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INVESTIGATING FRAUD IN THE ONLINE ART MARKET

Top storiespage 7

InterviewThe Edge of Middle Eastern art :

Stephen Stapletonpage 9

Museums

page 14Galleriespage 18

InterviewGiving art back to Africa:

Barthlmy Toguopage 21

Artistspage 26

InterviewDogs in the Living Room:

with Farid Rasulovpage 27

DataTom Wesselmann

page 31

Auctionspage 36

Fairs & festivalspage 39

UntitledMark Landis

In the style of Honor DaumierCourtesy of Oklahoma City Museum of Art.Photo: Shannon Kolvitz

THIS DOCUMENT IS FOR THE EXCLUSIVE USE OF ART MEDIA AGENCYS CLIENTS. DO NOT DISTRIBUTE. www.artmediaagency.com

AMA NEWSLETTER

16911 September 2014

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In recent years, the online art market has exploded; according to a 2014 Hiscox report, it is now esti-mated to be worth $1.57 billion. With both Christies and Sothebys opening online platforms and the

launch of a huge number of independent auction websites, the buying and selling of art has neverbeen easier or more accessible. Whilst the online art market moves towards the idea of art for eve-ryone becoming a reality, this new-found inclusivity comes at a price as the market has found itselfooded with fakes and forgeries.

Fine Art vs Accessible Art

The term online art market is one that encompasses a broad spectrum of retailers including thosewho are part of the professional art world; including artists, galleries, auction houses, specialist on-line auction platforms, and public auction sites, such as eBay and its Chinese counterpart, Taobao. Atthe professional end of the spectrum, both Christies and Sothebys have seen great success in theirrespective online platforms; after a shaky start with their initial ill-fated venture with eBay in 2002,Sothebys nancial report for the rst half of 2014 showed that participation in their online platformBIDnow had almost doubled, and in April 2014 the site set a record for their most expensive work sold

in a live online auction (John James Audubons The Birds, which reached $3.5 million). The past monthhas also seen the launch of Bidsquare, a new online auction site set up by reputable US auction housesRago, Brunk, Cowan's, Pook & Pook, Skinner and Leslie Hindman. Bidsquare only allows recognisedauctioneers to sell on their site, stating that our goal is to attract the most qualied, serious biddersto qualied, serious auction houses. Concerning auction sites of this nature, buyers are condent thatthey are looking at the genuine article; works are checked over by industry professionals before theyare put up for sale and collectors are dealing with names that they know and trust. In fact, some areeven starting to prefer purchasing art in this way. Georgia Spray, of online auction platform The AuctionRoom, says, Buying art online is an ecient and intuitive process which is unintimidating to rst-t imebuyers as well as accessible to an international audience. At The Auction Room our absentee biddingsoftware enables clients to place maximum bids which are executed on their behalf if they are not ableto attend the auction, but at the same time our nal live online room retains the theatre and excitementof a traditional auction.

However, the rise of trustworthy auction sites has opened the gates for less authentic sellers; a greaternumber of esteemed sellers means that it is easier for less reliable sites to blend in and pass themsel-ves o as the real deal, as buying valuable art online becomes increasingly acceptable. Screenshot: eBay


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The largest online public auction site is, undoubtedly, Californian multinational eBay, with membersnumbering in the hundreds of millions. Although the site by no means deals exclusively with art, it stillshifts a huge number of works on a daily basis and whilst many of the items on sale belong to artiststrying to sell their own works, one can also nd surprisingly bargainous works by well-known artists;such as an original Henry Moore engraving, or a signed Warhol lithograph. The low prices for theseworks may seem too good to be true; and in many cases, they are. In recent years, there have beenseveral high-prole cases of artists being prosecuted for making money through the sale of forgedartworks on the site. One such case is that of John Re, an American painter who made $1.9 million byselling fake Jackson Pollock works on eBay, claiming that he happened upon a cache of Pollock pain-tings when cleaning up an elderly widows basement. One can also cite the example of Michael Little,who was caught selling simple glass pieces as original Dale Chihuly sculptures, or the recent wave offake Warhols and Harings; evidently, all of this suggests that art fraud is big business on eBay, so muchso that in a recent DailyBeast.com article, the site was referred to as an art forgers paradise. All of thisis despite the fact that, if caught, perpetrators can face prison sentences or hefty nes; clearly theremust be a healthy prot to be made in order to make the risk worthwhile.

It is not just the reward which tempts forgers to try their luck in the online market. For starters, there areobvious advantages to passing o a fake as genuine online as opposed to in person: it is more dicultto inspect a piece in detail, there is no need for a concrete enterprise from which to sell the work and,if somebody should ask for authentication, there is no need to produce it on the spot. Furthermore,the clientele using sites like eBay tend to be less savvy than those buying from well-known art dealersand so are more easily exploited. Sellers will create intricate back stories about how they came to ndthe piece, use complicated vocabulary, and create excuses for missing authentication documents, astactics to make their incredible deals appear more credible. These knock-o pieces come with justenough information to fool buyers who may not have much experience of the art market into believingthat they have genuinely stumbled across a bargain.

Forgeries and fakes are also an issue for Chinese auction site Taobao. Much like eBay the site doesnot specialise in art, yet some high-prole transactions have taken place there notably when Be -verly Hills-based Galerie Michel sold a Picasso painting and a Dali sculpture to Chinese collectors. It

has been known for some time now that the Chinese art market is growing rapidly, particularly theincreased interest in Western art which Taobao is all too ready to exploit. However, possibly more sothan eBay, Taobao has something of a reputation for fake goods across its merchandise; inauthenticgoods elsewhere on the site harm the reputation of all that is on sale, putting the trustworthiness ofthe retailer in doubt.

The cost to the art market

Such a list of high-prole fakes being peddled on these sites does not seem to have prevented peoplebuying art from eBay or Taobao; but what damage is this doing to the art market as a whole? Ms Spraysays: Online art fraud can be a misleading concern about buying art online and often gives the onlineart market bad press it does not always deserve. As long as buyers transact with trusted sites who areas transparent and informative as possible, then this should not be a problem.

Furthermore, the actual cost to the artists and their estates is huge. Large amounts of money are putinto trawling the internet, looking for fakes, and taking them down. So great is the problem of fraud thatin 2012, the Giacometti Foundation and the Picasso Estate founded the International Union of Modernand Contemporary Masters to promote legal protection against the circulation of counterfeit works ofart. One of the issues with selling of forgeries online is that once they have been sold, they tend toremain in circulation and are incredibly dicult to track; one particular Matisse forgery, for example,was taken to experts on three separate occasions and each time was deemed inauthentic.

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OdalisqueElmyr de Hory

In the style of Henri Matisse.Courtesy of the Collection of Mark Forgy,

Photo: Robert Fogt

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Preventing online art fraud

If online art fraud is as widespread as it would appear, then is there anything a buyer can do to avoid being caughtout, or are they better o avoiding buying online at all, even from reputable sellers? Josh Baer, of Baer Faxt andadvisor to eBay, says; Art fraud exists on and oine it is up to buyers to be reasonable and for art sites likeeBay to be diligent in trying to stay one step ahead of fraudulent sellers. Ms Spray also advises caution: If youare buying o regulated sites you have to be very informed about your market in particular categories therecan be a lot of fakes. It is possible to buy items of decorative value from these sites, but buyers cannot expectto purchase items that will retain a market value or re-sale value it is a gamble in this respect. If one looksat eBays guidelines, they are in fact quite thorough. There are very precise rules referring to the circumstancesunder which one can refer to a work as genuine, ensuring that for a work to be described as such one must beable to produce reasonable evidence to prove its authenticity; the policy also states that the seller must takeresponsibility for the authenticity and legality of a genuine work. The regulations are also very strict regardingthe exact language used to describe pieces, such that it is very clear when a work is a reproduction or a replica.In terms of enforcing their own rules, eBay do not vet each item as it is put up for sale on the site (undoubtedlydue to the sheer volume of items), but they do investigate complaints received within a very short space of time

(unlike Taobao, who can take up to two weeks to investigate a complaint by which time it is often too late).

Understandably, the high-octane nature of auctions means that waiting for a complaint to be investigatedmay not be an option; in which case, the onus is on the buyer to use their common sense. In an articlewritten for BLOUIN ARTINFO, Abigail Esman reminds buyers that, You wouldnt buy a car youve neverdriven, a house youd never entered. Let this be your guide in buying art. Before rushing into an excitingbidding war on a supposed bargain, one must rst take the time to properly research the piece; and, if thetransaction involves a substantial sum, perhaps engage an expert for a second opinion. Researching theprovenance of a work is vital, as is seeing a certicate of authentication. It is also worth looking up the workonline; if not purely to check that the image shown by the seller has not been pulled from a search engine.

