Frieze London 2019 Day 3

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MASTHEAD
Something in the stars? BY

ANITA
WITEK
Art world goes spiritual

With artists and
galleries embracing
What does it mean
the new age, is there a to you to be European?
commercial pull, too? “Being lucky to travel, study, work
and live on a continent without being
stopped by national borders. And
S
pirituality is on trend. Tarot, the occult,
astrology, meditation apps, crystals—as appreciating this current state, particu-
political turmoil surrounds us, interest larly considering a post-war Europe and
in “new age spiritualism” is booming. the shattered lives of my grandparents.”
And this week, the esoteric is in the
ascendant at Frieze and in numerous exhibitions Austrian artist Anita Witek studied pho-
around London. tography at the Royal College of Art in
“I think today people realise that science
London. She had her first UK solo show
doesn’t have the answers, religion doesn’t have
the answers, art doesn’t have the answers… at l’étrangère gallery in 2015. Her work is
we need a hybrid that takes a bit of everything on show in an exhibition of female artists
in order to find something to believe in,” says juxtaposed with Old Masters at Palais
Damien Hirst, whose exhibition of mandalas, Kinsky in Vienna (This is not the Kiss of a
ritual geometric patterns used for meditation, Muse, darling!, until 25 October).
at White Cube (until 2 November) had visitors Devolved Parliament (2009) sold for £8.5m after a 13-minute bidding battle
MÉLANIE MATRANGA: DAVID OWENS. BANKSY: © BRISTOL CULTURE. ANITA WITEK: COURTESY OF THE ARTIST. NAM JUNE PAIK: JUSTIN SUTCLIFFE/AP/SHUTTERSTOCK, © REX SHUTTERSTOCK
queueing around the block when it opened last

month. While Hirst—who has dwelt upon spirit-
ualism and religion his whole career—says such
works do not reflect any beliefs he may have, he
Banksy’s parliament goes ape INSIDE
observes: “Everybody’s on the lookout for some- PANDEMONIUM ERUPTED AT SOTHEBY’S in London last night when at least ten eager collectors vied
thing that can get them through the darkness.” for Banksy’s painting Devolved Parliament (2009), showing a Commons chamber packed with chimpan- COMMENT
The retreat from religion, particularly among zees, which rocketed to £8.5m (£9.9m with fees), smashing the artist’s previous record of £1.5m. The work Recession looms but private museums
the left-wing art world, is a driving factor behind was estimated at £1.5m-£2m. After a spirited 13-minute battle in which bidding jumped by £1m increments offer respite, Georgina Adam says P4
this rise in spirituality. “Organised Christianity at times, Sotheby’s head of sale Emma Baker won the 13ft canvas—consigned by a UK collector—on behalf
has proven itself largely morally bankrupt,” of an anonymous client on the phone.
says the artist AA Bronson, who first became The timing of the sale was impeccable, coming exactly four weeks before the Brexit deadline and a year
interested in shamanism and alternative belief after Banksy’s Girl with Balloon (2002) was shredded via remote control in the same saleroom. That sold
systems at the age of seven. “Perhaps the climate for £1.04m with fees after it was legally designated a new work and renamed Love is in the Bin. Security was
crisis and the recent uprising of young people extra tight last night, with Sotheby’s taking every precaution to avoid a rerun, particularly with Pest Control—
suggests a new relationship to the natural and Banksy’s handling service—in the room. The painting was in the saleroom until just before the auction but
spiritual worlds. In my opinion this is a real shift removed at the last minute. “After last year, can you blame us?” said the firm’s head of security. Anny Shaw
in our cultural reality.” A work by Bronson’s col-
lective General Idea is on show at Frieze London
with Maureen Paley.
Marc Glimcher, the president and chief exec- Many of these ideas have their roots in the
utive of Pace, echoes this sentiment. “For many, counterculture of the 1960s and 1970s. “What
organised religion’s rejection of universality has Damien Hirst is doing [with the mandalas] isn’t
left a gap,” he says. Last month, Glimcher hinted particularly new; he’s just doing it in a more
NAM JUNE PAIK
at his mystic depths by opening his new gallery acceptable time,” says the dealer Alison Jacques. The video artist’s Sistine Chapel is being
in New York with a blessing from a shaman. It At Frieze London her gallery is showing works re-created in London PP7-8
was, Glimcher says, “a moment for the family by Lenore Tawney who became deeply involved
that is Pace to reflect and appreciate one another with spiritualist ideas in the 1970s. “When FRIEZESCOPE
and the journey”. Glimcher observes “a growth Lenore was exploring these ideas of Eastern Water signs can paddle in the pools of
in the search for an expansion of consciousness philosophies and Western mysticism, she their subconscious this month P25
today; artists are often the first to recognise and
articulate this”. Matranga’s Passive Aggressive Astrology (2019) CONTINUED ON PAGE 2
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NEWS
Artists
Tania
Clutch of Cézanne shows is on the cards Bruguera’s
Major exhibitions in
Turbine Hall
UK, US and Hungary commission
are expected to becomes
be announced permanent
A
s an exhibition of
Paul Cézanne’s works IT SEEMS AN uneven match: on one
on paper opens at side the billionaire Len Blavatnik, who
Luxembourg & Dayan reportedly donated more than £50m
in London (until 7 to the Tate; on the other, a south
December), The Art Newspaper has London activist called Natalie Bell
learned that the post-Impressionist who has donated her time to helping
artist will have a slew of exhibitions the local community. But now, both
over the next couple of years at major have buildings at Tate Modern named
institutions including the Museum after them.
of Modern Art (MoMA) in New York, As part of her Turbine Hall
Tate Modern and the Art Institute of commission last year, the Cuban artist
Chicago. Tania Bruguera renamed Tate Modern’s
A spokeswoman for MoMA says the Cézanne is already well represented at the National Gallery in London, and the Royal Academy has already confirmed a show for 2020 main building after Bell, who has
institution “[has not] confirmed details worked for decades with youth and
for or announced a Cézanne show”,
but we understand that the exhibition
spokeswoman says. There is also an
exhibition called Cézanne and Modernism
Another catalyst Princeton University, will be curated by
John Elderfield and Ann Dumas.
community programmes in the local
area. The name change was meant to
is scheduled for the spring or summer
of 2021 and is due to be curated by
at the Museum of Fine Arts, Budapest,
planned for October 2020-February
for increased The exhibition at Luxembourg &
Dayan, Reconstructing Cézanne, which
last a year—up to the unveiling of Kara
Walker’s new commission this week.
Jodi Hauptman, the senior curator of 2021; the museum did not respond to a interest this year opened on Wednesday, draws together But it has now been made permanent,
drawings and prints at the museum. request for comment. numerous loans and focuses on new and Bell’s name sits proudly opposite
Tate Modern also declined to confirm Interest in Cézanne is particularly is the launch research using forensic analysis that of Blavatnik’s, whose financial
its presentation, with a spokesman strong this year, 180 years after his by Fabienne Ruppen based on the gift is one of the largest in the muse-
saying: “Tate has only announced birth. Current shows on the artist of a new online paper used by the artist. Through um’s history.
our exhibition programme up to the
end of 2020.” But we can report that
include Manchester’s Whitworth (until
1 March 2020), which is centred on
catalogue raisonné this research, a considerable group
of Cézanne’s work has been re-dated.
“I’m delighted that we’re retaining
the name of the Natalie Bell Building,”
the show is planned for November a large group of works on paper left (Cézanne never dated his works, com- says Tate Modern’s director Frances
2021-April 2022 and will be hosted in to the institution by the late dealer plicating the matter for scholars and Morris. “Natalie has transformed so
collaboration with the Art Institute Karsten Schubert. The Royal Academy dealers.) Another catalyst for increased many lives in the area.”
of Chicago, which confirmed that the of Arts, London, recently announced interest this year is the launch of a new At a time when the names of
show is scheduled to take place at the its forthcoming exhibition dedicated to online catalogue raisonné, which can museum buildings, extensions and
CÉZANNE SELF-PORTRAIT (AROUND 1880-81) © THE NATIONAL GALLERY, NATIONAL GALLERY COLLECTION: DAMIAN GRIFFITHS. KAWS: ©FARZAD OWRANG
US institution between 8 May and 5 Cézanne’s paintings of rocks and quar- be amended and added to in line with galleries are coming under increased
September 2022. However, “the dates ries (scheduled for August-November future research. scrutiny, with institutions trying to
are subject to change at this point”, a 2020). The show, in collaboration with Anna Brady balance their values with the need for
sponsorship, the keeping of the name
is a bold move. “The institution has
signalled with this gesture that it is not
trying to ‘solve’ things by creating an
Frieze week). Tarot, too, has witnessed to “that Gwyneth Paltrow world”. Gallery’s stand will feature the work event but that it has committed to be
Something in the a revival, this month: Taschen will Meanwhile, the US artist Shana of the intersectional preacher, yoga part of a long-term dialogue on socially
responsible culture,” Bruguera says.
stars? Art world republish Salvador Dalí’s 1984 tarot
deck. Spiritualism has arguably been
Moulton’s new video work commis-
sioned by the Zabludowicz Collection
teacher and artist Tabita Rezaire (who
is also included in the gallery’s inau- Bell echoes the sentiment, saying that
gets spiritual co-opted by capitalism and “spiritualist
merch” is a booming business.
in London (on view until 15 December)
explores the relationship between
gural show in its London space), who
uses her “digital healing activism”
“real change takes time and even for
me a year is not long enough to realise
CONTINUED FROM PAGE 1 But some artists are more dismiss- spirituality and consumerism through to assist in the “dismantling [of] our or imagine what transformations
ive of the spirituality-meets-wellness her alter-ego Cynthia, who uses a white-supremacist-patriarchal-cis-hete- can happen.”
had a small group of mainly female industry. The artist Grayson Perry has clichéd cocktail of wellness rituals, ro-globalised world screen”, she says. Although the Tate has acquired
followers but was quite marginalised,” produced a £95 yoga mat as part of new-age spirituality and crystals to As with any subculture that is several works from its series of
Jacques says. his new exhibition at Victoria Miro, cope with anxiety. embraced by the mainstream and Turbine Hall commissions—from
Today, such ideas have entered the Super Rich Interior Decoration (until At Frieze London, the Parisian commodified, has the concept of the Louise Bourgeois’ spider Maman
mainstream and have become a salea- 20 December). The design bears the gallery High Art is showing wall hang- spiritual lost its purpose? Hirst says: (1999) to part of Ai Weiwei’s Sunflower
ble commodity. The new Pace gallery words “my spiritual side” on one ings based on star signs by the French “I think everything is commodified, Seeds (2010)—and there is still some
in New York has crystals embedded in buttock and the names of various star artist Mélanie Matranga. They are a but you just have to believe that the evidence of the filled-in-crack that
its walls and the London gallery Sadie signs. “We are now in a post- reaction against the “positive affir- commodification is not something that was Doris Salcedo’s Shibboleth (2007),
Coles HQ is selling “healing” gems and materialist consumerist world where mations only” use of astrology, says can corrupt it. I feel like that about art Bruguera’s is the first work from the
minerals in its pop-up shop with the US what we actually buy now is status the gallery’s Romain Chenais. Also at on a daily basis.” series to remain in situ.
artist Andrea Zittel (open throughout around our virtue,” he says, referring the fair over the weekend, Goodman Anna Brady José da Silva
A thriving
community
for the arts
OP E NIN G M AY 2020 ME MB E R S HIP @ C RO M W E L L P L A C E. C O M | C RO M W E L L P L A C E. C O M
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A recession is on its way

