172-en

The dark side of The asian arT markeT

Top storiespage 4

ReportArtprice Contemporary Art Market Report 2014

page 6

Museumspage 7

Galleriespage 10

InterviewBridging the gap:

Morehshin Allahyaripage 14

Artistspage 18

InterviewElise van Middelem -

School of Doodlepage 20

DataJuan Muoz

page 23

InterviewLaurent Dassault

page 28

Auctionspage 31

Fairs & festivalspage 33

According to the United Nations Office on Drugs and Crime, 2 to 5% of global GDP is laundered money; in currency, $800 mil-lion to $2 trillion. The art market, notoriously opaque and uncon-trollable, is one in which a staggering amount of this criminal activity takes place, where dirty money obtained from illegal activity is laundered into legal tender. Worldwide cases of mo-ney laundering and illegal activity conducted through the pur-chase and sale of artwork are far from uncommon, with cases involving high profile figures such as Edemar Cid Ferreira, the Brazilian ex-banker who laundered millions of dollars through a collection of 12,000 works, and art dealer Helly Nahmad, who was caught on tape arranging the price increase of a Raoul Dufy painting he was selling, and explaining his plans to split the profit with another member of his gambling ring.

However, the phenomenon is particularly rife in the Asian art mar-ket, with one auctioneer estimating that 30%-50% of works in the market are related to the practice of money laundering, re-ports French newspaper Le Figaro. In Asia, the combination of a booming economy, lax regulations on the sale of art and strict capital control laws means that the art market is a primary target for those looking to launder or export capital.

Why Asia?

In well-established art markets in the West, measures have been taken to make sure that potential money launderers cannot operate through the purchase of works; in February 2013 the European Commission brought in a law which ensures galleries declare any sale that is more than 7,500 in cash. Brussels De-velopments from 2012 make sure that galleries who do trade in cash for values more than 15,000 are registered as high value dealers, and undergo more stringent checks. These galleries are also under pressure from organisations such as the Financial Ac-tion Task Force (FATF), an inter-governmental body which targets money-laundering, and the Association for Research into Crimes Against Art (ARCA) to undertake Know Your Customer (KYC) checks to customers identities and sources of their funds.

95 rivington street10 30 2014

christian berst art brutklein & berst

This documenT is for The exclusive use of ArT mediA Agencys clienTs. do noT disTribuTe. www.artmediaagency.com

ama neWsLeTTer

1722 october 2014


The Asian market, on the other hand, is far newer and understandably less regulated. For the majority of the 20th century, China lived under the rule of Chairman Mao, whose Cultural Re-volution not only censored and restricted artistic output, but made it illegal to own or inherit a piece of art. After Maos death in 1976, regulations were loosened, but it was still not until the late 1990s that the Chinese art market truly began to pose a threat to those of the USA and Eu-rope, the latter of which has been operational since the 15th century. In 2010 China was declared the worlds largest art market, with $8.2 billion in sales, increasing by 700% from 2000-2011 a growth worthy of what is now the worlds second-largest economy.

However, Chinas emerging millionaires and billionaires are also subject to strict capital control laws, technically restricted to taking only $50,000 out of the country. Due to these restrictions, China saw as much as 10% of its GDP leave the country illegally between 2000 and 2011 ac-cording to Global Financial Integrity, an US-based advocacy group. As there are few open money and commodity markets in China, more and more people are looking to money laundering as not only a form of legitimising illegally-obtained funds, but as a form of tax avoidance.

Furthermore, the huge demand and limited supply of artworks mean that the Asian market is rife with fakes, and an operative policy of caveat emptor means that there is no legal support for buyers. Antony Lin, former chairman of Christies Asia, told MarketWatch.com that, at Chinese auctions, they dont guarantee any authenticity. Theres no legal recourse, no warranties for fakes. In any kind of market that escalates at this pace, theres going to be fakes. In the business of money laundering, however, authenticity is not always the number one priority as long as auction houses (several of which are rumoured to be in on the deal) verify it, it can be sold and money can be cleaned through the sale. Many have suggested that the fact that Chinas largest auction house, Poly, is owned by the government and is the auction branch of a large company which is also a weapons manufacturer, makes it hard for it to be regulated by any other external body. Nancy Murphy, a Beijing-based art lawyer, estimated that up to 80% of works at Poly are fakes, reported Forbes.

A notable example of a supposedly fake work on the market is the sale of a scroll by Song Dynasty poet Su Shi, which was estimated at $500,000, but was actually sold for $8.2 million by Sothebys. After the sale, several art historians declared the scroll to be a fake. This demonstrates the ample po-tential for money launders; the market is volatile and deals with huge amounts of money in an anony-mous and unregulated setting, allowing criminals to buy works (real or fake) in cash, and legitimately sell them on for often inflated prices at auction. China also has a history of non-payment in auctions; the most expensive Chinese painting at auction, sold in 2011 for $64.5 million dollars, Eagle Standing on a Pine Tree by Qi Baishi, remained unpaid for six months after its sale. More than half of winning bids on objects over 1 million also remain unpaid six months after auction. This has a dangerous effect on prices, allowing them to skyrocket on paper but not reap the financial reward in reality. From a criminal perspective, the high monetary stakes in the art world are an advantage, allowing them to launder more money at a time. However, when auctions are fixed, or when empty bids are placed purely to raise the profit, it results in a disproportionate raise in price records, leaving genuine collec-tors either unable to afford the work, or overpaying. The true value of art becomes easily distorted as prices soar, raising questions about how long the market can continue to beat its previous records.

Cover : Scroll by Su Shi"Gongfu tie" calligraphy,

ink on paperImage courtesy of Sotheby's

Poly auction Beijingcourtesy Poly Auction


AMA Newsletter 172 2 2 OctOber 2014


Elegant bribery

The art market facilitates the covert exchange of funds through the process of using art as bribes for officials, the practice of which has become so widespread it has its own name in Chinese: Elegant bribery, or Yahui. Works can be bought in cash, gifted, and then re-sold, often involving rigged galleries. In 2009 Chinese authorities detained the city of Congquings de-puty police chief Wen Quiang; upon searching his home they found over 100 works including sculptures made from ivory, a stone Buddha head, ancient calligraphy and a painting by the legendary Zhang Daqian. He was executed in 2010 for taking $1.76 million in bribes. In the hi-ghest echelons of Chinese society and government, art is treated as a commodity which allows for the exchange of funds with no obvious paper trail, and also provides a handy opportunity for those involved to escape punishment if caught they can always claim (or reveal) the inauthenticity of the painting and stress its lack of value, handily avoiding legal repercussions.

The case of Hong-song Won

One of the most recent and publicised cases of criminal activity in the Asian art market is the case of Hong-Song Won, whose recent arrest comes after a string of accusations of assisting money laundering and tax fraud. The Korean market, even newer and smaller than the Chinese, has only recently started to implement stricter tax regulations on artwork. Hong-Song Won is the owner of Seouls Gallery Seomi, whose controversial presence became known in 2008 when one of her customers, the director of Leeum, the Samsung Museum of Art (and wife of Samsungs chairman), Hong Ra-Hee, purchased Roy Litchensteins Happy Tears from her using illegal money. In 2011 she was given a suspended jail sentence for aiding the chairman of Orion group, Tam Cheol-gon, purchase art with company funds and embezzle the money for himself. She has also been im-plicated in the forging of papers of high-value art works involving high profile businessmen. Yan Lynn, director of the Seoul branch of Able Fine Art Gallery, New York, spoke to The Korea Herald, saying that it was not only big companies, but small and mid-size companies use art in creating slush funds, suggesting that Hong-Son Wons case had been picked up on because it involved major corporations, and that it is far from an isolated incident within the industry.

Effect on the industry

Speaking to The Art Newspaper, an FBI art crime expert and Dean of the Yale University School of Art expressed the desire for a sense of perspective about the problem. Although referring to the US market, their point of view is transferable; they argue that art is fundamentally still about legitimate collectors buying real art. Despite the fact that the criminal nature of money laundering makes it hard to estimate exactly how prevalent it is in the art world, it seems clear that it is; Judge Fausto Martin De Sanctis (the judge who handled the Ferriera case) explains his book Money Laundering through Art: a Criminal Justice Perspective, that authorities and international bodies manifest a lack of aware-ness and regulation which leads to art becoming an invisible asset in the criminal underworld. The problem of money laundering and bribery through art is evidence of an attitude which has grave po-tential; the sale of art for exclusively financial purposes and the distortion of prices, disadvantaging passionate collectors and those who are involved in art for arts sake. Although the problem is not as of yet that widespread (particularly in Europe, where steps are being taken to combat it), its unnerving presence in the underbelly of the Asian art market is something which should worry all tiers of the art market, from collectors and auctioneers down to enthusiasts and admirers of artistic output.



