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Art Basel: 13 June 2018

Marshall arts:
how collectors fell
for Kerry James
Artist lands two big fair sales after record-breaking auction result

A
month after the
rapper Sean “P.
Diddy” Combs
paid a record
$21.1m for Kerry
James Marshall’s
1997 painting Past
Times, two works by the Chicago-based
artist flew off the walls during the VIP
preview of Art Basel on 12 June.  might not even keep a waiting list for
Jack Shainman Gallery sold a new
painting, Vignette (The Kiss) (2018),
while David Zwirner sold Vignette #12
(2008). Although willing to give prices
for other works on their stands, both
dealers cited the “sensitive nature”
of pricing Marshall’s paintings since
the record-breaking May auction in
New York and declined to give figures.
Sources estimate the combined value
of the two works to be around $10m.
MARSHALL: © DAVID OWENS; DAVID-OWENS.CO.UK. PICASSO: © SUCCESSION PICASSO/PROLITTERIS, ZÜRICH, 2018; PHOTO: © THE METROPOLITAN MUSEUM OF ART/ART RESOURCE/SCALA, FLORENCE
Other high-profile African-American
collectors include the power couple
Jay-Z and Beyoncé and the former First
Lady Michelle Obama.
by Marshall in October to coincide
with the Frieze art fair. This will be the
artist’s first show at the London space
for four years.
And what about prices for the
London exhibition? “That’s a good
question. I don’t know until I visit
Kerry in his studio late in July and we
start discussing,” Zwirner says. “We
the exhibition. It’s going to be very
hard to get a painting from that show,
that’s for sure.”
Jack Shainman, who has been
working with Marshall for 25 years,
says that the artist “had a vision of his
trajectory” from the beginning, chiefly
having a major presence in museums
around the world and being on public
display. “For Kerry, being in the studio
and focusing on the work is essential,”

The auction—in which Past Times,
bought for $25,000 in 1997, rose almost
900 times in value—has created a pal-
pable buzz, not least because P. Diddy
outbid Zwirner, who was buying on
behalf of a US museum, believed to be
the Broad in Los Angeles. The sale was,
Marshall told us last month, “probably
the first instance in the history of the
art world in which a black person took
part in a capital competition and won”.
Away from the spotlight of the
auction saleroom, however, Marshall’s
career has been playing out quietly
for several decades. Known for being a
measured painter—Zwirner describes
him as a “hard-working, but not a pro-
lific, artist”—his material has been at a
premium, with much of it going to US
museums that rarely, if ever, resell.
Zwirner’s gallery in London is
planning an exhibition of new work
Shainman says.
The Canadian property magnate Bob
Rennie, who owns the biggest private
collection of Marshall’s work, recalls
how, 20 years ago, Shainman agreed to A visitor to the fair
sell him his first work—Untitled (Black looks at Marshall’s
Power Stamps) (1998) for $100,000—on Vignette #12
the proviso that Rennie paid the $5,000 (2008). Left, the
shipping fee. To this day, Rennie pays artist’s 2018 work
for transport costs when a museum Vignette (The Kiss)
CONTINUED ON PAGE 2 

Multi-billion-dollar Picasso show heads to the Beyeler

Exhibition will focus on
Blue and Rose Periods
WORKS BY PICASSO worth several billion
dollars will head to Basel’s Fondation
Beyeler on loan next year for the first
exhibition in Europe dedicated to the
artist’s Blue and Rose Periods, dating from
1901 to 1906. Key works in the 80-strong
show (3 February-26 May 2019) include
Fillette à la corbeille fleurie (young girl
Picasso’s Arlequin accoudé (1901) will star
in the Beyeler’s blockbuster next year
with a flower basket, 1905), which was
bought by the Nahmad family of art
dealers for $115m with fees in the sale of
the Rockefellers’ estate at Christie’s last
month, and Arlequin accoudé (harlequin
leaning, 1901), from the Metropolitan
Museum of Art in New York.
“This is by far the most expensive
and ambitious exhibition we have ever
organised,” says Sam Keller, the director of
the Beyeler. The Art Newspaper under-
stands that the insurance value of the loans
for the gallery’s Gauguin exhibition in 2015
amounted to more than SFr2bn ($2bn),
a figure that will be far exceeded by the
Picasso show.
Speaking at a press conference
yesterday, Keller said that many of the
works are valued at more than $100m and
are rarely lent by institutions. The Beyeler
is negotiating with the Cleveland Museum
of Art to borrow La Vie (1903), which is
considered to be Picasso’s most significant
work from the Blue Period.
The earliest work by the artist that the
Beyeler owns is a study for Les Demoiselles
d’Avignon (1907). Asked if the institution
bids at auction for works by Picasso,
Keller said: “We do not have the means
to compete. In any case, all our acquisi-
tions are post-1950.” A second Picasso
exhibition, drawn from the Beyeler’s
“Many of the works
are valued at more
than $100m”
collection—including 11 works on long-term
loan from the Anthax Collection Marx,
dating from the 1930s onwards—is planned
to accompany next year’s show.
A version of the Blue and Rose Period
exhibition is due to open at the Musée
d’Orsay in Paris on 18 September (until 6
January 2019). The Beyeler will expand the
display by including the crucial year of 1907.
Gareth Harris and Anny Shaw

THEART N EWS PA PE R . C O M / D OW N LOA D THE FREE DA I LY A P P / @ THEA RTNE WSPA P E R / @ T H E A RT N E WSPA P E R .O FFI C I A L
 2 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018

NEWS
International

Plastic fantastic Artist paints Schutz

child in response to
Don’t throw it in Emmett Till work
the ocean—hang
it on your wall
In this Anthropocene age, plastic is the material non grata as our waste
increasingly litters the oceans. The short but damaging history of our
obsession with plastic in all its forms can be charted in works around
Art Basel, from the early 1960s pieces of Alberto Burri and his experiments
with the malleability of a new material to Andreas Gursky’s desolate view
of a rubbish-strewn landscape. Anna Brady
Alberto Burri, Città di Castello (1976)
Tornabuoni Art, Plastiche works from €5.8m
Tornabuoni Art has devoted its entire stand to the Plastiche (plastic works) of
Alberto Burri. In the early 1960s, when all eight of the works on display were
created, plastic was a new material, says the gallery’s Ermanno Rivetti. “Burri was
fascinated by its simplicity and its use as humble packaging. He also felt that it had a
powerful expressive potential and began manipulating it with fire to great effect,
achieving an incredibly wide range of results in three hues: red, black and translucent.” Hamishi Farah’s Representation of Arlo
There will be an Art Basel Conversation about Burri’s work on Saturday 16 June, at 2pm. (2018) represents a “role reversal” of Dana
Schutz’s controversial Open Casket (2016)

Aude Pariset, Promession®

A PAINTING OF the young son of the
Dormitorium (2018) US artist Dana Schutz, whose painting
Sandy Brown, €10,000 to €15,000 each Open Casket (2016) prompted a storm of
The young French artist Aude Pariset
controversy when it went on display at the
has made three customised beds,
Whitney Biennial last year, is on show at the
covered by vitrines, each filled with different
Liste art fair, on the stand of Arcadia Missa
types of worm that can consume and digest
gallery. Open Casket attracted criticism for
Andreas Gursky, El Ejido (2017) plastic. The project was born out of Pariset’s
its depiction of the body of Emmett Till,
Sprüth Magers, €900,000 (edition of six) own interest in organic materials—she has
an African-American teenager who was
This monumental 2.3m by 4m photograph brings to life the scale of the plastic previously produced her own bio-plastic—and
lynched in 1955. At the time of the biennial,
waste problem, showing the rubbish-filled landscape of El Ejido in southern Spain, recent research that found that a variety of
critics of Schutz’s work said that a white
where plastic is used to cover intensively farmed crops. “His interest was in the aesthetic common worm can transform polystyrene into
artist had no right to appropriate an image
of the artificial plastic plantations,” says Monika Sprüth, the co-owner of Sprüth Magers, usable organic matter. “[The
of brutal violence against a black youth,
which is exhibiting the work. “But in the end, what really ended up in the piece was the worms] are very specific about
and called for the painting to be destroyed;
environmental pollution in the area.” the type of materials they will
supporters defended Schutz’s right to free
consume,” says Fiona Bate of the
speech. The Somali-Australian artist Hamishi
Berlin-based gallery Sandy
Matthew Barney, Partition Farah, who has also organised the gallery’s
Brown, which is showing in
(2002/2018, detail) stand at Liste, was among the artists who
the Statements sector of the
Gladstone Gallery, price undisclosed

BURRI: © AURELIO AMENDOLA. GURSKY: © ANDREAS GURSKY/VG BILD-KUNST, BONN, 2018; COURTESY OF SPRÜTH MAGERS. BARNEY: PHOTO: DAVID REGEN; © MATTHEW BARNEY; COURTESY
signed an open letter condemning the work.
fair. The beds are sold
In a reworking of an installation His painting at the fair, Representation of
individually—complete with
relating to his film Cremaster 3 Arlo (2018), is a direct response to Schutz’s

