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InterviewDumonteil Gallery, Pierre Dumonteil

page 5

DataAnselm Kiefer

page 9

Top Storiespage 14

Schoolspage 16

Museumspage 17

InterviewArtistic freedom,

Volodymyr Kuznetsovpage 20

Galleriespage 24

Artistspage 27

Auctionspage 28

InterviewSecurity in museums

Guy Tubianapage 30

Fairs & festivalspage 32

French Cultural Institutions at the Heart of Globalisation

Frances international art market

Based in Paris, Art Media Agency has the privilleged position of being close to some of the citys most prominent and exciting museums and galleries. It is the posters for these institutions which line the walls of the metro on our way to work, and we are constantly reminded of the citys diverse and continually evolving art scene.

Yet our work focuses on the art world as a very international entity - an outlook which galleries and collectors are increasingly beginning to echo. It is not out of the ordinary for collectors nowadays to travel across the world to galleries and auction houses, and the development of online bidding allows buyers to participate in auctions taking place in countries hundreds of miles away from their own. photo credit:

Louvre Abu Dhabi

About AMAArt Media Agency (AMA) is a news agency sepcialised in the art market. If you would like to send us press releases, please do so at [email protected] agency produces more than one hun-dred fifty articles per week, all purely textu-al focusing on art news and current events. AMA covers all international markets.

LICenCesAMA propose operating licences that allow one to receive thorough and up-to-date news on the art market, but also to reuse the provided content.If you are interested, please to not hesitate to contact us at [email protected] to find out more about our licences and content.

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AMA NEWSLETTER

1148 August 2013


A recent explosion in the number of annual art fairs further encourages gallerists, collectors and art enthusiasts to look beyond the art of their home towns. Partnerships between galleries based in different countries contribute to a rich culture of artistic exchange - particularly significant for developing arts scenes such as those in the Middle east, or in rapidly expanding markets such as that in china. so, whilst the notion of a local arts scene continues to exist, it is both valuable and enriching for those interested in art to have a more global outlook. Art Media Agency looked at its local galleries, considering the French institutions who move away from their home to take exhibi-tions across the world.

Exporting the gallery, or French galleries go on holiday too

As Parisians leave the city to escape Augusts overpowering heatwave (la canicule), it seems many of them follow in the footsteps of the citys art institutions, which are gradually moving from Pa-ris to destinations across the world. considered to be one of Frances top galleries specialising in contemporary art, emmanuel Perrotin has two spaces in central Paris, located in the citys Marais district, and on rue louise-Weiss, now considered to be one of the citys most prominent centres for contemporary art. The art dealer has always had an entrepreneurial spirit, having opened his first gallery at the age of 18 - which he ran from his own apartment. He was also one of the first gallerists in France to tap into the Asian market, opening a space on hong Kongs connaught road in 2012.

photo credit:Dumonteil Gallery

Perrotins expansion across the world is reflected in the global nature of the artists he represents; the gallerist currently counts Mr. (Japan), Bharti Kher (India) and Takashi Murakami (Japan), amongst the 35 artists attached to his gallery. Perrotin has worked with Murakami since the beginning of his career, being the first to show the artists works outside Japan in 1994, when he featured pieces by Murakami at New Yorks gramercy International Art Fair.

Galerie Emmanuel Perrotin continued its expansion this year, opening its first space in New York at 909 Madison Avenue. commenting on the decision to expand in an article in Bloomberg, Perrotin stated New York remains the capital of the art market, and it is key that we are a part of it. The new gallery adds 4,300 square feet to Perrotins existing exhibition space, and is held by the gallerist under a ten-year lease. The space is to be shared with dominique levy, a founding partner of New Yorks l&M Arts who is to open her own gallery, specialising in post-war and contemporary art.

Yet Emmanuel Perrotin is by no means the first gallerist to open branches outside of his French home. representing an international selection of renowned contemporary artists - which has in-cluded Fiona rei and lorna simpson (currently exhibiting at Pariss Jeu de Paume gallery), galerie Nathalie obadia is one of several French galleries which has locations in both Paris and nearby Belgium - a trend predominantly facilitated by the countrys shared language.

When it opened in 1993, Pariss galerie Nathalie obadia sought to represent works by a new ge-neration of young French artists, representing carole Benzaken, Pascal Pinaud, roland Flexner and Shirley Jaffe. Nathalie Obadia ope-ned its Belgian branch in Brussels in 2008, aiming to use this centre to encourage a link between two of europes major centres for contemporary art. A forthcoming exhibition in Brussels is to feature work by Belgian artist Joris van de Moortel.

other galleries in Frances capital have followed Perrotins approach, moving beyond european cities to open branches in china and the united states.


