ARTINFO_Sample2_Basel

“I THINK THE art market is very
bullish right now,” says Lisa Schiff,
New York–based art adviser, min-
utes before the VVIP opening of
the 44th edition of Art Basel on
Tuesday morning. She is soon
proven right: Strong sales began to
be reported in the very first hours
of the fair’s preview. The Messe’s
two floors have been crackling
with excitement since, as collectors
including Don and Mera Rubell,
Marty Margulies, Uli and Rita
Sigg, and Eli and Edythe Broad
make the rounds.
Unsurprisingly, works by art-
ists currently featured in Venice
are well represented. The London
dealer Alison Jacques — who has
just entered the fair’s main sec-
tion, having previously shown at
Statements and Feature — sold a
work by the late surrealist painter
Dorothea Tanning (featured in
Massimiliano Gioni’s “Encyclo-
pedic Palace” exhibition at the
Arsenale in Venice) for $150,000.
Jacques says she is glad to see an
increasing interest in historical
works by female artists (her gal-
lery’s particular area of expertise).
She also sold work by the Viennese
feminist Birgit Jürgenssen, and on
Tuesday had a model by Brazilian
legend Lygia Clark, priced at $1.5
million, on reserve. Klosterfelde,
the Berlin gallery, is both capi-
talizing on the success of Matt
Mullican’s installation in the
Gioni show and breaking a new
record: In the Unlimited sec-
tion, dedicated to “outsized”
works, the gallery is showing
the artist’s “Two into One
becomes Three,” 2011. Measur-
ing 22 by 7 meters, it is the
largest painting ever presented
in this part of the fair.
Over at Hauser & Wirth, an
anthropomorphic figure by
the recently “rediscovered” Swiss
sculptor Hans Josephsohn —
another hit at the Arsenale — sold
for 550,000 CHF to a European
collector. The booth also features
an expressionist “Samson” paint-
ing from 1983 by Maria Lassnig,
winner (together with Marisa
Merz) of a Golden Lion for life-
time achievement at this year’s
Biennale. Three years ago, Hauser
& Wirth moved from the upstairs
section at Basel, dedicated to more
contemporary galleries, to the
ground floor, traditionally the turf
of dealers focused on the modern.
As Neil Wenman, its London
director, explains, the shift made
sense for a gallery so involved in
the secondary market. It also made
it easier for Hauser & Wirth to
bridge different periods at Basel —
as in the booth’s juxtaposition
of Paul McCarthy’s 2012 bronze
sculpture “White Snow #3”
(priced at $2.8 million) with
Willem de Kooning’s 1975
“Untitled III” (price undisclosed).
Others have now followed suit,
with Lisson Gallery, White Cube,
and Metro Pictures all joining the
downstairs crew. The change —
the most significant in the fair’s
layout since 2007 — seems to
respond to buyers’ current appe-
tite for the safer investments
represented by blue chip pieces.
“Being on the ground floor, we
have seen different types of collec-
tors who are interested in works
at a higher price point,” says Alex
Logsdail, the International
Director of the London-based
Lisson Gallery. A signature
“mirror” piece by Anish Kapoor,
“Parabolic Twist,” 2013
(£700,000), was among the first
to go at Lisson during the pre-
view. Confirming the trend, a
large sculpture by Anthony Caro
sold at London’s Annely Juda
for £400,000, and Sprüth Magers
of Berlin sold a Cindy Sherman
“Untitled Film Still” from 1979,
three George Condo paintings
priced from $80,000 to $550,000,
and a 2013 Barbara Kruger digi-
tal print on vinyl for $250,000.
The Kruger’s message sums up
how closely such works match the
demand: “Made For You.”
— COLINE MILLARD
Morris Louis’s “Beta Alpha,” 1961, at the Mitchell-Innes & Nash gallery
BASEL’S BULL MARKET
FOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM
ART BASEL SPECIAL DAILY EDITION | JUNE 12, 2013
Collectors Start the Spending Early
DESIGN MIAMI/BASEL
COMES INTO ITS OWN
CLOCKWISEFROMTOP:MCHMESSESCHWEIZ(BASEL);SEBASTIAN+BARQUET;CONFISERIECPLY,VENUSOVERMANHATTAN
Continued on page 2
LIZ GLYNN’S CELEBRATED mystery bar
at this year’s Frieze New York may be gone,
but the spirit of the clandestine artist speak-
easy lives on. Above Café Confiserie Schiesser,
Basel’s oldest chocolate maker, the New
York gallerists Adam Lindemann and Paul
Kasmin are showing William Copley works
from the ’50s through the ’90s in a space
painted by the artist’s son, Billy Copley, in
pastel stripes characteristic of his own work. Visitors are served cognac
and chocolates in the shape of Copleyesque nudes. “This debauched
interplay between art history and painting is like being inside one of
Copley’s works,” Lindemann says. “It’s all in the spirit of William.”
Confiserie CPLY, as it is called, is open from 6 p.m. to 1 a.m. through
Friday. Enter via the chocolate shop at Marktplatz 19. — JANELLE ZARA
William Copley’s “Cat on
a Hot Tin Roof,” 1972–1973,
at Confiserie CPLY in Basel
A SWISS SHRINE TO DEBAUCHERY
DESIGN MIAMI/BASEL, which
opened to the public on Tuesday
in a new Herzog & de Meuron–
designed exhibition space, has
matured considerably in the view
of many at the fair, thanks to the
change of scene and the high
number and quality of works on
offer. The fair — featuring both
stars and lesser-known designers
from the early modernists to the
present — includes 48 galleries, 8
more than last year.
“The move to the new space
was the occasion to rethink the
experience, and gave us the elas-
ticity to grow the fair’s program,”
says Marianne Goebl, director
of Design Miami. The expansion
is not just a reflection of the
bigger space, she adds, but also
a reflection of the health of the
design market.
Maria Wettergren, founder of
Galerie Maria Wettergren in
Paris, sees “a statement dimen-
sion” in the latest fair. “It’s really,
really strong now, ” she says. “It
doesn’t hurt that the new space
allows not only for bigger exhibi-
tor booths, but also for more
George Nakashima’s “Cross-legged desk,”
1976 (later known as Conoid desk), at the
Sebastian + Barquet gallery

COURTESYOFPROGALLERY,MADRID
THIN CROWDS BUT BRISK SALES
THE NINTH EDITION of Volta in
Basel opened at the Dreispitzhalle
on Monday to an audience made
up mostly of dealers, rather than
the top collectors that have flocked
to the satellite in previous years
ahead of Unlimited’s
Monday afternoon open-
ing and Art Basel’s pre-
view on Tuesday. Many
of the 74 international
gallerists represented at
the fair blamed the
thin crowds on an over-
load of Monday midday
offerings — Design
Miami/Basel, SCOPE
Basel, and Liste all
opened around the same
time as Volta9.
Still, the competition
seemed to do little or
nothing to diminish
sales. Galleries from
Copenhagen, of which
there are eight this
year, did especially well
in the early hours, per-
haps due to the relatively
eye-catching works
among their offerings.
Jesper Elg of V1 Gallery
was particularly bullish after sell-
ing two John Copeland oil and
acrylic paintings on vintage
Playboy covers. “We always do
well here; it’s good to be back,”
he says. The gallery will present
three two-day exhibitions over the
course of Volta9. Elg’s next-door
neighbor and fellow
Copenhagener David Risley
reported sales of several of
Charlie Roberts’s “100 Snake
Sticks,” 2013, a tempting impulse
buy for many at $200 a pop or
10 for $1,000. Helen Frik’s naïve
ceramics, a central installation
in the booth, were also a hot
item in early hours.
Spanish galleries showed up
in full force, presenting some of
the fair’s subtlest and most
sophisticated booths. Valencia’s
espaivisor – Galería Visor is
showing mostly photography,
with special focus on works from
the late ’60s and early ’70s
by Sarajevo-born conceptualist
Braco Dimitrijevíc and the
2013 Hasselblad Award winner
Joan Fontcuberta. For “Sputnik,”
1997, she created documentation
about the covered-up death of
fictional cosmonaut Ivan
Istochnikov, pilot of Soyuz 2 (a
spacecraft that was
actually unmanned, at
least according to offi-
cial records).
One the highest-
profile Spanish galleries
is a consolidation
of the Madrid firms
of Raquel Ponce, José
Robles, and Eva Ruiz,
who joined forces
to create the PRO
Gallery just two
months ago, in hopes
of weathering their
country’s economic
woes. “Galleries that
want to survive in
Madrid have to travel
a lot,” says Ruiz, who
now runs the trio’s
international outreach
efforts. “By doing so
and minimizing our
costs in Madrid and the
number of artists we
show, we believe we’ll survive.”
Particularly noteworthy among
PRO’s offerings is a wall piece
by Almudena Lobera, “Lectura
superficial” (“Superficial Read-
ing”), 2012–2013, which displays
sculptural versions of must-read
texts for the art intellectual (or
pseudo-intellectual): Dante, Kafka,
Deleuze, Calvino, Marguerite
Duras, and Thomas Bernhard,
among others. Several collectors
were vying for the piece.
Elsewhere, New York’s Ethan
Cohen, back at Volta after six
years at SCOPE Basel, sold an
American collector a Michael
Zelehoski painting in which a
shipping crate is flattened into
the picture plane. And one of
Volta9’s 16 first-time partici-
pants, Gallery Skape, from
Seoul, had success with works by
Myeongbeom Kim, including
“Play,” a 2010 sculpture that
combines a vintage tennis racket
with the skeleton of a violin; it
sold for $7,000.
— ALEXANDER FORBES
Impressionist · Modern &
Contemporary Art
Koller Auctions ·
DESIGN MIAMI/BASEL (CONTINUED FROM PAGE 1)
Almudena Lobera’s “Superficial Reading,” 2012-2013, at the PRO Gallery
Volta9 Opens Strong Despite Competition
open space ‘in between,’” she adds, which makes for a more pleasant
experience for visitors.
Design Miami/Basel offers the opportunity to see works from dif-
ferent periods in dialogue. Older design is represented by exhibits like
the carefully curated postwar French ceramics of Thomas Fritsch, a
first-time exhibitor from Paris; New Yorker Demisch Danant’s show
on the designers Antoine Philippon and Jacqueline Lecoq, featuring
works from 1957 to 1962; and French furniture from the 1950s, at
the Parisian Galerie Pascal Cuisinier. On the contemporary side, sev-
eral galleries have commissioned designers to create new work for the
fair. Galerie BSL of Paris presents Nacho Carbonell’s first works made
of stone and bronze as part of a new collection called “Time is a
Treasure” (Carbonell was named “Designer of the Future” at Design
Miami/Basel in 2009). And New York’s R 20th Century Gallery has a
series of witty new zoomorphic designs by sought-after L.A.–based
twins the Haas Brothers.
Period and contemporary pieces come together in a joint booth by
Carpenters Workshop Gallery and Steinitz, both of Paris, an unusual
collaboration that imagines the home of an eclectic collector who
mixes cutting-edge new furniture with antique objets d’art in a boise-
rie-paneled apartment. Jacksons Gallery of Stockholm reconstructs a
room created by Alvar Aalto, while New York’s Sebastian + Barquet
presents a solo show of George Nakashima’s furniture in a space mod-
eled on his Pennsylvania studio.
While the fair remains very European, it has extended its reach to
include a South African participant, Southern Guild, and a Middle
Eastern one, the Lebanese Carwan Gallery, which is presenting furni-
ture and objects designed by the Paris-based architect and designer
India Mahdavi, who was inspired by traditional Ottoman tile-making.
— SONIA KOLESNIKOV-JESSOP
2 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | JUNE 12, 2013

CHLOEWYMA
GETTING THROUGH ART fairs
can be tough. Huge exhibition
halls and subpar sustenance are
just some of the challenges
faced by gallery girls, megacol-
lectors, and art tourists alike.
To help you, Blouinartinfo offers
these helpful tips.
1. Good shoes: Anything you wear
should be comfortable to walk
in for longer than an hour, and
don’t feel ashamed to wear
sneakers. New York supercritic
Jerry Saltz does! Also, blisters
can and will appear,
so bring some Band-Aids.
