In: contemporary art
June 12, 2017
In the world of museum giants, inexhaustible lists of galleries, and raved-about art fairs, art foundations are often hidden gems that not only offer visitors the experience of viewing art and learning more about it, but also actively engage with their community, supporting contemporary artists or preserving the legacy of an individual. While other art institutions or businesses have commercial or collection-building interests, art foundations typically focus more on the development and backing of artists themselves. Here are some of the most reputable and successful art foundations found in Paris.
Fondation Louis Vuitton
Since recently opening in 2014, the Fondation Louis Vuitton has made quite a name for itself in Paris by rising to the top of the city’s cultural ranks. Located just west of the city center, at the Jardin d’Acclimatation in the larger Bois de Boulogne, the foundation is housed within a unique structure designed by the renowned architect Frank Gehry. A visit here is worth it just to admire the dazzling building, which has been called “the iceberg” and described as a “glass cloud.” Personally, I had the impression of walking up to a futuristic pirate ship stranded in a lush forest.
Fondation Louis Vuitton was born out of the ambition of the LVMH group to continue with their dedication to support art, culture, and heritage by placing strong roots in western Paris. With just about 4,000 sq.m. of exhibition space, FLV holds a permanent collection of 20th and 21st-century works (150 pieces by 71 artists) and puts on impressive museum-grade temporary exhibitions as well as site-specific installations. In its three years of existence, it has exhibited many of the masters of Modern Art, with landmark exhibitions such as Keys to a Passion and Icons of Modern Art: The Shchukin Collection, as well as displays of Chinese and most recently African art. The foundation also organizes a series of events ranging from dance and music performances to talks and activities for students and children.
Fondation Cartier pour l’art contemporain
Situated in an industrial-style, entirely transparent glass building by Jean Nouvel, both reflecting its environment and blending with it, the Fondation Cartier has been promoting contemporary art for more than 30 years. Since its opening, the foundation has aimed to stimulate creativity and discovery by revealing young artists to the public and regularly commissioning works for temporary exhibitions or for its own permanent collection, which includes over 1,400 works from 300 artists worldwide.
Fondation Cartier engages in all mediums and forms of artistic expression, from design to photography, from painting to video, and from fashion to performance art. Another unique aspect of their programming, entitled “Nomadic Nights,” places an emphasis on the various forms of performance art including dance, music, film, theater, conferences, installations, and spoken word. After exploring this large variety of activities, visitors can relax in the foundation’s “wild” but carefully curated garden, which mixes diverse flora, art installations, and local cultural heritage dating back to the 18th century.
Fondation Henri Cartier-Bresson
Opened in 2003, just a year before the death of the iconic photographer, the Fondation Henri Cartier-Bresson was established to preserve the legacy and complete works of Cartier-Bresson and his wife, Martine Franck. It houses various rare publications, vintage prints, and documents assembled from their lives, and it is regarded today as one of Paris’s central locations for photography: it is a space for education, discussion, and admiration for the photographic medium, as well as a resource and support for contemporary photographers. The foundation also sponsors the Henri-Cartier Bresson Prix, awarded every two years.
Perhaps the most aesthetically modest foundation on this list -white washed interior and all-, but certainly an important cultural gem of the city. It is located along a quiet residential street in an atelier dating back to 1912, where Cartier-Bresson’s famous “The Decisive Moment” (1952) has found a home and where all may come to discover the joy of photography.
Fondation d’entreprise Ricard
The Fondation d’entreprise Ricard, created in 2006, is much smaller than the other foundations on this list; but what it lacks in size and imposing architecture, it makes up for in its rich programme and involvement in the French art community. Situated right off of the Place de la Concorde, it runs very much like any typical contemporary art gallery, with five to six exhibitions a year and free admission. The foundation is dedicated uniquely to the young French art scene, supporting its emergence and promoting its awareness abroad.
In partnership with the reputable contemporary art fair, FIAC, the two organizations have created the program Young Curators Invitational (YCI), where young curators from around the world are invited to participate in the fair by meeting with artists, collectors, gallery representatives, and other critics to discuss the French art scene and other issues in the art world. Additionally, since 1999 Le Prix Ricard has been annually awarded to an emerging artist working or living in France. The winner receives a purchase of one of their works, the chance to exhibit in the Centre Pompidou, and support in producing a personal project abroad.
