issue 3, ART BASEL FAIR EDITION 15 JUNE 2023 The Art Newspaper

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Art Basel: 15 June 2023

Art Basel may be busy, but cautious sales reflect a complex market picture Secondary market works are taking longer to place as art trade faces “a clear readjustment”. By Anny Shaw

“N

o one knew quite what to expect coming into this week,” Art Basel’s new global chief executive Noah Horowitz told The Art Newspaper on the fair’s first VIP preview day on Tuesday, noting that the mixed results of the marquee spring auctions in New York last month had indicated a “real reset” of the market. Just hours after the fair opened to its most prized collectors, Horowitz observed “exceptional energy” on the floor. The question is whether that energy is translating into sales: commentators say business is “slightly tough” and “not as good as hoped”. By the end of Tuesday, confirmed sales amounted to a conservatively estimated $245m worth of art—though this figure will also include works pre-sold to collectors in the weeks preceding the fair. Six of the top galleries accounted for at least $175m of that total, with Hauser & Wirth alone reporting a minimum of $57m in sales. Gagosian remained tight-lipped about individual sales, but a well-placed source says that around $70m worth of art had been sold on day one, $30m of that via a 102-page preview document sent to clients. The gallery declined to comment. Reports of sales continued to trickle in on the second VIP day, including Glenn Ligon’s Stranger #95 (2022), priced

at $2m at Hauser & Wirth, and an early multi-panel painting by the US abstract expressionist Joan Mitchell, priced at $14m, which Pace sold to a private US collector. The gallery declined to comment on how far in advance the work was secured. Pace’s president, Samanthe Rubell, says: “A huge amount of effort goes into preparing for the fair. We need to balance the interest of our current collectors, who know what we are bringing to the fair, with a real desire to have as much work available as possible when the fair opens.” Despite Art Basel’s energetic opening—described by Gagosian’s chief operating officer Andrew Fabricant as “the busiest in years”—there are obvious signs of strain on the market. Just last week, reports broke that the eurozone has slipped into recession, while the US central bank raised interest rates to the highest level in 16 years last month. But the impact of these headwinds on the art trade is complex, as the many loosely related sub-markets that make up the “art market” seem to be reacting differently.

Blue chips are up?

Conservative times usually prompt buyers to pivot to more tried-and-tested artists. As the art adviser Nelani Trent, who is in Basel this week, notes, “a shift Mark Rothko’s 1955 work, Untitled (Yellow, Orange, Yellow, Light Orange), remains on sale at Acquavella with a price tag of $60m

ROTHKO: DAVID OWENS. KLIMT: COURTESY SOTHEBY’S

Klimt’s last portrait expected to set European auction record THE LAST PORTRAIT PAINTED BY GUSTAV KLIMT WILL CARRY THE HIGHEST ESTIMATE EVER PUT ON A PAINTING IN EUROPE when it appears at Sotheby’s in London later this month, pitched at in excess of £65m. The sale for at least that amount is, effectively, a foregone conclusion as it is guaranteed by a third party. Dame mit Fächer (lady with a fan), painted in 1917, was still on an easel in Klimt’s studio when he died in February 1918. The square-format oil on canvas depicts an unknown sitter (though there has been some suggestion she is Johanna Staude, one of Klimt’s favourite models). Klimt was a much-in-demand portrait

THEART N EWS PAP E R . C O M

artist at the time, commissioned by the rich and fashionable of Vienna, but this is not a commissioned piece; it was painted entirely for his own enjoyment and has a particular looseness and spontaneity. “The way her kimono is slipping off her shoulder, the fan seems almost to have been put there to hide her bosom. This is clearly not someone’s daughter who has been sent to have her portrait painted; it is Klimt experimenting and pushing the boundaries,” says Helena Newman, Sotheby’s chairman, Europe, and worldwide head of Impressionist and Modern art. Sotheby’s last sold this painting in

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1994, for $11.6m (with fees) when it was part of the collection of Wendell Cherry, the US entrepreneur and art collector. It now comes to market from the family who bought it then; Sotheby’s will not disclose their reasons for selling. The painting was recently the focus of an exhibition, Lady with Fan; Gustav Klimt and East-Asia, at Vienna’s Upper Belvedere museum, in 2021. Most of Klimt’s “golden period” commissioned portraits are in museums and Newman says the closest comparable work to have come to market (relatively) recently is Portrait of Adele Bloch-Bauer II (1912), which sold at Christie’s in New York for a record $87.9m (with fees) in November 2006 (est $18m-$25m). The buyer was said to be Oprah Winfrey, who reportedly sold the work on privately for around $150m in 2016. It is currently on display in the

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Gustav Klimt’s Dame mit Fächer (lady with a fan) has come on the market for the first time since 1994, when it was sold by Sotheby’s for $11.6m (with fees)

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National Gallery’s After Impressionism exhibition in London. Newman says these benchmarks were taken into account when estimating Lady with a Fan, along with the price achieved last month for Klimt’s waterscape, Insel im Attersee (1901-02), which sold at Sotheby’s in New York for $53.2m to a private Japanese collector. Newman “anticipates” strong Asian interest in this work, not least due to its strong Chinese and Japanese aesthetic influence. “Klimt is in that rare category of artists—including Modigliani, Picasso and Giacometti— whose work has achieved over $100m at auction,” Newman says. Dame mit Fächer (lady with a fan) will be offered for sale in Sotheby’s Modern and contemporary evening auction on 27 June in London. Anna Brady

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

NEWS Basel

Negative no more: photography starts to make headway at Art Basel Collectors show greater interest in photographers but larger galleries still favour mid-career and older artists

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“Compared to the early days, collectors are infinitely more receptive” times, justifiably felt ignored by the mainstream art fairs. Suddenly, her work was selling on the same footing as Louise Bourgeois, Hans Arp, Philip Guston et al. In March, Gagosian announced that it would represent Nan Goldin, an artist whose market has remained in the doldrums for more than a decade while she recovered from a prescribed opioid addiction. Gagosian has backed this up by bringing to the fair original prints by Francesca Woodman, the

The Turner Prize-winning artist Lubaina Himid says her curation of the 1983 exhibition Black Woman Time Now was a “fundamental mistake”. Himid was speaking with Art Basel’s executive editor Coline Milliard as part of the fair’s Conversations programme yesterday. The artist admitted that within the group of rising Black British artists— including Sonia Boyce and Veronica Ryan—she often took the lead role in putting together exhibitions because she “was just better at negotiating wall space than anyone else”. However, she now has regrets about how the exhibition boxed in some of her fellow Black female artists. The pivotal exhibition at Battersea Arts Centre in London was critical in highlighting the work of the Black Arts Movement. Chinma Johnson-Nwosu