2. Set an itinerary: Art Fairs
tend to be sprawling, and
it’s easy to get sidetracked
or overwhelmed. Study
the fair map, locate the gal-
leries you want to visit most,
and go from there. You’ll
still catch plenty of good,
unexpected stuff along
the way, but you’ll also be
sure not to miss what
you came for.
3. Look for deals: Ticket
prices, especially at
the fairs, can be high.
Look for student
or senior discounts.
4. Snacks: Some art
fairs have begun to feature
artisanal food vendors, but even
when the food is good, it can
be expensive. You may want to
bring some supplementary snacks
and water. Keep your goodies
safe from heavy catalogues.
5. Hand sanitizer: If you’re going
to be talking to a lot of gallerists,
you’ll likely be shaking a lot of
hands. Bring some of the good
stuff (with aloe).
6. Business cards: If you’re
shaking hands, you’re probably
also networking, and there’s
still no better way to do that
than exchanging business
cards. Make sure to stock up
before the fair. (Artists, however,
should not attempt to use a
fair as an opportunity to sell
themselves to dealers.)
7. Swag: Get it!
8. Drink early and often: Take
advantage of the adult beverage
options at the fair. Indulging in
some bubbly will distract from the
pain in your feet and help you
appreciate your umpteenth neon
artwork of the day. Finagle a
pass for the VIP room if you can.
9. Charge your devices: Go with
a charged phone. Outlets tend to
be few and far between, though
it’s still wise to bring a charger in
case of emergencies.
10. Be organized: Using a small
camera or camera phone to cap-
ture works, work titles, and booth
information is faster and more
reliable than taking notes. It also
produces a handy visual narrative
of your trek through the fair.
11. Know your art world celebrities:
If you’re taking pictures, know
whom to snap. Important Basel
figures to look for: Art Basel
director Marc Spiegler; MoMA
PS1 director Klaus Biesenbach
and his well-coiffed white ’do;
Hole gallerist May Andersen
(mostly known for being a
Victoria’s Secret model and Julian
Schnabel’s baby mama); bespec-
tacled curator Hans Ulrich Obrist;
Andre Saraiva (owns art world
pop-up nightclub Le Baron); and
Swiss president Ueli Maurer.
12. Be wise about your bag: Okay,
we are advising you to bring a
lot of stuff, and you’ll want to
think carefully about the bag
you choose to bring. Backpacks
are the wisest, in our view.
13. Bring your posse: Whether
you’re going to buy or just
browse, going to art fairs with
friends makes the whole affair
more enjoyable.
14. Don’t bring your kids: As the
old adage goes, an art fair is no
place for children.
15. Plan your route: Big fair weeks
often have several satellite fairs,
so planning how you’ll get to
them ahead of time will save you
headaches. Some fairs offer com-
bination admissions packages.
This year, SCOPE Basel will run
a complimentary shuttle service
between its fair and Art Basel,
Liste, and Volta. Volta also pro-
vides a free shuttle bus to and
from Art Basel and Liste. And the
Solo Project at St. Jakobshalle
provides shuttles in two loops —
one for Museum Tinguely and
the namesake art fair, the other
for Schaulager and Volta.
16. And plan your parties: RSVPing
ahead of time to the important
after-fair parties will save you a
headache later.
17. Pace yourself: Don’t try to
do more than two fairs in one
day. Just don’t.
18. Take breaks: Treat a fair as a
marathon? You’ll get burned
out. Schedule regular 10-minute
rests or outdoor breaks — and
remind yourself to take them.
19. Don’t knock over artwork:
Pretty self-explanatory.
20. Tweet often, and know your
hashtags: Art Basel has its
own Twitter account, so tweet
@ArtBasel with the hashtags
#ArtBasel, #Switzerland,
#ArtBaselinBasel, #Rebranding.
And if you need to vent about
the trials and tribulations of
attending an art fair — for
example, “Demi Moore tried to
date me last night #Basel” —
tweet @ArtBaselProblems.
AN ART FAIR SURVIVAL GUIDE
Treat a fair as a marathon? You’ll get burned
out. Schedule regular 10-minute rests or outdoor
breaks — and remind yourself to take them.

MARKLEHMKUHLERVIAFLICKR
LUCIO FONTANA
1899 - 1968, Concetto Spaziale, 1957. 54 x 65 cm.
Catalogue raisonné, Milan, 2006, vol. I, p. 350, no. 57 G 14.
AUCTION: THURSDAY 27 & FRIDAY 28 JUNE 2013
EXHIBITION: FRIDAY 21 JUNE UNTIL WEDNESDAY 26 JUNE 2013
All Catalogues online: www.hampel-auctions.com
HAMPEL FINE ART AUCTIONS MUNICH
Schellingstr. 44 / Villa Hampel · 80799 Munich · Tel.: +49 (0)89 - 28 804 - 0 · Fax +49 (0)89 - 28 804 - 300
ofﬁce@hampel-auctions.com · www.hampel-auctions.com
Florentijn Hofman’s “Rubber Duck,” 2013
Asia Society Museum | 725 Park Ave. (at 70th St.) | New York City | AsiaSociety.org/IranModern
IRAN MODERN
The first major U.S. exhibition of artwork created in the three
decades leading up to the Iranian Revolution of 1979.
September 6, 2013–January 5, 2014
MonirShahroudyFarmanfarmaian.Untitled,1977.Mirror,reverse-glasspainting,andplasteronwood.
41½x41½x41½in.(105.4x150.4cm).ZahraFarmanfarmaian.Photo:JoshuaSage.
Franco on the Power of Cross-
Dressing: For his new collabora-
tion with video art great Douglas
Gordon at Pace’s London loca-
tion, artist-actor–Renaissance
man James Franco cast himself in
the role of Marion Crane (origi-
nally played by Janet Leigh) in a
partial remake of Alfred Hitch-
cock’s “Psycho” titled “Psycho
Nacirema” (“American” back-
wards), partly shot on the
Universal Studios set where the
original was filmed. “In the
original, the psycho is a cross-
dresser and the victim female. It’s
obviously an old-fashioned idea
that a transvestite would be a
psycho. By casting myself as
Marion Crane, I hope to under-
mine those dated notions,”
Franco told the Guardian’s Skye
Sherwin. “When I started doing
art projects, I thought I needed to
move away from the world of
acting. Then I realized all my
favorite artists look to film for
inspiration: Cindy Sherman, Rich-
ard Prince, Dan Colen, and
Douglas Gordon.”
Hong Kong’s Giant Duck Migrates
to U.S.: Agence France-Presse
reported over the weekend that
thousands gathered to say
farewell to the beloved giant
inflatable duck in Hong Kong’s
Victoria Harbor. The Florentijn
Hofman–designed duck was
deflated today and will travel to
Pittsburgh as part of its ongoing
13-city world tour. “The rubber
duck has brought us a lot of
happiness,” said Tina Yip, a
34-year-old teacher. “I hope it
will come back.”
The Challenges of Restoring
Digital Art: Museums are facing
challenges in preserving and
restoring digital and Internet art-
works created with code, links,
and browsers that are now out of
use. Works like “The World’s
First Collaborative Sentence” by
the artist Douglas Davis, which
the Whitney acquired in 1995,
have had to be debugged and
reposted — a difficult task.
“Frankly speaking, it’s a huge
challenge,” Rudolf Frieling, a
curator of media arts at the San
Francisco Museum of Modern
Art, told the New York Times.
“Not every museum is set up to
do that. It takes huge technical
expertise.”
Qatar Museum Staffer Makes
Arab Spring Cartoons: Khalid
Albaih, the Romanian-born son
of a Sudanese diplomat and
now a Doha-based employee in
the Qatar Museum Authority’s
multimedia department, has
earned a devout following in the
Arab world for satirical cartoons
about the Arab Spring uprisings.
“I love comics, and my dad used
to bring home an Egyptian
magazine called Sabah El-Kheir
that heavily relied on cartoons…
It was amazing to me how
effective cartoons were,” Albaih
said in a profile by Isma’il
Kushkush for the New York
Times. “Yeah, sometimes I
get e-mails from Sudan telling
me, ‘You’re a Communist!’, or
from Syria, telling me to mind
my own business and to look
at my own country.”
Advice to Sell: Amid widespread
condemnation of Detroit’s plan
to sell off the Detroit Institute
of Arts’s collection, Bloomberg
columnist Virginia Postrel has
written an op-ed in favor of the
sale. “Great artworks shouldn’t
be held hostage by a relatively
unpopular museum in a declining
region,” she writes.
Brazil’s Art World Is Blowing Up:
The emerging art scenes in Rio
de Janeiro and São Paulo have been
helped along significantly by the
Brazilian government, which gives
tax rebates to corporations that
sponsor cultural projects in the
country. The country’s Ministry
of Culture also reports that the
government spends about $1
billion annually on arts support.
“The only thing that hasn’t changed
is the amount of talent in the
country,” Luiza Mello, director
of production company Automati-
ca, told the Los Angeles Times.
“What’s new is the amount of
investments, the movement in the
market, and the interest in the art.”
THE BRIEFING BOX
WORLD ART NEWS

TOPTOBOTTOM,LEFTTORIGHT:SONIAKOLESNIKOV-JESSOP;SEBASTIAN+BARQUET;YMER&MALTA;DESIGNMIAMI/BASEL,WHOTELS;SONIAKOLESNIKOV-JESSOP;COURTESYOFVOLTA9;ALEXANDERFORBES;COURTESYOFVOLTA9;TWOIMAGES:ALEXANDERFORBES
AT THE FAIRS
SCENES FROM THE SATELLITES
“Audrey Esca,” by Porky Hefer in
collaboration with Woodheads Leather
Merchants, made of leather, netting, and
steel, at Southern Guild gallery
Benjamin Graindorge’s “Fallen Tree,”
2011, oak wood and glass
DESIGN MIAMI/BASEL
VOLTA9
Ignacio Bahna’s “Contra Fibra,” 2013
At Pierre Marie Giraud, collectors admire
ceramics by various international
artists, including Tony Marsh
Seung Yong Song, a winner of the 2013
W Hotels Designers of the Future Award
George Nakashima’s prototype
grass seat chair, 1947
Works by Myeongbeom Kim at Seoul’s
Gallery Skape
Rubicon Gallery’s booth
Eckart Hahn’s “Beauteousness,” 2011,
and Thorsten Brinkmann’s “L’Alberling
Quell,” 2013, at Pablo’s Birthday’s booth
Kathy Grayson of The Hole (New York)
engages collectors with Kadar Brock’s
textural paintings

CLOCKWISEFROMTOP:COURTESYOFKRAFFTBASEL;ANDREASZIMMERMANN;ADRIANOBIONDO
BLOUINARTINFO.COM ASIA EDITION is published six times per year, and is distributed via major art fairs,
cultural institutions, top hotels, and select regional auctions.
BLOUINARTINFO.COM
With an audience of global collectors, gallery directors, and museum curators,
it is the premier source for Asian Art, Culture & Style.
ASIA EDITION MAGAZINE
SEPTEMBER/OCTOBER
DISTRIBUTION
Watches and Wonders, Hong Kong:
September 25-28, 2013
Asia Contemporary Hong Kong:
October 3–6, 2013
Korean International Art Fair:
October 3-7, 2013
Select Galleries in Hong Kong, Beijing,
Shanghai, and Korea
Cultural Institutions and Luxury Hotels
Closes: July 26, 2013
OCTOBER
Special Singapore Biennale Issue
October 26, 2013-February 16, 2014
DISTRIBUTION
Singapore Galleries, Cultural
Institutions, Luxury Hotels
Closes: August 30, 2013
NOV/DEC LOCATIONS
DISTRIBUTION
Hong Kong and Beijing Auctions,
Galleries, Cultural Institutions, Luxury
Hotels
Art Taipei:
November 8-11, 2013
Closes: October 4, 2013
For more information please contact Wendy Buckley, Publisher at wbuckley@artinfo.com
ART BASEL ATTRACTED 65,000
visitors last year, and its 44th
edition promises to be a powerful
draw once again, with more
than 300 galleries from North
America, Latin America, Europe,
Asia, and Africa presenting
works by more than 4,000 mod-
ern and contemporary artists.
But even the most passionate art
aficionados can’t spend all their
time at the fair.