Art forgery: a prevailing problem

Of course, as Mr Baer points out, forgery is, unfortunately, symptomatic of the art market; as long as art

is valuable, people will attempt to get their share of the prot. For example, it is dicult to forget theexample of the once-prestigious Knoedler gallery, which was forced to close in 2011 after they werediscovered to be selling fakes of prominent 20thcentury artists including Willem de Kooning, JacksonPollock and Mark Rothko. This case, amongst others, proves that even professionals and those withexperience in the art business can easily be duped by a skilled and knowledgeable forger.


Untitled

Mark LandisIn the style of Paul Signac.Courtesy of Oklahoma CityMuseum of ArtPhoto: Shannon Kolvitz



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The risk is always going to be greater when buying such an expensive item from somebody unknownto the buyer, as Mr Baer summarises: By denition buying from known sellers is safer thats why weat eBay are also creating areas where we make this happen but if its too good to be true, watchout that applies both on and oine. Certainly there are bargains to be had, but one must alwaysremain rational. Jackson Pollock famously achieved the highest ever price for a work in auction whenhis 1948 work Number 5 sold for $140 million at Sothebys; so if there is an original work being soldonline for several thousand, it is probably wise to be sceptical.

However, whilst the cost to the artist cannot be denied, one can raise the question of whether forgeries arealways inherently bad. For a collector looking to make a return on an investment, nding out a work is aworthless forgery is a disaster; however, for an amateur who believes that the work is real and gets pleasurefrom it, is the authenticity of the piece of any real importance? Whats more, some even celebrate forgeriesas artworks in their own right; after all, many of those behind the fraudulent works are in fact highly skilledartists themselves. Currently on tour is the exhibition Intent to Deceive: Fakes and Forgeries in the ArtWorld, which is displaying the works of some of the 20thcenturys most notorious forgers alongside someof the works they were attempting to replicate. These con artists were working well before the advent of

the Internet, showing that whilst some may be opportunistically exploiting the loopholes of the online artmarket, there have always existed people seeking to make money from forged artworks.

For all the eort that the art market is putting in to improve the detection of fraudulent works, forgeryremains a lucrative business; and the online art market, too, shows no signs of slowing down. Accordingto the 2014 Hiscox report, almost 25% of 20 to 30-year olds surveyed said they rst bought art onlineand the report predicts that the value of the online art market is set to rise to $3.76 billion by 2018.In order to stem the ow of fraudulent works entering the market, it is up to both the industry and thebuyer to remain diligent and to evolve with this ever-changing market.

pepe gaitnepiphany

christian berstart brutk l e i n & ber st

3-5, passage des gravilliers

75003 paris - france

september 9 > october 11, 2014



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Top stories

LEGAL

Collector Bert Kreuk sues artist Danh Vo for $1.2 millionDutch-born collector Bert Kreuk is suing the artist Danh Vo for around$1.2 million for failing to deliver an artwork for Kreuk's exhibition Trans-forming the Known which took place last year at the Hagues Gemeente-museum. Kreuk bought the artwork for $350,000, yet he is claiming si-gnicantly more in damages from Vo as he claims the aair has had bothnegative eects on his nances and his reputation. It is predicted that thetrial will be a lengthy one.Kreuk is a controversial gure in the collecting world, and although hehas acknowledged his use of art as a form of investment, he claimed in aninterview with Sotheby's that Transforming the Known had nothing todo with selling.

REPATRIATION

Stolen Cabrera paintings returned to PeruNine paintings by 19thcentury Peruvian artist Miguel Cabrera, which werestolen from a church in Lima, Peru, have been returned to the country.The paintings were stolen six years ago and smuggled out of Peru inorder to be sold on the international market. Eight of the paintingswere discovered in 2009 at an auction house in Iowa, USA, consignedby an unidentied dealer. The remaining painting was found for salein a New York auction house, where the FBI took possession of it ear-lier this year. Upon learning that the works were of illegal origins,the consignors relinquished all claims to the works. The FBI have notrevealed how the paintings came to be in the sellers' possession andthe investigation into the theft itself remains ongoing.The works were returned to the Peruvian government Friday 5 Sep-tember at a ceremony at the United States Attorneys Oce in New York.

ARTICLE OF THE WEEK

Artwork flipping at an all time low according to Tutela CapitalTutela Capital an art advisory and in-vestment service, has recently releasednew research on the phenomenon of artipping. This latest information seeminglycontradicts many media articles claimingthat art ipping is experiencing a moment.Today the average period for holdingartworks is at the same rate as in 1995,following a 20-year low in the year priorto the recession, suggesting a buoyantperiod for the market. The report entitledAnalysis of holding period for young ar-

tists since the 1980sproposes arguments

as to why the average time of holding anartwork has varied signicantly over thelast decade:During the crisis period of 2009-2011,there was a short supply of new young ar-tists in the art market. The young artists ofthe time did not have the time to build theirmarket at auction as the crisis led to fewersales and thus less exposure. The owners,who are generally loss-adverse, kept theyoung artists acquired prior to the crisisin their collection/portfolio. As a conse-

quence, the pool of young artists was not

renewed during the crisis years because oflack of liquidity and poor market circums-tances. Therefore the perceived 'art ip-ping' phenomenon may not be interpretedas such, but be understood more as a com-pensation eect from the crisis periodslack of renewal. The short supply of youngartists and the willingness of owners andneed to renew art portfolios after abnor-mally long holding periods may be seenas contributing to this form of recent fastmarket activity.

SCHOOL

Glasgow School of Art to host symposia on rebuil-ding iconic Mackintosh library following re

Following a re in May which destroyed its ico-nic Mackintosh building, Glasgow School of Art ishosting symposia in Venice and Glasgow to dis-cuss how to rebuild.The rst meeting is to take place 18 October atthe Venice Architecture Biennale, where expertswill discuss the restoration of the 19th-century

building by architect Charles Rennie Mackintosh.The Grade A listed building lost about a tenth ofits structure in May earlier this year during a re,which also destroyed some studios, the libraryand archival stores, including ungraded artworkby some of the school's students. A campaignto raise 20 million to help save the building iscurrently underway, and following the event inVenice a second symposium is to take place inGlasgow in spring 2015.Head of the Mackintosh School of Architectureat the GSA, Professor Christopher Platt, told TheGuardian: "What should the plans be for bringingthe Mackintosh building into full use once moreand how should we approach the particular issueof the Macintosh library? These are highly com-plex questions and by necessity any discussionmust involve contributions from many dierentpeople and organisations from across the world."



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SCHOOL

Vik Muniz to build art school inBrazilian favelasBrazilian artist and photographerVik Muniz is to build his secondart and technology school in the

slums of Rio de Janeiro.The project is partnered with theMassachusetts Institute of Tech-nology in order to develop theprogramme. Escolado do Vidiga-la, in the neighbourhood of Vidi-gal, will oer free art classes tolocal children between the agesof ve and eight.This is Muniz's second art schoolof the same genre, having foundedthe Centro Espacial Vik Muniz an art institute within the schoolGalpo Aplauso in 2006, also in

Rio de Janeiro. The school currentlyhas around 400 students from 200favelas attending classes each year.We want to prepare kids to liveand exist in a very visually challen-ging environment and to be able toact as producers as well as consu-mers, explains Muniz to The ArtNewspaper. Their reality is verydierent than that of the regularart student, he tells db artmag.de.

RESTORATION

George Washington Lansdowne portrait to receive conservation and analysis workThe Smithsonians National Portrait Gallery, Washington DC, has planned conserva-tion and analysis work on one of the most famous portraits of the rst Americanpresident, George Washington. The work is entitled Lansdowneand was painted in1796 by Gilbert Stuart.

Work on the painting will begin in 2016 in order to remove a yellowing varnish thatis currently distorting the original colours of the painting, before being analysed withdigital x-rays and infrared imagery that will reveal more about Stuart's technique andany changes that could be hidden beneath the surface of the painting. The 18-monthproject has been in the pipeline for several years, however it has been perpetuallydelayed as the museum was reluctant to take its star attraction o display.We are preserving this painting forever, for posterity, and at this point in its histo-ry, it needs some attention, explained chief curator Brandon Brame Fortune to TheGuardian. Its still very, very stable. But we want to be sure our visitors are seeing itlooking its absolute best.

OBITUARY

Death of Emilio Botn, banker and arts patron

Emilio Botn president of Banco Santander and supporter of contemporary art,with his strong family ties to the Fundacin Botn has passed away aged 79.Although more widely known as the man who turned Banco Santander into the lar-gest bank by value in the eurozone, he was also the patron of what is now Spain'slargest private cultural investment.His family foundation was launched by his father in 1964, and boasts artists suchas Juan Muoz, Julio Sarmento, Tacita Dean and Gabriel Orozco amongst its collec-tions. On its website, the foundation states that it aims to contribute to the develop-ment of society through the promotion of creative talent and exploring ways to ge-nerate cultural richness. His death comes during the construction period of the $106million art centre, the Centro Botn in Santander, for which he was the benefactor.