REFUGEES OFFERED FREE TOURS OF ART BASEL

This year’s Art Basel fair has seen a steep rise in the number of galleries showing vintage, Modern and contemporary photography, including Gagosian, which has brought Richard Avedon’s series, In The American West (1979-84) to the fair’s Unlimited sector prodigious self-portraitist who died by suicide in 1981, at the age of 22. The gallery has also chosen a fairly unheralded series of works by Richard Avedon, called In the American West (1979-84), as its Unlimited offering. The blue chips’ interest in photography “has been gradual, building probably over 15 years”, Houk says. “But the big galleries now take photography very seriously.” And there is a trickle-down effect. Smaller galleries also seem willing to take more risks, showing photographers or series that are yet to gain serious institutional pedigree, or that were ignored by previous generations. New names are also being platformed. Thomas Zander is prominently displaying a large-scale contemporary work by the young, London-based Polish photographer Joanna Piotrowska, while Frankfurt’s Jacky Strenz Galerie has dedicated its stand to stark images by the late US photographer Lynne Cohen. “She was known, but she wasn’t a

Auction house prepares for first sale after Artcurial’s acquisition THE BASEL-BASED AUCTION HOUSE ARTCURIAL BEURRET BAILLY WIDMER is hosting a huge 375-lot sale following Art Basel, testing the market for the first time since it was acquired by the French auction firm Artcurial earlier this year. “It’s our first official auction together,” an Artcurial spokesperson says. The sale, which includes works by Howard Hodgkin (Egypt, 199396; est SFr500,000-SFr700,000) and Henri Matisse (Vase de Fleurs, 1945; est SFr40,000-SFr60,000), is due to take place on 21 June. A selection of works from the estate of Florence

LUBAINA HIMID REGRETS HER SEMINAL BLACK ARTS EXHIBITION

Artcurial Beurret Bailly Widmer was originally founded in Basel in 2011, and also has locations in Zürich and St Gallen

superstar, even in photography,” Strenz acknowledges. A number of Cohen’s photographs sold on the fair’s first VIP day, but the gallery declined to reveal how many.

REAPPRAISAL UNDER WAY The increased interest in photography can perhaps also be attributed to the death of George Floyd, after which certain galleries started to platform works by overlooked Black photographers, mostly from the US. Gordon Parks, the first Black photographer to work on the famous Life magazine, was one artist to quickly be given a posthumous reappraisal, both institutionally and commercially. His works are on sale at Art Basel this year with New York’s Jenkins Johnson Gallery, among others. Is this resulting in sales? So far, the more established names are cutting through. The London-based gallery Maureen Paley reported an early sale of a Wolfgang Tillmans image for

and Antoine Poncet, including several works by the 19th-century French painter Maurice Denis (La première têtée ou La chambre violette, 1906; est SFr150,000-SFr200,000), will also go under the hammer. Artcurial acquired an undisclosed stake in Beurret Bailly Widmer, which was founded in 2011 by Nicolas Beurret and Emmanuel Bailley, with Markus Schöb, of Galerie Widmer, later joining the firm in 2018. Specialising in Modern and contemporary art, the Swiss auction house has locations in Basel, Zürich and St Gallen. “It’s a very busy week for the art world but collectors can walk over from the fair [to see works],” Beurret says, adding that joining forces with Artcurial means “we can expand

$120,000, while Gladstone gallery sold a Robert Mapplethorpe photograph for $75,000. But a new work by the Iranian artist Shirin Neshat remains, at this stage, unsold by Gladstone. “There’s a huge amount of interest in her work and we will continue to have conversations,” gallery partner Caroline Luce says. The big beasts look set to retain their interest in the art world’s traditional outsider. But the large galleries are unlikely to start getting behind young photographers any time soon. Why? Because the numbers do not work. “If the big galleries start to represent someone, they have to at least be a mid-career artist, if not beyond,” Houk says, “because of the economics”. Possibly because of its replicable nature, photography does not command the same prices as paintings. Until it does, photographers will still struggle to get the same hearing as the doyens of other media. Tom Seymour

globally; Chinese and US collectors bid for our works.” On a regional level, he also hopes to open an office in the French-speaking part of Switzerland. In the auction catalogue, Nicolas Orlowski, the chief executive of Artcurial, writes that the three founders “will pursue this [new] adventure with Artcurial in order to develop Artcurial Beurret Bailly Widmer’s position in this part of Europe”. Meanwhile, “several development projects” are said to be planned for the next two years. Artcurial has sale locations in Paris, Monaco and Marrakech, and also owns John Taylor, which specialises in luxury real estate, and Arqana, focused on the sales of horses. Gareth Harris

Local refugees, asylum seekers and displaced people have been invited to experience Art Basel this year. UBS has partnered with the UN Human Rights Agency (UNHCR) to organise tours of Parcours, Art Basel’s public art programme that sees installations placed around the city. “At UBS we believe art has the power to forge connections and spark reflection, enabling us to imagine a better world,” reads a notice outside the UBS Art Studio, located just in front of the Unlimited sector. Almost 131,000 refugees were living in Switzerland in 2021, according to the UNHCR website, with most applications that year coming from Afghanistan, Turkey and Algeria. Aimee Dawson

Maurizio Cattelan’s duct-taped banana debuted at Art Basel in Miami Beach

COURT IN FAVOUR OF CATTELAN IN BANANA COPYRIGHT CLAIM A judge in Florida, US, has dismissed a copyright infringement lawsuit against Maurizio Cattelan, in which the artist Joe Morford claimed to have come up with the idea for a work featuring a duct-taped banana nearly 20 years before Cattelan’s viral sensation Comedian (2019). The judge granted Cattelan’s motion for summary judgment, closing the case, ruling that the similiarities between the works were insufficient. The work was an instant sensation at Art Basel in Miami Beach in 2019, where it debuted on Perrotin’s stand. Ultimately, all three editions of the work, priced at $120,000 each, sold; one was subsequently gifted to the Solomon R. Guggenheim Museum in New York. Benjamin Sutton