Top stories

BanPotential ban of cadmium pigments in EuropeThe EU is considering a Europe-wide ban on cadmium pigments found in acrylic, oil and watercolour paints.The news follows pressure from Sweden to ban the chemical due to its negative effects on the environment. The argument is that when artists wash the paints off their equipment, the toxic chemical then ends up in sewage which is used in agriculture, thus entering the food chain. Pure cadmium is highly toxic, but according to Reach, an EU body that advises on the use of chemi-cals, the compounds used to create vivid yel-lows, oranges and reds in paints are not dange-rous. Those opposing the ban refute the claims that artists are to blame, pointing the finger ins-tead at the incorrect disposal of nickel-cadmium batteries. Whilst there are alternatives on offer, artists claim that they are no adequate replace-ment for the vibrancy of cadmium and could si-gnificantly alter their palettes.

aWardICI announces nominations for Independent Vision Curatorial AwardIndependent Curators International (ICI) have announced their list of nominations for the biannual Independent Vision Curatorial Award.The award is designed to honour up-and-co-ming curators; this year, nominees hail from traditional art centres New York, Paris and Lon-don, as well as Guatemala, Costa Rica, Slovenia, and Senegal. The nominees are: Eva Barois De Caevel, Bao Dong, Anne Dressen, Inti Guerrero, Agung Hujatnikajennong, Naima Keith, Thomas Lax, Tev Logar, Emile Maurice, Diana Nawi, Mary Pansanga, Marina Reyes Franco, Gaia Tedone and Natalia Valencia. The winner will be selec-ted by Nancy Spector, chief curator and deputy director of Solomon R. Guggenheim Foundation. The prize will be awarded during the ICI's annual gala in New York 17 November 2014, with the winner receiving $3,000 to put towards a new curatorial project.

arTicLe of The WeekJapanese art market looks set to recoverThe Japan's long-suffering art market seems to finally be recovering thanks to Prime Minister Shinzo Abe's new po-licies, nicknamed abenomics, and the weakening of the yen.The market suffered greatly from the glo-bal financial crisis in 2008, but is now on the road to recovery; the turnover of the Japanese art market for the first half of

the 2014 reached $30.7 million, putting it on track to beat last year's $76 million. A spokesperson for the largest Japanese auction house, Mainichi Auction, told Reuters that, there is an increase in pur-chases, definitely a sign of recovery from when the art market hit rock bottom du-ring the economic crisis in 2008. Howe-ver, the size of the market remains very

small, accounting for just o.44% of the global market.An example of improvement not only in the market but in the value of Japanese art in general is the work of artist Yayoi Kusama, whose small lithographs used to sell for under a thousand dollars, but which now reach as much as $74,000.

ThefT6 million Degas painting stolen in CyprusThe Degas painting Danseuse ajustant son chausson, has been stolen from the Limassol home of a 70-year-old Cypriot on the Mediterranean island on Monday 29 September.One suspect has already been arrested a 44 Greek Cypriot man, whilst two other suspects from South Africa and Russia respectively, are currently being in-vestigated. The three men were apparently known to the elderly collector.The stolen work was one of many studies of dancers adjusting their shoes from diffe-rent angles, completed by the artist between 1873 and 1874. The thieves also made off with seven gold watches and three gold opera binoculars, amongst other items. The Degas piece is believed to be the most expensive work to have ever been stolen on this island and was not insured.Degas is considered to be one of the founding fathers of Impressionism; his work covers the mediums of painting, drawing and sculpture whilst almost half of his oeuvre focuses on dancers

Danseuse ajustant son chaussonEdgar Degas



resToraTionSopranos actor finds and restores Guercino paintingFederico Castelluccio, an actor who played a key role in the television show The Sopranos but who is also a painter and expert in Old Master and Baroque paintings, has found and restored a lost painting by the 17th-century Italian artist Guercino.Castelluccio found the work at a dealership in Frankfurt, when its origin was still unknown, he then had it verified by experts, who found it to be a Guercino work. It is estimated that Castel-luccio spent about $140,000 dollars on restoring the painting, a process which took several years however it is now estimated that the work could be worth millions.350 years since it was last on public display, it is to be presented as part of the exhibition Saint Sebas-tian: Beauty and Integrity in Art Between the 15th and the 17th Centuries by the Cosso Foundation and the Miradolo Castle museum in Turin, opening 4 October.

appoinTmenTInternational Contemporary Art Prize in Monaco ap-points new directorLorenzo Fusi has been appointed as the new artis-tic director of the Prince Pierre Foundation Inter-national Contemporary Art Prize, which is awarded on a three-yearly basis. He has been a member of the International Jury for the prize since 2003.Fusi is an art historian and critic, and was the chief curator for International the lead exhibition at the 2012 Liverpool biennial. Since 2005, the prize has been awarded to by Carlos Garaicoa, Sadane Afif, Candice Breitz, Didier Marcel, Su-Mei Tse, Gui-do van der Werve and Dora Garcia. The winner re-ceives 20,000 in cash and 20,000 funding for new artworks.The Prince Pierre foundation was established in 1966 by Prince Pierre's son, Prince Ranier III, in memory of his father. It aims to promote contem-porary art and culture not only through the Contemporary Art Prize, but through a music com-position prize and literary prizes.

LegaLUS Court agrees on tax break for art estateThe United States Court of Appeals has ruled that the Elkins family will get a substantial discount when settling the taxes of their art inheritance due to the shared ownership of the collection.The three children of James and Margret Elkins inherited a huge col-lection of works from their parents including works by Picasso, C-zanne, Jasper Johns and Jackson Pollock. Before their parents died, they arranged a guarantor retained income trust (GRIT) which meant that each of the children would have partial ownership of the collection. Although they have made it clear that they have no intention of selling the works, the GRIT impedes the sale or transfer of works as all three successors must be unanimously agreed before any action can be taken.Initially they were given a 10% fractional interest discount when determining the collections fair market value for tax purposes leaving the family with a hefty $14 million tax bill but this was appealed on the basis that the GRIT affected the value of the works. The jury came out in favour of the family, accepting their proposed 47.5% discount and consequently handing them a $14.4 million tax estate refund.The familys attorney, Donald Wood, told artnet News: There is a long history under tax law of allowing discounts for minority inte-rests in all kinds of tangible and intangible property as well as real estate. This case simply extended that well-established law to works of art. This is really the first case to ever seriously consider that issue in the case of fine art.

cuLTuraL educaTaionThird season of Cls de l'Art et de la CollectionFrom 17 October 2014, the Cercle Menus Plaisirs in Geneva is to launch their new season of Cls de l'Art et de la Collection.For this its third consecutive year, the society will offer classes and expert workshops as well as tours around Geneva.250 hours of programmes are planned, with workshops to educate 5-12 year-olds about the history of art, professional talks about the art mar-ket, and classes on Spanish and Latin-American art, as well as the 100 most important living artists, Flemmish and Dutch art, and video art.The Cercle Menus Plaisirs is a Swiss society, founded in 2011, which works in consulting, education and promotion in the fields of the art market, design and communication. The name was inspired by the Minister of Menus Plaisirs which was created in 1627 to organise the finances of the different parties and ceremonies which took place in the court. The position was abolished at the same time as the monar-chy during the French Revolution.



reportarTprice conTemporary arT markeT reporT 2014

Artprice have released their 2014 Contemporary Art Market Report. The report takes into account sales registered between July 2013 and the beginning of July 2014 and concerns contemporary artists born post 1945 (all prices refer to hammer price excluding buyers premium and taxes, and refer to works sold at auction only).

As has been widely reported, it has been another successful year for the global art market, which grew 12% this year, with this broader success benefiting the contemporary sector. A record number of sales reached the 1 million dollar/euro threshold and records were set for the most expensive piece of work sold (Jeff Koons' Balloon Dog, which sold for 38.8 million) and the highest auction turnover for a Post-War and Contemporary sale (Christie's New York, 477 million). 13 contempo-rary works sold for more than 10 million, beating last year's total of four works, constituting half of the total 26 contemporary works which have ever sold for over 10 million. The contemporary market proved the 3rd most profitable (after modern and post-war) representing 15% of the global market, with sales totalling 1.5 billion a 33% increase on last year and a 1,078% increase over the last decade, driven by a rise in prices caused by geographical expansion of the market and the growing investment status of art.

The top three artists in Artprice's Top 500 Jean-Michel Basquiat, Jeff Koons and Christopher Wool represent a huge 22% of the global contemporary market, all achieving prices over 10 million (a threshold that was only first achieved in 2007 by Damien Hirst's Lullaby Spring) and their total auction sales for the year totalling almost 100 times Japan's contemporary auction sales for the same period. It is worth noting that all three of these artists are of American origin and owe much of their success to the patronage of Larry Gagosian, one of the most powerful figures in the art world. Jeff Koons, as well as achieving the record price for his Balloon Dog, is the most expensive living artist and this year sold three works for more than 20 million, compared to Basquiat who only sold two in this bracket.

