MIAMI BEACH. Design Miami, thefair devoted to modern and con-temporary design which opensto the public today, is set to ex-pand to China—a sign of the in-creasingly global popularity ofthis field.

The founders of DesignMiami, now in its second year,property developer Craig Robinsand curator Ambra Medda, areconsidering both Shanghai andBeijing as possible host cities forone or more fairs. “We will ex-pand in Asia as culture hasproved an important platform forreal estate development,” saysMr Robins. He and Ms Medda,who is fluent in Mandarin Chi-nese, recently visited China.

Asians collectors are nowshowing significant interest inthis niche market, according todealers. The Shanghai-basedContrasts Gallery at DesignMiami is showing decorative artsby contemporary Asian design-ers. Its objects include extraordi-nary lamps—a riff on fin desiècle lighting dripping withbeaded fringe, peacock featherand gilt lace—priced at $20,000each. “They are neo-rococo, by

XYZ, a design collective basedin Shanghai,” Contrasts directorMike Bruhn says.

Evan Snyderman, co-owner ofNew York’s Tribeca-basedgallery R 20th Century, says Ko-rean buyers have long been no-tably sophisticated clients.“Early on, they began buyingwell,” says Mr Snyderman. Aparticular favourite is the Amer-ican designer Wendell Castle. OnThursday, R 20th Century sold a1961 walnut student chair yes-terday for $65,000. “The Chi-nese, Japanese and Indians aregrowing in number,” adds Parisgallerist Patrick Seguin.

Design Miami, housed in theMoore building in the DesignDistrict, is beginning to resemblelong-established internationalfairs such as the Paris Biennaledes Antiquaires, with a VIP pro-gramme, a slew of lectures and afair magazine. The current eventhas 20 dealers with four new-comers: Espasso from New Yorkwith Brazilian furniture, DanskMobil of Copenhagen, Pfurniturefrom New York, and Sebast-ian+Barquet, a new venture set

Download every day’s edition from: www.theartnewspaper.com

ART BASEL/MIAMI BEACH DAILY EDITION FRIDAY 8 DECEMBER 2006

AUCTION 14 DECEMBER 2006 NEW YORK 2pm

Phillips de Pury & Company 450 West 15th Street New York

www.phillipsdepury.com +1 212 940 1200

SYBILLE KESSLAU Prototype lounge chair, model no. 1, 2003

Up and away: floating over Miami

London hosts rare Chinese sale

LA art is here to stayHigh-profile shows drive reappraisal

Contemporarydesign takeson the worldDesign Miami to expand to China;prices hit record levels

MIAMI BEACH. Los Angeles-based artists are now getting thesort of attention reserved in re-cent years for the YBAs, theDüsseldorf photographers andthe Leipzig School painters—afact borne out by major showshere in Miami and a recent exhi-bition at the Pompidou Centre inParis. Not surprisingly, this isbeing reflected in sales in Miami.

Preparing for Art Basel/MiamiBeach, young Los Angeles artdealer David Kordansky (N42)expected a strenuous week. Hissculptor Thomas Houseago hasbeen the subject of rising inter-est, but Kordansky knew thatwith Houseago’s work dominat-ing a huge solo gallery in theRubell Collection’s “Red Eye”show (until 31 May 2007), thetemperature could only rise. “Iknew demand would be high, butit’s been bigger than I expected,”says Kordansky. “I could havesold some of the sculptures 20times over.” But with the long-term in mind, he has focused onplacing Houseago’s sculptures—which sell in the $10,000 to$30,000 range —in prestigiouscollections. “It’s been great for

him, because this is not easywork—it’s gnarly and primitive,even if it also alludes to Brancusiand Rodin,” says Kordansky.“Now more people are willing totake a look at it.”

At Nada, Cherry Martin haswork by sculptor Nathan Mabry—whose solo gallery adjoined

LONDON. The auction housePhillips de Pury will sell 41works of art by contemporaryChinese artists from a privatecollection with an estimatedvalue of $2.1m to $3.1m, it an-nounced yesterday. The firm saidthat it will be the largest everauction of contemporary Chineseart from a single-owner collec-tion; it will be held in London on6 February next year as anevening sale, with about 30 otherlots of contemporary art. Thefirm has given an undisclosedguarantee on the sale.

While Phillips would not re-veal the name of the consignor,

The Art Newspaper believes itcomes from a member of the Ital-ian Borghese family. The works,almost all oil-on-canvas paint-ings, are by 27 different artistswho are becoming well-known inthe West and whose prices haverisen dramatically in the last twoyears. Among them are FangLijun, Tang Zhigang, WangGuangyi, Yue Minjun, ZengFanzhi, and Zhang Xiaogang. Thelocation of the auction is to be an-nounced, as Phillips de Pury’snew London headquarters, a for-mer postal sorting office in Victo-ria, is undergoing renovation.Georgina Adam

Shanghai-based design collective XYZ’s extra -ordinary lamps are on show at Design Miami

Pop culture: artist-designed balloons on parade down the South Beach shoreline. See p2

Thomas Houseago at RubellCONTINUES ON P8

CONTINUES ON P8

2 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 8 DECEMBER 2006

Gossip� Burlesque Bronco

Dita Von Teese astride a giantlipstick at the Delano Hotel leftthe cocktail sipping crowdsslack jawed.

