AO Art Observed™

Inside the main fair today – All photos by Art Observed unless otherwise noted

Art Observed has arrived on site at Art 42 Basel. The exhibitions officially take place June 15th through 19th of this week in Basel, Switzerland, the cultural capital bordering France, Germany, and Switzerland, showcasing contemporary works of varied media.  Every summer, the international venue hosts a myriad of dually up and coming and seasoned artists from galleries worldwide, with this year’s number of artists ranking at 2,500, with 300 galleries and 27 single stands . Unlike the Venice Biennale, Art Basel caters to the collector rather than the innovator, housing some of the best and brightest art marketeers as much as artists and curators from around the world.  As indicative of an ever-increasing sense of globalization in art, Basel now represents 35 countries from six continents, with the United States most fully represented, representing 70 of the 300 galleries. Last year’s art show hosted a total of 62,500 noted creatives and collectors, curators, dealers and viewers.

Inside the main fair today

Art Observed will be updating throughout the exhibition, both through the site and on twitter.

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Francis Alÿs, Modern Procession (2002), via PS1

Initiated in collaboration with, and previously presented at, Tate Modern, London and WIELS Centre of Contemporary Art, Brussels, Francis Alÿs’s survey show entitled ‘Francis Alÿs: A Story of Deception’ is now on view through August 1 at both MoMA and MoMA PS1. Largely drawing upon MoMA’s collection of works from the Belgium-born artist and grouped around three recent acquisitions—Re-enactments (2001), When Faith Moves Mountains (2002), and Rehearsal I (Ensayo I) (1999–2001)—the New York iteration of ‘Franicis Alÿs: A Story of Deception’ brings together a sizeable amount of the artist’s works, which characteristically emphasize performance and repetition with results that range from absurd to stunning.

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Kathy Grayson at her opening

Miami – based art collective “Friends With You” will open their first exhibition “:)” in New York tonight at The Hole.  Friends With You create work in a variety of mediums including sculpture, animation, publishing and performance art.  The collective is commercially successful as well, creating advertisements for companies such as Target and Match.com and additionally create highly prized limited edition toys and objects. The show will take place in The Hole’s sizable new gallery space on 312 Bowery (corner of Bleeker) which has yet to be opened to the public. To celebrate the newest 10-block addition to the Highline, Friends With You have also taken over the raised park on the West side, filling the area with their signature larger-than-life cartoon figures. The installation, entitled “Rainbow City”, is fully interactive and includes a pop-up shop where a new line of toys will be sold.

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Cory Arcangel, Various Self Playing Bowling Games (aka Beat the Champ) (2011), all images via The Whitney

Currently showing at The Whitney is “Pro Tools,” the first major retrospective of Brooklyn-based Cory Arcangel. The show surveys a diverse set of works that display a focused obsession with both outdated technology and pop culture.  The exhibition’s title refers to a software that is used in sound mixing, and becomes a synecdoche for the way in which tools and trends allow culture to move forward, but in doing so render themselves obsolete.

Cory Arcangel, Various Self Playing Bowling Games (aka Beat the Champ) (2011) (detail)

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Van Ruisdael, A Ruined Castle Gateway, all photos courtesy of Sotheby’s

Though not offered as much of a media spotlight as May’s auspicious and highly publicized Contemporary Art Auctions, today’s Old Masters at Sotheby’s was not entirely bereft of the spring auctions’ over-the-top price tags and bidding wars.

The belle of the ball came early in the sale when Lot 5, a landscape painting by Jacob Isaacksz Van Ruisdael with an estimate of $100,000- 150,000, sold at the Hammer Price of $725,000.  Sandwiched between several unsold lots, this work was an unpredictable success, garnering a sales price well beyond the scope of its estimate. Van Ruisdael’s auction record price was set in 2005, with a work that sold for $4.5 million; this anomaly aside, his work generally ranges from the $100,000-$400,000 range.  A Ruined Castle Gateway measures only 10 7/8 by 14 3/4 inches, but in spite of the work’s need for restoration and its small size, the painting is a beautiful example of Arcadian landscape portraiture.  The painting’s ruined walls harken back to the Roman Empire and ideals of classicism, and are a hallmark trait of Van Ruisdael’s work.