Chinese artists also featured heavily in the list and in fact made up a high proportion overall, with 47 Chinese artists in the Top 100 compared to 19 Americans, reflecting the strength of the Chinese art market, which represents 40% of the global total; furthermore, Chinese artists constituted over 39% of contemporary revenues, whilst American artists accounted for 35%. The uncontested top Chinese artist was Zeng Fanzhi, who had a turnover of 59.6 million and whose prices are still increasing.

Despite the media focus on blue chip works, in reality, only 6% of lots sold are over 50,000; in fact, 66% of contemporary lots sold are under 5,000. Many of these moderate prices can still be found in the works of well-known artists, and artists such as Takashi Murakami and Jeff Koons have released multiples with more than 2,000 editions in order to tap into the full strata of buyers. This sort of range can also be seen notably in photography, with 40% of works by Cindy Sherman ranked 24th selling for less than 6,000.

New York remains the most dynamic city for the sale of contemporary art, with Beijing second and London third. New York and London also remain the springboards for widespread recognition, with exhibitions and sales in the cities helping to promote new trends and artists from emerging countries with weaker mar-kets. London is the leader in Europe by a large margin, accounting for 77% of the European market. The French market, while fourth worldwide, has experienced a notable 10% drop and now counts for 1.75% of the global market; there are also only four French artists in the Top 100. Europe overall is dominated by lower-priced works, with 81% of lots sold going for less than 5,000 compared to only 38% in China. European artists who are well-established and have works featuring in major national institutions consis-tently fail to reach the heady numbers achieved by their American contemporaries.

Artists from China, the United States and Europe are the most well-represented in the Top 100, but in the Top 500 artists from emerging markets are showing promise. International institutions are taking notice of artists from Latin America, Africa, the Middle East and Southeast Asia, which is essential in helping these artists reach a wider audience.

Although not addressed in the report, it is worth noting that only four of the Top 100 artists were female, with the most successful female artist (Cindy Sherman) achieving a mere 5.6% of the total reached by Basquiat. Whilst most of the demographics in the Top 100 can be easily explained by economic factors, there is no obvious explanation why only 4% of the top selling artists were women.



museums

conTroversyBrett Baileys Exhibit B closed downBrett Bailey's controverisal installation Exhibit B, which features black performers in replicas of the human zoos of the 19th century, has been closed down by its host The Barbican in London.This comes following an online petition which gathered more than 23,000 signatures and protests outside the institution. Pro-testers criticised the piece as being racist, finding the sight of the black performers voluntarily chained up by the white Sou-th-African artist Brett Bailey, extremely offensive.The Barbican said in a statement that they were forced to close the performance due to the extreme nature of the protest and the se-rious threat to the safety of performers, audiences and staff that it posed. They also said that they believed this piece should be shown in London and are disturbed at the potential implications this silen-cing of artists and performers has for freedom of expression.

arTicLe of The WeekGuggenheim New York announces plans to expand The Solomon R. Guggenheim Museum in New York is planning to expand through the construction of what will be known as the Collection Centre.The Collection Centre will be a multi-use building with a dynamic public-program-ming component for residents of the

city, a spokesperson told The Art News-paper. There are also plans to build new office spaces, although it is not yet known if there will be a competition to design the extension similar to that which is currently being held to design the Guggenheim's new space in Helsinki. The museum first opened

its doors in 1959, ten years after the death of its namesake. In 2002, the Guggenheim foundation announced the cancellation of its plans to construct a new museum by New York's East River, designed by the same ar-chitect who created the iconic Guggenheim museum in Bilbao, Frank Gehry.

icomTheme of International Museum Day 2015 announcedTheme of International Museum Day 2015 has been an-nounced as Museums for a Sustainable Society, to take place on 18 May 2015.The initiative was created in 1977 by the International Council of Museums (ICOM), with the aim of raising awareness about the role of museums in the development of society. In 2014, 35,000 museums from 145 countries took part.Professor Hans-Martin Hinz, President of ICOM said in a state-ment: Museums, as educators and cultural mediators, are adop-ting an increasingly vital role in contributing to the definition and implementation of sustainable development and practices. Museums must be able to guarantee their role in safeguarding cultural heritage, given the increasing precariousness of ecosys-tems, situations of political instability, and the associated natural and man-made challenges that may arise. Museum work, through education and exhibitions for example, should strive to create a sustainable society. We must do everything we can to ensure that museums are part of the cultural driving force for the sustainable development of the world.

donaTionCincinnati Art Museum receives $6 million giftCincinnati Art Museum has received a gift of $6 million from the Louise Dieterle Nippert Trust.The donation is to go towards the endowment of the museum's director position, which will be filled by Cameron Kitchin from 1 October 2014. Kitchin will take the post following his time at Brooks Museum of Art, Memphis, where he was also museum di-rector. Currently, the museum has an annual operating budget of $11 million, and, as of the end of last year, an endowment of $87 million, much of which is intended for acquisitions. Whilst the mu-seum has run several high-profile shows in recent years, the gift will help support the museum.

iniTiaTiveThe Paris Museums CardThe Paris city council and Paris Muses have launched a card which gives the owner access to selected exhibitions and muse-ums in the city. The Paris Museum card gives you unlimited access and queue jump for one year to selected museums and exhibi-tions. It gives access to the Muse d'Art modern de la ville de Par-is, to the House of Balzac, the Bourdelle museum, the Carnavalet Paris history museum, the Cernuschi museum, the Cognacq-Jay museum, the Palais Galliera, the Jean-Moulin museum, the Petit Palais, the Muse de la vie romantique, the House of Victor Hugo and the Zadkine museum.

2014paris

October 2326Hotel Le A4 Rue dArtoisoutsiderartfair.com

Bill Traylor (18541947), untitled, detail, n.d., 22 14 in.



WhaT's on

AUSTRAlIA Wonder at the Fremantle Arts Centres Moores BuildingRunning until 12 October 2014 is the exhibition Won-der to be held at the Fremantle Art Centre's Moores Building Contemporary Art Gallery, Australia, featuring the work of Claire Pendrigh.Pendrigh presents a series of sight-specific installations drawing on astronomical data as inspiration, incorpo-rating found objects, handcrafts, knitting, painting and drawing. Highlights include RCB Cloud (2014), a sus-pended knitted cloud formation that emits breathing sounds, representing an interpretation of the carbon rich dust clouds ejected by RCB stars.Pendrigh is an emerging artist originally from Canberra, Australia. She has held artist residency in Iceland and has exhibited in the United Kingdom and Australia. She currently lives and works in Bunbury in the South West of Western Australia. For this, her most recent exhibi-tion, she exhibits works born of a collaboration with as-trophysicist Melanie Hampel.

BElGIUM Music Palace: The Power of Music Seen by Visual Artists at Villa Empain Running from 25 September 2014 until 8 February 2015, Belgium's Villa Empain a centre for the discussion of Eastern and Western cultures, set up by the Boghossian Foundation is presenting an exhibition entitled Music Palace: The Power of Music Seen by Visual Artists.Tracing the relationship between music and artistic prac-tice, Music Palace looks at the history, phenomenolo-gy and sociology of contemporary music in terms of its development with modern technology. The exhibition looks at music's ability to transport, galvanise and men-tally affect us across many different cultures and periods. Through recent digitalisation, the commercialisation, pro-duction and consumption of music has morphed the way in which it is represented through visual artists.The exhibition's media is diverse, including installations and photography, and features an international selection of ar-tists: from France and Chile, to Saudi Arabia and South Korea.

HUnGARy ilvinas Kempinas: Fifth Wall at the Budapest Mcsar-nok KunsthalleRunning until 2 November 2014, the Budapest Mcsar-nok Kunsthalle is currently exhibiting the work of Lithua-nian-born artist ilvinas Kempinas. For his first exhibition in Hungary, Mcsarnok Kunsthallewill present two new installations by the artist, whose work is characterised by his habitual use of the magnetic strips from video cassettes. The museum defines his work as mar-ked by a spatial geometric abstraction and a precise and austere execution, which opens a broad field of interpreta-tion therefore rendering the pieces accessible for all. The work Fifth Wall features thin black strips of tape, originally a recording media, allowing air to pass through the installa-tion, constantly transforming the space. The piece was first presented in Japan in 2011, at the Yokohama Triennial and has since been adapted for this particular exhibition.Kempinas was born in 1969 and now lives and works in New York City. His work has been displayed worldwide at institutions such as PS1 Contemporary Art Center, San Francisco Museum of Modern Art and Kunsthalle Vienna. well as exhibiting at Art Basel and having represented Li-thuania at the Venice Biennale in 2009.

uNITED KINGoM Witches at the British MuseumThe British Museum, London, is showing the exhibition Witches and Wicked Bodies until 11 January 2015.The exhibition explores the image of the witch in art from the Renais-sance until the end of the 19th century through a collection of prints and drawings. Since the classical era, women have been depicted as evil temptresses or disgusting hags, representing an inversion of the natural and social order. Prints from the 16th century, created during the religious unrest that intensified the witch trials, show the latter vision of ugly crones as in Albrecht Drers Witch Riding backwards on a Goat (1501)or Hans Baldungs Witches Sabbath (1510); centuries later, Francisco de Goya turns these hideous creatures into beautiful etchings. Henry Fuselis Weird Sisters from Macbeth also features, as do illustrations of Goethes Faust by Eugne Delacroix. By the end of the 19th century, fe-mininity and mysterious sexuality become the overriding images of wit-chcraft, as seen in work by Edward Burne-Jones, Dante Gabriel Rossetti and Odilon Redon.