NEW
iOS APP
but growth of private &
museums offers hope read The Art
Newspaper
Georgina Adam Editor-at-large, The Art Newspaper on the go.
A
in the first six months of the year. A bigger: its upper target is £38.4m,
recession is
coming: “Will it far more severe decline hit Chinese compared with results of just over The art market
be in three, six
or 12 months?
and Asian art sales, which more than
halved in the first quarter of 2019,
£33m last year. might shrink
I don’t know; compared with 2018. And the top Burgeoning private spaces a little, but it
but what I do of the market has been hardest hit; Nevertheless, there are many reasons
know is that in according to figures from Artnet, sales for optimism, despite the gathering is unlikely to
all my career I have never experi- of works over $10m shrank by 35% in storm clouds. The growth of private
enced a situation like today’s.” This the first half. museum/foundation/art spaces—call collapse any
was said to me this summer by an
experienced wealth manager in
Conf idence is key in the art
market, as indeed in other markets.
them what you will—is a powerful
new force. In September, the Nor-
time soon
Europe. The global economic outlook Any whiff of a slowdown can cause wegian collector Christen Sveaas
is weakening, battered by multiple consignors to hold back, so causing opened The Twist, a stunning new
factors: the US-China trade war, sales to shrink. There are no knock- building outside Oslo. London col-
a slowing economy in China and out estate sales on the horizon, such lectors Fatima and Eskander Maleki are expanding—again, a sign of con-
elsewhere, turbulence in Hong Kong, as Rockefeller in 2018: Christie’s sale will soon show their collection in a fidence in the future. A recruitment
the ongoing Brexit crisis and unprec- of works from the Italian bank Uni- building in France. In Rome, Ovidio agency told me that some are increas-
edentedly low interest rates—indeed credit aims for €50m overall, but its Jacorossi is about to inaugurate ing staffing by up to 30%—surely a sign
negative ones for some countries’ offering during Frieze week totals Musja, a private art space. And these of confidence in sales. And the use of
bonds. just £14m. are just a few examples of a world- art to enhance luxury goods—from
Just how much will this impact on Those auctions are slightly wide phenomenon. All these spaces smart cars to upscale real estate—is
the art market, as it restarts after the smaller than the equivalent sessions need filling—and while many already gathering pace. The art market might
summer break? last year: Christie’s is expecting have holdings, they will need to con- shrink a little, but it is unlikely to col-
The figures from the first half of between £98.4m and £141.4m for its tinue to acquire art in order to stay lapse any time soon.
the year are not encouraging: accord- four October sales compared with fresh and relevant. • This article first appeared in Art Market INSTALL TODAY
ing to ArtTactic, a data analytics firm, £155.8m last year in three sales. Sothe- The US economy is doing well— Eye, a market-focused monthly newsletter from the iOS app
auction sales by Christie’s, Sotheby’s by’s targets £56.4m to £80.1m; it made and America is the largest art market produced by The Art Newspaper. Sign store or go to
and Phillips overall declined by 20.3% £83.7m in 2018. Phillips is slightly in the world. Here, mega-galleries up at bit.ly/AME-Frieze bit.ly/TAN-app-Frieze
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FEATURES
Video art Nam June Paik preparing at New
York’s Holly Solomon Gallery ahead
of the 1993 Venice Biennale
System upgrade for

might of a major retrospective to be able to pull
off a project like this. “It takes a village; it’s not
something you can just deliver and place.”
Paik, who died in 2006, did not leave instruc-
tions on how to reconstruct it, probably, Ravaglia
says, because he never expected it to be restaged:
NAM JUNE PAIK

“I don’t think he thought of it as a portable work.”
Indeed, installing the piece in Venice was so
taxing on Paik’s team, who had to haul 40 heavy
projectors up onto scaffolding erected several
metres above the floor, that the artist paid for
each crew member to have an extra egg for break-
fast each morning.
Only a few grainy photographs of the original
installation exist, including one in Frieling’s
personal archive; before he swapped his journalist
hat for a curator’s cap, he interviewed Paik at the
T
he Sistine Chapel is coming to succession. Hans Haacke dominated the pavil- Biennale for a German television station.
The late artist’s London this month. And while it
may not be the Renaissance origi-
ion’s central space with a celebrated installation
that smashed the marble floor installed under the
In the absence of Paik and extensive docu-
mentation, the curators turned to John Huffman,
award-winning nal, the effort exerted to resurrect
Nam June Paik’s 1990s techno-
Nazi regime, while Paik commandeered the build-
ing’s wings and grounds. Sistine Chapel filled one of
the curator of the artist’s estate and one of Paik’s
long-time studio assistants. He provided a map of
Venice Biennale logical twist on Michelangelo’s

masterpiece makes this feat no less impressive.
these side areas. The pair won the Golden Lion for
the joint presentation, though Haacke’s smashed
the projected images, complete with the desired
sizing and overlap, and then curators and conser-
The late Korean-American’s “video chapel” is pavilion floor attracted most of the headlines. vators worked with the specialist contractors ADI
presentation has being reconstructed for the first time in nearly Another of Paik’s video pieces from the to determine where each video projector needed
NAM JUNE PAIK: JUSTIN SUTCLIFFE/AP/SHUTTERSTOCK, © REX SHUTTERSTOCK
three decades for a major touring retrospective 1993 Venice Biennale is due to be auctioned at to sit.
been painstakingly on “the father of video art”. The exhibition
is due to open at Tate Modern on 17 October
Christie’s Unicredit sale on 5 October (Anonymous
Crimean Tatar who Saved Life of Joseph Beuys—Not Convenience counts
re-created at Tate before travelling to the San Francisco Museum of
Modern Art (SFMoMA), which co-organised the
yet Thanked by German Folks (1993); est £160,000-
£240,000), while Gallery Hyundai is showing
Like Paik’s early TV works, many of the projec-
tors he used for the original installation featured
show with the Tate, and then to the Netherlands works by the artist at Frieze London and cathode ray tubes (CRTs), which manufacturers
Modern—clunky and Singapore. Frieze Masters. no longer produce and so are becoming difficult
Last shown in the German pavilion at the Until now, Sistine Chapel has existed in the art- to source. But Ravaglia says Paik’s decision was
old tubes and all 1993 Venice Biennale, Sistine Chapel (1993) is a large-
scale installation comprised of 40 video projectors
ist’s estate as four videos and two modified video
switches, says the associate curator Valentina
mainly motivated by convenience. “It really didn’t
matter to him that they were CRT projectors; he
beaming overlapping images of graphics and Ravaglia, who worked on the show with the just needed ones he could buy in bulk,” she says.
By Emily Sharpe noted personalities, including the artist Joseph co-curators, Sook-Kyung Lee of the Tate and Rudolf
Beuys and the rock star Janis Joplin, in rapid-fire Frieling of SFMoMA. Frieling says it takes the CONTINUED ON PAGE 8
4 0 D O V E R STR E E T, M AY FA I R , LO N D O N | + 4 4 ( 0 ) 20 74 9 9 8581 | W W W. T H E A RTS C LU B . C O. U K

Clockwise, from left: the original Sistine Chapel
FEATURES featured 40 video projectors. Paik’s early use of

technology can be seen in Robot K-456 (1964), a
20-channel radio controlled robot. Self-Portrait
(2005) incorporates a 10” LCD colour monitor
Video art
CONTINUED FROM PAGE 7
Video projectors, especially the old behemoths