� Full of hot air?Representing various heavenlybodies, the 18 balloons in yes-terday’s “Skywalkers” paradeare “ambassadors of the uni-verse”, from Friends With You’sZoZo, a mushroom-shapedmanifestation of the cosmos, toMisaki Kawai’s Mt Fuji, whichcame all the way from Tokyojust to “see flamingos”. Theevent took only three months toplan and is a collaborative proj-ect between Art Center/SouthFlorida, Legal Art and Scion,who approached Friends With

You to curate a local project thatbrings art to the masses. “Thereis something for everybody toenjoy,” said co-organiser SamBorkson. Although thingsseemed to be running smoothlyduring set up, Borkson conced-ed the possibility it all could gohorribly awry: “Some peoplewill die,” he gravely predicted.

� Lights out at MoCAEveryone knows the need for agood sit down after trampinground the fair and its dozens ofsatellite events, but whateverpossessed the Dallas collectorwho, on visiting the ArtificialLight exhibition at MoCA’sGoldman warehouse space, sankhimself into one of IvanNavarro’s pair of Black ElectricChairs in black-light neon? Thisdespite the fact the chair wasconspicuously placed on apedestal marked off limits withthe usual white floor tape. Theoutcome was anything but rest-ful with the $35,000 work of artutterly destroyed and the perpe-trator, although miraculouslyunharmed, in deep disgrace.MoCA assures us that a newpiece is being hastily shipped in

from the artist’s studio in NewYork and that they have doubledtheir gallery attendants to deterany future visitors looking toput their feet up.

� Flintstone fax a fairfavourite

The (fully functioning) fossilisedstone fax machine on the desk ofthe Crousel stand (D5) has beenattracting considerable attention:a collector was overheard yester-day confiding to her companionthat she was contemplating buy-ing the unique piece (by artistduo Allora & Calzadilla) “as mydaughter would love it: she’s abig fan of the Flintstones”. Proofpositive of children’s persuasivepurchasing power—even in theart world.

� Signpost to nowhereVisitors must feel disorientedshuttling between this week’sinnumerable openings, partiesand events; now, to add to the

confusion, renegade art fairFrisbee is distributing limitededition posters by New Yorkwriter and artist Nick Stillmanpublicising incorrect addressesand directions to various Miamifairs. The deceptive work ispart of a larger curatorial ven-ture in which Frisbee organis-ers have been blanketingMiami with graphics by 119artists. One minor issue: poster-ing is illegal in Miami. “I gotbusted,” says Frisbee co-founder Anat Ebgi. “I got aticket [for $115], and my carwas towed.” Instant karma?

� Buying frenzy atDeitch/Paper store

“It’s not going to be a party, it’sonly shopping,” announcedJeffrey Deitch’s chief doormanto last night’s crowd gatheredoutside the much awaited 99-cent store, a joint venture withthe magazine Paper. In theend, only fifteen at a time werelet in but, nonetheless, absolutemayhem ensued, with shoppersjostling each other to takehome Kenny Scharf fridgemagnets, Andy Warhol soapsand Alex Katz mugs. We blamethe anxiety of Christmas shop-ping left too late. Even the for-mer Financial Times’ arts edi-tor Peter Aspden was seen hav-ing a rather unseemly struggleto procure a Robert IndianaLove doormat and a Jeff Koonsskateboard. It was somewhatironic that an early casualty of

this free-form retail exercisewas Barbara Kruger’s shop-ping bag emblazoned with“Plenty Is Never Enough”,which remained unsold asevermore frantic staff failed tolocate it’s price.

� Art vs beach: beach wins!

A veritable sand storm at ArtPositions sees the dealers fight-ing back the beach—and losing.Harris Lieberman’s containerhas sprung a few leaks from itsroof, allowing a steady streamof Miami Beach’s finest pure-grain sand to slowly fill up hisotherwise empty booth.Meanwhile, gallery Punto Grisfrom San Juan has dispensedwith the container altogether,opting for a few umbrella-cov-ered tables, lined with sandsculptures of watermelons,pineapples and bananas. FruitMarket, an edition of five($5,500 each) by Brazilian artistLaura Belém, comes with itsown instructions on how tomake the sand sculptures shoulda big bully come and kick one ofthem over. Impermanencecomes at no extra charge. �

Published by:Umberto Allemandi & Co. Publishing LtdISSN 0960-6556In the UK: 70 South Lambeth Road, London SW8 1RLTel: +44 (0)20 7735 3331 Fax: +44 (0)20 7735 3332

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The Art Newspaper Art Basel/Miami Beach daily editionGroup Editorial Director: Anna Somers CocksManaging Director: James KnoxEditor: Jane MorrisArt Market Editor: Georgina AdamSenior Copy Editor: Iain Millar

Production Manager: Eyal LaviPicture Editor: William Oliver Photographer: Katherine HardyReporters: Louisa Buck, Mark Clintberg, JasonEdward Kaufman, Brook Mason, Emily Sharpe,Marc Spiegler, Helen Stoilas, Ossian WardProject Manager: Patrick KellyHead of Sales (US): Caitlin MillerAdvertising Executive (US): Sara BissenHead of Sales (UK): Louise HamlinAdvertising Executive (UK): Ben Tomlinson

Printed by South East Offset, Miami©2006 The Art Newspaper Ltd. All rightsreserved. No part of this newspaper may bereproduced without written consent ofcopyright proprietor.

The Art Newspaper is not responsible forstatements expressed in the signed articles andinterviews. While every care is taken by thepublishers, the contents of advertisements are the responsibility of the individual advertisers.