RICHARD AVEDON AND MAURIZIO CATTELAN: DAVID OWENS. BEURRET BAILLY WIDMER: PHOTO: MORITZ HERZOG; © BEURRET BAILLY WIDMER

n times gone by, photography was marginalised at Art Basel—quite literally. The stands orbiting the Rundhof courtyard have always been packed full of painting. But almost all of the camera-based art was siloed into a corner of the main fair or, latterly, packed off to the smaller fringe event of Photo Basel, situated offsite at Volkshaus Basel. With the exception of a few mainstays of classic Modern photography, like San Francisco’s Fraenkel Gallery and New York’s Howard Greenberg Gallery, few Art Basel exhibitors have traditionally found room for the medium. But, this year, a shift seems to be taking place. A deeper, broader and more diverse range of photography, across vintage, Modern and contemporary, is now on sale at the fair. “Compared to the early days, collectors are infinitely more receptive to collecting works by photographers,” says Edwynn Houk, the director of the eponymous New York gallery. He is a specialist photography gallerist who is selling works at Art Basel by Man Ray, Henri Cartier-Bresson, Imogen Cunningham and Tina Modotti. Perhaps part of the reason for the shift lies in the gravitational pull of the mega-galleries. Hauser & Wirth’s representation of Cindy Sherman in 2021 was a bellwether event for photography. Sherman began making work in the 1970s and, at

News in brief

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At te n t i on – Tor r i d Zon e • Ye l l ow Hop e (d et a i l) , 2 0 2 2 , t wo in k j et p r in t s o n ra g p a pe r, b l ee d ima g es , fl o ate d e d g e-to -e d g e in fra me, e d . of 1 2 . A ls o , det a i l f rom – A n e l u s ive Red F ig u re .. . ( 2 0 2 2 ) © Ro ni Ho r n. P hoto : To m Powel Im a gi ng

RONI HORN

‘AN ELUSIVE RED FIGURE …’

9 JUNE – 16 SEPTEMBER LIMMATSTRASSE, ZURICH

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

DIARY Basel

Emmanuel Perrotin keeps it zipped

Gallerists make a splash

Tunnel vision: Laure Prouvost’s work shines out above a subterranean canal below the Trois Rois

Everything’s going swimmingly: dealers took the plunge—before avoiding any sharks on dry land

Eagle-eyed flâneurs crossing Basel’s Middle Bridge will have spotted a neon sign proclaiming to be ‘Dreaming of No Front Tears’ above a tunnel nestled beneath the Trois Rois hotel. This mysterious passageway houses a video by the French artist Laure Prouvost. There is an added element of danger to this Parcours work: “If there’s a lot of rain, then it could get flooded,” Samuel Leuenberger, the Parcours curator, told the Financial Times. “But this is something Prouvost is comfortable with,” he added, highlighting how the pragmatic artist has prepared for every eventuality.

Swimming in the Rhine is all the rage during the hot, hazy days of Art Basel, its soothing waters lifting the mood of city dwellers and visitors alike. Dealers were encouraged to don their bathers and dive in for an early-morning collegiate dip—an idea welcomed by gallerists gearing up for the week. Andreas Gegner, the senior director at Sprüth Magers, says that he hoped to join in but sadly had to withdraw. (“It’s a great idea, though”, he told us.) Let’s hope Basel chief Noah Horowitz donned his trunks and took the plunge, too.

The Bird Man of Basel

Stand down, chatbots The Messeplatz is filled every year with Art Basel guides who urge passers-by to “ask me”, giving a helping hand to befuddled fairgoers desperate to find the nearest Jeff Koons (or a decent cappuccino). These uber-courteous attendants stand in the wind and rain, ready to take on quandaries big and small. Their approach has caught the imagination of visitors; one was even overheard uttering that these “guys are the human version of ChatGPT”—which means, we think, that they have answers for everything.

Lost for words: Perrotin deftly swerved questions about his plans to sell a 60% stake in his gallery The dealer Emmanuel Perrotin was on fine form at his customary Art Basel party, held earlier this week in one of the city’s most handsome churches. His Basel bash has become a hot date in the fair calendar, though Perrotin pointed out that he usually has to deal with people desperate to get in, so is constantly popping out to survey the incoming hordes. The Paris gallerist hit

the headlines this week with the announcement that he plans to sell a 60% stake in his gallery to the property investor Colony Investment Management. But the canny dealer was prepared for any pesky enquiries about the deal, pointing all questioners to a badge pinned on his inside pocket, emblazoned with the words: “Sorry, no comment.” Cheeky.

The Kosovan artist Petrit Halilaj clearly loves birds. His drawings, inspired by Kosovo’s Natural History Museum, are available with kurimanzutto gallery at Art Basel, while his printed felt piece showing a bird in flight is on show in the UBS Art Studio (pictured). “Before going to school my interest in chickens started by listening and learning to talk to them; my parents worried about how much time I’d spend talking to them,” Halilaj tells us. There is also a more poignant side to his story; as a young boy living in a refugee camp, he drew himself as a bird flying away over the horizon.

LAURE PROUVOST: ART BASEL. SWIMMERS: CC-BY BIKEPACKING SWITSERLAND. PETRIT HALILAJ: A RAMOS KABADACH; © PETRIT HALILAJ, CHERTLÜDDE, BERLIN AND MENNNOUR, PARIS. ART BASEL GUIDES, EMMANUEL PERROTIN: THE ART NEWSPAPER

Laure’s tunnel of tears

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

FEATURE Balearics

IBIZA: PHOTOCREO BEDNAREK

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ome to a Swiss megagallery, and nestled in the shimmering waters of the Mediterranean Sea, the Balearic Islands form an archipelago of five enchantingly beautiful islands full of rich cultural heritage. While Ibiza has long been synonymous with vibrant nightlife and music festivals, its neighbours Mallorca and Menorca also have diverse historical legacies and thriving art scenes of their own. In 2021, Hauser & Wirth opened an outpost on Menorca, an island with a population of just 96,000 but an annual tourist turnover of 1.4 million people. Housed in an 18th-century repurposed naval hospital, Hauser’s 1,500 sq. m art centre is not so much a white cube as it is an oasis of art. The space pays homage to the most quintessential parts of the Balearic spirit: gastronomic pursuits nestled within a kind of hippie laid-backness. The gallery space is surrounded by a series of lush gardens designed by Piet Oudolf. Yet, before the mega-gallery set up shop on Menorca, the Balearics had long been a haven for cultural wayfarers of all shapes and stripes. In 1932 the then wandering cultural theorist Walter Benjamin took a ferry from Barcelona to Ibiza, where he penned several postcards describing the quaint villages and uniquely inspiring cultural life he found on the island. Ibiza is without a doubt the most famous of the islands, and a new art fair, launched last year, is trying to recapture some of the Benjamin spirit. CAN Art Ibiza—which this year will welcome 34 galleries from four