RESTAURANTS
VOLKSHAUS
Swiss architects Herzog & de
Meuron’s extensive makeover of
this 1925 restaurant and bar
has been the talk of the town.
The sleek black bar is a perfect
foil for the airy, all-white
French brasserie featuring fancified
classics like steak frites and crème
brûlée with ginger and lemongrass.
The courtyard beer garden
provides an outdoor option.
Rebgasse 12–14
+41 61 690 93 10
volkshaus-basel.ch
RESTAURANT STUCKI
Chef Tanja Grandits is devoted to
harmony, contrasts, colors, and
spices, and produces some of the
most innovative cuisine in Switzer-
land. A typical dish — called
simply “salmon” — comes with
cardamom sashimi, rooibos
smoke, and sweet potato grape-
fruit dashi.
Bruderholzallee 42
+41 61 361 82 22
stuckibasel.ch
BODEGA ZUM STRAUSS
The creative class flocks to this
Italian restaurant for what many
say is the best pasta in Basel.
The ground floor has a boisterous
atmosphere while the second
floor is quieter; reservations are
recommended.
Barfüsserplatz 16
+41 61 261 22 72
SCHLOSS BOTTMINGEN
Just outside Basel, this glorious
castle has a romantic garden
terrace and several stately dining
rooms. French cuisine gets a
contemporary spin in dishes like
green-pea soup with peppermint
and shrimp with garlic sauce.
Schlossgasse 9
+41 61 421 15 15
weiherschloss.ch
RESTAURANT SCHLÜSSELZUNFT
Housed in an impressively vast
12th-century guildhall, this
restaurant serves traditional dishes
like veal and kidneys with spaetzle,
fresh fish, and homemade sorbet.
There’s also an expansive Sunday
brunch menu.
Freie Strass 25
+41 61 261 20 46
schluesselzunft.ch
MUSEUMS
KUNSTMUSEUM
The Kunstmuseum’s collection
emphasizes the Renaissance and
the 19th through 21st centuries.
A Picasso retrospective on view
through July 21 — “The Picassos
Are Here!” — brings together
works from Basel’s top institu-
tions for the first time.
St. Alban-Graben 16
+41 61 206 62 62
kunstmuseumbasel.ch
FONDATION BEYELER
This sleek, light-filled museum,
founded by art dealers Hildy and
Ernst Beyeler and designed by
Renzo Piano, is a perfect venue
for displaying the cheeky con-
temporary sculptures of Maurizio
Cattelan (through October 6)
and a Max Ernst retrospective
(through September 8).
Baselstrasse 101
+41 61 645 97 00
fondationbeyeler.ch
VITRA DESIGN MUSEUM
“Louis Kahn: The Power of
Architecture” (through August
11) pays tribute to the austere,
masterful formalism of one of
America’s most lauded architects.
The show features original
drawings, travel sketches, ephem-
era, and scholarship pertaining
to major projects like the
Bangladeshi National Assembly,
the Salk Institute, and the
posthumously unveiled Four
Freedoms Park in New York.
Charles-Eames-Strasse 1
Weil am Rhein, Germany
+49 7621 702 32 00
design-museum.de
MUSEUM JEAN TINGUELY
Named for Basel’s most famous
artist, the museum continues
its “Tinguely@Tinguely” exhibi-
tion through September 30,
re-examining his “metamechanic”
oeuvre 20 years after his death.
New additions to the collection
and select pieces by Lithuanian
artist Zilvinas Kempinas (“Slow
Motion,” through September 22)
provide additional kinetic context.
Paul Sacher-Anlage 2
+41 61 681 93 20
tinguely.ch
SHOPPING
SET & SEKT
This incredibly stylish boutique
sells women’s and men’s clothing
from such brands as Dries van
Noten, Comme des Garçons,
James Perse, Alexander Wang,
and Stutterheim, plus leather
accessories by Isaac Reina and
body-chemistry colognes by
Escentric Molecules.
Rümelinsplatz 5
+41 61 271 07 65
setandsekt.com
SEVEN SISTERS
A must for cool hunters, this
concept store stocks merchandise
that runs the gamut from
housewares to fashion to gifts,
from international names as well
as up-and-coming Swiss designers.
Spalenberg 38
+41 61 262 09 80
www.sevensisters.ch
TROIS POMMES
A renowned mecca for men’s
and women’s clothing — it says a
lot that it also has outlets in St.
Moritz and Gstaad — Trois
Pommes offers labels like Azzaro,
Tom Ford, Dolce & Gabbana, and
Prada, as well as a luxury vintage
store at Aeschenvorstadt 55.
Freie Strasse 74
+41 61 272 92 55/57 (Donna/Uomo)
www.troispommes.ch
HANDMADE
The eclectic and artsy Handmade
sells items both essential (organic
bath products from Aesop) and
unusual (Droog’s crystal-wine-
glass doorbell, hand-knitted
Swiss baby booties by Hohgant).
If you can’t leave the fair, the
Artshop at the Messeturm (exhi-
bition tower) is also offering a
selection of its wares.
Nadelberg 47
+41 61 261 31 61
h-made.ch
HOTELS
LES TROIS ROIS
Decked out in sumptuous fabrics
and rich colors, the 101-room
Les Trois Rois, located on the
Rhine in the old town, is a
classic European hotel. It has
a storied history dating back
to 1681 and a list of past guests
that includes Richard Wagner
and Marc Chagall. The restau-
rant Cheval Blanc, located
in the hotel, serves elegant
Mediterranean dishes.
Blumenrain 8
+41 61 260 50 50
www.lestroisrois.com
Rates: double rooms from CHF 545/$571
AU VIOLON
Many European cities boast hotels
that were once monasteries, but
Au Violon was also a prison from
1835 until it was renovated in
1995. Its 20 rooms are simply and
tastefully furnished, and it has a
brasserie with a charming terrace
that is ideal for drinks or dining
in warm weather.
Im Lohnhof 4
+41 61 269 87 11
www.au-violon.com
KRAFFT BASEL
This historic 60-room hotel
features modern interiors and
lovely views. Diners can enjoy
river breezes on the restaurant’s
terrace and a cigar afterward
in the smoking lounge.
Rheingasse 12
+41 61 690 91 30
krafftbasel.ch
HOTEL EULER BASEL
Located near the Basel train sta-
tion, this grand hotel was estab-
lished in 1867 and renovated from
top to bottom in 2008.
Impeccably designed, it features
66 modern rooms and a lively bar
and terrace.
Centralbahnplatz 14
+41 61 275 80 00
swissinternationalhotels.com/euler-basel
Rates: double rooms from
CHF 657/$689
DER TEUFELHOF BASEL
This charming 33-room guest-
house, composed of two
interconnected historical resi-
dences, combines hospitality
with art (displayed throughout),
theater (the hotel has its own
performance space), and fine
cuisine (on offer at both the
Bel Étage restaurant and the
less formal Atelier).
Leonhardsgraben 47–49
+41 61 261 10 10
teufelhof.com
Rates: double rooms from
CHF 598/$622
Places to Eat, Shop, See, and Stay
WHEN IN BASEL…
The Krafft Basel hotel, at left
Volkshaus
Set & Sekt
JUNE 12, 2013 | BLOUIN ARTINFO ART BASEL SPECIAL DAILY EDITION | 11

ART BASEL
Messe Basel, Messeplatz
Invite-only VIP previews:
Tuesday, June 11, 11 a.m.–8 p.m.
Wednesday, June 12, 11 a.m.–3 p.m.
Invite-only Vernissage:
Wednesday, June 12 3–8 p.m.
Thursday, June 13, 11 a.m.–7 p.m.
Friday, June 14, 11 a.m.–7 p.m.
Saturday, June 15, 11 a.m.–7 p.m.
Sunday, June 16, 11 a.m.–7 p.m.
SATELLITE
FAIRS
SCOPE BASEL
Uferstrasse 40
Invite-only previews:
Monday, June 10, 1–9 p.m.
Tuesday, June 11, 1–9 p.m.
VOLTA9
Helsinki-Strasse 5
Invite-only preview:
Monday, June 10, 10 a.m.–2 p.m.
Opening Reception: Monday,
June 10, 5–9 p.m.
LISTE 18
Burgweg 15
Tuesday, June 11, 1–9 p.m.
Wednesday, June 12, 1–9 p.m.
Thursday, June 13, 1–9 p.m.
Friday, June 14, 1–9 p.m.
Saturday, June 15, 1–9 p.m.
Sunday, June 16, 1–6 p.m.
DESIGN MIAMI/BASEL
Hall 1 Süd, Messe Basel
THE SOLO PROJECT
Brüglingerstrasse 19–21
Wednesday, June 12,10a.m.–12p.m.
Wednesday, June 12, 12–8 p.m.
I NEVER READ,
ART BOOK FAIR BASEL
Rebgasse 12–14, Volkshaus Basel
Opening: Thursday, June 13,
6–10 p.m.
MUSEUM
EXHIBITIONS
KUNSTHAUS ZURICH
Heimplatz 1, Zurich
“The Looser Collection”
A preview of the Hubert Looser
Collection that will be permanent-
ly installed in the Kunsthaus in
2017, this exhibition offers an
almost-complete look at the
collection’s abstract, minimal, and
Arte Povera works.
KUNSTHALLE BASEL
Steinenberg 7
Opening: Wednesday, June 12,
7–10 p.m.
“Paulina Olowska: Pavilionesque”
Polish artist Paulina Olowska’s
first solo exhibition in Switzer-
land features a functional
sculpture that serves as a setting
for performances and the
presentation of newly produced
works like paintings, ceramics,
and sculptures.
SCHAULAGER
Ruchfeldstrasse 19
Steve McQueen
More than 20 videos and film
installations, photographs, and
other selected works by Steve
McQueen will be on view across
two floors of Schaulager,
which has been architecturally
transformed into a “City of
Cinemas” for this exhibition.
FONDATION
BEYELER
Baselstrasse 101
Maurizio Cattelan
An exhibition of new, previously
unexhibited works by the Italian-
born, New York–based artist
and curator Maurizio Cattelan.
KUNSTMUSEUM
BASEL
St. Alban-Graben 16
“The Picassos Are Here!”
Drawn exclusively from Basel
collections, this Picasso
retrospective includes works
never before exhibited in
public and many that have never
been shown together.
KUNSTHAUS
BASELLAND
St. Jakobs-Strasse 170
“Christopher Orr: Light
Shining Darkly”
Christopher Orr’s first exhibition
at Kunsthaus Basselland
presents recent paintings alongside
works created exclusively for
this show.
MUSEUM DER
KULTUREN
Münsterplatz 20
“POPCAP ’13”
POPCAP ’13 at the Museum der
Kulturen is an exhibition of
photographs exploring contempo-
rary ideas about Africa — and
taken on the outskirts of Basel.
GALLERY
SHOWS
LALEH JUNE GALERIE
Picassoplatz 4
Opening: Thursday,
June 13, 5–8 p.m.
“We Are Young”
A group exhibition of young
international artists — Crystel
Ceresa, Lori Hersberger,
Robert Lazzarini, Kelly McCal-
lum, Marc Rembold, and Philippe
Zumstein — who respond to
historic traditions in painting
and sculpture in radically
different ways.
NICOLAS KRUPP
CONTEMPORARY ART
Rosentalstrasse 28
Walter Swennen
A solo exhibition of works by
neo-expressionist Belgian painter
Walter Swennen.
VON BARTHA GARAGE
Kannenfeldplatz 6
Daniel Robert Hunziker
This solo exhibition of works
by Daniel Robert Hunziker, who
is influenced in part by artists
like Donald Judd and Robert
Morris, bridges 20th-century
minimalism and explorations of
contemporary industrial architec-
ture (warehouses, train tracks,
and urban European sprawl are
particular inspirations).
ART BASEL FILMS
All screenings take place at Stadtkino Basel,
Klostergasse 5, Basel. Tickets are available
at film@artbasel.com or the film information desk
at Art Basel.
“Michel Auder – Stories, Myths, Ironies,
and Other Songs: Conceived, Directed, Edited and
Produced by M. Auder”
Wednesday, June 12, 6 p.m.; Friday, June 14, 5:30 p.m.