UnITED STATES Exhibition marks anniversary of Warhols scandal at Worlds FairFrom 27 September 2014 until 7 January 2015, The Andy Warhol Mu-seum in Pittsburgh is hosting an exhibition entitled 13 Most Wanted Men: Andy Warhol and the 1964 World's Fair, 50 years after the event where Warhol presented enlarged mugshots of wanted criminals, pro-voking outrage from officials.Warhol installed the exhibit, only to find that upon the fair's opening in New York the organisers had painted over his work with silver paint. Nicholas Chambers, curator at The Warhol said that Warhol's installation was an extraordinarily bold proposal for the pavilion. Warhol was in the early stages of his career and the commission represented a high profile opportunity [...] However, rather than propose a Pop subject associated with his practice at that time, such as Campbells Soup, he decided to depict a group of criminals wanted by the NYPD. The exhibition reunites all of the murals for the first time in almost 50 years.

Most Wanted Men No. 12, Frank B (1964) detail Andy Warhol

Copyright The Andy Warhol Foundation for the Visual ArtsCourtesy of The Andy Warhol Museum



coming soon

GERMAny The Forgotten Pioneer Movement at District BerlinFrom 3 October until 29 November 2014, Dis-trict Berlin is to present the interdisciplinary performance and exhibition project The For-gotten Pioneer Movement.The Forgotten Pioneer Movement is a fictio-nal movement that explores the experiences of the transitional generation between socialism and post-socialism, whose youth is linked to Pe-restroika and the 'post-Western' Europe of the 1990s. The figure of the pioneer lends itself to investigation; the show seeks to examine the ideologies in the formerly-seperated East and West whilst moving towards a new pan-Euro-pean focus, with the 25th anniversary of the fall of the Berlin Wall adding a deeper significance.The show consists of three elements: Set #A comprises performances at different locations in public space in Berlin, Set #B is an exhibition at District and Set #C is a public seminar. nETHERlAnDS ZERo at The StedelijkRunning from 4 July until 8 November 2015, Stedelijk Museum, Amsterdam, is to show an ex-hibition dedicated to the collective ZERO.Active in the 1950s and 1960s, the ZERO move-ment was created in the context of reconstruc-tion in the aftermath of war. Through innovative experimentation with media and materials, the collective sought to build a new future for art. Stedelijk showed the first museum presentation of ZERO's work in 1962, with a second show in 1965 considered to be a high point for the col-lective; exactly 50 years after this second exhi-bition, Stedelijk presents a survey of the avant-garde group which will include work by herman de vries, Armando, Henk Peeters, Jan Schoonho-ven, Piero Manzoni, Lucio Fontana, Yves Klein, Jean Tinguely, Yayoi Kusama and others.

SouTh AFRICA Rembrandt at Iziko, Cape TownFrom 3 October 2014 until 28 March 2015, Rem-brandt in South Africa: Pioneer Printmaker of Hu-manity and Modernity is to be on display at Iziko Old Town House, Cape Town.Whilst no South African public institutions own paintings attribuable to the Dutch Old Master, the show will be able source some of his etchings from these major institutional collections within Sou-th Africa including the Michaelis Collection (Cape Town); the Iziko SA National Gallery (Cape Town); the Johannesburg Art Gallery; the Nelson Mande-la Metropolitan Art Museum (Port Elizabeth); the Rupert Art Foundation; the Rembrandt van Rijn Art Foundation (Stellenbosch) and UCT. The collection of works from the Johannesburg Art Gallery has ne-ver before been seen in Cape Town, bringing Rem-brandt to a new audience.

uNITED KINGDoM Alasdair Gray at Kelvingrove Art Gallery and Museum GlasgowRunning from 11 October 2014 until 22 February 2015, the Kelvingrove Art Gallery and Museum, Glasgow, is to present a major retrospective of the work of Alasdair Gray, to mark the occasion of the artist's 80th birthday in December.The exhibition will comprise around 100 works spanning Gray's career, from his first works produced as a student at the Glasgow School of Art, until the present day. The works have been sourced from private collections as well as museum and gallery loans.Gray, an accomplished artist, is also a well recognised novelist, playwright and poet; his first novel Lanark has been described as one of the landmarks of 20th-century fiction by The Guardian. From 1952-57 Gray studied Design and Mural Painting at Glasgow School of Art, his work has since been exhibited widely across the United Kingdom. Additionally his work forms part of the per-manent collections at Edinburgh Printmakers, Edinburgh, Scotland and MoMA Museum of Modern Art, New York City.

UnITED STATES Jamie Wyeth's portraits of Rudolf Nureyev at Museum of Fine Arts, FloridaFrom 11 October 2014 until 18 January 2015 the Museum of Fine Arts in St. Petersburg, Florida, is to host an exhibition of portraits of the celebrated ballet dancer Rudolf Nureyev by the American artist Jamie Wyeth.The exhibition will display 19 portraits of the dancer, created between 1977 to 2001, some completed after the dancer's death in 1993, accompanied by five of Nureyev's costumes. Nureyev, who was born in the Soviet Union but who danced mainly in Europe and North America, was appointed director of the Paris Opera Ballet in 1983, and described as a rock star of ballet by The New York Times.Jamie Wyeth was born in 1946 into a family rich with artistic heritage; his father was the artist Andrew Wyeth and his grandfather the illustrator N. C. Wyeth. Ja-mie left school at 11 to study art with his aunt and observe his father at work. He would later go on to learn anatomy at a morgue and work in Andy Warhol's Facto-ry. Wyeth was praised by the co-founder of the New York City Ballet as the finest American portrait painter since the death of John Singer Sargent.

Cowcaddens (1964) (detail)Alasdair Gray

credit: the artist/Private Collection



galleriesarTicLe of The WeekSpanierman Gallery to closeNew Yorks' Spanierman Gallery is to close as its current managing director, Ira Spa-nierman, has decided to retire at the age of 86 and close the gallery's doors.The gallery was founded in 1928 by Ira's father, expanding over time to include the

Spanierman Modern gallery, which opened in 2006. The gallery showcases American art from the 19th century to the present. It's loca-tion has changed three times since it resided in a small shop on 57th street named Old World Antiques; it now occupies a space of

14,000 square feett on west 55th street.Ira Spanierman is well known for the Ra-phael painting he sold at Christie's in 2007 for $37 million, but which he bought in 1968 for a mere $325, when its creator was unidentified.

openingsFergus McCaffrey to open new outposts in Caribbean and JapanNew York-based gallery Fergus McCaffrey is to open a new location on the French Caribbean island of Saint-Barthlemy in November.The second space for the gallery will be the island's first year-round permanent fine art gallery. Saint-Barthlemy has a his-tory of being a popular source of inspiration for artists, with names such as Jasper Johns and Cy Twombly having been influenced by the island. Fergus McCaffrey has been active on the island before, having co-run an artists residency and gallery program from 2005 to 2008 which hosted artists such as David Noonan, Kelley Walker, and Douglas Gordon.The gallery plans to expand further next year, with a third lo-cation set to open in Tokyo in 2015.

