Tuesday, October 14. 2008
The November issue of ArtReview magazine, with the 2008 Power 100, will be available at the Frieze Art Fair on Wednesday 15 October, and on newsstands everywhere the next day.
'The art world's equivalent to the Forbes 100' – Reuters
Now in its seventh year, the Power 100 assesses the titans of the artworld at a time when contemporary art's appeal has never been greater – and the stakes have never been higher.
The ArtReview Power 100 looks at the artworld not according to what it shows, but who it is. The list is a highly visible barometer in an otherwise opaque industry, letting you know who's deciding what you see, and telling you a little about why.
The 2008 Power 100
01. Science (Damien Hirst)
02. Larry Gagosian
03. Kathy Halbreich
04. Sir Nicholas Serota
05. Iwan Wirth
06. Jay Jopling
07. David Zwirner
08. François Pinault
09. Jasper Johns
10. Eli Broad
11. Jeff Koons
12. Steven A. Cohen
13. Daniel Birnbaum
14. Charles Saatchi
15. Brett Gorvy & Amy Cappellazzo
16. Tobias Meyer & Cheyenne Westphal
17. Marian Goodman
18. Gerhard Richter
19. Richard Prince
20. Dominique Lévy & Robert Mnuchin
21. Michael Govan
22. Marc Glimcher
23. Annette Schönholzer, Marc Spiegler
24. Alfred Pacquement
25. Matthew Slotover & Amanda Sharp
26. Barbara Gladstone
27. Matthew Marks
28. Takashi Murakami
29. Agnes Gund
30. Sheikh Mohammed bin Zayed al Nahyan
31. Dakis Joannou
32. Bernard Arnault
33. Richard Serra
34. Sadie Coles
35. Julia Peyton-Jones & Hans Ulrich Obrist
36. Donna De Salvo
37. Simon de Pury
38. Don & Mera Rubell
39. Ann Philbin
40. Paul Schimmel
41. Patricia Phelps de Cisneros
42. Michael Ringier
43. Jose, Alberto & David Mugrabi
44. Chris Kennedy
45. Bruce Nauman
46. Cy Twombly
47. Ai Weiwei
48. Tim Blum & Jeff Poe
49. Andreas Gursky
50. Olafur Eliasson |
51. Harry Blain & Graham Southern
52. Jeff Wall
53. Peter Doig
54. Roman Abramovich & Daria Zhukova
55. Bruno Brunnet, Nicole Hackert, Philipp Haverkampf
56. Marlene Dumas
57. Gavin Brown
58. Victoria Miro
59. Mitchell Rales
60. Yvon Lambert
61. Mike Kelley
62. Paul McCarthy
63. Banksy
64. Emmanuel Perrotin
65. William Acquavella
66 .Lucian Freud
67. Victor Pinchuk
68. Maurizio Cattelan
69. Cai Guo Qiang
70. Maureen Paley
71. Roberta Smith
72. Peter Schjeldahl
73. Thelma Golden
74. Ralph Rugoff
75. Robert Gober
76. Iwona Blazwick
77. Richard Armstrong
78. Massimiliano Gioni
79. Jerry Saltz
80. Reena Spaulings/Bernadette Corporation
81. Louise Bourgeois
82. Cindy Sherman
83. Okwui Enwezor
84. Jeanne Greenberg Rohatyn
85. Shaun Caley Regen
86. Liam Gillick
87. Miuccia Prada
88. John Baldessari
89. Francesca von Habsburg
90. Christian Boros
91. Nicholas Logsdail
92. Subodh Gupta
93. The Long March Project
94. Paula Cooper
95. Peter Nagy
96. Casey Reas
97. Anita & Poju Zabludowicz
98. Guy & Myriam Ullens
99. Laurent Le Bon
100. Thomas Kinkade |
Check out lists from previous years here:
2002, 2003, 2004, 2005, 2006, 2007
Entrants on the Power 100 list are judged on the following four criteria, each of which carries a 25 percent weighting.
1. Genuine influence over the production of art: entrants must exert influence over the type, style and shape of contemporary art being produced in the previous 12 months.
2. Influence on an international scale: as the list is international, entrants must exert influence on a global scale rather than as big fish in small-to-medium ponds.
