton at Marlborough Fine Art
Malborough Fine Art, London, is presenting Elsewhere
by Thrse Oulton until 27 September 2014.
The exhibition is to coincide with the release of Women in
Dark Time, a book by Jacqueline Rise which analyses creative
women of the 20
th
and 21
st
centuries, and explores Oulton's
work in the fnal chapter; Damage Limitation: Thrse Oul-
ton. "Elsewhere" ofers a disorientating view of the earth's
surface which shows the lost intimacy of the modern human
condition; the oil painting depicts the variety of the earth's
surface whilst displaying mankind's rootless nature in rela-
tion to our home. In paintings of often stunning luminosity,
Thrse Oulton manages to paint us into the darkest spaces
of our times, displaying once again her exceptional, on-going
relevance, for anyone trying to understand them, writes Jac-
queline Rose in the catalogue's introduction.
Thrse Oulton studied at St. Martin's School of Art, Lon-
don and the Royal College of Art, London. She has exhibited
across Europe and the US and was nominated for the Turner
Prize in 1987.
VIETNAM
The Nha San Collective presents its new exhibition space in Hanoi
In 2010, the Nha San Studio was forced to close its doors after the per-
formance by artist La Thi Dieu Ha in which she undressed in public.
Renamed Nha San Collective, the group of contemporary artists has
opened their new exhibition space at 24 Ly Quoc Su street in Hanoi,
Vietnam. In celebration of this occasion, the new space will welcome
the exhibition The clouds will tell, running until 5 October.
This frst retrospective allows the history of the collective and the work
of the artists involved to be rediscovered. The position of the artist,
their artistic tendencies and the relationship between life and art are
revealed through a large selection of works. A variety of media are used
such as video, installations, performances, paintings and photographs.
The leading theme of the exhibition, realities, is questioned by the
artist through the exploration of human sensitivity, endurance, challen-
ges and adventure.
The artists featured include Nguyen Manh Hung, Nguyen Phuong Linh,
Tuan Mami, Nguyen Ban Ga, Nguyen Trinh Thi, Nguyen Huy An, Vu Duc
Toan, Nguyen Quoc Thanh, Nguyen Tran Nam and Nguyen Thuy Tien.
Aggregation 14-AP018 (Dream5) (2014)
Kwang Young Chun
Polystyrene triangles wrapped in traditional Korean mulberry paper (hanji)
.Courtesy of the artist and Hasted Kraeutler, NYC
COMING SOON
BELGIUM
Ayan Farah Notes on Running Water at Almine Rech
Gallery, Brussels
The Almine Rech Gallery, Brussels, is to present their frst
solo exhibition of the work of London based artist Ayan Fa-
rah to take place from 9 October until 12 November 2014.
The exhibition is entitled Notes on Running Water and
is comprised entirely of new paintings including Eldfell
(2011), the polyestercotton lining of a sleeping bag, bu-
ried for six months at the foot of the Icelandic volcano that
gives the work its title and Eylon (2014), a work stained by
mud and clay from the Dead Sea.
Ayan Farah was born in Sharjah, United Arab Emirates, to
Somali parents and grew up in Stockholm, Sweden; she re-
ceived a BA in Fashion Design from Middlesex University
(2003), a Postgraduate Degree from Central Saint Martins
College of Arts and Design (2006), followed by an MA in
Painting from the Royal College of Art, London (2012). Her
work has already been displayed worldwide in galleries in
London, Mexico City and Los Angeles.
BRAZIL
Celebrating 40 years of Luisa Strina gallery
In celebration of its 40
th
anniversary, Luisa Strina gallery
is to present a retrospective exhibition that explores the
activities of the gallery since its opening in 1974. There
will be a particular focus upon the work of Luisa Strina,
her relationship with her artists and the way in which the
gallery's events have infuenced the cultural and social
landscape over the years. The exhibition will host the
work of artists such as Wesley Duke Lee, Nelson Leirner,
Cildo Meireles, Muntadas, Leonilson, Mira Schendel and
Marepe. The exhibition is to present a series of historic
documents sourced from the gallery archives.
Luisa Strina is the oldest contemporary art gallery in So
Paulo. In 1974, after having sold works for a few friends,
Luisa Strina decided to open her space in Baravelli's former
studio in order to exhibit the works of national and interna-
tional artists. Ever since the very frst year, Strina managed
to acquire the works of Andy Warhol, Roy Lichenstein and
Jim Dine, artists who have never been exhibited in Brazil be-
fore. In 1992 the gallery was the frst Latin-American space
invited to participate in the Basel Art Fair. Today, Luisa Strina
presents the work of established and emerging artists.
FRANCE
Ben Quilty at Galerie Allen
Galerie Allen in Paris is to present an exhibition en-
titled "Alien" by Australian artist Ben Quilty, from 17
September to 11 October 2014.
After winning the Prudential Eye Awards in August this year,
Ben Quilty enjoyed his frst UK solo show at Saatchi gallery
in London, as part of the prize. Currently in artist residence
in Paris, where he created work specifcally for this exhibi-
tion, his gestural portraits and landscapes are an explora-
tion of identity and refect the exhibition title "Alien": a
feeling of being displaced.
Concerned with his own Australian identity, Quilty uses
portraiture and his abstract Rorschach technique to ques-
tion how history has been romanticised through English/
Australian colonial artists. A concurrent thread that runs
through the exhibition is the artist's investigation into
contemporary masculinity and social initiations which
are prevalent in his native country today.
GERMANY
Christian Falsnaes at PSM gallery Berlin
From 18 September until 1 November 2014, Christian Falsnaes
is to present a series of works created specifcally to be sold at
the PSM gallery in Berlin.
For these performances, Falsnaes explores the relationship
between art and the audience, using the human body as his
medium and creating installations where the audience partici-
pates. For this exhibition, the artist focuses on the buyer of his
works through diferent mediums: drawing, photography, video
and painting. The works which are not purchased will cease to
exist following the end of the exhibition.
Christian Falsnaes was born in 1980 in Copenhagen, he studied
at the Academy of Fine Arts in Vienna and he currently lives in
Berlin. He began his career by painting grafti on trains around
Copenhagen. In 2004 he presented his frst exhibition Expect
Us! at the Migros Museum for Contemporary Art in Zurich. He
has since exhibited his work in galleries and museums in Vien-
na, Innsbruck, Venice, Berlin and Grenoble and is participating
in Art Basel this year.
ITALY
Giulia Cenci La terra bassa at SpazioA gallery, Pistoia
SpazioA gallery, Pistoia, Italy, is to present the work of Italian
artist Giulia Cenci from 20 September 2014 in an exhibition
entitled La terra bassa.
The exhibition will be the artist's frst solo show at the gallery fol-
lowing the site-specifc installation at the project space in 2013,
featuring a series of sculptures resembling a low panorama in
which everything appears to have been denied the space required
to develop beyond a few mere centimetres above the ground.
