FAIR EDITION 14 JUNE 2023, issue 2 The Art Newspaper

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Art Basel: 14 June 2023

Bourgeois, Guston and Richter lead VIP sales

“Many who come to Art Basel are less affected by the stock market and interest rates”

Despite fears of a market slowdown, clients were spending at a packed Art Basel

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LOUISE BOURGEOIS: DAVID OWENS. REFIK ANADOL: © REFIK ANADOL STUDIO

rt Basel, described by its new chief executive Noah Horowitz as “the single most important annual event in the global art market” and the “barometer of the industry”, opened its doors to VIPs yesterday, with many remarking that the fair was the busiest they had seen in years. Security personnel at one crowded mega-gallery nervously herded clients past multi-million-dollar paintings as major collectors and curators, including Frank Cohen and Cecilia Alemani, were spotted strolling the aisles of the Messe Basel. And, despite talk among the trade of a “cooler” market, clients were spending. Early seven- and eight-figure

sales include Gerhard Richter’s oversized sculpture STRIP-TOWER (2023), presented by David Zwirner at Unlimited, for $2.5m. The most expensive work reported to have sold during the VIP preview was a 1996 Louise Bourgeois sculpture at Hauser & Wirth, which went for $22.5m to a US collector; the gallery also sold a painting by Philip Guston for $9.5m. Blue-chip work on the primary market that sold yesterday included a new painting by Jonas Wood, offered by David Kordansky Gallery for $2.5m. 

PRE-SALES DOWN? Nonetheless, as the preview day neared its close, a number of big-ticket pieces had not found buyers, including the most expensive: a sunset-hued $60m

Hauser & Wirth sold Spider IV (1996) by Louise Bourgeois (above) for $22.5m to a US collector; elsewhere, Gagosian reported that opening day was “the busiest in years” Rothko painting offered by Acquavella Galleries. Also still on sale are a Picasso, for a reported $25m at Landau, and a $14m Joan Mitchell triptych at Pace. “A lot of major works get sold on the second and third day, and that’s generally been the case for the past five years,” says Pace’s president, Samanthe Rubell, noting that the gallery kept pre-selling to a minimum this year. “We leave room for happy accidents to happen but make sure that our artists’ work gets into the most important collections.” Deals closed on the stand in the early hours of the fair included an Alexander Calder mobile for $2.8m and

two smaller works by the artist, offered by his family, for $775,000 and $675,000. Sadie Coles, whose London gallery sold “multiple” new works from a solo stand by Laura Owens, priced between $90,000 and $1.8m, says that she kept things “old school” and did not send out a preview list of works to her clients. On the other hand, Gagosian, for example, sent out a checklist numbering more than 100 pages to its clients. Andrew Fabricant, the gallery’s chief operating officer, says that the opening day was “the busiest in years”.  Talk of pre-sales is particularly germane following a New York spring

auction season marked by reserved bidding, works bought in and lowered reserves. “Inflation, interest rates, politics and an ongoing war are all affecting consumer confidence, causing a slowdown of the art market,” says the art adviser Nilani Trent. “My general sense is that the overall market is cooler,” says the dealer David Nolan, who is showing at the fair, continuing that “this is a necessary correction that is needed in the market every now and again”. Nonetheless, tricky times are often prime opportunities to buy art, with galleries more amenable to discounts and collectors looking to free up capital. “There is such diversity in the types of people who come to Basel, many of whom budget specifically to buy at Art Basel, and who are less affected by the stock market and the interest rate fluctuations,” Nolan adds. Horowitz paints a more confident picture. “There’s been a lot of talk about whether there is a correction. Clearly, the balance of the auctions is indicative of a real reset. But, equally, demand for art is resoundingly strong,” he says. Regarding pre-selling, Horowitz thinks that there is less at the fair this year, suggesting that collectors are taking longer to commit. He concludes: “You have to work harder to get business done, but business is getting done—at pretty rich price points as well.” Kabir Jhala with additional reporting by Anny Shaw

Climate crisis comes to the heart of Basel

SKYE HOPINKA AND SIN WAI KIN WIN BALOISE ART PRIZE

A LARGE-SCALE PROJECTION BY THE TURKISH ARTIST REFIK ANADOL showing glaciers disappearing across the globe will be presented on the façade of Theater Basel this week (daily until 18 June). “The idea is to draw attention to the glaciers, which are the most inspiring but fragile phenomenon,” says Anadol. Previous iterations of the publicly accessible work, called Glacier Dreams (2023), were unveiled earlier this year at the Art Dubai fair and at the i Light Singapore festival; the next part is due to be shown at the Serpentine Galleries in London (November-February 2024). “The London show will be the conclusion, showcasing the behind-the-scenes

The Indigenous American artist Skye Hopinka and the Turner Prize nominee Sin Wai Kin have won this year’s Baloise Art Prize, the annual award given by the Swiss financial services company for two young artists presenting work in the Statements section of Art Basel. Each artist receives SFr30,000 ($33,100); Hopinka is represented by Broadway gallery in New York while Sin is represented by London’s Soft Opening gallery. Works by both artists acquired by Baloise at the fair will be donated to either the MMK Frankfurt museum or the Mudam in Luxembourg. Gareth Harris

THEART N EWS PAP E R . C O M

Refik Anadol created Glacier Dreams (2023), a large-scale projection, by processing more than 100 million images

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Claire Oswalt, Pools of Perrier (detail), BROADWAY

process and the datasets used [to create the work]; different glaciers will unfold in the show, from Patagonia to Greenland. [Serpentine’s artistic director] Hans Ulrich Obrist helped us to finetune the work,” Anadol says. The artist used algorithms to create the simulation, processing more than 100 million images from online and institutional archives; he also drew upon his own collection of images collected in Iceland, Greenland and Antarctica. “The piece took four years to research; we worked with institutions such as the Iceland Space Agency,” he says. Parts of the work are also generated

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by artificial intelligence. “We used an AI model and came up with an inspiring scent formula, evoking the scent of freshwater after a glacier melts,” Anadol says. He adds: “By the end of the project, we think our AI model can construct many types of glaciers—for example, in Iceland there are 269 glaciers. We have also researched climate data; it will be a scientific tool that can be used by researchers.” Glacier Dreams was commissioned by the Swiss private bank Julius Baer as part of its arts, science and technology initiative, Next. Gareth Harris

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

NEWS Basel

Is Liste’s under-40s rule starting to feel its age? Amid a market that increasingly worships the young while women and those from the Global South fight for a place at the table, the fair’s policy faces calls for a rethink

REUSABLE ART SHIPPING CRATE SCHEME LAUNCHES AT ART BASEL Rokbox Loop, a new art packaging and shipping service, will launch at Art Basel today. The service seeks to invert what Rokbox calls the “make-use-destroy” system that is currently de rigueur in the art world. It allows galleries to reserve and rent reusable crates, made from fibreglass and wood, for a month. Cases are collected from and returned to one of seven launch hubs in London, New York, Miami, Los Angeles, San Francisco, Paris and Zurich. According to chief executive Andrew Stramentov, the service is “revolutionary” and “could reduce the carbon emissions for art-fair shipping by up to 90%”. UBS, a partner of Art Basel, will be the first to use the new system to ship its works of art. Tom Seymour

Treetopia includes Mediterranean cork oak, Persian ironwood and Scots pine

ART BASEL COURTYARD TURNED INTO MINI FOREST

At Liste this week, Brussels gallery Super Dakota is showing two paintings by the Canadian American artist Chris Dorland, who is in his mid-40s. In 2013 the fair relaxed its under-40s-only rule—but only for galleries willing to stump up for higher stand fees to commercial success it once was. At Sotheby’s The Now sale last month in New York, the 30-year-old Jadé Fadojutimi’s large abstract painting A Toast to..? (2020) made $952,000 (with fees)—a figure that barely scratches her auction record of $1.6m (with fees) made at Phillips in London in 2021, when she was 28. While a slight cooling of this “ultra-contemporary” market is now being observed, “prices for virtually all young artists have gone up”, says Sibylle Rochat, a Swiss art adviser and collector. “Even for artists without grand CVs or big gallery backing, a small painting can easily be $30,000, which was not the case before. Their

“It’s usually easier to stick to old categories than change ways of thinking” share of the total market is bigger.” A course correction could soon be coming at Liste. Joanna Kamm, the fair’s director, tells The Art Newspaper that she has been considering a rethink of the age restriction since her appointment in 2018. “We need to figure out how we can do this while

remaining the fair of discovery,” she says. Liste operates as a non-profit, so if the higher stand fees are scrapped for presentations of artists over 40, the funds must be found elsewhere. A solution was floated to the fair’s organising committee last year to raise the exhibitor fees for group presentations in order to lower the costs of showing older artists, but this was voted down, Kamm says. One dealer at Liste this year, who prefers to remain anonymous, says he would still rather pay a premium for older artists than for group shows, underlining how achieving age parity might be easier said than done. Kabir Jhala