3. Financial clout: entrants are judged on the extent to which they have shaped, moulded or dominated the art market, whether as artists, dealers or collectors.
4. Activity within the last 12 months: entrants are judged on having actually done something during the period September 2007 to August 2008. It's not enough to sit on your powerful behind.
Personal comment:
Tous nos potes! ;)
Entrée "surprenante": Casey Reas (Processing) en nr 96.
Frieze Art Fair starts on Wednesday, but the first of dozens of barnacle events in London this week (stay on artreview.com for rolling coverage) went down early this morning at Tate Modern: the unveiling of Dominique Gonzalez-Foerster's sci-fi inspired installation TH.2058. Artreview.com was there to shoot a video and interview Gonzalez-Foerster – sit tight, we'll get it edited and uploaded as soon as we can! In the meantime, here are a few initial impressions...
It's the ninth annual project in the ginormous Turbine Hall, and the most instantly accessible – Gonzalez-Foerster provides us with an introductory text on the front of the bridge, readable as you walk down the ramp, which, like the intro to a film, sets the scene and tells you pretty much everything you need to know: (imagine) it's 2058, it has been raining in London relentlessly for years, outdoor public sculptures have been strangely growing larger as a result, 'like tropical plants', and have been brought inside for preservation among the hundreds of bunk beds that provide public shelter.
You pass through coloured curtains, through a dark area with rain sound effects, and into a kind of city-block grid of bunk beds, each one with a book on it (like Ray Bradbury's Fahrenheit 451 and J.G. Ballard's Drowned World). Looming high above this mass dormitory are giant (25 percent bigger) replicas of Lousie Bourgeois' spider, Maman (1999; which was part of the first Turbine Hall project in 2000) and Alexander Calder's Flamingo (1973). Other salvaged sculptures include Henry Moore's Sheep Piece (1971-72), a Claes Oldenberg, a Bruce Nauman. The only real (as in original, not replica) piece there is by Gonzalez-Foerster's good friend Maurizio Catelan. This last piece, though an abberration, is the only one with any clear logic behind it, since none of the sculptures are London landmarks, likely to be rescued from the rain.
Hanging at the back is a huge LCD screen showing (without sound), a 32-minute video called The Last Film – a cut-up compendium of various apocalyptic movies, and one of Gonzalez-Foerster's own. It brings to mind that part of the Scientology creation myth in which early humans were made to watch, en masse, a movie lasting 36 days.
The art press corp kept asking if Gonzalez-Foerster was channeling the dark mood of the times: economic collapse, global warming. To her credit, she parried these literalist interpretations (read a feature on Gonzalez-Foerster in the October ArtReview). The mood of the installation isn't at all dark anyway: you imagine the comradery of bunkbeds, reading books together, sheltering together, watching late night movies. If anything, this apocalypse looks like fun.
But maybe too much fun: the injection of fairy tale fantasy – sculptures that grow in the rain – is a frustrating, inane change of register. It would have been much more interesting to think about how we'd really treat works of art in the midst of apocalypse, to see the Turbine Hall like a crowded sepulchre of rusting, rotting treasures. And in such dark future times, we'll probably be watching classic, comforting movies rather than artful excerpts (like Wall-E does in his trailer). Why not show, as part of the installation, Indiana Jones or Star Wars? In other words, why not go further with the concept and merge it with reality, rather than sticking so rigidly to the brittle sci-fi concept?
The enormity of the Turbine Hall, and the apparent desire here to touch on current anxieties about dark events larger than ourselves, cries out for Christoph Büchel's brutal hand. His insanely dense, dirty, detailed and psychically punishing life-installations, featuring monstrous accumulations of junk and repulsive living and work spaces (watch a video here), show us an already-unfolding apocalypse of wars, slave labour and consumer-trash overload. No need to wait until 2058. Tate probably wouldn't touch Büchel with a bargepole after his conflict with Mass MoCA, a similarly massive museum space. But that's my plea for next year's commission: get seriously dark, get seriously immersive.