Bruno David opening second space in St LouisBruno David gallery is opening a second space in the Grove neighbourhood of St Louis.The gallery was established in 2005 and specialises in contemporary art, representing artists practising in St Louis whose work is recognised internationally, in-cluding: Laura Beard, Ellen Jantzen and Judy Pfaff. The new space, Bruno David Projects, is to be a satellite of the gallery and will showcase the artists' works in a new context from a different perspective.The new director of the space is Keri Robertson, who will be responsible for curating the gallery's programme. The first exhibition at the new location is to open in ear-ly November 2014.

reLocaTionShane Campbell Gallery Chicago to move to new 8,500 square foot spaceThe Chicago-based gallery Shane Cambell is to leave its West Town space that it has occupied since 2010, in order to take up residen-cy in a new 8,500-square-foot space at South Wabash Avenue and East 21st Street in the historic Motor Row district.The gallery is due to reopen in April 2015 with an inaugural show dedicated to Chicago-based artist Tony Lewis. The news was initially released by way of their Instagram account on which they published a photo of the new space captioned New Space, April 2015. The di-rector of the gallery, John Schmid, has since divulged further details to ARTnews explaining that the decision to move was due to increasing storage space needs and ambitions of their artists.Renovations are due to be carried out by architectural firm Urban-Lab who will transform the former car dealership, that also recently housed an ambulance company, into the new gallery, featuring 2,900 square feet of exhibition space.

human resourcesNazy Nazhand leaves De Buck GalleryNazy Nazhand has left her position as artistic director at New York's De Buck Gallery.Before taking up the position at De Buck, she was the curatorial advi-sor for and founder of ART MIDDLE EAST (AME), which aimed to foster cultural relations between the East and the West through events such as artist talks, panel discussions, studio visits, book-signings, and pri-vate collection tours. She has also written for Harpers Bazaar Art, art-net, Artinfo, ModeWalk, Whitewall and New York Times Style. She was born in Tehran and has lived in Athens, Washington DC, and New York.

lesjeudisarty.net

THURSDAY OCTOBER 9th 2014

Night opening in 40 art galleries in Le Marais

Guided tours, openings and artist talks.



evenTLes Jeudis Arty begins in the Marais, ParisA concept originating in London with First Thursdays, Les Jeudis Arty is to pro-mote the French capital's art offering in much the same way, with 32 contempo-rary art galleries in the Marais district of Paris staying open from 6pm until 10pm, on 9 October 2014 for its 2nd edition.Participating galleries include: FauveParis, Galerie Alain Gutharc, Galerie Duboys and School Gallery. There are three possible self-led walks to take during the eve-ning: Performances, Meet the Artists and Openings, as well as guided tours with contemporary art experts, available for purchase via the website.Les Jeudis Arty will take place on three more Thursday evenings over the course of the year.

represenTaTionsNew Galerie reprenting Dora BudorNew Galerie, Paris, is now representing New York-based artist Dora Budor.New Galerie, owned by Marion Dana and Corentin Hamel, also has a space in New York. They represent contemporary artists including collectives DIS and A Kassen.Croatian artist Dora Dudor, now based in New York, is a former designer who draws upon the varied political situations she has experienced throughout her life. She studied Archi-tectural Studies at the University of Zagreb followed by a Masters in Design, a background which has influenced her artistic output. A multimedia artist, she took part in the 55th Ve-nice Biennale in 2013 and has featured in group exhibitions across the world.

Pieter hugo now represented by Galerie Priska PasquerGalerie Priska Pasquer, Cologne, has announced that it will now be representing Pieter Hugo.Pieter Hugo is a South African photographic artist born in 1976. His work has featured in solo museum shows at The Hague Museum of Photography, Muse de l'Elyse in Lausanne, Ludwig Museum in Budapest, Fotografiska in Stockholm, MAXXI in Rome and the Institute of Modern Art Brisbane among others. He has also been part of major group shows at Tate Modern, the Folkwang Museum, Fundao Calouste Gulbenkian, and the So Paulo Bienal; his work forms part of permanent collections at MoMA, V&A Museum and San Francisco Museum of Modern Art.Priska Pasquer will exhibit work from Hugo's series There's a Place in Hell for Me and My Friends at the upcoming Paris Photo in Paris' Grand Palais from 13 to 16 November 2014.

Leiko Ikemura. Zarathoustra

1455, rue Sherbrooke O. Montreal

represenTaTionGalerie Thaddaeus Ropac now representing Imran QureshiThe Galerie Thaddaeus Ropac, which has spaces in Paris and Salzburg, Austria, has re-cently announced that they are now repre-senting the Pakistani artist Imran Qureshi.Imran Qureshi specialises in miniature Mughal paintings, a traditional practise developed in India at the end of the 16th century, which he currently teaches. His work gathers together the motifs and tech-niques of this art and translates them into a more contemporary language. His work is currently on display at the inaurgural exhi-bition of the Aga Khan museum in Toronto entitled Garden of Ideas: Contemporary Art from Pakistan. His recent projects in-clude The God of Small Things (May - Au-gust 2014), at the Eli and Edyth Broad Art Museum in Michigan, as well as the The Roof Top Garden Commission (May - No-vember 2013) at the Metropolitan Museum of Art in New York. He also took part in the Venice Biennale in the main exhibition, The Encyclopedic Palace.Winner of the Deutsche Bank Artist of the Year 2013 prize, his work is found in the per-manent collections of institutions such as The Metropolitan Museum of Art in New York and the V&A in London. He is currently wor-king on an important installation which will be presented as part of Paris' Nuit Blanche on the Quai d'Austerlitz, as well as in a per-formance which will take place 4 October at the Sainte-Genevive bookshop in Paris. The Ikon gallery in Birmingham will dedicate a solo exhibition to him next November.



WhaT's on

CHInA Liu Jianhua at Pace BeijingPace Beijing is presenting a solo exhibition of Liu Jianhua's work, entitled Square, running until 8 November 2014.Occupying the gallery's main exhibition hall, Square trans-forms the 'numerous' into the 'brief', demonstrating the ar-tist's investigation into form and beauty. A rethinking of the traditional social environment, Liu Jianhua explores a crea-tive path which differs from the direct and realistic approach.One of China's best-known sculpture and installation artists, Liu Jianhau works predominantly with porcelain and mixed media, creating experimental and often large-scale pieces. Spending 14 years living and working in Jingdezhen a city renowned for its porcelain , Jianhua graduated in Fine Art of Sculpture at the Jingdezhen Ceramics Institute in 1989 and went on to start his individual work. Through his installations, Jianhua looks at the social changes in China and the problems that arise thereafter. An example of this is Regular Fragile chosen to represent China at the 2003 Venice Biennale , which comprised porcelain replicas, broken and scattered on the ground, denoting pieces which valued beauty and sym-bolism over function.

FRAnCE New visions of landscape in photography at gallery Ri-vire/FaiveleyUntil 24 October, gallery Rivire/Faiveley, Paris, is hosting the collective exhibition (Re)Shaping Landscapes, dedi-cated to a new vision of landscape in photography.Photographs by artists Jean Noviel, Bruno Fontana, Santiago Vanegas, Robert Overweg, Jrmie Lenoir, Olivia Lavergne, Alexandra Davy, Karine Maussire, Jean de Pomereu and Al-bin Millot are on display, as well as the large format On the An-thropogenic Landscape by Clment Verger, whose landscape studies are also shown at the RX gallery in Ivry-sur-Seine.The exhibition (Re)Shaping Landscapes revisits the notion of landscape, which has been present since the beginnings of photography, relegated as a simple motif or a background de-coration, but is just as much as the main subject of an image. The exhibition shows how contemporary photography reworks the landscape and represents a new perception of space.

GERMAny Gianni Piacentino at VeneKlasen/WernerRunning until 8 November 2014 at the VeneKlasen/Wer-ner gallery Berlin is a solo exhibition of works by Italian artist Gianni Piacentino, curated by Centre dArt Contem-porain Genevas director Andrea Bellini.The exhibition will present a comprehensive body of works, tracing the artist's career over the last 50 years from the mono-chrome compositions of 1965 to the present day. Piacentino, who lives and works in Turin, was one of the founding members of the Arte Povera movement, which he soon abandoned in search of a personal maverick aesthetic. His works are inspired by dynamism and speed: motorcycles, monocycles, automo-biles, and planes influence his work, whilst all of his pieces bear traces of rich psychological and intellectual references.The artist's work has previously been displayed at: Museum of Contemporary Art Chicago (2009); MoMA PS1 in New York (1997); Centro de Arte Reina Sofa in Madrid (1990); the Ge-sellschaft fr Aktuelle Kunst in Bremen (1981); the National-galerie in Berlin (1978); the Palais des Beaux Arts in Brussels (1972) and the University Museum in Sydney (1971). He was also a participant at the 1993 XLV Venice Biennale.

TuRKEY Nevin Alada at RampaRampa gallery, Istanbul, is dedicating a second solo show to artist Nevin Alada entitled Diapason, running until 25 October.The term Latin word diapason has been used throughout the ages as a musical term and its use by Alada highlights the exhibition's focus on the transformative potential of music and sound, both of which appear as a kind of leitmotif in her work. In her video works Session (2013) and City Language (2009), city portraits are enhanced by musical and rhythmic elements including the use of percussion, string and wind instruments. Raise the Roof (2007/2008/2010) is a performance piece in which women dance with headphones on, only their t-shirts revealing what each is listening to privately, the tapping of their high-heeled shoes pro-viding the soundtrack for the observer. Alada also converts one of the gallery spaces into a music room, where everyday objects become instruments.

UnITED STATES Wayne Thiebaud at AcquavellaFrom 1 October until 21 November 2014, Acquavella gallery, New York, is for the second time hosting a solo exhibition by Wayne Thiebauld, one of the key names in contemporary art. The show is to feature 49 of his works including 35 paintings and 14 drawings, most of which were created especially for the exhibition and are to be shown to the public for the first time.Thiebauld is often associated with Pop Art with his depictions of everyday objects, but his work is distinct from the movement by the particular attention given to presenting his subjects, placing him closer to the tradition of still life. The commonplace is found at the centre of Thiebauld's work, with Eleanor Acquavella describing the exhibition as, a testament to his unique ability to illuminate the everyday and elevate the ordinary.