ART BASEL/MIAMI BEACH 2006 EDITION

To inaugurate the ArtConversations programme yes-terday, Hans Ulrich Obristquizzed legendary Californianconceptualist John Baldessariabout his recent stints as curatorand exhibition designer as wellas his new body part paintings“Nose & Ears Etc.”, seen at thefair. How had he been able tolive up to his seminal 1971 per-formance, I will not make anymore boring art?• Baldessari on retrospectives:“Retrospectives are useful toartists—you get to see the arc ofyour life and how your work hasevolved. I keep trying to rein-vent myself, but there is alwaysa thread going back through the

work, which can be useful,allowing you to see where youare going next.”• On language and photography:

“I often give the same weight toa word as I would an image. Istarted by trying to make lan-guage relevant as art and then tomake photography acceptable asart. I wanted them to be up there,arm-wrestling with painting andnot ghettoized, like photographywas in photography galleries. Iam happy to have been a soldieron the front lines.”• On collaboration: “Although thework was never realised, the firsttime I worked with an architectwas with Rem Koolhaas and cer-tain things emerged that wouldhave never happened without thatcollaboration. Frank Gehry saidhe would do my house—this wasbefore he became a star archi-

tect—but I didn’t have enoughmoney because the art bubbleburst. He would say to me: ‘Youwant a place where you can getlaid and you will need a bathroomnear your bedroom so you canpee at night!’ ”• On teaching: “Early on aftergraduating, I supported myselfthrough teaching. There was acrossover and I thought the onlyway to make this job interestingwas to make it like art.Conversely, I think my artbecame examples of what I wasthinking and talking about,whether through my writing, jot-tings, reflections or ideas.”• On Los Angeles: “I like the citybecause it is kind of ugly and I

need to be a bit angry when Iwork.”• On Miami and art fairs: “I firstcame to Miami to see a publicwork by my good friends ClaesOldenburg and Coosje vanBruggen. I was introduced toCraig Robins and one of his ear-liest purchases as a collector wasa work of mine. I have alove/hate relationship with artfairs, I love looking at art and thequality gets better and better butI hate the social part.”• On money: “I’m lucky—money wasn’t an issue for mygeneration. Talent was cheap soyou had to be obsessed and doart in your spare time.”Ossian Ward

Baldessari: “I need to be a bit angry when I work”

John Baldessari: looking backon a long career

4 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 8 DECEMBER 2006

even you’resleepingsupporting

the arts.

when

you’reExperience the MOCA at Goldman Warehouse presentation of Artificial Light sponsored by Millennium On View Visual Arts Program. Find out more at millenniumhotels.com/onview

Russians in Miami

MIAMI BEACH. Russian collectorshave been hitting the headlinesworldwide, buying mainly atauction. Sales are often seen as agood starting point for novicebuyers. But are these new collec-tors now starting to gain the con-fidence to build relationshipswith dealers, and get the mostfrom the art fair experience?

There are more Russian col-lectors at Art Basel this year, butin general they are here to learnrather than buy. “In Russia, peo-ple are only starting to collect,”says Semyon Mikhailovsky, or-ganiser of the “Modus R” exhi-bition (see right). “They arecoming to Art Basel to seehow it works. The sociallife is very important tothese people. They want tobe part of the internationalscene.”

Among the handful of Russiancollectors present is Janna Bul-lock, the chief executive ofRIGroup, a development com-pany based in New York andMoscow. She started collectingcontemporary art five years ago,and completed the contemporaryart programme at Sotheby’s Insti-tute in London this summer. “Icome here to educate myself, tosee where the market is going,what is important, but I tend not tobuy from fairs,” she says.

She has acquired around 300works by Warhol, Basquiat, Har-ing, Nevelson, Anselm Kiefer,Andreas Gursky, Thomas De-mand, Kiki Smith, and Yoshit-omo Nara for her foundation.She also has a Leon Kossoff anda 1950s Picasso. The founda-tion’s mission is “to educateyoung artists in Russia whohaven’t been exposed to interna-tional art”. She mounts tempo-rary exhibitions in RIGroup’sproperties, and plans to open anew headquarters in Moscow in2008 with a two-floor gallery ofcontemporary art from the foun-dation collection.

She comes to ABMB everyyear. “It’s phenomenal,” shesays. “Wealthy gentlemen andtheir wives walk around pointingto works—‘We’ll take this and

this’—then continue on to thenext aisle. It’s like a supermar-ket.” She is one of the collectorsprepared to buy directly fromdealers. “But I don’t buy any-thing from Moscow galleries be-cause there are not enoughprofessionals in contemporaryart in Russia, yet,” she adds.

That seems to be the case forother Russian collectors. StellaKay, the wife of a Russian busi-nessman, operates two galleriesin Moscow and has amassedaround 100 pieces by interna-tional contemporary artists in-cluding Warhol, Mapplethorpe,

Alex Katz, David Salle,Spencer Tunick, and

Mark Quinn. But, like Ms Bul-lock, Ms Kay is not yet buying atthe fair. “It is more expensiveand each year the prices go up. Iprefer to buy from galleries orauction houses, or from collec-tors directly,” she says. Like MsBullock, she is committed to ed-ucating younger Russian artistsand potential collectors. In Janu-ary she plans to close her twocommercial galleries in Moscowand within four years will open afoundation of contemporaryRussian and international art.