Never-exhibited Francesca Woodman photographs at Gagosian THE NEW SHOWING OF PHOTOGRAPHY BY FRANCESCA WOODMAN is so tiny it is hard to call it an exhibition: three of her small vintage prints are on display at Gagosian’s stand in Art Basel. But it is a statement: both that Gagosian is now representing the artist (formerly with Marian Goodman Gallery and Victoria Miro) and that the New York-based Woodman Family Foundation has a lot in store for her fans and scholars. Two prints have not been exhibited before and the other is a prime example of a famous image by Woodman, known both for her experimental self-portraiture and her suicide in 1981 at the age of 22. Until their own deaths, Francesca’s parents, George and Betty—also artists—had carefully guided their daughter’s posthumous career. Now it is the foundation’s job, and it has a lot

News in brief

to work with: a trove of vintage prints, negatives, contact sheets, camera, tripod, the Victorian-style clothing she used in shoots and routinely wore, and journals and notebooks documenting her intentions and ideas. “It’s a substantial amount of work; there were a number of photographs that Betty and George had consigned and let out to the market but they held many back for the foundation,” says Lissa McClure, the foundation’s executive director. As for the journals, she adds, “George and Betty allowed some excerpts to be printed in catalogues over the years, but the majority have never been seen.” At least, not yet. This month sees the publication of Francesca Woodman: The Artist’s Books, featuring eight books she remade or overlaid with photographs, inspired by Surrealist collage texts,

Francesca Woodman’s vintage gelatin silver print, These people live in that door, Providence, Rhode Island (1967–77)

between 1976 and 1980. The foundation plans to open a study centre next year, around the time Gagosian New York holds a solo show. And in 2024 the National Portrait Gallery in London is pairing Woodman’s work with Julia Margaret Cameron’s for a big show, Portraits to Dream In. McClure says that the material is already allowing new insights, from Woodman’s dedication to the darkroom to her interest in working serially. “She has become so known for these iconic, single images; what we found in contact sheets and prints is a large number of related works that add a different context and allow for a broader read,” she says. “So much has been written about her or placed upon her, so it’s really thrilling to give her more of a voice and agency.” Jori Finkel

Fifteen trees have been planted in the Rundhof courtyard at the heart of Art Basel. Treetopia is a mix of Mediterranean cork oak, best known for wine corkage; Persian ironwood from the Middle East, a species well known for resisting pests and parasites; and Scots pine from northern Europe. Enzo Enea, the Swiss Italian landscape architect behind the project, calls the miniature canopy a “forest for the future”. They are here, he says, “to spark discussions about climate change at the heart of the art world”. T.S.

PERROTIN GALLERY SELLS 60% STAKE Emmanuel Perrotin is in the process of selling a 60% stake in his eponymous gallery to Colony Investment Management, a French real estate, credit and private equity business, in order to grow the company. A joint statement released by the companies describes the move as a “pioneering alliance between an investment company and an art gallery” that “will combine Perrotin’s passion for supporting both established and emerging artists with complementary corporate infrastructure and support to facilitate Perrotin’s long-term growth plans and vision.” Perrotin will retain the remaining 40% stake in the contemporary art gallery, which is headquartered in Paris and currently has ten spaces, in Hong Kong, New York, Tokyo, Seoul, Shanghai, Dubai and Los Angeles. According to the statement, completion of the deal is scheduled for the second half of this year. Anna Brady

CHRIS DORLAND: DAVID OWENS. FRANCESCA WOODMAN: © WOODMAN FAMILY FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. COURTESY WOODMAN FAMILY FOUNDATION AND GAGOSIAN. TREETOPIA: MARTIN RUETSCHI

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asel’s Liste Art Fair has long branded itself on youth. Since it was established in 1996, it has been touted as the younger—and cooler—alternative to Art Basel, where collectors can discover emerging galleries and artists. To this end, Liste initially banned galleries from showing artists over the age of 40. The rule was relaxed in 2013, enabling galleries to bring work by over-40s artists if they paid the highest fees: SFr15,000 ($16,500) for solo stands and SFr16,000 ($17,500) for group presentations. But as conversations around ageing in the art world mature and the market for barely graduated artists booms, it seems that Liste’s age restriction might be getting old. “Artists can emerge at any point of their life. I’d love to see Liste’s rule changed,” says Damîen Bertelle-Rogier, the founder of the Brussels gallery Super Dakota. It is among half-adozen exhibitors that are showing work by over-40s artists this year, having brought two paintings by Chris Dorland. The larger piece, priced at $28,000, sold to a private European collector on Monday 11 June, the fair’s opening day. Most Liste exhibitors approached by The Art Newspaper were in favour of rethinking the fair’s age rule. Olga Temnikova, the director of Temnikova & Kasela in Tallinn, emphasises that a hyperfocus on age inevitably discriminates against women. Her gallery has brought paintings by the Latvian artist Inga Meldere. “Being a woman in Eastern Europe, and then having a kid, not to mention the years lost to Covid” can delay a career, Temnikova points out. Liste’s rule is “ageist”, she says, “but it’s usually easier to stick to old categories than change ways of thinking”. It is not just women artists who are disproportionately affected by age discrimination, but also those from the Global South. Such is the case of Miguel Cárdenas, a Colombian artist based between Bogotá and New York, whose bronze animal head sculptures and oil paintings are presented by Kendall Koppe gallery in Glasgow, and are priced between $4,000 and $17,000. “Cárdenas has an extensive CV but, like many artists not from the West, has taken longer to gain recognition from galleries in New York, London and so forth,” Koppe says. He, too, expresses support for scrapping Liste’s age restrictions. A change would also make sense given the current market frenzy around artists in their 30s and even 20s, who are increasingly commanding astounding sums at auction and seeing their primary prices balloon accordingly. Youth is not the barrier

(And Tell Me Today’s Not Today) (detail), 2023 © Christina Quarles. Courtesy the artist, Hauser & Wirth and Pilar Corrias, London. Photo: Fredrik Nilsen

CHRISTINA QUARLES

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COME IN FROM AN ENDLESS PLACE 17 JUNE – 29 OCTOBER ILLA DEL REI, MENORCA

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

DIARY Basel

Bruno Lorenzo’s Yves Wüthrich had the cool kids of Basel Social Club eating out of his hand The young and the beautiful were out at Basel’s new art hotspot—the uber-trendy Basel Social Club— earlier this week. Crowds flocked to the zeitgeisty venue housed in a former mayonnaise factory, which was brimming with works by emerging artists and eye-popping video installations. Anyone with a sweet tooth could also tuck into a bowl of ice cream supplied by local business Bruno Lorenzo.

Parker gets the airport blues Art-world luminaries hoping to get to Art Basel earlier this week had their hopes (and journeys) thwarted by chaos at airports. The artist Cornelia Parker told of her woes on Instagram, saying: “Day from hell. Missed my 1.50 flight to Basel due to Gatwick train station closed due to power outage… now in airport hotel overnight stay hell, drowning my sorrows!” Parker followed this with more calamitous incidents, adding that she was “finally leaving my airport hotel hell. Cling film to stop rabid British Airways stranded passengers drinking bar dry.” The accompanying image reflected Parker’s nightmare excursion, showing a drinks dispenser bundled up and strictly off limits. After all that, we’re happy to say we spotted Parker at the opening of Unlimited. Cornelia, we hope you’ve recovered from your odyssey!

Martin Creed airs his feelings about, er, air The Turner Prize winner Martin Creed is turning heads around Basel in his eye-catching garb comprising a blazer dotted with darts, a floppy hat plus a stripy skirt. “I’m here to see my work, Work No. 3733, Air,” he says, pointing to his flag piece flapping in the wind on the Parcours art trail. “It’s a no-brainer. Air is in great difficulty in the current climate; we need more air,” he adds cryptically. And what kind of response is his clothing getting as he jaunts about on the streets and trains of Basel? “People want to take photos; some of them laugh,” he says with a smile. Head-turner: Martin Creed was dressed to impress as he promoted Work No. 3733, Air, on show at Parcours

It’s all about the money

“Let me get you an apron”: Mastercard’s meltdown led to some awkward moments for Basel’s diners A problem processing Mastercard payments hit the art world hard this week, with glitterati around town sent into a spin when their cards were rejected at top eateries across the city. The apparent outage across Europe was stressful for collectors and curators who had quaffed and scoffed top nosh but faced shame on paying at the till. “I’m mortified,” said a nameless art luminary who couldn’t cough up at a high-profile restaurant. Red faces all round.

Basel, Rotterdam, Basel The artist Thomas Price, who was spotted perusing works in Unlimited at Art Basel this week, arrives at the fair fresh from launching a sculpture outside Rotterdam Central Station. The work, Moments Contained, shows a woman standing with her hands in her pockets. “The response to the piece was fantastic,” he tells us. The striking work made waves at Art Basel last year when it was displayed in Unlimited. So, what happened next? The piece ended up being acquired by the non-profit Droom en Daad Foundation, which then donated the work to the city of Rotterdam. What goes around comes around in the Basel universe.