SquareLiu Jianhua

credits : Pace Beijing



coming soon

FRAnCE VhILS at Galerie Magda DanyszFrom 11 October until 15 November 2014, Galerie Magda Danysz, Paris, is to host a solo exhibition by street artist VHILS.The exhibition Vestige is to show original works exploring themes typical of VHILS' work, created in a variety of media including cork, metal, wood and paper. His work sits somewhere between portrai-ture and the abstract, questioning collective memory and stories of those who live in the city.Portuguese artist VHILS creates his street art all over the world and was described by art critic Tristan Manco as, one of the finest examples of world street art from these past few years. His technique involves using destruction as a force of creation, chiselling away at the layers of various urban environments, which forms sculptures that give a new face to the city.

ITAly Louise Nevelson at Cardi Gallery, MilanFrom 9 October until 20 December 2014, Cardi Gallery, the Mi-lan-based contemporary and Modern art gallery, is to display a range of 30 works by the artist Louise Nevelson.The exhibition will present collages and sculptures created by the artist between 1955 and 1970, a period which marked the emer-gence of her trademark Modernist style. Louise Nevelson was a crucial figure in the American sculpture scene of the 20th centu-ry. Her work challenged the assumption that women could not make large-scale works, turning her into an icon of the feminist art movement. She said about her work: Sometimes it's the material that takes over; sometimes it's me that takes over. I permit them to play, like a seesaw. I use action and counteraction, like in music, all the time. Action and counteraction. It was always a relationship my speaking to the wood and the wood speaking back to me.

UnITED ARAB EMIRATES Swarming by Sara Rahbar at Carbon 12 gallerySwarming, an exhibition by the Iranian-born artist Sara Rah-bar, is to be held from 2 November 2014 until 8 January 2015 at Carbon 12 gallery in Dubai.Although Sara Rahbar lives and works in New York, this is her third solo show in Dubai. She has previously studied mixed me-dia in New York and at Central Saint Martin's College of Art and Design in London. The exhibition will present a series of sculp-tures which combines casts of wheels, batons, shoes, weapons, sickles, shovels and limbs to form what are described as sites of collection and remembrance to workers. The contents of the exhibition presents memory and ideological symbols[...] remixed with a very direct, physical syntax, which deconstructs personal history and the 21st-century human condition.

UnITED STATES Albert oehlen at SkarstedtRunning from 4 November until 20 December 2014, Skarstedt gallery, New York, is to present the exhibition Albert Oehlen: Fabric Paintings dedicated to the German artist.The Fabric Paintings, created between 1992 and 1996, see Oehlen abandon the formal compositions of his early works to embrace a style which plays with and questions the conven-tions associated with painting. Instead of pristine white canvas, he uses patterned fabric to create fractured and explosive sur-faces. Painting itself is pushed to the limit as he interrogates the dominance of the artist's hand in modern painting.

Ancient Secrets II (1964)Louise Newelson

Black painted wood h 90cm 140 x 15 cmcourtesy Cardi Gallery



interviewBridging The gap:

an inTervieW WiTh morehshin aLLahyari

Can you begin by introducing your work?Im really interested in political and cultural issues, mostly focusing on the Middle East and, more specifically, Iran. However Im also interested in the use of technology to talk about these issues and pushing the boundaries of the technology that I employ. When Im using software such as Maya, its the experimental and critical aspect of that which really interests me, and how it lets me approach a topic from a different angle as opposed to the usual commercial use of the medium.

how have your experiences of being in an artist in Iran and the uS differed? As an artist in Iran there are certain limitations you learn how to censor yourself and your work. It becomes quite a dangerous process, as somehow you are giving in to the system, knowing that if you say certain things, or if your work is about certain issues, you can get into trouble. Just being aware of this fact made the process of my work very different, in that I had to choose topics which wouldnt be so political or which wouldnt send political messages. For example, the cultural issues I looked at in my recent work Like Pearls, which criticises the perspective of womens bodies as seen from a hyper masculine culture, both from a western and an Islamic stance, I could never work on in Iran. Since I moved to the US and decided not to return to Iran I have more freedom to work on the projects Im really interested in.

Morehshin Allahyari is a new media artist born in Iran and living in the United States. She has presented her work at numerous exhibitions and conferences around the world, including a TED conference, the Nasher Sculpture Centre and the Dallas Museum of Art. Talking with AMA, Allahyari discusses her work with particular reference to her pieces Like Pearls, an interactive web-based collage of Iranian spam emails, and Dark Matter, a series of both virtual and 3D-printed sculptures combining objects which are forbidden in Iran.

Process Dark MatterMorehshin Allahyari





What kind of role would you say censorship plays in your work?Its interesting because in 2009 I started a series of works specifically on censorship, which began as looking at censorship in Iran but then expanded to looking at countries like China and North Korea. It interested me because its something I've dealt with a lot in my daily life even during the first couple of years when I moved to the US, I wanted to go back to Iran, so I still had to censor my work. I did a lot of performances which treated censorship in an ironic but also serious way.

how important are politics and activism in your work?If youre from a place like the Middle East, or if you grow up constantly dealing with politics in your daily life, you dont have the privilege of not approaching political issues in your work because its so embedded in many aspects of your life. Every decision that you make, from what you are going to wear to what you watch, all comes down to something political. It is because of this direct influence that I think that both politics and activism are so important in my work and in the work of so many other Middle Eastern artists. Even being in the US for the past seven years, there are still aspects of politics such as sanctions which have a direct influence on my life.

In a lot of your work you use multimedia and new technology why does this appeal to you more than traditional artistic methods? I think firstly because of my background I did my bachelor's degree in Media Studies, which was very much based on media theory and social science. One of the reasons that Im interested in digi-tal media is because it hasnt been used as much and it doesnt have the same history as traditional artistic methods. I was interested in the ways in which I could push the limitations of new media, and make it different to a lot of the other traditional work that comes out of the Middle East. Se-condly, I think it is because of my general interest in technology and the possibilities that it brings for my work. Every day there is something new being released, which gives you the opportunity to think about how you can use this new technology to influence your work in a critical way. Its this limitless aspect of technology which interests me as an artist and which gives me so many options.

your work Like Pearls tackles the paradoxical representation of women in Iran how do you think gender issues relate to your work?What specifically interests me in Like Pearls is this mashup of the sexual and the romantic that I col-lected from spam emails sent to me from Iran. In these I saw these sexualised, but at the same time censored, bodies of women which feature in the piece. Under Iranian law these websites cannot publish a nude female body so instead they have to come up with these incredibly strange aesthe-tics as a solution to censor out the bodies. Instead of what you usually see in Iran, in magazines and books, which is that the body is blacked out (I remember going into public libraries and seeing that the female body was blacked out, and just thinking how strange it was that somebody was spending their time doing that), they use different colours and textures, even just white instead of black to censor out the body. In doing this, they are keeping the aesthetic not directly censored, which I find really fascinating. As well as the aesthetic side, I was also interested in the concept - its all geared towards men, selling this underwear to men for their wives/lovers. So basically, you have both the westernised female body in that the woman is objectified, but the women are also objectified in the Islamic sense. There is a saying that a woman in a hijab is like a pearl in a shell, telling the woman to cover herself so her body will become more valuable; an example of the objectification of womens bodies but in a completely different way from the Western example. I wanted to combine this with the masculine aggression of the spam in these emails.

Like Pearls is an interactive piece, the viewer scrolling through and clicking on certain parts of the site to reveal pop ups how important do you think it is to directly involve the viewer in your work?Not all of my works are interactive in this sense but with this particular piece I wanted to make the viewer experience the same feeling that they would if they were receiving this spam in their email; you might accidentally click on something and then something unwanted will pop up. I also wanted to include the messages which came along with these advertisements, but a lot of them were in Farsi so to include a wider audience I translated them into English. I think with this piece you have to spend more time to discover it; if you go and see something which happens very quickly, its just action then reaction; you have such a small amount of time to engage with the piece.





In Dark Matter, the combination of objects, such as the dog and the dildo, can seem to have a kind of surreal humour what role do you think humour plays in your work? Thats a really interesting question because I feel like for a long time my work was very serious. The more I grew as an artist, the more I learned the importance of using humour to talk about serious issues. It doesnt necessarily lighten the gravity of the topic, but more exposes the ridicule of it. So in Dark Matter, I am combining objects that are forbidden or unwelcome in Iran. When you step back from the piece and think about how ridiculous it is that things like dogs and satellite dishes are forbidden, then the humorous aspects of these 3D sculptures start to make more sense.