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InterviewTHE EDGE OF MIDDLE EASTERN ART :

AN INTERVIEW WITH STEPHEN STAPLETON

Can you explain how Edge of Arabia came about?The project started when myself and a group of Saudi-based artists met in the south west corner ofthe Arabian Peninsula on the eve of the last Gulf War. Before starting Edge of Arabia I felt rejected

by the existing art institution as the generation after the YBA I didnt feel the art scene in theUK was a centre of energy that I wanted to focus on. Looking at the increasingly globalised andnetworked world, I decided I wanted to be a travelling artist. Myself and a group of other Britishartists started planning an expedition to the Middle East in 1999, before 9/11 happened. Then thisextraordinary event in America created this astonishing reaction. We were in the Middle East forabout a year from November 2002 through to mid-2003 , travelling in a beat-up truck, livinghand-to-mouth and selling our art. We were there at a time when perceptions were starting to shift.We were taken by this idea that imagery and storytelling was at the heart of this; the media wastelling a story and it was dierent from what was happening on the ground. That put us in a reallyinteresting position as artists, sitting in cafs in Iraq, Iran, Saudi Arabia, with our friends, thinking;"Why arent artists more involved in this?" We are storytellers, we are image-makers; Edge of Arabiaemerged from this moment in history.

It was also the beginning of the Internet in that region, and even our generation was only just star-ting to use it. We could communicate faster than before and we could make friendships in strangeplaces. I had an extraordinary opportunity during that rst journey when I separated from the otherartists and went to Yemen, then into Saudi, pretty much on the day that Britain and America beganattacking Baghdad. I made friend with a group of Saudi artists that would become the core of Edgeof Arabia.

Stephen Stapleton is a British artist who, along with Saudi artists Ahmed Mater and AbdulnasserGharem, founded the artist collective Edge of Arabia in 2003. To date, the social enterprise has wel-comed 300,000 visitors to its exhibitions, and is about to embark on a three-year road-trip aroundthe United States. AMA spoke to Stapleton to nd out more.

Courtesy of Edge of Arabia



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The foundation of EoA was a vision based on common concerns: why should artists be on the peripheryof this moment in history? Why should there be so little collaboration across the border between theIslamic world and the Western world? Why cant artists be cultural activists? I was fascinated that theseartists were trying to speak, yet at the time not that many people were interested, not even in Saudi. Theartists with whom I was working were the new generation searching for a language that was contemporaryand local, breaking away to form a dierent movement that was more Modernist. We were lucky becausewe were in the right place, at the right time. Two things were at the heart of our project: strong friendship,which we felt was like an active resistance against the dominant narrative saying dont be friends acrossthese borders; and a common belief that artists on the edge hence Edge of Arabia of the internatio-nal art market, are often at the centre of things. When theres a blind spot in somewhere like Saudi Arabia,it is one of the most important places to look for artistic voices because thats where the fault line betweencapitalism and Islamic ideas is most intense; and that is where much of the present tension originates.

How are you taking this message beyond the Middle East?When we began, I set up a series of organisations in London and developed an independent platformallowing us to do exhibitions and print books. We started building our own story; Edge of Arabia went toLondon, Berlin, Istanbul, Venice, Riyadh, Jeddah, and back to London. Technically were a social enter-prise, and Im very much a believer in that its important were independent, because things that startout authentically can quickly become vehicles for something else, like commerce or the promotion ofluxury brands. The art world is complicated, especially in the Gulf, with all the money thats come into it.Over the next three years were embarking on a huge road trip in the U.S, we want to go back to theorigins of what were good at, which is creating spaces for storytelling where artists from dierentbackgrounds and cultures can get together in an environment thats ours.Courtesy of Edge of Arabia



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Hannoun 1972-2009.Taysir Batniji

Courtesy of the artist and Edge of Arabia

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How is the project funded?The way we funded ourselves from the beginning was by selling art, artists were provided funding,grants and sponsorship. Through that, I think we were at the heart of creating the market for Sau-di Arabian contemporary art. We legitimised it and created a dynamic between the growing localcommunity and the international art market that was suddenly starting to take interest. From therewe created EOA Projects, which is our gallery run according to our style. As its part-owned by Edgeof Arabia, it acts as an income stream for the non-prot projects. Its based on our unique unders -tanding of the artists and what they need to develop as well as our empirical understanding of themarket and the growing audiences for the artists. Its very much a gallery that puts control in theartists hands, working in collaboration with them. I think a lot of galleries are so competitive andpossessive but thats not our style; we want to empower the artist to work in a global way wherethey have dierent points of sale. Weve had incredible success with several of the Gulfs top-sel-ling artists. Over the course of time, the art market will lter out who it thinks is important, I believesome of these artists are going to be real art history artists, and thats exciting because their mar-ket is about to take o.

You talked about these artists being on the edge, outside of the main art scene; whatinfrastructure was in place then and how did it affect Saudi art?Back in 2003, in terms of infrastructure in Saudi, you had a centralised ministry-based operation.We worked with that infrastructure but it was compromised, because it was linked to State interestand had all the normal restrictions that comes with that. There was also private patronage: in Abhathere was Prince Khalid al-Faisal, an artist and a poet, who built an artists village with 20 studios;Edge of Arabia wouldnt have happened without this place. There was hardly anywhere in Saudiwhere artists could go. There was little formal art education, few art libraries or specialist art shops,no public museums in terms of contemporary or Modern art; there was just this group of individualswho were trying to support their local art communities: Prince Khalid al-Faisal; Princess Jawaher

Al-Saud, who set up the Al Mansouria Foundation in Jeddah; the Jameel family, our main sponsorsince 2008; and Hamza Sera, who founded Athr gallery. As we travelled, we asked why the commu-nities werent connected; people who arent connected get on with their own thing because nothingbuilds without connectivity. I believe that creativity is a human right and a human instinct. Its notlike there was no creativity; it just didnt have a structure like were used to in Europe, wherebywhen youre young you can choose art and go to art college. I was fascinated because I came out ofart school and then came to this place thinking imagine being a young person and not having ac-cess to that. The idea that we could provide some of what was missing, that we could provide plat-forms and publications, became a driving force. Whats amazing is that it has really worked. Thereis a new energy now, especially in Saudi, for building cultural institutions, creating art shops andart schools and connecting artists, and credit should go to a small group of energetic individualsbecause I dont think it would have happened organically.

How important is it for artists to engage in political and social issues?

Its pretty impossible to ignore, don't you think? I dont think you can live at this time in history andnot be politically and socially engaged. Were looking at a crisis of sorts, and artists, poets and wri-ters are essential in that dialogue because they act as a mirror to society. They can imagine multipleperspectives and they stand for a new kind of education. A lot of whats happening in the region atthe moment seems to go back to education. I think the most important artists now are activists buttheyre also teachers, and theyre a very interesting window for people in the West; a window whichcan turn peoples attention away from the trap of polemical politics. Obama today announced;What just God would condone all of this happening [in Iraq]? and hes falling into the trap of OK,so now its about God is it? And whose side is God on? Then were stuck.

Artists in the Middle East are important. Locally, theyre unocial recorders of history but they'recautious of the media game. Theyre also custodians of this culture thats quickly disappearing withall of the building and the arrival of the consumer-capitalist machine. Theyre mediators both withintheir society and internationally. They have real soft power the artists were working with, more sothan artists in the West, because theres much more at stake in the relationship between artists andtheir society in the Middle East. At this moment in history, these artists are really signicant becausetheyre engaged on the front-line of the ideas, politics and possibilities of that region.



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Contemporary art has traditionally been very Euro and US-centric; do you see this changing?Totally; I think thats the moment were in. The evidence is all there, institutions are completelyopening up Britain has taken a lead on that, with the British Museum, Tate, and the V&A. Wereworking in America now and theyve just had their rst big institutional show of Middle East art atThe New Museum; people are starting to realise that that chapter of Euro-American art history isover. Its globalised now, with protagonists in China and in the Middle East, you have people likeAhmed Mater, Walid Raad, Shirin Neshat and various artists from Iran, from Egypt. Its going to beinteresting because it will show that the 20thcentury was a collusion of various centres: Paris, NewYork, London. Now there are people researching what was happening in Egypt in the 1920s; therewas stu happening that was part of the Modernist movement, it just hasnt been put in the books.So its really fascinating, and when the history of 21stcentury art is written, there will be a morebalanced geographical representation than there was before.