BRUNO LORENZO, MARTIN CREED, THOMAS PRICE: THE ART NEWSPAPER. PAYMENTS: YAN KRUKAU, PEXELS.COM

The (ice) cream of society

20TH/21ST CENTURY: LONDON EVENING SALE 28 June 2023 VIEWING 20–27 June 2023 8 King Street London SW1Y 6QT

CONTACT Michelle McMullan [email protected] +44 (0) 20 7389 2137

Claudia Schürch [email protected] +44 (0) 20 7389 2889

Property from the Berggruen Family Collection PABLO PICASSO (1881–1973) Tête de femme, 1921 oil on canvas 7 ¼ x 6 ¼ in. (19 x 16 cm.) Estimate: £700,000–1,000,000 © Succession Picasso/DACS, London 2023

Auction | Private Sales | christies.com

Other fees apply in addition to the hammer price. See Section D of our Conditions of Sale at the back of the Auction Catalogue

THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

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FEATURE Resale rights

RESALE RULES: BUYERS BEWARE Buying at Art Basel this week? Be sure to read the small print in the contract, because there will almost certainly be terms stating when and how you can—or rather, how you cannot—sell it on. By Anna Brady

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hough not new, the use of non-resale restrictions in gallery sale contracts has been particularly embraced in the past two to five years by a generation of artists whose work has been the subject of intense speculation—and flipping. The Londonbased art adviser Sibylle Rochat says “nearly every transaction” she is involved in is now subject to a resale restriction. And yet, in every contemporary auction there are barely dry paintings, made since 2020, whose sale must surely flout such a clause.

WHAT ARE RESALE RESTRICTIONS? The most basic restrictions state that a work cannot be resold for a certain period, typically three to five years, and/or that the gallery must be given first refusal. Some add that the artist must retain a certain percentage of equity. Sometimes it is even dictated that restrictions be written into the contracts of subsequent buyers. “An interesting question is: how far can you take a resale clause?” says the US-based lawyer Virginia Rutledge, who has drafted many sale contracts. “Can you require that the first buyer pass on all your contractual terms to subsequent purchasers? We have written those terms, and so far have not seen them challenged.” Galleries approached by The Art Newspaper were reluctant to talk about the resale restrictions they employ, a reticence perhaps due to the fact that terms vary from artist to artist, demands that are first set out in their representation contract. Evidently, the more successful the artist, the more prescriptive they can be. When consigning to auction, sellers should divulge any resale restrictions when asked if the work is subject to any claims. Frequently, however, the auction house only becomes aware of restrictions when contacted by the artist or their gallery. As Jean-Paul Engelen, the Americas president at Phillips auction house, said in a webinar on the subject in 2020: “You generally find out the truth halfway: after it is consigned, just before the auction”. An auction house has the right to remove property from a sale in such instances, or sometimes an agreement is reached whereby the artist (and possibly the gallery) receives a profit share.

AUCTION: © JULIAN CASSADY PHOTOGRAPHY

WHY ARE THEY USED? Resale restrictions “are a sensible idea when it protects the career of an artist and their career longevity”, Rochat says. But she adds: “If the clauses are unreasonable, yes, there will be some negotiations. For example, I have received contracts from artists themselves stipulating works cannot be resold [ever], only donated to a charitable organisation, which feels unreasonable for a buyer.”

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Clients do, she says, “sometimes refuse such restrictions when it’s a secondary market transaction or when the agreement sounds like it has to be signed in blood!” Rutledge likens resale restrictions and other stipulations in sale contracts (for example, conditions for how a work should be kept or assembled) to pre-nuptial agreements. Discussions of these terms are useful, she says, for establishing each party’s expectations, even if the purchaser ultimately backs out because of the commitment involved—something she has seen happen only rarely. Rutledge also points out that for some

“Rutledge likens resale restrictions in contracts to pre-nuptial agreements”

Auction houses often only become aware of resale restrictions on a consigned work when they are contacted by the artist or their gallery

conceptual works of art, where there is no permanent physical object, the contract of sale establishes the conditions for the work of art to be realised. She says many stipulations around resale and other contract restrictions may “come out of the conceptual framework because those artists and collectors are interested in thinking about the conditions of the future life of a work”.

CAN THEY BE ENFORCED? In Rochat’s view, non-resale clauses “mainly have a dissuasive effect… the enforceability of these clauses has not yet been tested by the UK courts”. This point of enforceability has been much debated by lawyers. In the June issue of The Art Newspaper, Jon Sharples, an intellectual property and art lawyer at Howard Kennedy in London, quoted the resale agreement for a work he bought from Sadie Coles HQ. It stated that, for a period of five years, “we ask you to agree, as a courtesy to our artists, not to put this

work into auction, and not to sell the work to anyone without first offering Sadie Coles HQ the right to first refusal on the same terms and conditions as any bona fide offer you present to us.” Sharples writes that articles by several “heavyweight lawyers have contributed to a hardening conventional wisdom that these clauses—in legal terms—are probably not worth the paper they are written on”. One of those lawyers is Martin Wilson, the chief general counsel at Phillips, who argued that for consumers (that is, collectors) these clauses are likely to fail the “fairness” test in English consumer law. As for trade buyers, Wilson thinks an English court would find them to be an unfair restraint of trade. And, anyway, what financial “damage” can the gallery or artist really say they have suffered if they are breached, given that the effect is often to establish a higher market price for that artist’s work? But Sharples points out that Adam CONTINUED ON PAGE 8 

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

FEATURE Resale rights

The buyer of a Cecily Brown painting agreed to pay tens of thousands of dollars after breaching a contract resale term

 CONTINUED FROM PAGE 7 Jomeen, the founding partner of Art Law Studio, posits that “until a court decision tells us otherwise, resale restrictions seem perfectly capable of being enforceable under English law when drafted correctly.” Sharples himself thinks many nonresale clauses, buried in the small print and presented when the deal is already done, “do seem to be unfair and unenforceable”. However, in Sharples’s view, there is a spectrum of enforceability and the “fairer” a gallery can make their terms—and the way they are agreed—“the more likely they are to be upheld by a court”. Ultimately, few gallerists would ever actually start litigation against their clients, preferring, as Sharples says, to lean on the “softer enforcement mechanism of a gallery’s blacklist and losing access forever in the small and gossipy art world”. Different principles apply in New York, where case law (rather than consumer law) provides the best guidance. That said, as Megan E. Noh, the co-chair of the art law group at Pryor Cashman in New York, says: “There is very little relevant precedent in US case law—a handful of published decisions on right of first refusal, but almost nothing on the various types of other resale restrictions.” There is certainly no case law on those sprawling “don’t sell it, ever” restrictions. As in English law, a resale clause has to be clear and specific. It must also be “reasonable”. Noh says: “Under US law, a contract has to reflect consideration—something of value being provided by both parties. If a collector is acquiring a work directly from the artist’s studio without having to work through an intermediary, or is buying from the artist’s gallery but is jumping the waitlist or

otherwise getting priority access to a limited supply of works, any of those things are likely to represent sufficient consideration to the collector. And it’s clear what value the artist is seeking in exchange—market protection.” In Rutledge’s view: “I don’t think there should be any problem drafting an enforceable resale term. Basically, any contract is enforceable providing the primary conditions are met—something of value has to be exchanged.”

Handle with care: although there is very little precedent in case law, any “reasonable” resale term is likely to be enforceable

One of the few public cases of contravention of a resale agreement is that of a Cecily Brown painting Faeriefeller, which was bought at Art Basel in Miami Beach in 2019 by the Chinese collector Michael Xufu Huang from Paula Cooper Gallery for $700,000. Huang, the founder of Beijing’s X Museum, sold it on almost immediately to another collector, Federico Castro Debernardi, for $770,000. The resale agreement (which appeared in court documents when Huang later sued Debernardi for $1.3m in “reputational damages”) stated that Huang should not sell the work for at least three years without first offering it back to Paula Cooper Gallery. If he did, he would be liable to pay the gallery the difference between the original purchase price and the “[auction] selling price of similar artworks”—calculated to be between $500,000 and $1m. Paula Cooper might never have known that Huang had contravened the agreement had Debernardi not sold the painting to another gallery, Levy Gorvy, in 2020. Judging by court documents, the gallery (which was not involved in the lawsuit) went in hard, warning Huang he could expect to be publicly shamed. How likely it is that a court would have upheld Paula Cooper’s claim is not known. But Huang did settle for a considerable amount, which he told Bloomberg was way over his $70,000 commission. “It was my fault for letting this happen, so I paid it and took responsibility,” he said. A.B.