Paik used, produce a lot of heat so one can only
imagine the temperature in the German Pavilion
during the height of summer. But the Tate cura-
tors decided against whittling down the number
of projectors to just ten, choosing instead to use
slightly smaller and lighter ones.
One of the main challenges faced by time-
based media is the obsolescence of technology.
“It’s an ongoing whack-a-mole problem,” says
the media conservator Dan Finn from the
Smithsonian American Art Museum (SAAM) in
Washington, DC, which houses the Nam June Paik
SISTINE CHAPEL: ROMAN MENSING/ARTDOC.DE; © ESTATE OF NAM JUNE PAIK. ROBOT K-456: COURTESY FRIEDRICH CHRISTIAN FLICK COLLECTION IN HAMBURGER
Archive. For this reason it is vital that museums
BAHNOF, © ESTATE OF NAM JUNE PAIK. SELF-PORTRAIT: PHOTO: KATHERINE DU TIEL, SAN FRANCISCO MUSEUM OF MODERN ART, © ESTATE OF NAM JUNE PAIK
“document the artists’ intent, and become com-
fortable with a notion of ‘the work’ as not just one
thing, but as a concept and experience that might
manifest differently over time,” says SAAM’s time-
based media curator Saisha Grayson.
Dying technology
With Paik, it is his frequent use of CRT TVs and
monitors that causes the most difficulty. “No one
makes glass [cathode] tubes anymore. It’s a dying
technology and so it’s a big source of anxiety
“It takes a village; didn’t want the silvery ones or those shaped like
Darth Vader’s head,” she says. The small, five-inch
to use CRTs because of the sculptural element
to them. The screens are curved, and the image
within the field,” Finn says. When CRT monitors
were new, technicians had developed a way to
it’s not something CRT TVs, like those Paik used to create some of his
famous robots, are the hardest to source.
quality is warmer. LCDs are flat and the images are
sharper,” Finn explains. In an effort to preserve
repair broken tubes, but this knowhow was lost. you can just deliver Fortunately for today’s curators and conserva- the all-so-important curve of old TV monitors,
The good news is that experts are working to tors, Paik was acutely aware of the obsolescence Finn has considered bending flexible LCD screens
revive this skill. and place” of technology and had already begun to replace over the original glass ones.
Early on, the Tate called recycling centres CRTs with LCD screens in some works. Huffman Many curators dream of presenting rarely
around London, asking for old CRT TVs because reassured the Tate curators that they should not exhibited works to see if they still resonate, and
the institution’s stockpile of equipment was not be beholden to the authenticity of the medium Frieling is no different. “If you think about it, how
big enough to support such a large exhibition because Paik would be the first not to care. “He many actually saw Sistine Chapel? It was shown in
of video works. Ravaglia admits it is not an ideal constantly transmitted and translated images Italy two generations ago.” He acknowledges that
way to collect material: “We’d go collect them to and formats from one medium to another, which its restaging took a lot of time and resources but,
find that they looked like a bird bath with pools gives curators some licence to make decisions that then again, “restoring the Sistine Chapel in Rome
of water inside the ring where the screen used might seem counter-intuitive,” Ravaglia says. would take a lot of resources also”.
to be. Only 2% worked.” Finding the right colour Many are still uncomfortable with changing • Nam June Paik, Tate Modern, 17 October-
and size can also be problematic. “We obviously the original monitors, however. “Museums try 9 February 2020
2 OCT — 13 DEC 2019
DRINKS RECEPTION
FOR WEST END NIGHT
THURSDAY 3 OCTOBER
6 — 8 PM
ERIC BAUDART
BRASSAÏ
BY OHNE TITEL
CAI GUO-QIANG
ADRIEN DAX
ÓSCAR DOMÍNGUEZ
JEAN DUBUFFET
MARCEL DUCHAMP
MAX ERNST
SAM FRANCIS
DAVID HAMMONS
GEORGES HUGNET
GYÖRGY KEPES
YVES KLEIN
GLENN LIGON
HEINZ MACK
MERET OPPENHEIM
WOLFGANG PAALEN
GINA PANE
ROLAND PENROSE The Interaction of Colour
MAN RAY
ED RUSCHA Anni Albers | Josef Albers | Polly Apfelbaum | Rana Begum
RUDOLF STINGEL Michael Craig-Martin | Carlos Cruz-Diez | Ian Davenport
ANTONI TÀPIES Patrick Heron | Ellsworth Kelly | Sol LeWitt | Bridget Riley
THU-VAN TRAN
RAOUL UBAC
GÜNTHER UECKER
CHRISTOPHER WOOL
Exhibition continues Cristea Roberts Gallery
until 26 October 2019
143 NEW BOND STREET 43 Pall Mall, London SW1Y 5JG
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Co-editors, Frieze London Editions Julia
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Pablo Helguera, Kabir Jhala, Donald Lee, Ben Luke,
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through the ceiling. Production editor Louis Jebb
Design James Ladbury
If your house was on fire, which Sub-editing Dean Gurden, Vivienne Riddoch
work would you save? Picture editors Katherine Hardy, Kabir Jhala
The works in my house have been Photographer David Owens
chosen with love and have helped me
PUBLISHING AND COMMERCIAL
understand many things in life. For this
Publisher Inna Bazhenova
reason, it is difficult for me to choose a Honorary chairman Anna Somers Cocks
single piece to save in an emergency. I Chief executive Russell Toone
think I would rather reciprocate their Associate publisher, fairs and events media
love by choosing to share their fate. Stephanie Ollivier
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A work by my husband, Lampadina
limone (1968), which uses a real lemon CONTACT US:
that needs to be replaced regularly. In the UK: The Art Newspaper,
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emma De Angelis Testa THE ART NEWSPAPER: How did you Gemma De Angelis Testa with Sedia New York, NY 10001
is a private collector with first get into collecting? Antropomorfa (1976) by her late husband What is the most surprising place T: +1 212 343 0727 Fax: +1 212 965 5367
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a public-minded mission. GEMMA DE ANGELIS TESTA: When you have displayed a work?
Website: theartnewspaper.com
In 2003, she created we met, one of the first things my this piece forms a dialogue with certain There is one work that was actually
ACACIA, an association of husband said to me was: “Paintings are works by Anselm Kiefer, Pier Paolo created in my house at the request Published by U. Allemandi & Co. Publishing Ltd,
around 100 friends of Italian contempo- for museums and galleries—the walls Calzolari, Tracey Emin, Ed Ruscha and of the artist himself. It’s a tiny figure, 17 Hanover Square, London W1S 1BN, and by Umberto
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rary art, which supports artists through of the house must be kept as white as Richard Prince. as small as an ant, drawn on a white 130 West 25th Street, Suite 9C, New York, NY 10001.
its annual awards and has donated the pages of a sketchbook.” Perhaps as door by the artist Nedko Solakov. It’s Registration no: 5166640.
Printed by Elle Media Group, 7-8 Seax Way, Basildon
some 30 works to Milan’s Museo del a creative he was right in not wanting What is the most recent work you so small that guests only see it when I SS15 6SW
Novecento. She honed her eye for to be distracted by other images. A have bought? point it out. I check daily to make sure © The Art Newspaper, 2019
contemporary art during her marriage few sporadic purchases aside, the real Belt Exercise by Monica Bonvicini, the it doesn’t accidentally get rubbed out. All rights reserved. No part of this newspaper may be
reproduced without written consent of the copyright
to the artist and advertising creative collection therefore began only after winner of the 2019 ACACIA award. The proprietor. The Art Newspaper is not responsible for
Armando Testa (1917-92), whose legacy his death [in 1992]. bronze belt synthesises her reflections Which artists, dead or alive, would statements expressed in the signed articles and interviews.
GEMMA DE ANGELIS TESTA: PHOTO: BARBARA CORSICO

she champions today through the cura- on the relationship between gender you invite to your dream dinner While every care is taken by the publishers, the contents
of advertisements are the responsibility of the individual
tion of his archive. Together with the What was the first piece of art that and space. party? advertisers.
artist Michelangelo Pistoletto, a friend you bought? My husband, without a doubt. A bril-
and student of Testa’s, she has selected Cy Twombly’s Vengeance of Achilles What is the most expensive work in liant and fascinating man, with an
sculptures, photographs, posters and (1962). I’m particularly fascinated by your collection? unbeatable sense of irony, with whom Subscribe online at
paintings by her husband for a solo the poetry of his writings alongside It is not only a work’s economic value I continue to share my life every day theartnewspaper.com
presentation with Galleria Continua at @theartnewspaper
the image. The presence of image and that counts, but the additional trans- through my work in his archive and by
@theartnewspaper
Frieze Masters, accompanied by a new word together was something I sought actions that its installation may entail. promoting his exhibitions. @theartnewspaper.official
two-volume catalogue of his work. out in the first works I bought. Today, For example, I recently purchased a Interview by Hannah McGivern
BRITISH ART FAIR

3 - 6 October 2019 Saatchi Gallery
50 Leading Dealers Special Exhibitions: YBA, Alan Davie & David Inshaw
for more information and tickets, visit britishartfair.co.uk
CALIBER RM 16-01
FRAISE
www.richardmille.com
IN PICTURES
Expert eye
Down the rabbit hole

with KAWS
The US artist and designer Brian Donnelly, aka KAWS, has long
been an avid art collector, beginning as a young graffiti artist
trading sketch books with friends. For the past 20 years, he has
nosed around galleries buying works by his favourite artists,
including Raymond Pettibon and Robert Crumb, from dealers
such as David Zwirner. Although he did not grow up with art
at home (“unless you count paintings of the woods”) he says
“collecting was ever present, if not conscious”. His preference:
Star Wars editions from the 1970s. KAWS studied at New York’s
School of Visual Arts, “looking at
Bouguereau [during the day]
and then doing freight trains
[at night]”. So when we asked
KAWS, who is in town for his
new show, Blackout, at Skarstedt
gallery, to tour Frieze Masters
with us, a similarly eclectic mix
of works caught his eye.
Interview by Alison Cole
Photographs by
David Owens 1
1 Hilma af Klint Then you learn about Robert Crumb and

Untitled (1934) that was so ahead of its time, and then you
THE GALLERY OF EVERYTHING, LONDON step back further to someone such as Basil
“The Klint is great. You’re not going to see Wolverton in the 1950s, and you realise
another one of these at the fair. I love The how much you don’t know. This is super
Gallery of Everything: where do you see graphic. I would have never encountered
work like this available in private hands? something like these works in the normal
I have things I tend to lean towards, and I run of things. This is the benefit of walking
go down that rabbit hole. I have been both- the fair.”
ering the gallery’s director, James Brett,
about this drawing by [Josef] Kotzian, but
4 Keith Haring
he just doesn’t want to sell it. The Klint is Vase (1981)
not typical of what I collect, but I like the SKARSTEDT
airiness of it. I always find ways to justify the “This work is a great rare example of his
things I buy.” three-dimensional work that seems to
have no beginning and end.”
2 Wenzel Jamnitzer
Perspectiva. Nuremberg
5 H.C. Westermann
(1568). First edition, from a special Confined Murderer (1955)
collection of artists’ manuals on VENUS OVER MANHATTAN, NEW YORK
perspective and human proportion “I got into Westermann through his water-
JÖRN GÜNTHER RARE BOOKS, STALDEN, colours; his drawings sucked me in when
SWITZERLAND I saw Eye Infection at the Stedelijk in Am-
“I love books. I don’t know if it’s from sterdam. I started to collect his drawings,
having blackbooks or because I’ve been then I got into his sculptures. This piece is
lucky enough to have some artists’ super early. There are a few artists I have
sketchbooks; it’s just that real intimacy tunnel vision with—like Westermann and
you experience. These are amazing. I’m Peter Saul. The character in the sculpture
currently completely immersed in thinking is so alone. But I also love the woodwork,
about working in virtual reality, augmented the rivets: it’s so tactile. If you turn it
reality, and then I see something extraordi- upside down, you’ll find the subject writ-
nary that is dated so early. The shapes are ten on the base or on the back. The thing
gorgeous. I love the way the outer borders about Westermann’s work is they’re just
just wrap around and go into each other, so nice to handle. That’s not really reflec-
creating a sort of infinity.” tive of my work because the last thing
I want somebody to do is touch one of
3 Eileen Gray my things as they have such delicate
Non-conformist Armchair (1925-28) surfaces…”
GILLES PEYROULET & CIE, PARIS
“I would have this chair in my dream
6 Roy Lichtenstein
flat. It’s funny, because I love this, but Flower in Vase and
normally when I am looking at design, I Flowers (both 1982)
like organic furniture styles, like Wendell CASTELLI GALLERY, NEW YORK
Castle, who’s actually similar to [H.C.] “These are so nice. I have a Lichtenstein
Westermann with his woodworking. But painting of a De Kooning Woman; that’s
this, although it was made in 1925, looks what these feel like. They satisfy my
like it’s from a spaceship. It’s the same as appreciation of the graphic line. They
looking at those earlier Renaissance books. would look as beautiful on a stamp as they
When I was growing up as a skateboarder, would on the side of a ten-storey building
I was thinking ‘my god, the skate graphics block. He has that quality that can just
of the 1980s were so ahead of their time’. expand or contract.”
4
KAWS: COURTESY OF HONG KONG CONTEMPORARY ART FOUNDATION
5 6
INTERVIEW
Artists
Danh Vo:
The great art
collaborator
For his sprawling new show at South London Gallery,
the Vietnam-born, Danish artist salutes all those who
have influenced and helped form his art. By Aimee Dawson
I
The artist n his latest London show, Danh Vo THE ART NEWSPAPER: Why have you chosen to
has included is less an artist than he is a clever name this show Untitled?
works by his collaborator. Pulling together works by DANH VO: Years ago, I visited a cemetery in Vietnam
friends, family important people in his life, such as his with my mother and was surprised to see the
and a former father, his lover and a former teacher, words “Vô Danh” written on a number of the grave-
professor in his the Vietnam-born, Danish artist’s first stones. “Vô Danh” is my name backwards plus an
solo exhibition major UK exhibition, Untitled, at South accent, but it is also Vietnamese for “nameless” or
London Gallery (SLG) until 24 November, feels like “unnamed”. It was an amazing coincidence, given
a group show. “Very few people are real geniuses,” how many works of art are also untitled. I have
DANH VO: PHOTO BY NICK ASH

