venic biennal 53. The Venice Biennale opened with works by over 90 artists from 77 participating nations and over 44 collateral events, marking the 53rd anniversary of the world’s oldest biennale. Text by Anna Wallace-Thompson, Myrna Ayad and James Parry. Images by Myrna Ayad and courtesy of the Venice Biennale. THE BRAVE NEW WORLD OF VENICE 2009 TAKES TO THE STAGEDubbed the “Art Olympics”, the 2009 Venice Biennale opened its doors to the public on 7 June. This extraordinary celebration of Contemporary art showcases works by more than 90 artists from around the world, with a record number of events and participating nations. V enice, La Serenissima, is used to welcoming visitors – as many as 20,000 per day in an average summer season – but this year more are expected to make their way to this most sublime of cities as it presents its 53rd Biennale. Arguably the most ambitious event of its type to date, the Biennale’s themed exhibition, Fare Mondi or Making Worlds (page XX), underlines the organisers’ desire to present both art as a broker and leveller between peoples and Venice as a hub of creativity. Biennale director Daniel Birnbaum outlined his particular vision for the event: “I wanted to emphasise the process of creation. A work of art represents a vision of the world and, if taken seriously, can be seen as way of making a world. It is about possible beginnings – this is what I would venice biennale 53. like to share with the visitors to the Biennale.” The youngest director in the event’s history, Birnbaum’s track record as a curator and his affinity with artists were cited by the Biennale’s president, Paolo Baratta, as the main reasons for his appointment. “We feel him to be on the side of the artists,” Baratta explained. Meanwhile, after some adverse criticism at the last Venice biennale about the standard of facilities and exhibition spaces, the event organisers have taken impressive steps to ensure that this year’s event moves the game on to a new level. In particular, the acquisition and restoration of the monumental Arsenale, part of the historic complex in which one of the world’s greatest-ever naval fleets was assembled, has provided vast, new and exciting spaces. Meanwhile, the Giardini area, the site of the oldest national pavilions, has been reconfigured and greatly improved. This year sees a record-breaking total of 77 participating nations and 44 collateral events at the Biennale, held at the Arsenale, Giardini and other sites scattered across the city, and running until 22 November. Eagerly awaited, as ever, was the announcement on 6 June of the winners of the prestigious Golden Lion awards, more usually known Facing page: The main entrance to the 53rd Venice as the ‘Oscars’ of the Biennale. Two lifetime awards were made, one to Biennale at the Giardini. Top to bottom: Lithuanian Pavilion. Žilvinas Kempinas. Tube. 2008/2009. Magnetic Yoko Ono and the other to John Baldessari, whilst the much-coveted tape, plywood, steel. Dimensions variable. Installation view Golden Lion for Best National Participation went to the United States, at Atelier Carder, Sachè, France. Courtesy: the artist. An installation on the grounds of the Giardini. for Bruce Nauman’s spectacular suite of conceptual art, Topological The entrance to the USA Pavilion at the Giardini, with work by Bruce Nauman. Gardens. Shown at three sites across the city, this exhibit encapsulates four decades of this inspirational artist’s iconic work. Whilst the smart money had been on Nauman/the USA taking the main prize, the popular vote ‘on the street’ went to The Collectors, a highly imaginative exhibit which involved making high-concept homes out of the two pavilions for Denmark, Finland, Sweden and Norway, and which duly got a special mention from the international awards jury for curators Michael Elmgreen and Ingar Dragset. The Golden Lion for Best Artist went to Tobias Rehberger for Was du liebst, bringt dich auch zum Weinen, his extraordinary achievement which has turned the Palazzo delle Esposizioni’s formerly humdrum cafeteria into an exciting and innovative space. Best Promising Artist went to Nathalie Djurberg for Experimentet, her highly original take on the Garden of Eden, complete with six-foot-tall poppies and Claymation videos of naked people being dismembered by mud and their own flailing limbs. A reminder, perhaps, of both Venice’s precarious position on the water and of the frenzied activity that goes into this 59 most spectacular of art events. Two ‘Ps’ The UAE Pavilion and the ADACH 5. Both the Platform and Pavilion featured non-Emirati artists – Tarek Al- Ghoussein is Palestinian/Kuwaiti (Pavilion); Ahmed Mater and Sami Al- in a Platform at the 53rd Turki are Saudis (Platform). In the same vein, British Liam Gillick showed at the German Pavilion and Italian Turi Simeti showed at the Syrian Nation Venice Biennale. Pavilion. “There is a very long traditional mixing of culture in the region and there are different ways of inhabiting a city,” noted ADACH Platform curator, Catherine David. The UAE is a melting pot of various cultures and so it is not surprising that through this multinational representation, it is able to promote itself as a culturally diverse and cosmopolitan nation. 6. Yes, three of the five artists at the Pavilion are represented by the Dubai-based gallery, The Third Line (TTL) - Gargash, Al-Ghoussein and Abdul Aziz. A bit too cozy, perhaps? “He [Tirdad Zolghadr, Pavilion curator] was given free rein; he chose whom he wanted and no one interfered in the choices he was making,” said the Pavilion’s communications director, Eliza Ilyas. “TTL happen to have some pretty good artists,” she added. “A group of artists in Abu Abu Dhabi Authority for Culture Dhabi asked me why her [Gargash] and not us,” added Zolghadr, and Heritage Platform curator, Catherine David. . “but what they fail to understand is that pavilions have [only] one I or two artists.” Refreshing to see were the masses of Pavilion n the excitement surrounding the UAE’s first Why look at representatives – a rumoured 60 – who greeted visitors E participation at the Venice Biennale, major misunderstandings emerged over aspects of this UAE double- to the Pavilion, entitled, It’s Not You, It’s Me. “You really mean to say it’s you,” smiles Zolghadr, “it complements the nation’s presence, so let us help set the represention as a Daniel Birnbaum’s Making Worlds.” The Pavilion featured record straight: half-empty glass? maquettes of the UAE’s various cultural projects, centred 1. The UAE has a pavilion and the Abu Dhabi Authority ua between Al-Ghoussein and Abdul Aziz’s works. On the for Culture and Heritage (ADACH) has a platform or collateral show – to other side, a blank “soothing white wall,” says Zolghadr, was placed “for correct what has been reported in the media. “Pavilions are part of the people who just want to chill.” Be that as it may, some visitors found this an Biennale programme; collateral events are organised outside of this odd space, used more as a corridor than anything else. Hung in a double programme but have the blessings of the Biennale,” says Savita Apte, layer across three walls are Gargash’s Familial series that document Biennale co-curator. “Pavilions show cutting-edge art from the country; Dubai’s one-star hotels – “this is a part of my country that I don’t know,” normally a curator is appointed by the arts council of that country along she says. “One-star hotels are like the art world,” adds Zolghadr, “what is with government sanction.” She continues, “collateral shows do not ‘one-star’, who gets them and why?” Gargash hopes she has changed necessarily have anything to do with a particular country; they are of perceptions and is confident that through the Pavilion “we have proven a good enough standard in their own right.” And herein lies a point of to be credible.” By answering Western journalists with: “I never thought confusion: ADACH is a government body. But so what? about it until you asked me!” Gargash rises above stereotypes of gender 2. The burning question was: why did the UAE double-represent itself? A and taboo. leading UK-based art authority, historian and curator who chose to remain Incidentally, David’s intentions involved “deconstructing a number anonymous, noted, “I don’t know if there were any benefits gained from of clichés in the region.” This came through her selection of artists – e the UAE double-representing itself. If it’s internal politics or power play, “none of whose work is interested in luxury,” she added, “these artists then it’s a shame to display it openly.” Yet, one might ask: why look at this are into complex materiality.” David’s curatorial project was rooted in UAE double-represention as a half-empty glass? Surely this could be a an “honest approach” projected by “going deeper into the region.” The case of the more, the merrier? Platform entrance featured huge images of Abu Dhabi’s history and future 3. The Pavilion and Platform overlapped with works by Hassan Sharif and construction projects, which some, said David, “considered propaganda,” th Ebtisam Abdul Aziz. Again, so what? Granted, the Pavilion had to borrow when in fact, she believes, “it’s a promise for a wonderful life and we Sharif’s work from the Arab Museum of Modern Art, Qatar Foundation and wanted to articulate this promise.” The Platform sought to survey the Qatar Museums Authority. Perhaps this simply underlines the strength of Contemporary visual arts scene from the perspective of the Abu Dhabi, regional cooperation as far as the arts are concerned. the UAE and beyond. 