Anri Sala, Ravel Ravel Interval, 2017, Courtesy the artist, still: Courtesy Galerie Chantal Crousel, Paris; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich/London © 2023, ProLitteris, Zurich

GALLERY: © LEFTY KASDAGLIS. FLAG: GLENDA POWERS

“Few gallerists would start litigation again their clients, preferring ‘softer enforcement mechanisms’”

HOW ONE BUYER PAID THE PRICE

Toy Soldier (Notes on Robert E. Lee, Richmond, Virginia/Strobe), 2021 – 22 (film still) © Adam Pendleton

Art Basel Unlimited

Adam Pendleton June 12–18, 2023 pacegallery.com

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BORN FROM NATURE, ELEVATED OVER TIME

DOM RUINART, THE QUINTESSENTIAL BLANC DE BLANCS

Drink responsibly

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

INTERVIEW Artists

Cindy Sherman

Self

conscious

For her Zurich show, the artist has created an exciting new body of work. By Anny Shaw of the curve when it comes to technology, constructing and Photoshopping “profile pics” long before Instagram. Here she tells us how AI helped shape her latest series, why she started making ceramics during the pandemic, and what it means to be a woman in today’s art market. SHERMAN: PHOTO: INEZ AND VINOODH; © CINDY SHERMAN

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ince she was a child, Cindy Sherman has been playing with disguise, artifice and camouflage. At first she would dress up to overcome her shyness, attending parties and gallery openings in New York in character, later documenting her transformations as an art form. She has played the 1950s screen siren, the centrefold pin-up, the Old Master sitter, the clown and the ageing Hollywood diva. For her solo exhibition at Hauser & Wirth in Zurich, Sherman has created a new body of work which harks back to her early black-and-white cut-out collages from the 1970s, manipulated and scaled up for the digital age. She has often been ahead

THE ART NEWSPAPER: For your latest body of work you returned to some images you started making in 2010. What caused you to stop working on them and why did you to pick them up again? CINDY SHERMAN: Initially I was thinking of ideas for making a kind of wallpaper image that would repeat parts of skin or parts of the face so it wouldn’t really be recognisable until you got close up to it. I eventually did

Auctions in Munich 29 June Modern Art

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Sherman’s latest works were inspired by her experiments with Photoshop. Far left: Untitled #631 (2010/23); and left: Untitled #652 (2023)

something else for that particular project. Periodically, I would go back to this body of work, trying to figure out what I wanted to do with it. And I never did anything until I started thinking about this show, that maybe this work I had shot 13 years ago would work better in black and white. So I was playing around with Photoshop to make things black and white, and then accidentally I left a part in colour. And that’s when I got the idea to have it look like it’s really collaged from black-and-white and colour. Then I realised that I wanted to start shooting some recent things. I had a new camera and I wasn’t expecting the resolution to be so much sharper, which is why I made the new images a little bigger, because you can see every little hair and pore on your skin.

ALL SHERMAN WORKS: © CINDY SHERMAN; COURTESY THE ARTIST AND HAUSER & WIRTH

In the catalogue for the show, you talk about “dreading being in front of the camera again”, having to compare yourself to your “13-year younger face”. It struck me that you’ve been scrutinising your face for nearly 40 years. How has that affected you?  That was one of the reasons taking parts of the face was helpful to me, because I didn’t feel like it was really revealing me. Even though the original photos are extreme close-ups, I’m not using the whole thing. I’m mixing them all up from different images. So I guess I didn’t really feel like it was that revealing. It’s like I’m unintentionally coming to terms with ageing. You’re active on Instagram and have been posting AI-generated images based on your own work. What are your thoughts on AI? Will you use it as a tool for your work? I don’t know that I’d use it as a tool, but I’m getting ideas from it. I’m using Lensa, which is where you choose a group of images, typically selfies, and you feed them into this programme and they make avatars out of the selfies. Generally, I think they are trying to make really attractive avatars of your face. But because the images that I’ve given them are these altered images, the results are just so much more surprising. Some of the characters seem to have two hands

“I’ve always felt that bad movies, bad TV… is still really interesting because of what makes it bad” growing out of one arm or the face seems kind of chopped up. That partially inspired me for this new body of work. People were responding to my Instagram posts saying, “your other work was so much better,” but I don’t consider [Instagram posts to be art] works. It’s just fun, I’m playing around. This is the first body of work you’ve made since the pandemic. How did that whole period affect you? I wasn’t able to work at all. I actually wound up buying a kiln and a potter’s wheel, and got into making ceramics, which was great, therapeutically. It was just so nice to use my hands again and to make objects that I could touch and then

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paint and cook. I loved that. But in terms of my photography… it was tough for me in the beginning, because I had this big show coming up at the Louis Vuitton foundation in Paris, that I had spent years working on, and I never got to see it. I feel like hardly anybody saw it. So I felt kind of depleted. And I didn’t have any ideas for any future work. Even doing this show, I didn’t really have an idea for what I was doing until late autumn or the early part of this year, even. I warned them. I said I might not be able to do this show. I really didn’t know what I was doing. It was a combination of what I went through during Covid, of it being very difficult to get back into thinking about working again. And part of it was because I got older, and I also gained weight during Covid and I became very self-conscious about that and how that was going to affect my work. Because in the past my body has always been relatively consistent: gradually ageing and gradually gaining a little bit of weight. But, like a lot of people did, I gained a bunch of weight. And then I was like, “wow, what kind of work am I going

13 to do? An intentional series about being a heavier, older woman?” It took a while to figure that out. I would say that your work is both implicitly and explicitly feminist, even if it can often be read as ambivalent. Has feminism been a driving force in your work? I guess in the past there have been times when it was kind of a driving force, but not so much where I was consciously going, “oh, I’m making feminist work.” It was more about issues that I felt affected me as a younger woman—the [portrayal] of women in film and TV shows: you’re a mother, you’re cooking, you’re taking care of the family. There were certain roles that I was starting to question—“do I really want to be like that?” So yes, that informed the work, but I certainly wasn’t articulate about it. Who, or what, would you say are the greatest influences on your work? August Sander. I’ve always loved his portraits, his study of people. I feel like a lot of my work is about studying people. And Goya. But also a lot of film and television. I’ve always felt that bad movies, bad TV, even bad advertising is still really interesting because of what makes it bad. So I’d say the media is really the biggest influence. Your work has sold for many millions at auction and you’re represented by one of the biggest galleries in the world. How do you feel about that level of commercial success? Even though the art world has moved on—women are better served and artists of colour are better represented—it is still male-dominated. I hear people complain about how there are so many mediocre women or artists of colour getting attention now. But how many years have we been witnessing a lot of mediocre male artists getting attention? Financially, yes, I’m doing well, but my male counterparts are still doing a lot better at auction. It’s going in the right direction, but it’s still a little bit of an upward battle. A lot of the art world is overhyped and overpriced anyway. • Cindy Sherman, Hauser & Wirth, Limmatstrasse, Zurich, until 16 September

Jean-Michel Basquiat, The Guilt of Gold Teeth, 1982 (Detail), Acryl, Sprühfarbe und Ölstift auf Leinwand, 240 × 421,3 cm, Nahmad Collection, © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York, Foto: Annik Wetter

THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

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THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 14 JUNE 2023

IN PICTURES

1

Parcours

Discovering the

SECRET life of Basel

With its site-specific installations dotted around the city, this year’s Basel Parcours project takes visitors out of the Messeplatz into usually (and, sometimes, still) inaccessible places. From private gardens to libraries to works suspended on bridges and encircled by traffic, this year’s programme—curated by Samuel Leuenberger, the founder and director of the not-for-profit exhibition space SALTS—opens up the geography of the city. Parcours is free to the public, including fairgoers, but, perhaps more crucially, those living in the city year-round. “This is also a very special moment for people who live in Basel because they can discover places they would never see,” Leuenberger tells us as he walks us around this year’s highlights. Interview by Chinma Johnson-Nwosu Photographs by David Owens; portrait by Stefan Jaeggi

1

MELIKE KARA

UBS Geschäftsstelle Aeschenvorstadt

“Kara’s work is centred around building up an archive of Kurdish knowledge. She collects all kinds of imagery: her own photography, family photographs, historical works, things she finds online. You can see some of these photos on these large canvases—on the reverse side are abstract paintings by the artist. These draw on Kurdish tapestry design but they’re also contemporary explorations. Kara, whose work is also concerned with architecture, has created a canopy-like structure which sits underneath the oculus of the UBS lobby, providing a back-light to the databank of imagery plastered across the construction.”

2

BERLINDE DE BRUYCKERE

Haus zum Raben, Picassoplatz

“De Bruyckere’s sculpture of an archangel, Arcangelo III (2023), sits at the end of a rose alley in the private gardens behind the Kuntsmuseum Basel, a space normally closed to the public. A stone cloak shrouds the figure from the Basel sunlight. The artist conceived of this work during the Covid-19 lockdown, sensing that people were down and injured. The fallen, celestial figure symbolises a certain hopelessness.”

3

HANK WILLIS THOMAS

Kunstmuseum-Kreisel

“Thomas deals a lot with the symbolism of the raised arm—of defence, of resistance, of hope or success. His work often analyses the media in the US and how these images are being misused and abused—especially around the African American community who face, among other challenges, increased scrutiny and police surveillance. Here, Thomas is playing with the ambiguity of this gesture and what it can mean to different people. This idea is only enhanced by the artist’s use of polished aluminium—a first for him—and the mirror-like quality it lends the work.”

4

THOMAS HOUSEAGO

Haus zum Raben, Picassoplatz

“Houseago’s forward-striding work joins De Bruyckere’s to be one of the three works occupying the garden. It is one of those rare and opportune moments where I was able to give space to several artists. This allowed me to depart from the ‘minisolo-show’ model and simulate a kind of sculpture park. The headless figure is partially dissected, opening it up to the gardens.”

5

LUÍS LÁZARO MATOS Library, Kunstmuseum Basel

“Matos was interested in the library as the place of research and fantasies. Gay cruising, for example, sometimes happens in libraries. This is brought to life by these site-specific paintings of sexualised, fantasised figures: the academic in glasses, the goat as a symbol of sex—as well as the wall texts, these semi-fictional writings based on flirtatious SMS text exchanges. There’s also the humour of the work: paper-eating goats in a space littered with books. We still have to be quiet in the library but, visually speaking, the work is very loud.”