Edge of Arabia is involved in several initiatives to inspire the next generation of artists; what isthe benefit of getting young people involved in art, and how important is art education?You can complain about the present, but it always has seeds in the past. Art education has to beseen in the broadest sense, where its about a creative and tolerant approach to life and allowingfor multiple perspectives. Were involved in education locally in the Middle East through our artistpartners, who do a lot of workshops and ll the gap in formal education. Were also doing a lot ofwork abroad, trying to provide quality content for people outside of the region so they can unders-tand whats going on there. Whats absolutely fundamental is to develop stories and content thatfeeds into the educational system, because thats where you really change things. Im a product ofmy education; my secondary school art teacher was my inspiration for a lot of the things Ive builtand that wasnt about art; it was about looking at the world with a certain attitude. In the context ofthe Middle East, creativity is about moderate voices and looking at the problems of the world withimagination. Words we dont like to use in the contemporary art world; like hope, wonder and em-

pathy; are strong values in art education because you see into someone elses world through artisticpractices and stories, beyond language and all those barriers that divide us, because what we see issomething that everyone has in common, and thats really important. Courtesy of Edge of Arabia



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Museums

HUMAN RESOURCES

Tate curator Jessica Morgan named Director of Dia Art FoundationJessica Morgan, who has been a curator at the Tate Modernsince 2002, has been named Director of New York's Dia Art

Foundation.Morgan's appointment comes at a dicult time for Dia Foun-dation, which has been without a leader since the departureof Philippe Vergne earlier this year. For some years, the foun-dation has been struggling to raise funds for a new space inManhattan which would help support living artists with long-term projects. Whilst Morgan's role at the Tate was primarilycuratorial, due to cutbacks in government funding she alsohas experience with fundraising projects. Morgan's job will notonly involve raising the necessary funds for the foundation'sfuture endeavours, as she also plans to help the foundationstand out in a city in which many Modern and contemporaryart institutions are already vying for recognition.Whilst there are clear plans for the Dia Foundation's future,

the selection committee wanted someone who was able totake strong managerial decisions. Nathalie de Gunzburg, thechairwoman of Dias board, told the New York Times, Will shekeep the project the way it is? I dont know. We have unanswe-red questions until shes here.

ARTICLE OF THE WEEK

Centro Botn, the largest cultural investment in Spain, takes shapeCentro Botn, a contemporary art centrecompletely funded by the family founda-tion of the late banker Emilio Botn III, inconstruction in Santander, Spain, and isset to be nished in 2015.Currently the largest cultural investmentin Spain, the $106 million centre hasbeen designed by the architect Ren-zo Piano, who also designed the Centre

Pompidou in Paris. Cuts to public fundinghave lead to a greater role being playedby private collections in Spain's art andcultural scene in recent years, and thefoundation looks to become a key player,the Fundacin Botn already having es-tablished links with the Prado in Ma-drid. Benjamin Weil has been hired as acurator at the new centre.

The project, which was announced in 2012,has come under criticism by ecological acti-vists, lawyers and locals who note the use ofpublic land for the construction and have ac-cused the family of vanity. However, manyhave also praised the investment in the hopethat it will bring attention and revenue to thesurrounding area, much like the Guggenheimdid in the neighbouring city of Bilbao.

DIPLOMACY

UK museums to go ahead with Kremlin loansAmidst rising tensions between Russia and the West, leadingmuseums in the UK are continuing with their plans to loanmajor works to the Kremlin Museums, Moscow.The V&A, National Galleries of Scotland and Glasgow Life (theorganiser in charge of Glasgow's museums) have decided toproceed with the loans, ahead of an exhibition dedicated toScottish architect and designer Charles Rennie Mackintoshdue to start 5 September. John Leighton, the director of theNGS, tells The Art Newspaper of the decision: Our trusteesare obviously very mindful of the wider political context butfeel that is important for cultural dialogue and exchange to

continue, which is why they decided to maintain their sup-port for the Mackintosh exhibition in Moscow.The exhibition forms part of the UK-Russia Year of Culture, aninitiative which has been somewhat undermined by the dete-rioration of UK-Russia relations in the wake of the conict inUkraine in July, the UK government ocially withdrew allsupport of UK-Russia events. Whilst an exhibition dedicated tothe YBAs, due to take place in September 2014 has already beencancelled; a Francis Bacon retrospective set to take place in De-cember at the Hermitage, St. Petersburg, is still expected to run.

RETIREMENT

Longtime director of Brooklyn Museum announces retirement

Director of the Brooklyn Museum for the past 17 years, ArnoldLehman has announced his retirement from the post, eectivearound June next year.The museum is about to launch a sereis of long-term projects inclu-ding one dedicated to increasing the institution's endowment and aplanned renovation of its Beaux-Arts building, both of which couldtake several years. Lehman told TheNew York Times, Both of theseprojects could go on for at least ve or six years. A new pair of handsand a new brain will be good for the museum.Lehman's time at the museum has not been without controversy.A 1999 show of Young British Artists led to a row with the city'smayor at the time, who threatened to cut the museum's fundingdue to oence caused by an artwork by Chris Oli. Despite other

contentious managerial decisions, under Lehman visitor numberssignicantly increased and the museum's endowment more thandoubled. He also managed to diversify the museum's audiencesby putting on shows appealing to both international and localvisitors. A committee has been formed to select Lehman's successor.

Model Centro Botn



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ANNIVERSARY

ZKM Karlsruhe turns 25Founded in 1989, the Centre for Art andMedia Karlsruhe, is celebrating its 25thanni-versary this year. To honour the occasion themuseum looks back over 300 exhibitions,

354 publications and the presence of 500guest artists.The ZKM Karlsruhe was the rst museum toexhibit and collect art of all genres; as partof the celebrations current exhibitions onshow explore the artistic inuences at thetime of the museum's conception, includingthe revolutionary genre of Action art presentin Germany between the 1960s and 1980s.Exhibitions include Beuys Brock Vostell ondisplay until 9 November 2014; Claus Bre-mer: mitspiel. theater und poesie 19491994until 5 October 2014; and CIVIC RADAR. Lynn

Hershman Leeson the Retrospective from 13December 2014 to 29 March 2015.The anniversary weekend 12 to 14 Sep-tember 2014, will also see the launch of twonew technology-based innovations for themuseum. Firstly, the new website relaunchwhere exhibitions, events, productions, pu-blications, works, videos and audio les pro-duced since 1989, are integrated with oneanother; the site also pays homage to all thepeople that have inuence and sculpted ZKMsince its opening. There will also be an applaunched, entitled "Motion Picture 2.0 tech-nology", which provides a new method of re-cording and reproducing images.The highlight of the weekend however, willbe Kraftwerk's return to the ZMK for a seriesof three sold out concerts.

PROJECT

Duncan collection to be housed in new contemporary art museum in IowaKaren and Robert Duncan are two Iowa-based collectors whose 2,000-pie-ce collection features works ranging from Louise Bourgeois and BruceNauman to Yinka Shonibare and Kiki Smith as well as Georgia OKeee,Beverly Pepper, Niki de Saint Phalle and Judith Shea. They have unveiled

plans to turn the Carnegie library in their hometown of Clarinda, Iowa, intoa private contemporary art museum. We tend to be so focused on the twocoasts and a place like Chicago, explains Lisa Corrin, director of Northwes-tern Universitys Block Museum of Art in Evanston, Illinois, to the Wall StreetJournal. But there are extraordinary people who are very serious aboutcontemporary artacquiring great works, putting together collections far away from the usual centers. I think [the Duncans] are some of the mostinteresting people doing this that Ive met in a long time.However the museum plans have been met with some criticism with someclaiming that the collection lacks direction, yet George W. Neubert, wholater served as director of the San Antonio Museum of Art in Texas, tells theWSJI think thats what brings energy to it [ ..] Youre going to encounter theunexpected. It reects them as individuals.

LOANVersailles loans hundreds of pieces to Beaux-Arts Museum in ArrasAs part of a ten-year partnership between Chteau de Versailles and the Nord-Pas-de-Calais region, Versailles is to loan over 100 pieces to the Beaux-ArtsMuseum in Arras in an exhibition that opens on 27 September 2014.Aiming to spread the cultural heritage contained at Versailles to other partsof France, the partnership was initiated by the regional council, signed in2011. The region, containing the Louvre-Lens and 43 Muse de Francemuseums, will host the pieces for 18 months, until March 2016. The rstexhibition held by the collaboration Roulez Carrosses from March2012 until November 2013 , was a huge success, displaying a selectionof horse drawn carriages from Versailles.The latest exhibition will present a selection of pieces from the 17thand18th centuries; including a bust of Louis XIV, Gobelins tapestries, Dau-phin's writing desk and Marie Antoinette's porcelains. The exhibitionwill be organised into six sections, immersing the visitors in the spacesand atmosphere of the famous Chteau.