OF THE ARTIST, GLADSTONE GALLERY, REGEN PROJECTS AND SADIE COLES HQ. PARISET AND ROSENCRANZ: ANNA BRADY. FARAH: COURTESY OF THE ARTIST AND ARCADIA MISSA
live worms.
(2002)—set in the New York of the work. Rozsa Farkas, the director of Arcadia
1930s, when many Irish labourers Missa, says that Farah’s painting represents
were working on the construction of Pamela Rosenkranz, Aquamarine (No Fats) (2018) a role reversal because the artist is black and
the famous Chrysler Building— Karma International, SFr22,000 ($22,400) the child is white. However, the intention is
Matthew Barney has used plastic to The Swiss artist Pamela Rosenkranz has a fascination with to move the debate forward in a “construc-
recreate a full-scale traditional Irish plastic—specifically, our consumption of it. This work, a plastic tive way”, Farkas says, and to tackle the
bar for this year’s Unlimited sector. In bottle filled with coloured silicone, is being shown at Art Basel by Karma history of painting, which is “so bound to
2002, Barney recreated the bar using International, the Zurich gallery that is hosting a show of her work (until whiteness and white histories”. The work,
petroleum jelly around a refrigerated 14 July). “She has done a series of water bottles, like Fiji water, which is based on a photograph that the artist found
armature; in his latest iteration, he allowed marketed as an artisanal, natural product, but it’s in a plastic bottle and it online, is due to travel to the Frans Hals
the jelly form to begin to sag and disintegrate comes from the other side of the world. She’s interested in the absurdity Museum in Haarlem, Netherlands, as part of
before casting it in rigid plastic. of that,” says the gallery’s Geraldine Belmont. a group show in September.
José da Silva

 CONTINUED FROM PAGE 1
borrows a work. “It’s a modest but
efficient contribution,” he says.
Describing his relationship with
Marshall as a “journey”, Rennie says he
waited almost ten years to acquire the
large-scale painting Garden Party (2004-
13), which Marshall reworked several
times, exhibiting the various iterations
in 2003, 2007 and 2013. Developed from
a series that focuses on public housing
projects in cities such as Chicago,
where Marshall lives, and Los Angeles,
where he grew up during the peak of
the civil rights movement, the work is
one of 33 objects in a survey currently
on show at the Rennie Museum in
Vancouver (until 3 November).
Marshall’s commercial boom
follows recent critical success, notably
that of his wildly popular retrospective
Mastry, which opened at the Museum
of Contemporary Art Chicago in 2016
and stopped at New York’s Met Breuer
before travelling to the Museum of
Contemporary Art, Los Angeles, in
2017. “I’ve been around the block and I
don’t think I’ve ever had such a chorus
of extraordinary reviews and celebra-
tions,” Zwirner says.
The Tate in London recently
acquired its first work by Marshall,
who says he made the piece with the
museum in mind. Untitled (London
Bridge) (2017) was bought at Art Basel
last year for less than $1m, according
to Rennie, who chaired the Tate’s
North America acquisitions committee
for seven years and contributed to
the purchase. Rennie now estimates
the work to be worth ten times the
original price. In a talk with the artist
last month, the Tate’s director, Maria
Balshaw, described Marshall as one of
the most important artists working
today. “He is a storyteller in visual
form,” she said. “The narratives he
shapes are populated with different
heroes and heroines, sometimes
imagined or fantastical, but, through
his paintings, we grasp new political
realities. [He] makes us think again
about the America that we see today.”
Last year, Marshall told the
Guardian newspaper that his ambition
was “never to make a lot of money”.
But recent market developments have
thrust the issue into the spotlight. As
Zwirner points out, you can almost
count on one hand the number of
living artists whose work has sold for
more than $20m. “It’s an incredibly
rare feat—you’ll see that once in a blue
moon,” he says. 
Anny Shaw

How do I see the bigger picture?

For some of life’s questions, you’re not alone.
6QIGVJGTYGECPƂPFCPCPUYGT
ubs.com/art

Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas,
UBS Art Collection, © 2018, ProLitteris, Zurich © UBS 2018. All rights reserved.
 4 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018

COMMENT Receive
insider news,
Melanie comment
& analysis

Gerlis every month

Can the art market “Millennials don’t

thrive in a sharing
economy?
“No one wants to own
anything any more. It’s all
about experiencing, sharing
and being in the moment. Since the
digital revolution, information and
algorithms are more valuable than the
physical.” So said Ralph Nauta, the
co-founder of the artist collective Studio
Drift, at a recent event for Future/Pace,
itself a collaborative effort to produce
often-experiential art.
He has a point. Millennials don’t
seem to have the same collecting gene as
previous generations. In many ways, this
is a wonderful thing that has contributed
to upcycling, crowdsourcing and other
GERLIS: © DAVID OWENS
This shift from an ownership to a
shared economy, in which companies
such as Uber and Airbnb loom large, is
very much on the mind of the market’s
leading players. “Is the art of the future
an object or an experience? I don’t think
it should be overstated, but it should
be taken into consideration,” says Marc
Spiegler, the global director of Art Basel,
who says this is a topic that he and the
Los Angeles-based artist Doug Aitken
often discuss.
There are some positive side-effects
for art. The fetishisation of the unique
may be on the wane, but editioned
works, including photographs, prints
programmes now explicitly encourage
visitors to Instagram the works on their
walls, which again democratises the
potential audience for art.
Forms of private patronage are
changing, too. Although collectors have
historically supported artists by buying
their works on the primary market, they
now increasingly invest in production
or, through platforms such as Patreon,
even fund artists directly. “Sharing and
supporting art is an implicit duty, rather
than making another status-building
acquisition or investment,” says the
collector Alain Servais, who has shown
his own support by becoming a member
of Friends of Liste, a smart scheme that
has reduced the exhibiting fee for ten of
the galleries at the Liste art fair this year.
From the sidelines, it is interesting
to observe how art’s intermediaries are
experimenting with ways to monetise
experiences. Von Bartha gallery’s
stand at Art Basel this week includes
Non Alcoholic Vodka (2006; priced at
SFr55,000/$55,000), an installation by
Superflex that comprises more than 100
bottles and, while still adventurous, is
have the same
collecting gene as
previous generations—
and it is not good Subscribe to The Art
news for the market” Newspaper during Art Basel
& save up to 40% on a
Pace gallery charged an entrance fee for
its TeamLab exhibition in Palo Alto in one-year subscription
2016, which is not such a shocking idea;
lest we forget, quite a lot of people are
willing to pay up to SFr50 ($50) a day for
the experience of watching dealers sell
art in Basel this week.
Just how much this macro-economic
shift will affect the art market remains
to be seen. It is a relatively small field
and needs only a handful of buyers
to keep up appearances. Plus, as one
observer notes, millennials may start Visit us at stand Z02 in the
out car-pooling, but once they grow magazine sector at Art Basel
up and have children for the back seat,
ownership becomes a more attractive
option. Still, galleries and artists “who Subscribe online at

on-trend benevolent behaviour—but it is and ceramics, are increasingly popular, much more commercially palatable than can make buying and owning art an subscribe.theartnewspaper.com
not good news for the art market, which helping to broaden the art market’s the collective’s swings, which graced experience have the most natural Discount code: FABS618
relies on a cult of possessing. appeal. Some museums’ outreach Tate Modern in London last summer. future”, Spiegler concludes.

THE MAYOR GALLERY

Jan Schoonhoven, R73-4, 1973, Painted papier-mâché on board, 75 x 75 cm, 29 ½ x 29 ½ x 1 ¾ inches

Art | Basel
STAND A4
BILLY APPLE / WIFREDO ARCAY / IMRE BAK / JOOST BALJEU / ALBERTO BIASI / CHARLES BIEDERMAN
CARLOS CAIROLI / MIGUEL CHEVALIER / GIANNI COLOMBO / BRUCE CONNER
WALDEMAR CORDEIRO / JOSEPH CORNELL / CARLOS CRUZ-DÍEZ / herman de vries / AD DEKKERS
MAX ERNST / WOJCIECH FANGOR / STANO FILKO / LUCIO FONTANA / JEAN GORIN
WALLY HEDRICK / ANTHONY HILL / GYÖRGY JOVÁNOVICS / ATTILA KOVÁCS
TADAAKI KUWAYAMA / WALTER LEBLANC / RAÚL LOZZA / HEINZ MACK / ROBERT MALLARY
CHRISTIAN MEGERT / FRANÇOIS MORELLET / OTTO PIENE / SIGMAR POLKE / MIRA SCHENDEL
JAN SCHOONHOVEN / GEORGE SEGAL / TURI SIMETI / KLAUS STAUDT / SHINKICHI TAJIRI
LUIS TOMASELLO / GERHARD VON GRAEVENITZ / CAREL VISSER
 Lee
Ufan
Relatum (Iron Field)

Art Basel
Unlimited
JUNE 14 – 17, 2018
Relatum (Iron Field) 1969 / 2018
Artist Rendering
© Lee Ufan

Also at Unlimited
Yto Barrada
Visit Pace at Booth A5 Tree Identification for Beginners
 6 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018

Daniel Radcliffe
gets maximum

DIARY exposure at
Frame. Below,
Basel’s legendary
sausages are as
Basel popular as the art

Metal guru

Harry Potter gets cocky

Visitors to Frame, the newest Art Basel
satellite fair, are in for an eyeful with some
full-frontal nudity from the Harry Potter star
Daniel Radcliffe. Press Clipping (2009) by Bil-
lyBoy* & Lala takes a torn page from a French
newspaper, showing Radcliffe performing
Head-banging stuff: Newsted at Frame naked in Peter Shaffer’s play Equus in 2008,

Who knew that a one-time bassist with the

Wurst in line and blows it up to more than a metre high.
The print—signed with a tampon—is in an
US band Metallica is an artist who works edition of 25 and costs €15,000. BillyBoy*
in the style of Jean-Michel Basquiat? The Wherever you turn in Art Basel this was Andy Warhol’s friend and muse and the
thrash-metal man in question, Jason New- week, you will come up against a subject of one of the Pop artist’s last works,
sted, is showing his colourful works (think sausage. Hungry visitors, dealers Barbie, Portrait of BillyBoy* (1986). The
Expressionist-cum-outsider-cum-street art), and connoisseurs are clamouring piece is referred to in another work by the
priced at €12,000 each, at the new Frame for the grilled veal bangers on sale duo at the fair. But it is the Radcliffe piece
fair, courtesy of 55Bellechasse gallery. The in the fair’s food court. We heard that steals the show; the star’s role in Equus,
fair’s director, Bertrand Scholler, admits that that some dealers are specifically which marked his transition from child star
Newsted “cried” when he saw his own art on assigning staff to queue at length for to adult actor, was a watershed moment in
show. “There was no sex and drugs for him; the fantastic frankfurters, such is the which he dazzled audiences with his (ahem)
he was always painting,” Scholler quips. New- demand for the meaty treats. “I want wand. When BillyBoy* asked Radcliffe, who is
sted was due to pop in to Frame and strut his all the sausages,” one very hungry UK a friend, if he minded being in the work, the
stuff as we went to press. Rock on. dealer told his assistant. actor showed his cojones by saying no.