6

JULIAN CHARRIÈRE

Lecture room, Kunstmuseum Basel

“This is only the second time this film has been on show, having been debuted at a solo exhibition at Germany’s Langen Foundation. Its inclusion in Parcours therefore gives the installation its first large, international audience. What we’re looking at is footage from a drone flying over abandoned and disused coal-mining areas in the German region of Rhine-Westphalia. So we’re seeing the slightly slowed footage of fireworks at night, recorded backwards. The background is occasionally pitchblack but when the fireworks explode it illuminates the ruin of the area, making visible the wreck we leave behind and the damage we do to the earth.”

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

WHAT’S ON Art Basel and beyond

Tune in: the experimental music at the heart of the Messeplatz project Latifa Echakhch, whose work featured in the Swiss pavillion at last year’s Venice Biennale, aims to elicit both catharsis and discomfort from audiences for her music performance piece outside the fair

As well as events in Basel, it is easy to reach cities in Switzerland, France and Germany

 Basel Non-commercial City SALTS Hauptstrasse 12 • Fallen Angels; Hosseini, Zoellner, Raka; A Nana e a Pepita 15 JUNE-15 AUGUST

Dock Kunstraum Klybeckstrasse 29 • Plots and Pieces UNTIL 19 JUNE

Fondation Beyeler Baselstrasse 101, Riehen • Doris Salcedo UNTIL 17 SEPTEMBER • Basquiat: The Modena Paintings UNTIL 27 AUGUST

HEK (House of Electronic Arts) Freilager-Platz 9 • Collective World-Building: Art in the Metaverse UNTIL 13 AUGUST

Historisches Museum Basel-Barfüsserkirche Barfüsserplatz 7 • Out of Use: Everyday Life in Transition UNTIL 17 SEPTEMBER

Kulturstiftung Basel H. Geiger Spitalstrasse 18 • Evaporating Suns: Contemporary Myths from the Arabian Gulf UNTIL 16 JULY

Kunsthalle Basel

Messeplatz Project: Latifa Echakhch Messeplatz

MESSEPLATZ: PHOTO: DAVID OWENS

THROUGHOUT ART BASEL

Latifa Echakhch wants it to be a surprise. The Swiss-based, Moroccan-born artist’s work for this year’s Art Basel Messeplatz commission is an empty, deconstructed stage. “It’ll look like a big, empty installation—a quiet one,” she tells The Art Newspaper. That is, until the performers turn up. The work—titled Der Allplatz, loosely translated as “the space for all”—will be home to intermittent performances of experimental music. As fairgoers in the square meet with friends and associates, or members of the public wait for one of Basel’s trams, musicians, including the Brooklynbased cellist and sound artist Leila Bordreuil, will break out their bows. Echakhch hopes that the sounds will be just as unexpected as their

performance, recreating her own epiphanic feeling of stumbling across this “strange music” when she was 21. She names Pierre Henry, Alvin Curran, Terre Thaemlitz, Mika Vainio, Ryoji Ikeda as some of the artists she found early on. She is curious about how the music will be received by people who hear it by chance. The artist started working on this project after the close of her 2022 Venice Biennale exhibition The Concert. In a radical break from her previous work, she approached the Swiss pavilion as a “musician” rather than a “visual artist”, filling the space with experimental sounds, harmonies and dissonances. She wanted visitors to leave with “the same feeling as when they come out of a concert”. The difference is that, by the time Biennale visitors arrived at the Swiss pavilion, they knew at least partially what to expect. At Art Basel, however, “people are prepared to see art; the

most challenging thing about this commission is that people—even those from the art world—may not be prepared to hear what I will present,” she says. Indeed, this is the essence of the work; how a space, much like a musical composition, can be pushed beyond the boundaries of expectations. Crucially, the stage—with its 360degree view—is free and open to all, even those without passes to the fair. This was important to the artist, who points out that the Messeplatz does

“The most challenging thing is that people may not be prepared to hear what I will present”

not belong to the fair. “It’s part of the Allmend [or the ‘common’, meaning it belongs to the canton of Basel]”, she says, “literally translating to ‘what belongs to everyone’.” Central to these unpredictable reactions will be disorientation. You are looking at a semi-collapsed stage, Echakhch reminds us. Some people may be wondering if it is finished or if they are supposed to be waiting for something else, she adds. But this disorientation is supposed to elicit feelings of “discomfort” and “catharsis”. Discomfort because the project asks the viewer to do some work as they wait, to contend with their imagination or engage in “projection”, as Echakhch describes it. And catharsis, since in the socially exacting, etiquette-laden world of the art fair, perhaps a bit of discomfort is what visitors need. Chinma Johnson-Nwosu

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Kunsthaus Baselland Freilager-Platz • Jeppe Heins: Appearing Rooms UNTIL 3 SEPTEMBER St. Jakob-Strasse 170 • Simone Holliger: venir en main; Pia Fries; Nature. Sound. Memory UNTIL 9 JULY

Kunstmuseum Basel (Gegenwart) St. Alban-Rheinweg 60 • Andrea Büttner: The Heart of Relations UNTIL 1 OCTOBER

Kunstmuseum Basel (Hauptbau) St. Alban-Graben • Bernard Buffet UNTIL 3 SEPTEMBER • Born in Ukraine: The Kyiv National Art Gallery in Basel UNTIL 2 JULY

Continued on p20



The American poet, musician and activist Moor Mother was the first to perform on the stage in the Messeplatz outside Art Basel, as part of artist Latifa Echakhch’s installation

Steinenberg 7 • P. Staff: In Exstase UNTIL 10 SEPTEMBER • Tiona Nekkia McClodden UNTIL 13 AUGUST

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

WHAT’S ON Art Basel and beyond 

Kunstmuseum Basel (Neubau) St. Alban-Graben 20 • Shirley Jaffe: Form as Experiment UNTIL 30 JULY • Charmion von Wiegand UNTIL 13 AUGUST

Museum der Kulturen Münsterplatz 20 • At Night: Awake or Dreaming UNTIL 21 JANUARY 2024

Museum Tinguely Paul Sacher-Anlage 2 • Janet Cardiff and George Bures Miller: Dream Machines UNTIL 24 SEPTEMBER • Roger Ballen: Call of the Void UNTIL 29 OCTOBER

Galerie Mueller Rebgasse 46 • Junge Kunst 1969: Fahrner, Kuhn, Schibig, Schärer UNTIL 1 JULY

ALTKIRCH

Spalenberg 2 • Projects #7: Drawing 1970-2022 UNTIL 12 AUGUST

35km from Basel

Guillaume Daeppen Müllheimerstrasse 144 • M3RS0: Just do it UNTIL 29 JULY

Hebel_121 Hebelstrasse 121 • Takashi Suzuki UNTIL 5 AUGUST

Laleh June Galerie

Steinenberg 7 • Homo Urbanus: A Citymatographic Odyssey by Bêka & Lemoine UNTIL 27 AUGUST

Picassoplatz 4 • Marc Rembold UNTIL 31 AUGUST

Ruchfeldstrasse 19 • Out of the Box: 20 Years of Schaulager UNTIL 19 NOVEMBER

Commercial Gagosian Rheinsprung 1 • Jordan Wolfson UNTIL 22 JULY

Galerie Carzaniga Unterer Heuberg 2 • Zaccheo Zilioli UNTIL 24 JUNE • Mark Tobey 15-18 JUNE

Galerie Gisèle Linder Elisabethenstrasse 54 • Nature UNTIL 1 JULY

Galerie Knoell Bäumleingasse 18/Luftgässlein 4 • Rien n’est réel UNTIL 29 JULY

France

Galerie Stampa

S AM Swiss Architecture Museum

Schaulager

 Beyond Basel

Nicolas Krupp Gallery Rosentalstrasse 28 • Diango Hernández: All Hands UNTIL 1 JULY

Vitrine Basel Vogesenplatz 15 • Ebun Sodipo: on the Edge Sheen of a Cut 14 JUNE-27 AUGUST

CRAC Alsace

18 Rue du Château • Beatriz Santiago Muñoz 15 JUNE-17 SEPTEMBER

Germany AARAU 60km from Basel

Stadtmuseum Aarau Schlossplatz 23 • Blind Spot: Contemporary Photography from Aarau UNTIL 23 JULY • Johann Le Guillerm: La Calasoif (Les Imperceptibles) UNTIL 22 JUNE

WEIL AM RHEIN 6km from Basel

Vitra Design Museum Charles-Eames-Strasse 2 • Garden Futures: Designing with Nature UNTIL 3 OCTOBER • Hot Cities: Lessons from Arab Architecture UNTIL 5 NOVEMBER

Switzerland

Von Bartha

BERN

Kannenfeldplatz 6 • Design for a Garden UNTIL 15 JULY

100km from Basel

Weiss Falk Rebgasse 27 • Olivier Mosset UNTIL 15 JULY • Lorenza Longhi: Sentimental Pop UNTIL 15 JULY

Wilde Angensteinerstrasse 37 • Per Barclay: Aperture UNTIL 12 AUGUST

Kunsthalle Bern Helvetiaplatz 1 • Jackie Karuti: Body Machine Location UNTIL 9 JULY • Archival Ramblings UNTIL 9 JULY