Giulia Cenci was born in Cortona in 1988, having graduated from
the Academy of Fine Arts in Bologna. She is currently pursuing a
Master of Fine Arts at St. Joost Academy, Den Bosch-Breda, in the
Netherlands.
Ben Quilty in his studio
Courtesy of Mim Sterling
Interview
GIVING ART BACK TO AFRICA:
AN INTERVIEW WITH BARTHLMY TOGUO
Torture in Guantanamo (2006)
Barthlmy Toguo
Photo graph on aluminium,
limited edition of 6 pieces + 1 EA
78 x 103,5 cm
Courtesy Galerie Lelong &
Bandjoun Station
Champion of the creation and preservation of African art, particularly in his native Cameroon, Bar-
thlmy Toguo is one of the most well-known artists of his generation. His work often has a personal
element, refecting his own experiences the status of foreigners, migrants and immigrants and the
search for identity, but also the rift between the West and the rest of the world. Whilst today he enjoys
widespread recognition, the artist is giving something back to the country where he grew up, through
the Institute of Visual Arts Cameroon's frst museum which opened in Bandjoun in 1999; and
Bandjoun Station, a creative workshop which has been welcoming artists since he founded it in 2010.
Barthlmy Toguo's work is on display at Galerie Lolong in Paris from 11 September until 11 Octo-
ber, alongside work by Kiki Smith and Jaume Plensa in the exhibition Trio. AMA met with the artist
to speak about his career, the evolution of his practice and his work to develop art in Africa.
Can you outline your background and how you came to art?
I was born in Cameroon to a family of fairly modest means; my father was a driver, my mother a
cleaner. In Cameroon, when you send a child to school it is so that they can become civil servant,
so that they can succeed. The public sector is considered to be a successful profession in Africa.
To be a civil servant is to be someone who has become successful and is overcoming the old ideas
of colonialism. I was lucky in that I went to school, but after my secondary studies I decided to go
into fne art, which my family saw as a bit of stab in the back. However, I was an adult, so I decided
to go. Since there was no national school of fne arts in Cameroon, I went to the Ivory Coast. I was
accepted to the cole Nationale Suprieure des Beaux-Arts dAbidjan, where I received a traditional,
academic style of teaching. After a few years, I decided I needed something diferent and so I joined
the cole Suprieure d'Art et Design in Grenoble. I had access to computers, photography, video etc.
alternative media which is less rigid than painting and sculpture. This enabled me to do my frst
series of performance art and photography. After four years in Grenoble, I once again felt the need
to move on. I was accepted to the Kunstakademie in Dsseldorf, Germany, where I was really con-
fronted by German Realism and it was there that I learnt there how to be a professional visual artist.
Interview
What did you focus on whilst you where in Abidjan?
We did a lot of replicas, which I made in clay. We copied models from the Louvre; I remade the Tro-
jan Horse, the Dying Slave by Michelangelo and the Bust of Agrippa. I spend most of my time making
these copies, or sketching live models. It gave me a keen sense of observation, but there was too
much imitation of the Old Masters. This teaching mentality continued over a fve year course; there
was no creativity, so I sought change.
And it was in Grenoble that you started to created installations and photographs..
Yes, I discovered that sculpture and painting didn't really have a place in that school. However, I
didn't completely abandon the practice. I continued to sketch in my room, but I was no longer fo-
cusing on drawing; I wanted to learn something new. I quickly developed an interest in photography
and soon made Une autre vie (1993); a series in which I put myself in the frame and explored the
similarities between the body and nature, and the ways in which the two can come together.
How did you come to arrive in Paris after that?
After fnishing my studies in Germany in 2000, I had already had some exhibitions in German mu-
seums but I realised that everything was advancing really quickly for me. I went back to France with
the idea of giving it all another go. Sculpture and painting weren't appreciated there, and I wanted
to come back and show that you could be a contemporary artist who paints and makes sculptures.
It was important to prove that these practices were not inherently old-fashioned, that their essence
should be renewed.
Your most characteristic
works are your waterco-
lours. How did you come to
this particular style?
Actually, when I arrived
in Dsseldorf, I started
with a series of drawings
that I called Das Bett all
drawn in ball-point pen.
In these drawings there is
a certain nostalgia relat-
ing to the Africa that I had
left behind years ago and
the gloom of where I was
at that time in Dsseldorf;
living in this tiny student
room far from my friends,
my family and my own lan-
guage [Ed. French]. It was
this sadness which led me
to create a series of such
intimate drawings.
In 1998, following a misun-
derstanding with my family,
I threw myself into a new
series, Baptism, a series of
watercolours in red in which
I sketched a fgure under-
going a series of rituals in a
Western context.
Barthlmy Toguo
Courtesy Galerie Lelong & Bandjoun Station
Photo Fabrice Gibert
Interview
There was this mix with a kind of mythical universe that was more African; with stools and calabashes,
scarifed bodies, who vomited and spat; people in situations where they were sufering but at the same
time in ecstasy.
I also have a new series of imaginative drawings, Dream Catcher, which is more focused on human feelings
such as the violence which comes with beauty, the beauty which stands alongside natural elements which
mix with sufering, sufering which accompanies sexuality. In these hatched and chopped-up bodies there is
always this link between sufering and ecstasy. My watercolours were born from this; a celebration of life, a
vision of death. From death, life is reborn. My drawing today revolves around this celebration of life.
Can you tell us about your influences? Artists who have guided your work?
While I was doing some research at the library in Grenoble, I discovered the Viennese Actionists. They
were artists who managed to shake up society through their performances. I also liked the work of
Martin Kippenberger because his multiform work had the capacity to infuence so many mediums.
Exodus (2013)
Bike, cart, fabric
220 x 360 x 160 cm
Courtesy Galerie Lelong &
Bandjoun Station /
Photo Fabrice Gibert
Interview
These artists had a great impact on me, but so did the literature of writers like Malraux and Albert
Camus, who helped me to give a meaning to my work. In the speech he gave after receiving the
Nobel Prize in 1957 (Ed. Le Discours de Sude), Albert Camus spoke about the role of the artist in so-
ciety. He said: In my eyes, art is not a solitary celebration. It is a means by which to move the great-
est number of men by ofering them a heightened image of common sufering and joy. It obliges
the artist to not separate themselves from their fellow man; it submits him to the most humble and
universal truth. And he who has chosen to be an artist because he feels like he is diferent, quickly
learns that he will not nourish his art without accepting that he resembles everybody else. The artist
defnes himself in this perpetual back-and-forth between himself and others, midway between the
beauty which he cannot live without and the community which he is unable to tear himself away
from. It is for this reason that true artists are contemptuous of nothing; they force themselves to un-
derstand, not to judge. And if they have a part to play in this world, it can only be in a society where,
as Nietzsche once said, it is not the judge who is ruler but the creator, whether he be a worker or an
intellectual. The artist has this role to make people dream, to give people hope. As an artist, I must
produce work which moves people.