A series of short films screened in conjunction
with Auder’s exhibition at Kunsthalle Basel,
which presents works from throughout his
career, including a video diary, documen-
tary works, and appropriated commercial
television pieces.
Short Film Program: “Approaching Spaces”
Thursday, June 13, 8 p.m.
Curated by Marc Glöde, this series of experimental
films explores questions of space and architecture.
Screenings are followed by a Q&A with Stephen
Prina and Marc Glöde.
Hassan Khan: “Blind Ambition”
Thursday, June 13, 10 p.m.
Originally commissioned for dOCUMENTA (13),
Hassan Khan’s “Blind Ambition” is a fictional
work shot on two mobile phones in 2012. The
screening is followed by a Q&A with Hassan
Khan and Marc Glöde.
Kader Attia: “Untitled” (Collages)
Friday, June 14, 8 p.m.
Kader Attia’s single-channel video examines
the lives of transsexuals in Algiers and Bombay,
raising questions about the possibility of objec-
tive testimony.
Short Film Program: “Still/Moving”
Friday, June 14, 10 p.m.
This series of short films presents works by
John Stezaker, Michael Snow, and Martin Arnold,
among others. Curated by Marc Glöde, “Still/
Moving” re-examines “still” and “moving”
footage, eliciting new perspectives on historic
works. Screenings are followed by a Q&A with
Martin Arnold and Marc Glöde.
Kader Attia’s “Untitled” (Collages), film still, 2011-2012
AROUND TOWN
Cultural Goings-on in Basel
Pablo Picasso’s “Buveuse d’absinthe,” 1901, at the Kunstmuseum Basel
FROMTOP:MARKGISLER,MÜLLHEIM,©SUCCESSIONPICASSO/PROLITTERIS,ZÜRICH;COURTESYGALERIEKRINZINGERANDTHEARTIST
Friday, June 21, 18:00 CET – live and online –
Auctionata will auction a spectacular ﬁnd:
Egon Schiele’s watercolour Reclining Woman, a masterpiece from 1916. Kallir D. 1824b.
Hall 2
Booth D 11
Preview at Galerie
St. Etienne

FROMTOP:BARBARASEILERGALERIE;PATRICKMCMULLAN
CONVERSATIONS, TALKS, AND EVENTS
JANKOSSEN CONTEMPORARY
ART GALLERY
101 Haltingerstrasse
Yong-joo Marbot
An exhibition of works by
Basel-based, Korean-born artist
Yong-joo Marbot, who works in
oil on canvas and traditional
Korean “hanji” paper, creating
geometric works that allude to
landscapes.
STAMPA
Spalenberg 2
Erik Steinbrecher/Zilla Leutenegger
STAMPA presents two solo
exhibitions by Erik Steinbrecher
and Zilla Leutenegger. Steinbrech-
er’s show includes recent paint-
ings, geometrical pieces, and
works based on performance,
while Leutenegger’s consists of
selected drawings made between
1999 and 2009.
HAUSER & WIRTH
Limmatstrasse 270, Zurich
“Lee Bontecou: Works on Paper”
This rare exhibition of drawings
by Lee Bontecou brings together
significant drawings dating from
her early career in the late ’60s to
more recent works, some of
which have never before been
exhibited publicly.
GALERIE PETER
KILCHMANN
Zahnradstrasse 21, Zurich
“Los Carpinteros: Bola De Pelo”
A multimedia show of new works
by the Cuban-born artist duo Los
Carpinteros, this exhibition
includes sculptures, large works
on paper, and the screening of
their new art film, “Pellejo.”
GALERIE
EVA PRESENHUBER
Zahnradstrasse 21, Zurich
“Ugo Rondinone: Soul”
“Soul” is a series of new sculp-
tures composed of bluestone and
rough-cut into blocks that are
stacked atop one another to form
human figures.
BARBARA SEILER
GALERIE
Anwandstrasse 67, Zurich
“Shana Lutker:
The Blowing Nose”
Like all of Shana Lutker’s
exhibitions, “The Blowing Nose”
is shaped by the artist’s research
into the histories of psychoanaly-
sis and surrealism. In this case,
the show of multimedia and
sculpture reflects Lutker’s recent
explorations into fistfights that
surrealist artists engaged in,
battling over ideas and work.
GALERIE EDWYNN HOUK
Stockerstrasse 33, Zurich
Abelardo Morell
Abelardo Morell’s first solo ex-
hibition in Switzerland presents
works from his career as a contem-
porary camera obscura photographer.
(continued from page 13)AROUND TOWN
ART BASEL CONVERSATIONS
Hall 1, Auditorium, Messe Basel
These morning conversations, open to the
public, bring artists, curators, collectors,
writers, and other art world professionals
together, with time allotted for questions and
open discourse. All conversations are from
10–11:30 a.m.
Artist Talk: Thomas Schütte
Wednesday, June 12
German artist Thomas Schütte will converse
with prominent curator Massimiliano Gioni.
Public/Private: Museums and Austerity
Thursday, June 13
Author and consultant András Szántó
moderates a conversation between Agustín
Pérez Rubio, former director of the Museo de
Arte Contemporáneo de Castilla y León, and
Suzanne Cotter, director of Porto’s Serralves
Museum of Contemporary Art. The pair will
discuss the economic difficulties facing
museums and the implications of austerity
for cultural institutions.
Collectors Focus: Collecting New Media
Friday, June 14
As part of the “Collectors Focus” series,
which examines issues surround-
ing collecting and patronage,
collector Carl Thoma and
curator Alice Gray Stites discuss
the effect of digital artworks on
the future of collecting.
The Artist and the Gallerist
Saturday, June 15
A conversation between New
York artist Dan Graham and
Massimo Minini of Italy’s
Galleria Massimo Minini offers a glimpse
into the complex relationship between artists
and the galleries that represent them.
Artistic Practice: The Artist as Farmer
Sunday, June 16
In this, the sixth panel of the series entitled
“Artistic Practice,” Hans Ulrich Obrist
moderates a discussion with several luminaries,
including Fritz Haeg and Adrián Villar Rojas.
Previous talks have included “The Artist as
Urbanist,” and “The Artist as Activist.”
DESIGN TALKS AT DESIGN MIAMI/BASEL
Hall 1, Süd, Messe Basel
The Design Talks explore issues in contempo-
rary design practice and collecting, with
interdisciplinary panel discussions and
interviews. All talks are from 5:30–6:30 p.m.
Designing the Future
Tuesday, June 11
Three winners of the W Hotel’s Designers of
the Future Award — Seung-Yong Song, Jon
Stam, and Bethan Laura Wood — will discuss
their studio practices and design ideals in a
conversation moderated by Felix Burrichter,
the editor/creative director of PIN-UP.
The Power of Patronage
Wednesday, June 12
Ginevra Elkann, president of Turin’s Pinaco-
teca Agnelli, and Patrick Seguin,
principal of Galerie Patrick Seguin,
will discuss the significance of
private museums in today’s cultural
landscape. Horacio Silva, the editor
in chief of Crane.tv, will moderate.
The Choreography of
Collaboration
Thursday, June 13
Daniel Arsham, an artist and
co-founder of Snarkitecture, and
designer Judith Seng discuss dance, design,
and their collaborations with Merce Cun-
ningham, Jonah Bokaer, and Barbara Berti.
PUBLIC TALK WITH
MASSIMILIANO GIONI AND
FRANCESCO BONAMI
Fondation Beyeler, Baselstrasse 101
A conversation between curator, critic, and
writer Francesco Bonami and curator and
director of the 55th Venice Biennale,
Massimiliano Gioni.
PARCOURS OPENING NIGHT
Various Locations. See artbasel.com/en/
basel/about-the-show/sectors/parcours
Wednesday, June 12, 7 p.m.–12 a.m.
Parcours is a series of site-specific artworks
and performances by internationally re-
nowned and emerging artists — including
Marina Abramovic´, Jill Magid, Sterling
Ruby, and Danh Vo — taking place in
various locations throughout Basel’s historic
Klingental neighborhood. The opening night
features performances by L.A. Dance
Project, Marc Bauer, and Michael Smith.
Food, drinks, and live music by Kafka on
Kaserne plaza at 11 p.m.
ELEMENT OF CRIME
IN CONCERT
Spiegelzelt (performance tent) in Sarasin
Park, across from Fondation Beyeler
(Baselstrasse 101)
Saturday, June 15, and Sunday, June 16
Doors open at 6 p.m.; concert at 8 p.m.
The German rock band Element of Crime
performs alongside an exhibition of art-
works culled from the personal collections
of the band members, whose creative
pursuits outside of music include film,
theater, and literature. (Tickets available:
+41-61-226-90-03 or fondationbeyeler.ch)
Artist Dan Graham
Still from Shana Lutker’s “The Blowing Nose,” 2013, at Barbara Seiler Galerie
PRESIDENT’S DAY WEEKEND
FEBRUARY 13-17, 2014
VIP PREVIEW | FEBRUARY 13
PRESENTED BY Art Miami
FOR ADDITIONAL INFORMATION AND REGISTER TO BE ELIGIBLE FOR VIP STATUS VISIT:
ART-SOUTHAMPTON.COM | ART-MIAMI.COM | CONTEXTARTMIAMI.COM | AQUAARTMIAMI.COM | ART-WYNWOOD.COM

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MEDALLION FINE ART, INC.
Discreetly providing loans to private art collectors, dealers, and galleries.
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Shelley Fischer (212) 328-3664 sfischer@medallion.com
What might Andy Warhol think of
the art fair phenomenon? “He
would love it,” said Eric Shiner,
director of the Andy Warhol
Museum and curator of the
Armory Show’s Focus Section,
opening today. “For Warhol there
was no line between art and com-
merce. I can picture him renting a
booth and doing society portraits
as you wait.”
Fast-forward to today. “Artists
are hardly ever present at art
fairs,” says Shiner. Why? Perhaps
artists are protecting them-
selves: The quantity of artwork at
fairs and the pace at which people
move through booths can be
dispiriting for exhibiting artists.
Whatever the reason, Shiner
is committed to reversing this
trend, at least on opening day.
Nearly all 22 artists from the
17 galleries in the Focus section —
devoted to the United States —
are on site. Warhol is also here, in
spirit, courtesy of a Gagosian
Gallery mini retrospective. Oh,
and Todd Pavlisko’s work at
Samson Projects has two of the
artist’s weight-lifting benches.
They’re part of an installation.
Shiner says Warhol’s presence
makes for a timely reminder that
the art market wouldn’t exist
without the producers. The prob-
lem: With the Dow Jones Industrial
Average spiraling upward,
the split between producers and
consumers of art only widens.
Several participating artists
have created interactive projects
to disrupt the usual fair flow. At
Magnan Metz, Duke Riley invites
visitors to make rubbings of the
booth’s floor, constructed from
driftwood picked up along the
shores of Rockaway Beach after
Hurricane Sandy.
Not quite your speed? Don’t
worry. At Wendi Norris Gallery, the
family of late American Surrealist
Dorothea Tanning is on hand
to chat about her life and work.
To provide his intervention
with structure, Shiner divided his
selection into three themes:
critical, historical, and humorous
takes on the United States. The
goal, he says, is to offer an accurate
if varied portrait of America today.
Politics is an unspoken if
persistent theme. New York–based
collective Type A is showing three
red, white, and blue neon silhou-
ettes of a man pointing a handgun.
They’re modeled after the U.S.
Department of Homeland
Security’s official shooting target.
The idea, in part, is to examine
male aggression and America’s
fascination with guns.
It goes without saying that
not a lot of this work is designed
to appeal to the widest possible
audience, allowing, perhaps, a
visitor to wander by uninhibited.
But that’s not the point: While
most things in the section are for
sale, creativity, not commerce,
drives Shiner’s selection. In that
spirit, the artists will gather at the
end of the first day for a group
portrait as a snapshot of American
art today. —JULIA HALPERIN AND
BENJAMIN GENOCCHIO
“FOUNTAIN” FOR THE 21ST CENTURY
Perhaps the most apposite artist tribute to the Armory’s centenary at
this year’s fair is Andrew Ohanesian’s installation at Pierogi: a urinal in
homage to Marcel Duchamp’s 1912 sculpture. But this one works.