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Chill

out

The art world is moving in on the laidback Balearic islands, which famously also enchanted the cultural theorist Walter Benjamin. By Dorian Batycka

continents and will run from 12-16 July— was conceived by director Sergio Sancho as a way of rekindling the island’s fascination with the art of drifting. CAN Art Ibiza is unique in the way it attempts to bring collectors into contact with the island’s multifaceted offerings, combining art and social gatherings to offer a more relaxed experience than megafairs like Art Basel or ARCO. Last year the fair organised a party at an organic wine farm with the fashion brand Gucci, in addition to several other offsite and parallel programmes that gesture towards the island’s unique essence. According to Sancho, the aim of this edition is to platform emerging galleries and foster dialogue with the vast array of cultural life in and around the Balearics. “As a passionate advocate of art and cultural exchange, Ibiza has always been a destination where art flourishes,” he says. Offsite, CAN has organised exhibitions including one at the Faro de ses Coves Blanques, located inside a former lighthouse overlooking Sant Antoni Bay, which will feature works by Julià Panadès, a Mallorcan artist represented by Fran Reus Gallery. At Sa Punta des Molí Cultural Center, an exhibition by the Ibizan artist Jesús de Miguel will also open at the same time as the fair. La Nave Salinas Foundation, which last year hosted a sprawling exhibition by the artist Eva Beresin, will this year show a new series of works by the Australian artist Jonny Niesche, who is represented at the fair by The Hole NYC gallery, while London’s Carl

Ibiza is building its credentials as an art destination that embraces the Balearic Island’s relaxed outlook

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

FEATURE  CONTINUED FROM PAGE 7 Kostyál gallery will return with a pop-up exhibition, Painters of Modern Life, curated by Katharine Kostyal. In addition to these, CAN is organising collector visits to MACE (the Contemporary Art Museum of Eivissa); Estudi Tur Costa, a cultural space located in the town of Jesús; and Casa Broner, the former residence and studio of German artist Edwin Broner, one of the island’s most recognised architectural destinations, a Modernist masterpiece that evokes a mid-20th century approach to design that would later infiltrate and proliferate across the Balearics. This summer will also see the opening of a new gallery, Can Garita, founded by the former Perrotin staffer Sarah Suco Torres. Housed in a traditional fishing hut known in local dialect as a casetas de pescadores, the retrofitted beach gallery will open with an

CAN Art Ibiza, which launched in 2022, aims to provide a platform for emerging galleries, as well as rekindling the island’s artistic heritage

exhibition by the US artist Grason Ratowsky on 15 July. “What attracted me to the island was the architecture and nature but also the freedom. There is an energy and tranquility that co-exist,” Torres says. She plans to hold a rotating series of three to four exhibitions per year, in addition to supporting her artists through partnership with a local residency, Las Cicadas Ibiza, located in a 500-year-old restored farmhouse that hosts groups of three artists over four-week periods throughout the year. In addition to vibrant art spaces like these, the Balearic Islands have attracted a distinct group of collectors, including the architect Guillaume Kervyn, whose grandmother bought a property in Mallorca in the 1950s. Kervyn, who describes growing up in Mallorca as “heaven”, bought a property in Ibiza’s Castillo; part of a Unesco restoration project, it took him five years to restore. It “feels like being in a monastery,” he says. “It’s a refuge.” At the entrance to Kervyn’s home is a work by José María Cicilia, which he bought at ARCO and which he has agreed to loan next year to the Prado museum in Madrid. In the staircase there is a piece by Aldo Chaparro, as well as a torso from Antoine Bourdelle, which Kervyn bought at auction in Paris, and for which he struggled to get an export licence for (but eventually did). Nearby, Kervyn also recently bought the Casa Cardinal, a large property with a garden and a pool that he plans to turn into a social space for art. His vision is to create an environment that harmoniously combines the old world and its traditional charms with the new and international styles and tastes he has cultivated over his years frequenting biennials and art fairs.

“What I like about Ibiza is the freedom and non-judgement,” Kervyn says. “There is always something a little bohemian; it’s more free than other places.” Throughout the ages, what seems to make the Balearic islands and Ibiza in particular such a unique and endearing cultural destination is what can be described as its anti-snobbish attitude. The laid-back spirit can be felt throughout and is markedly different from the vibe on other nearby holiday destinations, where ostentatious displays of wealth can

Laia Estruch’s Kite 2 (2023) is part of Hauser & Wirth’s After the Mediterranean show in Menorca; the mega-gallery opened an outpost on the island in 2021

sometimes overwhelm—like one too many sprays of Tom Ford cologne. Refreshingly, it seems that Ibiza is changing. What remains is that people tend to cherish pride and preservation over newness, keeping alive the memory of a place where bohemians like Benjamin, forever the epitome of the non-conforming, roaming flâneur, once wrote on the back of a postcard depicting the vista of Ciudad: “The wall swung through the landscape like a voice, like a hymn singing across the centuries of its duration.”

Klara Lidén, Out to Lunch, 2018, Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Tom Bisig, Basel, © Klara Lidén

LAIA ESTRUCH: PHOTO: ROBERTO RUIZ; COURTESY THE ARTIST AND HAUSER & WIRTH. CAN ART: © MARIA SANTOS PHOTOGRAPHY

Balearics

Art Basel Unlimited

Mika Tajima

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June 12–18, 2023

pacegallery.com

6/7/23 10:46 AM

You Be My Body For Me (Unit 4), 2023, rose quartz, cast bronze Jacuzzi jet nozzles, smart glass film, custom social network analysis algorithm, lidar, embedded computing board, electrical components, concrete, steel, aluminum, wood, glass, dimensions variable © Mika Tajima

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

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

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

FRANK AUERBACH (B. 1931) Head of Leon Kossoff, 1957 charcoal and chalk on paper 30 ⅜ x 22 ⅝ in. (77 x 57.5 cm.) Estimate: £800,000–1,200,000 © The Artist, courtesy Frankie Rossi Art Projects Ltd