KRAFTWERK-K20 RoboterBOETTCHER



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WHAT'S ON

SWEDEN"A Way of Life": Swedish photography at Moderna MuseetA Way of Life: Swedish Photography from Christer Strmholm until Today isbeing held at Moderna Museet, Stockholm, until 15 February 2015, displaying

over 350 works from 29 dierent photographers.The photographers on show range from the inuential Christer Strmholm whomThe Guardian's Sean O'Hagan described as the father of Swedish photography; to more contemporary artists such as JH Engstrm, whose 2014 series ToutVa Bien is the most recent to be featured; and Anna Clarn, whose work made itsdebut in the 1990s.The curator, Anna Tellgren, says the exhibition demonstrates how strong and interestingthe Nordic photography scene is now; while the press release explains that it exploresthe private, intimate, inquisitive and subjective tendencies in Swedish photography.The title of the exhibition comes from a lecture by Christer Strmholm, in which hesaid: for me, working with photographic images is a way of life.

UNITED KINGDOMJulie Blackmon: Home Grown at The Photographers Gallery, London

Home Grown, an exhibition by the American photographer Julie Blackmon, willbe on display at The Photographers' Gallery, London, from 4 September to 26October 2014.This is to be Blackmon's rst solo exhibition in the UK, following on from her 2006series, Domestic Vacations,which won rst place at Photospiva in the same year.Her work is held in public collections such as the FAIF collection in Zurich, andThe Museum of Fine Arts in Houston, Texas.Inspired by the 17th-century Dutch painter Jan Steen, Blackmon's photographs aimto capture the chaos and harmony of daily life; she often uses members of herown family as models, carefully composed in domestic scenes where tiny details,such as children's toys discarded on the oor, family pets or instruments, balancethe sense of composure with a more tumultuous element. Images such as Queenplayfully evoke painterly tradition Blackmon's niece in a dress eerily reminds theviewer of Velsquez's Las Meninas and the timelessness of family relationships.

UNITED STATESErnest Cole's first solo museumexhibition at NYU's Grey Art GalleryAn exhibition of photographs by the

photojournalist Ernest Cole will bedisplayed at NYU's Grey Art Galle-ry, New York, from 3 September to 6December 2014. 120 prints of Cole'swork, organised by Gothenburg'sHassleblad Foundation (to whomCole's archive was donated) will bedisplayed in the exhibition curated byGunilla Knape.Cole, who died in 1990, was a blackphotojournalist in South Africa duringthe Apartheid, whose photos docu-ment the everyday lives and strugglesof black people at the time. His 1967

book House of Bondage exposed theinequality and racism inherent in thesystem, and although banned in his na-tive country, it circulated illegally, beco-ming a crucial work not only for Cole'scareer but for activist photography inSouth Africa as a whole. Many of hisphotos oer a striking social commenta-ry, such as one captioned by the photo-grapher All stand packed together on thefoors and seats shows black commu-ters crammed together on a public bus.This exhibition will be Cole's rst solomuseum exhibition.

Chaise (2013)Julie Blackmon



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COMING SOON

AUSTRIACosima von Bonin at Mumok, ViennaFrom 4 October 2014 until 18 January2015, the Museum Moderner Kunst, Vien-na, is to present Hippies use side door.The year 2014 has lost the plot, an exhi-bition dedicated to Cosima von Bonin.The exhibition will be the largest dedi-cated to the artist ever to go on displayin Austria. Curated by Karola Kraus, theretrospective presents a range of morethan 100 works by von Bonin, fromher earliest works to her most recent.Hippies use side door allows visitorsa glimpse at the prolic career of vonBonin, who increasingly turned to ins-tallations; one can see how she encom-passes space into her work at Mumok,

using the building for its execution. Toshow the strong relationship betweenmusic and ne art found in von Bonin'swork the groups Tocotronic and Phan-tom Ghost will perform concerts to ac-company the exhibition.German artist Cosima von Bonin wasborn in Mombasa, Kenya in 1962 andgrew up in Austria before studying atthe University of Fine Arts in Ham-burg. She built her reputation aroundher large-scale soft-toy sculptureswhich evoke ideas of fatigue, laziness,

relaxation and death.

FRANCEMuse dOrsay reects on seven years

of acquisitionsFrom 18 November 2014 to 22 Fe-bruary 2015, the Muse dOrsay, Paris,is to show the temporary exhibitionSeven Years of Reflection.For this group exhibition, the museum fo-cuses on its own collection, showing, asthe title of the exhibition suggests, worksthat they have acquired over the course ofthe last seven years. The goal of the mu-seum is twofold: they can show how muchthe museum's collection has expanded inthis relatively short stretch of time and,more generally, to demonstrate the issuesinvolved in developing national collec-tions. The Muse dOrsay has the benetof being awarded a greater budget foracquisitions than most national institu-tions; however the period on which themuseum focuses (1848-1914) is a parti-cularly dynamic sector of the art market.Commissioned by Guy Cogeval, presidentof the Orsay and Orangerie museums, the

exhibition will take place on the fth oorof the establishment and will include Por-trait dYvonne Lerolle en trois aspects byMaurice Denis (1870-1943), an oil pain-ting acquired by the museum in 2010.

SPAINSigalit Landau at MACBAFrom 21 November 2014 to 15 February 2015, the Museu d'Art Contemporani Barcelona(MACBA) is to show Phoenician Sand Dance, an exhibition dedicated to Sigalit Landau.The exhibition explores the way that the contemporary artist uses human bodies to createthe living sculptures in her videos. Landau explores the contradiction between the move-ment of life and the stasis of death through the body, showing the inside of the body itsorgans and its bones to show the continuous movement of power and vulnerability.Israeli artist Sigalit Landau was born in 1969 in Jerusalem and grew up between Israel,England and the United States. She studied at the Bezalel Academy of Arts and Design inJerusalem where she participated in an exchange with Cooper Union School of Art andDesign in New York. She gave her rst solo show in 1995 at Israel Museum and since,has exhibited in galleries in London, New York, Paris, Belgrade and Sydney. Her works

form part of permanent collections at Kunstmseum Kloser (Magdeburg), Centre Pom-pidou (Paris) Tel Aviv Museum of Art, Brooklyn Museum (New York) and MUSAC (Spain),amongst others.

UNITED KINGDOMGuy Bourdin: Image Maker at Somerset HouseSomerset House, London, is to present "Guy Bourdin: Image Maker" an exhibition ofwork by fashion photographer Guy Bourdin from 27 November 2014 to 15 March 2015.Marking the UK's largest show of his work to date, the exhibition will feature over 100works from his career, focusing on the period between 1955 to 1987. Bourdin was theapprentice of celebrated photographer Man Ray and made his career debut at VogueParis, and this broad range of work including Polaroid test shots, double-page spreadlayouts and contact sheets aims to show how his rich and mysterious aesthetic wasused to sell fashion. Establishing the idea that the product is secondary to the image, Bour-

din's 40-year career has been a continual source of inspiration for contemporary fashionphotographers including Tim Walker and Nick Knight."Guy Bourdin: Image Maker" is curated by Alistair O'Neil, who has previously worked on"SHOWstudio: Fashion Revolution" (2009), "Valentino: Master of Couture" (2012) and"Isabella Blow: Fashion Galore!" (2013), for Somerset House.

Image from Vogue Paris, May 1970Courtesy of The Guy Bourdin Estate, 2014



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GalleriesARTICLE OF THE WEEK

New gallery Union Pacic to open in London this month

Opening this September is a new Londongallery Union Pacic. The project is foun-ded by Nigel Dunkley and Grace Schoeldand will host its inaugural exhibition Unionfrom 14 September until 25 October 2014 at17 Goulston Street, East London.Nigel Dunkley studied Fine Art at Golds-miths University in London, before ope-ning and co-directing N/V_PROJECTS, aproject space in Peckham, London whichtransformed into an ongoing nomadic cu-

ratorial project and online blog. Dunkleythen went on to act as gallery manager forCarlos/Ishikawa from 2013-2014, beforeembarking on Union Pacic.Grace Schoeld studied Fine Art atUniversity of the Arts London before ta-king a four-year role at Gagosian London,alongside which she co-directed TheSunday Painter gallery in London beforeleaving both previous roles to join Dun-kley.

Speaking to AMA the duo explained: Wefeel this is an incredibly interesting and for-tunate time in London to begin a gallery, fo-cusing on helping emerging artists to realiseambitious and exciting projects.Union is to feature the work of artists:Olga Balema, Adriano Costa, Jan Kiefer,Aude Pariset, Max Ruf, Yves Scherer, JulieBorn Schwartz and Pedro Wirz.

OPENINGOwen James Gallery opening in BrooklynOwen Houhoulis, previously of the Brooke Alexander Gallery, is opening the Owen James Gal-lery in Brooklyn, New York.The gallery will specialise in artists from South East Asia and New York City. Its inauguralshow, Death and the Sea to open on 12 September 2014 will be by US-basedartist Richard Bosman; who uses woodcut, etching and linocut to demonstrate his rela-tionship to the sea. Alongside Bosman, the gallery currently represents Takuji Hamanaka,Rena To Orara, Raymond Pettibon, Bruce Nauman and H. C. Westermann.