So whether you are interested in discovering the fresh talent in the French art scene, are yourself an artist or an art professional looking for resources, or want to attend one of the many monthly performances, conferences, or affiliated programs, there is certainly something to be found at the hyper-active Fondation d’entreprise Ricard.
Fondation Pierre Bergé-Yves Saint Laurent
What would a list of Parisian art and culture be without some fashion? Housed in a traditional Parisian hôtel particulier dating from the Second Empire, at 5 avenue Marceau (just across the street and around the block from the Palais de Tokyo and the Musée d’Art Moderne de la ville de Paris), the Fondation Pierre Bergé-Yves Saint Laurent preserves the legacy of the iconic couturier Yves Saint Laurent. The foundation, whose galleries opened in 2004, occupies the same space that the YSL Haute Couture house operated in from 1974 to its closure in 2002. Its mission is to preserve the 5,000 garments, 15,000 accessories, photographs, sketches, and archives that bear witness to the YSL Haute Couture creative history. The foundation also puts on exhibitions of photography, drawings, paintings, and items from their fashion collection. It also owns and manages the Jardin Majorelle and Berber Museum in Marrakech, Morocco.
The foundation is currently closed for renovations in preparation for the opening of the Musée Yves Saint Laurent on October 3, 2017. This new museum will be dedicated to the life and works of YSL, showing across 450 sq.m. about 50 rotating models with items from the permanent collection as well as providing access to the salons and studio where YSL himself worked. From those who consider Vogue to be their Bible to those who more simply take an interest in design and fashion, this is a place to keep your eye on as October comes around!
Since the early 20th century, some artists have been exploring the possibilities of movement by introducing the element of time, reflecting the importance of the modern machine and technology, and exploring the nature of vision in their work –they are kinetic artists. Among them, the most renowned figures are Jean Tinguely and Alexander Calder. Nowadays, Swiss kinetic artist Ralfonso extends this artistic lineage and incorporates motion into his Kinetic, Light, and Interactive sculptures, which are exhibited and installed across the globe, including China, United Arab Emirates, Hong Kong, France, Germany, Switzerland, USA and Russia.
Ralfonso has been fascinated by mechanics and design ever since he was a very young boy. He then started to design objects and sculptures that had a motion component, which later on became art in motion, or kinetic art. For more than 20 years he has endeavoured to push the boundaries of kinetic art at the intersection of art, mechanics and design. His work is mostly inspired by nature, by the shape and natural interaction of different elements. His sculptures gently move with the wind, with water, through motors, or when pushed by hand, and range in size from 50cm to 15m.
Different from usual sculptures, kinetic sculptures are 4-dimensional with the added dimension of time and the “change over time” element. As our technology advances, kinetic artists nowadays do not only have to engage with motion, but also with other engineering fields. It is imaginably not an easy practice in art. Ralfonso sees that as a major benefit rather than a challenge. He enjoys collaborating with experts in technical fields, as well as developing new interactive public art together with graduate students and their professors in various fields of science and art.
With the help of engineering and technology, Ralfonso designs monumental public outdoor sculptures that are environmentally interactive and can even generate energy. For example, his 8m-tall Cube Tower consists of 5 cubes, all of which move in different directions with the wind due to the wind channels in each cube. Then, the next generation Cube Tower #2 will be constructed with high-efficiency solar panels on all surfaces. So it will generate electricity not only through sun exposure, but also through the rotation of the large cubes.
Ralfonso wants to create interactive and dynamic art –to change the prevailing one-sided, passive viewing of a still piece of sculptural art. All his works create dynamic interactions, where the art and the viewer exchange, react and interact. He strongly believes that art viewing should really be a two-sided communication between the art and the viewer. Therefore, some of his works have transformed from local art to global art, as they are accessible from anywhere in the world.
Meanwhile, Ralfonso co-founded the Kinetic Art Organisation (KAO), a platform and a place for everyone interested in kinetic art to meet, exchange and share information about this art form. KAO has now become the largest kinetic art organisation in the world with over 1,000 members from 60 countries, and has published its first e-book about kinetic art, with new articles by 18 international artists, curators and collectors from all over the world, including the USA, China, Mexico, India, France and Switzerland.