“Andrew makes the urinal functional and
interactive, unlike Duchamp’s ‘Fountain,’ ”
gallerists Joe Amrhein and Susan Swenson
explained. “As with a typical urinal, the flush
is activated as you walk away.” The piece,
“Urinal,” is for sale at an as-yet undetermined
price in an edition of three. And if a curious
collector should want to try before they
buy? Said Amrhein: “If someone chooses
to use it, then I suppose we just tactfully have
to look the other way.” —BENJAMIN SUTTON
“For Warhol there was no line between art
and commerce. I can picture him renting a
booth and doing society portraits as you wait.”
New York–based collective Type A’s three red, white, and blue neon silhouettes
Megadealer Larry Gagosian
Andrew Ohanesian’s “Urinal”
IN PORTRAIT OF AMERICA,
COUNTRY DEEMED OKAY
ARMORY SHOW SPECIAL DAILY EDITION | MARCH 6, 2013
Focus Section DeliversAccurate,IfVaried,
Snapshot ofAmericaToday
Pier 94, Booth 901, Focus section,
is an odd place to find Gagosian at
the Armory. After all, the megadealer
is given front-and-center treatment
at most fairs. And it’s not like
he needs the 20 percent discount
that Focus-invited galleries enjoy.
Nonetheless, the gallery delivers
another blockbuster, courtesy of
tens of millions of dollars’ worth of
late Warhols. They’re set against
eye-popping, wall-to-wall lavender
self-portrait wallpaper designed in
1978. “We wanted this to be a
special installation of Warhol’s art,”
said Virginia Coleman, the gallery’s
spokesperson. And it certainly is.
Among the paintings is one of
the artist’s camouflage self-portraits
from 1986. Their prices topped out
at $12.3 million at Sotheby’s in
2007, before the crash. The gallery
declined to comment on this.
The showstopper is a 33-by-
7-foot green camouflage canvas,
an ink silkscreen from 1986. It
looks like snakeskin crossed with
an Ikea carpet. Either way, it
has wall power and is bound to be
a hit with the fair’s expected
60,000 visitors. —RACHEL CORBETT
INVITED TO SHOW,
GAGOSIAN SHINES
CLOCKWISEFROMTOP:TYPEAANDMONIQUEMELOCHE,CHICAGO;2013PATRICKMCMULLANCOMPANY,INC.;ANDREWOHANESIANANDPIEROGIGALLERY
LISTENING
TO THE CITY
Wir gratulieren den
von uns vertretenen Künstlern
zur Biennale di Venezia
Teilnahme
GALERIE ERNST HILGER WIEN 1 · GALERIE HILGER NEXT WIEN 10 · HilgerBROTKunsthalle WIEN 10 www.hilger.at WIENS SPANNENDE GALERIEN
Simon Vega für El Salvador
Cameron Platter Südafrika Gruppenausstellung
Angel Marcos collateral Project
“HIGHLIGHTS AT ART COLOGNE
have included Damien Hirst’s
shark in the early ’90s,” says
Daniel Hug, thinking back on
some of the fair’s great moments.
Another: “Rene Block sold ‘The
Pack’ by Joseph Beuys, the big
VW Bus with the wooden sleds, in
1970 for the record price of
$110,000.” Hug, who has been
the director of Art Cologne since
2009, is clearly focused on cap-
turing the spirit of those glory
days. Indeed, one of his first
moves on taking up the post was
to rebrand the fair with its retro
logo and slogan, “Internationale
Kunstmarkt” (International Art
Market).
Now in its 47th edition, the
fair may no longer be the preemi-
nent market it once was, but quali-
ty has been consistently on the rise
in the years since Hug took over,
and 2013 looks to be no excep-
tion. Two hundred galleries from
25 countries have descended on
the Koelnmesse with engaging dis-
plays like Helga de Alvear’s booth
of works by Angela de la Cruz and
Santiago Sierra; Moeller Fine Art’s
array of Lyonel Feininger, Otto
Dix, Marcel Duchamp, and Heinz
Mack; and Corbett vs. Dempsey’s
booth based on Duke Ellington’s
passport.
Several structural changes to
the fair have been introduced this
year. Most noticeably, the preview
is taking place two days later than
in the past, and sales will continue
through Monday night, making
the fair one day shorter overall.
“I’ve wanted to shorten the fair
for two years now,” Hug says of
the change, noting that 80 percent
of galleries he surveyed last year
agreed with the proposal. “Art
Cologne used to have a Monday,”
he continues. “It was sort of a pro-
fessional day, where a lot of deals
would happen between galleries
and diehard collectors could come
back and really take advantage of
few people being in the aisles.”
Entering the Messe, visitors will
note the absence of Hug’s signa-
ture Kunsthalle-style show, which
in past years featured artists like
Dieter Roth and Panamarenko,
and which has been replaced by
an exhibition of pieces from the
video and time-based art holdings
of the Dusseldorf collector Julia
Stoschek located in the disused,
gold-ceilinged and wood paneled
Messeklub (convention center res-
taurant) from the ’70s.
“It’s one of the things I’m most
excited about,” Hug says, “and it’s
actually two-fold: on one level it
showcases a major private collec-
tion at the fair, and on another it’s
a precursor to a new sector of the
fair in the same space called
VidCologne, which will launch
next year.”
He adds, “I want to introduce
an element similar to New
Positions,” a section of the fair for
galleries to show single works by
emerging artists, “but for experi-
mental, video and new media art.
That will be a combination of a
lounge with daily screenings and
QUALITY TRUMPS FASHION
ART COLOGNE SPECIAL DAILY EDITION | APRIL 18, 2013
Art Cologne captures the magic of fairs past
NEWSPAPERS MIGHT STILL
occasionally mistake him for his
rock star namesake, but British-
born artist Phil Collins is earning
his stripes as a Kölner. The Turner
Prize nominee’s latest installation,
at the Ludwig Museum where it is
premiering in a solo show and
opening today, tackles Cologne’s
least visible denizens: migrants
and outcasts. Working with the
local charity for homeless people,
Gulliver, the artist recorded con-
versations in a free telephone
booth (users were warned). This
material, saturated with the hopes
and disillusionments of those who
have fallen into the cracks of soci-
ety, was sent to groups like Scritti
Politti and Heroin In Tahiti, who
responded musically. The result-
ing tracks are available in listen-
ing booths overlooking Gulliver’s
homeless shelter. Collins’s musical
take on the city, where he now
spends half of his time, cuts close
to the bone while avoiding the
trappings of the sentimental or
moralistic. — COLINE MILLIARD
CLOCKWISEFROMTOP:ALEXANDERFORBES;COLINEMILLIARD;COLINEMILLIARD
Katharina Grosse’s “Untitled,” 2012, in front of the entrance to the Koelnmesse
THE BIGGEST STAR OF THIS year’s fair
— and the priciest work on view — is a
1926 painting by Ernst Ludwig Kirchner
in the booth of Bern’s Henze & Ketterer,
which represents the artist’s estate.
“Straßenbild vor dem Friseurladen”
belongs to the German expressionist’s sec-
ond series of street scenes and comes with
a €3.37 million price tag. The piece was in
the collection of Dresden’s Metropolitan
Museum until 1936, when it was confis-
cated by the Nazis; it later found its way
to a private collection in Switzerland. Last
year, the Hilti Foundation purchased a
Kirchner painting from Henze & Ketterer
during Art Cologne for around €3 million. The owner of this one, Dr.
Wolfgang Henze, says he has had institutional interest, and hopes to
find an equally good home for his painting. In 2006, another street
scene by Kirchner, “Berlin,” 1913, sold for $38 million at Christie’s,
setting the artist’s current auction record. — COLINE MILLIARD
Ernst Ludwig Kirchner’s
painting “Straßenbild vor dem
Friseurladen,” 1926
STREET LIFE IN THE SPOTLIGHT
Phil Collins’s “My Heart’s in My Hand, and
My Hand is Pierced, and My Hand’s in the
Bag, and the Bag is Shut, and My Heart is
Caught,” 2013
Continued on page 2
Art Cologne, Halle 11.2 Stand D18
moellerfineart.com
HONORING THE NEW
Wir gratulieren den
Teilnahme
WHEN IT COMES to sales at Art
Cologne, the time honored refrain
has been “wait for the weekend.”
That might still be the case at the
top end of the classical modern
spectrum, with dealers like
Zurich’s Salis & Vertes noting
strong interest and reserves on
German Expressionist master-
works by artists like Max Ernst
and Emil Nolde, but no completed
sales. For the most part, however,
in blue chip and emerging booths,
sales were stronger than any of the
gallerists consulted could remem-
ber compared to previous years.
Hauser & Wirth started
strong, with nine pieces from
their special presentation of text-
based works by the Belgian artist
Philippe Vandenberg selling within
the first hours of the fair for prices
ranging from €3,800 to €50,000.
(The artist created one of those
that sold by spelling out the
word “home” in his own blood.)
Director Florian Berktold says
he was particularly pleased “to
see the amount of interest for
Christoph Schlingensief’s captivat-
ing film, ‘Say Goodbye to the
Story (ATT 1/11).’ It has been
a while since his work has been
seen in Germany and our ‘Kino
3,000’” — a theater the gallery
created within their booth to show
the film — “is really popular.”
One edition of the Schlingensief
is on hold for an undisclosed
German museum, he says.
David Zwirner sold two works
by Thomas Ruff from the artist’s
newest series, currently on view at
the gallery’s 19th Street location
in New York, “phg.01” and
“phg.02,” both from 2012. By
Friday, the gallery had already
swapped the works for a third
Ruff in expectation that it would
sell with similar ease. Yayoi
Kusama’s “Cosmic Space” from
2008 also sold during the preview.
Collages by Marcel Dzama, an
artist new to the gallery, piqued
intense interest, with one sold and
five others reserved by Friday
afternoon. The gallery also report-
ed a strong reserve on what is
arguably the booth’s centerpiece,
Neo Rauch’s “Fang,” 1998.
Katharina Hinsberg’s popular
installation, “Mitten,” 2012 — a
room-filling series of balls made
of red molding clay hung along
strands and priced at €90,000 —
attracted serious interest from
two German museums, according
to the artist’s gallery, Edith
Wahlandt. Meanwhile, six of
Hinsberg’s works on paper sold
for €1,000 to €2,000 each.
Helsinki’s Galerie Forsblom
sold an imposing steel sculpture
by the French conceptual sculptor
Bernar Venet, “Interminate Line,”
1987, for €180,000, and a
new oil by young Spanish artist,
Secundino Hernandez, for
€13,000. Meanwhile, at Galerie
Buchholz, Isa Genzken’s sculpture
“Orang-Utan,” 2008, created
from a stuffed animal, a toy
horse, and other materials, went
for an undisclosed sum.
London’s Annely Juda sold
Anthony Caro’s small sculpture
“Writing Piece ‘1,’” 1979, to
a German collection for €39,000.
Four of the gallery’s wooden sculp-
tures by Roger Ackling also sold to
a European collector, for €2,000-
€4,600 a piece. The Cologne-based
dealer Gisela Capitain had strong
preview sales as well, with works
by Günther Foerg and John
Stezacker going early on. Several
GAINING STEAM
ART COLOGNE SPECIAL DAILY EDITION | APRIL 20–21, 2013
ZBYNEK BALADRAN WON
the 2013 Audi Art Award, Art
Cologne’s director Daniel Hug
and curator of the city’s Artothek
Christiane Dinges announced
yesterday. The Czech artist, repre-
sented by Galerie Jocelyn Wolff in
Paris, will receive €10,000 and
the opportunity to show at the
Artothek in the summer of 2014.
Baladran is one of 22 artists
taking part in this year’s “New
Positions” program, for which
dealers are encouraged to put for-
ward innovative solo projects. One
of the two artists selected to repre-
sent the Czech Republic at the
Venice Biennale this summer,
Baladran was singled out for his
video piece “Assemblages Against
Essences,” 2009, on display at
Jocelyn Wolff’s booth.