4. Yes, the featured artist at the Pavilion, 27-year-old Lamya Gargash, is Whatever the whys and wherefores, the UAE is now well and truly on a relative of the Pavilion’s Commissioner, Dr Lamees Hamdan Gargash. the global art map. Participation at the Biennale has furthered awareness But Lamya admits that during the preliminary organisational stages, “I on the young nation’s wide range of art initiatives and has firmly nailed didn’t know Lamees was the Commissioner.” In any case, Lamya Gargash the UAE’s colours to the mast of culture. The two ‘Ps’ have certainly happens to be one of the UAE’s foremost artists, and has every reason to generated much debate and discussion. Suffice to say, it’s not you, it’s all justify her presence. about them. NEW KIDS ON THE BLOCK MAKE THEIR MOVE The Biennale’s newest participants cut to the chase as they strive to make their mark with the big boys in Venice. between the traditional lifestyles and rurality of ‘old’ Africa and the brash urban – and Westernised – Utopia towards which much of modern Africa is resolutely marching. Especially striking is Tree House, an installation in which a replica of a traditional Gabonese hut is shown variously as just that, but also as a Western playhouse and as an atelier. If the point of a biennale is to examine different Ki ew worlds and explore their interaction, then this piece steps right up to the mark. venice biennale 53. A most unusual yet articulate work on show is undoubtedly that presented by another first-timer, the Union of Comoros. Djahazi by Paolo W Tamburella is inspired by the traditional boats that once plied the Indian Ocean and connected these remote islands with ds their trading partners and the outside world. Now superseded by vast, foreign-owned container vessels, the boats are redundant and mostly left rotting in the harbour. Tamburella and his team took one, restored it, then dismantled it and freighted it to Europe in a modern container. They then reassembled it, and in a neat twist, sailed it to the Biennale site and loaded it T with the container. A metaphor for N Above: Gabon Pavilion. Owanto. Where Are We Going? 2007. Photoshop image. 100 × 80 cm. an ambivalent yet all-consuming Courtesy: the artist. Below: Comorros Islands. here is never a better time to Paolo W Tamburella. Djahazi. 2009. globality and its impact on local present something different heritage and identity, Djahazi sings and thought-provoking than at a biennale, and particularly Innovative and loud and proud on the waterfront of the Giardini. when more national participants are involved. challenging art is The two European first-timers, This year sees five countries at the biennale for more to do with Monaco and Montenegro, enjoy the first time, and they are a decidedly eclectic bunch. Drawn from a wide geographical imagination, instinct pavilions housed in Renaissance palazzi in the heart of old Venice. span – two from Europe, two from Africa and and energy than Numerous environmental concerns one from the Middle East – they also present anything else. loom large for Monagasque artist an inspiring range of media, concepts and Philippe Pastor, whose vast and approaches. compelling painted wooden panels By far the largest presence among the and installation of burnt tree trunks newcomers, both in terms of budget and sheer are powerful and expressive. His floor space, is the United Arab Emirates Pavilion concerns over global warming, in the Arsenale (see page xx). However, small pollution and man’s chaotic can also be beautiful, and the pavilions and negligence of the planet are related presentations offered by Gabon, Montenegro, with great flair and skill in Le Ciel the Principality of Monaco and the Union Regarde la Terre. Meanwhile, of Comoros work hard to punch above their celebrated Montenegrin artist Dado weight. They certainly have things to say, directly and succinctly. has assembled an extraordinary collection of bronze sculptures, Gabon is one of Africa’s emerging states, fuelled by lucrative oil which he has named the “Zorzi Elegies” after the magnificent palazzo revenues and an increasingly outward-looking policy by its recently in which they will be shown for the duration of the Biennale. These deceased president, Omar Bongo. The country’s expanding art works, some 20 in all, and shown alongside a series of paintings on scene mirrors this wider development, and is represented in Venice wood, juxtapose unlikely and surprising elements, including a saint’s by Owanto, aka Yvette Berger, and her insightful work, The Lighthouse head with a tree trunk and a warped saucepan. Food for thought, of Memory. Her gritty photographs, featuring scrap elements and indeed, and proof that innovative and challenging art is more to do degraded landscapes, explore the physical and emotional gulf with imagination, instinct and energy than anything else. 61 Egyptian Pavilion. Turkish Pavilion. Ahmed Askalany. Ahmet Ogut. Those Who Pray. Exploded City. 2009. Iron and palm 2009. Installation leaves. 300 × 80 × 60 detail. Photo: Can cm each figure. Kungor, Courtesy: the artist. Middle EastERN Pavilions With a few notable exceptions, the Middle East failed to deliver the goods. m e While some rose above it, others seemed hindered by time and space. been bombed, explained the artist, “these could actually be hung and secondly, Turkey: buildings are not famous – such as the Twin mono-colour abstract paintings in particular Short but Sweet Towers – but are known internationally only were simply dwarfed by the large scale Small but dynamic, the Turkish Pavilion was as the venues of important accidents, rather and detail of the historical artworks around tucked away on a corner inside a portable than being famous for themselves: we know them. Finally, the list of artists for the Syrian cabin at the Arsenale. In fact, many visitors mistook American artist Pae White’s bird- feeder chandelier installation next door to be the Turkish offering for this year’s Biennale. However, it would be hard not to say that the Turkish Pavilion was one of the best curated, tightly organised and th them solely as the subjects of bombings.” Enthused by the reaction to his first-time participation in the Biennale, concluded Ogut, “The reaction of the average visitor has been really good. I want to reach out to people through these places and create an emotional connection.” Added Cennetoglu, pavilion was bizarre to say the least, with only two Middle Eastern names – Issam Darwich and Yasser Hammoud – amongst a list of Italian and even Finnish names. A beautiful venue but organisationally lacking, there was very little information available, and one left somehow feeling thought-provoking of the Middle Eastern “This didn’t really have much to do with that one had missed something vital, offerings on show. A dual show by artists representing Turkey, per se, as exhibiting despite retracing steps several times. Ahmet Ogut and Banu Cennetoglu, two what I like to do. The artwork I created is a installations of very different natures drew in catalogue in itself, and in that sense, viewers Iran: crowds of visitors, both not only welcoming, can take what they want from it – I even Spatial Concerns but inviting, audience interaction in different have an image bank they can access.” Located in the Palazzo Malipiero, Iran – ways. Entitled Lapses, the exhibition along with Estonia and Cyrprus – had a fairly explored different historical narratives and Syria: small space, a serious hurdle to overcome the ‘lapses’ in collective human memory. Lost in Space when curating a national pavilion. In this One wall of the small space was taken over The Syrian Arab Republic, alongside the sense, the three artists represented – Hamid by a desk and Cennetoglu’s photographs Republic of Armenia, Former Yugoslav Reza Avishi, Iraj Eskandari and Sedaghat (CATALOG 2009), while the remainder of the Republic of Macedonia and three other Jabbari – suffered from the lack of exhibition space housed miniature models by Ogut, exhibitions, was housed in the breathtaking space, ironically the very opposite problem of buildings that have been the subjects Palazzo Zenobio. The entire arrangement, to that of the Syrian Pavilion. Sculptures by of bombings (Exploded City). “The curator however, was confusing – one pavilion Avishi were stifled by the close proximity of [Basak Senova] came up with this concept seemed to overlap another, and the sheer the walls, while the otherwise striking mixed- of time lapse,” said Ogut, “and it turned out size of the walls, with their stunning frescoes, media works of Eskandari, and also those by to be the idea for this work as well.” Doing caused two major problems. Firstly, there Jabbari, were hampered by the low ceiling, long-term research on buildings that have was very limited space in which artworks sinking into the walls rather than standing Iranian Pavilion. The Moroccan The Syrian Sedaghat Jabbari. Pavilion at the Pavilion at the Melody of Rain. Chiesa Santa Palazzo Zenobio. 