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Jim Shaw, Cake (Jim Head Clutch) (2010), via Patrick Painter

Patrick Painter, Inc presents a new exhibition of works by Jim Shaw, surrealist multimedia artist at their Santa Monica location. Currently included in this new exhibition entitled “CAKES, MEN IN PAIN, WHITE RECTANGLES, DEVIL IN THE DETAILS” are several large-scale works that include dual canvases and a multitude of working art media.  This new show serves to take a personal and experiential view of two dimensional artwork. Like many of his other exhibitions,  this show features many works that rely on unique and personal material from Shaw’s own intimate history and subconscious.

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Philip-Lorca DiCorcia, 2011, via Sprueth Magers

One hundred of Philip Lorca DiCorcia‘s Polaroid photos have been elegantly installed at Sprueth Magers gallery in London.  The 100 Polaroids, all resting comfortably on a single silver lip trailing the white walls, have been assumed from DiCorcias’s Thousand series (2007), itself selected from 4,000 Polaroids, spanning 30 years of work.  Having been pulled from previous and current projects, both professional and private, this exhibition is deliberately disparate as an entity.

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Bushwick Open Studios marked its 5th anniversary with this year’s showcase, opening artist’s studios, lofts and even private apartments to the public. Over 350 artists participated in the event orchestrated by Arts in Bushwick, a volunteer-based organization.  Those undeterred by the temporary (yet seemingly endless) suspension of the L train made their way to the offbeat Brooklyn neighborhood via a series of shuttles, bikes, car services and the like.   The Bushwick area is arguably the highest concentration of new artist studios and residences in the greater metro area.  Similar to the progression underwent by Soho in the 1970′s, Bushwick is filled with industrial lofts permeated by a natural light that results in suitable studio spaces for artists. In this neighborhood, however, the art hangs not only in these “designated spaces” but is alive in the streets and sidewalks.

Alana Fitzgerald with her work at Splinters and Logs Studio

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Lawrence Weiner, At a Distance to the Foreground (1999). All images Nicolas Linnert for Art Observed.

Closing this week is Paula Cooper Gallery’s group exhibition Locations, a showcase of work by fifteen artists involving mapping and locality. At a moment when art and its surrounding socioeconomic structure have moved steadily to occupy a global, deterritorialized sphere, this arrangement of works is distinctive in its look back to a mid-century Modernist practice regarding spatial surroundings.

Installation view at Paula Cooper Gallery.

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Inside the Greek Pavilion – all photos by Caroline Claisse for Art Observed.

“The Biennale is like a wind machine,” Biennale President Paolo Baratta eccentrically stated at the festival’s opening. Whether he was referring to the Biennale’s power to stir things up, or to fuel the art world through another two years, the metaphor felt apt. Early last week, the 54th Venice Biennale opened to press and professionals. Although the usual vaporetto strike caused momentary chaos, determined art world people made their way around the city in water taxis, iPhone/iPad apps in hand. The exhibition opened to the public on Saturday, June 4th and runs through November 27th, 2011.

Artist Kwok Mang-ho (a.k.a Frog King), who represented Hong Kong.

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Move over vaporetti — there’s a new barge in town. Slated to gracing the banks of the Grand Canal in Venice over the past five days was a project by The Garage Center for Contemporary Culture, entitled “Commercial Break.” The exhibition is organized by Neville Wakefield, a contemporary art writer prolific curator globally. Powered by POST Magazine, “Commercial Break” considers itself to be a provocative architectural intervention in a city where no advertising is traditionally displayed. Unfortunately, as Artinfo reported, the city pulled permits a few days before and the videos were instead screened at the project’s Bauer Hotel party. The woman behind the “GCCC” is Dasha Zukhova, girlfriend of Russian oligarch Roman Abramovich; it is the institution’s second project in Venice.  All videos are now viewable on the exhibition’s website.

Among videos featured is one by  Richard Phillips, starring Lindsey Lohan.

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All photos by Caroline Claisse for Art Observed.

“In Praise of Doubt” is the second half of two exhibitions currently staged by the Francois Pinault Foundation. It housed in the Punta della Dogana just a stone’s throw from Palazzo Grassi, where part one, ”The World Belongs to You” can be found. The two exhibitions share a curator, Caroline Bourgeois, and both run in parallel with the Venice Biennale 2011.