Brexit hotline hoodie The Chicago-based artist and activist Theaster Gates was in fine Don and Kim get trim
You snooze, you lose voice earlier this week at the Kunstmuseum Basel, where his
exhibition Black Madonna is on display (until 21 October). Gates Visitors to Art Basel this week may have
had brought his musical ensemble, the Black Monks of Missis- noticed that a major political summit is

SAUSAGES AND BREXIT: GARETH HARRIS. GATES: JULIAN SALINAS. NEWSTED: COURTESY OF 55BELLECHASSE GALLERY. RADCLIFFE: COURTESY OF BILLYBOY* & LALA. TASCHEN: AIMEE DAWSON
sippi, to the Swiss museum, drawing large crowds of people who were eager to hear the charismatic artist perform and warble taking place on the other side of the world.
alongside his fellow musicians. The crème de la crème of the art world came along to see the artist, including Thelma Golden, the (We’re talking about Donald and Kim’s
director of the Studio Museum in Harlem, New York, and White Cube’s founder, Jay Jopling. One Swiss collector who appeared to love-in at a Singapore hotel, of course.) The
be having a quick snooze on the front row during the musical interlude shall, for now, remain nameless. Cologne-based art-book publisher Taschen is
putting its own spin on the historic talks with
the book Inside North Korea by the Guardian
critic Oliver Wainwright, available on its Art
Theaster Gates ‘s Basel stand. The two leaders look consid-
band roused (nearly) erably thinner in Taschen’s advertisement,
everyone at the which appeared in these pages earlier this
Samuel Leuenberger shows solidarity
Kunstmuseum Basel week; Donald must have ditched the burgers
Help is on hand for European Union citizens in bed, while Kim has evidently forsaken his
confused as to what exactly is going on in cheese treats. The North Korean bigwig was
the wake of the UK’s 2016 decision to leave apparently once hooked on Emmental.
the EU, thanks to a new hoodie launched by
the German artist Wolfgang Tillmans. Earlier Who stole Kim and Trump’s tums?
this week, the curator of Parcours, Samuel
Leuenberger, was spotted sporting the
EUnify Hoodie, made by the creative studio
Souvenir. The sweatshirt has a convenient
helpline number on the back, along with a
lone star that has escaped from the EU flag.
After various attempts to call the number
from our Basel HQ—first getting through
to a “Rhiannon” at a publishing house in
the UK, and then to an incorrect number in
Germany—The Art Newspaper’s wily diarists
finally realised that the number is only valid if
dialled from an EU country: which, of course,
Switzerland is not. When we asked our Lon-
don colleagues to get on the case, the line
was jammed with calls all afternoon.
Comic Book 17-S7, 2017, Printed and painted ceramic, variable dimensions

KIMIYO MISHIMA
PAINTINGS AND SCULPTURES
June 8 – July 13, 2018

Malzgasse 20 4052 Basel Switzerland Phone +41 (0)61 271 71 83

mail@annemoma.com www.annemoma.com
London Hong Kong New York

Carol Bove Suzan Frecon Marlene Dumas

8 June–4 August 23 May–30 June Myths & Mortals
28 April–30 June

Richard Serra
Fairs Drawings Jordan Wolfson
23 May–30 June Riverboat song
2 May–23 June
Unlimited
11–17 June
Projects by Francis Alÿs,
Carol Bove, and Fred Sandback

Art Basel
12–17 June
Booth G8

David Zwirner
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018 9

FEATURE

WHAT IS BLOCKCHAIN?
A blockchain acts as a public database
in which transactions are permanently
recorded. It is also highly secure: when a
transaction occurs, instead of being recorded
on a single, centralised ledger, it instantly
appears on a vast network of computers.
Although public, it can only be used with a
specific “key”, and when it is accessed, an
immutable trail is left behind. In other words,
blockchain technology eliminates the need
for a trusted third party to verify that a trans-
action has taken place. The financial sector,
from banks such as UBS and Deutsche Bank
to the Nasdaq stock exchange, has been
quick to adopt the nascent technology,

Artists as cryptofinanciers: welcome to the

largely for its capacity to radically reduce
transaction costs. But other sectors are
seeing its potential, too. Blockchain tech-
nology may hold the key to overcoming one
of the art world’s greatest challenges: a lack

BLOCKCHAIN
of transparency. A networked digital ledger
such as a blockchain could help to keep track
of a work of art’s movements without relying
on a paper-based—and at times insecure—
system of recording provenance. But this
would require the trade to adopt the new
technology, which it may be slow to do. J.Mi.

A
rt Basel is this year finance, or its mechanisms, at the heart of Guilherme way it relates to people as a commodity and
Curious new opening its doors to
blockchain, the revo-
every action in the digital domain”.
One might surmise that artists would
Twardowski’s
Celestial Cyber
as a financial entity.”
Ben Vickers, the chief technology officer
relationships lutionary technology
behind cryptocurrencies
therefore find it uninspiring—but no. Rob
Myers, one of the early adopters of block-
Dimension; Kitty
127 (2018) sold for
at the Serpentine Galleries in London, has
noted a curious development as artists have
between art such as bitcoin and
ether.
chain as an artistic tool, has written: “The
ideology and technology of the blockchain
$140,000 in New
York . Above, Richard
engaged more deeply with blockchain.
“Artists who were previously thinking
Art Basel’s Conversations programme and the materials of art history—especially Moore’s physical through almost utopian ideas or different
and capital are includes Blockchain and the Art World, a the history of conceptual art—can representation of organising structures as part of their prac-
group discussion on 14 June that features provide useful resources for mutual the work tice have got mixed up in the blockchain
being enabled by the leading digital artist Simon Denny,
among others. On 13 June, a conference
experiment and technique.”
Catlow says that the area
space, and then suddenly, they’ve found
themselves migrating away from the art
cryptofinance, called Basel ArtTech+Blockchain Connect,
organised by the New Art Academy with
of blockchain she finds
particularly fascinating
world. They’re now participating in this
emergent blockchain economy and are

which places Forbes, is taking place at Messe Basel.

Much of the focus on blockchain’s
application within the cultural sphere has
“monetary value” focused on its role in markets—it is, after
all, fundamentally a financial creation.
at the heart of the Ruth Catlow, the co-director of the London-
based art and technology organisation
is “artists as crypto-
financiers”. She
producing companies but working with an
artistic toolset.” Vickers says that Berlin is “a
explains: “Blockchain major hub” for this kind of activity.
has arisen at the same
time as art has become a
In the US, meanwhile, Catlow recently
saw the extreme ways in which artists are
certain kind of asset class. And
these things are emerging at
engaging with blockchain transactions.
“What is huge, but what I feel far less

creative process. Furtherfield, is one of the authors of a new the same time, so we’re sanguine about, are things like the ‘digital
TWARDOWSKI: CRYPTOKITTIES

book, Artists Re:Thinking the Blockchain seeing artists who collectibles’—cryptopunks, rarepepes. These
(Torque Editions and Furtherfield). In her are thinking very are being talked about as art in New York
By Ben Luke introduction, she writes that “one of the carefully about and being traded and sold.” At the Ethereal
most important and hard-to-grasp charac- capital, about Summit, the arts and culture event run by
teristics of the blockchain is the way it puts art and the CONTINUED ON PAGE 10 