Zentrum Paul Klee

Galerie Peter Kilchmann

Luma Westbau

Rämistrasse 33 • Shirana Shahbazi: Picture the Scene UNTIL 28 JULY Zahnradstrasse 21 • Paul Mpagi Sepuya: Push/Pull UNTIL 28 JULY • João Modé: Geom Poem UNTIL 28 JULY

Limmatstrasse 270 • Hans-Ulrich Obrist Archive: Édouard Glissant UNTIL 17 SEPTEMBER • Dimitri Chamblas: Slow Show Installation UNTIL 17 SEPTEMBER • Arthur Jafa: SloPEX UNTIL 17 SEPTEMBER

Hauser & Wirth

Mai 36 Galerie

Bahnhofstrasse 1 • The God that Failed: Louise Bourgeois, Barnett Newman, Mark Rothko UNTIL 16 SEPTEMBER Limmatstrasse 270 • Roni Horn: “An Elusive Red Figure...” UNTIL 16 SEPTEMBER

Rämistrasse 37 • John Baldessari: Food UNTIL 12 AUGUST • Magnus Plessen: Lucid Density UNTIL 12 AUGUST

Rue Charles-Galland 2 • Jean Dunand: The Alchemist UNTIL 20 AUGUST • Precious Reserve UNTIL 1 OCTOBER • Ugo Rondinone: When the Sun Goes Down and the Moon Goes Up UNTIL 18 JUNE

Kunstmuseum Luzern

Photo Basel

610 Klybeck, Gartnerstrasse 2 UNTIL 18 JUNE

Volkshaus Basel, Rebgasse 12-14 UNTIL 18 JUNE

Liste Art Fair

I Never Read art book fair

Hall 1.1, Messe Basel UNTIL 18 JUNE

Kaserne Basel, Klybeckstrasse 1b 14-17 JUNE

• Cindy Sherman UNTIL 16 SEPTEMBER

Surpunt 78 • Hannah Villiger: Amaze Me UNTIL 2 JULY

Musée d’Art et d’Histoire de Genève

Rosenberghöhe 4 • Cao Yu: I Was Born to do This UNTIL 21 JULY

Volta Basel

Limmatstrasse 268 • Gili Tal: You May See Butterflies: Elephant Park UNTIL 16 JULY

Hafnerstrasse 44 • Fabian Treiber: Most Common Things UNTIL 29 JULY

Galerie Urs Meile

Hall 1 South, Messe Basel UNTIL 18 JUNE

Galerie Francesca Pia

210km from Basel

LUCERNE

Riehenstrasse 90B UNTIL 18 JUNE

UNTIL 13 AUGUST

GENEVA

100km from Basel

Design Miami

The Fondation Beyeler in Basel puts a new twist on the Jean-Michel Basquiat story this week, presenting Basquiat: The Modena Paintings, which reunites eight large-scale works made in Modena, Italy, in 1982. The paintings, including The Guilt of Gold Teeth, are now held in eight separate private collections in the US, Asia and Switzerland. The Italian gallerist Emilio Mazzoli invited Basquiat to make the works for a one-off show, providing work premises and painting supplies. The graffiti artist painted over discarded canvases used by another artist, Mario Schifano, scrawling “Modena” on the back. But complications over payment of the works led to the cancellation of the planned exhibition in Europe. In a 1985 interview with the New York Times, Basquiat outlined how much he disliked the Modena experience. “They set it up for me so I’d have to make eight paintings in a week.” Meanwhile, working in the warehouse premises provided for him felt “like a factory, a sick factory. I hated it”. The works found new

Museumstrasse 2 • Swiss Press Photo 23 UNTIL 25 JUNE • Happy You Have Rights Day: 175 Years of the Federal Constitution UNTIL 16 JULY

Place de Neuve • Loving UNTIL 24 SEPTEMBER

June Art Fair

UNTIL 27 AUGUST

buyers via Basquiat’s New York dealer at the time, Annina Nosei. Sam Keller, the director of the Fondation Beyeler, tells The Art Newspaper: “With every next generation, the importance of Basquiat’s work is increasing further. His combination of images and words referring to high and popular culture, history, science, social and economic injustice was truly ahead of his time and more relevant today than ever”. Keller adds: “The Modena paintings were created over 40 years ago and have never been shown together before. It’s going to be exciting to finally reunite them.” The average insurance value of each of these works is $100m with the group of eight totalling $800m. The market boom for Jean-Michel Basquiat continues, with major works by the late US street artist dominating sales season in New York last month. Moon View (1984) from the collection of the late music mogul Mo Ostin went to the block at Sotheby’s on 16 May, selling for $10.8m, while Christie’s sold El Gran Espectaculo (The Nile) (1983) from the collection of Italian fashion designer Valentino Garavani on 15 May for $67.1m. Gareth Harris

MASI (Palazzo Reali)

Musée Rath

Brought to book: around 100 publishers and booksellers will show their wares at the I Never Read art book fair at Kaserne Basel

Basquiat: The Modena Paintings Fondation Beyeler

Monument im Fruchtland 3 • Monika Sosnowska UNTIL 10 SEPTEMBER • Paul Klee: Everything Grows UNTIL 22 OCTOBER

250km from Basel

 SATELLITE FAIRS

Boy and Dog in a Johnnypump is one of the series of eight works Basquiat painted in Modena in 1982; the artist had held his first solo exhibition in the city the previous year, at Emilio Mazzoli’s gallery

Europaplatz 1 • Betye Saar: Serious Moonlight UNTIL 18 JUNE • Maude Léonard-Contant UNTIL 17 SEPTEMBER

LUGANO 200km from Basel

MASI (Lake)

Piazza Bernardino Luini 6 • Werner Bischof: Unseen Colour UNTIL 16 JULY • Alexej von Jawlensky UNTIL 1 AUGUST • Rita Ackermann: Hidden

via Canova 10 • Hedi Mertens: The Logic of Intuition UNTIL 15 OCTOBER

SUSCH Muzeum Susch

WINTERTHUR 105km from Basel

Kunst Museum Winterthur Stadthausstrasse 6 • Odilon Redon: Dream and Reality UNTIL 30 JULY • Portrait Tales: Portrait and Tronie in Dutch Art UNTIL 5 NOVEMBER • Wardrobe: Stories from the Closet UNTIL 19 NOVEMBER

ZURICH 90km from Basel

Kunsthaus Zürich

Galerie Mark Müller

Heimplatz • Giacometti-Dalí: Gardens of Dreams UNTIL 2 JULY • Re-Orientations: Europe and Islamic Art from 1851 to Today UNTIL 16 JULY

Museum Rietberg Gablerstrasse 15 • Lyric in Ink Lines: Painting and Poetry in the Arts of China UNTIL 10 SEPTEMBER • Look Closer: African Art in the Himmelheber Archive UNTIL 17 SEPTEMBER

Zahnradstrasse 21 • Doug Aitken: Howl UNTIL 22 JULY

Waldmannstrasse 6 • Tschabalala Self: Spaces and Places UNTIL 22 JULY

Migros Museum für Gegenwartskunst Limmatstrasse 270 • Acts of Friendship: Act 3 UNTIL 17 SEPTEMBER • Pilvi Takala: Close Watch UNTIL 17 SEPTEMBER

Galerie Eva Presenhuber (Maag Areal)

Galerie Eva Presenhuber (Waldmannstrasse)

Landesmuseum Zürich

A work from the series Just Do It by photographer M3RS0 from his show at Guillaume Daeppen

Weiss Falk Sonneggstrasse 82 • Heike-Karin Föll: over-painting UNTIL 15 JULY

BASQUIAT: PHOTO: DANIEL PORTNOY; © ESTATE OF JEAN-MICHEL BASQUIAT, LICENSED BY ARTESTAR, NEW YORK. I NEVER READ: MALTE WANDEL, MAX REITMEIER, FLAVIA SISTIAGA . M3RS0: COURTESY OF THE ARTIST

Continued from p19

Eight rarely seen works by Jean-Michel Basquiat are reunited at the Beyeler

TO BENEFIT

HENRY STREET SETTLEMENT ORGANIZED BY

ART DEALERS ASSOCIATION OF AMERICA

NOVEMBER 2–5

BENEFIT PREVIEW WEDNESDAY, NOVEMBER 1

PARK AVENUE ARMORY, NYC

THEARTSHOW.ORG Pieter Schoolwerth, After Troy 13, 2012. Oil, acrylic, oil pastel, and inkjet print on canvas, 72 ½ × 54 inches (184.2 × 137.2 cm). Courtesy of the artist and Petzel, New York

THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

 The week’s

talks and events DAILY (WEDS-SAT) PUBLIC ART 8.30pm-12pm Theater Basel, 7 Theaterstrasse Refik Anadol: Glacier Dreams

Immersive projection on Theater Basel inspired by the beauty and fragility of the world’s glaciers.