Opening of Galerie ric Mouchet in ParisGalerie ric Mouchet is to open its doors 18 October 2014 at 45 rue Jacob in the 6th arrondisse-ment, Paris, at the heart of the city's historical cultural centre.The new space was founded by ric Mouchet, an expert in graphic arts and art collector whospecialises in the 1970s and 1980s. In opening a gallery, he aims to bring together his passionand knowledge to create a space dedicated to contemporary art.For its inaugural exhibition, the gallery is to show La Chaux-de-Founds, by Matthieu Gafsou.

Leiko Ikemura. Zarathoustra

1455, rue Sherbrooke O. Montreal

HUMAN RESOURCESMaureen Bray to become director atDavid Nolan galleryMaureen Bray has left her position atSean Kelly Gallery to become directorat David Nolan Gallery, New York.Sean Kelly Gallery in New York, atwhich Maureen Bray was also a direc-tor, is dedicated to representing pro-vocative artists with their schedule,which originally included MarinaAbramovi. The gallery also partici-pates in art fairs including Art Basel.Manhattan's David Nolan Gallery alsorepresents contemporary artists suchas Ian Hamilton Finlay, Alice Maher;and participates in EXPO Chicago andFrieze Masters.



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WHAT'S ON

BRAZILTapia Tapume at Galeria LemeTapia Tapume is a group exhibition at Galeria Leme,So Paulo, running until 4 October 2014.The works displayed are connected by their investiga-tion into the urban developments of the city and theway in which the city handles its memory, separatedinto four sections as follows: the building of the galleryitself, processes of construction and deconstruction, ur-ban and architectural development of the city and nal-ly land and construction techniques.An example of the works displayed is Os trs porquinhosdo bosque (The three little pigs), by Sandra Gamarra, anillustrated book which reworks the fable into the contextof So Paulo itself with each of the pig's houses repre-senting a stage in the city's development, interweavingthe ctional and the historical. Momentum #3 and Mo-mentum # 4, by Francesco Di Tillo, overlap images of

destruction in So Paulo with postcards of post-WWIIEurope, in turn overlaying the two temporal moments.

TAIWANZhu JinShi at Michael Ku GalleryChinese artist JinShi is to exhibit Fu Hang Tai, his rstsolo exhibition in Taiwan, at the Michael Ku Gallery inTaipei from 6 September to 19 October.The exhibition will be made up of ve sets of worksmade between 2013 and 2014, mostly composed ofabandoned objects collected by the artist with the titleof the exhibition coming from the places in which theseobjects were found: Fuyang, Hangzhou and Taizhou. Thework Fu Hang Tai, the exhibition's namesake, features

tunnels dug through these objects and a laser beam castthrough the tunnels. JinShi said that in using a laser hewanted to imitate the irresistible violence in our reality,like laser beams, straight and unquestionable, which pe-netrate and also destroy everything.JinShi is Professor of Sculpture at the China Academy ofArt. His 2009 solo exhibition Unrealistic Reality wonthe O Festival Saab Award at Photo Espaa, and in thesame year he was awarded the Grand Prize of the Artists'Invitational Exhibition at Beijing's 798 art festival.

UNITED KINGDOMThrse Oulton at Marlborough Fine ArtMalborough Fine Art, London, is presenting Elsewhere

by Thrse Oulton until 27 September 2014.The exhibition is to coincide with the release of Women inDark Time, a book by Jacqueline Rise which analyses creativewomen of the 20thand 21stcenturies, and explores Oulton'swork in the nal chapter; Damage Limitation: Thrse Oul-ton. "Elsewhere" oers a disorientating view of the earth'ssurface which shows the lost intimacy of the modern humancondition; the oil painting depicts the variety of the earth'ssurface whilst displaying mankind's rootless nature in rela-tion to our home. In paintings of often stunning luminosity,Thrse Oulton manages to paint us into the darkest spacesof our times, displaying once again her exceptional, on-goingrelevance, for anyone trying to understand them, writes Jac-

queline Rose in the catalogue's introduction.Thrse Oulton studied at St. Martin's School of Art, Lon-don and the Royal College of Art, London. She has exhibitedacross Europe and the US and was nominated for the TurnerPrize in 1987.

VIETNAM

The Nha San Collective presents its new exhibition space in HanoiIn 2010, the Nha San Studio was forced to close its doors after the per-formance by artist La Thi Dieu Ha in which she undressed in public.Renamed Nha San Collective, the group of contemporary artists hasopened their new exhibition space at 24 Ly Quoc Su street in Hanoi,Vietnam. In celebration of this occasion, the new space will welcomethe exhibition The clouds will tell, running until 5 October.This rst retrospective allows the history of the collective and the workof the artists involved to be rediscovered. The position of the artist,their artistic tendencies and the relationship between life and art arerevealed through a large selection of works. A variety of media are usedsuch as video, installations, performances, paintings and photographs.The leading theme of the exhibition, realities, is questioned by the

artist through the exploration of human sensitivity, endurance, challen-ges and adventure.The artists featured include Nguyen Manh Hung, Nguyen Phuong Linh,Tuan Mami, Nguyen Ban Ga, Nguyen Trinh Thi, Nguyen Huy An, Vu DucToan, Nguyen Quoc Thanh, Nguyen Tran Nam and Nguyen Thuy Tien.

Aggregation 14-AP018 (Dream5) (2014)Kwang Young Chun

Polystyrene triangles wrapped in traditional Korean mulberry paper (hanji).Courtesy of the artist and Hasted Kraeutler, NYC



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COMING SOON

BELGIUMAyan Farah Notes on Running Water at Almine RechGallery, BrusselsThe Almine Rech Gallery, Brussels, is to present their rstsolo exhibition of the work of London based artist Ayan Fa-rah to take place from 9 October until 12 November 2014.The exhibition is entitled Notes on Running Water andis comprised entirely of new paintings including Eldfell(2011), the polyestercotton lining of a sleeping bag, bu-ried for six months at the foot of the Icelandic volcano thatgives the work its title and Eylon(2014), a work stained bymud and clay from the Dead Sea.Ayan Farah was born in Sharjah, United Arab Emirates, toSomali parents and grew up in Stockholm, Sweden; she re-ceived a BA in Fashion Design from Middlesex University(2003), a Postgraduate Degree from Central Saint MartinsCollege of Arts and Design (2006), followed by an MA inPainting from the Royal College of Art, London (2012). Her

work has already been displayed worldwide in galleries inLondon, Mexico City and Los Angeles.

BRAZILCelebrating 40 years of Luisa Strina galleryIn celebration of its 40thanniversary, Luisa Strina galleryis to present a retrospective exhibition that explores theactivities of the gallery since its opening in 1974. Therewill be a particular focus upon the work of Luisa Strina,her relationship with her artists and the way in which thegallery's events have inuenced the cultural and sociallandscape over the years. The exhibition will host thework of artists such as Wesley Duke Lee, Nelson Leirner,Cildo Meireles, Muntadas, Leonilson, Mira Schendel and

Marepe. The exhibition is to present a series of historicdocuments sourced from the gallery archives.Luisa Strina is the oldest contemporary art gallery in SoPaulo. In 1974, after having sold works for a few friends,Luisa Strina decided to open her space in Baravelli's formerstudio in order to exhibit the works of national and interna-tional artists. Ever since the very rst year, Strina managedto acquire the works of Andy Warhol, Roy Lichenstein andJim Dine, artists who have never been exhibited in Brazil be-fore. In 1992 the gallery was the rst Latin-American spaceinvited to participate in the Basel Art Fair. Today, Luisa Strinapresents the work of established and emerging artists.

FRANCEBen Quilty at Galerie AllenGalerie Allen in Paris is to present an exhibition en-titled "Alien" by Australian artist Ben Quilty, from 17September to 11 October 2014.After winning the Prudential Eye Awards in August this year,Ben Quilty enjoyed his rst UK solo show at Saatchi galleryin London, as part of the prize. Currently in artist residencein Paris, where he created work specically for this exhibi-tion, his gestural portraits and landscapes are an explora-tion of identity and reect the exhibition title "Alien": afeeling of being displaced.Concerned with his own Australian identity, Quilty usesportraiture and his abstract Rorschach technique to ques-

tion how history has been romanticised through English/Australian colonial artists. A concurrent thread that runsthrough the exhibition is the artist's investigation intocontemporary masculinity and social initiations whichare prevalent in his native country today.

GERMANYChristian Falsnaes at PSM gallery BerlinFrom 18 September until 1 November 2014, Christian Falsnaes

is to present a series of works created specically to be sold atthe PSM gallery in Berlin.For these performances, Falsnaes explores the relationshipbetween art and the audience, using the human body as hismedium and creating installations where the audience partici-pates. For this exhibition, the artist focuses on the buyer of hisworks through dierent mediums: drawing, photography, videoand painting. The works which are not purchased will cease toexist following the end of the exhibition.Christian Falsnaes was born in 1980 in Copenhagen, he studiedat the Academy of Fine Arts in Vienna and he currently lives inBerlin. He began his career by painting grati on trains aroundCopenhagen. In 2004 he presented his rst exhibition ExpectUs! at the Migros Museum for Contemporary Art in Zurich. He

has since exhibited his work in galleries and museums in Vien-na, Innsbruck, Venice, Berlin and Grenoble and is participatingin Art Basel this year.