AUGUST 2-5, 2018

CenturyLink Field Event Center
seattleartfair.com
 10
FEATURE
Art and technology
 CONTINUED FROM PAGE 9
the blockchain company Ethereum, Catlow
witnessed a cryptokitty—a “scarce digital
image of a cat”—being sold in an auction
for $140,000.
Despite the fact that “the tools and
infrastructure are at a very early stage”,
Catlow says, “we’re certainly seeing some
very strong conceptual artworks coming out
of this space that are using blockchain as a
medium.” Drawing comparison with Net Art,
the movement that developed in the early
days of the internet, she estimates that we
“Blockchain has
arisen as art has
become a certain
kind of asset class”
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018
FIVE ARTISTS USING BLOCKCHAIN
PRIMAVERA DE FILIPPI
Filippi is the creator of Plantoid,
A new leaf: Primavera
De Filippi’s Plantoid
which Catlow describes as “an
android plant that dances
(2016). Sarah Friend’s and glows when you tip it
Clickmine (2017, below) with bitcoin or ether; it then
satirises clicking games commissions an artist to make its
babies”. The work “has this idea
of a kind of evolutionary capital
are “in about 1992”—in other words, the ear- built into it, in a way that I think
liest stages. But the comparison with online is a really useful way to think
art is instructive. Vickers, like many involved about one form of blockchain
in internet culture, describes himself as a art”, Catlow says. Filippi admits
“recovering cyber-utopian”. They saw the that she is only a part-time artist,
internet’s early promise of a decentralised, because she is a leading academic
transparent, democratic space invaded by in the field of decentralised
corporations and mass surveillance, and technologies such as blockchain,
Catlow and Vickers marry a qualified opti- teaching at Harvard, among other
mism about blockchain’s possibilities to a prominent universities.
distinct awareness of its
potential pitfalls. ED FORNIELES
“This is where the attrac- Few artists mine digital tech-
tive rhetoric [of blockchain] for nologies and the online space
me has always sat: that you could as smartly as Fornieles. He has
have people co-ordinating the use
of resources that matter to them
now entered blockchain, with
the imminent launch of The
around the world in a more co-oper-
ative way,” Catlow says. “But I’m more
Crypto Certificate, which will
enable investors to help Fornieles
cautious than I was, because that was what raise funds for his new work, in
the web was supposed to be about, too.” exchange for future profits. The
work is both an exploration of
the language and mechanisms
of blockchain and a new form of
connection between visual artist
and audience, enabling people
“to benefit from his practice over
time as a result of participation”,
Vickers says.
ROB MYERS
Myers has explored blockchain
in a number of works that might
be “narrative and, frankly, very
funny”, Catlow says, or “more
technical, much more in line with
1970s conceptualism”. Perhaps
most striking is Facecoin, which
explores how cryptocurrencies
rely on a “proof of work” system
Hazlitt Holland-Hibbert
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to prevent abuse. Facecoin uses
bitcoin hashes—the strings of 64
letters and numbers produced
every time a transaction is made—
to produce greyscale grids and
then uses a face-detection algo-
rithm to look for faces in the grids.
In finding the faces, the machine
is an artist—and the “portraits” it
creates are “proofs of aesthetic
work”, Myers says.
JONAS LUND
In the work Jonas Lund Token, the
Swedish artist created 100,000
shares in his artistic practice, with
each share equalling one Jonas
Lund Token (JLT), a cryptocur-
rency he created on the Ethereum
blockchain. Shareholders can
shape how Lund’s artistic practice
develops. The shares are distrib-
uted in different ways, such as the
purchase of physical works Lund
makes and through a “bounty
programme”, in which shares are
exchanged for actions relating
to Lund’s practice, such as giving
him a solo exhibition. “He incen-
tivises his own networked effect
in the art world,” Vickers says.
SARAH FRIEND
An artist and software engineer
particularly focused on the
development of games, Friend
developed Clickmine, a work
co-commissioned by Furtherfield
and the Neon Digital Arts Festival,
last year. A kind of satire, it moves
the frenetic absurdity of clicking
games on to blockchain, where a
“hyperinflationary” ERC-20 token,
a form of meta-currency, is minted
through the game. Furtherfield
described it as a “a hypercapitalist
FILIPPI: JOSEPHPARIS.FR
frenzy that makes the generation
of useless wealth via clicking more
literal than ever before”. B.L.
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 Francis Bacon
Interior of a room
oil on canvas
111.7 x 86.5 cm (43 7⁄8 x 34 in.)
Painted circa 1935.
© The Estate of Francis Bacon.
All rights reserved. DACS 2018.

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 14
IN PICTURES
Design Miami/Basel
Disco balls
and whale-
watching
A disco, Roman architectural elements,
furniture created using AI, chairs designed by
the pioneering Italian designer Gaetano Pesce and a
table by the French sculptor César: the 13th edition of
Design Miami/Basel presents an eclectic mix of the
latest offerings in the best of contemporary and Modern
design. Here is a sample of what caught our eye.
Emily Sharpe
CLAUDE LALANNE
1 Lit Singerie (avec 4 Singes)
(monkey bed with four monkeys) (1999)
Galerie Mitterrand, price undisclosed
At the fair’s VIP preview on Monday, a
stream of collectors was seen lounging on
Claude Lalanne’s monkey bed on Galerie
Mitterrand’s stand, which is a celebration
of works by Claude and her late husband,
François-Xavier Lalanne. Commissioned by
a private collector for her Parisian home,
the one-off bronze-and-copper bed shows
Claude’s enduring interest in the natural
world. Conceived as a jungle in the style of
Henri Rousseau, the sculpted metal bed
frame takes the form of bamboo, while
four monkeys can be seen swinging from
vines that make up the elegantly crafted
headboard. The piece is rumoured to be
one of the most expensive works at Design
Miami/Basel.
2 PORKY HEFER
“Wendy” Blue Whale (2018)
The Leonardo DiCaprio Foundation with
SFA Advisory and Southern Guild, $75,000-
$110,000 (price range for five animal works)
If you have ever wondered what it is like
to be inside the belly of a whale, now is
your chance to find out—and it is for a good
cause. The South African designer Porky
Hefer has teamed up with the Leonardo
DiCaprio Foundation and SFA Advisory to
create a series of works that draw attention
to endangered wildlife. For his latest series,
Hefer has recycled materials such as old
t-shirts and water bottles to create five
of his characteristic animal-form nests.
Each features an animal threatened with
extinction: a whale named Wendy after
the designer’s mum, an orangutan called
Yelda, Sandy the shark, Trevyn the sloth
and Quasiqtuk the polar bear. “The idea of
these pieces is to take away all the senses,
to control things such as light and sound,
so the muffled sound you hear is what you
would have heard in your mother’s womb,”
says Hefer, who worked with three artisan
communities in Africa to create the pieces.
Proceeds from the sale of the cuddly crea-
tures will go to the foundation.
3 NENDO
Watercolour Collection
numbers 1-18 (2018)
Friedman Benda, $18,000-$28,000 each
The Japanese design studio Nendo,
founded in 2002 by Oki Sato, spent two
years creating this 18-piece painted-metal
furniture collection that looks like pieces of
folded paper. “I’m always twisting, bending
and folding metal, treating it as if it were
paper,” Sato says. “I’m interested in blurring
the boundaries between two-dimensional
and three-dimensional objects.” For his
watercolour series, the challenge, he says,
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018
1
“was to find a paint that was slow-drying
enough that we could smudge it”, to mimic
the effect that watercolour has on paper.
Six different shades of blue aqueous ink
were used to create the desired effect.
4 GERRIT RIETVELD
Steltman Chair (1963)
Galerie Vivid, €65,000
This is the last chair designed by the Dutch
architect and designer Gerrit Rietveld,
a key figure in the influential De Stijl
movement, which celebrated its centenary
last year. The wooden prototype, formed
of three right-angled pieces, is named after
The Hague-based jeweller Steltman, for
whom it was created. The idea was that it
could be used for couples wanting to try on
engagement rings. Rotterdam’s Galerie
Vivid has juxtaposed this piece with Riet-
veld’s earliest and most widely recognised
chair design, the Red Blue Chair (1918).
5 PIERRE SABATIER
The Gold Grotto (1999)
Magen H Gallery, price undisclosed
A disco vibe permeates the ground floor
and continues up the escalators at Design
Miami/Basel, where visitors will find a
massive wall installation from the Monte
Carlo nightclub Jimmy’z, thanks to New 3 4
York’s Magen H Gallery. The stamped,
folded and oxidised copper-and-brass
take on a 14th-century Italian grotto was
sculpted by the French artist Pierre Sabati-
er (1925-2003) for the hotspot frequented
by Formula 1 superstars and celebrities.
The sculpture that once led partygoers to
the dancefloor was removed from Jimmy’z
in 2017. The gallery, which specialises
in French post-war designers, will pay
homage to the work’s original location by
hosting a mini disco on its stand, complete
with champagne, a DJ and, yes, a disco ball,
from 5.30pm to 7.30pm today.
6 STUDIO
FORMAFANTASMA
Ore Streams Cabinet (2017)
Giustini/Stagetti, €30,000
Recycling is a key element of Studio For-
mafantasma’s Ore Streams series, which
explores humankind’s obsession with
sourcing metals and our growing demand
for mass-produced objects. Formafan-
tasma, a duo made up of the Italian-born,
Amsterdam-based designers Andrea
Trimarchi and Simone Farresin, has repur-
posed electronic waste, such as keyboards,
microwave-oven parts and the ubiquitous
iPhone, to create pieces of furniture. The
pair have stripped the motherboards, fans
and disk drives from seven aluminium
computer towers to create drawers for this
cabinet, which also incorporates glass and
digital prints.
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018 15

5 6

ALL PHOTOS: © DAVID OWENS; DAVID-OWENS.CO.UK

 ART BASEL | JUNE 14–17, 2018 | HALL 2.0 STAND F12

UNLIMITED | ALBERTO BURRI: CELLOTEX | STAND U19

René Magritte, Le nu couché, 1928, Oil on canvas, 31¾ x 45¾ in. (80.6 x 116.2 cm.)
© 2018 C. Herscovici / Artists Rights Society (ARS), New York
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018 17

INTERVIEW
Artist

Etel Adnan:
‘This is the
summit of
my career’
The Lebanese-born artist and writer,
who has a solo show at the Zentrum
ADNAN: © ETEL ADNAN; COURTESY OF GALERIE LELONG. MOUNT TAMALPAIS: © ETEL ADNAN; COURTESY OF GALERIE CLAUDE LEMAND, PARIS, AND JEAN-LOUIS LOSI, PARIS

Paul Klee in Bern, discusses her

passion for the Swiss
abstract artist.
By Gareth Harris

E
tel Adnan, who was born in
Beirut in 1925, was, until a few
years ago, primarily known for
her writing; her 1977 novel Sitt
Marie Rose won the France-
Pays Arabes award. But her
contribution to Documenta 13
in Kassel in 2012 made her an art-world star, bring-
ing her small, abstract canvases to new audiences. Adnan creates
works in a small studio in her Paris apartment, using a palette knife to apply paint to the
canvas. On the eve of a major show at the Zentrum Paul Klee in Bern (15 June-7 October),
we visited Adnan to discuss her passion for Klee and why the Swiss artist, who has been
dubbed the father of Abstract art, is pivotal to her practice. At Art Basel, Sfeir-Semler Gallery
is showing several works by Adnan, including a wool tapestry, Reves étoilés (1967-70/2018).