But, where are the oligarchswhose incursions into art havecaused such excitement? “Theyare too busy or too arrogant to

come to fairs,” says Ms Bullock.“They have hired top interna-tional curators for their collec-tions because the Russian art

market does not have anyonewith the experience needed tobuild a sophisticated collection,”she adds. But the mega-rich Rus-sians have a penchant for se-crecy—the Russian buyer of the$95m Picasso Dora Maar auChat, 1941, remains unidenti-fied—and if agents are prowlingthe fair, they are keeping theirclients’ identities to themselves.One dealer told The Art Newspa-per that most galleries never sellto the Russian oligarchs. “Theythink everyone is trying to cheatthem. They want to negotiate andstart at 50%. It is just too diffi-cult,” he claims.Jason Edward Kaufman

Russian collectors approach fair with care…

…while artists attack “unbridled capitalism”

Corrections and clarifications■ The artist who created the hash pipe screen on sale at the Di-etch/Paper store featured on p8 of yesterday’s issue is Tobias Wong.■ The newly-created post of curator of Latin American art at the Mu-seum of Modern Art in New York, held by Luis Perez-Oramas, willbe funded by the Estrellita B. Brodsky Endowed Fund for LatinAmerican art.■ The Rubell Family Collection is open on Sunday.■ Art Chicago has not ceased to exist, as we reported in yesterday’sgossip column (p2). It was bought by Merchandise Mart earlier thisyear and is set to take place from 27 to 30 April 2007.

MOSCOW. Damien Hirst hasopened a show in Moscow’s Tri-umph Gallery, which has all beensold to a Moscow businessman.“New Religion” was first shownin London in 2005. The worksare in editions of up to 150. “Inthe US, people buy art works that

have print runs after they’ve seenthe original in, say, a museum,”said Marat Guelman, a leadingMoscow gallery owner. “In Russia, people know of Hirst,but no one has seen his works inthe original.” John Varoli

For the firsttime, Russian

art has apalpable

presence

in Miami: not in the fair it-self, but in an exhibition inthe Design District organisedto coincide with ABMB. Onthe initiative of Nic Iljine,

the Guggenheim Founda-tion’s representative in Eu-rope and the Middle East,developer Craig Robins hasdonated space for a surveyshow organised by the Cul-tural Mission Foundation, aMoscow-based institution es-tablished in 2005 to promoteRussian art abroad. DirectorSemyon Mikhailovsky, a StPetersburg-based art histo-rian, has borrowed workfrom St Petersburg dealerMarina Gisich and Moscowgalleries Aidan, Regina,Stella, and XL, the onlyRussian gallery in ABMB.He says ABMB offers “anideal opportunity to presentlesser known Russian artiststo an international audi-ence”. Titled “Modus R” (for “Rus-sia, reconstruction, and revo-lution”), the exhibitionincludes 20 Russian artistswhose gritty, anti-luxury ob-jects criticise contemporaryRussian society. Co-curatorEugenia Kikodze, an inde-pendent curator fromMoscow, says the showstrives for an “anti-glam-orous” effect. “Russian cul-ture since Perestroika has

drifted into a dangerousstate, with people in lovewith the false glamour of un-bridled capitalism,” says MsKikodze. “We try to showculture in formalism, a lan-guage independent of politicsand money.” One convert to their cause isMoscow banker AlexanderEsin who, at 36, has becomea collector of contemporaryart. When Mr Iljine askedhim to support the Russianshow in Miami, he agreed tofund the fabrication and in-stallation of Moscow artistAndrei Filippov’s 30-foot-tall steel saw blade (left),that rises from the groundnear the show. “The descentof the Iron Curtain 60 yearsago led to a temporary haltin free cultural and socialexchange between Russiaand the United States,” hesays. “The reverse process is currently underway andRussian art is now reinte-grating into the world artistic process. Filippov’swork represents a new gen-eration of Russian culture,and I wanted people to seeit,” he says.Jason Edward Kaufman

Russian buys up Hirst’s Moscow show

Janna Bullock

Critical essays by an international group of art historians and curatorsexplore the Americas Society’s history-making presentations of LatinAmerican art, highlighting the intersection of art, economics, and politics.

Published in winter 2006 by the Americas Society in conjunction with theColección Patricia Phelps de Cisneros and the David Rockefeller Centerfor Latin American Studies. Distributed by Harvard University Press.

40 Years of Visual Artsat the Americas Society

A PRINCIPALITY OF ITS OWN

Join us for a special Art Basel Miami Beach booklaunch,Friday, 1:00 to 1:30 p.m., Art Guest Lounge.

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Artists� The touring show of neonsand light-rooms currently atMiami’s Museum ofContemporary Art (until 7January 2007) only explores oneaspect of Nauman’s pioneeringcareer, but is nevertheless arewarding and occasionallyhilarious experience.

Spanning his first body-relat-ed and text-based light piecesfrom the 1960s through to hisstrip-lit environments and nar-row corridor pieces, the showculminates with Nauman’s mostambitious neon, One HundredLive and Die, 1984 (right),

which urges us variously to“Eat and Live, Go and Die, Tryand Live, Sick and Die”. Theorganisers (the Milwaukee ArtMuseum) have secured thisspectacular loan from privateJapanese foundation BenesseArt Site. The many other signif-icant pieces from all over theworld compound the exhibi-tion’s comprehensive feel.