2005. Oil on canvas. Maria della Pieta. 150 × 300 cm. t: e venice biennale 53. l out. Perhaps it was simply the difficulty of the space, but, with so many Contemporary Iranian artists now recognised on an stating that Morocco is “a crossroads of cultures and ideas… a moderate form of Islam, in which the logic of reason and the artist Gazbia Sirry, and for its 53rd edition, the North African nation did nothing short of amaze and astound. Huge impact was m e international level, the Iranian Pavilion light of faith coexist.” Furthermore, while made with the regal entry into its Pavilion seemed strangely muted. Indeed, one must the concept behind the exhibition intended which featured the bowing raffia figures as d ask why three, not one, artists, were chosen, for both artists to examine man and nature of Ahmed Askalany, who, along with Adel considering the constraints of space. through their art, united in theme, Binebine, El-Siwi, make up the team of the two Cyprus, just up the stairs, for example, for example, did not see the space before showcased artists. The Egyptian Minister of managed to use large-scale sculpture in exhibiting, relying on photographs and Culture Farouk Hosny chose El-Siwi, who, the form of a palm tree to its advantage, the dimensions of the exhibiting space; in turn, chose Askalany. “We don’t have creating an interactive environment which “I have brought work that represents the the means to go to the moon,” laughed is much more welcoming. All was not bleak best that I am capable of. These works Askalany, “but we can excel in simple for Iranian art, however, as seen in the capture all that I have learnt in 25 years things.” The distinct faces of El-Siwi, in d East-West Divan exhibition (see page XX). of artistic oeuvre, and are inspired by the massive form, translated his examination human condition. They have been created of the human face – an orientation he has Morocco: to interact with the church, as spiritual long held, along with his political beliefs. A Country of totems.” Both artists worked independently One work by the medical doctor-cum-artist, Crossroads to each other (perhaps to their detriment, entitled Andy Warhol in Egypt, featured the Situated on the waterfront of the Grand as demonstrated by the cohesive teamwork Pop artist sitting on a chair against a human Canal in Chiesa Santa Maria della Pieta in the Egyptian Pavilion, and the resulting figure adorned with Arabic script. church, the Moroccan Pavilion lacked a i coherent use of space), but what did The dramatic presence of Askalany’s figures sense of cohesion. Represented by two bring them together was a pride of nation evoked a true Egyptian-ness; his ‘people’ artists, Fathiya Tahiri and Mahi Binebine, and wish to bring the art of Morocco to rode bicycles, carried trays of foodstuffs on and curated by Paolo de Grandis, the the fore. “People are surprised by these their heads and sat in corners in the way old artworks seemed oddly out of place among works because they don’t really know Egyptian men do, smoking the traditional the church relics and ornamentation around about the vibrant arts scene in Morocco,” hookah. But perhaps the most extraordinary them. Admittedly, the space given to the said Binebine. “In this sense, I don’t want of his ‘people’ were The Lovers, surrounded Pavilion was a hard one to work with – dark my works to have a ‘message’: each by 16 raffia cats with upturned tails. “No and intricately decorated in the style of viewer can feel what they want to feel.” other material can support the emotion I Catholic churches – and it is challenging want to provoke,” says Akalany of the raffia to think of what kind of works would Egypt: that diffused an authentic aroma within have made the space ‘pop’, so to speak. Oh so Welcoming the Pavilion, “I wanted to break away from However, it was innovative and brave for Egypt has had a long history with the ‘usual’ sculpture and managed to infuse a predominantly Muslim country to have a Biennale, which began with its first pavilion a soulful, emotional effect.” Aptly titled, pavilion inside a church. The idea behind in 1897. In 1956, the Biennale awarded the Lightly Monumental, the Pavilion was the exhibition was, however, ambitious, its Honorary Prize to renowned Egyptian 63 brilliantly epic. Glass Stress t FRAGILE BUT UNBREAKABLE O ne would be forgiven for being cynical upon entering the a much-hyped Glass Stress at the Palazzo Cavalli Franchetti. l With so many exhibitions suffering from the ornate Venetian l décor of the palazzo in which they have been installed, it was a pleasant surprise, then, to discover that the sheer quirkiness and mo- o dernity of the pieces in Glass Stress meant they held their own against their environment – and with aplomb, at that. With Middle East represen- c tation in the form of Palestinian artist Mona Hatoum’s ubiquitous Nature The entrance to Morte Aux Grenades, the collective exhibition brought together weird and the Edge of Arabia wonderful works from a host of international artists, including fellow Mid- exhibition. dle Easterner, Marya Kazoun, whose Frosty Grounds, The Beginning was some of Saudi Arabia’s top artists, both established and up and com- a mountain of white tissue-papery surfaces with clear, bubble-like glass ing – were shown to great acclaim in London last year (see Canvas xxx). baubles. Pieces such as Robert Rauschenberg’s Untitled (Glass Tires) Particularly worth seeing are Ayman Yossri Daydban’s tissue boxes deco- and Silvano Rubino’s stunning Addizione Sottrattiva – a glass dining table rated with Arabic film posters and Ahmed Mater Al-Ziad Aseeri’s intriguing in which the plates and cutlery had been cut out – stood out for their clar- illuminated X-rays, while one cannot fail to be engaged by Faisal Samra’s ity amongst the surroundings, while others, such as Cesar’s Compression exciting photographic triptych, Distorted Reality. A superb window on one – a solid cube of squashed Coca Cola bottles – and Luca Pancrazzi’s of the Contemporary art scene’s most rapidly emerging nations. Scala – a ladder covered in glass shards – held their own for their sheer innovation. A touch of quirkiness in the form of Koen Vanmechelen’s hy- Interior Landscape w brid rooster, The Accident, and Hye Rim Lee’s mesmerising and original Crystal City Spin video installation made Glass Stress one of the hottest shows of the Biennale. o MONA HATOUM P Marya Kazoun. art of an ongoing series of projects entitled Preserving the Future, h Habitat: Where He Came From. 2009. this intriguing exhibition focuses on the relationship between historic and Contemporary art. Hatoum’s pieces – ranging from s a necklace made from human hair through oil-stained takeway food trays to more ‘traditional’ expressions such as an old Bukhara rug etched with a map of the world – are displayed within an historic palace already replete with a dazzling array of Renaissance and Baroque treas- ures. Interventions in this outstanding museum collection, these eclectic pieces nevertheless find their voice. Their often small and detailed scale is a change from the more monumental pieces we have come to expect from Hatoum in recent years, but Cube, a cage of grids and gratings located in the palazzo’s main entrance, is a reminder of this artist’s unerr- ing propensity for the epic. Mona Hatoum. Conversation Piece. 2009. Wire, glass beads. Dimensions variable. Edge of Arabia CONTEMPORARY SAUDI ARTISTS S ome shows sit just perfectly in their venue, and at Venice this is indisputably the case with the groundbreaking Edge of Ara- bia. The first-ever exhibition dedicated to Contemporary art from Saudi Arabia, this intelligent and revealing show occupies its venue as if it were designed expressly for the space. These works – by ral Palestine c/o Venice te Collective Soul W ords like ‘fused’ and ‘united’ best describe Pales- tine’s first participation at the Venice Biennale. In the spirit of cultural celebration, six art institutions in Jerusalem and the West Bank showed dupli- cates of the artworks at the Palestine c/o Venice collateral event. The Shezad Dawood. Triple Negation brainchild of curator Salwa Mikdadi, the show was conceived about Chandelier. three years ago, “with Venice in mind,” says Mikdadi. After spending 2008. Neon lights, aluminium. 