AMA Newsletter 114 2 8 August 2013

Pariss galerie Pierre M.dumonteil has been established for around 25 years, and has branches both in the French capital, in shanghai and in New York. Predominantly representing western artists, the gallery specialises in figurative sculptures from the 20th century, and also focuses on works by artists who focus on the theme of colonialism.

International exchanges on home ground

Whilst some of Frances galleries work to establish institutions further afield, others use their base in the city as a window onto the world, focusing on the work of a specific country and specialising in exhibitions dedicated to artists from that region. Art Media Agency interviewed Anthony Phuong last week, whose gallery in Ivry-sur-seine, on the outskirts of Paris, seeks to bring works by contem-porary chinese artists to a new audience in France.

For A2Z, this decision is based on the belief that both artists and the gallery itself can be enriched by a culture of active exchange and discussion. The Phuongs encourage their chinese and Western artists to meet and discuss their approaches to production, and are focused on creating a dialogue between France and china. A2Z Art also collaborates with art galleries and cultural institutions in china, such as shanghais Zendai Art Museum (china) and the chengdus Blueroof Art Museum.

occupying a more ostentatious position in Pariss contemporary art gallery scene, chine Nouvelle - the chinese agency created in 1931 - opened a space measuring 400 square metres in one of the capitals most prized real estate centres. The gallery aims to act as a platform for cultural exchanges between France and china, with the institutions ceo describing Paris as the cultural centre for europe on the occassion of the gallerys inauguration on 13 June 2013.

situated on the expensive rue du Faubourg-saint-honor, chine Nouvelle visibly demonstrates the current success of the chinese market, at a time when Western institutions of a similar nature are struggling. speaking in an interview in le Monde, director Wang chaowen stated that chine Nouvelle is booming thanks to the chinese market.

The most successful- and unique -French arts exports

some of Frances cultural institutions, however, have escaped the challenges of a struggling Wes-tern market, finding Chine Nouvelles booming success in spite of the toxic effects of a lingering financial crisis. Perhaps one of the most successful commercial artistic exports of the past decade, Carr dArtistes - which first opened in Aix-en-Provence in 2001- boasts a selection of ten galleries based in France and across the world, and represents around 500 international artists.


copyright : Opera Gallery

carr dArtistes breaks from the traditional art gallery model, boldly presenting its work with the assured maxim that art is essential to human existence. The organisation aims to make art ac-cessible to all - regardless of salary or expertise - aiming to democratise contemporary art by breaking away from the traditional codes of the art market. Its represented artists are considered equally. New art works are added to branches of carr dArtistes every fortnight, and ranging from 59 to 298. The organisations website conti-nues this theme of accessibility, offering users the chance to shop online- an activity which has become commonplace when purchasing clo-thes, books or music, but which is still tentatively developing in the art world. Another organisa-tion which has seen simlilarly explosive success is Opera Gallery, which first opened in Paris in 1994. Founded by gilles dyan, opera now has eleven spaces situated across the world, in Paris, london, geneva, Monaco, New York, Miami, sin-gapore, venice, hong Kong, seoul and dubai.




opera gallery exhibits works by both renowned and emerging artists, exhibiting pieces by esta-blished artists including Picasso, dali, Braque, Warhol and chagall, alongside pieces by emerging artists such as lori earley, david Mach, camilla derrico and sylvain Tremblay.

The gallery has been responsible for finding a number of talented artists in Europe, Asia and Ame-rica, launching the careers of a new generation of contemporary artists. Though the organisation began in Paris, its outlook and spread have become global. A statement by founder gilles dyan states that the gallery aims to offer artworks of exceedingly high quality, providing a high level of service to understandably demanding artists. veering away from the more rapid purchase culture encouraged by carr dArtistes, opera gallery will assess quality and authenticity, evaluate, exhibit, care for, buy and sell art, principally for the benefit of the collector.

Major French exports still to come

Yet one of Frances most significant exports is still to come; expected to open in 2015, the Louvre Abu dhabi is to be located in Abu dhabi, uAe, and forms part of a thirty-year agreement between the city of Abu dhabi and the French government. Planned to be located on the saadiyat Island complex - which is to house three other cultural institutions, including a new branch of the gug-genheim - the louvre Abu dhabi is to measure approximately 24,000 square metres (260,000 sq ft), with construction costs said to be estimated between 38 and 108 million.

The louvre Abu dhabi remains separate from its equivalent in Paris, though the two are linked through a thirty-year branding and training agreement, signed by French cultural Minister renaud donnedieu de vabres and sheik sultan bin Tahnoon Al Nahyan. designed by French architect Jean Nouvel, the museum hopes to be a universal museum in the Arab world, establishing a long and solid relationship between the Muse du louvre, the greatest museums located in Paris, and Abu dhabi, which is a dynamic force in the contemporary world.