Many of Ralfonso’s works have been installed in public spaces. In his perception, public art should be able to intrigue the public and make them enjoy engaging with it both mentally and physically. His goal is to design truly new, never-seen-before public sculptures, which actually can “see” and “hear” the viewer, and can interact directly with them. Ralfonso, together with a group of graduate students and their professors, are exploring various cutting-edge concepts for his public works, such as augmented and virtual reality, and globally interactive art –which implies that the viewer does not have to be in front of the sculpture but can interact with it via computers and smartphone applications from anywhere in the world at any time. One example is Ex Strata, an interactive light and sound sculpture installed both at Tsinghua University in Beijing and at the NHL campus in Leeuwarden, Netherlands, that can be controlled through the Internet.
On February 2017, KAO held the 3rd bi-annual Kinetic Art Event and Symposium. Meanwhile, Ralfonso has been selected as the master artist for the Putian International Sculpture Exhibition in China and as the Silver Prize winner for the China (Ningbo) Urban Sculpture Design Contest. Ralfonso’s sculptures will be installed in both Chinese cities, adding to his growing list of large public installations across China.
More info: http://www.ralfonso.com
YouTube: Ralfonso – Kinetic, Light & Interactive Sculptures
“I feel like everyone wants me to give them some drama about this show,” Touria El Glaoui, Founding Director of 1:54 Contemporary African Art Fair, said with a laugh, “but it’s actually been one of the easiest set-ups…with New York, there’s this window of opportunity and visibility for the artists and a unique engagement with institutions that you don’t really see in any other city.”
1:54 was founded and organized by Moroccan curator Touria El Glaoui to improve the representation of contemporary African art worldwide. Now, 1:54 is the foremost art fair dedicated to contemporary African art in the primary art market, showing in London during the October Frieze Week since 2013, and 1:54 NY during the May Frieze New York since 2015. Entering its third year in New York, 1:54 NY is showcasing over 60 emerging and established contemporary artists, bringing 19 international galleries together from 10 countries.
1:54 is a ratio that runs parallel to the entirety of the fair’s mission, representing the entirety of Africa: 1 continent, 54 countries. As the title suggests, 1:54 tries to preserve rather than blend together the differences between each country’s histories and cultures. Taking a look at this year’s 1:54 NY, the fair exemplifies its goal in representing individual countries, illustrating local development with global engagement, while connecting to common themes such as female representation, a hugely controversial topic in America as well as worldwide.
The role of gender identity and the fragile state of humanity come up in many of the pieces, always based from the African perspective, which within these topics play a fascinating role. For instance, Lawrence Lemaoana, an artist from South Africa represented by Johannesburg-based Afronova Gallery, creates graphic works that critically engages with the media in present-day South Africa. He views the relationship between media and the people of South Africa as extremely problematic and expresses this view through his trademark cynicism emblazoned on kanga fabric, a traditional fabric with its own complex history. In one of Lemaoana’s kanga canvases at 1:54 NY, the phrase “MY FATHER WAS A GARDEN BOY” reflects upon the time of Apartheid when the easiest job for a man to get was a gardener, and those who worked as gardeners were called “garden boys” by their white employers. Lemaoana brings up a part of South African history on a piece of fabric that lines modern day streets at markets. Kanga fabric is also considered to be a female cloth, so along with telling the story of his father in the past, Lemaoana is toying with gender identity and who the use of this fabric is truly for.
Nigerian-American artist Wura-Natasha Ogunji’s diasporic view and love for the fusion of opposites creates an upfront look into micro- and macro-relationships. She was born in the United States but currently lives in Nigeria (and is represented by London-based gallery 50 Golborne), allowing her to mold the experience of a life spent between two countries. Her delicate lines build private and public scenes on trace architect paper, the translucency of the background and fragility of the paper’s surface translating to a bigger idea of the delicacy of humanity. Just like in Lemaoana’s work, Ogunji is playing with bigger topics that are experienced worldwide but adds personal elements such as her life as a Nigerian-American woman.