130 × time with artists and living in Jerusalem, Mikdadi did what she had 230 cm. Courtesy: Riccardo Crespi been trained to do: research, “which is what my selection of artists is Gallery, Milan. always based on,” she says. The six ‘chosen ones’ – a combina- East-West Divan: tion of up-and-coming as well as established artists – were selected venice biennale 53. based on their work being “creative, free and independent.” The work also had to remedy the Arab stereotype and “be meaningful.” And indeed, meaningful they were. Hitting on the hard irony of the political situation, Khalil Rabah’s work included 50 postcard holders Contemporary Art with postcards of 50 Palestinian towns; Taysir Batniji’s Date Video, from Afghanistan, s two TVs on cement blocks, featured an ongoing ticker that marked the days since he has been unable to return home after the clos- ing of the borders; and his dreamy installation, Hannoun, featured Iran and Pakistan Did You Come Here to w red pencil shavings on the floor, mimicking what could have been a poppy field. Emily Jacir’s work was left unrealised despite the City of Venice’s approval for her public installation project, Stazione. Along Find History?* L the Line 1 vaporetti stops, Jacir wanted to place the names of each ike halos, three chandeliers by Pakistani Shezad Dawood vaporetti station in Arabic alongside their Italian counterparts. In do- that spelt out La Ilaha Illa Allah – There is no God but ing so, she would reconnect the shared heritage between Venice Allah – hung along the staircase that led to Turquoise and the Arab world – a reminder of the city’s diverse cultural his- Mountain’s East-West show. The neon reflections of the tory, but also a peek into potential dialogues. “It is important to look pink, blue and white chandeliers along with the lengthy ascent, com- at Palestinian artists as individual artists and not burden them with pounded the sense of anticipation surrounding this exhibition. Inclu- politics, identity and gender issues,” added Mikdadi, “let them be sive of the majestic high-ceilinged space is a maze of red-coloured who they are and give them space. There is a lot of pressure on ‘container’-like panels on which the majority of artworks hung. Fabu- artists already.” At the show’s jam-packed opening, random rounds lous pieces, like the mirror-mosaic works of Iranian Monir Shahroudy of applause followed Mikdadi as she scurried around. “I am in deep Farmanfarmaian and fellow Iranian Khosrow Hassanzadeh’s large- admiration of you,” said a young teary-eyed curator to Mikdadi. “This scale works were on show. Of the 10 participating artists, three are is what it is all about,” says Mikdadi, “sharing. I love to support young Iranian, four are Pakistanis and three are Afghan. curators.” Abuzz with positivity, this is precisely what the collateral East-West, curated by Jemima Montagu, Director of Culture and Her- event was all about: togetherness. itage at Turquoise Mountain, is the descendant of Living Traditions – an exhibition put together by Montagu and aimed at “bringing an international standard exhibition to Kabul,” where she is based. After Kabul in October 2008, the show travelled to Islamabad in February 2009 and East-West was a “reconfiguration.” Eight of the 10 partici- pating artists – with an age group that ranges from 25 to 85 – were present at the show’s opening, Montagu believing that, “they are as important as the show itself.” Fresh mint leaves in tea and Persian pistachios and traditional sweets were among the F&B offered at the show, which blended modernism and abstraction through the artists’ takes on existing regional traditions. Laudable as East-West is, for its promotion of fantastic regional art in a notable biennale and for its selection of artworks that featured underlying themes, perhaps the Taysir Batniji. internal scaffolding and what seemed to be a honeycomb container, Date Video. 2006 – ongoing. Two TVs on dampened the visibility of some stunning works of art. cement blocks. 65 *Title of artwork by participating Pakistani artist, Nusra Latif Querishi. Piotr Uklanski. Untitled (Dancing Nazis). 2008. Mapping the Studio and Then Some The François Pinault Foundation wows audiences and critics alike with the opening of Punta Della Dogana and its latest exhibition, Mapping the Studio. O ne of the biggest events at this year’s Biennale was the official opening of the newly restored Punta Della Dogana, the home of François Pinault’s art collection and venue for the inaugural Mapping the Studio exhibition. As Pinault explained, the purpose of the exhibition is “to explore the individual course followed by a collector for whom the acquisition of works of art has meant becoming closely associated with the creative process of the individual artists themselves.” Held concurrently at Punta Della Dogana and Palazzo Grassi, both Cattelan’s life-size white Carrara marble sculptures of bodies – All – draped in cloth were downright chilling, laid out in the large expansive rooms. Down the canal, Palazzo Grassi has just as an impressive array of works for the other half of Mapping the Studio. The building was inaugurated in 2006 with the exhibition Where are we Going? Where Punta Della Dogana is low-rising, triangle-shaped as it is on the tip of Dorsoduro Island, Palazzo Grassi comprises rooms encircling a central space. In this space Ando has created a free-flowing space which allows visitors to move freely from one room to the next, preserving the original architecture of venues have been restored by famed Japanese architect Tadao Ando the building by simply covering the carved ceilings in some areas. Due lt (also the architect behind the Abu Dhabi Maritime Museum on Saadiyat to the giant Untitled (Dancing Nazis) by Piotr Uklanski, a giagantic mural Island). Determined to preserve the integrity of the building, Ando was of images of film stars who have played Nazi officers, adorned with a u responsible for stripping away much of the framework that had been put giant disco floor of flashing coloured squares and hip hop music and a in place by generations of restorers and inhabitants, exposing the brick remixes, the Palazzo has a much ‘younger’ feel than the nearby Dogana. walls of the old customs house and creating an interior that integrated the With its 101 Art Ideas You Can Do Yourself littered around the building, n original architecture with Ando’s clean, free-flowing new interiors. from the bathrooms to the restaurant, and throughout the exhibits (some i Visitors entering were greeted with Felix Gonzale-Torres’s striking of Canvas’s favourites: Invent a Colour and Name It; Put Googly Eyes p red-beaded curtains, Untitled (Blood), before entering a massive space on Things, and Sell a Collector the Key to your House) gave it a vibrant that included a decapitated, taxidermy horse hanging out of a wall (by feel. Works by artists ranged from Twombly to Bruce Nauman, Errò, Mark Maurizio Cattelan) and 100 square resin blocks by Rachel Whiteread. The Handforth (whose Platz sculpture could be seen on display outside Art use of space is well-thought out, from the full-room display taken up by Basel) and Adel Abdessemed’s Pluie Noire, including the controversial colourful glass domes and tinted resin cityscapes by Mike Kelly’s Kandors Bear and Rabbit on a Rock by McCarthy. Full Set to the glass tanks reminiscent of hellish ant farms, F**king Hell Overall, Mapping the Studio (named after a video installation by by Jake & Dinos Chapman. The eerie works completely dominate the Nauman) is a large-scale dual-venue exhibition that succeeds in showing space they occupy. Other pieces, by names such as Cy Twombly, Jeff both the scope of Pinault’s collection, and the architectural prowess of Koons and Charles Ray, are characteristic of Pinault’s collection. These Ando. Impressively curated and well-thought out, whatever the critics are augmented by pieces by Fischli & Weiss (whose Rat and Bear (Mobile) might say, this is a must-see event and one that deserves to be lauded. As will be a pleasant surprise for those who have seen the two characters at Pinault said, “from Adel Abdessemed to Huang Yong Ping, one can see the artists’ contribution to Hans Ulrich Obrist’s Il Tempo Del Postino during artists of very different cultural roots striving to express the contradictions Art Basel), Paul McCarthy and Charles Ray (who produced the iconic Boy and complexities of the contemporary world,” and from dancing Nazis to with Frog seen on all the exhibition collateral). Some installations, such as a bear and rat mobile, so they have. dead grey kangaroos that have been killed on the highway. With the intention to “give them the