Can you speak to us about your foundation in Cameroon?
As an African living outside the continent today, I have to give something back. We have a duty to
help Africa. It needs successful citizens who have left as much as those who stayed. Together, we
can lead Africa out from its current sufering. Each African, whatever their feld agriculture, sport,
science, culture etc. , who has knowledge, should share a part of that knowledge with Africa.
My skills are as an artist and Africa has a problem in that domain. Traditional African art is no longer
present on the continent because it was stolen by missionaries, colonialists and explorers. These
objects of classical art are on display in Western museums, so Africans can no longer see them.
Today we are producing some contemporary art, but the governments are not taking the necessary
steps to collect and distribute it; they don't seem to be concerned with it at all. Western museums
snap up what we produce because they recognise its value, but our leaders have no idea that with
our artistic creations, they are losing out on two counts.
One day I realised that I had to create a space in which I could show my collection that arose from
exchanges between international and African artists, so that a part of what we produced would re-
main in Africa. That's why I created my foundation, Bandjoun Station. However, I don't want it to be
a ghetto for contemporary African art; that's why we also invited artists from across the world. We
want to make Bandjoun Station a creative space where artists without borders can come and cre-
ate projects in residence, but with a connection to the local community. Artists are invited to local
births, marriages and funerals so that they can become invested in this place; it is an atmosphere
far from the process one would fnd in a European art centre.
There is also an agricultural component, as our artists need to eat while they're here. We decided to
create six hectares of farmland to grow manioc, bananas and corn etc. Also, in order to combat the
dominance of the West in deciding the prices of raw materials, we built a small cofee factory. We
grow the beans, roast them, package them and then set the price. The project is essentially critical.
Who works on these plantations?
It's a community project, so there are people from Bandjoun, but the artists in residence also help.
Would you consider yourself today as an emerging or established artist?
I don't think I have the authority to decide. I have a role, and that is to create art, so that is what I
do. I don't know if I'm well-known or not; it is not of interest to me. What is interesting is to have a career
that you love, that inspires you, that pleases others and serves people. As an artist my role is to present a
new reality, to make young people want to get involved in art and to open their minds. Also, I have a duty
to Africa, I must give back what I gain from my artistic production to the continent.
Night Singers (2014)
Barthlmy Toguo
Watercolour and pastel on paper maroufaged on canvas
240 x 240 cm
Courtesy Galerie Lelong & Bandjoun Station / Photo Fabrice Gibert
Artists
AWARDS
Gillian Wearing in line to collect Dutch prize the Vincent Award
Turner Prize-winner Gillian Wearing is one of fve shortlisted ar-
tists in line to receive the Vincent Award a prestigious Dutch
art prize awarded every two years to a mid-career artist who is
appreciably infuencing the development of contemporary art
in Europe.
For the presentation of her work at the Gemeentemuseum in The
Hague, Wearing poses as her 20-year-old self in a piece entit-
led Me as an Artist in 1984. Wearing has recreated a self-portrait
using a mask of herself from this year the year prior to begin-
ning her art education, when the artist had no idea that that was
the career path she wished to embark upon. The body of work
presented for this exhibition also features the artist posing as
two of her heroes: Diane Arbus and Robert Mapplethorpe.
Wearing, a member of the YBAs and winner of the 1997 Turner
Prize, aims to become the frst Briton to win the 50,000 prize.
The winner will be announced on 21 November 2014 and the ex-
hibition at the Gemeentemuseum will run until 1 February 2015.
Shortlist for Taylor Wessing Photographic Prize 2014 announced
The shortlist for the Taylor Wessing Photographic Prize 2014 has
been announced. The winner of the prize is to be revealed in a
ceremony on the 11 November 2014, where they will be selected
from the 4,193 anonymous submissions. 60 selected portraits will
be displayed in an exhibition at The National Portrait Gallery London
from 13 November 2014 until 22 February 2015. There will also be a
prize chosen for a photographer under 30 selected for the exhibition,
who will win not only prize money but a commission from the gallery.
The four photos shortlisted for the prize are: Skate Girl by Jessica
Fulford-Dobson, Braian and Ryan by Birgit Pve, Indecisive Moment
by Blerim Racaj and Konrad Lars Hastings Titlow by David Titlow.
Fulford-Dobson's photo, from the series Skate Girls of Kabul, de-
picts a young girl with her skateboard. The series looks at the
girls who attend the NGO Skateistan; the photographer says of
the series that she aims to depict the "liberating environment that
Skateistan provides for them". Braian and Ryan is a photograph by
Birgit Pve, from the series Double Matters, of nine-year-old twin
boys in the countryside in Estonia, her native country. Blerim Racaj's
photo Indecisive Moment depicts several young Kosovars, sitting by
night at the base of the National Library. He says of the picture that
it depicts that moment in time infused with uncertainty and vulne-
rability. Finally, the photo by David Titlow a photographer who
works in fashion and advertising shows his young son being in-
troduced to a dog, taken in Sweden the morning after a party.
AWARD
Florentijn Hofman reveals his latest sculpture
Dutch artist Florentijn Hofman has unveiled his latest
sculpture for the Mid-Autumn (Moon) Festival in Taoyuan,
northern Taiwan.
Following on from his recent giant rubber duck and hippopo-
tamus, the artist has chosen to create an installation entitled
Moon Rabbit. The white rabbit is more than 25 metres tall and
is made of wood, polystyrene and waterproof paper material.
It was inspired by a Chinese folk story about a goddess who
lived on the moon with a rabbit who made her an elixir of
eternal youth. According to event organisers, Hofman said he
felt the rabbit might need to take a break after working on the
moon for thousands of years.
The work has already overshadowed other pieces in the fair
and drew 350,000 visitors on Monday alone. The rabbit will
not travel as widely as the famous Rubber Duck, which visited
19 towns in 11 countries; Moon Rabbit will instead remain in
Taiwan after the festival.
ARTICLE OF THE WEEK
World Trade Centre Arts Complex board fires Frank Gehry
The renowned architect Frank Gehry's de-
sign for the Performing Arts Centre at the
World Trade Centre, New York has been
dropped; in his place, three other archi-
tectural firms are being considered.
As reported by The New York Times, in an
interview, Gehry said that he had not been
informed, but said that Maggie Boepple,
the president of the centre appointed in
2012 doesn't have a clue as to what I do
or how I do it and that the group should
do what they want. His design featured
a series of cascading box like structures
with trees planted around, and on top of
them. It is now more than ten years since
a plan to create a cultural destination at
the site was unveiled, and many have
expressed doubts about whether it will
actually go ahead; in spite of this, John E
Zuccotti, the chairman of the Arts Centres
board and real estate developer said that
the centre is a lot more credible today
than it was two years ago".