Curator Dinges praises the
“quietness and concentration” of
Baladran’s practice. “He’s a poet,
he’s a philosopher, he’s a painter,
he’s a filmmaker, and you have all
this in this piece,” she says. “It’s
very easy [for dealers] to show
always the same, well-known
people. We want to honor those
gallerists who give space to young
artists.” — COLINE MILLIARD
CLOCKWISEFROMTOP:PHOTOGRAPH:KOELNMESSE;PHOTOGRAPH:KOELNMESSE;ALEXANDERFORBES
A reclining muse at Galerie Neu overlooks thronging Art Cologne fairgoers
STRIPPED DOWN SOUND
Present at the announcement of the Audi
Award were Daniel Kremer of Audi; Jocelyn
Wolff, Baladran’s gallerist; Christiane Dinges
of the Artothek; and fair director Daniel Hug
Continued on page 2
moellerfineart.com
ENTERING ART COLOGNE,
visitors may get the impression that
a rave from the night before is still
happening somewhere deep inside
the Koelnmesse. The soundtrack
comes courtesy of the Cologne-based
electronic music label, KOMPAKT
(Booth N25). Known for pioneering
minimal techno, the label is celebrat-
ing its 20th anniversary in 2013.
Wolfgang Voigt, a founder along
with Michael Mayer and Jurgen
Paape, explains KOMPAKT’s pres-
ence at the fair this way: “A lot of the work we’ve done in the past
has been a crossover into art, especially pop movements. In the 90s
we did interventions in various galleries around Cologne. We thought
it was something interesting to bring back.” — ALEXANDER FORBES
KOMPAKT co-founder Wolfgang Voigt
Weekend promises strong close
as many galleries see more vigorous sales
A critic at an art fair is a little like a
priest at a strip club—very interest-
ed but unable to fully participate.
The occasion does, however,
provide an opportunity to assess
the aesthetic state of the market
from a point off to the side of the
stage where the deals go down.
And fairs can, at times, feel a bit
like peep shows, depending on the
sex quotient in the art world at
any given moment.
This year’s Armory Show offers
comparatively few risqué works,
although there’s plenty on view
that’s sexy, alluring rather than in-
your-face, thoughtful rather than
conceptually challenging. Subtlety,
quietness, and monochromes rath-
er than mirrored chromes appear
to be the order of the day.
In contemporary painting, at
Pier 94, this general tone seems to
translate into a shoring up of
quality. At Galerie Daniel Templon,
letters on a juicy, tactile, and sur-
prisingly ordered canvas by the
German artist Jonathan Meese spell
it out: “Revolution” becomes
“Evolution,” while below we’re told
that “Kunst Fuhrt” (Art Continues).
A couple of younger artists
evince similarly luscious evolutions
of talent. Natalie Frank’s raucous
new paintings include collaged por-
tions of canvas, and Bjarne
Melgaard’s bright paintings feature
actual clothing. Rod Bianco devot-
ed his booth to this Norwegian art-
ist, who collaborated with Sverre
Bjertnes to produce a floor installa-
tion — an avalanche of drawings,
fur, and exhibition catalogues pre-
sided over by a store mannequin.
Abstract painting, usually
favoring a technological look over
a gestural one, marches on vigor-
ously here, whereas, for instance,
the vogue for Chinese realism
seems to have abated. Eigen + Art
brought an expansive, abstract oil
by David Schnell, created almost
exclusively with vertical marks in
a mostly blue-gray palette, which
brings to mind an excellent take
on a wonky computer monitor.
Espousing the digital aesthetic
even more overtly are Julia Dault’s
paintings, which fill Galerie Bob
van Orsouw’s booth and are
among the strongest at the fair.
And while one doesn’t feel
overly crowded by concepts here,
a few pictures pack some heady
conceptual and political attitude.
At Honor Fraser, Meleko Mokgosi’s
wall-label paintings enact a
postcolonial deconstruction of
a recent show at the Metropolitan
Museum of Art and still manage
to be arresting. Oscar Tuazon’s
“Playboy Playcrete” at Galerie Eva
Presenhuber transforms a slab of
concrete into a wall painting.
Continued on page 9
The hottest fashion accessories at this year’s Armory Show are Andy
Warhol’s “Brillo Boxes” — or rather, artist Charles Lutz’s cardboard
clones, stacked to form a tower in the fair’s contemporary section. The
boxes are free for visitors to take away,
and the artist is on hand to sign his works.
“There are 1,000 of them in all,” he
said, with 250 set out each day and a limit
of one per visitor. By lunch, all were gone.
Meanwhile, the popularity has spawned
a market for boxes. The New York
dealer Bernita Mirisola from Russeck
Gallery was offering Lutz $20 to allow her
a second sample. She begged, “I want to
pay you!” —BEN DAVIS
Visitors on Pier 94 relax in front of Peter Liversidge’s “Day’s End,” 2013, after the opening-day VIP preview of the Armory Show.
Sofia Coppola made a first-day showing.
Charles Lutz’s cardboard clones
TREASURES VAST
AND VARIOUS AT PIERS
Few RisquéWorks,AlthoughThere’s
Plenty of Sexy Stuff
Filmmaker and New York art
world mainstay John Waters was
the most recognizable face
on the first day of the fair. But he
was not the only one. Other
bold-faced names included “Lost in
Translation” director Sofia Coppola
and celebrity chef Mr. Chow.
Of course, almost no one mat-
ters besides the collectors. Those
from the moneybags set on the first
day included Connecticut collectors
Phil and Shelley Aarons, the NYC-
and Beijing-based Richard Chang,
Edward Lee of London, Jill and
Jay Bernstein of New York and
Aspen, L.A.-based Stavros Merjos,
and New York’s own Susan and
Michael Hort. The Mugrabi clan
was also well represented.
Others seen walking the piers
were pastry chef-cum-filmmaker
Arden Wohl and design collector
and entrepreneur Kyle de Woody.
For industry networking, art
fairs are the place to be. MOMA
director Glenn Lowry spoke at the
press conference alongside Mayor
Michael Bloomberg. Susan K.
Freedman, Heather Hubbs, Kim
Heirston, Paul Morris, Sarah
Thornton, and Thea Westreich
were also spotted.
WHO’S WALKING
THE PIERS?
CLOCKWISEFROMTOP:CLAIREHCOHEN;2013PATRICKMCMULLANCOMPANY,INC.;CLAIREHCOHEN
HOT BOXES AT PIER 94
“Fairs can, at times, feel a bit like peep shows,
depending on the sex quotient in the art world
at any given moment.”
FINE ART + OBJECTS
STORAGE+GLOBAL LOGISTICS
cirkers.com 212.838.2525
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Art Fair
Logistics
WHILE FRIEZE New York has
more exhibitors this year than last
— around 190 to last year’s 180 —
there’s still not enough room for
everyone, and competition for
entry was fierce. The second edi-
tion of the fair sees a reshuffling of
galleries, with 60 joining for the
first time, including heavyweights
Marian Goodman, Peter Blum,
and Luhring Augustine. Scads of
others — including Friedrich
Petzel, Maccarone, David Nolan,
Nicole Klagsbrun, Michael Werner,
and Experimenter (Calcutta) —
dropped out. Whether due to fair
exhaustion (“fairtigue”) or to
simply not making the cut this
time, the turnover is a reflection
of the pressures dealers face in
today’s art world.
The fair’s main section offers
some 31 new exhibitors, including
New Yorkers Paul Kasmin, Murray
Guy, and Jack Shainman, as well
as Mumbai’s Project 88 and Paris’s
Kamel Mennour. “Paul Kasmin
Gallery has participated in Frieze
London from the beginning, so it
was natural to want to continue in
New York,” the gallery’s director,
Bethanie Brady, said.
Newcomers in the Focus sec-
tion include New York’s Untitled,
and dépendance from Brussels,
while first-timers in the Frame
section like Simone Subal from
New York and Berlin’s Circus will
present solo booths by Frank
Heath and Sophie Bueno-
Boutellier, respectively.
As for the more intriguing
question of why galleries didn’t
return — there are roughly 40 —
the overwhelming explanation is
exhaustion from the sheer number
of fairs dealers now attend.
“We couldn’t do Frieze and then
[Art Basel] Hong Kong right after-
wards,” said Gordon VeneKlasen,
director of Michael Werner
Gallery, “so we chose Hong Kong.
It’s just not possible for us to do
everything in the world.”
For some dealers, the decision
was out of their control. “This year,
very simply, I was not accepted,”
said Nicole Klagsbrun, who applied
before deciding a few months
ago to close her Chelsea gallery
after 30 years in the business.
Though her decision was moti-
vated by chagrin over the “whole
system,” which prioritizes fairs
over gallery shows, Klagsbrun
asserted that galleries need to stay
in the art fair game to remain
attractive to artists.
For younger galleries, the
notion that entry to Frieze New
York can make or break them
instills a kind of panic. “They’ll
get to do it one year, and then
they won’t the next year, and
they’ll feel like they’ve done some-
thing wrong,” said Phil Grauer
of Canada Gallery, explaining
his peers’ reactions to the fair’s
modus operandi, in particular
with respect to Frame, a section
geared toward emerging galleries,
those in business six years or
less. “But it’s the fair rolling
through the new young meat.”
While the Frame and Focus
sections, which cost exhibitors
less than the main section, are
aimed at newer galleries, Grauer
says the divisions have less to do
with age than economics. “The
main section is first class,” he said
comparing it to airline seating.
“Focus is business traveler — but
it’s pretty much coach. Frame is
like you’re running drugs for
someone else. They let you in and
then they kick you to the curb.”
— ROZALIA JOVANOVIC
DESIGNER PING-PONG
BROOKLYN-BASED DESIGN studio Snarkitecture, founded by art
and architecture hybrids Alex Mustonen and Daniel Arsham, has an
apparent fascination with the Ping-Pong ball. After featuring the
familiar white sphere in its set designs and performance pieces, the
firm is finally putting the balls to their intended use this Saturday dur-
ing the Collective .1 Design Fair. From 1 to 3 p.m., various art world
athletes, including architect and designer Gaetano Pesce, are gathering
at Pier 57 for a Ping-Pong tournament
emceed by Phillips de Pury auctioneer CK
Swett. The centerpiece is Snarkitecture’s
newly designed “Slice,” an all-black Ping-
Pong table commissioned by SoHo’s Grey
Area. The gallery will be selling the table at
the fair in an edition of 10. Anyone interest-
ed in playing during the tournament should
e-mail info@shopgreyarea.com.
— JANELLE ZARA
Walton Ford’s “Trí Thông Minh,” 2013, at Paul Kasmin Gallery
NEW YORK FAIRS DAILY EDITION | MAY 9, 2013
CLOCKWISEFROMTOP:WALTONFORDANDPAULKASMINGALLERY;THEESTATEOFALICENEELANDVICTORIAMIRO,LONDON;DANIELARSHAM
A HIGH-PROFILE roster of inter-
national dealers is pulling out all
the stops for the second edition
of Frieze New York, which runs
from May 10 to 13 on Randall’s
Island. Amid the schedule of
commissioned projects, and daily
lectures and talks, all eyes will
be on who shows what top-tier
pieces in the fair’s main section,
under the bespoke white tent
designed by Brooklyn architec-
ture firm SO-IL.
Among the most highly antici-
pated happenings is a solo
show by performance artist Tino
Sehgal at first-time exhibitor
Marian Goodman Gallery. Sehgal
will present “Ann Lee,” 2011, the
human realization of a Japanese
manga character in the form of an
adolescent girl who interacts with
the audience and poses questions.
BRINGING IT
Dealers Out to Impress
at Frieze New York
Alice Neel’s “Abdul Rahman,” 1964,
at Victoria Miro
Continued on page 2Daniel Arsham
FRIEZE NEW YORK 2013:
WHO’S IN, AND WHO’S OUT?
Limited Space,Fairtigue,Shuffled Exhibitor List
Sixty-one modern-minded interna-
tional galleries from nine countries
opened their booths to the public
with a volley of sales. Tailored to
represent historically significant
modern art, the 2013 edition of the
Armory Show on Pier 92, proved
its mettle from the opening bell.
At New York’s Hollis Taggart
Galleries, Abstract Expressionist
works drew attention. Michael
Goldberg’s richly painted “Still
Life,” 1957, sold in the $200,000
range. Also here, an early Hans
Hofmann still life from 1936
found a buyer for $150,000.
“The fair,” said gallery director
Vivian Bullaudy, “tends to enliven
the final decision–making process.”