THE ART NEWSPAPER: Have you always
looked to artists for guidance?
ETEL ADNAN: I taught philosophy in
California [at the Dominican University
of San Rafael from 1952 to 1978] before
I became a painter, and I used the writ-
ings by painters. I found out pretty soon
that teaching Hegel and all these theoret-
ical ideas was useless, and in a way, I was
lucky because this is how I read the writ-
ings by painters. I discovered that painters
are often great writers because they are not
self-conscious.
What stands out for you with Klee’s art?
I am almost disturbed by the tragic figures
that Klee creates. But he did not do too
many. Some people like his marionettes,
as do I because they are striking, but they
are also frightful. He made them for his
child [the artist made more than 50 hand
puppets for his son Felix] and if I were a
child, I’d be scared to death. But they are
impressive. I like his gardens, that series
of intimate houses, cities and gardens.
And then there are two or three [key]
Paul Klee periods. I like the North African
period above all because I went to North
Africa [Klee spent several months in Tunis
in 1914]. There are usually watercolours
[from this period]; maybe he made them
in his hotel. He catches the light. [Eugène]
Delacroix did the same; he stayed in the
same places. Delacroix did it in Morocco [in
1832], Klee in Tunisia.
You’re also linked through calligraphy;
you refer to Arab calligraphy in your
leporellos—accordion-like pieces
combining poetry and art—and Klee
was interested in the structures of
Chinese calligraphy.
Calligraphy is less inviting because it is
really very codified, but there is calligra-
phy in the sense that it is the gesture of
writing that counts. I like that very much,
because as a child I loved the act of writing.
We think that writing is intellectual, but
Rihla ila Jabal it is also a physical activity. Your hand gets
Tamalpais (Journey into a trance.
to Mount Tamalpais)
(2008, above) is So this ties in perhaps with Klee’s theory
an example of Etel that a drawing is a line going for a walk?
Adnan’s leporellos Absolutely. As a writer I get into a rhythm,
and that rhythm is a combination of a
mental and physical state. It is a total expe-
rience and Klee does that, he expresses that.
And it touches me as a writer.
Do you think you both enjoy the
materiality of the creative process?
We both did small canvases. He did not do
huge paintings and they are very dense. You
CONTINUED ON PAGE 18 

Christopher Wool
A New Sculpture
Through August 2018
Luhring Augustine
Bushwick, New York
 18
INTERVIEW
Artist
 CONTINUED FROM PAGE 17
never think that Klee does small [pieces],
but the works are small. We have that in
common. I have worked in small formats.
I always work at home and I heard that
Klee sometimes worked on a kitchen table.
Maybe he couldn’t afford a big studio and
worked in a corner of the Bauhaus.
The exhibition at the Zentrum Paul Klee
includes a wide range of your works,
from 1970s leporellos to 50-year-old
tapestries. How is it installed?
It is very simple. I wrote some pieces on
Klee in some of my books. I asked that they
be put on the walls as statements. [The
curators] also asked me to write a piece on
his angels [the text Angels, More Angels is
included in the catalogue]. I wrote a par-
agraph on the angels in one of my short
stories [Master of the Eclipse, 2009].
What is your take on Klee’s Angelus
Novus (1920)?
[The philosopher] Walter Benjamin singled
out Klee’s angel, and he made it an angel
of history. For me, it’s more than that. It is
leonine, he has wings. He has the feet of a
cow. It reminded me of the symbols of the
“I work at home
and I heard that
Klee sometimes
worked on a
kitchen table”
GALERIE BASTIAN
ANSELM KIEFER
LIFE TIME - WORLD TIME
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12 MAY - 28 JULY 2018
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THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018
Four Evangelists [which are frequently repre-
sented as creatures]. And I found out that the
young Klee was religious in his own way, so
it’s not impossible. But I mean that there are
many references to God. That’s another thing
I like about his work; there is a spiritual
search. There is a spiritual quality that goes
beyond the image. Even in a landscape there
is something mystical. But his mysticism
sometimes becomes depressing for me, and I
think he was close to depression.
How do you feel about garnering
accolades for your art much later in life?
To be honest, I did not expect recognition.
I was happy to keep going. Some people I
respected liked my work. I was selling two or
three paintings a year at very low prices, but
it kept my image going. That is important.
In the beginning, every article started with
[mentioning] my age. I thought it was funny
but I got a little annoyed. I won’t make an
issue out of that; most female artists who are
well known became known later in life.
And were your early years steeped in art?
There was no art museum in Beirut, there
were no paintings at home. We had rugs,
and the aesthetic pleasure came out of those.
When I was 20, I started university. There
was a young Armenian student who did little
paintings of olive trees, and they were beau-
tiful. The director of the French department
gave him a show in the library. We now had
a colleague who was a painter. And when I
came to France as a scholarship student aged
24, I discovered the Louvre. It was empty
at that time and I would wander by myself.
There were two or three things that struck
me, including the Venus de Milo and the
Winged Victory of Samothrace.
From top: Untitled You started painting at 34; has your
(2010) and Untitled practice changed much?
(2012), two of I didn’t change my practice. You know,
Adnan’s clearly all artists change but something of them
demarcated colour remains through art—their identity. You
compositions recognise a young Cézanne and an old
Cézanne, although you see the difference.
I still enjoy painting very much. In fact,
Hans Ulrich Obrist
when I am tired or worn out, then I’ll go
and paint.
And the Klee exhibition is hugely
important?
I really do believe that it is the summit of
my career.
PULLING POWER
OF TWO GREATS
Hans Ulrich Obrist, the artistic director
of London’s Serpentine Galleries, on what
connects Paul Klee and Etel Adnan
Etel Adnan is one of the world’s
great poets and artists. The
energy and magnetism of her work
attracted me from my very first encounter
with it—in one of her leporello notebooks—
and I immediately wanted to know more. I
experienced something very similar on
first seeing the work of Paul Klee as a
teenager in Switzerland. Adnan once said
to me that Klee belongs to the lineage of
geniuses for whom a single designation—
whether “painter”, “musician” or
“architect”—is too narrow. Every painting
by Klee is like an act of discovery, achieved
through a process of exploration.
“Like a boat on the ocean,” according to
Adnan, “he was not directing the painting,
the painting was telling him… He had the
courage to go into the unconscious and to
see the terrifying side of human beings. He
painted the most paradise-like of gardens
UNTITLED (2010) AND UNTITLED (2012): COURTESY OF THE ARTIST AND SFEIR-SEMLER GALLERY, HAMBURG/BEIRUT. OBRIST: ART BASEL
and the most strange and total insanity
in human beings. He goes in all directions
that a mind can go.” We must pay attention
to Klee’s writing, she
said, as we must to
the poetry and
prose of such
polymaths
as Leonardo
da Vinci,
Wassily
Kandinsky
and Igor
Stravinsky.
• This is an excerpt from a text for
the Weight of the World exhibition at
the Serpentine Galleries in 2016
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 THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
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Aligned with
Susanne Vielmetter Los Angeles Projects
Los Angeles
Weinstein Hammons Gallery Minneapolis
Wexler Gallery Philadelphia
Yares Art New York, Palm Springs, Santa Fe
Zolla/Lieberman Gallery Chicago
Pavel Zoubok Gallery New York
David Zwirner New York, London,
Hong Kong
EXPOSURE
Curated by Justine Ludwig
313 Art Project Seoul
Amar Gallery London
Piero Atchugarry Garzón, Miami
BEERS London London
Club Pro Los Angeles Los Angeles
Luis De Jesus Los Angeles Los Angeles
Dio Horia Athens, Mykonos
Anat Ebgi Los Angeles
Edel Assanti London
Daniel Faria Gallery Toronto
FOLD London
Fridman Gallery New York
Geary New York
Asya Geisberg Gallery New York
Grice Bench Los Angeles
MARIANE IBRAHIM Seattle
Instituto De Visión Bogotá
KANT Copenhagen
Klowden Mann Culver City
LAZY Mike Los Angeles, Moscow
Harlan Levey Projects Brussels
NINO MIER GALLERY Los Angeles,
Cologne
Moskowitz Bayse Los Angeles
Shulamit Nazarian Los Angeles
Night Gallery Los Angeles
NOME Berlin
Officine dell’lmmagine Milan
ROCKELMANN& Berlin
Romer Young Gallery San Francisco
Sapar Contemporary New York
SIM Galeria Curitiba, São Paulo
Catinca Tabacaru New York, Harare
Zalucky Contemporary Toronto
expochicago.com
PROFILE
Carbon12 Dubai
Edward Cella Art & Architecture
Los Angeles
Chambers Fine Art New York, Beijing
Derek Eller Gallery New York
Klaus von Nichtssagend Gallery
New York
Gallery Luisotti Los Angeles
Martos Gallery New York
MARUANI MERCIER Brussels,
Knokke, Paris
Galerie Barbara Thumm Berlin
EDITIONS + BOOKS
Art+Culture Projects New York
Boreas Fine Art Chicago
Candor Arts Chicago
Downtown for Democracy U.S.A.
Independent Curators International
(ICI) New York
Index Art Book Fair Mexico City
LAND (Los Angeles Nomadic Division)
Los Angeles
NFP Editions | Field Editions, Tate
Editions, Royal Academy of Arts
One, All, Every.
René Schmitt Berlin, WOL
Spudnik Press Cooperative Chicago
TASCHEN Los Angeles, New York,
Miami, London, Paris, Berlin,
Amsterdam, Milan
SPECIAL EXHIBITIONS
6018North/ 3Arts Chicago
Aperture Foundation New York
Artadia New York
Eli and Edythe Broad Art Museum
East Lansing
Chicago Artists Coalition Chicago
The Conservation Center Chicago
DePaul Art Museum Chicago
Human Rights Watch
Hyde Park Art Center Chicago
The Joyce Foundation
MOSTYN Llandudno
National YoungArts Foundation Miami
Natural Resources Defense Council
(NRDC) Chicago
ProjectArt Chicago, New York,
Los Angeles, Detroit, Miami, Pittsburgh
The School of the Art Institute
of Chicago Chicago
Threewalls Chicago
University of Chicago Department
of Visual Arts Chicago
by Lincoln Schatz
Lake Series (Lake Michigan)
D I R E C T I O N A R M C H A I R / J E A N P R O U V É , C A . 1 9 5 0 / C O U R T E S Y O F L A F F A N O U R – G A L E R I E D O W N T O W N
 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018 23