Konrad Lars Hastings Titlow (2014)
David Titlow,
Copyright: David Titlow
Image courtesy of The National Portrait Gallery, London
Interview
DOGS IN THE LIVING ROOM:
AN INTERVIEW WITH FARID RASULOV
Farid Rasulov You started your career in medicine how did you come to art and how did your scientifc practice
helped you in your artistic practice?
I was studying medicine doing my year in residence at the hospital, and at the same time I was also
working at a pharmacy in the evenings. I was working all day and night; and for four out of seven days, I was
sleeping in 15 minute shifts. I didn't change careers because it was too hard, but by that time I already knew
that I didn't want to be in the rat race anymore. I met a group of friends shall we say beggar artists who
lived in my neighbourhood. I went to visit their studio and they were all very busy with exhibitions living a
very good but simple life. It was their freedom that inspired me to leave a the medical profession.
It took me a year to make the transition from medicine to art; I continued working at the pharmacy for a time
in order to have some security. It was a difcult period as there were no opportunities for young artists in
general; especially when what you're working on is contemporary and no one in your country understands
that. In the beginning I had to ask my friends to explain to me how they were working, in very simple terms; I
was a complete novice. I initially chose video art because it seemed to me like the easiest, which, of course I
know it is not, but if I let myself think it was difcult then I would have never have done it!
For artists rebelling against the traditional white cube presentation format of contemporary galle-
ries, Farid Rasulov, has reset the bar. His 360-degree installation, Dogs in the Living Room, features
3D-printed Azerbaijani carpet patterns, which cover every surface, including the furniture. Punc-
tuated by shockingly white life-sized dogs, this kaleidoscopic scene ofers a new insight into the the
relationship between the East and the West. Based in Baku, Azerbaijan and currently exhibiting in
Paris, AMA went to Galerie Rabouan Moussion to talk to Farid about his frst Parisian solo show, his
unconventional creative journey, and the meaning behind those porcelain-esque dogs.
Interview
Were there any initial influences your environment had on your early work?
The frst video I created was Inertia which was flmed on Gurban Bayram an Islamic holiday where
sheep are sacrifced. They are cut up into seven pieces and given to neighbours, friends, people that
need food. It happened by chance really. My uncle was a butcher and he came to us to perform the
sacrifce. I thought it looked nice, so I started to flm it. This was my frst work, which was presented
at the 53
rd
Venice Biennale in 2009.
Could you present Dogs in the Living Room to us.
There are several ways in which artists work. One way is to do your research and then begin to vi-
sualise the idea. I am the opposite, in that I frst see how the complete work should look, and then I
go back and analyse the factors that have got me to this point.
The work is about the East and West, their relationship; their confict and friendship. I wanted to cover
Western interiors and all the objects that exist in Western homes mirrors, lamps, books, armchairs
with the Eastern symbol of the carpet. So we're in the West, but immersed in the East. I wanted to
show how they work together, or how they don't. The aim was also to bring Westerners into an Eastern
presence. I've been here for two days since the exhibition opened and the reactions have been mixed.
Some have been in awe and have sat for 30 minutes discussing it; while others have thought it was
quite a pressurised environment, giving of lot of information. The relationship between the East and
the West is often very diferent and difcult, and even though a lot of people immigrate from the East
to the West, some of them cannot integrate even after generations. They come and they bring their
own culture into an existing one, but is this good? I don't know if this is always a good thing.
What does the carpet represent, aesthetically and culturally?
There's a mathematical element in that everything is symmetrical. If you were to take away any part
of it and replace it somewhere else, it would ft fawlessly. It wasn't easy to make the design of this
carpet, especially as I had no technical knowledge of Azerbaijani tapestry. The carpet forms such a
large part of the Azerbaijan community; the interiors, street sellers you see it everyday. It is so
ingrained within our culture, it's so interesting. So although there's no surface knowledge when you
start to work with them, you want to understand what is going on.
Dogs in the living room
Farid Rasulov
Interview
This is an Azeri pattern from the Guba school it has 35 diferent compositions. There are seven
schools in total, with four main ones. There are several diferent books and styles of carpet relating
to the diferent regions of the area; each with lots of biochemistry and physics involved.
Often the West doesn't see the same things in the pattern as the East will do, so there's always a
contradiction or a friendship. For me, I'm not under any infuence of this inner consciousness. As
soon as I started to travel, to work with both people from the East and the West, I stopped feeling
these borders.
How long did the installation take to install?
I was helped by the gallery to assemble it. Here, the whole process fxing the fabric to the walls
took one month, but it depends how many hands you have. If you have 20, you can do it in three
days! It always depends on the place however. For the Venice Biennale, where we frst presented the
exhibition, we had less space, but as it was an old palazzo they didn't allow us to fx anything to the
walls. So we had to make metal frames in Baku and then transport them to Venice. It was actually
much quicker this way round.
From the Venice Biennale to Galerie Rabouan Moussion, how has the idea been developed or explored?
It hasn't really. There were a lot of galleries that wanted to bring the idea into a gallery but I refused
all of them. I'm not sure why! I suppose It's very important to fnd the right people to work with.
Farid Rasulov
Interview
Could you explain the 3D printing process?
I worked as an interior designer when I was younger, and our purpose was to ofer the customer
a view of the apartment that they would eventually live. For someone who doesn't know about
3D printing, they often don't know what they're seeing is photography or not. They're looking at a
future image of their house but they don't understand how they're viewing something in 'real life'.
This experience infuenced a lot of my work, and when I wanted to make non-existent spaces in real
life.
Finally, the dogs are an exceptional presence white and static compared to the frenzy of
pattern: why are they included?
In the East certain things are very symbolic. Here, the dog is a symbol of the purity of nature. He is a
victim of this relationship between East and West; where a lot of people are dying as a result, and a
lot of nature sufers. There's no direct meaning for the dog itself as I'm changing the animals all the
time; so they're are more a symbol of nature that has lost its soul, that is dead, and that is stuck in
this process in this cage of East meets West.
Farid Rasulov
Tom Wesselmann Art Analytics Tom Wesselmann Art Analytics
Tom Wesselmann was born in the United States in 1931 in Cincinnati, before moving to New
York in 1956. He is known for his paintings, sculptures and prints.
Wesselmann studied Psychology at the University of Cincinnati. In his early years, Wesselmann
was interested in becoming a cartoonist; he began his art education in drawing at the Art Aca-
demy of Cincinnati, pursing further studies at Cooper Union in New York in 1956. Commonly
associated with the Pop Art movement, he founded the Judson gallery with artists Marc Ratlif
and Jim Dine.
The prolifc work of Tom Wesselmann begins with 1960's Pop Art. In rejection of the Abstract
Expressionist movement, he favoured classical subjects such as the nude, still life and lands-
capes. During the 1980s Wesselmann began experimenting with laser cutting, allowing him to
create faithful translations of his drawings in cut-out metal.