Vo says, “so the best approach is to embrace the called a lot of my works untitled since then.
skills of those around you”. Here, we talk to the This show at the SLG includes quite a large
artist about why he chose to include paintings by number of different works that are very varied,
the professor who told him to give up making art, not just in their form but also in the stories
and the power of collaboration and contradiction. behind them, and the people involved in making
LONDON L AUNCH
13 -16 MAY 2020
The next generation alternative
to the traditional art fair
eyeofthecollector.com
them. I wanted a title that was open; one that

made space for all of these works without accentu-
ating any specific reference.
In SLG’s main gallery is a new work also

called Untitled (2019)—a series of paintings
by your former professor at the Royal Danish
Academy of Fine Arts, Peter Bonde. Why have
you chosen to include this work in your show
and why is working with collaborators so
important to your work?
The installation is really a constellation of people
who have been formative for me—drawings by
my father, photographs of my nephew by my
lover and, indeed, paintings by my former profes-
sor. I like to fuse together different dimensions of
my biography in my work that perhaps wouldn’t
naturally coincide.
Peter taught me at art school in Copenhagen
and, at the time, we did not have an easy rela-
tionship. I was not impressed by his gestural
abstract paintings, and found them old-fash-
ioned and excessive, even a bit macho. I don’t
think he appreciated my rebellious streak either.
I even have a letter from the university saying
“I like to fuse together

dimensions of my
biography that wouldn’t
naturally coincide”
children. Plurality and hybridity are so important our respective personal collections and speaks of
that Professor Bonde strongly recommends that I in my work; I thought it was an interesting way our close friendship and our ongoing conversation.
abandon making art altogether. to approach a show, thinking about the different
Of course, time has passed since then, and spaces and sites, and different contexts changing You have placed a bright-red metal sculpture
there was something powerful for me when I real- the way you engage with the work. by the Japanese-American sculptor Isamu
ised that I could harness the beauty of his work, The main gallery is a huge civic space, and it Noguchi on a nearby housing estate—why?
and that we could invert our former adversity and hosts the new installation Untitled, which is almost I encountered Noguchi’s work relatively late in life
collaborate. I am drawn to contradictions. cathedral-like in its scale and atmosphere. The at a show in Mexico that focused on his Playscapes—
Fire Station is a series of stacked rooms of domes- an incredible project designed to invite children
It is the SLG’s first solo show to span the main tic proportions. Margot Heller, the director of SLG, and adults to enjoy forms, and to be creative and
gallery space and the newly renovated Fire told me that the firemen used to live there with play. This sculpture is very simple—it is made from
UNTITLED AND NOGUCHI: PHOTO BY NICK ASH
Station building—how did you take on these their families and I was interested by that sense six elbow pipes connected together and sprayed
two distinct spaces? of intimacy. Each gallery is a much closer experi- red—but it is so perfect in its form that I did not see
The spaces are so different; it was actually one of ence of a suite of interconnected works and each how I could add to or improve it in any way. So I
the things that attracted me to the invitation from has a distinct feel: for example, I have installed felt the strongest gesture was to lend my edition of From top: Installation view of Danh Vo’s
the SLG. The show not only has the two build- walnut wood panelling in one gallery, a wallpaper the work to the people living on the Pelican Estate, Untitled at the South London Gallery; the artist
ings of exhibition spaces, but also includes com- edition in another. The gallery on the third floor is so they can sit on, climb on and play with the work. has loaned his edition of Isama Noguchi’s
missions on neighbouring housing estates, one dedicated to my friend and mentor Julie Ault. The • Danh Vo: Untitled, South London Gallery, until Play Sculpture to the people of the Pelican
open air and one in Art Block, a space for local selection of works in that space are largely from 24 November Estate, in Peckham, south-east London
ANTONIO
CANOVA
Ufficio culturale Ambasciata di Israele - Roma
robilantvoena.com
Courtesy Cerith Wyn Evans.
Viewing in New York 5 - 7 November by appointment at
The Official Residence of the Consulate General of Sweden
600 Park Avenue, New York, NY 10065
Contact: Magnus Bexhed +46 705 22 12 04

bexhed@uppsalaauktion.se www.uppsalaauktion.se
ANDY WARHOL (1928-1987) “Absolut Warhol”. Signed Andy Warhol 1985. Acrylic and silkscreen ink on canvas, 127.5 x 107 cm.
Estimate: € 1.400.000 - 1.900.000. To be sold at the Important Sale Week 10 - 13 December in Sweden.
Viewing in New York 5 - 7 November
Andy Warhol
Albert Oehlen S P I EG EL B I L D ER
Als hätte man mir die Muschel rausgedreht II, 1982 © Alber t Oehlen
Galerie Max Hetzler Berlin | Paris | London
27 September – 16 November 2019 5 November – 21 December 2019
41 Dover St., 1st Floor, London, W1S 4NS 980 Madison Ave., 3rd Floor, New York, NY 10075
maxhetzler.com nahmadcontemporary.com
CALENDAR
Frieze week
○ Auctions
FRIDAY 4 OCTOBER
SOTHEBY’S
10:30AM Contemporary art day sale
34-35 New Bond Street, W1A 2AA
CHRISTIE’S
7PM Post-war/contemporary evening sale
8PM Thinking Italian
8 King Street, SW1Y 6QT
SATURDAY 5 OCTOBER
CHRISTIE’S
1pm Post-war/contemporary day sale
8 King Street, SW1Y 6QT
• Listings are arranged

alphabetically by area (central,
north, east, south and west)
• Commercial galleries are
marked with W
○ Central London
Barbican
Silk Street, EC2Y 8DS
• Into the Night: Cabarets and Clubs in Modern Art
4 OCTOBER-19 JANUARY 2020 Self-Portrait (1642) and A Woman in Bed (1645-6), part of 35 paintings, etchings and drawings by Rembrandt van Rijn on display at the Dulwich Picture Gallery until 4 February
• Trevor Paglen: from Apple to Anomaly
UNTIL 16 FEBRUARY 2020
British Museum
Great Russell Street, WC1B 3DG
• Portrait of the Artist: Käthe Kollwitz
UNTIL 12 JANUARY 2020
Foundling Museum
Hollywood lights up show on
REMBRANDT SELF PORTRAIT: © HER MAJESTY QUEEN ELIZABETH II 2018; COURTESY OF ROYAL COLLECTION TRUST/DUTCH PICTURES. WOMAN IN BED: PHOTO: ANTONIA REEVE; COURTESY OF NATIONAL GALLERIES OF SCOTLAND
Dutch master in south London