That’s a polite way of saying that
the event-driven atmosphere of art
fairs pushes collectors toward buy-
ing there and then.
Even lesser-known modernist
works found homes. The impressive
“Mount St. Victoire in Clouds,” cre-
ated by the American abstract artist
Charles P. Kuntz and giving a nod
to Cezanne’s favorite subject, sold
at New York’s Driscoll Babcock to
an American collector for “slightly
under six figures,” the gallery said.
Several collectors admired
Asheville, N.C. artist George
Widener at New York’s Ricco/
Maresca Gallery. One of Widener’s
new works, “Cipher Dates,” 2013,
sold in the region of the $55,000
list price, according to the gallery.
A work like that, from this year,
doesn’t necessarily fit the “mod-
ern” label, but that is one of the
unexpected and quirky pleasures
of roaming these spacious aisles.
The roster of galleries at Pier 92
was, however, slimmer than in
years past, down from 71 in 2012.
But the winnowing, for whatever
reason, has improved the overall
quality. Notable are the Giorgio
Morandi etchings at Bologna deal-
ers Galleria d’Arte Maggiore;
major American works on paper at
Los Angeles’s Mark Selwyn Fine
Art; and a trove of collages by
Romare Bearden, Betye Saar, and
others at New York’s Michael
Rosenfeld Gallery.
Not surprisingly, the 100th
anniversary of the original Armory
Show of 1913 was inspiration for
exhibitors, including New York’s
Chowaiki & Co., which contrast-
ed examples of art from then and
now. The gallery has Edward
Hopper’s “Study for the Lee
Shore,” circa 1941, in crayon on
paper, and priced at $145,000; an
iconic and vintage Dora Maar gel-
atin silver print photo of Picasso’s
“Guernica,” 1937, (not for sale);
and — perhaps most remarkably
— an original Armory Show post-
card, penned by exhibition orga-
nizer Robert Henri, known as the
“Henri Manifesto.”
A major newcomer, Turin’s
Mazzoleni Arte Moderna, is pre-
senting a quasi-encyclopedic array
of postwar Italian art, including
excellent examples by Afro
Basaldella, Alighiero Boetti,
Agostino Bonalumi, Alberto Burri,
Enrico Castellani, and Lucio
Fontana. So far, the gallery has
sold four works in the $130,000
to $240,000 range, including
Agostino Bonalumi’s 1964 canvas
“Bianco,” in the $200,000 range.
“Our project,” said gallery
partner Davide Mazzoleni, “is the
1960s in Italy, and we’ve done
many exhibitions. This is our first
art fair in the United States, and
we’re very proud and happy to be
here.” —JUDD TULLY
Three dealers have just announced a new “mini fair” of Abstract
Expressionist works this year on the Upper East Side during spring’s
major contemporary art auctions in New York. The three friends will,
quite descriptively, call it “Three Guys.”
From May 13 to 18, Charlotte, N.C.-based
dealer Jerald Melberg will join Franklin
Riehlman and Steve Schlesinger, both private
dealers based in a town house at 24 East 73rd
Street in New York, for a joint exhibition of
works by Jackson Pollock, Robert Motherwell,
Esteban Vicente, Harold Shapinsky, Alfred
Leslie, and Lee Hall. All the work will come
from the dealers’ private inventory.
“The days of dealers being insulary are
over,” said Melberg. —SHANE FERRO
Andy Warhol’s “Hearts,” 1982, at the Simon Capstick-Dale Fine Art booth on Pier 92.
Tobias Rehberger’s “Untitled (Sex),” 2012
Jerald Melberg
STEADY SALES AMID
MARKET CAUTION
Rich Pickings of Modern Masters
“U.S. collectors were out in force
for what is essentially the U.S. fair,”
said Max Wigram director James
Fox. Wigram had sold a Valeska
Soares time line for $35,000 to a
San Francisco publisher, along with
works by Jose Dávila and Richard
Wathen to other buyers.
Given the strong U.S. gallery
emphasis, some British dealers
speculated that the fair had become
a local market affair. “It’s not really
an international fair anymore,” said
Blain|Southern’s Roxana Sursock,
who had sold an Ali Banisadr to a
New Museum board member for
$20,000 and a $61,000 Jonas
Burgert to another American buyer.
Across the board, dealers report-
ed a frenzied preview. Pilar Corrias
sold three Tala Madini paintings.
Lisson Gallery rehung much of its
booth after a “phenomenal” open-
ing. A Lawrence Weiner text piece
replaced a sold Anish Kapoor, and
newly added Cory Arcangel prints
sold fast for $22,000 apiece.
Victoria Miro reaped $800,000
alone from two Yayoi Kusama net
paintings and had Barnaby Furnas
and Tal R paintings on reserve.
“We like to give people time. We’re
not pressure-selling,” said Oliver
Miro. —RACHEL CORBETT
BRITISH DEALERS
SCORE TOP SALES
CLOCKWISEFROMTOP:CLAIREHCOHEN;CLAIREHCOHEN;JERALDMELBERGGALLERY
DEALERS JOIN FORCES FOR MINI FAIR
WHO’S WALKING
THE HALLS?
Wir gratulieren den
Teilnahme
COLOGNE ISN’T MIAMI, New
York, or London. The difference,
when it comes to art, is a matter
not just of geography, but of a
whole approach to dealing and
purchasing. Yesterday, as the first
VIPs filed into Art Cologne at
noon, there was little sign of buy-
ers ostentatiously getting their
hands on the first things that
caught their eye, but that doesn’t
mean that there was no business
being transacted. Those who
know how to look could easily
spot conversations of the kind that
might be leading to a serious deal.
Overall, though, the atmo-
sphere was restrained and focused
— very much in keeping with the
displays put on by most of the
exhibitors on the two floors of the
Koelnmesse. “It doesn’t have the
Frieze hype,” said David Juda,
from London’s Annely Juda Fine
Art. The message on day one was
clear: this is a place where one
can truly concentrate on the art.
Certainly there is a lot of stun-
ning art here; “museum-quality”
is the descriptor that first comes
to mind. Annely Juda, for
instance, has gathered sculptures
by Naum Gabo and David Nash,
a geometric abstract painting by
Ben Nicholson, an oil on canvas
by David Hockney, and drawings
by Kasimir Malevich. It might
sound like an odd combination,
but the pieces’ muted hues give
coherence to the ensemble, the
works echoing each other across
media and decades.
Anne-Sophie Villemin of David
Zwirner says the fair has definite-
ly “moved up a notch since last
year.” An impressive cluster of
blue chip galleries greets visitors
as they walk in: Zwirner,
Thaddaeus Ropac, Karsten Greve,
Annely Juda and Hauser &
Wirth. Daniel Hug, the fair’s
director, is clearly announcing his
international ambitions by giving
such prominence to contemporary
art players of this caliber.
As you’d expect to find at any
fair — particularly one that
proudly embraces its more conven-
tional side — painting dominates
most of the booths. A lugubrious,
bluish “Singing in the Rain,”
1996, by Luc Tuymans makes a
counterpoint to the sunny tones of
Neo Rauch’s fish market scene
“Fang,” 1998, at Zwirner’s booth,
while the ghostly figures of “Auch
nicht lila,” 2012, by Rauch’s con-
temporary Georg Baselitz haunt
Ropac’s presentation.
Hauser & Wirth has dedicated
most of its display to Belgian
painter Philippe Vandenberg, an
artist who has had relatively little
exposure so far. Fairgoers encoun-
tering this vibrant work for the
first time will no doubt be struck
by the diversity of Vandenberg’s
production, oscillating here
between expressionist text pieces
— “Kill Them All,” says an oil on
canvas from 2005-2007 — and
abstract works. This diversity,
explains the artist’s daughter
Hélène, reflects his desire to con-
stantly renew his investigation of
the human condition.
ZERO — along with the
many artists more or less loosely
associated with this avant-garde
A DIFFERENT APPROACH
ART COLOGNE SPECIAL DAILY EDITION | APRIL 19, 2013
Germany’s old art hub prefers to do things quietly
GERMAN COLLECTORS CAME
out in droves on the first day of
Art Cologne, although aside from
Anita Zabludowicz, international
collectors were sparse. Interest
appeared to be particularly high
among gallerists, with power
dealers like Barbara Gladstone
dropping by to take a look at the
works on offer. Despite director
Daniel Hug’s general reticence
about celebrity attendance, early
in the preview retired German
footballer Michael Ballack could
be seen haggling with Monika
Sprüth of the Berlin-and-London-
based powerhouse Sprüth Magers.
Tennis star Michael Stich was also
on hand, circulating in the halls
throughout Thursday afternoon.
— ALEXANDER FORBES
CLOCKWISEFROMTOP:PHOTOGRAPH:KOELNMESSE;ALEXANDERFORBES;ALEXANDERFORBES;
A painting by Alex Katz turns heads at the opening of Art Cologne
Thaddaeus Ropac sold a Robert Longo
WHAT’S SELLING AT THE START
Dealer Barbara GladstoneContinued on page 2
moellerfineart.com
Sales and reservations were
strong yesterday as Thaddaeus
Ropac sold a Robert Longo and
had a hold on works by James
Rosenquist priced at €900,000.
Marlborough Contemporary
sold a Jason Brooks painting to
a British client for £100,000,
and serious interest developed
in another of his canvases listed
at €38,000. Johann Koenig sold
his New Positions entry by Justin Matherly for $16,000 and a new
work by Alicja Kwade, “Eadem Mutata Resurgo,” 2013 for €18,000.
Peres Projects sold three large scale David Ostrowski paintings with-
in minutes of the fair opening for €12,500 apiece, with dealer Javier
Peres reporting additional interest from collectors out of South America
and Asia. Alexander Ochs Galleries sold Lu Song’s oil on canvas,
“Twilight Wanderers,” 2013, for €9000 to a German collector. V1
Gallery sold Matthew Stone’s “Friendly Skirmishes,” 2013, for €5100
to a Danish collector. — ALEXANDER FORBES
FINE ART + OBJECTS
STORAGE+GLOBAL LOGISTICS
cirkers.com 212.838.2525
Your
Partner for
Managing
Art Fair
Logistics
AS IF THE heavens favored art
fairs, the lashing rain greeting the
VIP opening of Frieze New York
at Randall’s Island Park soon
turned into clear skies and brilliant
sunshine.
The sunshine seems to have
conspired to lighten wallets, as
well as spirits, for the impression
of fresh commerce was confirmed
at a number of stands.
Business was rocking at Paris-
based Thaddaeus Ropac, with
Robert Longo’s impressive
“Untitled (after Clyfford Still,
1957-J No.2),” 2013, a charcoal
that sold for $330,000.
Another newly minted work
at the Ropac booth, Alex Katz’s
“Untitled,” 2013, a head-and-
shoulders portrait of a dark-haired
woman, sold for $350,000, and
an intricately conceived Tom Sachs,
“Untitled (Spider Web),” 2012, in
pyrography, sold for $200,000.
Perhaps refreshed after a long
siesta from the 1980’s Neo-
Expressionist bubble, David Salle’s
new, large-scale painting, “Age
of Reason,” 2012, in mixed media,
featuring two floating female
heads, went for $190,000.
Early business was also brisk
at London’s Lisson, where Haroon
Mirza’s complicated “Shelf
for Carl Cox,” 2013, featuring a
wooden cabinet, LED, copper
tape, electronic components, and
speakers, sold for £30,000
($46,575), while an untitled Anish
Kapoor wall sculpture went for
£500,000 ($776,250). Though it
wasn’t physically at the fair, Lisson
also sold an Ai Weiwei sculpture
for €300,000 ($393,890).
One of the best things about
Frieze is the off chance of finding
unfamiliar artists who grab your
attention or at least temporarily
distract you from bigger names.
That was the case at London’s
Carl Freedman Gallery, where one
of Ivan Seal’s small-scaled and
lushly executed memory paintings,
the title derived from an automatic
writing program, sold for approxi-
mately £3,800 ($5,900); five
others sold at similar prices.
At Canada, the Lower East
Side gallery, Michael Williams’s
“Morning Meditation with Mud
and Jenny Mac,” 2013, in oil, air-
brush, and ink jet, sold to London-
based collector and emerging-
artist patron Anita Zabludowicz
for approximately $25,000.