Wesselmann is infuenced by artists such as Willem de Kooning, Robert Motherwell and Henri
Matisse, drawing inspiration from the human fgure, beginning with collage and becoming increa-
singly erotic towards the late 1960s.
Tom Wesselmans major exhibitions include: Contemporary American Still Life at the Museum of
Modern Art in New York (1966); BLAM! The explosion of Pop, Minimalism & Performance 1958-
64 at the Whitney Museum of American Art (1984) and Tom Wesselmann: Recent Still Lifes and
Landscapes at the Gallery Tokoro, Tokyo (1992). Posthumous exhibitions include: "Tom Wessel-
mann Draws" at the Haunch of Venison gallery, New York (2009) and "Beyond Pop: Tom Wessel-
mann" at the Montreal Museum Of Fine Arts (2009).
Evolution of the number of
exhibitions by type
Evolution of the number of
exhibitions by type of venue
0
10
20
30
40
1962 1965 1968 1971 1974 1977 1980 1983 1986 1989 1992 1995 1998 2001 2004 2007 2010 2013
group shows solo shows
0
10
20
30
40
50
1962 1965 1968 1971 1974 1977 1980 1983 1986 1989 1992 1995 1998 2001 2004 2007 2010 2013
gallery museum biennials other
AMA NEWSLETTER 169 31 11 SEPTEMBER 2014 AMA NEWSLETTER 169 31 11 SEPTEMBER 2014
Tom Wesselmann Art Analytics Art Analytics
Distribution by venue type
Distribution by exhibition type
Distribution by country
Tom Wesselmanns artworks have mainly been exhibited in the United States, followed by Germany,
Austria, Italy and South Korea. He is most often displayed alongside Andy Warhol, Roy Lichtenstein,
Robert Rauschenberg, Jim Dine and Claes Oldenburg.
The artists works have been exhibited worldwide; the institutions to have most frequently exhibited
his works include: The Columns, (South Korea); the Museum of Modern Art, New York, (USA); Burkhard
Elkelmann Com, (Germany); Galerie Klaus Benden, (Germany) and Margo Leavin Gallery (USA).
0
50
100
150
1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
Evolution of the number
of articles published on
Tom Wesselmann
Distribution of the number of
articles by langage
Distribution of the number of
articles by country
Top 3 authors and publications
whose works have addressed
Tom Wesselmann
6%
6%
8%
33%
42%
English German
Spanish French
Italian other
group shows
solo shows
4%
37%
58%
gallery museum
events other
17%
83%
39%
27%
33%
Germany France
other
The New York Times
Die Welt
Washington Post
0 50 100 150
42
43
128
49%
23%
27%
United States
Germany
other
Ulana Ilnytzky
0 2 4 6 8
5
Evolution of the
number of lots
Evolution of
revenue
Evolution of the
average value of lots
At auction, Tom Wesselmanns works have totalled over $181 million, at an average price of
$64,000 per work.
The record for the artists highest-selling work was set in May 2008 at Sothebys New York for
his 1963 installation sculpture Great American Nude No.48, which sold for $9.5 million (ham-
mer price). This work is followed the painting Smoker #9 (1973) also at auction in May 2008, at
Christies New York, sold for $6 million (hammer price). In May 2007 at Sothebys New York 1975,
painting Smoker #17 sold for $5.2 million (hammer price).
Whilst paintings represent 74% of the artists turnover in public sales, sculpture represents 13%,
followed by drawings (8%) and multiples (4%); furthermore, 57 ceramics brought in an average
of $2,300.
Since the late 1990s the number of lots on auction has signifcantly decreased, having peaked in
the late 1990s with around 180 lots on ofer.
0
100
200
300
1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
$0k
$100k
$200k
$300k
1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
$0m
$10m
$20m
$30m
$40m
$50m
1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
Tom Wesselmann Art Analytics
Multiples Painting Drawing
Sculpture Ceramic
21%
79%
sold bought in
6%
16%
31%
45%
13%
8%
74%
4%
United States United Kingdom Germany
France other
15%
14%
14%
14%
43%
5%
25%
65%
42%
4%
5%
22%
24%
Christies Sothebys Phillips
Ketterer Cornette de Saint-Cyr other
9%
4%
51%
35%
Art Analytics
Regarding country of sale, it is in the United States where the majority of the artists work has
been at sale (43%), followed by the United Kingdom (15%), Germany (15%) and France (15%).
Concerning the turnover, 65% of the total is represented by the United States, followed by the
United Kingdom (25%).
The rate of unsold work is 21%.
Rate of sold/unsold lots
Distribution of lots by auction
house and revenue
Distribution of lots by
medium and revenue
Distribution of lots by
country and revenue
Total sales by price of works Rate of unsold lots by price of works
> $500k
$100-500k
$50-100k
$20-50k
$10-20k
$5-10k
< $5k
0% 25% 50% 75% 100%
sold bought in
> $500k
$100-500k
$50-100k
$20-50k
$10-20k
$5-10k
< $5k
$0m $20m $40m $60m $80m $100m
60
354
149
134
372
532
1,074
Auctions results from Artprice.com
Evolution of unsold rate
Number of lots presented, and
sales figures by year
Until 4 January 2015 the artists work is on display at the Ca Pesaro, Galleria Internazionale dArte Moder-
na, Venice, Italy as part of the exhibition Da Rauschenberg a Jef Koons. Lo sguardo di Ileana Sonnabend".
Other current exhibitions include the Summer Group Show at Galerie Fluegel-Roncak, Nurem-
berg, Germany until 15 September 2014 and Beyond Pop Art: A Tom Wesselmann Retrospective
at the Denver Art Museum, United States, until 14 September 2014 .
The rate of unsold work has remained relatively stable since the early 2000s despite the de-
crease in the number of lots at auction.
An important percentage of the artists turnover was generated from works created throughout
the 1960s. Multiples are the medium that represent the most successful unsold rate for Wessle-
mann, at 15%, followed by painting (24%), sculpture and ceramics (25%) and drawings (27%).
0
50
100
150
200
1955 1958 1961 1964 1967 1970 1973 1976 1979 1982 1985 1988 1991 1994 1997 2000 2003
$0m
$5m
$10m
$15m
$20m
lots turnover
0%
25%
50%
75%
100%
1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
sold bought in
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capital of 40,000, incorporated in the Company and Trade Register of Paris under the n530 512 788.
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Director of publication: Pierre Naquin
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Distribution: 150,000 subscribers
Auctions
ARTICLE OF THE WEEK
Phillips announces opening of new London Headquarters
Phillips have announced the opening of a
new auction house and exhibition space in
Berkeley Square, London, to open during the
Frieze Art Fair week in October.