burial they never had,” Gladwell explains, this homage to Australian roadkill is absolutely mesmerising, with a strange, fragile dignity. The other major installation, a two-channel video projected on either side of a suspended screen, Interceptor Surf Sequence is filmed in Gladwell’s trademark slowed-footage video. Driving down an endless Australian red desert highway, a figure ‘surfs’ on the roof of the car – into a clear sky on one side, and a brooding, heavy and grey stormy sky on the other. Awe-inspiring to say the least, the works were notable for their use of the Australian venice biennale 53. landscape. Gladwell noted that “the works are thematically broad,” concluding that, Australian Pavilion. Shaun “the themes extend far beyond their Gladwell. Interceptor Surf: Daydream Mine Road. 2009. cultural identity.” Production still. Video Gotaro Uematsu. Photo: Josh Raymond. Courtesy: the artist & Anna SCANDINAVIA: MYSTERIOUS Schwartz Gallery. – both adding to the richness of culture MR B BIENNALE: available as well as to the sense of over- The Biennale also saw an unprecedented collaboration between the Danish and FARE MONDI saturation. It must be noted, however, that the second venue for the exhibition, at the Nordic (Denmark, Finland, Norway and Sweden) Pavilions, co-ordinated by artistic Curated by Biennale Director Daniel Arsenale, allowed the show to breathe, Birnbam and taking place in both the duo Elmgreen & Dragset. Dubbed The and displayed a much more sequential Giardini and Arsenale, the Biennale’s Collectors, the innovative set-up saw the arrangement, allowing works, such as themed exhibition features works by a Pavilion spaces turned into installations Brazilian Lygia Pape’s Ttéia I, thin gold staggering 90 artists from all over the world. with the feel of a movie set, in which thread running from ceiling to floor, lit to Worthy of a day all to itself, the maze of visitors were taken on a ‘real estate tour’. resemble light falling on dust in the air. rooms made the exhibition feel crowded, Through this they learnt about the life of With the Italian Pavilion itself nearby, taking away from the power of some of the previous tenant, ‘Mr B’, through notes, more than doubled from 800 to 1800 the larger works, and making other rooms his art collection, and other pieces of daily square metres, the show put on by feel claustrophobic. All in all, at the end life ‘left’ by him in the house and provided Birnbaum was like the city itself – culturally of a tour of this leg of the show, one felt and created by 24 international artists and rich, flamboyant and with a voice that was overwhelmed and over saturated. Pieces artist groups. Many were initially baffled by not only loud and clear, but sonorous, that did manage to stand out amongst the ‘For Sale’ sign posted outside the dark witty and charming. Just make sure you the throng was Argentinean-born Tomas building, but all became clear as groups have more than a day to take it all in. Saraceno’s stunning Galaxies Forming were taken on tours of the interior. After the Along Filaments, Like Droplets Along the Strands of a Spider’s Web. The installation AUSTRALIA: tour of the Danish Pavilion was completed, visitors were taken to ‘meet the neighbours’ of black elastic ropes filled an entire room, MAD MAX in the Nordic Pavilion, kitted out as a with visitors picking their way across the While Australia brought five artists this bachelor’s pad. Outside, floating face down ropes to reach other side. Other highlights year to represent the country, it was Shaun in the swimming pool: the dead collector. included Silver Lion Award-winner Gladwell’s MADDESTMAXIMVS that had Works by artists such as Massimo (for ‘Promising Young Artist’) Nathalie everybody talking. Visitors approaching Bartolini, Hernan Bas, Wolfgang Tillmans Djurberg from Sweden, whose Garden of the Pavilion were greeted with a black car and Jani Leinonen (who incidentally was Eden mesmerised viewers, with its clay- – a replica of that driven by Mel Gibson’s shown at Art Basel at Gmurzynska Gallery) mation video and giant flowers, while a character in the Mad Max films – as well adorned the interiors. With its element of room comprised of Richard Wentworth’s as a motorbike jutting out of the wall. The performance and the witty commentary trademark hanging books and German- origin of both car and motorbike became offered by the real estate ‘agent’, this first- Egyptian artist Susan Hefuna’s drawings clear upon entering, as two of Gladwell’s time collaboration was one of the most seemed underwhelming and crowded. videos were played inside. In Apology memorable installations at the Giardini, The Giardini did, however, include Tobias to Roadkill, a helmeted, black leather- and proof that the Scandinavians do, in Rehberger’s bright orange and black clad motorcyclist stops, in a series of fact, have a sense of humour – and a biting sequences, to tenderly caress and carry one, at that. Who would have thought? 67 cafeteria, and a well-equipped bookshop Russian Pavilion. Andrei Chilean Pavilion. Iván Navarro. Death Molodkin. The Red and Row. 2006. Neon light, aluminium the Black. Multi-media doors, mirror, one-way mirror and installation of two glass electric energy. 218.5 × 1524 × 11.5 replicas of the Louvre’s cm. Edition of two and one artist Winged Victory filled proof. Composite photograph by with blood and crude Rodrigo Pereda Ó 2006 Iván Navarro. oil at the Biennale. Courtesy: Zabludowicz Collection. GREAT BRITAIN: was far outstripping supply. By late morning on at least two days, all the available slots what I am trying to say,” says the 43-year-old Molodkin. “All victory gives us the promise TOO COOL...? for the rest of the day were taken, the doors closed and people turned away. Not a good that life can change,” says Sviblova. With this Pavilion, victory has a whole new definition. Appropriately a former tea-house, over the LATIN years, the British Pavilion has showcased work position in which to be, and hardly consistent by some of Britain’s hottest Contemporary with the principle of access to art for all. stars, from Anthony Caro (1966), Frank Auerbach (1986) and Anish Kapoor (1990) to Russia: AMERICA: Rachel Whiteread (1997), Gilbert and George (2005) and Tracey Emin (2007). This year The Vanquished KALEIDOSCOPIC Latin America, always creative and capable is no exception as Steve McQueen, one of Seven of presenting exciting new perspectives, today’s outstanding artists and filmmakers, Victory Over the Future, the title of the Russian comes through very strongly in this year’s presents his 40-minute film Giardini. Inspired Pavilion, was an overwhelming multisensory Biennale. Particularly strong is Venezuela, by the Biennale site, an area of public parkland experience through the featured seven artists’ a long-standing participant with a pavilion that was created originally by Napoleon, the takes on the Utopian notion of triumph. Like which first opened in 1956. This year a varied film presents a melancholy, ethereal and Christmas tree baubles, Anatoly Shuravlev’s and interesting show of works by several stunning portrait of a Venice that is a world mesmerising installation required myopic artists continues the Venezuelan tradition of away from most perceptions, a city of offbeat vision for the faces within the hanging baubles. bringing innovative and insightful art to the sights and sounds, swathed in mist and Paintings of a stadium full of glowing cheering city. An outstanding highlight, however, is drizzle (McQueen made his film during the figures by Chechen artist Alexei Kallima took up the Chilean Pavilion, set in the architectural winter months) and where old ladies feed an entire room; suddenly, the lights are switched splendour of the Arsenale and featuring Iván feral cats and ex-racing greyhounds forage in on, silencing the room. The build-up of collective Navarro’s dramatic and exciting Threshold. the desolate open spaces of the gardens. and individual emotions, elating as it can be, Forms of social and political representation, The film is lean, spectacular and powerful is harsh on the flipside when the lights are and what that means for his native Chile and in its originality. Few of us have ever seen turned on; there is a bareness, an unforgiving the wider world, have been a cornerstone of McQueen’s Venice before, and the unique void after exhilaration. “Our understanding Navarro’s work for many years, and here he power of this film has made it one of the most changes and it’s a good model of how society presents a dramatic and well-crafted work talked-about works for years. McQueen has a works,” says curator Olga Sviblova, “the flash composed of three sections, two of which rely reputation for being prickly and arrogant, but makes you feel alone.” Andrei Molodkin’s on spectacular optical illusions: Death Row, he is also honest about who he is and what