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

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

INTERVIEW Artists

Andrea Büttner

Beyond belief

The artist on how philosophy and religion inform her work. By Catherine Hickley and organic gardening. While best known for her woodcuts and etchings, she has diversified into a variety of other media such as video installations, books, wood carvings and textiles. Nominated for the Turner Prize in 2017, Büttner has lived and worked in Berlin since 2016. THE ART NEWSPAPER: You have long been interested in the subject of shame. A mural created for the Basel exhibition, Shame Punishments, shows images of public shaming from the Middle Ages to the current day. What are the connections between shame and art? ANDREA BÜTTNER: Shame punishments are a part of Western art history—the image of

PORTRAIT; © XANDRA M. LINSIN

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he Heart of Relations at Kunstmuseum Basel is the German artist Andrea Büttner’s largest solo exhibition so far, with almost 90 works from the past 15 years. As well as slide projections, a room-filling mural, tables and benches, her Bread Paintings (201116) appear alongside works by Hans Holbein the Younger and Willem Van Aelst in the Old Masters section of the Kunstmuseum. Rooted in philosophy and art history, Büttner’s art explores themes such as shame—the subject of her doctorate at the Royal College of Art in London—labour, poverty and monastic existences, and the ideologies that historically underpin crafts

Auctions in Munich 29 June Modern Art 30 June Contemporary Art © THE ANDY WARHOL FOUNDATON FOR THE VISUAL ARTS

Andy Warhol Estimate: € 80,000 / 120,000; Estimate: € 80,000 / 120,000; Estimate: € 100,000 / 150,000; Estimate: € 100,000 / 150,000 karlandfaber.com/buy · T +49 89 22 18 65 · [email protected] 57_260×184_ARTNEWSPAPER_NOAE_RZ.indd 3

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

13 Büttner’s installation Vasen (vases, 2021). The artist says she is interested in the “fetishisation of craft” within the field of art

Christ on the cross is the most important example—but they are also on the rise in our modern time. Exposure and visibility is part of the punishment, part of the pain. We live in a culture where institutions and artists all look for visibility as if it’s a positive thing. But if you look at the history of shame punishments, it’s not a positive thing. Shame is related to the image, because it’s all about being seen. Shame punishments, in a way, are exhibition strategies.

What are you currently working on? I am preparing an exhibition at K21 [in Dusseldorf] which is in the autumn. I’m also editing a video that I shot at Liberty department store in London in 2017, and I haven’t shown yet. I wanted to think about William Morris and Arts and Crafts, so I contacted Pauline Paucker, an artist and art historian, and we went to Liberty to speak about socialism and good taste. During the pandemic, you went to Beelitz near Berlin, famous for its asparagus. At that time, news items were raising the spectre of a shortage of foreign pickers and questioning whether it was safe for the harvesters

to work together. What drew you to the asparagus harvest as a subject? If you think of Manet, asparagus is very much an art historical subject that also has to do with the history of realism. I went to work en plein air. It was interesting because it’s a bit ridiculous—a middle-aged lady with a sketchbook. I am not free of anxieties about my drawing skills. I thought that if the harvesters came over to see how I draw them, I might be ashamed—the drawings are quite sketchy and quick. Maybe the people who harvest can even draw better, who knows? But they need to do the labour to fund their families or their lives and I can afford to do this in my work time. So I felt the drawing was very helpful as a lens on to the economic situation of me being an artist,

FONDATION BEYELER 11. 6. – 27. 8. 2023 — RIEHEN / BASEL

230523_FB_BASQUIAT_Anzeige_THE-ART-NEWSPAPER_260x184_02.indd 1

and them being migrant seasonal labourers. It was only when I was there [that] I realised that again, I’m showing people bending. I see their hands, they have a hood because they often wear hooded sweatshirts when it’s cold. So again, it’s the shape of the person begging or of the person praying. You also had wooden carvings of asparagus sticks made. I was thinking the shape of asparagus is a bit like a drumstick, and this gave me the idea to get them carved. This work, which is different asparaguses from different carving schools, speaks about the fetishisation of craft within the field of art. That is connected to my main concern at the moment, the roots of craft and organic gardening—all

these things that seem left wing but can have quite reactionary roots too. What has been your experience of Art Basel? I went to Art Basel for the first time right after going to the opening of the Documenta I took part in, in 2012, and I was deeply shocked, it was such a crass contrast for me. I thought these people are going to Art Basel because, to their minds, they can see all the art at once. And to my mind, you could see art at Documenta. It was such a difference. I see it with distance now, but I don’t look for art there. I go to meet colleagues and I enjoy that part of it. • The Heart of Relations, Kunstmuseum Basel, until 1 October

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

BÜTTNER: PHOTO: JULIAN SALINAS, © ANDREA BÜTTNER/PROLITTERIS, ZÜRICH

You also have a performance work showing at the Kunstmuseum during Art Basel, called Piano Destructions (2014/23). Can you describe this? I collected all the video footage I could find of piano destructions in the history of art—Fluxus, for instance, but also later. This footage is shown and at the same time a group of nine female pianists play a concert on nine grand pianos. This gesture of destroying a piano was repeated so often in art history, mostly by male artists. In the 19th and 20th centuries, the piano was associated with a female bourgeois upbringing. The repetition of the destruction of the piano makes this final gesture of destroying bourgeois culture quite ridiculous—again and again, another radical male artist destroying another piano. There’s also another type of repetition involved when you learn how to play an instrument and it’s so unheroic in comparison.

23.05.23 18:34

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THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 15 JUNE 2023

IN PICTURES

1

Unlimited

Living

LARGE Choosing the highlights from the 76 large-scale works that make up Art Basel’s Unlimited section is “particularly difficult this year”, says the curator Giovanni Carmine, “because I think we have amazing pieces”. It helps that this is the first year since Carmine was appointed in 2019 that has been free from Covid-related logistical complications. Rather than being defined by a theme, Unlimited’s power lies in the freewheeling mixture it offers, he says—for instance, between the Minimalist sculpture of Land art pioneer Nancy Holt and a performative installation by the emerging artist Augustas Serapinas. Above all, Unlimited is a place of artistic contrasts that “generate tension, dynamism and a kind of dramaturgy”, Carmine says. “It’s also what makes this platform interesting for a curator.” Interview by Hannah McGivern Photographs by David Owens

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LUBAINA HIMID

A Fashionable Marriage (1986)

Hollybush Gardens

“This is an historical piece from 1986, which was visionary at that time, dealing with art history, starting from a Hogarth painting and reshaping it, reforming it, putting a Black woman in the centre of it. Lubaina Himid was also dealing with Thatcherism, what was going on in England in the middle of the 1980s. It looks like a theatre set, but it’s also full of details if you go closer and read what’s written in the newspaper clips, with references to art history, gender, but also Margaret Thatcher. There’s anger in it; it’s an amazing piece.”