Monday, October 13. 2008
Visionary architecture and urban design of the sixties reflected by contemporary artists
by European Art Projects Symposium 18 & 19th of October 2008
Former State Mint Molkenmarkt 2 Berlin-Mitte
http://www.megastructure-reloaded.org
Exhibition
20 September - 2 November 2008
"Megastructure is dead. It is thus high time to place it within the history of architecture." Under this title Reyner Banham gave a series of lectures at the architecture department of Naples University in 1973. Today, megastructural planning is again attracting the interest of a younger generation of designers, architects as well as artists. The reason for which might be the visionary power and the easiness with which they redefined fundamental questions of architecture and the human environment, an aspect which the mostly pragmatic architecture and urban planning of today is lacking.
MEGASTRUCTURE RELOADED intends not a documentary representation of the sixties ideas; instead the megastructuralists are to be tested for their currency and relevance to the problems of contemporary urban design. The focus of the project is the connection, so significant for these designs, between spatial structures and visual art, as well as on actual architectural and urban-design issues, while examining whether megastructures offer a feasible conceptual approach for the problems of fast-growing mega cities.
On 18th and 19th of October the symposium of Megastructure Reloaded with renowned international scholars, urbanists and architects will take place at the exhibition venue.
Excerpt from the program of the symposium:
Dominique Rouillard will provide a comprehensive introduction into the subject, Marie-Theres Stauffer and Piero Frasinelli will discuss the visual strategies of Superstudio and Archizoom, Florian Urban and Wolfgang Fiel look at similarities and differences in the concepts of the Japanese metabolists and the European protagonist of the spatial city, Hadas Steiner will talk about Archigram's take on megastructure, tephan Schütz from gmp will present the urban design of Lingang New City in China, Dennis Crompton, William Menking, Philipp Oswalt and Eckhard Schulze-Fielitz will discuss the feasibility of Megastructure for Megacities.
If you wish to participate in the symposium please register at symposium@megastructure-reloaded.net Please note that there is a limited availability.
About the exhibition:
The investigations into Megastructure were the starting point for ten projects by contemporary artists: José Dávila (Mexico), Simon Dybbroe Møller (Denmark), Ryan Gander (GB), Erik Göngrich (Germany), Franka Hörnschemeyer (Germany), Victor Nieuwenhuijs & Maartje Seyferth (Netherlands), Tobias Putrih (Slovenia/USA), Tomás Saraceno (Argentina/Germany), Katrin Sigurdardottir (Iceland/USA) and Tilman Wendland (Germany). Aside from these contemporary statements the exhibition shows drawings, collages and models of megastructure projects from the 1960s by Archigram, Archizoom, Alan Boutwell, Yona Friedman, Günther Domenig & Eilfried Huth, Constant Nieuwenhuys, Eckhard Schulze-Fielitz.. In addition, we will show Gordon Matta-Clark's film on his Parisian installation Conical Intersect, which was set-up in 1975 across from the construction site of the Centre Pompidou, one of the few realized megastructure 'lo ok-alikes'.
The exhibition architecture is developed by Dennis Crompton, a former member of Archigram, in collaboration with raumlabor_berlin, a Berlin based collective of architects. On the occasion of the exhibition a comprehensive bilingual catalogue has been published by Hatje Cantz (order no. ISBN 978-3-7757-2216-2) with 368 pages and more than 150 color illustrations.
MEGASTRUCTURE RELOADED is funded by the Capital Culture Fund, Berlin and the Berlin Lottery Foundation. Additional support is kindly provided by the British Council, Berlin; Danish Arts Council, Center for Icelandic Art, Reykjavik; Fundación/Collección Jumex, Mexico; Geruestbau Tisch GmbH, Berlin; Ikea Stiftung, Hofheim-Wallau; Koenig GmbH & Co KG, Moringen; Lafarge Gips GmbH, Oberursel; Mondriaan Stichting, Amsterdam; The Henry Moore Foundation, Perry Green; Nawrocki Alpin Group, Berlin/London.
Project Partners: Archigram Archives, London, Greige / Buero fuer Design, Berlin, Hatje Cantz, Berlin; pro-qm, Berlin; raumlabor_berlin and Weiss-Heiten Design, Berlin
Image: Tomás Saraceno, 3 x 12MW (Air Port City), 2007/08. Installation view Megastructure Reloaded. Photo: David Brandt
Personal comment:
Une nouvelle exposition qui fait référence aux architectures (Archigram, Archizoom, Yona Friedman, etc.) et théories (Rainer Banham) utopiques et teintées de psychédélisme de la fin des années soixantes. Pourquoi cette résurgence est-elle si forte et si présente actuellement? (C'est également vrai pour nous qui nous référons en partie des architectures radicales de cette période).