40 Brunswick Square, WC1N 1AZ
• Two Last Nights!
House of Illustration
2 Granary Square, N1C 4BH
• Designed in Cuba: Cold War Graphics
UNTIL 19 JANUARY 2020 the gap between painting and systems in museums such as the
Institute of Contemporary Arts (ICA) Cinematographer Suschitzky brings a film- film-making”. Suschitzky, for his Hamburg Kunsthalle and the Louvre
12 Carlton House Terrace, The Mall, SW1Y 5AH part, says: “I have been inspired by Abu Dhabi.
• Honey-Suckle Company: Omnibus industry sensibility to the Dulwich Picture the work of the greatest Old Masters The show is divided into four
UNTIL 12 JANUARY 2020 throughout my life… Rembrandt sections. The first shows the interac-
• Untitled (The Form of the Flower
Gallery for its new exhibition on Rembrandt seems to me to have been striving tions of contemporary theatre and
is Unknown to the Seed) to find a universal truth in the Rembrandt’s control of light, as in
UNTIL 6 JUNE 2020 human condition, and used light The Denial of St Peter (1660).
Korean Cultural Centre UK Rembrandt’s Light aforementioned comedy musical, to create motion and emotion. This The second explores the ways
Grand Buildings, 1-3 Strand, WC2N 5BW Dulwich Picture Gallery The Rocky Horror Picture Show (1975), parallels cinematography, where in which studio light and shade
• Negotiating Borders 4 OCTOBER-2 FEBRUARY 2020 the sci-fi action and adventure sculpting light and directing the in the artist’s house in Breestraat,
UNTIL 23 NOVEMBER picture, Star Wars: The Empire Strikes gaze of the viewer to the desired Amsterdam, where he lived from
Museum of London LONDON. What do Rembrandt Back (1980), the comedy sci-fi film, place in an image is essential for 1639 to 1658 during his so-called
150 London Wall, EC2Y 5HN and the cult classic film The Mars Attacks! (1996) and no fewer powerful storytelling.” “middle period”, affected his depic-
• Beasts of London Rocky Horror Picture Show have in than 11 films for the Canadian film- The exhibition presents 35 tions of night and day, for example,
UNTIL 7 JANUARY 2020 common? The answer, at least at the maker, David Cronenburg, including paintings, etchings and drawings in his only nocturnal painting,
National Portrait Gallery Dulwich Picture Gallery, is the the horror movie, Dead Ringers (1988). by Rembrandt, some on loan from Landscape with the Rest on the Flight
St Martin’s Place, WC2H 0HE award-winning Hollywood cine- Jennifer Scott, the newly museums such as the Louvre in into Egypt (1647).
• BP Portrait Award matographer Peter Suschitzky. appointed director of the Dulwich Paris (The Pilgrims at Emmaus, 1648), Religious and intellectual
UNTIL 20 OCTOBER To mark the 350th anniversary Picture Gallery, approached the National Gallery of Art in paintings make up the third section,
• Elizabeth Peyton: Aire and Angels of Rembrandt’s death, the gallery Suschitzky for this project because Washington, DC (Philemon and Baucis, which displays works showing how
UNTIL 5 JANUARY 2020 has invited Suschitzky to devise “his extensive experience bridges 1658) and Berlin’s Gemäldegalerie Rembrandt created moods symbol-
Royal Academy of Arts “an atmospheric visitor experience” (The Dream of Joseph, 1645). The ically and psychologically in, for
Burlington House, Piccadilly, W1J 0BD for its latest exhibition, Rembrandt’s works are arranged thematically example, Christ and St Mary Magdalen
• Helene Schjerfbeck Light, which sets out to explore “Suschitzky to trace Rembrandt’s use of light at the Tomb (1638).
UNTIL 27 OCTOBER
• Antony Gormley
how the artist used light to convey
different moods.
bridges the gap and shadow, and Suschitzky has
designed a new LED Bluetooth light-
The final gallery explores his use
of light in portraying women, such
UNTIL 3 DECEMBER
Royal Institute of British
Suschitzky (b. 1941) was respon-
sible for the overall visual styles
between painting ing system in collaboration with the
German lighting specialists, ERCO—
as in the painting A Woman in Bed
(around 1645-46).
Architects (RIBA) of such well-known films as the and film-making” the firm responsible for the lighting Donald Lee
CONTINUED ON PAGE 22
Conversation & debate from inside the art world | 200+ interviews in association with
New episode every week | theartnewspaper.com/podcast
The Art
Newspaper
PODCAST
CALENDAR
Frieze week
CONTINUED FROM PAGE 21 • Michael Simpson: New Paintings
UNTIL 16 NOVEMBER
66 Portland Place, W1B 1AD WCortesi Gallery
• Beyond Bauhaus 41 & 43 Maddox Street, W1S 2PD
UNTIL 1 FEBRUARY 2020 • Giuseppe Santomaso: Animate Painting
• László Moholy-Nagy in Britain UNTIL 26 OCTOBER
UNTIL 1 FEBRUARY 2020 • Heinz Mack: The Breath of Light
Somerset House UNTIL 15 NOVEMBER
Strand, WC2R 1LA WCristea Roberts Gallery
• Water Life by Aida Muluneh 43 Pall Mall, SW1Y 5JG
UNTIL 20 OCTOBER • The Interaction of Colour
• Mary Sibande: I Came UNTIL 26 OCTOBER
Apart at the Seams WDavid Gill Galleries
UNTIL 5 JANUARY 2020 2-4 King Street, SW1Y 6QP
• Gallery 31: Bonds • Sebastian Brajkovic
UNTIL 5 JANUARY 2020 UNTIL 17 OCTOBER
Tate Britain WDavid Zwirner
Millbank, SW1P 4RG 24 Grafton Street, W1S 4EZ
• Mike Nelson: The Asset Strippers • Nate Lowman
UNTIL 6 OCTOBER UNTIL 9 NOVEMBER
• Spotlights: The Bauhaus and Britain WFlowers, Cork Street
UNTIL 17 NOVEMBER 21 Cork Street, W1S 3LZ
• Mark Leckey • Robert Polidori: Fra Angelico/
UNTIL 5 JANUARY 2020 Opus Operantis
• William Blake UNTIL 12 OCTOBER
UNTIL 2 FEBRUARY 2020 WFrith Street Gallery,
The Arts Club Golden Square The Great Animal Orchestra (2016) features audio recordings from an archive of more than 5,000 hours that spans five decades
40 Dover Street, W1S 4NP 17-18 Golden Square, W1F 9JJ
• Etel Adnan and Illse D’Hollander • Danyanita Singh
The Perimeter
20 Brownlow Mews, WC1N 2LE
UNTIL 9 NOVEMBER
WGagosian, Britannia Street
6-24 Britannia Street, WC1X 9JD
Things that go screech on the Strand
• Ron Nagle • Sterling Ruby: ACTS + TABLE Other Spaces than 5,000 hours of recordings collected orchestrated as humanity’s most complex
UNTIL 10 JANUARY 2020 UNTIL 14 DECEMBER The Store X, 180 The Strand, WC2R 1EA over the past 50 years. A collaboration musical scores”. Electronic spectrograms,
The Photographers’ Gallery WGagosian, Davies Street UNTIL 9 DECEMBER between United Visual Artists (UVA) and created by UVA, provide abstract visual
16-18 Ramillies Street, WC2 7HY 17-19 Davies Street, W1K 3DE The Store X in partnership with The the US musician and naturalist Bernie interpretations of the natural
• Heather Dewey Hagborg • Cy Twombly Shop Vinyl Factory is showing a trio of Krause, the piece is being presented in environments represented. “It is rare for
UNTIL 14 NOVEMBER UNTIL 21 DECEMBER immersive installations including the UK conjunction with the Fondation Cartier in the visual element of a work to be
• Raúl Cañibano: Chronicles of an Island WGagosian, Grosvenor Hill premiere of The Great Animal Orchestra Paris where it debuted. Each screech, secondary to its audio; we have turned the
UNTIL 17 NOVEMBER 20 Grosvenor Hill, W1K 3QD (2016), an audio-visual work consisting of chirp and mating call merges into a typical museum installation model on its
The Queen’s Gallery • Cy Twombly Sculpture animal noises from an archive of more bio-acoustic piece that “is as carefully ear,” Krause says. K.J.
Buckingham Palace Road, SW1A 1AA UNTIL 21 DECEMBER
• Leonardo da Vinci: a Life in Drawing WGalerie Kamel Mennour
UNTIL 13 OCTOBER 51 Brook Street, W1K 4HR
The Store, 180 The Strand • Neïl Beloufa WLévy Gorvy • Song Dong: Same Bed Different Dreams • Francesco Arena
180 The Strand, WC2R 1EA UNTIL 2 NOVEMBER 22 Old Bond Street, W1S 4PY UNTIL 5 NOVEMBER UNTIL 15 NOVEMBER
• Other Spaces by United Visual Artists WGalerie Max Hetzler • Ride the Wild WParafin WSprüth Magers ○ North London
UNTIL 8 DECEMBER 41 Dover Street, W1 4NS UNTIL 7 DECEMBER 18 Woodstock Street, W1C 2AL 7A Grafton Street, W1S 4EJ
• Transformer: a Rebirth of Wonder • Albert Oehlen: Spiegelbilder WLuxembourg & Dayan • Nathan Coley • Kara E. Walker Aga Khan Centre
UNTIL 8 DECEMBER UNTIL 16 NOVEMBER 2 Savile Row, W1S 3PA UNTIL 16 NOVEMBER UNTIL 21 DECEMBER 10 Handyside Street, Kings Cross, N1C 4DN
• Theaster Gates WGalerie Thaddaeus Ropac • Reconstructing Cézanne WPilar Corrias WStephen Friedman Gallery • Bahia Shehab: At a Corner of a Dream
4-27 OCTOBER Ely House, 37 Dover Street, W1S 4NJ UNTIL 7 DECEMBER 54 Eastcastle Street, W1W 8EF 25-28 Old Burlington Street, W1S 3AN UNTIL 5 JANUARY
Wellcome Collection • James Rosenquist WLyndsey Ingram • Tschabalala Self • Jonathan Baldock: Personae Ben Uri Gallery
183 Euston Road, NW1 2BE UNTIL 9 NOVEMBER 20 Bourdon Street, W1K 3PL UNTIL 9 NOVEMBER UNTIL 9 NOVEMBER 108a Boundary Road, NW8 0RH
• Jo Spence and Oreet Ashery WGazelli Art House • Bridget Riley-Lines of Enquiry WPippy Houldsworth Gallery WStuart Shave/Modern Art • Friends and Influences
UNTIL 26 JANUARY 2020 39 Dover Street, W1S 4NN UNTIL 8 NOVEMBER 2019 6 Heddon Street, W1B 4BT 4-8 Helmet Row, EC1V 3QJ UNTIL 18 OCTOBER
WAlison Jacques • Derek Boshier: Night and Snow WM&L Fine Art • Francesca DiMattio: Caryatid • Richard Aldrich Camden Arts Centre
16-18 Berners Street, W1T 3LN 4 OCTOBER-10 NOVEMBER First Floor, 15 Old Bond Street, W1S 4AX UNTIL 19 OCTOBER UNTIL 19 OCTOBER Arkwright Road, NW3 6DG
• Betty Parsons: The Queen of the Circus WGoodman Gallery • Max Ernst WRedfern Gallery WT.J. Boulting • Christodoulos Panayiotou
UNTIL 9 NOVEMBER 26 Cork Street, W1S 3ND UNTIL 29 NOVEMBER 20 Cork Street, W1S 3HL 59 Riding House Street, W1W 7EG UNTIL 5 JANUARY 2020
WAlmine Rech Gallery • I’ve Grown Roses in This Garden of Mine WMarian Goodman Gallery • Large Abstracts • Birth Estorick Collection
Grosvenor Hill, Broadbent House, UNTIL 2 NOVEMBER 5-8 Lower John Street, W1F 9DY UNTIL 4 OCTOBER 2019 UNTIL 7 NOVEMBER 39a Canonbury Square, N1 2AN
W1K 3JH WGrosvenor Gallery • Danh Vo: Cathedral Block, WRichard Saltoun WThe Mayor Gallery • Umberto Boccioni
• Claire Tabouret: Portraits 35 Bury Street, St. James’s, W1S 4JF Prayer Stage, Gun Stock 41 Dover Street, W1S 4NS 21 Cork Street, First Floor, W1S 3LZ UNTIL 22 DECEMBER
UNTIL 16 NOVEMBER • Wardha Shabbir: In a Free State UNTIL 1 NOVEMBER • Feminism in Italian Contemporary Art • Carlos Cairoli Freelands Foundation
WAmanda Wilkinson UNTIL 18 OCTOBER WMarlborough Fine Art UNTIL 9 NOVEMBER UNTIL 9 OCTOBER 113 Regent’s Park Road, NW1 8UR
8 Brewer Street, W1F 0SH WHauser & Wirth, Savile Row 6 Albemarle Street, W1S 4BY WRonchini Gallery WThomas Dane Gallery • Teaching Painting: Fully Awake 5.6
• Julia Dubsky: The Marshland Akimbo 23 Savile Row, W1S 2ET • Jonah Freeman and Justin 22 Dering Street, W1S 1AN 3 & 11 Duke Street, SW1Y 6BN UNTIL 3 NOVEMBER
UNTIL 26 OCTOBER • Mark Bradford Cerberus Lowe: Colony Sound • Conrad Marca-Relli • Luigi Ghirri: Colazione sull’Erba Parasol Unit
WAnnely Juda Fine Art UNTIL 21 DECEMBER UNTIL 19 OCTOBER 5 OCTOBER-21 DECEMBER UNTIL 16 NOVEMBER 14 Wharf Road, N1 7RW
Fourth floor, 23 Dering Street, W1S 1AW WHerald St, Museum St WMassimo De Carlo WSadie Coles HQ WTimothy Taylor • Rayyane Tabet: Encounters
• Utopia/Dystopia Revisited 43 Museum Street, WC1A 1LY 55 South Audley Street, W1K 2QH 1 Davies Street, W1K 3DB 15 Bolton St, W1J 8BG UNTIL 14 DECEMBER
UNTIL 2 NOVEMBER • Sanou Oumar • White: Work • Alvaro Barrington • Simon Hantaï, Pierre Soulages Zabludowicz Collection
• Suzanne Treister UNTIL 26 OCTOBER UNTIL 16 NOVEMBER UNTIL 26 OCTOBER and Antoni Tàpies 176 Prince of Wales Road, NW5 3PT
UNTIL 2 NOVEMBER WHollybush Gardens WMazzoleni WSadie Coles HQ, Kingly Street UNTIL 19 OCTOBER • 360: Rebecca Allen
WArcadia Missa 1-2 Warner Yard, EC1R 5EY 27 Albemarle Street, W1S 4HZ 62 Kingly Street, W1B 5QN WTornabuoni Art UNTIL 20 OCTOBER
First floor, 14-16 Brewer Street, W1F 0SG • Andrea Büttner: The Heart of Relations • Hans Hartung and Art Informel • Co Westerik 46 Albemarle Street, W1S 4JN • Puck Verkade
• Frieda Toranzo Jaeger: UNTIL 14 DECEMBER UNTIL 18 JANUARY 2020 UNTIL 2 NOVEMBER • Alighiero Boetti: Works on Paper UNTIL 20 OCTOBER
Fantasies of Autonomy WJack Bell Gallery WMichael Werner Gallery WSimon Lee Gallery UNTIL 8 JANUARY 2020 • Shana Moulton
UNTIL 26 OCTOBER 13 Mason’s Yard, SW1Y 6BU 22 Upper Brook Street, W1K 7PZ 12 Berkeley Street, W1J 8DT WVictoria Beckham UNTIL 15 DECEMBER
WBASTIAN Gallery • Lavar Munroe: Strangers in the Night • Peter Doig: Painting • Clare Woods: Doublethink 36 Dover Street, W1S 4NH WLisson Gallery
8 Davies Street, W1K 3DW UNTIL 8 OCTOBER 2019 UNTIL 16 NOVEMBER UNTIL 6 OCTOBER • Andy Warhol: Sotheby’s 67 Lisson Street, NW1 5DA
• Joseph Beuys WJD Malat Gallery WOctober Gallery WSkarstedt Gallery Selling Exhibition • Stanley Whitney: Afternoon Paintings
UNTIL 16 NOVEMBER 30 Davies Street, W1K 4NB 24 Old Gloucester Street, WC1N 3AL 8 Bennet Street, SW1A 1RP UNTIL 4 OCTOBER UNTIL 2 NOVEMBER
WBeaux Arts Gallery • Shiny Colourful Amusements • Life Through Extraordinary Mirrors • KAWS: Blackout WVictoria Miro Mayfair WLisson Gallery
48 Maddox Street, W1S 1AY for the Walls of the Bourgeoisie: UNTIL 23 NOVEMBER UNTIL 9 NOVEMBER 14 St George Street, W1S 1FE 27 Bell Street, NW1 5BY
• Four Giants of British Modernism Robert Montgomery WOlivier Malingue Gallery WSoft Opening • Grayson Perry • Ai Weiwei: Roots
UNTIL 19 OCTOBER UNTIL 2 NOVEMBER 2019 143 New Bond Street, W1S 2TP Picadilly Circus Underground, W1J 9HP UNTIL 20 DECEMBER UNTIL 2 NOVEMBER
WBen Brown Fine Arts WJohn Martin Gallery • L’Empreinte • Four Courtroom Outfits of Anna Delvey WVigo Gallery WPark Village Studios
12 Brook’s Mews, W1K 4DG 38 Albemarle Street, W1S 4JG UNTIL 13 DECEMBER UNTIL 24 NOVEMBER 21 Dering Street, W1S 1AL 1 Park Village East, Regents Park, NW1 7PX
• Enoc Perez: the Cinematic Self • Ed Kluz: Facades WOmer Tiroche Gallery WSotheby’s S2 Gallery • Biggs & Collings • Karsten Schubert: Dialectical
UNTIL 22 NOVEMBER UNTIL 5 OCTOBER 21 Conduit Street, W1S 2XP 31 St George Street, W1S 2FJ UNTIL 1 APRIL 2020 Materialism: Aspects of British
WBernard Jacobson Gallery WJosh Lilley • Fractures: Esti Drori Hayut • Huang Rui: Wild Children WWaddington Custot Sculpture Since the 1960s
28 Duke Street, SW1Y 6AG 40-46 Riding House Street, W1W 7EX UNTIL 8 OCTOBER UNTIL 14 NOVEMBER 11 Cork Street, W1S 3LT UNTIL 6 OCTOBER
OTHER SPACES: © PHOTO: JACK HEMS
• Some of the Artists I Have Worked For • Derek Fordjour: The House Always Wins WOzwald Boateng WSouthard Reid • Patrick Caulfield WVictoria Miro
UNTIL 5 OCTOBER 4 OCTOBER-16 NOVEMBER 30 Savile Row, W1S 3PT 7 Royalty Mews, W1D 3AS UNTIL 15 NOVEMBER 16 Wharf Road, N1 7RW
WBlain|Southern WKarnik Gallery • Crossroads by Youssouf Sogodogo • Ann Craven WWhite Cube • Rock My Soul
4 Hanover Square, W1S 1BP 4 Mason’s Yard, SW1Y 6DB UNTIL 18 OCTOBER UNTIL 2 NOVEMBER 25-26 Mason’s Yard, SW1Y 6BU UNTIL 2 NOVEMBER
• Henning Strassburger: Karma Mansion • Resonance X Relevance WPace Gallery WSprovieri • Damien Hirst: Mandalas • Doug Aitken: Return to the Real
UNTIL 16 NOVEMBER UNTIL 20 OCTOBER 6 Burlington Gardens, W1S 3ET 23 Heddon Street, W1B 4BQ UNTIL 2 NOVEMBER UNTIL 20 DECEMBER
50-58 Vyner Street, E2 9DQ • John Squire: Disinformation