2

YINKA SHONIBARE

The African Library (2018)

Goodman Gallery

“This piece starts a reflection on who are the most important figures for the African continent, with the names on the sides of the books. It’s a kind of monument of rewriting history. Of course, not all of the books are named because this history still has to be written. Some figures we know, like Patrice Lumumba or Nelson Mandela, but others are less known to the European public. It’s important to discover these personalities, to rewrite history in a more equal way and think about colonialism.”

3

YUKI KIMURA

COL SPORCAR SI TROVA (2022)

Taka Ishii Gallery, Galerie Chantal Crousel

“We worked a lot with Kimura to find the right placement for this piece. All these objects on plinths are about reflection, so we needed to find the right space where other artworks are reflecting into it. Reflections are generated by natural materials like mother of pearl or by stainless steel or glass reflecting on vinegar. It’s a peculiar piece because we have monumental works here and this is rather quiet and poetic, with small things that could get lost with the mass of people coming and going through Unlimited. It’s interesting in this context to have a piece like this.”

4

NANCY HOLT

Mirrors of Light I (1974)

Sprüth Magers

“Nancy Holt is a very important Land artist. It’s great to have this historical piece from the 1970s, which is also something much quieter. It sums up all her thinking about space and light, and how they generate poetry on one hand but also generate meaning together. The precision means it was not an easy piece to install. In Unlimited, galleries can really show the works in the perfect conditions. Pieces like this one need particular care to be shown.”

5

MONICA BONVICINI

Never Again (2005)

Galerie Peter Kilchmann, Galerie Krinzinger, Tanya Bonakdar Gallery

“We all know Bonvicini’s work is about power, sexuality, architecture. I think this is a very representative piece; she often uses the sadomasochistic aesthetic with black leather and chains. I’ve followed her work for many years and I’m very happy to be able to show an important piece of hers after her retrospective in Berlin. This is an interactive work; people can sit on the chairs. Ideally you have to share—the swings are for two—so it’s also a piece about the interaction between human beings.”

6

ADAM PENDLETON

Toy Soldier (Notes on Robert E. Lee, Richmond, Virginia/Strobe) (2021-22) Pace

“This is a very powerful Pendleton piece, not only because his aesthetic is at the top but also because it speaks of the topics that define his practice: Black community, reclaiming space. He’s a very formal artist and very precise in his work. Through editing, he has managed to erase and transform the monument of Confederate general Robert E. Lee, which was controversial in the southern states of the US. The film focuses on the image of this monument but, by projecting lights on it and cutting it, he gives the monument a totally new meaning.”

THE ART NEWSPAPER.COM ART BASEL FAIR EDITION 15 JUNE 2023

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

WHAT’S ON Art Basel and beyond

Eight rarely seen works by Jean-Michel Basquiat are reunited at the Beyeler Paintings made in 1982 in Modena, valued at $800m, ended up in private collections worldwide

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

The acrylic-and-oil stick painting, Untitled [Woman With Roman Torso (Venus)] is one of the eight paintings the artist produced in the Italian city of Modena in 1982, when he was just 22 years old. The works are held in various collections in the US, Switzerland and Asia and are being shown together for the first time in more than 40 years in Basel

UNTITLED: PHOTO: ROBERT BAYER, BILDPUNKT AG. FIELD PHOTO: ADAM REIC ; © ESTATE OF JEAN-MICHEL BASQUIAT. LICENSED BY ARTESTAR, NEW YORK

UNTIL 27 AUGUST

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 buyers via Basquiat’s New York dealer at the time, Annina Nosei. The Modena paintings share several motifs and stylistic features, according to a Fondation Beyeler statement, including “a monumental, often black figure set against a background of broad, gestural and expressive brushstrokes… the human and the animal body take centre stage.” 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

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

Kunsthaus Baselland

The Field Next to the Other Road is another of the Modena works; the artist had held his first solo exhibition in the city the previous year, at Emilio Mazzoli’s gallery insurance value of each of these works is $100m with the group of eight works 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, just above its high estimate, while Christie’s offered El Gran Espectaculo (The Nile) (1983) from the collection of Italian fashion designer Valentino Garavani at its 15 May sale. It sold for $67.1m, far exceeding its $45m estimate. Gareth Harris

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

Continued on p20



Basquiat: The Modena Paintings Fondation Beyeler

Spitalstrasse 18 • Evaporating Suns: Contemporary Myths from the Arabian Gulf UNTIL 16 JULY

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

WHAT’S ON Art Basel and beyond 

• Born in Ukraine: The Kyiv National Art Gallery in Basel UNTIL 2 JULY

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

S AM Swiss Architecture Museum Steinenberg 7 • Homo Urbanus: A Citymatographic Odyssey by Bêka & Lemoine UNTIL 27 AUGUST

Schaulager 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

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

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

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

 Beyond Basel France ALTKIRCH CRAC Alsace

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

Germany AARAU 60km from Basel

Stadtmuseum Aarau

Laleh June Galerie Picassoplatz 4 • Marc Rembold UNTIL 31 AUGUST

6km from Basel

Hebelstrasse 121 • Takashi Suzuki UNTIL 5 AUGUST

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

Von Bartha Kannenfeldplatz 6 • Design for a Garden UNTIL 15 JULY

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

WEIL AM RHEIN 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 BERN 100km from Basel

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

Zentrum Paul Klee

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

Surpunt 78 • Hannah Villiger: Amaze Me UNTIL 2 JULY

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

Musée d’Art et d’Histoire de Genève 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

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

Kunstmuseum Luzern

Hall 1 South, Messe Basel UNTIL 18 JUNE

Volta Basel

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

210km from Basel

LUCERNE

Riehenstrasse 90B UNTIL 18 JUNE

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

GENEVA

100km from Basel

Design Miami

Galerie Francesca Pia

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 13 AUGUST

MASI (Palazzo Reali)

Musée Rath

Volta Basel, which started 18 years ago, moves to a new location this year, in the city’s Klybeck district, with presentations by 30 galleries