Constat: retour d'un folk hybridé (pop, rock, electro) dans la musique et de références radicales et psychédéliques dans l'architecture, les arts et la musique.
Saturday, October 11. 2008
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The awesome New York arts organization Artists Space has come up with three new ways to spice up your computering, no matter where you live. If we had to make a list of the main things we do on our computers everyday, wouldn't typing, watching YouTube videos, and staring at our desktop be high on the index?
Now Artists Space--under the savvy influence of curator Joseph Del Pesco--has initiated three ways to art-up those acts. The first, "TypeCast", is a series highlighting one artist-designed font per month, available as a free download. This month, you can find Mungo Thomson's Negative Space, which he describes as "a graphic scaffolding for the sake of alpha-numeric meaning." It's cool and it will totally impress your employer. Following "TypeCast" is "YouTube Commentary Project," which addresse! s a major problem with the video-sharing site. There just isn't enough commentary and recursion there! (sic!) Nonetheless, inviting smart international artists to verbalize their reactions atop the video of their choice sounds like a can't-lose idea.
Stay tuned to Artists Space's YouTube channel for more of these videos, which premiered with a work by Cesare Pietroiusti. And finally, if you're a fan of the element of surprise, then "Artists Space Daily" is for you. It's "a free software program that downloads an artist 'postcard' from the internet and places it on the desktop of your computer, once per day." While this brings art into viewers' lives that they neither have to pay for nor live with for more than 24 hours, the project brings attention to international emerging artists you just may want to see again. It's all fun, it's all free, and it's all for the love of contemporary art, so get with the program and get to downloading. - Marisa Olson
Image: Mungo Thomson, Negative Space, 2008
Monday, October 06. 2008
ZEE[RANGE]
October 3 - December 31, 2008
Wood Street Galleries
601 Wood Street
Pittsburgh, PA 15222
(412)471-5605
Immersive Environment
Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008
ZEE is a "mind-scape" in which artificial fog and stroboscopic light fully obscure the physical installation space. Based on the research and findings with FEED, the performance, ZEE is expanding on composing with multiple interfering strobe lights amidst fog and the effects those have on a human perception and decoding apparatus: the brain. A surround sound-scape synchronizes to interference phenomena - of what could be described as a psychedelic architecture of pure light.
"The result is an immersive environment of flickering light in which the 'real' physical world mutates into a primordial soup of pulsing sound, mist and colored light. It is both terrifying and transportive. We are in fact physiologically experiencing 'sublime light,' a light that is truly psychedelic. This is the world as viewed by a dying robot clone from the inside of a Turner landscape painting," writes artist Claudia Hart in an essay on ZEE.
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Trained as a fine artist, Hentschlager began to exhibit his work in 1983, building surreal machine-objects and then video, computer animation and sound works. Between 1992 and 2003 he worked collaboratively as a part of the duo Granular-Synthesis. Employing large-scale projected images and drone like sound-scapes, his performances confronted the viewer on both a physical and emotional level, overwhelming the audience with sensory stimulation.
Hentschlager is a recipient of numerous prizes and large scale commissions. He has represented Austria at the 2001 Venice Biennial and has shown his work internationally for two decades. Selected presentations include the Millennium Museum, Beijing; Staedelijk Museum, Amsterdam; Anchorage (Creative Time), New York; MAC - Musee d'Art Contemporain, Montreal; MAK - Museum of Applied Arts, Vienna; National Museum of Contemporary Art, Seoul; Ars Electronica Festival, Linz; ICC Inter-Communication-Center, Tokyo; Fondation Beyeler, Basel; and Palacio de Bella Artes, Mexico City.
His recent performance, FEED, premiered at the 2005 Venice Theatre Biennial and is currently touring. The procedural installation ARMA/cell was commissioned in 2006 by Le Fresnoy, Studio National des Arts Contemporains, France.
Personal comment:
En référence (comparaison) avec le projet The Fog que nous avons en tête et qui a été soumis récemment à une expo à Paris. Pas les mêmes objectifs mais des moyens très similaires. Reste que notre projet n'était lui même pas encore très "finalisé"... mais cela nous évitera de faire la même chose!
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