Someone to keep an eye on? Nigerian artist Ndidi Emefiele (featured image). Represented by London-based gallery Rosenfeld Porcini, her work is confrontation and humorous, mixing the contemporary (cut-outs taken from magazines or printed from Instagram) with the traditional (Nigerian dress colors or patterns found in modern settings). The pieces showcased at 1:54 NY hold a message of female empowerment, while the glasses found on most of the girls act as a layer of protection from the world, particularly the “male gaze”. In her 2017 piece Taxi, the exposure of the subject’s skin in comparison to the Matisse-like figures dancing in the background paintings is just one of the contemporary vs. traditional comparisons that can be immediately interpreted. Emefiele confronts popular topics such as gender as a social construct and the portrayal of female bodies within the media while incorporating traditional patterns, foods, and stances from her Nigerian roots.
1:54 NY does an incredible job of not only representing separate African countries but respecting those differences while creating worldwide topics that can be picked up by anyone who comes to visit the fair.
May 5th – May 7th 12-8pm
Pioneer Works (159 Pioneer Street), Brooklyn
In 2011 Ryan Stanier launched the Other Art Fair. Eliminating the middleman (galleries), Ryan created a space for artists to come and show their talent. Tremendously popular from the very beginning, the fair attracts more than 40,000 visitors and exhibits over 100 artists. The last London edition opening featured 130 contemporary artists, art investment tours and the much-anticipated Virtual Reality project, Underworld, by the Guardian. I met with Ryan in the hip part of Coven Garden last week to discuss how it all started and what we can expect in the future.
How did you come up with the idea for the Other Art Fair?
I don’t really have an art background. I got interested in art by being constantly surrounded by friends who are artists. And then I saw my friends struggle to produce an exhibition: it could be an amazing show, but nowhere accessible. That was the problem; it is so expensive to rent a space that artists have a little way out. They have little exposure; dealers and publicists don’t usually visit this kind of shows.
I thought, what if I create a show of the kind, but in Central London? It came out naturally, out of love for my friends. And that’s the thing: unless it comes out of your interest and passion, it has low chance to succeed. The material part was completely irrelevant at that stage. I looked for a space for a while, browsing around London, calling agents, and after hundreds of calls, I found one. I set up an informal gallery in Coven Garden in 2009. It was good timing, as after the financial crisis a lot of spaces were empty. We stayed at that place for a while putting up shows, selling art…
I realized after a while that I don’t want to be a gallerist. It wasn’t something I was interested in. My background in events gave me an idea to create a fair for artists, without galleries being involved. And so, the fair for the artists who don’t have an exclusive contract with a gallery was launched.
Did you think about the competition, big shots like Frieze?
Yes, but it’s a completely different market. We created a space where new collectors can come and buy art. We all go to big art fairs, but we don’t buy anything. There’s an experience, for sure. With that in mind, we decided to create something more accessible, more fun, and equally aspirational. We always knew how we are different with a unique position in the market. It’s all about the artists. People like Gordon Ramsey visit, we’ve been working with UBS for a while to create artworks for their offices… We’re also looking to launch an art prize. We promote our artists and a lot of them make contacts through the Other Art Fair. It’s the same cost to rent a stand for everyone, so it comes down to the artists to make the most out of the fair.
How does the selection process work?
The upcoming fair had 1100 applications and we only have 100 slots. There’s a panel that selects artists, simply saying ‘yes’ or ‘no’. We’re interested in different types of mediums, so there are no specific selection criteria.
Who is your target customer?
It varies. We try to create a unique experience like nowhere else. We have a guest artist each fair, usually a known figure in the arts. For example, last year we had Tracy Emin create exclusive work for us in editions of 500, 50 pounds each. So, someone who has never bought art before could afford to buy an Emin. More than 50% of our audience has never bought art before, so we’re focusing on this ‘new collector’ type. The Other Art Fair is also interesting, it’s not intimidating. It’s never the same. What breaks all the barriers, I think, is that anyone can talk to artists and not a gallery sales person.
Tell me about your recent partnership with SaatchiArt.
It started last July. SaatchiArt is the biggest platform for artists, so we created the partnership where all the Other Art Fair artists are now available on SaatchiArt all year round. It came from my initial idea of how to help artists sell their work and create opportunities throughout the year.