The new space is part of an efort to increase
Phillips' standing in the auction market, so
that the house would be able to compete on
a level with current market leaders Sothe-
by's and Christie's. The new London fagship
is in a prime location, situated by one of
the Gagosian's London showrooms, mere
streets away from Sotheby's, Christie's and
Bonham's and near a number of blue-chip
galleries such as Hauser & Wirth, Pace and
Sadie Coles.
Edward Doleman, who was appointed chair-
man and CEO of the company only last July,
told The New York Times: Its a statement
of intent [..] This gives us the best space for
viewing contemporary art in London. Its po-
tentially a game changer.
The space will be launched by an exhi-
bition of sculptures by artists including
Donald Judd, Frank Stella and Enrico
Castellani and the frst sale will be the
Contemporary Art Evening Auction, to
take place 15 October 2014.
OPENINGS
Cornette de Saint-Cyr opens a new space in
a Parisian townhouse
Cornette de Saint-Cyr auction house is
opening a space at 6 avenue Hoche in
Paris, at the end of October 2014, during
the FIAC.
By the side of the Parc Monceau, the
auction house is setting up in a 19
th
cen-
tury townhouse of 1,600m
2
where they
will have two sales rooms, six exhibition
rooms, ofces and private rooms reser-
ved for clients. Their aim is to ofer all
the services of an international auction
house. For many years we have wanted
to acquire a space capable of hosting our
sales and exhibitions, and in doing so to
respond to the demands of a evermore
international and demanding clientele.[.]
With this space we want to accelerate our
developement around our teams and the
new talents which are joining us, in sy-
nergy with our auction house in Belgium
which opened in 2012 said Arnaud Cor-
nette de Saint-Cyr, director of the society.
Created over 40 years ago, the Cornette
de Saint-Cyr auction house was one of the
ten frst French auction houses. They have
a team of around 30 people split between
Paris and Belgium.
The Dorotheum opens new space in Mayfair
One of the world's oldest auction houses,
the Dorotheum is based in Vienna and has
branches across Europe in cities including
Brussels, Munich, Milan and now London.
Auctions take place in over 40 categories
spanning fne art and antiques. Damian
Brenninkmeyer, representative for Doro-
theum in London, has previously worked for
Christie's, Hauser & Wirth and Bonham's.
The exhibition space is to preview selected
works from the upcoming Old Master Paint-
ings sale, to take place during the October
Auction Week, from 30 September to 2
October 2014.
POP UP
Sothebys pop-up William Eggleston exhibition in Palo Alto
Running from 16 until 18 September 2014, Sotheby's is to present a pop-up exhibi-
tion in Palo Alto, California, showcasing the work of photographer William Eggleston.
The exhibition is to feature 17 photographs, the majority of the works coming from the
1980s series The Democratic Forest. The photographs can be acquired during the show,
with prices ranging from $30,000 to $350,000 per work. The vice chairman of Sothe-
by's in the Americas, Josh Holdeman, describes him as a pioneer in the feld.
William Eggleston is a American photographer who was crucial in the acceptance of
colour in fne art photography; he began experimenting with the use of colour in his
photographs in the 1960s, when colour photography was largely used for advertising
and scorned by the art world. He has had solo exhibitions at the Museum of Modern Art
in New York, the V&A in London and the National Museum for Contemporary Art in Oslo.
HUMAN RESOURCES
New hirings in Paddle8 senior management
Auction site Paddle8 has hired three major senior management positions. Aino-Lee-
na Grapin, founder of consultancy frm ALGAL Ltd, is to join the team as Managing Di-
rector for Europe and Middle East, after 12 years at Christie's, London, where she was
appointed International Business Director in 2010. Joining Paddle8 as Marketing Director
Europe is Alix de Torquat, who was with Sotheby's, London since 2008 as Senior Marke-
ting Manager and then Business Director following her time at Jean Paul Gaultier Per-
fumes as Senior Marketing and Product Manager. Finally, Louisa Strahl is to become part
of the London business development team.
Cornette de Saint-Cyr
COMING SOON
FRANCE
Man Ray at Sothebys Paris
Sotheby's is to host a sale of 400 works by Man
Ray 15 November 2014 in Paris.
The collection, containing photographs, paintings,
drawings, objects, jewellery, chess and flm, comes
from the Man Ray Trust and the sale will be the last
chance to acquire works coming directly from the ar-
tist's studio. The sale will be the largest of the Dada
and Surrealist icon's work for nearly twenty years.
The sale is to include over 250 vintage photo-
graphs featuring portraits and fashion photogra-
phy, as well as Surrealist compositions such as
Magnolia Flower (1926), Starfish (1928), Ostrich
Egg (1944) and Mathematical Object (1934). Other
auction highlights include photographic portraits
of key contemporary fgures such as Pablo Picasso,
Georges Braque, Juan Gris and Jean Cocteau, por-
traits of Man Ray's muses, Ce qui nous manqu
nous tous (the famously irrational clay pipe with a
glass bubble emerging from it) and two chess sets.
Triple Elvis [Ferus Type] (1963)
Andy Warhol
silkscreen ink and silver paint on linen
82 x 69 in. (208.73 x 175.3 cm)
The Andy Warhol Foundation for the Visual Arts, Inc.
HONG KONG
57 works of Modern and contemporary Asian art to go on sale at
Sothebys Hong Kong
On 5 October 2014, Sotheby's is to host an evening sale of 57
key 20
th
-century Asian artworks, estimated at a total of $51
million, including works by renowned artists Chen Cheng-Po
and Zao Wou-Ki.
The chief executive of Sotheby's Asia described the sale as
showcasing the rich diversity of Asian art and ofering an
unprecedented opportunity for collectors to acquire excep-
tional pieces by legendary Asian artists. The works for sale
not only cover a large historical period but also originate from
diverse geographical locations such as Indonesia, the Philip-
pines and Singapore.
Some important pieces in the sale include Chia-Yi Park (1937)
by Chen Cheng-Po, a piece which illustrates one of the most im-
portant points of the artist's career, and Sereines Clartes (2006)
by Chu Teh-Chun the frst time the piece will have appeared
at auction, with the proceeds going to the National Taiwan Uni-
versity College of Medicine. Also on sale is Lui Xiadong's Di-
sobeying the Rules (1996), a work which captures the sentiment
and condition shared by many Chinese people at the time.
Four Marlons (1966)
Andy Warhol
silkscreen ink on unprimed linen
81 x 65 in. (205.7 x 165.1 cm)
The Andy Warhol Foundation for the Visual Arts, Inc.
COMING SOON
UNITED KINGDOM
Turner piece to go on sale for the second time in its history
The Turner painting Rome, from Mount Aventine, is to go on
sale at Sotheby's London on 3 December 2014 as part of
their Old Master and British Paintings Evening Sale 2014.