CALENDAR
Art Basel
Listings are arranged
alphabetically by area.
Commercial galleries
are marked W

○ Basel
Non-commercial
Artstübli
Steinentorberg 28
• Eddie Hara: This Is Not Street Art
UNTIL 30 JUNE

Ausstellungsraum Klingental
Kasernenstrasse 23
• Requiem: Artists from
Atelierhaus Klingental
UNTIL 17 JUNE

This year’s Messeplatz commission Fondation Beyeler

includes an installation of pebbles, Baselstrasse 101
by the Spanish architect Lara • Beyeler Collection: Nature
Almárcegui, that will grow each day & Abstraction
UNTIL 12 AUGUST
• Bacon-Giacometti
UNTIL 2 SEPTEMBER

Turn on, tune in, chill out
Creative Time’s Messeplatz project abounds with
everything from pebble mounds to DJ-led meditations
Basilea
Messeplatz
UNTIL 17 JUNE
The New York-based public art
organiser Creative Time is creating its
first international commission for this
year’s Art Basel Messeplatz project. For
Basilea, the US group’s senior curator, Elvira
Dyangani Ose, has selected three artists and
architects to create a work that asks: “What
makes a place, any place, a city; what is our
relationship to it; and how can we,
collectively, intervene in it, transform it,
live in it together?”
The three-part project involves the con-
MESSEPLATZ: © DAVID OWENS; DAVID-OWENS.CO.UK
represented by the Paris-based gallery Mor
Charpentier and Galería Parra & Romero of
Madrid, has created a large-scale installation
made of pebbles that will grow in volume
each day of the fair to reflect the amount of
material extracted from quarries in Basel
during this period. Finally, the US-based
performance artist and DJ Isabel Lewis is
activating the spaces within and around
the new construction with a series of lively
experiences that she calls “occasions”.
“The whole idea is to use both archi-
tecture and the kind of conversations and
workshops that Isabel Lewis is doing to
bring people together and to talk about
the use of public space… to have part of
HeK. Haus der Elektronische
Künste Basel (House
of Electronic Arts)
Freilager-Platz 9
Basel/Münchenstein
• Rafael Lozano-Hemmer: Voice Theatre
TAKE A BREAK DURING BASEL UNTIL 1 JULY
We talk to DJ Isabel Lewis about her interventions at the fair • Lynn Hershman Leeson: Anti-Bodies
UNTIL 5 AUGUST
The Messeplatz commission is described as an
immersive project. What will your contribution be? Historisches Museum Basel/
There will be a daily programme of public workshops, staged conver- Museum für Geschichte
sations, events and music. The schedule will be made available on-site, Barfüsserplatz 7
and I have a team of facilitators who will help to inform and orient • Medieval Worlds of Faith
visitors. I will engage with the structure created by Recetas Urbanas as UNTIL 17 NOVEMBER 2019
part of that landscape, but the scale on which I am creating the activa-
tions is expansive in all directions. I will engage not only the surface of Kunsthalle Basel
the Messeplatz, but the surfaces and levels of surrounding structures, Steinenberg 7
as well as the interstitial areas around the building of the Messe itself. • Raphaela Vogel: Ultranackt
What are the differences between your usual practice UNTIL 12 AUGUST
and working in an art-fair environment? • Luke Willis Thompson: Human
An important aspect of my working method is reading the particularity UNTIL 19 AUGUST
of each location and situation, the systems of value that are at play,
and what kinds of internal cultures they produce. The fair proposes a Kunsthaus Baselland
certain standardisation of behaviours that go along with the buying St Jakob-Strasse 170

struction of a temporary pavilion-like struc-
ture, as well as an installation and a perfor-
mance-based work. The Spanish architecture
collective Recetas Urbanas (Urban Recipes),
led by Santiago Cirugeda, has worked with
local volunteers to design and build the mul-
ti-purpose building, which resembles a small
auditorium. Lara Almárcegui, a Spanish artist
the project be the making of the project,” and selling of art. The scale of the fair and the brevity of its timeframe • Rossella Biscotti
Dyangani Ose says. “The processes are open propose an accelerated pace of reception. In such a situation, we rely • Rochelle Feinstein
for the public to engage with.” She says that on our visual sense as the primary mode of reception; my work finds • Naama Tsabar
Lewis’s interventions, such as meditations, ways of opening up other modes of perception and experience. During UNTIL 16 JULY
lunchtime talks and “urban flourishing” Art Basel, my work will offer visitors the option of participating in a • Vittorio Brodmann
practices, are “the core of the activities” variety of ways; of tuning the senses differently and slowing down. A.D. UNTIL 31 DECEMBER
taking place throughout the week.
Aimee Dawson ○
Continued on p24

TEACHING For Connoisseurs, Collectors

and Art World Citizens

THE ART OF
From short courses to full-time Master’s study,
Sotheby’s Institute offers a range of educational
opportunities for those seeking an in-depth under-

COLLECTING standing of art history and the international art market.

SINCE 1969
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 24 THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018

CALENDAR Gates
brings
Art Basel
black
○
Madonnas
Continued from p23
Kunstmuseum Basel Gegenwart
Schweizerisches
Architekturmuseum
a Collaborative Installation
UNTIL 4 AUGUST
to Basel
St Alban, Rheinweg 60 Steinenberg 7
• Theaster Gates: Black Madonna • Bengal Stream: the Vibrant WJohn Schmid Galerie Black Madonna
UNTIL 21 OCTOBER Architecture Scene of Bangladesh St Alban Anlage 67 Kunstmuseum Basel
UNTIL 24 JUNE • Olaf Holzapfel UNTIL 21 OCTOBER
Kunstmuseum Basel Hauptbau UNTIL 4 NOVEMBER “It feels like a great
St Alban-Graben 16 Commercial moment to publicly
• Metropole in Schwarz-Weiss: Paris WLaleh June Galerie reflect on the power that
Im Spiegel der Editions Paul-Martial WAnne Mosseri-Marlio Galerie Picassoplatz 4 black women have offered in
UNTIL 24 JUNE Malzgasse 20 • Ten Years my life—there’s no better
• Art, Money, Museum: the • Kimiyo Mishima UNTIL 28 JULY Madonna than my mother,”
Picasso Story, 50 Years Later UNTIL 13 JULY says Theaster Gates of his
UNTIL 12 AUGUST WNicolas Krupp series of European
• Modern Dance of the Dead WAtelier-Editions Fanal Contemporary Art exhibitions focusing on the
UNTIL 2 SEPTEMBER St Alban-Tal 39 Rosentalstrasse 28 theme of the Black
• Adolf Wőlfli: Focus Paper • Karin Kappeli-von Bülow, • Raimer Jochims Madonna, starting this
UNTIL 2 SEPTEMBER Fabienne Sylvestre UNTIL 1 SEPTEMBER month at the Kunstmuseum
• Martha Rosler, Hito Steyerl: War Games UNTIL 12 JULY Basel (and then opening at
UNTIL 2 DECEMBER WStampa Hannover’s Sprengel
• My Dear Holder! Documents from WBalzer Projects Spalenberg 2 Museum in June, the
the Archive of Carl Albert Loosli Wallstrasse 10 • Vivian Suter: Works, 1988-2018 Fondazione Prada, Milan, in
UNTIL 14 OCTOBER • The End Is Where We Start From: • General Idea: Works, 1981-92 September, and Munich’s
on Tsunamis, Nuclear Explosions UNTIL 1 SEPTEMBER Haus der Kunst in October).
Kunstmuseum Basel Neubau and Other Fairy Tales Drawing on images of
St Alban-Graben 20 UNTIL 21 JULY WTony Wuethrich Galerie African-American women
• Bruce Nauman: Disappearing Acts Vogesenstrasse 29 from the archives of the historic Johnson Publishing
UNTIL 26 AUGUST WBüro • Bettina Scholz: Parallel Realities company, the Basel exhibition encompasses both venues of the Theaster Gates has used
• Maria Lassnig: Dialogues St. Johanns-Vorstadt 46 UNTIL 30 JUNE Kunstmuseum and includes live performances, recordings and images from the archives
UNTIL 26 AUGUST • Lynn Hershman Leeson printing workshops. The show compares the image of the Black of the Johnson Publishing
• Sam Gilliam: the Music of Colour UNTIL 17 JUNE WVitrine Basel Madonna—which covers several types of mostly Medieval works Company in his exhibition
UNTIL 30 SEPTEMBER Vogesenplatz in which the figure has black or dark skin—with the mothers of
WGalerie Carzaniga • Hanae Wilke: Close Quarters young black men who “survive traumatic acts against their sons”
Museum der Kulturen Basel Gemsberg 8 + 10 UNTIL 24 JUNE today, Gates says. H.S.
Münsterplatz 20 • Lorenz Spring: Works from • Jamie Fitzpatrick, Lindsey
• Secrecy: Who’s Allowed to Private Collections Mendick: Smut
Know What UNTIL 16 JUNE UNTIL 2 SEPTEMBER
UNTIL 21 APRIL 2019 Stadtmuseum Aarau Gruzenstrasse 44 and 45 Schweizerisches Landesmuseum
WGalerie Knoell WVon Bartha Schlossplatz 23 • Juergen Teller: Enjoy Your Life! Museumstrasse 2
Museum Tinguely Luftgasslein 4 Kannenfeldplatz 6 • Peter Koehl: Carte Blanche UNTIL 7 OCTOBER • Swiss Press Photo 18
Paul Sacher-Anlage 1 • Konstruktiv: Vantongerloo, • Landon Metz: Feels So Right Now UNTIL 14 JUNE UNTIL 1 JULY
• Gerda Steiner and Jőrg Albers, Bill, Loewensberg UNTIL 21 JULY • Network Swiss Press Kunstmuseum Winterthur • World Press Photo
Lenzlinger: Too Early to Panic UNTIL 14 JULY UNTIL 8 JULY Museumstrasse 52 UNTIL 8 JULY
UNTIL 23 SEPTEMBER Kunst Raum Riehen • Multicoloured Is Life • The Female Touch: Miniature Portraits • In Search of Style 1850-1900
• Gauri Gill: Traces WGraf & Schelble Galerie Berowergut Baselstrasse 71, Riehen UNTIL 26 AUGUST • Rembrandt Operates UNTIL 15 JULY
UNTIL 1 NOVEMBER Spalenvorstadt 14 • Louisa Clement: Language of Realities UNTIL 17 JUNE • What Does Switzerland Eat?
• Selected Works by Gallery Artists • Tim Berresheim: Smashin’ Time II BERN • Occupying Spaces: Works UNTIL 23 SEPTEMBER
Salts UNTIL 20 JUNE UNTIL 12 AUGUST Kornhausforum by Female Sculptors • Joggeli, Pitschi, Globi: Popular
Hauptstrasse 12, Birsfelden Kornhausplatz 18, Postfach UNTIL 12 AUGUST Swiss Picture Books
• Rodrigo Hernandez: WGuillaume Daeppen • Architektur Macht Schuel: • Ferdinand Hodler/Alberto 15 JUNE-14 OCTOBER
the Gourd and the Fish Gallery for Urban Art Architekturforum Bern Vortragsreihe Giacometti: a Confrontation
• Jumana Manna Müllheimerstrasse 144 UNTIL 26 JUNE UNTIL 19 AUGUST Shedhalle
• Bhanu Kapil • Sergej Vutuc ○ Beyond Basel • Walter Studer: Photographs, 1918-86 Rote Fabrik, Seestrasse 395
14 JUNE-25 AUGUST • Tadej Vaukman UNTIL 5 AUGUST Kunsthalle Winterthur • Studio A Fantasy
UNTIL 14 JULY Market Gasse 25 UNTIL 29 JULY
Schaulager France Kunsthalle Bern • Una Szeemann
Ruchfeldstrasse 19 WHebel 121 Helvetiaplatz 1 UNTIL 22 JULY WGalerie Eva Presenhuber
• Bruce Nauman: Disappearing Acts Hebelstrasse 121 ALTKIRCH • Harald Szeemann: Grandfather, Maag Areal, Zahnradstrasse 21
UNTIL 26 AUGUST • Kate Shepherd/Daniel Gottin: Crac Alsace a Pioneer Like Us ZURICH • Doug Aitken
18, rue du Chateau UNTIL 2 AUGUST Haus Konstruktiv UNTIL 27 JULY