The only let-down is thedecision to “hide” his carniva-lesque, cavorting figurativeneons in one x-rated room,since their cartoonish depic-tions of sex are absurdly simpli-

fied. Nauman said of his neons:“I had the idea that I couldmake art that would kind of dis-appear, an art that was supposedto not quite look like art.”Since then his experiments inthe traditionally gaudy mediumof neon have generated a sub-genre within contemporary artpractice, from Tracey Emin toJames Turrell.

At Art Basel/Miami Beach,Gemini GEL (F14), have sold anumber of prints by Nauman(four types; each in an edition of60) for $5,500 each. Ossian Ward

Bruce Nauman: lives and dies in light

� Best known for their lyricaland subtly political work, artistsAllora & Calzadilla have takena new turn for their MooreSpace project, which openedlast night, installing a concrete-grey fortification inside thegallery as an anti-war statement.“The war machine has its owntypologies of architecture,”says Jennifer Allora. “And thispiece is a hybrid of the wardwelling: there’s the bunkerand the cave, but also the ruinsleft behind by war.”

From the structure’s turretspoint trumpets, not howitzers,and a constant cacophony blaresforth at mind-numbingly highvolumes. “Instruments like trum-pets were first developed as toolsof war to move soldiers,” pointsout Allora. (Above, Japanese

Emperor Hirohito inspecting anacoustic locator array.)

The noise emanating from thebunker amalgamates dozens ofpieces of music that have beenused by the military, includingvictory songs such as “Am AdolfHitler Platz”, Tchaikovsky’s1812 overture, and pieces usedby US psy-ops teams for interro-gating prisoners, such as Barneythe Dinosaur’s “I Love You”.

Stressing that the bunker is

not modelled on any particularcountry’s border fortifications,Guillermo Calzadilla explains:“We used different aspects fromdifferent bunkers in differentregions and different times inhistory. So it’s a visual montageas well as an audio montage.”

Lisson Gallery (E8) is offer-ing two inkjet colour photo-graphs with pencil pieces from2004 by the artists for $6,750.Marc Spiegler

� In the elite game of ABMBeveryone likes to feel included.The Perpetual Art Machine(PAM) at Scope Miami caters tosuch a sentiment, inviting visitorsto curate their own videoprogramme from a database.Videos can be searched bykeywords and two cinema-scaleprojections then show 32 pieces

simultaneously, from whichsingle works can be selected andplayed full size with audio (right).

All artists are welcome tosubmit their work to the col -lection at www.perpetualartmachine.com, which hasamassed a remarkable 1,000videos from 100 countries. “It’sFriendster for video artists,”says Aaron Miller who collabo-rates on the project with LeeWells, Raphaele Shirley andChris Borkowski. Unlike otheronline video archives, such asYouTube, PAM is exclusivelyfor the promotion of works ofart that carry a tone of “serious-

ness and investment”. Scope Miami has also provid-

ed the group with a stand (86),where the progenitors of theproject have a selection ofpieces from the PAM archiveavailable for as little as $1,800. Mark Clintberg

Perpetual ArtMachine:DIY show

� Inside the Aqua residentialcomplex is a new public workby Guillermo Kuitca. In themiddle of a traffic roundabout,the artist—who will representArgentina in next year’s VeniceBiennale—has created a plaza inthe shape of the island itself.

His work often deals withmapping and diagrams and here

he has embedded a blueprint ofthe Aqua development into theplaza’s pavement, which lies sev-eral feet below ground and iscovered with a thin pool of water.“I wanted to create the illusionthat the water is distorting themap image, but the image itselfis actually distorted,” he says.

Sperone Westwater (F11) hassold two paintings by MrKuitca: a 2004 map to theIndianapolis Museum of Art for$200,000; and a 1994 diagramof the Metropolitan OperaHouse to a Miami collector for$135,000. Jason Edward Kaufman

Allora &Calzadilla:sonic warfare

RobertKusmirowski:good health� Visitors might be surprised atJohnen+Schöttle’s stand (C9) bythe presence of a silent, sad mandressed in simple worker’s garband with grubby bare feet,standing beside a large “death”photograph of a family gatheredaround the corpse of a young girl.

The man is the Polish artistRobert Kusmirowski and thephotograph is of his family,

taken in Siberia in 1931, wherethey were exiled. They arestanding in the wooden hut theybuilt with their hands; one of thechildren in the picture isKusmirowski’s grandmotherand another is her sister.

Every half hour, Kusmirowskidrinks some vodka which hebrewed himself, perhaps tounderline the self-relianceforced on his family by the exile,or possibly to survive in the verydifferent art fair environment.The work, Ungut, 2006 (below),is priced at €14,000/$18,500,which also includes a bottle ofthe Kusmirowski vodka.Georgina Adam

GuillermoKuitca: wetand dry art

Cour

tesy

of t

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Spa

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8 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 8 DECEMBER 2006

Houseago’s in the Rubell Collec-tion. It sold out rapidly, rackingup what must have been well over$300,000 in total sales. “I feellucky to be involved, but it’s allso surreal,” says Mabry. “I’m twoyears out of grad school and I’mgetting phenomenal feedback.”

Although the Rubell show willnot increase the market for, say,established artists such as JohnBaldessari or Doug Aitken, it canreally boost careers for youngerartists. “The attention toward LAartists had been building pro-gressively, but the “Red Eye”show widens the audience,” saysMichael Gillespie of New York

Foxy Production (currently atNada), which shows both Ster-ling Ruby and Violet Hopkins.“It helped the international col-lectors connect the dots betweenthe young LA artists and theolder ones that they alreadyknew.” Throughout the week hesays, visitors recognised thelarge Hopkins painting on hisstand, because of its similarity tothe one in “Red Eye”. “You cantell the ones that just came fromthe Rubells,” he points out.