Your works are very much tied to your self identity, but do you think they also have a much broa-der application?I think it is interesting to try and find a line between the personal and the universal. I try to talk about my personal experiences but also to engage an audience which is not specifically Middle-Eastern or Iranian. Maybe in a way you can think about it as being a cultural ambassador, bringing awareness to some of these issues. Also central to my work is the balance between complex concepts and rela-tionships which are tethered to emotion. In every single project, I think of ways to exploit and expand the personal to the collective. For example, in a recent body of work called The Romantic Self-Exiles, I seek to understand the relationship of a diasporic existence. I use 3D animation and narrative to build landscapes and to reconstruct memories of home. I use a cinematic and surreal aesthetic to push the limits of real and unreal, memory and imagination, locality and universality, time and space.

Speaking about the role of cultural ambassador, do you see yourself as this? If you do, how do you go about bringing Iranian culture to the US? I dont actively think of myself as a cultural ambassador, but somehow my work always go back to topics which are trying to raise awareness about something. It goes back to what I was saying about activism. I have never really consciously thought about trying to explicitly raise awareness, but it comes in subconsciously. I get a lot of responses where people are shocked by, say, the fact that certain objects are forbidden in Iran, but I think my work goes into it in more depth by exploring how we relate to these objects and what role a 3D printer could play in creating a historical collection and documentation of our lives. Morehshin Allahyari





When you moved to America, how was the transition between the Iran and the uS?I had travelled to the US before as my mum was a flight attendant, but I always think travelling to a place is very different from living there. Also, when I first travelled to America it was before 9/11; post 9/11, people had very specific ideas about the Middle East, kind of thinking of all of the countries as the same. When I would say I was from Iran, I would always get strange stereotypical questions, which I guess were because of the preconceived notions people had about the Middle East because of the media. I always had to explain to people that it was different. This was a huge part of my move from Iran, but I also tried to deal with it by getting involved with collaborative art projects (I did one called IRUS Art and one called Your Night/My Day) which worked with artists in Iran and the US. I wanted to create a dialogue which was free of politics, in which we could connect as individuals and not just nations.

Moving from one culture to another means youre working in two languages; how have you found working in a language which is not your mother tongue? Its a very complex process. My interest in art stems from creative writing, and Im a good writer in Farsi, but in English its completely different. However I also feel like having access to the two lan-guages, being able to think about the world in these two different ways, is an incredibly amazing ex-perience which changes how your brain works. Its fascinating because, like a lot of other aspects of my life, my relationship to language is about co-existing, living in two different worlds and learning how to go back and forth between the two and accepting and enjoying this idea of betweenness.

Finally, what are you working on at the moment?Im currently working on a new series of animations, similar to some of my previous works such as The Romantic Self-Exiles, which combines 3D rendering with narrative. I want to explore ideas about architectural spaces and our relationships with spaces and landscapes in the virtual world; its inte-resting that my relationship to the spaces I left behind is purely virtual. As an artist using technology and living outside my home country, this virtual relationship is something that I am interested in exploring.

#dog #dildo #satelite-dishMorehshin Allahyari



artists

aWardsWinners of Nam June Paik Awards announcedThe Nam June Paik Award International Media Art Award of the Arts Foundation of North Rhine-Westphalia worth 25,000, was given to Camille Henrot, a multimedia artist who was born in Paris and is now based in New York.Also recognised by the jury is Manuel Graf, who is the recipient of the Nam June Paik Newcomer Award 2014. Graf is a Dsseldorf-based artist who studied at the Arts Academy in Dsseldorf in the sculpture class of Magdalena Jetelova and Rita McBride. Graf 15,000 for the realisation of a new work.The award exhibition features the work of the four nominees for the International award (Ulf Aminde, Cory Arcangel, Camille Henrot and Thomson & Craighead) and is on display at Kunstmuseen Krefeld/Mu-seum Haus Lange until 15 February 2015.

Leiko Ikemura awarded Cologne Fine Art prize 2014Japanese artist Leiko Ikemura is the recipient of the annual Cologne Fine Art prize.The prize of 10,000 is awarded by Koelnmesse and the German art dealers association Bundesverband Deutscher Galerien und Kunsthndler (BVDG), and is given to a contemporary artist in Germany with previous winners including Sigmar Polke, Georg Baselitz and Gnther Uecker.Leiko Ikemura was born in Japan but moved to Europe as a student and now spends her time between Cologne and Berlin. Her 30-year career includes painting, sculpture, and works on paper and has produced a huge body of work. Her paintings have evolved from early canvasses depicting struggle and conflict, to later abstract experimentation with the female form.An exhibition will be dedicated to Ikemura's sculptures and drawings at the Cologne Art Fair, to take place 19 to 23 November 2014.

Mike Cloud awarded inaugural Chiaro AwardHeadlands Center for the Arts has announced Brooklyn-based painter Mike Cloud as the recipient of its first Chiaro Award.The prize is awarded to an accomplished mid-career painter and is in-tended to have a tangible impact on their life and work, recognising past success and fostering ability to encourage more exceptional works in the future. It includes a residency at the Headlands Center lasting six to ten weeks, with use of a private studio, accommodation, and a cash award of $15,000. The centre encourages peer-to-peer exchange of ideas in combination with rigorous individual practice.Mike Cloud has work in the permanent collections of institutions inclu-ding Metropolitan Museum of Art, New York; Eileen Harris-Norton, Santa Monica; and the Sheldon Memorial Art Gallery, Omaha. He has also had solo shows at MoMA PS1 and the Lincoln Centre, New York

aWardMary Weatherford awarded Artists Legacy Foun-dation Award 2014Los Angeles-based artist Mary Weatherford is to be awarded the eighth annual Artist Award by the Artist's Legacy Foundation.The award is a gift of $25,000 given to an accom-plished artist where evidence of the hand is a significant factor in making art , which began in 2004, thanks to a large bequest by groundbrea-king sculptor Viola Frey. The aim of the Founda-tion is to support the visual arts, to protect the legacies of deceased artists and for painters and sculptors to encourage other artists.Weatherford's best-known work uses Flashe on linen and incorporates neon tubing, addressing themes of mortality and morality. The artist descri-bed receiving the award as Incredible [...] I am very honored and delighted. I've known Viola Frey's art since I was a teenager. Her work taught me that art can be colorful and serious.

BanArtist SinGh banned from ArtPrize for lifeThe controversial, self-styled stunt artist SinGh has been banned for life from ArtPrize, the yearly independent art competition held in Grand Rapid, Michigan, after a series of controversies surroun-ding his work.SinGh, real name Gurmej Singh, disputed with the owner of the prize two years ago over his work Captivity, which consisted of an effigy of Saddam Hussein in a cage and which promised to explore controversial issues such as suicide and bestiality. The work did not go on display after the well-pu-blicised feud, and SinGh burnt his work in protest. Last year the artist revealed a three-mile-long painting, which director Kevin Buist said blocked traffic and violated basic safety, despite winning a Guinness world record for the world's longest painting. In reaction to his exclusion, SinGh has posted drawings from his latest series Project Holy Cow in windows around the town.The 2014 edition of the non-profit prize drew 1,537 entries and gave out awards totalling $560,000.

arTicLe of The WeekSaatchi Art announces shortlist for 2014 New Sensations Prize

Saatchi Art, the online art gallery, has re-cently released its list of shortlisted artists for its 2014 New Sensations Prize. The award was created in 2007 by Rebecca Wilson, chief curator of Saatchi Art, with the aim of supporting talented graduates across the United Kingdom and Ireland.The full list of shortlisted artists is as follows: Lauren Cohen, Elizabeth-Anne Curistan, Mol-

lie Douthit, Collette Egan, Felicity Hammond, Aimee Henderson, Roy Immanuel, Nicholas Johnson, Roderick Laperdrix, Chao Lu, Jo-nathan Lux, Stephen Marshall, Emily Motto, Miroslav Pomichal, Jessica Ramm, Charles Richardson, Sarah Roberts, Babette Semmer, Daniel Silva, Marlene Steyn, Jack Towndrow, Grace Ann Thompson, Thomas Valentine, Lauren Wilson and Vivien Zhang. The artists'

work will be presented at the New Sensa-tions exhibition in London, opening October 13 during Frieze Week London.This years judges are gallery founder and curator Ceri Hand, artist Tom Hunter, arts writer Jessica Lack, Bloomberg New Contem-poraries director Kirsty Ogg, and Saatchi Art chief curator Rebecca Wilson.



HiresMiroslav Pomichal

shortlisted to the 2014 New Sensation Prize

intervieweLise van middeLem - schooL of doodLe

Courtesy School of Doodle how and why did school of doodle first come about?I was introduced to Molly Logan via the artist Doug Aitken whilst we were both working on Station to Station. About a year ago, Molly told me about her idea of building a Khan Academy [non-profit online educational resource] for Creativity, a space where girls can connect to creative lessons and to each other, allowing them to collaborate with a global community of young women and finally, offer opportunities for future offline exploration and learning. By December 2013, we were thinking what the name was going to be. I said School of Doodle; for me the word doodle is fun, but also involves no measurement or grading its something that cant be taught and is universal. Its perfect. So thats how it came about; in January it all came together and we were able to launch our Kickstarter page.