ITALYGiulia Cenci La terra bassa at SpazioA gallery, PistoiaSpazioA gallery, Pistoia, Italy, is to present the work of Italianartist Giulia Cenci from 20 September 2014 in an exhibitionentitled La terra bassa.The exhibition will be the artist's rst solo show at the gallery fol-lowing the site-specic installation at the project space in 2013,featuring a series of sculptures resembling a low panorama inwhich everything appears to have been denied the space required

to develop beyond a few mere centimetres above the ground.Giulia Cenci was born in Cortona in 1988, having graduated fromthe Academy of Fine Arts in Bologna. She is currently pursuing aMaster of Fine Arts at St. Joost Academy, Den Bosch-Breda, in theNetherlands.

Ben Quilty in his studioCourtesy of Mim Sterling



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InterviewGIVING ART BACK TO AFRICA:

AN INTERVIEW WITH BARTHLMY TOGUO

Torture in Guantanamo (2006)Barthlmy Toguo

Photo graph on aluminium,limited edition of 6 pieces + 1 EA

78 x 103,5 cm Courtesy Galerie Lelong &

Bandjoun Station

Champion of the creation and preservation of African art, particularly in his native Cameroon, Bar-thlmy Toguo is one of the most well-known artists of his generation. His work often has a personalelement, reecting his own experiences the status of foreigners, migrants and immigrants and thesearch for identity, but also the rift between the West and the rest of the world. Whilst today he enjoyswidespread recognition, the artist is giving something back to the country where he grew up, throughthe Institute of Visual Arts Cameroon's rst museum which opened in Bandjoun in 1999; andBandjoun Station, a creative workshop which has been welcoming artists since he founded it in 2010.

Barthlmy Toguo's work is on display at Galerie Lolong in Paris from 11 September until 11 Octo-ber, alongside work by Kiki Smith and Jaume Plensa in the exhibition Trio. AMA met with the artistto speak about his career, the evolution of his practice and his work to develop art in Africa.

Can you outline your background and how you came to art?I was born in Cameroon to a family of fairly modest means; my father was a driver, my mother acleaner. In Cameroon, when you send a child to school it is so that they can become civil servant,so that they can succeed. The public sector is considered to be a successful profession in Africa.To be a civil servant is to be someone who has become successful and is overcoming the old ideasof colonialism. I was lucky in that I went to school, but after my secondary studies I decided to gointo ne art, which my family saw as a bit of stab in the back. However, I was an adult, so I decidedto go. Since there was no national school of ne arts in Cameroon, I went to the Ivory Coast. I wasaccepted to the cole Nationale Suprieure des Beaux-Arts dAbidjan, where I received a traditional,

academic style of teaching. After a few years, I decided I needed something dierent and so I joinedthe cole Suprieure d'Art et Design in Grenoble. I had access to computers, photography, video etc. alternative media which is less rigid than painting and sculpture. This enabled me to do my rstseries of performance art and photography. After four years in Grenoble, I once again felt the needto move on. I was accepted to the Kunstakademie in Dsseldorf, Germany, where I was really con-fronted by German Realism and it was there that I learnt there how to be a professional visual artist.



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What did you focus on whilst you where in Abidjan?We did a lot of replicas, which I made in clay. We copied models from the Louvre; I remade the Tro-jan Horse, the Dying Slaveby Michelangelo and the Bust of Agrippa. I spend most of my time makingthese copies, or sketching live models. It gave me a keen sense of observation, but there was toomuch imitation of the Old Masters. This teaching mentality continued over a ve year course; therewas no creativity, so I sought change.

And it was in Grenoble that you started to created installations and photographs..Yes, I discovered that sculpture and painting didn't really have a place in that school. However, Ididn't completely abandon the practice. I continued to sketch in my room, but I was no longer fo-cusing on drawing; I wanted to learn something new. I quickly developed an interest in photographyand soon made Une autre vie(1993); a series in which I put myself in the frame and explored the

similarities between the body and nature, and the ways in which the two can come together.

How did you come to arrive in Paris after that?After nishing my studies in Germany in 2000, I had already had some exhibitions in German mu -seums but I realised that everything was advancing really quickly for me. I went back to France withthe idea of giving it all another go. Sculpture and painting weren't appreciated there, and I wantedto come back and show that you could be a contemporary artist who paints and makes sculptures.It was important to prove that these practices were not inherently old-fashioned, that their essenceshould be renewed.

Your most characteristicworks are your waterco-lours. How did you come to

this particular style?Actually, when I arrivedin Dsseldorf, I startedwith a series of drawingsthat I called Das Bett alldrawn in ball-point pen.In these drawings there isa certain nostalgia relat-ing to the Africa that I hadleft behind years ago andthe gloom of where I wasat that time in Dsseldorf;living in this tiny studentroom far from my friends,

my family and my own lan-guage [Ed. French]. It wasthis sadness which led meto create a series of suchintimate drawings.

In 1998, following a misun-derstanding with my family,I threw myself into a newseries, Baptism, a series ofwatercolours in red in whichI sketched a gure under-going a series of rituals in aWestern context.

Barthlmy Toguo Courtesy Galerie Lelong & Bandjoun StationPhoto Fabrice Gibert



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There was this mix with a kind of mythical universe that was more African; with stools and calabashes,scaried bodies, who vomited and spat; people in situations where they were suering but at the sametime in ecstasy.

I also have a new series of imaginative drawings, Dream Catcher, which is more focused on human feelingssuch as the violence which comes with beauty, the beauty which stands alongside natural elements whichmix with suering, suering which accompanies sexuality. In these hatched and chopped-up bodies there isalways this link between suering and ecstasy. My watercolours were born from this; a celebration of life, avision of death. From death, life is reborn. My drawing today revolves around this celebration of life.

Can you tell us about your influences? Artists who have guided your work?While I was doing some research at the library in Grenoble, I discovered the Viennese Actionists. Theywere artists who managed to shake up society through their performances. I also liked the work ofMartin Kippenberger because his multiform work had the capacity to inuence so many mediums.

Exodus(2013)Bike, cart, fabric

220 x 360 x 160 cm

Courtesy Galerie Lelong &Bandjoun Station /

Photo Fabrice Gibert



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These artists had a great impact on me, but so did the literature of writers like Malraux and AlbertCamus, who helped me to give a meaning to my work. In the speech he gave after receiving theNobel Prize in 1957 (Ed. Le Discours de Sude), Albert Camus spoke about the role of the artist in so-ciety. He said: In my eyes, art is not a solitary celebration. It is a means by which to move the great-est number of men by oering them a heightened image of common suering and joy. It obligesthe artist to not separate themselves from their fellow man; it submits him to the most humble anduniversal truth. And he who has chosen to be an artist because he feels like he is dierent, quicklylearns that he will not nourish his art without accepting that he resembles everybody else. The artistdenes himself in this perpetual back-and-forth between himself and others, midway between thebeauty which he cannot live without and the community which he is unable to tear himself awayfrom. It is for this reason that true artists are contemptuous of nothing; they force themselves to un-derstand, not to judge. And if they have a part to play in this world, it can only be in a society where,as Nietzsche once said, it is not the judge who is ruler but the creator, whether he be a worker or anintellectual. The artist has this role to make people dream, to give people hope. As an artist, I mustproduce work which moves people.

Can you speak to us about your foundation in Cameroon?As an African living outside the continent today, I have to give something back. We have a duty tohelp Africa. It needs successful citizens who have left as much as those who stayed. Together, wecan lead Africa out from its current suering. Each African, whatever their eld agriculture, sport,science, culture etc. , who has knowledge, should share a part of that knowledge with Africa.

My skills are as an artist and Africa has a problem in that domain. Traditional African art is no longer

present on the continent because it was stolen by missionaries, colonialists and explorers. Theseobjects of classical art are on display in Western museums, so Africans can no longer see them.Today we are producing some contemporary art, but the governments are not taking the necessarysteps to collect and distribute it; they don't seem to be concerned with it at all. Western museumssnap up what we produce because they recognise its value, but our leaders have no idea that withour artistic creations, they are losing out on two counts.

One day I realised that I had to create a space in which I could show my collection that arose fromexchanges between international and African artists, so that a part of what we produced would re-main in Africa. That's why I created my foundation, Bandjoun Station. However, I don't want it to bea ghetto for contemporary African art; that's why we also invited artists from across the world. Wewant to make Bandjoun Station a creative space where artists without borders can come and cre-ate projects in residence, but with a connection to the local community. Artists are invited to localbirths, marriages and funerals so that they can become invested in this place; it is an atmosphere

far from the process one would nd in a European art centre.