The exhibition presents both historical pieces and new works, several of which are site-specific projects. The theme, as hinted by its title, is uncertainty, the questioning of identity, and revisiting intimate space in relation to the space of the artwork. The artists included are art world regulars Adel Abdesemed, Marcel Broodthaers, Maurizio Cattelan, Subodh Gupta, David Hammons, Roni Horn, Thomas Houseago, Donald Judd, Edward Keinholz, Jeff Koons, Paul McCarthy, Julie Mehretu, Bruce Nauman, Sigmar Polke, Thomas Schutte, Sturtevant, Tatiana Trouve, and Chen Zhen. Out of these twenty, a surprising half have never been exhibited before in an exhibition by the Francois Pinault Foundation.

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Marya Kazoun, They were there (2011). All photos by Caroline Claisse for Art Observed unless otherwise noted.

Glasstress 2011 is an exhibition devoted solely to glass, featuring internationally renowned artists, architects, and designers such as Zaha Hadid, Ursula von Rydingsvard, Kiki Smith, Doug and Mike Starn, Fred Wilson, Marya Kazoun, Huan Zhang, and even musician Pharrell Williams. It is one of the official 37 collateral events of the biennale, and also includes a reinstallment of Doug and Mike Starn’s Big Bambú on the roof of the Dorsoduro, next door to the Peggy Guggenheim Collection.

The walkway of Doug and Mike Starn’s Big Bambú. Image courtesy NYT.

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I, Impostor. All images by Cristiano Corte, courtesy of the British Council, unless otherwise noted.

Mike Nelson, who has twice been short-listed for the Turner Prize, is the first installation artist to be invited by the British Council to create a new work in the UK’s Pavilion in the 2011 Venice Biennale. Nelson is known for site-specific large scale installations with enigmatic titles: The Deliverance and the Patience (2001), Triple Bluff Canyon (2004), To the Memory of HP Lovecraft (2008), and so on. Curated by Richard Riley, with Andrea Rose as Commissioner, this transformative pavilion is one of the most talked about at this year’s biennale.

British Pavilion. Photograph by John Riddy, courtesy of Matt’s Gallery London, Franco Noero Turin, and 303 Gallery New York.

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Lithuaninan artist Darius Miksys installing Behind the White Curtain. All images by Caroline Claisse unless otherwise noted.

On Saturday, Biennale President Paolo Baratta announced the winners of the Golden and Silver Lions. One of the categories was for Best National Presentation, which went to Christopher Schlingensief’s posthumous German pavilion, but the judges gave an honorable mention to the Lithuanian pavilion. According to Baratta’s statement, their reason was “its conceptually elegant, and productively ambiguous framing of a nation’s art history.” Art Observed was on site for the performative installation.

Exterior of the pavilion, image courtesy e-flux.

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All photos by Caroline Claisse for Art Observed.

Art Observed was on site for “The Heard and the Unheard,” a project by Soundscape Taiwan.  The installation, housed in the Taiwan Pavilion (in the Palazzo delle Prigioni), was curated by Amy Cheng with artists Hong-Kai Wu and Yu-Hsien Yu, in collaboration with the Taipei Fine Arts Museum. The inauguration of the installation kicked off with a party entitled “Sounds Edgy!” with performances by Fujui Wang and DJ @llen. In the background, the Sound Library/Bar provides a backdrop of Taiwan’s socio-historical context and the current impetus for change.

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Central “International” Pavilion, which partially houses the 54th International Art Exhibition. All images by Caroline Claisse for Art Observed.

Curated by Bice Curiger, The 54th International Art Exhibition opened today to the public. Displayed are works from newcomers and established artists including Maurizio Cattelan, Martin Creed, Trisha Donnelly, Urs Fischer, Fischli & Weiss, Klara Lidén, Christian Marclay, Philippe Parreno, Sigmar Polke, Pipilotti Rist, Cindy Sherman, and James Turrell. The exhibition’s title, and this year’s theme, is ILLUMInations, inspired in part by 16th century Venetian painter Tintoretto, whose works Curiger boldly included in the exhibition.

Earlier today, Biennale Director Paolo Baratta announced the winners of three official prizes decided on by the International Jury of the 54th International Art Exhibition.

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Edward Burtynsky, Oxford Tire Pile (1999), via Fotografiska

Currently showing at Fotografiska in Stockholm, Sweden through June 26th, 2011, is Canadian photographer Edward Burtynsky‘s BURTYNSKY/OIL. The large-scale photos are a politically and environmentally conscious commentary on the future of oil in nature, imbued with comparably large-scale cultural relevance. The photographs in the exhibition largely depict images from 2010′s Gulf of Mexico oil spill, (as did his recent related exhibition Water) as well as similar disasters that Burtynsky has focused on over the last decade in his work. His photographs undoubtably comment on the harrowing effects that oil dependency has on the natural world and resources. A concurrent exhibition of OIL was also on view at Galerie Stefan Röpke in Cologne, Germany and closed on June 4th.