• Michael E. Smith UNTIL 10 NOVEMBER
○ East London UNTIL 14 DECEMBER • Reason Gives No Answers
WThe Approach UNTIL 10 NOVEMBER
Autograph 1st Floor, 47 Approach Road, E2 9LY South London Gallery
Rivington Place, EC2A 3BA • Mike Silva: New Paintings 65-67 Peckham Road, SE5 8UH
• Lina Iris Viktor UNTIL 20 OCTOBER • Danh Vo
UNTIL 25 JANUARY 2020 • Maria Pinińska-Bereś: Living Pink UNTIL 24 NOVEMBER
Chisenhale Gallery UNTIL 20 OCTOBER Studio Voltaire
64 Chisenhale Road, E3 5QZ WUnion Pacific 1a Nelson’s Row, SW4 7JR
• Sidsel Meineche Hansen 17 Goulston Street, E1 7TP • Mary Reid Kelley and Patrick Kelley
UNTIL 8 DECEMBER • Theodoros Giannakis UNTIL 6 OCTOBER
Whitechapel Gallery UNTIL 26 OCTOBER Tate Modern
77-82 Whitechapel High Street, E1 7QX Bankside Power Station, 25
• Anna Maria Maiolino Sumner Street, SE1 9TG
UNTIL 12 JANUARY 2020 • Takis
AIR DE PARIS Grand Opening
• Fluxus Music, Scores and Records ○ South London UNTIL 27 OCTOBER FONDATION FIMINCO October 20, 2019
in the Luigi Bonotto Collection • Olafur Eliasson GALERIE SATOR
UNTIL 1 FEBRUARY 2020 Bermondsey Project Space UNTIL 5 JANUARY 2020
43 rue de la Commune
WCarlos/Ishikawa 183-185 Bermondsey Street, SE1 3UW • Hyundai Commission: Kara Walker
GALERIE JOCELYN WOLFF
Unit 4, 88 Mile End Road, E1 4UN • Alexandro Pelaez UNTIL 5 APRIL 2020 IN SITU FABIENNE LECLERC de Paris—
• Oscar Murillo: Trades Hall & Institute UNTIL 12 OCTOBER • Dóra Maurer JEUNE CRÉATION —à Romainville
UNTIL 19 OCTOBER Copeland Gallery UNTIL 5 JULY 2020 93230
WFlowers, Kingsland Road 133 Copeland Road, SE15 3SN WAuto-Italia
82 Kingsland Road, E2 8DP • Seeing Sounds with 434-452 Old Kent Road, SE1 5AG
& FRAC ÎLE-DE-FRANCE/
• Julie Cockburn: Telling it Slant House of African Art • Army of Love LES RÉSERVES (Prelude) komunuma.com
UNTIL 2 NOVEMBER UNTIL 7 OCTOBER 4 OCTOBER-8 DECEMBER
WHales Drawing Room WCecilia Brunson Projects
7 Bethnal Green Road, E1 6LA Unit 8 Rich Estate, 46 Willow Walk, SE1 5SF Royal Oak Yard, Bermondsey
• Hew Locke: Where Lies the Land? • Marc Bauer, Mal Être/Performance Street, SE1 3GD
UNTIL 9 NOVEMBER UNTIL 17 NOVEMBER • Feliciano Centurión: I Am Awake
WHerald St Gallery, Herald St Dulwich Picture Gallery UNTIL 27 OCTOBER
2 Herald Street, E2 6JT Gallery Road, SE21 7AD WCorvi-Mora
• Trix and Robert Haussman • Rembrandt’s Light 1A Kempsford Road, SE11 4NU
UNTIL 1 DECEMBER 4 OCTOBER-2 FEBRUARY 2020 • Lynette Yiadom-Boakye
WKate MacGarry Gasworks UNTIL 26 OCTOBER
27 Old Nichol Street, E2 7HR 155 Vauxhall Street, The Oval, SE11 5RH WDanielle Arnaud Gallery
• Goshka Macuga • Kudzanai-Violet Hwami 123 Kennington Road, SE11 6SF
UNTIL 19 OCTOBER UNTIL 15 DECEMBER • David Cotterrell: truth.lie.lie
WL’étrangère Goldsmiths Centre for UNTIL 12 OCTOBER
44a Charlotte Road, EC2A 3PD Contemporary Art (CCA) WGreengrassi
• Joanna Rajkowska St James’ New Cross, SE14 6AD 1a Kempsford Road, SE11 4NU
UNTIL 31 OCTOBER • Tony Cokes: TV Works, 1960-80s • Moyra Davey
WMaureen Paley UNTIL 12 JANUARY 2020 UNTIL 26 OCTOBER
21 Herald Street, E2 6JT Hayward Gallery WHannah Barry Gallery
• Liam Gillick: The Night of Red and Gold Southbank Centre, Belvedere 4 Holly Grove, SE15 5DF
UNTIL 17 NOVEMBER Road, SE1 8XX • Jean Feline, Merve Işeri, Lara Ögel
WMother’s Tankstation Project • Thabiso Sekgala: Here Is Elsewhere UNTIL 2 NOVEMBER
58-64 Three Colts Lane, E2 6GP UNTIL 6 OCTOBER WJGM Gallery
• Yuri Pattison Horniman Museum and Gardens 24 Howie Street, SW11 4AY
UNTIL 14 DECEMBER 100 London Road, Forest Hill, SE23 3PQ • Island by Alice Wilson
WProject Native Informant • Turn it Up: On Paradoxes UNTIL 2 NOVEMBER
Dressage Court, 58-64 Three UNTIL 21 JUNE WThe Sunday Painter
Colts Lane, E2 6GP Imperial War Museum 117-119 South Lambeth Road, SW8 1XA
• Gubbinal Lambeth Road, SE1 6HZ • Dalton Gata: The Gaze is Downstairs
UNTIL 2 NOVEMBER • Rebel Sounds UNTIL 2 NOVEMBER
WSeventeen UNTIL JANUARY 2020 WWhite Cube, Bermondsey
270-276 Kingsland Road, E8 4DG • Art in Exile 144-152 Bermondsey Street, SE1 3TQ
• Rhys Coren: Shape of Story UNTIL 5 JANUARY 2020 • Mona Hatoum: Remains to be Seen
UNTIL 26 OCTOBER Jerwood Space UNTIL 3 NOVEMBER
WSoft Opening 171 Union Street, SE1 OLN • Dóra Maurer
4 Herald Street, E2 6JT • Jerwood Collaborate! UNTIL 3 NOVEMBER
• Kira Freije UNTIL 15 DECEMBER
UNTIL 20 OCTOBER Newport Street Gallery
WStuart Shave/Modern Art Newport Street, SE11 6AJ
○ West London
Design Museum
Satellite fairs 224-238 Kensington High Street, W8 6AG
• Beazley Designs of the Year
1:54 Contemporary UNTIL 9 FEBRUARY 2020
African Art Fair Mosaic Rooms
Somerset House, WC2R 1LA 226 Cromwell Road, SW5 0SW
UNTIL 6 OCTOBER • Praneet Soi: Anamorphosis
UNTIL 7 DECEMBER
British Art Fair Pitzhanger Manor & Gallery
Saatchi Gallery, Duke of Mattock Lane, W5 5EQ
York’s HQ, King’s Rd, Chelsea, • Es Devlin: Memory Palace
London SW3 4RY UNTIL 12 JANUARY 2020
UNTIL 6 OCTOBER Serpentine Gallery
Kensington Gardens, W2 3XA
Decorative Antiques • Albert Oehlen
and Textiles Fair Alice Mann’s Keisha Ncube UNTIL 2 FEBRUARY 2020
Battersea Park, SW11 4NJ (2017), on view at 1:54 Serpentine Sackler Gallery
UNTIL 6 OCTOBER Contemporary African Art Fair West Carriage Drive, W2 2AR
• Luchita Hurtado
Moniker Art Fair UNTIL 20 OCTOBER 2019
The Chelsea Sorting Office, Victoria and Albert
90-100 Sydney Street, SW3 6NJ Museum (V&A)
ALICE MANN: COURTESY OF THE ARTIST AND AFRONOVA GALLERY
UNTIL 6 OCTOBER Roy’s Art Fair Cromwell Road, SW7 2RL