Your first international edition was in Sydney last year. Why go to Australia first, and not, say, New York?
The city like London has around 30 art fairs a year, New York – twice more. In Sydney, there are only two art fairs every other year and such an enthusiasm for the arts from the public. It was a natural decision.
This year you’re expanding to New York, but not during the Frieze Week. Why?
In London, we run fairs both during the Frieze Week in October and one in the spring. The thing is, we haven’t noticed a large difference in visitor numbers and sales between the two. So, in NY we decided to develop a clear message about who we are and see who is interested in joining. We’re also expanding to Europe next year with 11 art fairs throughout the year.
Do you personally prefer museums or art galleries?
Museums. There’s no pressure and, you know, there are more impressive shows.
Do you have an advice for someone trying it out in the art world?
Don’t get overwhelmed by tradition. Don’t buy into it. Everyone will have to adapt to innovation.
P.S. Keep an eye on the place, in a few years it could be in your town.
March 11, 2017
“I see life as a passageway,
with no fixed beginning or destination”
– Do Ho Suh
Humanity is often focused upon the destination of life rather than the journeys travelled. These journeys are the ones that result in a life worth living, instead of a life in which the centre of attention revolves around the end result. To be obsessed with the end result of an endeavour, as opposed to living in the present, is the very premise that the artist Do Ho Suh (b.1962, Seoul, Korea) challenges in his new exhibition, ‘Passage/s’.
Currently on display at the Victoria Miro Gallery, London, Suh’s body of work questions the boundaries of identity as well as the global connection between individuals and groups. After growing up in South Korea, the artist has moved and lived in many different countries, immersing himself in the culture of each one of them. In his work he aims to create a global connection between his identity, his previous destination, and his current journey. He establishes that his own understanding of ‘home’ is both a physical structure and a lived emotional experience. In this sense, the physical structure of a ‘home’ can only be described as the building or property in which one has lived, whereas the home as an emotional experience is documented in the adventures and memories of life. I
Beginning upstairs on the First Floor, the visitor is immediately transported into the many ‘homes’ of the artist. Each independent aspect of a home, whether it is a simple light bulb or a complicated fuse box, has been carefully replicated by Suh’s meticulous hand. Polyester, which is both a fluid and a translucent medium, is the main choice of material for Do Ho Suh. He uses to replicate everyday objects, and its translucency amplifies the importance of concentrating upon the ‘passageways’ of life: you must be able to travel through each destination in order to continue growing and developing.
This concept is heightened in ‘Passage’s: The Pram Project’, a video installation recorded from the perspective of three different cameras. Taped from the comfort of his daughters pram, the video removes the viewer from the controlled environment of the gallery, and places them into the charming streets of Islington and Seoul. Surrounded by the child’s adoring laughter and babbling, we are reminded of the innocence of humanity and the importance of ‘home’ as an emotional connection, something which provides stability and safety.
Continuing on the Lower Floor, Do Ho Suh displays large threaded drawings replicating doorways and stairwells. Each entrance has been accurately copied from the multiple buildings in which Suh has lived, exaggerating how the outside exterior of a ‘home’ does not necessarily reflect the individual immersed within it. For example, not everyone who lives in a London home is British – the immersion of cultures is the most important aspect to create a global identity.
The exhibition arguably concludes with the most impressive component of Do Ho Suh’s work. His series ‘Hubs’ occupies the entirety of the Upper Gallery, where nine reproductions of the apartments in which Suh has called ‘home’ are on display. The transient polyester spaces are connected by threaded doorways and moving doors, enticing the viewer to walk through and experience each room. Although interactive, ‘Hubs’ removes the practical function of a home: door hinges and handles remain motionless while electrical outputs and pipes are frozen without power. By referring back to Suh’s original premise of the home as a physical entity, as well as an emotional experience, we are placed in this complex structure as both ‘private’ and ‘public’ viewers. In one way the elongated home visualises the ‘private’ life of an individual, while the ‘public’ global identity seeps into the design through the fragile material.