Both of us come from an art and business background. We like to think that our deep belief in the power of art and the lessons learned in terms of how to build a brand and distil often abstract concepts down to something that is engaging and digestible will serve School of Doodle well.

We recognised that art has this liberating force; you can walk into a studio and suddenly anything is possible. Theres nobody to say You cant do that, you cant touch that; its this imaginary world that empowers you.

The School of Doodle is the brainchild of Elise van Middelem and Molly Logan and is a free online school of creativity aimed at teenage girls. The project received backing from crowdfunding website Kickstarter, where it managed to raise $107,129 over $32,000 more than their initial target. With support from some of the biggest names in the creative arts world including Marina Abramovic, Salman Rushdie and Kate Costello, to name a few - the School of Doodle aims to encourage teenage girls to 'be loud' and unleash their full potential. AMA met with co-founder Elise van Middelem to find out more.



intervieweLise van middeLem - schooL of doodLe

The School of Doodle is targeted at teenage girls so why specifically teenage girls, and how does this tie-in to the philosophy of being loud?Being loud is a mantra; a state of mind. Its being colourful, compassionate,curious and confident; its all these non-cognitive skills we have been blessed with naturally. So its really those elements that we wanted to transmit to people. Why? Because theyre as important as algebra; non-cognitive skills are incredible.

So why girls? We just feel strongly about girls. We think thats an at-risk group. Girls are mostly taught to be beautiful, not to be smart. What was being offered to girls between 13 and 18? Mostly pink toys and things like that. So we thought, this is the group at risk that needs to be opened up to imaginative projects.

We would have benefited from it if it had happened to us earlier in high school. Whats most impor-tant is that we create a space that girls will respond to. We want to encourage girls to do something that has no measure of good or bad.

The project takes place via online lessons; can you explain how these work?There are three words that are important to the School of Doodle: education, entertainment and community. Our goal is to make entertainment more educational rather than education more enter-taining. Therefore, School of Doodle will be part-classroom and part-content platform with original programming, created by both teens and professionals, to engage and inspire imagination.

The idea is to build a social network, a community where teenage girls can explore together and feel safe.We will launch with lessons, taught by some of todays most visionary artists and creators, otherwise known as Daily Doodles. At the end of each Daily Doodle, we will issue a Doodle Challenge for girls to take what they learn and start making. And if they are still in the Dabble stage, there is a library of short how-to videos (or in Doodle world, How Do videos!) to support them. What weve understood from all the educators weve spoken with is that what teen girls really want is to learn from heroes, who are the artists, and from peers.

Why is arts education so important?It goes back to what I was saying about non-cognitive skills; arts education is as important as alge-bra because through what we understand, what we learn, what we read, through our own expe-riences of growing up, we can discover other worlds through imagination. Its not technology that put the man on the moon; its imagination.

What we will offer will liberate girls to open up their non-cognitive skills; to be passionate, be cu-rious, be confident, colourful, and creative. Thats really what we believe in.

What kind of response has the project received?For Molly and I, doing a Kickstarter has been one of the most rewarding and humbling aspects of the project. However what has been the most touching for us is the feedback that we receive from teens and parents. Some teens say we sit here every day and we hope that you meet your goal because we really need this; it's a reminder that we need to build the School of Doodle sooner rather than later!

Moreover, Kickstarter has been a huge help in creating our Teen Advisory Board. We have recruited teens from the UK, Chile, Israel, Australia; so now we have people from around the world who will tell us what they want. Ultimately School of Doodle should be a platform run by teens; were just the ones steering it, but they will give us the input on what they believe works.



Yayoi KusamaCourtesy School of Doodle

Juan muoz Art Analytics Juan muoz Art AnalyticsBorn in 1953 into a wealthy, educated family in Madrid, Juan Muoz is a Spanish sculptor wor-king primarily in paper mach, resin and bronze. Growing up under the repressive regime of Franco in Spain, his work has been described by Adrian Searle as, the most significant of the first generation of artists to achieve maturity in post-Franco Spain. Muoz died in 2001 of cardiac arrest at his summer home in Ibiza.

In the 1970s Muoz moved to England to pursue his studies; first at Croydon College then at the Central School of Art and Design, before being awarded a Fulbright scholarship in 1982 to study in the US at the Pratt Institute in New York. His works were first exhibited in 1984 at the Fernando Vijande gallery in Madrid.

The artists work focuses principally around sculpture, whilst also experimenting with the audito-ry arts, creating pieces for the radio. His pieces do not conform to traditional sculpture conven-tions, creating narrative smaller-than-life pieces to tell a story, inviting the viewer to participate in the work. Muoz turned to the human figure much later in his career, beginning with sculpture pieces such as balconies and banisters placed randomly across a gallery; his style is described by Tate as more classical or Baroque than purely contemporary. In 2000 Muoz was awarded the Premio Nacional de Bellas Artes.

The work of Juan Muoz has been featured in multiple exhibitions, notably at Museo Guggenheim de Arte Moderno y Contemporneo, Bilbao; Tate Modern, London; Skarstedt Fine Art, New York City; Galerie Marian Goodman, Paris and Museo Nacional Centro de Arte Reina Sofa, Madrid.

The artists work also forms part of the collections of contemporary art at renowned museums including: MuHKA Museum voor Hedendaagse Kunst Antwerpen, Antwerp; Fondation Cartier pour l'art contemporain, Paris; Museu dArt Contemporani de Barcelona - MACBA, Barcelona; Tate Bri-tain, London and MoMA - Museum of Modern Art, New York.

Evolution of the number ofexhibitions by type

Evolution of the number ofexhibitions by type of venue

0

5

10

15

20

1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012

group shows solo shows

0

5

10

15

20

1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012

gallery museum biennials other

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Juan muoz Art Analytics Art Analytics

Distribution by venue type

Distribution by exhibition type

Distribution by country

It is in Spain, the artists country of origin, that he has been most frequently exhibited, ahead of the United States, France, the United Kingdom and Germany. The artists with whom Muoz is most frequently exhibited include: Bruce Nauman, Thomas Shtte, Franz West and Christian Boltanski. The work of Muoz has been most regularly exhibited at the following institutions: SMAK Ste-delljk Museum voor Actuele Kunst, Belgium; Museo Nacional Centro de Arte Reina Sofia, Spain; MuKHA Museum voor Hedendaagse Kunst Antwerpen, Belgium; Frith Street Gallery, United King-dom and the Marian Goodman Gallery, USA.

0

100

200

300

400

1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

Evolution of the numberof articles published on Juan Muoz

Distribution of the number ofarticles by langage

Distribution of the number ofarticles by country

Top 3 authors and publications whose works have addressedJuan Muoz

7%4%

86%

Spanish EnglishPortuguese other

group showssolo shows

4%

74%

19%

gallery museumevents other

14%

86%

49%

10%

19%

22%

Spain United StatesFrance other

Natividad Pulido

Teresa Ses

ngeles Garca

Josina Surez

0 5 10 15 20

7

7

9

16

14%3%3%6%

74%

Spain United KingdomUnited States Portugalother

Europa Press

El Pais

El Periodico

0 100 200 300 400 500

334

439

494

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Juan muoz Art Analytics Juan muoz Art Analytics

Evolution of thenumber of lots

Evolution ofrevenue

Evolution of theaverage value of lots

At auction, Juan Muozs work has totalled over $33 million, averaging at $203,000 per work.

The record for the artists highest selling work was set at Christies London in June 2011, for his 1992 bronze sculpture Esquina Positiva for $4.7 million (hammer price). This work comes in just above another bronze sculpture entitled Conversation Piece (1993) sold at Sothebys London in February 2011 for over $4.3 million (hammer price). In May 2010 a third bronze sculpture entit-led Conversation Piece III (2001) was sold at Sothebys New York for $4.3 million (hammer price) rendering it the third most expensive work sold by the artist.

Whilst sculptures represent 98% of the artists turnover in public sales, amongst the 164 sold lots, of the seven sculptures created by Muoz, six were sold, for an average of $161,000 each, four of which surpassed their highest estimate; 16 drawings average at $22,445; six multiples average at $1290; 9 paintings average at $32,000 whilst photography has a 100% sold rate - 3 photographs have been sold at an average price of more than $42,000.

The number of lots on offer has steadily increased since 1996: more than 20 lots were on offer in 2013, however the rate of unsold work has increased comparably since 2008.

0

10

20

30

1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

$0m

$0.5m

$1m

1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

$0m

$5m

$10m

$15m

1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013



Juan muoz Art Analytics

Sculpture Drawing Painting

30%

70%

sold bought in

5%11%

84% 98%

United Kingdom United StatesSpain other

8%6%

39%

47%37%

62%

12%

14%

36%

39%

Sothebys Christies Phillips other

0%10%

30%61%

Art AnalyticsReg

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