The Rubell show dovetails al-most perfectly with the Pompi-dou’s recent “Los Angeles1955-85: the Birth of an ArtisticCapital,” combining seminal fig-ures such as Baldessari, ChrisBurden, Mike Kelley andCharles Ray, with emergingartists such as Mabry, Karl Haen-del, and Ry Rocklen. “The strik-ing thing about Los Angeles isthat the great LA artists alsoteach, so they have a direct effecton the scene there,” points outDon Rubell. “Take Karl Haen-del, for example, who studiedunder Kelley and McCarthy, butin the end I think was more in-fluenced by Baldessari.”

Given successive generationsof such high-achieving artists,

Angelenos tend to get rankledover the notion that LA is justthe latest Leipzig or MexicoCity, a city momentarily bene-fiting from the art world’s re-lentless neophilia. Kordanskysays the main difference now isthat the international art worldaccepts that “LA culture”means something more thanHollywood. “What’s interestingto me about the Rubell show isthat it reveals how big the city’sscene has become,” says PhilipMartin of Cherry Martin, whichrepresents Mabry. “They weresome artists in that exhibitionwhom I don’t know person-ally—30 years ago, you couldhave fit the LA art scene in asingle room.”Marc Spiegler

up by Latin American paintingsspecialist Ramis Barquet, whohas launched his second NewYork gallery this month and isbelieved to have a deep-pocketedMexican backer.

The popularity of design isdriving up prices. A SergeMouille desk lamp is $46,000 atthe Paris Galerie Downtown,while probably the most expen-sive piece at the fair has to beMarc Newson’s riveted alu-minum Lockheed Lounge (chair)at Sebastian + Barquet. The samepiece sold at Sotheby’s NewYork in June for $968,000. It isnow on offer at $2m.

Such shock prices are becom-ing the norm, partly because ofscarcity. “Jean Prouvé furniture,even if it’s priced over $1m, isimpossible to find,” says JamesZemaitis, Sotheby’s 20th-centurydesign expert. “Now there are sixtimes the number of buyers will-

ing to spend $250,000 than therewere five years ago.”

And it is not just early 20th-century masters that are fetchinghigh prices. In a significant newdevelopment, numerous dealers,from New York-based Antik toNew York’s Barry Friedman, areshowing limited-edition furni-ture by a range of new artists.Antik is showing furniture by aformer builder, David Giovan-nitti. A pair of his loungers inblack Neoprene are priced at$6,500 each.

Paris Galerie Kreo sold 12Marc Newson aluminium andglass Chop Shop tables, 2006,for $170,000 each, in just 20minutes. Fashion designerDonna Karan was among thecelebrity buyers: she snappedup three mahogany totems byFrancois Stahly at the MagenH Gallery.

Although much of this mate-rial is brand new, its value has al-ready been confirmed in themarketplace. “Editioned furnitureis the trend of the future and ithas already achieved validity inthe auction houses,” says JamesZemaitis, an expert at Sotheby’s.Brook Mason

MIAMI BEACH. Five years ago,there was only a sprinkling ofdesign among Art Basel/MiamiBeach’s vast selection of con-temporary art: this year tabletopobjects by Picasso and othercontemporary ceramics and fur-niture by many artists are allover the fair.

“There is a blurring of bound-aries, with functional objectscrafted by artists growing inprominence just as photographydid ten years ago,” says SteveWilson, who with his wife LauraLee Brown, the Brown Formanheiress, was shopping for theirsubstantial collection of contem-porary art, 21 C Foundation,based in Louisville, Kentucky.Having filled their Louisville 21C Hotel with acquisitions, theyare now planning to do the samein Texas.

Some dealers are reporting

record sales. New York-basedPaul Kasmin (J16) sold close to20 chairs and tables by theFrench couple Claude and Fran-cois Lalanne at prices from$30,000-$350,000. “It’s func-tional sculpture,” says Mr Kas-

min. At Brooke Alexander andMai 36 Galerie (both F15), aFranz West sofa and RichardArtschwager chairs upholsteredin cow hide were snapped upimmediately. An East Coastmuseum reserved Thai Ameri-can artist Rirkrit Tiravanija’sinstallation of stainless steelflooring, a book case and a pic-nic table with two benchesalong with a Plexiglas mural for$150,000 with the Berlingallery Neugerrienschneider(F10). “The piece is not somuch about furniture, but theUtopian design of the 1970s. Itis a social stage,” says NathanPeter, the gallery assistant.

Meanwhile, another collectorsnared a Picasso chased silvercentre piece with fish decorationfor $120,000 from the Parisdealer Hopkins Custot (J11).The piece had been designed by

the artist and commissionedfrom silversmith FrançoisHugo. The Munich galleristsSprüth Magers (C12) are hold-

ing a Peter Fischli and DavidWeiss 2005 coffee table, madeof cast black rubber, for$250,000. B.M.

Design

Design takes on the world

Artists blur boundaries at Art Basel/Miami Beach

New York gallery Barry Fried-man completes its shift fromtraditional to contemporary artand design with the opening ofan 18,000 sq. ft gallery inChelsea this autumn.

The head of this new venturewill be Marc Benda (right), a 30year old Zurich native, with MrFriedman (left), best known forhis early forays into WienerWerkstatte.