Latifa Echakhch wants it to be a surprise. The Swiss-based, The American poet, musician and activist Moor Mother was the Moroccan-born artist’s first to perform on the stage in the Messeplatz outside Art Basel, work for this year’s Art as part of artist Latifa Echakhch’s installation 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 associates, or members of the public wait for one of Basel’s trams, musicians including the Brooklyn-based cellist and sound artist Leila Bordreuil will break out their bows. Echakhch also hopes 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, 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. Indeed, the artist started working on this project after the close of her Venice Biennale exhibition The Concert (2022). In a radical break from her previous work, she approached it as a “musician” rather than a “visual artist”, filling the Swiss pavilion 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 between now and then, however, is that by the time 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 360-degree view—is free and open to all, even those without tickets. This was important to the artist who points out that the Messeplatz does 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 discomfort is what visitors need. Chinma Johnson-Nwosu

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

250km from Basel

 SATELLITE FAIRS

DURING ART BASEL

35km from Basel

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

Hebel_121

Messeplatz Project: Latifa Echakhch Messeplatz

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

Two masks from the Dan region of Liberia and Ivory Coast from Zürich’s Rietberg Museum show

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

VOLTA: COURTESY OF VOLTA. MASKS: © MUSEUM RIETBERG

Continued from p19

Tune in to sound art at Art Basel’s Messe­ platz

TO BENEFIT

HENRY STREET SETTLEMENT ORGANIZED BY

ART DEALERS ASSOCIATION OF AMERICA

NOV 2–5

BENEFIT PREVIEW WEDNESDAY, NOV 1 PARK AVENUE ARMORY, NYC

THEARTSHOW.ORG Minoru Niizuma, Nest, 1974. (Afghanistan) yellow onyx, 17 × 13 × 13 inches (43.2 × 33 × 33 cm). Image courtesy of the Estate of Minoru Niizuma and Tina Kim Gallery. Photo by Charles Roussel

THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

 The week’s

talks and events DAILY (THURS-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

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

4pm-5pm Messeplatz On Art Walks

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/

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

Artist-led spaces on the African continent are a growing phenomenon. Artists are paving the way for future generations by setting up initiatives to support both their own practice and that of their peers. This conversation brings together representatives of four different projects on the African continent to discuss their dreams, challenges, politics, and the impact they hope to have on their community and beyond. What can we learn from these new organisational models and networks? 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.

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

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. What frameworks still need to be put in place to address under-representation?

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 through a series of lush vignettes 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. How can architecture give expression to the museum’s democratic and inclusive aspirations and accommodate new forms of digital creativity? What are the responsibilities of museum architecture when it comes to raising ecological awareness and the ongoing process of decolonising collections? Can architecture help maintain museums at the centre of our civic life? 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. Globally renowned artist

and set designer Es Devlin exchange ideas on poetry, more-than-human intelligence, ecology, poetry and other affinities with 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, from the Watts riots in Los Angeles in the mid1960s to his current success in the international art world.

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 programs such as Midjourney and DALL·E 2 are shaping both artists’ and the public’s imagination. How is this affecting our understanding of agency and creativity, both human and machine? To what extent can we speak of co-creation of art, and as AI-driven platforms become more powerful, what does this mean for art? Speakers include the artists Suzanne Treister and Marguerite Humeau, and Roger Wattenhofer, professor at ETH AI Center Zurich.

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

What do you “own” when you acquire an NFT? How is a work authenticated and to whom does the copyright belong? Do transactions really remain forever on the blockchain? 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. Museums, Institutions and other venues presenting Parcours projects have extended opening hours to provide you with a unique experience. Food and drinks available from various food trucks on Münsterplatz.

A still from Julianknxx’s film In a Dream We are at Once Beautiful (2022), which focuses on African disaporic communities in Switzerland. It will be shown as part of the event Julianknxx: Whose Dream is This? this evening

JULIANKNXX: © STUDIOKNXX, COURTESY OF THE ARTIST

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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

Charmion von Wiegand, The Terrace of Jade, 1952, Seattle Art Museum, Gift of Zoe Dusanne © Estate of Charmion von Wiegand; Courtesy of Michael Rosenfeld Gallery LLC, New York

HALL 2.0 BOOTH E4

Wassily Kandinsky, Grau, 1931, Oil on cardboard, 70 x 60 cm. (27 1/2 x 23 5/8 in.)

BEN BROWN FINE ARTS

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 15 JUNE 2023

NEWS Sales

 CONTINUED FROM PAGE 1

JOAN MITCHELL: DAVID OWENS

in consumer confidence” is leading to money being diverted to different parts of the market. “For many years money has been flowing into speculative artist markets, and in moments like this collectors see more long-term value in established markets like Warhol.” Art Basel has always been a haven for the most blue chip of art, and names such as Picasso, Richter, Basquiat, Calder and Bourgeois are—as ever—regulars this week, though many works are proving slower to sell. The most expensive piece reported at the fair, a sunset-hued Rothko painting from 1955, offered at Acquavella Galleries with a $60m price tag, remained unsold at the time of writing. Acquavella’s director, Esperanza Sobrino, notes that the canvas, formerly in the collection of Mr and Mrs Paul Mellon, is “the most expensive work we have brought to Art Basel in some years”. Why now? “The secondary market works differently; you don’t pick and choose,” she says. “This work was consigned to us in the past few weeks and our client wanted us to place it sooner rather than later.” According to Trent, it is taking significantly longer to place secondary market

“The secondary market works differently; you don’t pick and choose”

works with clients. Deals that she previously concluded “in about a week pending viewing” are now “dragging on for several weeks with a lot of back and forth between buyer and seller”.

Short supply

The Swiss dealer Dominique Lévy says a scarcity of material is another major factor impacting the secondary market as cautious sellers hold on to their wares. At the fair this year, “some [galleries] have made exceptional efforts to bring fresh, high-quality, well-priced works”, while others “have chosen to bring already-seen works known to the market”, she says. “It’s a tale of two cities.” In the latter camp is a Picasso that sold for $9.9m at Sotheby’s in November, which is being offered by Landau Fine Art for $25m. (At the time of writing it was yet to find a home.) Gagosian is selling Willem de Kooning’s Untitled III (1978-80) for an undisclosed sum; it also last came to market in November, but went unsold at Christie’s, having been estimated to fetch in the region of $35m. Hauser & Wirth managed a quick turnaround, however, for Louise Bourgeois’s Spider IV (1996), which sold for $22.5m on the fair’s opening day after achieving $16.5m at Sotheby’s in Hong Kong in April 2022. Lévy detects a “clear readjustment” in the market, especially following the May auctions in New York, which appear to have sapped US buyers’ spending. Observers noted few Americans at the fair, though Asian clients are in evidence. “The market at Art Basel is like all other markets; it is reacting and adjusting,” Lévy adds.