interpretation of victory, however, tackled the comprising 13 aluminium doors containing he does. “I don’t really have any influences,” equilibrium – or lack of – between blood and neon lights and arranged to give the effect he says. “There are a lot of great artists out oil, the former addressing the liquid of life of multiple corridors through the wall, and there, but I can’t say that I’m very interested in and the latter, the liquid of death. Pumping Bed, a circular well-like sculpture fixed to them.” Yet as exciting as Giardini undoubtedly real blood donated by Chechen soldiers, the the floor and in which the neon word ‘Bed’ is is, the British have found themselves with [original] winged Greek sculpture used in reflected infinitely in an ever-extending void a public relations problem. Both artist and the installation was “stolen by the French,” disappearing down below. The third section, curator agreed that in order to ensure quality smiles Molodkin. Two years of Russian military Resistance, is a sculpture – a bicycle with a of experience, access to each viewing of service furthered his desire to add “another neon display that comes to life as the cycle is the film should be restricted to an audience lens to the language that my country speaks,” pedalled by its occupant. It is accompanied of just 60. Laudable in principle, this policy he says. “When Picasso did the Guernica, by a video of the bike travelling around Times unravelled badly during the press preview a soldier asked him, ‘is it your work?’ and Square in New York City against a panoply of week when it became clear that demand Picasso said, ‘no, it’s yours’ and that is exactly flashing lights and bright neon kaleidoscopes. lArt l40 lBasel 1I 2I 3I 4I INTRODUCTION SATELLITE FAIRS CANVAS PANEL MIDDLE EASTERN ART Text by Anna Wallace-Thompson and Myrna Ayad. Images by Myrna Ayad and courtesy of Art Basel. 1 I INTRODUCTION Visitors outside Art 40 Basel. Left: General Idea. AIDS Sculpture. 1989. Courtesy Esther Schipper, Berlin; Galerie Mai 36, Zürich and Galerie d’Art Contemporain Frédéric Giroux, Paris. Right: Valentin Carron. Fosbury Flop. 2009. Cross made of wood. 1210 x 628 x 628 cm. Courtesy Galerie Eva Presenhuber, Zurich. Art40Baselopens Messe Basel comes alive as Art Basel celebrates po del Postino. Curated and directed by its 40th anniversary with strong sales and top Hans Ulrich Obrist and Philippe Parreno (and co-curated by Rirkrit Tiravanija quality art, despite the tough economic climate. and Anri Sala), the extravaganza played on the concept of an art ith some 300 galleries from all around the world experience in time, not space, and featured groups of taking part – culled from a staggering 1100 ap- leading artists presenting various segments, including plications – Art Basel 40 opened strongly with Doug Aitken, Olafur Eliasson, Liam Gillick and Koo several pieces sold before the fair’s vernissage. Jeong-A. There was a good turnout of patrons and collectors, although there The general atmosphere inside the fair itself was was a noticeable difference in demographics, with European col- one of surprised satisfaction as several pieces were lectors outnumbering Americans for the first time in years. snapped up within the first few hours, including a six With numerous satellite fairs, including Design Miami Basel, million dollar Joan Miró from Helly Nahmad gallery. De- Scope, Volta, Hot Art and Art Asia Basel, as well as Art Unlimited spite the global financial crisis, Art Basel’s VIP opening and Art Projects, this year saw the spectacular debut of Il Tem- saw a buzz the like of which has not been seen in the past 70 1 I INTRODUCTION year at art fairs around the world. “It is go- ing well,” said Maryse Brand of New York- based Sperone Westwater. “People are not as quick on the trigger this year, but we have sold a number of pieces already.” Added gallerist Mathias Rastorfer from Gmyrynska, “things are amazingly good. What is happening right now is a rather substantial restructuring of the art mar- ket.” Noting the new re-focus on connois- seurship, knowledge and expertise, Ras- torfer was generally optimistic about the fair, pointing out how the past six to seven years have seen an upwards spiral. “What we see here is a return of the connoisseur and sophisticated investor. This market Andy Warhol. Big Retrospective crash has actually played in our favour, as Painting. 1979. Acrylic and silkscreen on canvas. 207 x 1080 cm. Courtesy Galerie Bruno Bischofberger, Zurich. people are now taking their time and really thinking about their purchases.” This was immediately evident in the plethora of big The general atmosphere simply not an option.” In names, from Andy Warhol (including the inside the fair itself was one fact, a staggering 99% of $74 million Big Retrospective Painting) to galleries reapplied from of surprised satisfaction as Leger, Giacometti, Picasso and Debuffet. 2008 to take part in this The latest edition of Art Basel has seen several pieces were snapped year’s edition. Summed gallerists return to their up within the first few hours. up Draxler, “The focus stables of artists is much more on qual- to select their strongest, most clas- ity this year, as well as on a conceptual history of the gallery.” sic and best pieces, a sign that The second floor of Art Basel featured a host of Contemporary the market is now focusing on artworks from galleries who had selected their biggest, brightest those collectors who are not and most cutting-edge artists, including Anish Kapoor, Wym Del- trend followers, but rather, voye, Damien Hirst, Tracy Emin and Middle Easterners Farhad Mo- intent on taking the time shiri, Youssef Nabil, Mona Hatoum and Kader Attia, among others. to find pieces that have Speaking of the general turnout, Neil Wenman of London’s White stood the test of time. Cube echoed the sentiments expressed by gallerists downstairs, Explained Saskia Drax- stating that, “there is a general feeling that things are going much ler of Galerie Christian better than expected. People are really committed to strong works.” Nagel, “We actually can- Summing up the situation at Art Basel this year as a whole, he con- celled our participation in cluded, “We, as a gallery, are of course aware of the current global other art fairs to come here, financial situation and are not sure how it will affect us. This is why as not attending Art Basel is we have decided to simply show the best of what we have.” 71 Ayşe Erkm Galerie Barbara Yaşam Şa Yue Minju Istanbul an adhesive Courtesy Berlin Art şmazer. Tr 2 I SATELLITE FAIRS film. 120 Pan Amer n. Hat No. en. Entwin Projects, d x 40 x 30 eacherou ican Art P Berlin. 2. 2004. O cts, Miami. ed. 2009. cm and 16 s Wolf. 20 roje Weiss, Ber Courtesy il on canv 08. Linde 0 x 110 cm Galerist, lin. as. 82 x 82 n wood an . Courtes s cm. imit d y no l ited, run nin g rt pro side A rt Basel, o g alon jects and vide ts. Art Unliminstallations, a of internationa l artis Scopi oppos ng it T e he Scene asel art A n fair Scope B rt Basel, and a d the wo h it it rld, in big wit feast of c lu d in h a c u n t g rt As A e t w in g venue, - ia. football e dge art featured gs from a host om a r ou and on a fr down a s hort wa lk asel. A fa r cry screenin Moshiri, M iddle Eas tern th e s treet from Art Basel, p a v ilio n housing Scope B e Scope was s r- A part fro m a s s p e a rheade d Acro s itu a te d a massiv e e l, th e fe eling insid d c haos is itor ente n tation w h , was s f Art Bas t o rganis e ik e a v re p re s e ri s t, w h o p itc h a lls o a lm o s ing to str 0 metres ul-based Gale glamorou s nitty gritty, an so on sale s The first th d , a mere 1 by Istanb c e s . Entwine d, from the -t o -e arth and e a rt , and less n - lim ite o p ie d o w n o n th ). R u ing Art Un hall, lled tw 2009 piec e one of the much ession A rt B a s el’s main re ly had insta n , w a s a e fo c u s was very g , d e s p ite the rec r n a m es away from n enti rkme ds in which th gin milia w m u c h it was a ta l- by Ayse E c k a n d white ban e y s e w e re encoura – 1 4 J u n e, many fa e , s u ch o s ng of bla ough th 8 p was just h e -s c a le art in o n s is ti a ro u n d (a lth a in fa ir, from fo u n d at Sco orld. La rg c woun d to the m el we re Horn, different w lo o m e d into the re a d in g ‘Limited’, in g p illa rs. n in g parallel m is s in g at Art Bas h e n k a n d Caprice d piece s po rt r art fairs S c m lations an and halls sup FF from othe d, Brigitte Gallery fro h e s o f the ceiling one of the e n ta lK L INIK’s Pu K a s h y a Hildebran Is ta n b ul, Ayyam N e w York. c g s m upper rea flo o r, includin u rt h e rmore, :m tio n o f iri- a s Galerie s a n d x-ist fro a F in e Art from littered th e F g insta lla well as Pi Artw o rk Priska C Jusc h k space – a artworks a rg e Converte d w a s a fascinatin v a lv e s . The a s b a i a n d th e te mporary oshiri’s L poutin g and D u ked in