○ SATELLITE FAIRS
• On Working and then Not Working • Harald Szeemann: Museum Selnaustrasse 25
14 JUNE-16 SEPTEMBER of Obsessions • Imi Knoebel WGalerie Gmurzynska,
UNTIL 2 SEPTEMBER • Till Velten Talstrasse
Design Miami/Basel Paper Positions MULHOUSE UNTIL 2 SEPTEMBER Talstrasse 37
Hall 1 Süd, Messe Basel Ackermannshof, La Filature Kunstmuseum Bern • Christo
UNTIL 17 JUNE St Johanns-Vorstadt 19-12 20 Lane Nathan Katz Hodlerstrasse 12 Kunsthaus Zürich UNTIL 30 JUNE
UNTIL 17 JUNE • Christian Milovanoff • Gurlitt: Status Report, Nazi Art Heimplatz 1 • Wifredo Lam: Nouveau
Frame UNTIL 1 SEPTEMBER Theft and its Consequences • Magritte, Dietrich, Rousseau: Nouveau Monde
Basel Art Center, Photo Basel UNTIL 15 JULY Visionary Objectivity UNTIL 30 SEPTEMBER
Riehentorstrasse 31
UNTIL 17 JUNE
Volkshaus Basel, Rebgasse 12-14
UNTIL 17 JUNE
Germany • Martha Stettler UNTIL 8 JULY
UNTIL 29 JULY • Fashion Drive: Extreme WGalerie Gmurzynska,
GZ-Bazel Rhy Art Fair SIEGEN Clothing in the Visual Arts Paradeplatz
An der Messe, Schönaustrasse 10 Rhypark, Mülhauserstrasse 17 Museum für Gegenwartskunst Zentrum Paul Klee UNTIL 15 JULY Talstrasse 37 and Paradeplatz 2
14-17 JUNE 14-17 JUNE Unteres Schloss 1 Monument im Fruchtland 3 • Christo
I Never Read, Art Book Fair Scope Basel • Remembering Landscape • Etel Adnan Luma Westbau UNTIL 30 JUNE
Kaserne Basel, Klybeckstrasse 1b Scope Haus, Webergasse 34 UNTIL 30 SEPTEMBER 15 JUNE-7 OCTOBER Lowenbraukunst
UNTIL 16 JUNE UNTIL 17 JUNE • Cosmos Klee Limmatstrasse 270 WGalerie Mark Müller
Liste Volta 14 WEIL AM RHEIN UNTIL 28 OCTOBER • Ser Serpas: You Were Hafnerstrasse 44
Burgweg 15 Elsässerstrasse 215 Vitra Design Museum Created to Be So Young • Christine Streuli: Smokescreen
UNTIL 17 JUNE UNTIL 16 JUNE Charles-Eames-Strasse 1 LIESTAL • Lena Tuntunjian: Have you UNTIL 21 JULY
• Bas Princen: Image and Architecture Kunsthalle Palazzo Considered Deletion?
A Russian table (1920s-30s), with Heritage Gallery at Design Miami UNTIL 5 AUGUST Poststrasse 2 • Women’s History Museum: WGalerie Nicola von Senger
• Night Fever: Designing Club • Spirit of Geneva Her Bed Surrounded by Machines Limmatstrasse 275
Culture, 1960-Today UNTIL 24 JUNE UNTIL 2 SEPTEMBER • Daniele Buetti
UNTIL 9 SEPTEMBER UNTIL 14 JULY
LUCERNE Museum für Gestaltung
Switzerland Kunstmuseum Luzern Ausstellungsstrasse 60 WGalerie Peter Kilchmann
Europaplatz 1 • Protest! Resistance in Posters Zahnradstrasse 21
AARAU • Carnival of Animals UNTIL 2 SEPTEMBER • Los Carpinteros: Susurro
Aargauer Kunsthaus UNTIL 6 JANUARY 2019 • Oiphorie: Atelier Oi Del Palmar
Aargauerplatz UNTIL 30 SEPTEMBER UNTIL 27 JULY
WGalerie Urs Meile,
GATES: COURTESY OF THEASTER GATES

• Su-Mei Tse: Nested

UNTIL 12 AUGUST Rosenberghohe 4 Museum Rietberg WHauser & Wirth
• On the Road: Ten Years of Caravan • Meng Huang: Bo (Waves) Gablerstrasse 15 Limmatstrasse 270
UNTIL 23 SEPTEMBER UNTIL 3 AUGUST • Monsters, Devils and Demons • Jean Dubuffet and the City
• Pictures for Everyone: Prints and UNTIL 16 SEPTEMBER • Roni Horn Wits’ End Sample:
Multiples by Thomas Huber, 1980-2018 WINTERTHUR • Bead Art from Africa Recent Drawings
UNTIL 11 NOVEMBER Fotomuseum Winterthur UNTIL 21 OCTOBER UNTIL 1 SEPTEMBER