TOURS 3pm-4pm

Parcours: Public Guided Tour

Münsterplatz

A guided tour of the Parcours art, Art Basel’s public sector for site-specific works. Book tickets at artbasel.com

The artist, teacher and curator Lubaina Himid talks about her career with Art Basel’s Coline Milliard in today’s Premiere Artist Talk

4pm-5pm Messeplatz On Art Walks

This conversation brings together representatives of four projects in Africa to discuss their dreams, challenges, politics, and the impact they hope to have on their community and beyond. Speakers include the artists Yinka Shonibare and Kaloki Nyamai, curator and critic Kwasi Ohene-Ayeh, and Dana Whabira, artistic director of Njelele Art Station, Harare.

WEDNESDAY 14 JUNE

3pm–4pm Auditorium, Hall 1, Messeplatz The Artists and the Collector

A guided social event that lets you discover the highlights of Parcours, hosted by independent curator Lhaga Koondhor. Register at abba23-on-artwalks.events.on-running.com/

TALK 10am-11am Fondation Beyeler, 101 Baselstrasse Doris Salcedo in conversation with Nick Serota A conversation to coincide with Salcedo’s exhibition at Fondation Beyeler. Purchase tickets from the Beyeler website.

CONVERSATIONS 1pm-2pm Auditorium, Hall 1, Messeplatz Premiere Artist Talk: Lubaina Himid Himid revisits her career as an artist, curator and teacher with Art Basel’s executive editor Coline Milliard. Himid’s 1986 installation A Fashionable Marriage—a Hogarth-inspired satire of the art world and global politics—is in this year’s Unlimited sector.

3pm–4pm Auditorium, Hall 1, Messeplatz Shifting Mindsets: Welcoming Parenthood in the Art World

Is today’s art world more supportive of parents than in the past? This panel reflects on the complex and enriching transition to parenthood, and whether it can offer a conceptual and productive shift in an artist’s work. With artists Andrea Büttner, Camille Henro, and Basim Magdy. 

5pm–6pm Auditorium, Hall 1, Messeplatz How to Overcome Gender Barriers in the Art Market

The share of female artists represented by galleries has risen steadily over the last few years, but the market continues to significantly undervalue their work. Gallerist Amrita Jhaveri, curator Kate Fowle, and economists Clare McAndrew and Sophie Perceval discuss progress still to be made.  

FILM 7pm Stadtkino Basel Raqs Media Collective—Folding Time

Raqs, founded in New Delhi in 1992 present their latest work, The Bicyclist Who Fell Into a Parallax Time Cone (2023), followed by an earlier work, Provisions For Everybody (2018/22).

PERFORMANCES 8pm-8.30pm Kunsthalle Basel, 7 Steinenberg Tiona Nekkia McClodden

A performance by the artist to coincide with her Kunsthalle Basel exhibition.

THURSDAY 15 JUNE CONVERSATIONS 1pm–2pm Auditorium, Hall 1, Messeplatz Artist-Led Spaces: Learning from the African Continent

The relationship that develops between an artist and a collector is at the heart of the art world. Artists Katharina Grosse, Firelei Báez and collector Komal Shah reflect on the challenges they have had to overcome to present female perspectives in their respective practices and collections.

7pm–8pm Auditorium, Hall 1, Messeplatz Sonic Performance: Julianknxx, Whose Dream is This?

A Swiss choir and the FrenchSenegalese singer anaiis accompany multidisciplinary artist Julianknxx as he presents his short film In A Dream We Are At Once Beautiful (2022). The work centres on African diasporic communities in Switzerland shot in natural and urban settings in Basel, Zurich, Geneva and Lausanne.

OPENING 6pm-10.30pm Museum Tinguely, 2 Paul Sacher-Anlage Sound Bar A Sound Bar dedicated to Afrobeats, in celebration of Museum Tinguely’s collaboration with the Nigeria-based artist Temitayo Ogunbiyi.

FILM 7pm Stadtkino Basel Penny Siopis—Welcome Visitors!

South African artist Penny Siopis fuses 8mm and 16mm home movie footage with music and text to tell stories that show how the personal is intertwined with the political and the social. This screening comprises seven short films made between 2010 and 2021.

FRIDAY 16 JUNE CONVERSATIONS 11am–noon Auditorium, Hall 1, Messeplatz The Architecture of the Future Museum

This conversation explores how architecture can lead the way in advancing and enhancing the museum. Speakers include architects Lina Ghotmeh, Kulapat Yantrasast and Jacques Herzog; and Klaus Biesenbach, director of the Neue Nationalgalerie, Berlin.

1pm–2pm Auditorium, Hall 1, Messeplatz From Constraint to Ecstasy: Reimaging Art with Tiona Nekkia McClodden and P. Staff

Spotlighting their current respective solo exhibitions at Kunsthalle Basel, this talk addresses the practices of artists Tiona Nekkia McClodden and P. Staff. They discuss how they reimagine the experience of art through their interests in poetics, queer politics, desire and mechanisms of control with curator Elena Filipovic.   

3pm–4pm Auditorium, Hall 1, Messeplatz Liverpool Biennial 2023 presents uMoya: The Cosmology of Breath

To breathe can be a political act, an urgent engagement of cosmological forces. This conversation, hosted by Khanyisile Mbongwa, curator of the Liverpool Biennial 2023, reflects on demonstration, protest, and other acts of resistance through the work of breathing with artists Nolan Oswald Dennis and Belinda Kazeem-Kamiński.

5.30pm–6.30pm Auditorium, Hall 1, Messeplatz Intersections in Art

How do artistic kinships develop? What common passions unite creatives? Conceived and hosted by Hans Ulrich Obrist, Intersections in Art brings together practitioners across art forms, including artist and set designer Es Devlin, artist and poet Rhael LionHeart Cape and biologist and writer Merlin Sheldrake.  

FILM 7pm Stadtkino Basel The Melt Goes On Forever: The Art & Times of David Hammons The Melt Goes on Forever (Harold Crooks and Judd Tully, 2022) documents the extraordinary career of the 80-year-old African American artist David Hammons.

SATURDAY 17 JUNE CONVERSATIONS 1pm–2pm Auditorium, Hall 1, Messeplatz (Co-)Creating with AI: The Artist’s View

This panel examines how recent much-publicised advances in AI image-generating programmes such as Midjourney and DALL·E 2 are shaping both artists’ and the public’s imagination. Speakers include the artists Suzanne Treister and Marguerite Humeau, and Roger Wattenhofer, professor at ETH Zurich University.

3pm–4pm Auditorium, Hall 1, Messeplatz What Does Blockchain Mean for Ownership and Copyright?

This panel examines how ownership and copyright function on Web3, and how this rapidly developing field can empower galleries, artists and collectors in equal measure. Speakers include Bernadine Bröcker Wieder, chief executive of Arcual.

FILM 9pm Stadtkino Basel An Evening on Magical Realisms and Sci-Fi: Worldings

Screening of five films: crying choir (Milena Mihajlović, 2023), Le Ballert de Ma Solitude (Vital Z’Brun, 2018-20), Delivery Dancer’s Sphere (Ayoung Kim, 2022), Mighty Rushed Experiment (Lea Porsager, 2021), Paara (Goutam Ghoush and Jason Havneraas, 2018).

EVENT 6pm onwards Around Basel Parcours Night

Special evening programme with live performances in the greater Münsterplatz area.

HIMID: PHOTO: © MAGDA STAWARSKA

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HALL 2.0 BOOTH E4

FRANK AUERBACH MIQUEL BARCELÓ TONY BEVAN ALIGHIERO BOETTI ALBERTO BURRI ALEXANDER CALDER ENRICO CASTELLANI JEAN DUBUFFET

LUCIO FONTANA WASSILY KANDINSKY YVES KLEIN CLAUDE LALANNE PABLO PICASSO GERHARD RICHTER SEAN SCULLY ANTONI TÀPIES HANK WILLIS THOMAS

Sean Scully, Wall of Light Shadow, 2002, Oil on linen, 190.5 x 203.2 cm. (75 x 80 in.)

BEN BROWN FINE ARTS

Shirley Jaffe, X, encore, 2007, Private collection, Courtesy Tibor de Nagy Gallery, New York © 2023, Pro Litteris, Zurich

June 15–18, 2023

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Latifa Echakhch, Night Time (As Seen by Sim Ouch) (detail), 2022. Courtesy of the artist and Pace Gallery

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

COMMENT

Why crime stalks the art market

Georgina Adam

ILLUSTRATION © KATHERINE HARDY

I

t was with sadness that I read about the troubles of the prominent art adviser Lisa Schiff, who is currently the target of two lawsuits claiming she defrauded clients and, according to one, was running a Ponzi scheme. I have worked with her and always enjoyed her forthright comments and feisty personality—but my attempts to reach her failed, so I can’t even give her reaction to the lawsuits. For the moment, of course, we must presume she is innocent. However, this got me thinking about other cases in the art market where there was definite wrongdoing, and unfortunately the list just gets longer and longer. Going back in time, there was Michel Cohen, who swindled some $50m out of art dealers before going on the run (he was never convicted). Or Ezra Chowaiki, who pleaded guilty to a raft of accusations including fraud in a $16m scandal— and went to jail, as indeed did Londonbased adviser Timothy Sammons for scamming clients to the tune of

$30m. Inigo Philbrick is also in jail for relieving dozens of seasoned art professionals of an eye-popping $86m in a series of art deals.

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in common. There is the art world’s endless whirl of openings, parties, alcohol and sometimes drugs, which can lead to a blurring of reality, as well as a feeling of invincibility. This seems to instil misplaced confidence that the next big deal will right the ship and make things good again.