The painting, which has belonged to the same family
since 1878 (although it has been loaned to major mu-
seums during this time), has an estimated price of 20
million. The frst time it was sold it fetched the then re-
cord breaking sum of 6,142. Alex Bell, an expert from
Sotheby's, told The Telegraph that there are fewer than
ten major Turners in private hands known today and this
work must rank as one of the very fnest. [.] This pain-
ting, which is nearly 200 years old, looks today as if it has
come straight from the easel of the artist. It was commis-
sioned in 1828 and took the artist seven years to fnish.
A spokesperson for the current owners said that they were
selling the painting in order to maintain their estates.
The Auction Room reveals catalogue for Middle Eastern
Contemporary Art auction
The Auction Room has unveiled the catalogue and opened up
bidding for their second online Middle Eastern Contemporary
Art auction, which will end 1 October.
Following the success of last year's auction of 40 lots, which
realised a total of 235,348, this year's sale is to host the
works of well-known and up-and-coming Arab and Iranian ar-
tists including Ramin and Rokni Haerizadeh, Jefar Khaldi, Ab-
bas Kiarostami, Youssef Nabil, Khosrow Hassanzadeh and Dia
Azzawi, as well as works featured in the critically acclaimed
exhibition Unveiled: New Art from The Middle East held
in 2009 at the Saatchi Gallery, London. There is a preview
exhibition of the sale in London.
The Auction Rooms specialist for the sale, Janet Rady, says:
Overall confdence in the market remains high both in the
Middle East and internationally [..] the auction provides the
perfect opportunity for a variety of collectors from all parts of
the world to participate. Clients will be able to place lot alerts
on items, which will remind them when to bid on selected
items on the evening of 1 October, 7pm (London time) when
the auction is live, or will automatically place Absentee Bids.
Prints and Multiples Sale at Christies London
Christie's London, has announced its Prints and Multiples
Sale to take place 17 September 2014.
The sale comprises 193 lots including well-known mas-
terpieces, rare proof impressions and key series by ar-
tists such as Edvard Munch, Joan Mir and Andy War-
hol. The auction is expected to realise 4 million and
covers works from the 19
th
century to the present day.
Highlights of the sale include: Picasso's linocut Buste
de femme daprs Cranach le Jeune, 1958 (estimate:
250,000 350,000); a frst-state impression of Ernst
Ludwig Kirchners woodcut Akt mit schwarzem Hut,
1911/12 (estimate: 200,000-300,000); an original set
of ten Marilyn screenprints by Andy Warhol, estimate: 1
million-1.5 million); and Lichtenstein's Shipboard Girl,
1965 (estimate: 20,000-30,000).
Christie's continue the theme of prints with Modern Mas-
ters & Polgrafa: Celebrating 50 Years of Printmaking, to
take place the following day on 18 September. The sale is
to feature 150 prints from the Barcelona printers Polgra-
fa Obra Grfca, who collaborated with some of the me-
dium's key artists during the late-20
th
century.
Rome from Mount Aventine.
Turner
Sotheby's London estimate: 20M
UNITED STATES
Two Warhols to be sold at Christies in November; Total estimate $140m
Two early paintings by Andy Warhol are to go on sale for the frst time at
Christie's New York on the 12 November 2014.
Triple Elvis [Ferus Type] and Four Marlons, from 1963 and 1966 respec-
tively, were owned by the German casino chain WestSpiel since the late
1970s, where they have been kept in storage since their true value was
realised. In light of the current health of the art market and the com-
pany's plans for expansion, the works are now heading to auction. Brett
Gorvy, the Chairman of postwar and contemporary art for Christie's wor-
ldwide, estimates them at $70 million each and even ventures to say
that they could potentially reach over $100 million a piece. Mr. Gorvy
told The New York Times that he expects there to be bids from several
serious collectors in America as well as new Asian bidders. In November
2013, Warhol's work Silver Car Crash (Double Disaster) fetched $105 mil-
lion at Sotheby's: the highest price ever paid for a Warhol at auction.
Most expensive collection of African art ever to come up at auction
In Pursuit of Beauty; The Myron Kunin Collection of African Art is
to go on sale at Sotheby's New York 11 November 2014, carrying a
pre-sale estimate of $20-30 million.
The collection is owned entirely by the businessman and hair salon
tycoon Myron Kunin, who owned more than 10,000 salons worldwide,
and died at 85 last year. One of the key pieces in the sale is the Senufo
Female Statue (Debele), from the Ivory Coast, which is one of the most
celebrated and well-known works of African art. The piece is of the Si-
kasso style, of which only fve other examples are known; when it was
bought by Kunin in 1991 it was the frst African sculpture to sell for over
$1 million. The head of Sotheby's African and Oceanic Art Department
is quoted in ArtDaily as saying that it was a world-class collection that
stands as one of the fnest ever assembled in the feld of African Art.
The collection is being shown in New York from 8 November and pre-
viewed in Paris from 9 to 22 September 2014.
Fairs & festivals
ARTICLE OF THE WEEK
2014 Art Basel Miami Beach exhibitor list revealed
Organisers of international art fair Art Ba-
sel Miami Beach reported 9 September
2014 this year's exhibitor list, featuring
more than 250 galleries coming from 31
countries over five continents.
First time Art Basel Miami Beach-goers in-
clude: Clifton Benevento, Freedman Fitzpa-
trick, Honor Fraser, Garth Greenan Gallery,
Michael Jon, Menconi + Schoelkopf, and
Simone Subal Gallery from America; Cen-
tral Galeria de Arte and Galeria Bergamin
from Brazil; SlyZmud from Argentina; Take
Ninagawa and Y++ Wada Fine Arts from Ja-
pan; Beijing Commune from China.
There will also be a new sector of the fair
Survey, featuring historical art projects.
Participating galleries include Galeria
Bergamin, Brazil; Galleri Bo Bjerggaard,
Denmark; Charim Galerie, Austria; Andrew
Edlin Gallery, New York; Espaivisor, Spain
and Y++ Wada Fine Arts, Japan.
This year there are nine more galleries
than at the 2013 fair and a total of 90 gal-
leries from New York.
Art Basel Miami Beach is to take place
from 4 until 7 December 2014 and will be
the fair's 13
th
edition.
SUCCESS
7
th
FNB Joburg Art Fair announced a success
The 7
th
edition of the FNB Joburg Art Fair, Johannes-
burg, ended on 24 August after having welcomed
9,500 visitors and experiencing a 10-20% increase
in visitors and sales.
The fair, which aims to showcase the most signifcant
art by modern and contemporary artists from across
Africa, featured 37 exhibitors from eight diferent coun-
tries and works by over 400 artists. The fair has been
growing consistently since its inception in 2008, but
this year's growth is particularly notable, seeing the
event remain one of the continent's leading fairs which
introduces African artists to a wider audience.
The appetite for contemporary art is developing across
South Africa and the Continent alike. We have a nice
opportunity with our audience, as many are new buyers,
explained the fair director Ross Douglas. We have
always wanted this fair to be accessible to the wider au-
dience [..], the idea is to show that art and collecting don't
have to be just for the super-rich, but that living with art
and being part of the contemporary cultural movement
on the Continent is a lifestyle accessible to all.