At almost every turn, art trans-
actions were popping, as evidenced
at New York’s Paul Kasmin
Gallery, where David LaChapelle’s
“Gas Shell,” an edition of five
chromogenic prints, sold for
approximately $65,000. Walton
Ford’s unique and fantastic “Trí
Thông Minh,” featuring a flying
tiger comprised of watercolor,
gouache, ink, and pencil on paper,
sold to an American collector for
around the $950,000 asking price.
“Serious collectors and museum
people are here,” said Bethanie
Brady, a Kasmin director. As if
confirming that impression, I saw
storied art collector and former
gallery owner Irving Blum sitting
on one of the chairs at the Kasmin
stand, studying the Frieze map.
New York exhibitor Jack
Shainman was definitely smiling as
all three figurative paintings by
Lynette Yiadom-Boakye, a 2013
OUT OF JAIL, GOT A WARHOL
Do Ho Suh’s “Wielandstr. 18 12159 Berlin,” 2011, at Lehmann Maupin
NEW YORK FAIRS DAILY EDITION | MAY 11–12, 2013
CLOCKWISEFROMTOP:MICAHAARONSCHMIDT;ROZALIAJOVANOVIC;LOSTCITYARTS
AMBITIOUS PROJECTS PEPPERED
the floor at NADA, held this year
at a sporting facility on the East
River that’s been converted into an
exhibition space and outdoor café.
Vast areas outside the traditional
booth setup are set aside for spe-
cial sculpture installations.
Matthew Dipple of American
Contemporary placed a work
by artist David Brooks in one of
the six alternative sculpture in-
stallation spaces. Consisting of a
series of roofs that look like they
have been ripped off of their
homes, all suspended by cables, the
installation was one of NADA’s
more breathtaking contributions.
The exhibition space was also a
relative bargain: At roughly $750,
it was a lot less costly than a much
smaller booth, which cost nearer
$10,000. The gallery had never
before been able to bring such large
work to a fair. Compared to his
booth, Dipple said, “it’s cheap.”
Big, exciting works attracted
attention, but were not the only
things of interest. Dealer and
NADA president Nicelle Beauchene
had plenty to celebrate. “Everything
sold,” said Beauchene, “within the
first hour.” — ROZALIA JOVANOVIC
David Brooks, “Stress Tests: Un-Sites No. 1-2 &
3-5 (homage to Gordon),” 2013
Continued on page 2
WEEKEND PROMISES
STRONG SALES
Galleries Report Steady Early Interest
WHEN STUDIO 54 cofounder Steve Rubell was released from prison
in 1981 after serving a 13-month sentence for tax evasion, his friend
Andy Warhol, a central figure in the nightclub’s well-documented
debauchery, had a celebratory work of art waiting for him: a circular
sculpture, wrought from a thin sheet
of brass and appropriately punctuated
with dollar signs. “Warhol gave him
this gift to remind him of his deeds —
or misdeeds,” said Lost City Arts own-
er James Elkind. Collectors will be
happy to hear that the storied token of
friendship, signed and dated “Andy
Warhol, ’81,” is now at Elkind’s booth
at Collective .1. — JANELLE ZARAAndy Warhol’s “$ Signs Sculpture,” 1981
SIZE MATTERS
AT NADA
Stay in touch with
all the happenings at
art fairs and events
worldwide with
Blouin Art Fair Dailies
Missed an edition?
Download them at
www.blouinartinfo.com
For further information,
contact David Gursky at
dgursky@artinfo.com

SOMOGY Editions d’art was founded in 1937, and is a leading publisher of art books
and exhibition catalogues in partnership with some of the world’s most prestigious museums
and art galleries.
A member of the LTB group, SOMOGY provides top-quality services including translation,
picture enhancement, rewriting and a proven reputation for being proactive and prompt.
SOMOGY offers customized catalogues as well as standard packages that are crafted to
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For more information on SOMOGY and its services please contact:
Francis Pinto, Tel: 33 1 48 05 81 83 | Email: f.pinto@somogy.fr
COURTESYOFPATRICKMCMULLAN
WWW.ARTCOLOGNE.COM
Independent curator Abaseh Mirvali
SALON
PROGRAM
The Salon program, in Hall 1
of Art Basel, is a platform for
short presentations by a range of
speakers including artists,
academics, curators, collectors,
architects, art lawyers, critics,
and others. For additional Salon
events see artbasel.com/en/basel/
about-the-show/talks/salon.
ART MARKET TALK: THE PLACE
OF MID-LEVEL GALLERIES IN
THE AGE OF THE MEGA-GALLERY
In a talk moderated by publisher
and art adviser Josh Baer,
gallerists and art fair founders
Elizabeth Dee and Edward
Winkleman discuss the state and
future of mid-level galleries.
ARTIST TALK: PARCOURS
New York–based artists Tom Burr
and Valerie Snobeck talk about
their participation in Art Basel’s
Parcours, a series of site-specific
artworks and performances in the
city’s Klingental neighborhood. The
session is moderated by Florence
Derieux, the curator of Parcours.
DISCUSSION AND MAGAZINE
LAUNCH: THE FUTURE
OF BIENNIALS IN LOCAL AND
GLOBAL CONTEXT
Shengtian Zheng, managing editor
of Yishu: Journal of Contempo-
rary Chinese Art, moderates a
discussion between Riyas Komu,
director of programs for the
Kochi-Muziris Biennale 2012,
Carol Lu Yinghua, artistic
director of OCAT, and Jessica
Morgan, director of the Gwangju
Biennale 2014. The talk coincides
with Yishu’s special issue,
“World Biennial Forum No. 1.”
ARTIST TALK: MICHEL AUDER —
STORIES, MYTHS, IRONIES,
AND OTHER SONGS: CONCEIVED,
DIRECTED, EDITED AND
PRODUCED BY M. AUDER
Adam Szymczyk, the director
of the Kunsthalle Basel, talks with
New York–based French artist
Michel Auder, whose first large-
scale exhibition in Switzerland
is currently at the Kunsthalle Basel.
ARTIST TALK: JOANA HADJITHO-
MAS & KHALIL JOREIGE:
THE LEBANESE ROCKET SOCIETY
With Aaron Cezar, the director of
the Delfina Foundation, Artists
Joana Hadjithomas and Khalil
Joreige discuss their collaborative
installations and recently released
film, in a conversation moderated
by Libyan Princess Alia Al-Senussi.
As the Lebanese Rocket Society,
Hadjithomas and Joreige tell
the story of Lebanon’s involvement
in the space race of the 1960s
through their artistic practice.
THE GLOBAL ARTWORLD:
FOCUS AFRICA
A conversation between Nigeri-
an-born, Antwerp-based artist
Otobong Nkanga and Benin-
born, Rotterdam-based artist
Meschac Gaba, moderated
by Yvette Mutumba, the curator
for Africa at Frankfurt’s
Weltkulturen Museum.
THE GLOBAL ARTWORLD:
ISTANBUL’S INDEPENDENT
INITIATIVES
Abaseh Mirvali, an independent
Turkish curator, moderates a
conversation about contemporary
art in Istanbul. The discussants
are Haro Cumbusyan, a collector
and the founder of Collector-
space, Merve Ünsal, a writer,
curator, and the co-founder of
m-est, and Mari Spirito, founding
director of Protocinema.
LUNCH BYTES: ON RELEASING,
DISTRIBUTING AND
EXHIBITING ART ONLINE
Berlin-based artists Aleksandra
Domanovic´, and Oliver Laric
discuss issues around the online
exhibition and distribution
of art with Domenico Quaranta,
curator, critic, and co-founder
and artistic director of the
Link Center for the Arts of the
Information Age, and Ben
Vickers, the digital curator of the
Serpentine Gallery. Moderated
by Fabian Schöneich, assistant
curator of the Kunsthalle Basel,
and Melanie Bühler of Lunch Bytes.
ARTIST TALK: ANTONY GORMLEY
Sunday, June 16, 1–2 p.m.
Contemporary art historian
Germano Celant moderates
a conversation between British
sculptor Antony Gormley
and multi-media Italian artist
Loris Cecchini.
(continued from page 14)AROUND TOWN

THE
INTERNATIONAL
EXPOSITION OF
CONTEMPORARY
& MODERN ART
NAVY PIER
19–22
SEPTEMBER
2013
ExploreTHE SEEN, Chicago’s International Art
& Design Blog at blog.expochicago.com
expochicago.com
Presenting Sponsor
Mylar Cone (detail), Studio Gang Architects
20 | ART BASEL SPECIAL DAILY EDITION
SINCE OPENING HIS first gallery in
1970 with Rolf Möllenhof and branching
out on his own three years later with
an exhibition of Yves Klein, Karsten
Greve has been a forceful presence
on the German — and later also French
and Swiss — art scenes. Looking at
a list of the artists who show at his
gallery, which now has branches
in Cologne, Paris, and St.
Moritz, one might assume
that the many blue chip
names were recent additions.
In fact, though, Klein is
just one of a list of legendary
artists, including Cy
Twombly, Louise Bourgeois,
Jannis Kounellis, and John
Chamberlain, who have been
with Greve from early on, if
not the very beginning.
At Art Basel, where Greve
has been showing since
1977, his current offerings
reflect those ties. Four
large Twombly works on
paper made between 1961
and 1982 provide an under-
stated introduction to the
booth. Chamberlain’s “Opera
Chocolates,” a roughly
one-and-a-half cubic meter floor sculp-
ture from 1994, will likely attract
significant interest. But the real head-
liners are two sculptural works by
Bourgeois: “St. Sebastienne,” 2002,
a female figure pierced in several places
by miniature arrows, and “The Mirror,”
1998, the third polished aluminum work
from an edition of six. — ALEXANDER FORBES
GALERIE KARSTEN GREVE
DEALER SPOTLIGHT
H.NÄGELE,DÜSSELDORF,COURTESYOFGALERIEKARSTENGREVE
Karsten Greve
BENJAMIN GENOCCHIO
EDITOR IN CHIEF
Tom de Kay
EXECUTIVE EDITOR
Penny Blatt
CREATIVE DIRECTOR
Jessica Mezyk
ART DIRECTOR
Elizabeth Manus
DEPUTY EDITOR
Anneliese Cooper
ASSISTANT EDITOR
Nicole LaCoursiere
PHOTO EDITOR
Anne Donnelly Andres
PRODUCTION DIRECTOR
Paul Kolbe
PRODUCTION MANAGER
David Gursky
PRESIDENT, GLOBAL DEVELOPMENT
Victoria Fuller
SENIOR VICE PRESIDENT
Carmela Rea
SENIOR VICE PRESIDENT
Ben Hartley
PRESIDENT
B. William Fine
PRESIDENT, GLOBAL SALES
Dawn Fasano
GENERAL COUNSEL
SALES
UNITED STATES
Pardise Amirshahi
Wendy Buckley
Kathy Murphy
Andrea Renaud
Kate Shanley
Brian Souser
Suzonne Taylor
LATIN AMERICA
Ana Pessoa
Fernando Hugo Pinheiro
EUROPE
Marie-Kathrin Krimphoff
Catherine Loewe
Robert Logan
Peter Neerinckx
Romina Provenzi
Jean R uffin
Lindsay Russell
Katerina Sarkisova
Mia Stock
ASIA
Janice Febbraio
Inna Kanounikova
Michelle Park
Faith Yanai
INDIA
Sandesh Jayant Gupte
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ART BASEL SPECIAL DAILY EDITION
FISCHERFine Art Auction Sales
Fine Art Auction Sales
Modern & Contemporary Art
13 June 2013
(only one hour away from Basel)
online catalogue on www.fischerauktionen.ch
Galerie Fischer Auktionen AG | Haldenstrasse 19 | 6006 Lucerne | Switzerland | +41 (0)41 418 10 10 | info@fischerauktionen.ch
Alfred Sisley, (Paris 1839-1899 Moret-sur-Loing), La berge à Saint-Mammès. Signed „Sisley“ and dated „(18)84“ lower right. On the back on the
stretcher old label „La berge à St.Mammès // 1884 (...)“.Oil on canvas,42,3 x 59,4 cm.Estimate:CHF 1‘600‘000/2‘400‘000 resp.EUR 1‘333‘000/2‘000‘000

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