I encourage you not just to see the exhibition first-hand, but to interact and engage with the artwork. The unfortunate irony of this brilliant collection of work is the influence of present day technology, and our infatuation and dependence upon our mobile phones. The majority of people visiting exhibitions today try to capture every moment and work of art into a single photograph. This degrades the original intentions of Do Ho Suh and his exploration of life as a journey, as a photograph destroys the steps travelled in order to take it. Life is about the experiences seized by your eyes, not the artificial screen of a phone or lens of a camera; rather than living through your phone, live through reality.
Do Ho Suh‘s ‘Passage/s’ is on display at the Victoria Miro Gallery, London until 18th March, 2017.
March 5, 2017
It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.
Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’
There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.
George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.
Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.
Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5
October 29, 2016
The “Kollektsia!” exhibition at the Pompidou Center in Paris was born out of a donation of more than 250 artworks from the Vladimir Potanin Foundation, collectors, artists and their families. While not being too exhaustive, this ensemble of works by major Russian artists adequately offers a panorama of some forty years of contemporary art in the USSR and then in Russia, covering the most important movements. It includes works by confrontational artists created outside official structures, from the Moscow conceptual school to Sots Art, from non-conformism to perestroika (a political reform within the Communist Party of the Soviet Union during the 1980s, widely associated with Soviet leader Mikhail Gorbachev and his glasnost [openess] policy reform).
The first section of the show is dedicated to non-conformist art since the late 1950s when artists revived the aesthetic practices of the avant-garde and sought innovations of their own formal approach. My favourite pieces are the “Milk Box” sculpture (1970) by Igor Shelkovski, a hanging object called “Space-Movement-Infinity” — the first kinetic work in postwar Russian art and some intriguing photographic works by Francisco Infante-Arana. The non-conformist artworks are not following a homogeneous movement with shared objectives. However, as a whole they represent the budding diversified creativity confronting the strictly controlled official structures in art in the USSR.
My favourite section of the exhibition is of the more playful Sots Art, invented by Komar and Melamid to subvert, in a Pop-art way, the codes of the mass propaganda that saturated Soviet life. In contrast to the Pop artists — confronted by a superabundance of consumer goods — Sots artists, such as Alexander Kosolapov, Boris Orlov and Leonid Sokov, sought to demythologize official cliché and the ideological environment of the Soviet society through absurdity and paradox. For instance, the eye- and phone-camera-catching “Malevich-Marlboro Triptych” (1985) by Alexander Kosolapov demonstrates how the artist drew on broad iconographic sources from both Soviet and Western clichés while using an advertising image. On the other hand, Leonid Sokov’s hanging sculpture “Glasses for Every Soviet Person” (1976) delivers ironic humour through simple graphics and raw wooden texture.
Alongside Sots Art, the 1970s brought about Moscow Romantic Conceptualism which accord greater importance to text and language, with artists working at the intersection of poetry, performance and visual art, such as Dmitri Prigov and Andrei Monstyrsky. The latter advocated a conceptual art that reflected the ascendancy of literature in Russian culture. A section of the exhibition pays homage to Dmitri Prigov who was known for writing verse on cans. The conceptualists also embraced the power of text through performance, such as “I Breathe and I Hear” (1983) by Andrei Monstyrsky, who is a part of the Collective Actions group; the group taht has carried out a lot of planned performances.
The onset of perestroika brought an exploding sense of freedom and accelerating artistic processes from the mid-1980s onwards. Following the sudden liberalization, artists were then able to take part in exhibitions and find a place on the international art arena. This period in Russian history not only witnesses the diversifying artistic approaches, but also paved the way for legitimizing of formerly marginalized art. In 1988, a first auction organised by Sotheby’s in Moscow gave a tangible value to unofficial art, and the boundary between official and unofficial abruptly disappeared. In this sense, the impressive “Last Supper” (1989) by Andrei Filippov, with hammers and sickles on a red table, is one of those works marking the end of “unofficial art” while it preceded the dissolution of the Soviet Union. Perhaps some of Yuri Leridrman’s works in 2009 displayed at the exhibition could reflect this lively flourishing of creative energies in post-Soviet era; the artist juxtaposed painted plants onto collage of newspapers, thereby transforming textual material into images.
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.
October 5, 2016
Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.
Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.
The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.
Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:
Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.
Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.
The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.
Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.
Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.
Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.
This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.
Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.
Another must-visit show in London focuses on Caravaggio. It is important to note, though, that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.
Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.