○ The week’s
talks and events
Unless otherwise noted, all take
place in Hall 1.1, Messe Basel
WEDNESDAY 13 JUNE
CONVERSATIONS
10am Artist Talk: Michael Rakowitz
The Chicago-based conceptual artist
talks to Chus Martínez, the head of
Basel’s Institute of Art at the FHNW
Academy of Art and Design.
10.30am SuperDesign: Italian
Radical Design 1965-75
A screening of the film SuperDesign
followed by a discussion between the
architect Franco Audrito, curator Maria
Cristina Didero and R & Company
co-founder Evan Snyderman.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
3pm Museums in a Global Narrative
The Louvre Abi Dhabi’s direc-
tor Manuel Rabaté and Richard
Armstrong, the director of the
Solomon R. Guggenheim Foundation,
discuss what it means to bring a well-
known institution to a new audience,
with The Art Newspaper’s editor-at-
large Jane Morris.
3pm Smart Living
London’s Design Museum director
Deyan Sudjic moderates a panel dis-
cussion on smart living with this year’s
Swarovski Designers of the Future
Award winners, including Study O
Portable design practice.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
4pm Sexism in the Art World
The artists Hannah Weinberger,
Sandra Mujinga and Julieta Aranda
contemplate gender relations and
constructive ways to move forward as
sexism within the art world emerges
from the shadows.
5pm Women Design
A panel discussion between artist
and designer Betil Dagdelen, Artek
managing director Marianne Goebl,
the gallerist Nina Yashar and others.
Design Miami/Basel Talks Theatre,
Hall 1 Süd, Messe Basel
FILM
8.30pm Ai Weiwei: Human Flow
A screening of the Chinese artist’s
2017 documentary on the global
refugee crisis.
Stadtkino Basel, Klostergasse 5
THURSDAY 14 JUNE
CONVERSATIONS
10am What Can a Biennial Do?
Forthcoming biennial directors Ralph
Rugoff (2019 Venice Biennale), Zoe
Butt (co-curator of Sharjah Biennial
14) and Eva González-Sancho,
curator (Oslo Biennale 2019) and the
researcher Shwetal Ashvin Pavel offer
tips on how to avoid biennial fatigue
and look at where biennial culture
may be headed.
2pm Blockchain and the Art World
The Berlin-based artist Simon Denny
weighs in on the current and future
Two women in Mosul, Iraq,
in Ai Weiwei’s HUMAN
FLOW (2017). The film is
due to be shown at the
Stadtkino Basel tonight
AI: COURTESY OF AMAZON STUDIO
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018
impact of blockchain on art with the
founder of the blockchain company
Verisart, Robert Norton, and Kelani
Nichole, the founder of Brooklyn’s
Transfer gallery and director of the
New York co-operative collection of
media art, The Current.
5pm Ethics of Exporting
Gallery Models
The gallerists Massimo De Caro, David
Maupin of Lehmann Maupin and Liza
Essers of Goodman Gallery discuss
the use of traditional gallery models in
non-Western environments with The
Art Newspaper’s art market editor,
Anna Brady.
FILM
7pm Lynn Hershman Leeson,
Conceiving Ada
The Scottish actress and art-fair
regular Tilda Swinton plays the role of
the 19th-century English mathemati-
cian Ada Lovelace, who is thought to
be the very first computer program-
mer. A Q&A with the US artist and
film-maker will follow the screening.
Stadtkino Basel, Klostergasse 5
9pm Vertighosts: Homages to
Hitchcock’s Vertigo
Two films by Douglas Gordon and
Lynn Hershman Leeson that pay
tribute to Hitchcock’s 1958 thriller.
Stadtkino Basel, Klostergasse 5
FRIDAY 15 JUNE
CONVERSATIONS
10am Society, Politics and the
Art System
Artists Lauren Bon and Ahmet Ogut
and the curator Laura Raicovich discuss
the ways in which the arts community
is supporting social change and areas in
which more can be done.
2pm Self-Construction,
Self-Governance
The architects Patti Anahory and
David Juarez, and Santiago Cirugeda,
the architect involved in the Basilea
Messeplatz project, discuss how
architecture can serve as a platform
for pubic inquiry.
Messeplatz
2pm The Impact of Data on
the Market
Josh Baer of the Baer Faxt and the
economist Clare McAndrew talk about
how transactional data is currently
affecting the art market and what
effect this data may have in the future.
3pm Artist Talk: Lynn
Hershman Leeson
The artist and film-maker Lynn
Hershman Leeson chats with the
director of the House of Electronic
Arts, Sabine Himmelsbach, and Art
Basel film curator Maxa Zoller about
her interest in artificial intelligence
and biological progress.
4pm Sustainable City
Development: the Role of Art
Cecilia Alemani, the artistic director
of Art Basel Cities Buenos Aires, the
curator of the Kochi-Muziris Biennale
2018, Anita Dube, and the artistic
director of Public Art Munich 2018,
Joanna Warsza, discuss the arts and
healthy urban growth.
Messeplatz
5pm How to Buy Art
French dealer Philippe Charpentier of
25
JOIN
mor charpentier, collector Monique
Burger and others discuss topics such
as trusting one’s intuition, how to
NEW YORK’S
LEADING FAIR
handle buyer’s remorse and the com-
mitments made when one acquire a
work of art.
FILM
8.30pm Shirin Neshat:
Looking for Oum Kulthum
A fictional film inspired by the life
of the famed Egyptian singer Oum
Kulthum, who was active throughout
the Arab world from the 1920s to the
1970s. A Q&A with the Iranian artist
MARCH 7–10,
will follow the screening.
Stadtkino Basel, Klostergasse 5
SATURDAY 16 JUNE
CONVERSATIONS
10am Artist Influencers
2019
The New York-based artist Sarah Sze
tells Serpentine Galleries artistic direc-
tor Hans Ulrich Obrist how the German
artist Katharina Grosse’s work inspired
and informed her own practice.
2pm The Alberto Burri Case
The life and work of the Italian
post-war artist is explored by Bruno
Corà from the Fondazione Palazzo
Albizzini Collezione Burri, Luca
Massimo Barbero from the Giorgio
Cini Foundation and Philip Rylands, APPLICATION
DEADLINE JULY 11
the emeritus director of the Peggy
Guggenheim Collection.
5pm Starting a Collection
The Swiss collector of Chinese art Uli
Sigg and the emerging art collector
Tom Kümmeke share their experi-
ences—good and bad—of assembling
an art collection.
PERFORMANCE
From 7pm Parcours Night
Performances
Multi-media presentations by artists,
including Keren Cytter, Luke Willis
Thompson and Venuri Perera, staged
at locations within the city.
On and around Münsterplatz
FILM
8pm Heather Lenz: Kusama—Infinity
The documentary film-maker charts
the rise of the Japanese artist
Yayoi Kusama.
Stadtkino Basel, Klostergasse 5
SUNDAY 17 JUNE
CONVERSATIONS
1pm Techne Techno Tech
Basilea artist, dancer and electronic
music-maker Isabel Lewis talks about
the contemporary rituals associated
with gathering, with the Tate’s
international art curator Catherine
Wood and Sharjah 14 Biennial curator
Claire Tancons.
Messeplatz
2pm Different Histories,
Different Futures
Art Basel’s Unlimited curator Gianni
Jetzer and the Bulgarian artist
Nedko Solakov, who has a piece in
the Unlimited sector, discuss works
in this section and explore how by
re-examining history we can change
the future.
3pm Artist Talk: Haegue Yang
The South Korean artist and 2018
Wolfgang Hahn prize-winner discusses
her work with the director of Cologne’s
Museum Ludwig, Yilmaz Dziewior.
 26
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Édouard Carmignac
Édouard Carmignac, the founder of the
investment fund Carmignac Gestion,
describes collecting as a “compulsion”.
He says he is driven not by cool
conceptualism, but rather by “the energy and the
emotional charge” of certain works of art, from the
jittery paintings of Jean-Michel Basquiat to the
dramatic images found in photojournalism. His
Paris-based corporate art foundation, Fondation
Carmignac, has sponsored an annual photojournal-
ism award since 2009 and today holds a collection
of around 300 works. Once rotated in his compa-
ny’s offices, these pieces will now be displayed for
most of the year in the foundation’s long-awaited
space on the protected Mediterranean island of
Porquerolles, which opened to the public on 2
June. Much like the art on view in the inaugural
exhibition, Sea of Desire (until 2 November),
Carmignac says he chose the location off the south
coast of France because it was “irresistible”.
Interview by Hannah McGivern
THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 13 JUNE 2018
How did you first get into
collecting?
When I was 18, I moved into my
first apartment and started accu-
mulating posters such as Après
moi le sommeil [after me, only
sleep, 1953] by Max Ernst—his
wonderful bird on a blue back-
ground—to decorate or rather
dwell in the place. I don’t neces-
sarily like the concept of owning
a collection. The works I have
bought over the years are more
like a “cabinet of curiosities” of
my life: traces of my experiences,
thoughts and emotions.
What was the first piece of
art you bought?
My very first acquisition was
a lithograph by Ernst. It is an
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illustration of a scene in Alice
in Wonderland: the queen is
sitting on her throne and a
little rabbit at her feet is doing
his best to amaze her. I bought
it for the woman sharing my
life. Later, I bought American
art by Roy Lichtenstein, Andy
Warhol, Jean-Michel Basquiat
and Keith Haring—which was
still affordable at the time.
What is the most
recent work you have
bought?
Earlier this year, I bought
Nude with Blue Hair (1994)
by Roy Lichtenstein. It is the
14th work by this artist in
our collection… we admit
that it is a kind of obsession.
“The works I
have bought
are a ‘cabinet
of curiosities’
of my life”
What is the most valuable
work in your collection?
In French, we say: “Quand on
aime, on ne compte pas!” It can be
translated in English as: “When
one loves, one doesn’t count!”
If money was no object,
what would be your dream
purchase?
One of my dreams was to have
a Venus by Botticelli. It has
been partly fulfilled thanks to
a museum in Turin, which has
kindly lent us a painting for the
foundation’s opening show in
Porquerolles. Another dream
come true was to share my col-
lection. I’ve been sharing it with
my collaborators for years and am
now making it available to the
public. I secretly hope that visitors
will feel some of the emotions that
I felt when I chose these works.
Which work in your
collection requires the
most maintenance?
Each collection requires tailored
maintenance. All the commis-
sioned works in the foundation’s
sculpture garden will require ded-
icated care to ensure appropri-
ate conservation. These include
works by Jaume Plensa, Nils
Udo, Jeppe Hein, Jean Denant,
Olaf Breuning and Ed Ruscha
[Carmignac is pictured with
Ruscha’s Level as a Level, 2002].
Which artists, dead or alive,
would you invite to your
dream dinner party?
I was lucky enough to hang out
with artists at the Factory, espe-
cially Andy Warhol and Jean-
Michel Basquiat, some years ago.
The one artist who comes to mind
is Roy Lichtenstein. To me, he was
one of the most fascinating and
inspiring artists, and still is.
Which purchase do you
most regret?
There is no bad purchase. I love
all the works in the collection and
have never resold any of them. I
consider them part of my life.
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 SINCE 1707

Contemporary
and Modern Art
at Dorotheum
www.dorotheum.com

Jesus Rafael Soto, Untitled (Escritura), 1974, price realised €491,000

Carlos Cruz-Diez, Physichromie UBS Vert, 1975, 277 x 560 cm, Acrylic paint on aluminum and coated Plexiglas, UBS Art Collection,
© 2018, ProLitteris, Zurich

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