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Basilica di San Giorgio Maggiore, the site of Anish Kapoor’s “Ascension.” All photos by Caroline Claisse for Art Observed.

Anish Kapoor‘s new project at the Basilica di San Giorgio Maggiore in Venice is “Ascension.” Backed by Galleria Continua (in collaboration with Fondazione Giorgio Cini and illycaffe), the project is curated by Lorenzo Fiaschi. In the site-specific installation, a column of white smoke rises from a circular base at the intersection between the transept and the nave of the basilica, making the immaterial tangible.

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Jonathan Meese, Wir, Erzkinder lernen Macht (Süsses Dorf der Verdammtin) = Die Gören (2007) via Tim Van Laere Gallery

On view at the Tim Van Laere Gallery in Antwerp until June 25th, is Jonathan Meese’s 2007 sculpture, Wir, Erzkinder lernen Macht (Süsses Dorf der Verdammtin) = Die Gören. The show, which opened on May 12th, is part of the gallery’s ongoing focus on significant sculptural work in their outdoor exhibition space.

Artist Jonathan Meese (far left) at exhibition opening via Tim Van Laere Gallery

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All photos by Caroline Claisse.

Andrea Thal and Thomas Hirschhorn represent Switzerland in the 2011 Venice Biennale.  Previous representatives have included Silvia Bächli and Fabrice Gygi (2009), Ugo Rondinone (2007), and Pipilotti Rist (2005) whose work is visible in the Arsenale.

Hirschhorn is a Bern-born, Paris-based artist best known for large-scale “DIY” style installations using duct tape and tinfoil.  Thal’s practice is based in music and performance; she runs an artist-run gallery space in Zurich, Les Complices.* Hirschhorn has also created a special website for the project, which provides insight into his working process: Crystals of Resistance.

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Installation view of Miroslaw Balka’s Nonetheless (2011), via Nordenhake.

In a show titled “Nonetheless”, Polish artist Mirosław Bałka presents four recent pieces at Berlin’s Galerie Nordenhake. The works are composed of wood, nails, steel, plastic, concrete, glass, and light, and have titles referencing the pieces’ dimensions.   “Nonetheless” hints at an ability do more than expected, which be said of the exhibition itself.

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All photos by Caroline Claisse for Art Observed.

One of the biggest official collateral events of the 54th Venice Biennale is “Venice in Venice.” The exhibition’s fill title is “Venice in Venice: Glow & Reflection – Venice California Art from 1960 to the Present,” organized by Foundation 20 21 and taking place June 1st – July 31st at Palazzo Contarini Dagli Scrigni. Curated by Tim Nye and Jaqueline Miro, the exhibition include works by seminal Southern California artists Peter Alexander, John Altoon, Charles Arnoldi, Billy Al Bengston, Larry Bell, Tony Berlant, Wallace Berman, Vija Celmins, Bruce Conner, Ron Cooper, Mary Corse, Laddie John Dill, Joe Goode, Robert Graham, George Herms, Robert Irwin, Craig Kauffman, John McCracken, Ed Moses,Kenneth Price, Ed Ruscha, and James Turrell.

Curator Jacqueline Miro, Director of the Getty Image Research Institute Andrew Perchuk, and artists exhibiting in the Venice in Venice show.

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Rachel Harrison, Zombie Rothko (2011). via Art Info

Rachel Harrison is the 2011 Calder Prize Laureate, as announced on Thursday in Venice. The 50,000 dollar prize money will be awarded in an additional ceremony in New York, but Harrison’s winning piece, Zombie Rothko, will be viewed during the first week of June at the Peggy Guggenheim Collection in Venice, in conjunction with the opening of the Venice Biennale.

Alexander Calder at his Paris Studio (Fall 1931). Via Calder Foundation

The Calder Prize is awarded yearly to an artist whose work responds to Alexander Calder‘s sculptural lineage. His grandson, Sandy Calder, heads the formal presentation. In addition to the solo exhibition and monetary award, recipients are granted the opportunity to work in the artist’s Paris studio.

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