to g to the Farhad M B edroom ce nt glitter-s a ro und D amascus e s were pac id e nts, leadin ug for a O n e d e s settle d o n g 85 g a lle ri st loc a l re s tions and Persian R s y o f G alerie Ro- s h im m ering rain w o f c o lours, A staggerin n te n tio n among id e s p e cial installa ht t, court e rainb o uch c o along s mari’s lig Apartmen . T h e 2 0 07 piece b la c k stage in a b o ti c v a cuum s u bject of m b e in g c a ncelled – n a rt is t Elias Maa g nssen d ro almost adia tunn in dolphe Ja aces as small automate d, entire fair born Can and the s n ia n a rtist has sp lls ly b u m p ed aroun ts , s u c h as Beirut- re H e re For Now, e r In The End, by the Ir a to the w a ines so ft rt proje c e, You A e Togeth d in g m a c h a n tr a n c I W ill B rresp o n t, in the e u And et and cut out co a g in a ry apartmen c le a rin g it up. t A rt U nlimited in stallation ti c in s ta llation, Yo o m , w h ere they m g an im n a ow kin e sa ro separatin constant e selectio up- Reed Barr ngs acros ipient of a Overall, th ring both t smoke ri fez s th e re c s it. e, fe a tu w g ia n haled Ha and wa a lk in g acro s w a s im press iv h e d artists . w hich b le ra Ta brizian, K - f visito rs w sed and es ta b lis d. ch as M it n and rk Tu stream o n lim ite d hall hou a n d -coming ite d s pace dissipate E a s te rn artists su sid e S y rian, Irania c a n U lim Middle ng ri In fact, th e Art ne roof, ng the Un erson With top found, alo roject by Ame ts under o Also shari – 27 one-p umi to be special p l p ro je c n ts , a te m e n ts k y N o d jo lu d e d a fo r Scope – severa A rt Stateme w a s Art Sta g a lle ries and Nic ig h lig hts inc e s p ecially ll, from Art L obb y to ist pcom in g galo re , h am, m a d fair as we b o o k s to re and art s ta n ds from u h lig h t w as William ish artists ti v e G h o st of a Dre n c u rr e n t Volta art m a d e design sh op, year ne hig bora the co room . T h e d isplay this w o rldwide. O in H is C ubicle artist colla o u ld b e found at f a n e n tire dining o lb e in- pac e ral Druid they c isting o ans H comics s , a lt h o ugh seve B o shoff’s Big lle r in Zurich, although r s c a le – cons b le c lo ck and H iv e u a lle ing a ta was impre ss the genera l e Mark M albeit on a sm ts, includ ssed that (by Galeri d man re laxing ttery ticke was visito rs e x p re e ‘o o m p h ’ it tu rin g a b e a rd e rk s h o p ), u p o f lo s in g lo n u m b e r of visitors d th fea is w o th e ener- ere lacke ere s inside h ting. ole, while ver was g atmosph y e a rs . Overall th o n a mattres n g e d from th e style pain c to ry on the wh u g h the turno ht had in pre vio u s , ispla y s ra re sa tis fa fair, a lth o ne h lig ig h lid w o rk s featured w hile other d b iz a rre , and even Sales we th a n a t the main it y to A rt Basel. O a t B er- ys o Weiner d to th e ably les s se prox im us Wo lf, were man w re n c e e ll-c u ra te ite d its e lf n o tic e co p e ’s c lo T re a c h e ro dow a 2006 La ars to w g. Art Unlim , due to S zer’s piec e, h the sha including n t to W hat Appe d is appointin e c u rious Torre ally good t Y a s a m Sasma fro m wood wit th at Tan g e n-base d ated b y th ha rt is carv e d depic ts text, At a rt e s y of Londo w as domin n e s e artist Yos hi- was Turkis D e p ic ting a child d th a t the piece c o u p a jec ts . lain e be Infinity, as Matthe w a by Ja -storey lin Art Pro artist exp ry, as well de Malag d a three e wall, the visit- Liss o n G a lle n F a m ily. T h e N a ra , fe a tu re th e f a w o lf o n th e n t a s th ey seem. u e fo r art lovers a xio o to to o o c e n son’s Dym m se reachin g up in ren are n ot as in n to be mu st-see v ique art. Day Jack e u p of wood, h ite h o u rs to e n ter. c h ild d its e lf te re s ti n g and un gures, m a d w g visit o all, Scope pro v e ith a focu s on in omehow skeletal fi ss a nd light ilin g a nd allowin s iz e s , al- A ll in l fa ir, w ve n tio nal and s r, steel, g la c e es a n d Art Ba s e unc o n ors that, lead, mirro s e w h o recently c am e in all shap re p re s ent- in g the main re n t v ibe, of the n d s howed visit iliar to th o A rt galle ry tely d iffe the ba r a ummed will be fam p e n P in ault Foun - o u g h th e lack of w a s fru strat- W ith a comple e s te p p ed up to u p to A rt Basel. S newly o th s p d visited the stalled e installati on tious, Sco able to sta n pe is not as e , a nd were in a tives at th re d re ssed by th e unpreten a ti o n , it is a fair F in e Arts, “Sco s .” V e n ic nly p a rt ly w lo c Jusc h k a ems e lve dation in te r Blum Ga llery, ing, and o a to ry fliers. with its ne ic k o f Priska C in th e works th o f P e of ex p la n G a rl inte re s t courtesy w York. availability up Valerie re is more m a rt s Inc of Ne s a c tio n filled, the B lu tra n 72 2 I SATELLITE FAIRS Hall of Design In partnership with HSBC, the fourth edition of Design Miami Basel featured a larger space, a lot of footfall and a shopping design spree by none other than Brad Pitt. In short, satisfaction was guaranteed for all. hankfully, this year’s Design Miami Basel (DMB) edition was at Hall 5, adjacent to Art Basel, meaning there was no trek or tram involved. That must have been good news for buyers like celebrity Brad Pitt, who was spotted at Art Basel’s ver- nissage and later at DMB where he picked up a Nacho Carbonell work from Milano-based Orlandi Gallery and a chaise longue from Rotterdam-based Vivid Gallery, among others. “He helped the recession,” chuckled Vivid’s Saskia Copper, “of course we gave Robert Stadler. Tephra Formations, Spherical Bomb/ Armchair. 2009. Upholstered him a discount.” Fossil Chaise Longue by Atelier van Lieshout was leather. 72 x 76 x 80 cm. Edition of eight and four artist’s proofs. priced at $32,172 and had a Flintstones-esque feel to it – a theme Courtesy Carpenters Worshop Gallery, London. also found in Maarten Baas’s work at Orlandi Gallery. “A lot of peo- ple have been saying that Baas’s work reminds them of The Flintstones,” “Apart from it being was the almost sold-out Fragile Future 3.3 laughed the gallery’s Marco Tabasso. beautiful, it’s also a light installation comprised of dandelions. Those familiar with Zaha Hadid’s reinvention. It’s so Ralph Nauta and Lonneke Gordij used real über-cool benches must have done sociable and inviting.” dandelion seeds and individually placed a double take while walking past the - Joanna Needham, Carpenters them in a phosphoric bronze framework that Carpenters Workshop Gallery. The Workshop Gallery. made for a truly charming light piece. grey upholstered Spherical Bombs Tobias Putrih. Works by Slovenian artist Tobias Putrih Untitled. 2009. Wood. Armchair is part of Australian artist 132.7 x 135.9 x 33 fronted New York-based gallery, Max Pro- cm. Courtesy Max Robert Stradler’s Tephra Formations Protetch Gallery, tetch. The Boston-based artist creates large New York. series that takes its inspiration from and small scale work inspired by science volcanic eruptions and lava, “hence and moving pictures. Using only simple ma- the smoky grey colour,” added the terials like wood and cardboard among oth- gallery’s beaming Joanna Needham, ers, Putrih once poured acid on scaffolding who had sold the edition of eight, “10 to achieve his desired effect when he could minutes ago!” to a European collector not find rusty forms! For the fair’s fourth edi- on the fair’s second day. “Apart from tion with a reported 15 per cent extra space, it being beautiful, it’s also a reinven- most of the gallerists were happy with tion. It’s so sociable and inviting,” she overall sales and new, serious buyers, Pitt added. Another highlight at the gallery et al included. 