The Old Truman Brewery, • Food: Bigger than the Plate
Other Art Fair 91 Brick Lane, E1 5QL UNTIL 20 OCTOBER 2019
Victoria House, Southampton UNTIL 6 OCTOBER • Mary Quant
Row, WC1B 5HR UNTIL 16 FEBRUARY 2020
UNTIL 6 OCTOBER Sunday Art Fair • Tim Walker: Wonderful Things
Ambika P3, University of UNTIL 8 MARCH 2020
PAD London Westminster, 35 Marylebone WMichael Hoppen Gallery
Berkeley Square, W1 Road, NW1 5LS 3 Jubilee Place, SW3 3TD
UNTIL 6 OCTOBER UNTIL 6 OCTOBER • Autumn Exhibition
UNTIL 14 OCTOBER 2019
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FRIEZESCOPE: Water signs

Our resident mystic looks to the stars to help you navigate Frieze week
Cancer (21 June-22 July) Scorpio (23 October-21 November)

The first week of October is all about
endings for you, Scorpio. That’s because
the sun, Mercury and Venus are all
moving from the 12th and last house of the zodiac
wheel into the first house of self around 4 October.
It is a good time to re-evaluate who and what
you want to support before your birthday season
MARGARET CARRIGAN: © K.G. WASSUS. JUDY CHICAGO: PHOTO: DONALD WOODMAN. ANGELICA KAUFFMANN: COURTESY UFFIZI GALLERY. ANISH KAPOOR: MARK THOMAS/ALAMY STOCK PHOTO.
arrives later in the month, initiating a new year for

you. You might feel a little burned by what comes
to an end now, like Gail’s running out of sausage
rolls. But rest assured that it’s ultimately not that
big of a deal and probably for the best.
Margaret Carrigan (aka Mystic Mag) Scorpio artists: Annibale Carracci, Nikki de Saint Phalle,
Angelica Kauffman
Governed by the Scorpio Angelica Kauffman’s birthday is approaching

element of emotion,
water signs often As Frieze week unfolds,
swim between dreams Pisces (19 February-20 March) there is a lot of plan-
etary activity in your
and reality. The eighth house of intimacy and
partnerships. This is great for
first half of October Pisceans, who love to feel deeply
connected to someone to the point
is mostly free of of occasional obsession. At the
challenging planetary same time, your ruling planet is in
the first house of self, so beware
transits, so allow Judy Chicago takes a typically Cancerian sideways approach to the world
that you are not pushing your own
yourself to paddle The first week of October sees your fourth house of home,
family and self-care lit up, with Mercury, Venus and the sun
agenda onto others in the blind
belief that they want the same
in the pools of all resting in there. Wanting to stay home and navel gaze is thing. See Boris Johnson’s govern-
pretty on brand for you, dear crab, as your tough outer shell belies ment for a cautionary tale.
your subconscious a tender soul. Rambunctious Mars, however, is stirring things up Pisces artists: Alberto Burri, Rosa
in your third house of social networking until 5 October: perhaps Bonheur, Anish Kapoor
you bonded with colleagues over JR’s redesign of The Art Newspaper
LOOK FOR THE OTHER ZODIAC masthead. That comradery will come in handy when the sun moves
SIGNS, BROKEN DOWN BY RULING into Scorpio later and you feel extra emotional. Anish Kapoor: Pisceans are
ELEMENT, IN THE NEXT DAILY EDITION Cancer artists: Edward Hopper, Judy Chicago, Wangechi Mutu often keen to connect
DIARY
Frieze Week
Mad about the Boy
Ai Weiwei goes window shopping
Ai Weiwei was spotted
browsing his favourite
Frieze Masters stand: Galerie
Gisèle Croës from Brussels,
which specialises in Chinese
arts spanning some 3,000
years. The piece that especial-
ly caught his eye was a white
marble head of Boddhisattva
dating from the Northern Qi
Party people: Goodman Gallery visitors Dynasty, when the Chinese
get into the groove at the inaugural show started to make Buddhist
statues under Indian influ-
ence. But while Ai admired
Goodman gets a shift on the “sincerity of the lines”
and compared the “enigmatic
Johannesburg’s Goodman Gallery can claim curves” of the lips to the Mona
a new (art) world record—turning an empty Lisa, he did not make a pur-
Mayfair venue into a swanky emporium in chase. Perhaps his new home
the fastest time possible. The great and the in Cambridge lacks the space
good of London’s art world, including artists for acquisitions? To hear more
Yinka Shonibare and Lisa Brice, descended about Ai’s own work and his
on the gallery’s new space earlier this week view of the unfolding events
to ponder the inaugural show I’ve grown in Hong Kong, the Amazon Everything stops for tea: Boy George brewed
roses in this garden of mine (until 2 Novem- and here in pre-Brexit Britain, up some hot sounds at the Arts Club
ber). An eminent art critic who shall remain tune in to our podcast inter-
nameless was in awe of the transformation. view airing today. He may have been sipping daintily from a teacup
“I walked past last night and this was largely rather than partaking of anything more powerful, but
empty,” he exclaimed. Boy George showed that he had lost none of his ability
Ai Weiwei was seen to get a dance floor heaving when he DJed to a packed
pondering whether this crowd at the Arts Club party on Wednesday. Revellers
marble Boddhisattva head carousing against a backdrop of palm trees and large-
might look good on his scale artworks by Etel Adnan included designer Henry
Here comes Barbie-rella Cambridge coffee table Holland, artists Rana Begum and Conrad Shawcross,
AI WEIWEI: ALISON COLE. GRAYSON PERRY, BOY GEORGE: COURTESY LOUISA BUCK. THORNTON DIAL: COURTESY CHRISTIE’S JANE FONDA: WIKICOMMONS. GOODMAN GALLERY: ©NICK HARVEY 2019
gallerists Harry Blain and Vito Schnabel, Frieze Projects
curator Diana Campbell Betancourt and Dhaka Art
Summit patrons Nadia and Rajeeb Samdani, all of
whom showed off their ability to throw some shapes in
the middle of Frieze Week.
Artoon by Pablo Helguera Alan Measles reports