CONFIDENCE IS KEY

ROGUES’ GALLERY Then there was Anna Delvey/Sorokin, subject of the Netflix series Inventing Anna, who bilked friends and patrons out of hundreds of thousands of dollars, promising a new private arts club in Manhattan and boasting of a non-existent trust fund. Or Angela Gulbenkian, trading on her famous name but convicted of defrauding her clients, notably over a $1.4m Yayoi Kusama pumpkin sculpture. She was also jailed. Gulbenkian’s spending was detailed in court: $10,500 for a private jet; $3,920 at London’s Café Royal and $16,985 at Harrods, among other expenses. Philbrick was notorious for chartering private jets; according to the prosecutor, Sammons used his illgotten gains to fund a lavish lifestyle. These cases have several elements

“The art world’s endless whirl of openings and parties can lead to a blurring of reality”

Doing time: when dealers and advisers try to emulate the lavish lifestyles of their rich clients too closely, it is sure to end in tears—if not prison

Keeping up with billionaire clients is another trap. Confidence is key: you can hardly be taken seriously if you arrive in a battered taxi at a $50m ranch in California, just when you are negotiating the sale of a $20m Rothko. So the lavish lifestyle—the club memberships, private jets and designer togs—is deemed necessary to instil trust in your clients. They need to feel you are one of them, but one who understands art. Having a posh accent and a smart background also helps—à la Philbrick. But the greatest danger is that the dealer/adviser/agent wants to emulate their clients, to live like them. But they don’t have those billions behind them, so they fund the champagne lifestyle through their business. Which sometimes works, until it doesn’t work anymore, and they end up in court, or worse, in prison. Should we be sad, or cynical? The jury is out.

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THE ART NEWSPAPER ART BASEL FAIR EDITION 14 JUNE 2023

COLLECTOR’S EYE Art lovers tell us what they’ve bought and why

M

THE ART NEWSPAPER: How quickly do you decide to buy a work of art? MARY ROZELL: Collecting art has a lot to do with instinct and a willingness to take risks. That being said, our process is considered and takes time. We look, we learn, and we research over months and sometimes years. Then, when an opportunity arises, we can act very quickly if needed. What was the first work you bought? One of the first works we acquired when I joined was Doug Aitken’s Native Land (2014), an aluminium lightbox that presents a colourful mosaic of roadside signs, suggesting the intrusion of advertising within the natural landscape. This piece shares an affinity

The bust of Nefertiti, in Berlin's Neues Museum, would be Rozell's prize piece

What’s your least favourite thing about art fairs? Fairs can be frenetic with a lot of wonderful distractions such as running into colleagues and old friends. There is never enough time. I’m always lamenting the things and events I’ve missed. Where do you go in Basel to get away from it all? I head to the river. In the mornings, I enjoy running or walking along the Rhine, and I always try to make

“We look, we learn, we research over months and sometimes years”

THE ART NEWSPAPER Art Basel editions

THE ART NEWSPAPER Editor, The Art Newspaper Alison Cole Deputy editor and digital editor Julia Michalska Managing editor Louis Jebb

ART BASEL EDITIONS EDITORIAL Editors Lee Cheshire, Hannah McGivern, Julia Michalska Live editor Aimee Dawson Contributors Georgina Adam, Dorian Batycka, Anna Brady, Louisa Buck, Gareth Harris, Catherine Hickley, Louis Jebb, Kabir Jhala, Chinma JohnsonNwosu, Ben Luke, Scott Reyburn, Tom Seymour, José da Silva, Anny Shaw Production editor Hannah May Kilroy Design James Ladbury Sub-editing Andrew McIIwraith, Vivienne Riddoch Picture editor Katherine Hardy Photographer David Owens

PUBLISHING AND COMMERCIAL

Mary Rozell The head of the art collection of Swiss bank UBS has a methodical approach to institutional buying—and a soft spot for the bust of Nefertiti, an “icon of feminine beauty” with the work of Ed Ruscha, who is well represented in the collection. What was the last work you bought? We recently acquired a textile creation by Malgorzata Mirga-Tas, which will be featured in our display in the UBS Lounge at Art Basel this year. I was intrigued by the artist’s practice when I saw her presentation in the Polish Pavilion at the Venice Biennale last year. She is a member of the Bergitka Roma, and her colourful work provides personal insights into her community. It also connects to several textile pieces we’ve acquired over the past few years. What do you regret not buying when you had the chance? There are some works that we think are incredible, but often we are unable to add them to the collection due to size or price. No matter how desirable a piece may be, it’s important to acknowledge when a work may not be affordable. In such instances, we may look for other more suitable works by the artist such as a work on paper or a print. We have long admired the work of El Anatsui, for example, but we do not have the space or budget to accommodate his monumental compositions. Recently, we acquired

a beautiful edition comprised of hand-sculpted and formed aluminium sections, which fully captures his inimitable approach. If you could have any work from any museum in the world, what would it be? The greatest prize for me personally might be the painted limestone bust of Nefertiti (around 1345 BC) located in the Neues Museum in Berlin. It is a breathtaking work of art depicting one of the most famous women of the ancient world; the bust itself is now an icon of feminine beauty. But she unquestionably belongs in a museum. Where do you like to eat and drink while you’re in Basel?  I must admit that much of the eating and drinking during the fair week is on the fly, but if the weather is nice and I get a moment, I like to be outside. There is a charming place called Gasthof zum Goldenen Sternen in the St. Alban Rheinweg. It is considered to be the oldest tavern in Basel. Basel is also known for its Buvetten, quaint open-air eateries that open in the summer along the river. I love the casual atmosphere and the diversity of people enjoying a coffee, drink or meal there.

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a point of going for a swim before the week is over—rain or shine! It is both transporting and energising to allow yourself to float down the Rhine while enjoying the picturesque Old Town. What tip would you give to someone visiting Basel for the first time? Exploring the Art Basel Parcours programme is a great way to discover the city and its many fine museums and sites. We’re thrilled that our UBS Aeschenvorstadt branch in Basel’s historic city centre is once again included as a venue this year. I recommend a visit to discover the work of artist Melike Kara who has crafted a fantastic installation exploring her own identity, while combining Kurdish traditions and notions of home. • Rozell will take part in the panel A Body of Work: Artists at the Intersection of Reimagining Worldviews at 11am on Thursday in the Art Basel Auditorium

Interview by Julia Michalska

Publisher Inna Bazhenova Chief executive officer Nick Sargent Partnerships and art fairs manager Rohan Stephens Global head of sales Juliette Ottley Commercial head of arts and fairs (international) Emily Palmer Advertising sales manager, Americas Kristin Troccoli Sales executive, Americas Steven Kaminski Subscriptions manager Louisa Coleman Art director (commercial) Daniela Hathaway

TO ADVERTISE, PLEASE CONTACT: UK, Europe and rest of world Juliette Ottley T: +44 (0)203 586 8041 E: [email protected] Americas Kristin Troccoli T: +1 212 343 0727 E: [email protected]

CONTACT US: In the UK: The Art Newspaper, 17 Hanover Square, London W1S 1BN T: +44 (0)20 3586 8054 E: [email protected] In the US: 130 West 25th Street, Suite 2C, New York, NY 10001 T: +1 212 343 0727 Fax: +1 212 965 5367 E: [email protected] Website: theartnewspaper.com Published by The Art Newspaper Ltd, 17 Hanover Square, London W1S 1BN, and by The Art Newspaper USA Inc, 130 West 25th Street, Suite 2C, New York, NY 10001. Registration no: 5166640. Printed by DZB Druckzentrum Bern AG © The Art Newspaper, 2023 All rights reserved. No part of this newspaper may be reproduced without written consent of the copyright proprietor. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers.

Subscribe online at theartnewspaper.com Rozell says she always tries to make time for a swim in the Rhine during Art Basel—whatever the weather

@theartnewspaper @theartnewspaper @theartnewspaper.official

ROZELL PORTRAIT: © FLAVIO KARRER. RHINE: © CORINA RAINER

ary Rozell came well equipped to command the worlds of art and finance when she joined UBS in 2015 as the global head of its art collection—she has a law degree and a master’s in art history. Under her stewardship, the bank revived its focus on artist commissions and, in 2019, opened a public gallery at its headquarters in Manhattan. Focusing almost exclusively on the primary market, the collection includes works that have been acquired from the bank’s mergers with Swiss Bank Corporation and PaineWebber. The UBS collection is likely to expand further thanks to its acquisition of Credit Suisse earlier this year. At Art Basel, Rozell is presenting the book Reimagining: New Perspectives, which chronicles the bank’s collecting over the past seven years. And despite the recent turmoil in the banking world, she hopes to find more works that “challenge us, providing insights into our world”. Here she tells us which artists she is banking on. 

WONDERS OF EARTH:

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DANCE STYLES TO CONNECT US

Kenya

ART BASEL 2023

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Louise Bourgeois, Spider IV, 1996, bronze, ed. of 6, 203.2 × 180.3 × 53.3 cm / 80 × 71 × 21 in © The Easton Foundation/2023, ProLitteris, Zurich. Photo: Jon Etter

LOUISE BOURGEOIS

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