Located at 515 West 26thStreet, the new gallery Fried-man & Benda will be the firstground floor entity devotedheavily to design in the entire

300 gallery strong neighbour-hood. The renovation has cost$2m. “When we saw the suc-cess of Design ’05, we realisedwe could reach four times thataudience if based in downtownNew York,” says Mr Benda.B.M.

NY dealer turns to contemporary design

LA art is here to stay

Lalanne chair

Ron Arad’s Blo-Void 3, 2006,edition at Barry Friedman

Gateway/Prostitute’s Bolster,2006, by Sterling Ruby

A Very Touching Moment…, 2006, by Nathan Mabry

CONTINUES FROM P1 CONTINUES FROM P1

THE ACCIDENTKOEN VANMECHELEN

CURATED BY AGNES HUSSLEIN

“THE CHICKEN AS A METAPHOR FOR HUMAN EXISTENCEAND THE EGG AS A METAPHOR FOR THE WORLD AND THE LABORATORY OF THE FUTURE.” Koen Vanmechelen

PALM COURT . 309 . 23RD STREETMIAMI BEACH . FLORIDA 33139

DECEMBER 5 . 2006 – FEBRUARY 28 . 200710:00 AM – 10:00 PM . DECEMBER 5 – 10 . 2006 12:00 – 6:00 PM . DECEMBER 11 . 2006 – FEBRUARY 28 . 2007

FONDAMENTA VETRAI 109/A . 30141 MURANO VENICE . ITALYwww.berengocontemporary.com . go@berengocontemporary.com phone . Italy +39 041 739453 . mobile . USA 646 826 9558

BERENGOCONTEMPORARY

VENETIAN WINE & FOOD TASTING . DECEMBER 6 – 9 . 7:00 – 9:00 PM

Strategic DevelopmentBONDARDO COMUNICAZIONE . MILANO

� Red Eye: LAArtists from the RubellFamily CollectionFrom today to Sunday, 9am-6pm. The Rubell FamilyCollection, 95 NW 29th Street,Miami �305 573 6090 www.therubellfamilycollection.org

� The Sites of LatinAmerican AbstractionFrom today to Saturday, 9am-noon. Cisneros FontanalsArt Foundation, 1018 NorthMiami Avenue, Miami�305 455 3382 www.cifo.org

� Forms of Classification: Alternative Knowledge and Contemporary ArtFrom today to Saturday, 9am-noon. Cisneros Fontanals Art Foundation, 1018 NorthMiami Avenue, Miami�305 455 3382 www.cifo.org

� Video: an Art, a History1965-2005, New Media Collection, Centre PompidouFrom today to Sunday, 9am-7pm. Miami Art Central,5960 SW 57th Avenue, Miami�305 455 3333www.miamiartcentral.org

� Mark Bradford: the Other Side of PerfectFrom today to Friday and

Sunday, 10am-4pm; Saturday,10am-10pm. The SchollCollection at World Class Boxing, 170 NW 23rd Street,Miami �305 438 9908

� Tamy Ben-Tor: Girls BewareFrom today to Friday and Sunday, 10am-4pm; Saturday, 10am-10pm. The Scholl Collection at WorldClass Boxing, 170 NW 23rdStreet, Miami �305 438 9908

� Margulies Collection at the WarehouseFrom today until Sunday, 9am-2pm. 591 NW 27th Street,Miami �305 576 1051www.margulieswarehouse.com

� Zero Hero by John BockFrom today to Friday andSunday 10am-5pm; Saturday,9pm-midnight. The Moore Space Loft, 3627 NE 1 Court,Miami �305 438 1163www.themoorespace.org

� Clamorby Allora and Calzadilla From today to Sunday, 10am-5pm. The Moore Space, 4040NE 2nd Avenue, 2nd Floor,Miami �305 438 1163,www.themoorespace.org

� Constructing New Berlin From today to Saturday, 10am-5pm; Sunday, 11am-5pm.The Bass Museum of Art 2121 Park Avenue, Miami Beach �305 673 7530www.bassmuseum.org

� Five FridasFrom today to Saturday, 10am-5pm; Sunday, 11am-5pm.The Bass Museum of Art, 2121Park Avenue, Miami Beach�305 673 7530www.bassmuseum.org

� Lorna SimpsonFrom today until Friday, 10am-5pm; Saturday and Sunday, noon-5pm. Miami Art Museum, 101 West Flagler Street, Miami�305 375 3000www.miamiartmuseum.org

10 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 8 DECEMBER 2006

Exhibitions in Miami Full listings at www.theartnewspaper.com

� Today’s eventsBreakfast at CisnerosFontanals Art Foundation,9am-noon1018 North Miami Avenue,Miami �305 455 3382www.cifo.orgBreakfast and guided tour ofthe exhibitions with curatorJuan Ledezma and artist JulioLe Parc.

Art Tours of Miami DesignDistrict, 9am-noon180 NE 40th Street, Miami Design DistrictTour several art spaces in thearea including the new MooreSpace Loft.

Art Basel Conversations,10am-11:30amArt Guest Lounge, EntranceD, Miami Convention CentreA panel discussion on collect-ing with guest speakers IrmaBraman, Sylvio Perlstein andJordi Pujol.

Visionaire Colouring Bar,10am-9pmThe Raleigh, 1775 CollinsAvenue, Miami �212 226 2196Music, cotton candy, snowcones and colouring are onthe agenda when you pur-chase a set of toys. All theproceeds benefit theElizabeth Glaser PediatricAids Foundation.