for charitable duty
Thornton Dial’s Trophies (Doll
Factory) caught Jane Fonda’s eye
Grayson Perry may be satirising the hand that
Who knew that Jane Fonda collects in-your- feeds him with his show Super Rich Interior
face contemporary art? The superstar actress Decoration (until 20 December) at Victoria Miro
has consigned an eye-popping work by the gallery, but the art world’s favourite transvestite
late Thornton Dial, Trophies (Doll Factory) potter is also supporting a cause that is literally
(1999), to Christie’s post-war and contempo- close to his heart this week. His gilded ceramic
rary auction tonight. The assemblage—esti- sculpture of his childhood teddy Alan Measles
mated at £160,000 to £200,000—is dotted is one of 12 works donated by artists—including
with Barbie dolls, stuffed animals and plastic Jeff Koons, Anish Kapoor and Sarah Lucas—to So-
toys. Fonda explains in a recent film why the theby’s contemporary day sale today to benefit
provocative piece appeals. “It’s really about the Aortic Centre Trust. Perry says that watching
how women are trying to prove that they’re Jullien Gaer—one of the trust’s founders—per-
not just objects but that they’re forming open-heart surgery ten years ago was
strong. The minute I saw “one of the most moving experiences of my life”,
it, I said ‘Barbarella’,” she although with characteristic wit he also likens it
says, referring to the to “sewing prosciutto at the bottom of a bucket”.
1968 kitsch epic film in “I’ve decided I will be a pioneering artist—
which she played a feisty, Big-hearted bear: a gilded ceramic sculpture
feminist space adventurer. so I have started making early video art.” of Grayson Perry’s partner-in-crime will
Girl Power. be auctioned for the Aortic Centre Trust
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U. ALLEMANDI & CO. PUBLISHING LTD. EST. 1983, VOL. XXIX, NUMBER 316, OCTOBER 2019
ALL CHANGE
Opening of high-tech
storehouse speeds
up the Louvre’s
great rehang
MUSEUMS
PAGE 23
Where there’s a Wallace

Collection will there’s a way...
BUYER’S GUIDE
Mouton to lapin:
inside the market
for design duo
Les Lalanne
ART MARKET
PAGE 54
NEW REVIEW
What’s happening in
Exhibitions, Books
and Media in our
redesigned section
REVIEW
40-PAGE SECTION
UK £10.00/US $17.99/RoW £15.00
Loan restrictions stipulated in the London museum’s original bequest are loosened,
paving the way for joint international exhibitions in Los Angeles and Vienna
First 3 months for £11, and then £21 every quarter *

By Martin Bailey
LONDON. The Wallace Collection, one of Britain’s most atmos-

pheric national museums in an historic house, is moving into
the international exhibitions circuit, now that it is able to lend
its works for the very first time. The Art Newspaper can report
that Lady Wallace’s 1897 will has been reinterpreted, and is no
longer regarded as a prohibition on lending. This will put the
Wallace Collection—home to the art and armour collections
the charity [the Wallace Collection] to be able to lend objects
from the Wallace Collection and to borrow works of art for
exhibitions”. After consulting with the government’s culture
department, which regulates and funds the Wallace Collection,
the commission granted an order enabling loans.
So why did this not happen earlier? According to the Wal-
lace’s chairman, António Horta-Osório, until recently it was
believed that having all the collection on display “outweighed
the advantages of national and international collaboration”.
A Wallace
Collection show
on Fragonard,
featuring The
Swing (1767) from
its collection, is
now on the cards.
Below: Wallace
chair António
THE COMPLETE
brought together by the first four Marquesses of Hertford and But with what he describes as the changing cultural landscape, Horta-Osório and
SUBSCRIPTION PACKAGE
Sir Richard Wallace—in a strong position to obtain reciprocal “this balance has shifted and in order fully to engage with the director Xavier
loans and mount major shows. international art community, we must be able to share exper- Bray with Lady
Following loosening of the loan restrictions, the Wallace tise and resources with our colleagues in other great collections Wallace’s 1897 will
Collection is now discussing joint exhibitions with museums around the world”.
in London, Los Angeles and Vienna. Once the museum is able In 2000, the Wallace opened its first temporary exhibition
Get seamless digital and print access to all our breaking news, agenda-setting
to make loans, others are keener to reciprocate with lending to space, in the basement, and therefore not part of the original
the London collection or to embark on joint shows. historic house where the permanent collec- In France, both the Musée Nissim de Camondo, a collection
Xavier Bray, who took over as the Wallace tion is displayed. Although a fairly small of decorative art in Paris, and the Musée Condé, set up by Henri
director three years ago, says that the wording area, it was tripled in size with an extension d’Orléans in his château in Chantilly, can never lend. In the US,
of Lady Wallace’s will specifies that the family in June last year. In recent years, borrowed the Frick Collection in New York—the closest comparison to
bequest shall always be “kept together” works have also occasionally been dis- the Wallace Collection—cannot loan works donated by Henry
and unmixed with other objects of art. played in the historic rooms; currently, Clay Frick, although it can lend paintings that were acquired
Since the bequest to the nation in 1897 for example, it is showing Manolo later. The Isabella Stewart Gardner Museum in Boston can lend,
(and the museum opening in 1900), this Blahnik shoes alongside paintings. but is obliged to leave empty spaces on its walls.
has been interpreted as a prohibition So what is planned for the Wallace Collection? There will be
on lending, although the will did not Comparative cases an important loan to a monographic show for 2020 on a north-
specifically prohibit temporary loans. Other museums with origins in ern Old Master, with details to be announced shortly. Bray is
LES LALANNE: COURTESY OF SOTHEBY’S PARIS. FRAGONARD: PHOTO: © PHILAFRENZY; THE WALLACE COLLECTION. HORTA-OSÓRIO AND BRAY: ©TOM MANNION 2019
Complete
Bray wanted to “think about private collections have also had also in discussion with Vienna’s Kunsthistorisches Museum
how we could change the status restrictions on lending. The Burrell about a possible exhibition on German Renaissance armour,
quo and start collaborating with Collection in Glasgow was allowed to since the Wallace has a fine armoury. Another project is likely
other museums in organising more lend within the UK but not to send to be a Fragonard show, featuring the Wallace’s saucy painting
ambitious exhibitions”. He works overseas. But in 2014 its of The Swing (1767) and his evocative The Souvenir (1778). A major
investigations and in-depth analysis with the complete subscription package.

approached the Charity Com- trustees obtained special approval show on Frans Hals is also being planned, which will enable the
mission, which determined from the Scottish Parliament to Wallace’s famed Laughing Cavalier (1624) to be shown alongside
that it is “in the interests of enable them to lend abroad. Hals’s other portraits.
spent over a decade examining texts in 1511, eight years before Leonardo’s
Forget the Salvator Mundi: focus on Vasari
access to online
such as The Lives of the Most Excellent Paint- death in France, he never met the cele-
ers, Sculptors, and Architects, written by the brated artist but was able to reconstruct
16th-century artist Giorgio Vasari and one most of his life through direct and
The Louvre’s exhibition on Leonardo da Vinci reveals the artist’s life. Contrary to the mythol- of the ideological foundations of Italian indirect testimonies.
ogy that surrounds the artist, suggesting Renaissance art history. To coincide with Frank praises Vasari’s understanding
ground-breaking new research on Italian literary sources that he was easily distracted and moved the show, a new version of Vasari’s Life of Leonardo’s spirit but says that he took
Monthly
frequently from one preoccupation of Leonardo da Vinci is being published by none of his assertions for granted and
By Vincent Noce primarily on whether the Salvator Mundi to another, the curators argue that all the Louvre and the art publisher Hazan, assiduously cross-checked the writer’s
will be included in the display, the real of Leonardo’s endeavours in multiple featuring the original Italian texts along- statements about the artist’s life and
PARIS. The highly anticipated Leonardo substance of the show is the exhaustive fields were ultimately undertaken in the side Frank’s translations. work against other documents. He urges
da Vinci exhibition marking the 500th research into Italian literary sources con- service of painting. A painter at the Medici court, Vasari caution when we read the many subse-
anniversary of the artist’s death opens ducted by Louis Frank, a curator in the Frank, who has organised the exhi- wrote biographies of the greatest artists quent accounts of Leonardo’s life.
at the Musée du Louvre in Paris this prints and drawings department and a bition with Vincent Delieuvin from the of his time, encompassing the likes
month. Although the media has focused philologist, which has shed new light on museum’s paintings department, has of Donatello and Michelangelo. Born
content
CONTINUED ON PAGE 13
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S I N C E 17 0 7
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THE ART NEWSPAPER| FRIEZE ART FAIR |4 OCTOBER 2019 ISSUE 3| FREE EVERY DAY

Something in the stars? BY

Art world goes spiritual

queueing around the block when it opened last

COMMENT INSTALL THE

A recession is on its way

28 September – 6 October 2019

System upgrade for

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Venice Biennale logical twist on Michelangelo’s

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Clockwise, from left: the original Sistine Chapel

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