There is also an agricultural component, as our artists need to eat while they're here. We decided tocreate six hectares of farmland to grow manioc, bananas and corn etc. Also, in order to combat thedominance of the West in deciding the prices of raw materials, we built a small coee factory. Wegrow the beans, roast them, package them and then set the price. The project is essentially critical.

Who works on these plantations?It's a community project, so there are people from Bandjoun, but the artists in residence also help.

Would you consider yourself today as an emerging or established artist?I don't think I have the authority to decide. I have a role, and that is to create art, so that is what Ido. I don't know if I'm well-known or not; it is not of interest to me. What is interesting is to have a careerthat you love, that inspires you, that pleases others and serves people. As an artist my role is to present a

new reality, to make young people want to get involved in art and to open their minds. Also, I have a dutyto Africa, I must give back what I gain from my artistic production to the continent.



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Night Singers (2014)Barthlmy Toguo

Watercolour and pastel on paper marouaged on canvas240 x 240 cm

Courtesy Galerie Lelong & Bandjoun Station / Photo Fabrice Gibert

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Artists

AWARDS

Gillian Wearing in line to collect Dutch prize the Vincent AwardTurner Prize-winner Gillian Wearing is one of ve shortlisted ar -tists in line to receive the Vincent Award a prestigious Dutchart prize awarded every two years to a mid-career artist who isappreciably inuencing the development of contemporary artin Europe.For the presentation of her work at the Gemeentemuseum in TheHague, Wearing poses as her 20-year-old self in a piece entit-led Me as an Artist in 1984. Wearing has recreated a self-portraitusing a mask of herself from this year the year prior to begin-ning her art education, when the artist had no idea that that wasthe career path she wished to embark upon. The body of workpresented for this exhibition also features the artist posing as

two of her heroes: Diane Arbus and Robert Mapplethorpe.Wearing, a member of the YBAs and winner of the 1997 TurnerPrize, aims to become the rst Briton to win the 50,000 prize.The winner will be announced on 21 November 2014 and the ex-hibition at the Gemeentemuseum will run until 1 February 2015.

Shortlist for Taylor Wessing Photographic Prize 2014 announcedThe shortlist for the Taylor Wessing Photographic Prize 2014 hasbeen announced. The winner of the prize is to be revealed in aceremony on the 11 November 2014, where they will be selectedfrom the 4,193 anonymous submissions. 60 selected portraits willbe displayed in an exhibition at The National Portrait Gallery Londonfrom 13 November 2014 until 22 February 2015. There will also be aprize chosen for a photographer under 30 selected for the exhibition,

who will win not only prize money but a commission from the gallery.The four photos shortlisted for the prize are: Skate Girlby JessicaFulford-Dobson, Braian and Ryanby Birgit Pve, Indecisive Momentby Blerim Racaj and Konrad Lars Hastings Titlowby David Titlow.Fulford-Dobson's photo, from the series Skate Girls of Kabul, de-picts a young girl with her skateboard. The series looks at thegirls who attend the NGO Skateistan; the photographer says ofthe series that she aims to depict the "liberating environment thatSkateistan provides for them". Braian and Ryanis a photograph byBirgit Pve, from the series Double Matters, of nine-year-old twinboys in the countryside in Estonia, her native country. Blerim Racaj'sphoto Indecisive Momentdepicts several young Kosovars, sitting bynight at the base of the National Library. He says of the picture that

it depicts that moment in time infused with uncertainty and vulne-rability. Finally, the photo by David Titlow a photographer whoworks in fashion and advertising shows his young son being in-troduced to a dog, taken in Sweden the morning after a party.

AWARD

Florentijn Hofman reveals his latest sculptureDutch artist Florentijn Hofman has unveiled his latestsculpture for the Mid-Autumn (Moon) Festival in Taoyuan,northern Taiwan.Following on from his recent giant rubber duck and hippopo-tamus, the artist has chosen to create an installation entitledMoon Rabbit. The white rabbit is more than 25 metres tall andis made of wood, polystyrene and waterproof paper material.It was inspired by a Chinese folk story about a goddess wholived on the moon with a rabbit who made her an elixir ofeternal youth. According to event organisers, Hofman said hefelt the rabbit might need to take a break after working on themoon for thousands of years.The work has already overshadowed other pieces in the fair

and drew 350,000 visitors on Monday alone. The rabbit willnot travel as widely as the famous Rubber Duck, which visited19 towns in 11 countries; Moon Rabbitwill instead remain inTaiwan after the festival.

ARTICLE OF THE WEEK

World Trade Centre Arts Complex board fires Frank Gehry

The renowned architect Frank Gehry's de-sign for the Performing Arts Centre at theWorld Trade Centre, New York has beendropped; in his place, three other archi-tectural firms are being considered.As reported by The New York Times, in aninterview, Gehry said that he had not beeninformed, but said that Maggie Boepple,

the president of the centre appointed in2012 doesn't have a clue as to what I door how I do it and that the group shoulddo what they want. His design featureda series of cascading box like structureswith trees planted around, and on top ofthem. It is now more than ten years sincea plan to create a cultural destination at

the site was unveiled, and many haveexpressed doubts about whether it willactually go ahead; in spite of this, John EZuccotti, the chairman of the Arts Centresboard and real estate developer said thatthe centre is a lot more credible todaythan it was two years ago".

Konrad Lars Hastings Titlow (2014)David Titlow,

Copyright: David TitlowImage courtesy of The National Portrait Gallery, London



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InterviewDOGS IN THE LIVING ROOM:

AN INTERVIEW WITH FARID RASULOV

Farid RasulovYou started your career in medicine how did you come to art and how did your scientic practicehelped you in your artistic practice?I was studying medicine doing my year in residence at the hospital, and at the same time I was alsoworking at a pharmacy in the evenings. I was working all day and night; and for four out of seven days, I wassleeping in 15 minute shifts. I didn't change careers because it was too hard, but by that time I already knewthat I didn't want to be in the rat race anymore. I met a group of friends shall we say beggar artists wholived in my neighbourhood. I went to visit their studio and they were all very busy with exhibitions living avery good but simple life. It was their freedom that inspired me to leave a the medical profession.

It took me a year to make the transition from medicine to art; I continued working at the pharmacy for a timein order to have some security. It was a dicult period as there were no opportunities for young artists ingeneral; especially when what you're working on is contemporary and no one in your country understandsthat. In the beginning I had to ask my friends to explain to me how they were working, in very simple terms; Iwas a complete novice. I initially chose video art because it seemed to me like the easiest, which, of course Iknow it is not, but if I let myself think it was dicult then I would have never have done it!

For artists rebelling against the traditional white cube presentation format of contemporary galle-ries, Farid Rasulov, has reset the bar. His 360-degree installation, Dogs in the Living Room , features3D-printed Azerbaijani carpet patterns, which cover every surface, including the furniture. Punc-tuated by shockingly white life-sized dogs, this kaleidoscopic scene oers a new insight into the therelationship between the East and the West. Based in Baku, Azerbaijan and currently exhibiting inParis, AMA went to Galerie Rabouan Moussion to talk to Farid about his rst Parisian solo show, hisunconventional creative journey, and the meaning behind those porcelain-esque dogs.



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InterviewDOGS IN THE LIVING ROOM:

AN INTERVIEW WITH FARID RASULOV

Were there any initial influences your environment had on your early work?The rst video I created was Inertia which was lmed on Gurban Bayram an Islamic holiday wheresheep are sacriced. They are cut up into seven pieces and given to neighbours, friends, people thatneed food. It happened by chance really. My uncle was a butcher and he came to us to perform thesacrice. I thought it looked nice, so I started to lm it. This was my rst work, which was presentedat the 53rdVenice Biennale in 2009.

Could you present Dogs in the Living Room to us.There are several ways in which artists work. One way is to do your research and then begin to vi-sualise the idea. I am the opposite, in that I rst see how the complete work should look, and then Igo back and analyse the factors that have got me to this point.

The work is about the East and West, their relationship; their conict and friendship. I wanted to coverWestern interiors and all the objects that exist in Western homes mirrors, lamps, books, armchairs with the Eastern symbol of the carpet. So we're in the West, but immersed in the East. I wanted toshow how they work together, or how they don't. The aim was also to bring Westerners into an Easternpresence. I've been here for two days since the exhibition opened and the reactions have been mixed.Some have been in awe and have sat for 30 minutes discussing it; while others have thought it wasquite a pressurised environment, giving o lot of information. The relationship between the East andthe West is often very dierent and dicult, and even though a lot of people immigrate from the Eastto the West, some of them cannot integrate even after generations. They come and they bring theirown culture into an existing one, but is this good? I don't know if this is a

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