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Pace sold Girolata Triptych (1963), an early multi-panel painting by Joan Mitchell, to a private US collector for $14m

Private sales up

Another sign that the market is becoming increasingly price sensitive is the growth in private sales over public auctions. At the fair, David Zwirner gallery announced it will no longer publish prices for secondary market sales. “I believe that it is the gallery’s responsibility to look after the best interests of our consignors,” Zwirner says. “We have a responsibility to our clients to value their privacy and to appreciate when they choose to sell through the gallery versus taking the works to auction.” A gallery spokeswoman says that its business on the first VIP day was up by more than 30% on last year; sales fetched a reported minimum $17.8m. For younger galleries who present experimental works on their primary programme, secondary market sales can provide a crucial lifeline. The Zurichbased gallerist Pier Stuker, who sold

out his stand of works by Monica Mays (priced between SFr4,000 ($4,500) and SFr12,000 ($13,000)) at Liste, sells between five and ten secondary market paintings a year by blue-chip artists such as Max Ernst, Joan Miró, Gerhard Richter and Andy Warhol to help sustain his business. “We’ve been facing low offers lately,” he says. “It has also become more difficult to source good works from private hands.”

Younger artists in demand

There is cause for optimism when it comes to the primary market. Trent says younger artists from established galleries “are still commanding robust waitlists with no room for discounts”. She adds: “I suspect galleries are pre-selling shows earlier than normal to secure cashflow.” Liza Essers of Goodman Gallery has seen a “sharpened focus” among collectors for acquiring art “that delivers on quality and value”. Clients are “eager

to invest in emerging—and sometimes late-career re-emerging—talents”, she says. The gallery’s key sales so far include new works by established names such as El Anatsui, whose Untitled (Blue) (2023) sold for $1.9m, and Zineb Sedira, whose DREAMS HAVE NO TITLES (Lightbox) (2023) was acquired by the Louisiana Museum of Modern Art for €80,000. The market for works consigned directly from artists’ studios “remains strong”, according to Louise Hayward, a partner at Lisson Gallery. “And this is across the board—be it for Sean Scully, Anish Kapoor, Li Ran, Liu Xiaodong, Hugh Hayden or Ryan Gander.” Scully’s Tappan Deep (2023), for example, sold for $875,000 during the VIP preview. As Hayward sums up: “Some elements of the market are on balance predictable, and some are more variable. The market that continues to be active is very diverse.”

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THE ART NEWSPAPER ART BASEL FAIR EDITION 15 JUNE 2023

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

J

ames R. Hedges IV began purchasing photographs by Andy Warhol around 20 years ago, initially hoping to collect enough Polaroids to complete a grid of nine pictures. Today the Californian adviser and dealer owns more than 5,000 such works, having amassed what he says is the largest private collection of this “seriously undervalued market”.  Early on in his collecting journey, Hedges learned from his then boyfriend, who sat on the board of the Andy Warhol Foundation for the Visual Arts, that he could buy works directly from the organisation. In 2013 Hedges departed from his investment business to focus full time on art and is now “the

go-to guy for Warhol photography”, he says. He credits his pre-eminent position to his long-standing relationships with those who knew Warhol best. Tim Hunt, the curator of the foundation who died in 2017, “taught him everything”; he later befriended Warhol’s diarist and close collaborator Pat Hackett. Hedges has organised a new exhibition of works—mostly from his collection—at the Château la Coste in Provence, southern France. Voyages avec Warhol charts the manifold depictions and senses of “journeys” in Warhol’s photography across several decades, and includes photobooth

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

Double take: Hedges’s collection includes a gelatin silver print (above) of David Hockney with Andy Warhol If you could have any work from any museum in the world, what would it be? I recently saw the most poetic— literally and figuratively—painting by Cy Twombly at the Pinault Collection at the Bourse du Commerce in Paris. That.

James R. Hedges IV The leading Warhol photography collector explains why divorce papers stopped him buying a Vija Celmins painting and reveals Basel’s best party location strips, silver gelatin prints, and stitched photographs exhibited in the only show dedicated to Warhol’s photography in his lifetime, which took place five weeks before the artist’s death in 1987. Hedges also organises selling shows with commercial galleries such as Jack Shainman and Gagosian—they give him the space and a client list; he does

the rest, he says—and loans works to institutions across the world, including the Victoria and Albert Museum in London and Fotografiska in Stockholm. THE ART NEWSPAPER: What are you looking out for in Basel this year? JAMES HEDGES IV: Masterful young painters from South Tyrol. 

Where do you like to eat and drink while you’re in Basel?  Lunch at Fondation Beyeler, drinks at Les Trois Rois.  Do you have any parties lined up? The best party is in my hotel room. What’s your least favourite thing about art fairs? There’s nothing “VIP” about the VIP section. Where do you go in Basel to get away from it all? The Black Forest. What tip would you give to someone visiting Basel for the first time? Here’s some California-style advice: chill out. The right art will find you. Interview by Kabir Jhala

How quickly do you decide to buy a work of art? As soon as it aligns with my gut, heart and bank balance.

What was the last work you bought? A Sol LeWitt wall drawing.

Rhine o’clock: Les Trois Rois on the riverside is the perfect spot for drinks, Hedges says

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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.

What was the first work you ever bought? A Marilyn reversal photograph by Warhol.

What do you regret not buying when you had the chance? A night-sky painting by Vija Celmins. If you’re familiar with that work you know it was a big market moment. You had to kiss the ring of a million people to be considered to buy it. It was offered to me the same week that my now ex-wife filed for divorce, so everything was off the table.

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

Subscribe online at theartnewspaper.com Blonde ambition: Warhol’s Polaroid of Dolly Parton is among the works on show at Château la Coste

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JAMES HEDGES: COURTESY OF BRIAN KAMINSKI. DAVID HOCKNEY AND ANDY WARHOL; DOLLY PARTON: COURTESY OF THE JAMES R HEDGES IV COLLECTION. LES TROIS ROIS, BASEL: © VINCENT GHILIONE

“I decide to buy a work of art as soon as it aligns with my gut, heart and bank balance”

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