PRECARITY
Art Moscows future thrown into doubt
According to The Art Newspaper Russia, the future of
Art Moscow, the city's oldest contemporary art fair, is
looking uncertain.
Speaking to The Art Newspaper, Vasily Bychkov, the chief
executive of ExpoPark Exhibition Projects, the fairs or-
ganiser, said: Art Moscow should happen, but we cant
say for sure right now whether it will take place. One
reason for this doubt stems from the recent sanctions
imposed on Russia by the West; as many of the exhibi-
tors are from abroad, organisers fear that this may have
an adverse efect on the fair, as galleries can withdraw
from the fair at any point.
Art Moscow, which is due to run from 17 to 21 Sep-
tember, is also facing internal struggles regarding cen-
sorship. Earlier this year at Moscow's International Book
fair, two plays were removed from the programme due
to the use of foul language and supposed hidden ille-
gal gay propaganda, providing an indication of similar
restrictions on this event.
Earth Anatomy Theatre (2014)
Camila Sposati,
Credit : Ciro Ghellere.
CURATOR
Art15 announces curatorial advisors
Art15, London's Global Art Fair, has announced its curatorial advisers for the
young gallery sections Emerge and London First. The fair is to take place at
Olympia, London, from 21 until 23 May 2015.
Jonathan Watkins, Director at Ikon Gallery Birmingham and Aaron Cezar, Foun-
ding Director of London's Delfna Foundation, will advise on Emerge and Lon-
don First respectively. Watkins will assist Emerge, which champions new and
upcoming artists, bringing to the fair his knowledge on international artistic
practise. Cezar, who has previously sat on the board of the Marrakech Biennial,
will advise on the section dedicated to galleries under fve years old.
Nour Aslam, former specialist at Bonham's has also been appointed as Head of
Gallery Development for the fair, bringing her expertise on Asian, Middle-Eas-
tern and Turkish art to expand the fair's global presence.
Courtesy of Art Basel
WHAT'S ON
BRAZIL
ArtRio 2014
This year the fourth edition of the ArtRio fair is taking place from 10 until
14 September in Rio de Janeiro. The unique element of the fair is the
coming together of Old Master paintings, alongside the work of emerging
contemporary artists.
Last year ArtRio welcomed 106 galleries and 52,000 visitors; this
year featured galleries include a selection of renowned European
and New York-based galleries such as: David Zwirner Gallery, New
York, United States; Gagosian Gallery, New York; Pace, New York;
and White Cube, London; as well as a number of Brazilian and Sou-
th-American galleries including: Arte57, So Paulo, Brazil; Galeria
Sur, Montevideo, Uruguay; and Rolf Art, Buenos Aires.
Artists featured in this year's fair include: Alex Katz, Ernesto Neto, Fernand
Lger, Henri Matisse, Joan Mir, Olafur Eliasson, Pablo Picasso, Paul Klee,
Peter Halley, Roy Litchenstein and Salvador Dal, amongst many others.
ArtRio is organized by Brenda Valansi, Elisangela Valadares and Luiz Ca-
lainho, in the aim to create an artistic legacy for the Brazilian people.
CHINA
Shanghai plays host to three new art fairs this month
This September sees three new art fairs come to Shanghai: Photo Shan-
ghai, from 5 until 7 September; Art in the City festival, organised by
art mall K11, from 10 until 14 September and the West Bund Art and
Design Fair from 25 until 29 September.
Photo Shanghai, which fnished at the end of last week, welcomed 50
galleries to its event specialising in vintage and contemporary photo-
graphy. The fair was chaired by Sandy Angus, a co-founder of Art HK
(now Art Basel Hong Kong) and helped to highlight emerging trends in
contemporary Chinese photography. Art in the City festival is a pro-
ject that supports art in China and Shanghai, organised in conjunction
with some of the city's galleries, which celebrates the citys outs-
tanding achievements in art and design, where tradition and the new
collapse into a kaleidoscopic fantasia of images, sounds and fun. The
West Bund Art and Design Fair features galleries such as Hauser &
Wirth, White Cube and Lisson. Its director is the Shanghai artist Zhou
Tiehai, who was the founding director of the Minsheng Art Museum
and the BolognaFiere SH Contemporary Art Fair.
The convergence of the fairs is apparently coincidental and whilst it
brings attention to the Shanghai art scene, there is some concern about
saturation. Alexander Montague-Sparey, director of Photo Shanghai,
says the abundance of fairs further confrms to us that there is so-
mething special happening in Shanghai, which, like Paris, has a very
addictive combination of cutting-edge, sexy and traditional.
COMING SOON
GERMANY
Berliner Liste 2014
This year sees the 11
th
edition of the contemporary art fair
Berliner Liste take place from 18 until 21 September. The
fair is part of Berlin Art Week and is to feature 112 exhibi-
tors from 24 countries.The fair ofers afordable works by
emerging artists, with the new Editions Section ofering
books, photography and small-format paper artworks
from 50 whilst the galleries will feature works by artists
ranging from 750 to 7,500.
Exhibiting galleries include: Kunst der Gegenwart,
Hamburg, Germany; Apteka Sztuki, Warsaw, Poland;
Smart Ship Gallery, Tokyo, Japan; Galerie Zderzak, Kra-
kow, Poland; Alma, Trikala, Greece; Osnova Gallery,
Moscow, Russia; Galerie Verein Berliner Knstler, Ber-
lin, Germany; and Studio 73, Arad, Romania.
Over 300 galleries submitted applications to be featured
in the fair, the fnal exhibitors being selected by cura-
tor Dr Peter Funken. Berliner Liste will take place in the
Postbahnhof am Ostbahnhof, the former postal railway
station in Berlin and will display contemporary painting,
sculpture, drawings, graphics, installations, video art and
performance art with a particular focus on photography
and its long history in Berlin.
LEBANON
5
th
edition of Beirut Art Fair
The 5
th
edition of the Beirut Art Fair is to take place from
18 until 21 September 2014; focusing on Modern and
contemporary art from the Middle East, North Africa, Sou-
th & South East Asia (ME.NA.SA) regions extending from
Morocco to Indonesia.
This year's event, directed by Laure dHauteville and Pascal
Odille, is to to host around 50 Modern and contemporary
art galleries presenting a variety of media, including: pain-
ting, drawing, sculpture, video, design, and performance art.
The enthusiasm created since the launching of the
BEIRUT ART FAIR reveals the artistic and economic de-
velopment within the ME.NA.SA region. It is a fair where
emerging artists experience new discoveries and where
modern art pioneers in the region have the chance to
make rediscoveries. We are proud to provide a platform
for these art creations at the heart of the Fertile Cres-
cent, explains Laure d'Hauteville.
Courtesy of ArtRio

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