Art Video Lounge, 11am-8pmBotanical Garden Building,2000 Convention CentreDrive, Miami BeachThirty-five videos by estab-lished and emerging artistsare on view on nine screens.

Readings in Classical American Schlock, 11:30am-7pm, readings every hourNADA Art Fair, Booth D11 The Ice Palace, 400 NorthMiami Avenue, Miami New Museum ofContemporary Art in collabo-ration with Altoids presents areading of Andy Warhol’s ThePhilosophy of Andy Warhol:From A to B and Back Again.

Art Salon, 1pm-8pmArt Guest Lounge, EntranceD, Miami Beach Convention Center, Miami BeachA series of discussions oncontemporary art. Today, The Art Newspaper’s LouisaBuck and collector JudithGreer launch their bookOwning Art (7pm).

Artist lectures at Miami ArtMuseum, 1pm-4pmMiami Art Museum, 101 WestFlagler Street, 305 375 3000www.miamiartmuseum.orgLectures by Andres Serrano,Carrie Mae Weems andEnrique Martinez Calaya.

Blurred Boundaries: Design as Business, 6pmThe Moore Building, 4040 NE2nd Avenue �305 572 0866A panel discussion on designwith speakers Libby Sellers,Louise-Anne Comeau, GeoffreyMonge and Marcel Wanders.

Artist DJ Performance, 7pm-9pmCollins Park Beach between21st and 22nd StreetsFeaturing Mexican artist andDJ Yoshua Okon.

Art Loves Film, 8:30pm-11pm

The Colony Theatre, 1040Lincoln Road, �305 674 1292Dennis Hopper presents aviewing of the 1969 classicfilm, “Easy Rider”.

Art Bar, 10pm until latePool Bar at the Delano Hotel,1685 Collins Avenue, MiamiBeach, �305 672 2000Art and drinks at this SouthBeach landmark hotel.

� Mark Dion: South FloridaWildlife Rescue UnitFrom today until Friday, 10am-5pm; Saturday and Sunday, noon-5pm. Miami Art Museum, 101 West Flagler Street, Miami�305 375 3000www.miamiartmuseum.org

� Pablo Cano: City Beneath the SeaFrom today to Monday,9:30am-5pm. Museum of Contemporary Art, 770 NE 125th Street, North Miami �305 893 6211www.mocanomi.org

� Elusive Signs: Bruce Nauman Works with LightFrom today to Monday,9:30am-5pm. Museum of Contemporary Art, 770 NE 125th Street, North Miami �305 893 6211www.mocanomi.org

� Artificial LightFrom today to Monday, 9am-5pm. MoCA at Goldman Warehouse, 404 NW 26th Street, Miami�305 893 6211, www.mocanomi.org/warehouse.htm

� Carlos Alfonzo: ExtremeExpression, 1980-91Freedom Center, FreedomTower, 600 Biscayne Blvd,Miami �305 416 9779

� Modern French SourcesFrom today until to Sunday,1pm-7pm. Collins Building,139 NE 39th Street, Miami�305 572 0866 www.designmiami.com

� Modus R: RussianFormalism TodayFrom today to Wednesday,11am-7pm. The New Building,3901 NE 2nd Avenue, Miamiwww.modus-r.com

Mike Kelley’s ExtracurricularActivity Projective Reconstruction#9 (Farm Girl), 2005, at theRubell Family Collection

Phot

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OPENING HOURS:THU, FRI 12.00 - 19.00, SAT 11.00 - 19.00, SUN 11.00 - 18.00WWW.VIENNAFAIR.AT

THE INTERNATIONAL CONTEMPORARY ART FAIRFOCUSED ON CEE

26 - 29 APRIL 2007MESSEZENTRUMWIENNEUMESSEPLATZ 1, 1020 VIENNA/AUSTRIA

Party tonight 7PM

8BIT by Marcin Ramocki

presented by artMovingProjects

and Sarah Stanley/KBP

DiVA Party tonight

8BIT screening at 7PM

Hotel Victor, across

from DiVA Village

Thursday, December 7th • On the Beach of Lummus Park • Ocean Drive between 11th and 12th Streets • DiVA Village entrance on 12th street • Hotel Victor entrance at 1144 Ocean Drive

December 7–10, 2006 • 2pm–10pm Tel. (305) 921 9605 info@divafair.com www.divafair.com

Digital &VideoArt Fair

Arion Press, Crown Point Press, Durham Press, Graphicstudio

University of South Florida, Jim Kemper Fine Art, Landfall

Press, Marlborough Graphics, Mixografia®, Paulson Press,

Shark’s Ink, William Shearburn Gallery, Solo Impression Inc,

Tandem Press, Diane Villani Editions, Charles M.Young Fine

Prints & Drawings

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4000 Michigan Road at 38th Street Indianapolis, IN 46208-3326 T 317-923-1331 ima-art.org

Catalogue with essays byLisa D. Freiman and Okwui Enwezor copublished by Yale University Press available at yalebooks.com.

The exhibition is made possible in part by a grant from the Andy Warhol Foundation for the Visual Arts

INDIANAPOLIS MUSEUM OF ARTFEBRUARY 25 – JUNE 3, 2007

BASS MUSEUM OF ART, MIAMI BEACHSEPTEMBER 21 – NOVEMBER 12, 2007