73 3 I CANVAS PANEL example of an artist who asks audiences to scratch a little deeper, to look beyond the veil. These themes, added Al-Shroogi, while predominant in Middle Eastern art, are not exclusive to it, using the example of several artists at the Venice Biennale, such as Andrei Molodkin, whose Wings of Victory uses crude oil and the blood of Chechen soldiers. “It’s quite interesting, as Gender, Wars and the question of gender and war has been present in the arts since time immemorial. Chadors in Basel Abaseh Mirvali. The question is, how does it fit into art of the Middle East toda?” Eisler drew a parallel with the Chinese Contemporary art movement, add- Canvas’s panel, ‘Gender, ing that she would like to see Mid- Wars and Chadors’ attracted dle Eastern art move away from a over 100 people at Art Lobby on 11 June, with eager Bashar Al-Shroogi. strong political content, as Chinese attendees sitting in the aisles Maryam Eisler. has done. and even on the floor. The panellists also discussed Al-Shroogi, “Art has to philanthropy and education. The he small Art Lobby room was speak to me. When I ap- talk, while concise, well-presented packed with people as collectors proach a piece, I don’t and highly informative, could have Dubai-based Bashar Al-Shroogi look at who it is by or benefitted from more dialogue be- from Bahrain and UK-based Ira- where it comes from. Rather, I need to be tween speakers but provoked questions.on nian Maryam Eisler – third panellist Maya able to connect with that piece. Whether it’s the level of censorship in the Middle East, Rasamny was unfortunately forced to from Lebanon or the Gulf, China or Chile, it and how it has alienated Western artists cancel at the last minute – spoke about really is a question of how it fits back into wishing to exhibit there. Audience member the gender, wars and chadors in their art that collective and does it enhance it? Re- and artist Samia Halaby parried back by collections, moderated by Abaseh Mir- gional delineation comes much later.” pointing out that she, as a Palestinian art- vali, Advisor for Special Projects, Canvas. The panel also discussed whether these ist, had faced the same censorship in the Eisler touched on the role that national three labels are negative connotations of West. Overall, ‘Gender, Wars and Chadors’ identity plays by explaining that, “in the case art in the region, or simply markers to be was an insightful look at some of the big- of Iran, I left 30 years ago and I feel that by aware of. Pointed out Eisler, “Western Ori- gest issues in Middle Eastern art today. collecting art from that region and my own entalism saw the veil, for example, as an Hopefully these can be explored further country, I have the opportunity to reconnect element of fetish, a form of discovery. There in Canvas’s two upcoming panels in the with my heritage and roots. There needs to was an obsession over what lies behind same series – at the upcoming Frieze and be a dialogue between what I collect and that veil. Since September 11th, however, Art Basel Miami Beach art fairs – and audi- what I see: I don’t need to tick a list of box- the veil has become a symbol of aggres- ence members can be coaxed to scratch es, but everything that I collect has to be sion and extremism, a shift from desire to a little more below the surface, just as we emotionally resonant with myself.” Added fear.” Al-Shroogi used Lalla Essaydi as an should with art. 74 4 I MIDDLE EASTERN ART The East at Basel Galleries participating at Art Basel’s 40th edition showcase some of their Middle Eastern artists. The good news is there are Middle Eastern newbies on the Art Basel scene, while the regulars continue to astound. Mona Hatoum. Static II. 2008. tially, the use of FedEx boxes Steel, glass and wire. 96 is a deliberate element that x 47 x 45.5 cm. Edition of Abdessemed infused for a Adel Abdessemed. Orient three. Courtesy for Global Bordello. 2008. Alexander “movement to blend cultures,” Cartons and handwritten and Bonin, manuscripts. 85 x 30 x 41.5 cm. Courtesy Galerie New York. said the gallery’s Barbara Christine König, Vienna. Eichhorn. There is also no de- nying his message: literature t is a rather shameless thing for an artist to ask his is indeed for all! gallerist to find prostitutes for him, but in the case of Algerian-born artist Adel Abdessemed, the re- The Art Basel quest to find ‘women of the night’ was an exer- Regulars cise in artistic pursuit albeit questionable. At his 2008 Abdessemed perhaps fits solo show at the Christine König Gallery in Vienna, Ab- into the category of Western- dessemed heard a dramatic story involving American based Middle Eastern artists artist Al Hansen’s visit to the Hotel Orient bordello in the whose careers were largely Austrian capital. Hansen had seen a prostitute sitting established and prompted in at the bar reading a work by Irish author, James Joyce. After visiting bars daily the West. It would be fair to Impressed, Abdessemed asked König to find prosti- after midnight for weeks... place Mona Hatoum, Shirazeh König rounded up some tutes and ask them to make handwritten copies of the Houshiary, Shirin Neshat and women and so began books they were reading. “Some were annoyed, some Kader Attia within this clas- Abdessemed’s Orient for were nervous, some claimed to be illiterate and some Global Bordello. sification. Besides regularly thought I was kidding,” laughs König. After visiting bars showing at Art Basel fairs daily after midnight for weeks and relying on friends in Paris and (among others), works by these artists are housed in a number other cities for help in this “social studies” project, König rounded of Western museums, but perhaps the common thread that they up some women and so began Abdessemed’s Orient for Global share is the strong cultural influence featured in their works. Unmis- Bordello artwork, priced at $154,000. “The prostitutes got paid takeably oriental was Neshat’s Saeed Neshat 1953–2007, a photo- more than they earn!” remarks König. At first glance, the artwork graph showcased at the Gladstone Gallery. The poetic ode to her looks like a contemporary take on a Donald Judd piece, but essen- late brother, is nothing short of “a sweet homage,” says the gal- 75 4 I MIDDLE EASTERN ART lery’s Rosalie Benitez. The edition of 10, half work is that you can’t capture the image; it of sadness to it, the $120,000 distressed of which was sold at the gallery in New York always seems to be moving,” said Pratas. steel chair draped with a glass cobweb was and at the fair, was priced at $25,000 and re- Shiny and pretty as the letters of the Arabic “ethereal in a sense,” said the gallery’s Ol- lates to Neshat’s Women of Allah series but alphabet in Alpha Beta were, magnetically iver Newton, adding that it was, “Mona be- differs in its charm and originality. And then attached to a wall at the Goodman Gallery, ing poetic as usual.” of course there is Houshiary, whose newest their sleek, smooth curves were treacher- work at Lisson Gallery, priced Newbies on the at $29,740 sold 40 minutes into As audience members, we may be Art Basel Scene the fair’s vernissage to a Euro- oversaturated with artworks that Iranian artists Sara Rahbar and tackle the Arab stereotype, but this pean buyer. “We bring her works work by French-born Algerian Attia brothers, Rokni and Ramin Haer- because there is huge interest actually draws blood. izadeh made their Art Basel de- but this year. New York-based ous and belied their razor- Rahbar works on the themes of politics by sharp edges. So sharp, visitors reinventing the Middle Eastern tradition of had to don thick leather gloves carpet weaving. She is particularly inter- Sara Rahbar. Texas Flowers (flag #22). 2008. Mixed media. 182 x 122 cm. Courtesy Galerie Ernst Hilger, Vienna. when holding the letter-knives ested in American foreign policy and her made in Sheffield, England, works have recently been acquired by the renowned for its superb knife Saatchi Gallery. “She’s super and upcom- industry. As audience members, ing and she should be at Art Basel,” says we may be oversaturated with Ernst Hilger Gallery’s Michael Kaufmann. artworks that tackle the Arab At Galerie Thaddeus Ropac Ramin’s stereotype, but this work by work generated a lot of attention largely due French-born Algerian Attia actu- to the use of the Iranian flag in his photo- ally draws blood. “When you feel collage work, “that situates the work more them, there is a sense of power, precisely,” said the gallery’s Elena Bortolet- like holding a gun, but there is ti. Having sold a work by Ramin for $8400, also a sense of fear,” said the gal- Rokni’s $50,000 piece remained unsold by lery’s Storm Janse van Rensburg the fair’s third day. Most of Rokni’s body of of the triple edition work, priced work derives inspiration from literature and between $70,000–98,000. The mythic tales but fuses modern-day factors binary message was loud and within it – in the Cursing King, the king wears clear: knives kill, but protect too; or a boot on his head as opposed to a crown. do they have a singular function? “The allure in Rokni’s work is that it sits be- Works by Hatoum on the fair’s tween Figurative and Abstract and then the from museums,” says the gallery’s Patricia second floor were varied. Aside from her story appears,” added Bortoletti who noted Pratas (the Guggenheim and Museum of hand grenades at Chantal Crousel and her that only Iranian collectors have expressed Modern Art in New York house Houshiary’s steel crib at Nordenhake among others, interest in the piece. work). Taking her anywhere between 10 to newer, softer work was on view at Alex- Can we take the Middle East out of Mid- 12 months, the Iranian-born artist’s paint- ander and Bonin. Static, as its name sug- dle Eastern artworks at Art Basel? When it ings fuse repetition, spiritualism and mo- gests, references absence, like an ended comes to prostitutes, perhaps we can, but tion. “The most fascinating thing about her conversation that is old news. With a hint in other works, that may be a tough call. 76
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