The museum is to hold a diverser and internationally-minded collection of major works, including archaeology, fine arts and decorative arts, and hopes - ambitiously - to represent all regions, pe-riods, including contemporary art and the narrative of art history.

The institution represents the ongoing development of cultural exchange in the region, which has become a major centre for international business - with art collectors frequently following close behind. A press release on the institutions website points towards a global vision, acknowledging Abu dhabi as a crossroad for civilisations.

This latest French export offers an interesting proposal for exported galleries and museums; the louvre Abu dhabi is not seeking to transplant a selection of French artists, but to create a global artis-tic vision - acting as a microcosm for art movements, practises and traditions from across the world.

Im on re !



InterviewGALerIe duMonteIL, A GLobAL AMbAssAdor For FrenCH CreAtIon:

IntervIew wItH PIerre duMonteIL

Of all the French galleries to open abroad, the dumonteil gallery has been one of the most suc-cessful. The gallery was opened by Pierre and dothi dumonteil, who died this summer following a long battle with illness. The couples passion, love of adventure, and intuitive approach to art, led to galerie dumonteil achieving global access, promoting French artists in both shanghai and New York. Art Media Agency spoke to Pierre dumonteil, who shared the secrets of his success.

Could you explain how your gallery has developed over the years? We opened our Parisian gallery in 1982, and opened our first Chinese gallery in 2005. We ope-ned another gallery in New York in November 2012, having already solidly established ourselves in the city, having participated in around four New York fairs each year over a twenty-year period. In fact, we had already begun to exhibit our works at the Art & Antiques fair in Armory. Nowadays, apart from our gallery activities, we attend only two fairs a year: in November, we participate in an event organised in partnership with the National union of Antique dealers, as well as the Armory contemporary in Piers, which takes place at the end of March.

What motivated you to open your gallery in China?The opening of our shanghai gallery comes after several years of participating in art fairs. our presence allowed us to establish a client network pretty much everywhere in the world, including the Middle-East and the United States, as well as Russia and the rest of Europe. The first time we participated in a fair in shanghai which was about nine years ago we noticed that continental china was not an ideal place to develop international fairs, although it is a country whose art we are deeply passionate about. For chinese clientele, fairs are too temporary people in the country want to build lasting relationships.

My wife and I approached our work with an adventurous and enterprising spirit. Before the end of one particular fair, we started looking for a place before even knowing how we would operate a gallery there.

eight years later, the projects become a success. It opened doors for us in china, as well as the rest of Asia. We established an independent gallery, hoping to continue the work we first started in France; we primarily hope to promote Western and particularly French artists international-ly, launching the careers of both figurative artists and artists whose works represent wildlife, and predominantly working with those who produce sculptures. Today, our gallery in china is auto-nomous. We participate in three fairs in Asia: the contemporary Art Fair in shanghai in November, the Art Fair of Beijing in May, and the Fine Art Fair in hong Kong in october.

Pierre and Doti Dumonteil photo credit:

Dumonteil Gallery

We have also opened a second gallery in Shanghai. Today, our first gallery in Jumen Lu is more like a show-room and office, while our new space in sinan Mansions is located in one of the most developed areas of shanghai. When we first started our activities, we de-cided against opening locations in the most expensive districts in case this inhibited the durability of our activities. After a few years, we developed our client network and were able to open a second space.

So it all turned out to be a real success?our gallery in china is truly a great success, and we were able to make it autonomous. Its allowed us to have a project in the region which is lasting and developed its wholly different from simply participating in fairs, which we did for about 25 years, participating in about nine per year. When we only partici-pated in fairs, the logisitical details were also complex, as were a gallery which predomina-tely presents sculptures.



Interview

Youre also present in New York now? Yes - through luck and determination we were able to find an exceptional space, far beyond our initial expectations. our gallery is located in Park Avenue, at numbers 57 and 58, in the heart of New York. Its one of our most prized spaces a really magnificent gallery, measuring around 140 sqm, with a height of four metres. We work in the same way there, using the space to promote both our young, emerging artists, as well as artists who have gained international renown.

We are privileged to have good relationships with our artists. Most of them are sculptors, which does result in some problems regarding the matter of editions this is something we work on a lot, and we make sure that all of our artists sign a contract of exclusivity with us. This gives us a certain peace of mind with regard to both the material and human investment we make in our artists. From their point of view, they can count on a partner who takes care of all of their expenses, both for studio space and materials, as well as for sales and transportation. our relationships with our artists are incredibly strong, and allow us to establish true, long-lasting friendships our gallery has become a big family.

So your presence in three of the art worlds major market centres hasnt forced you to stop parti-cipating in fairs?of course not. Though our galleries are ideal forums in which to promote our artists and new works, we have become accustomed to travelling across the world, to maintain this promotional spirit. Just like people who work in theatre, we need this adrenaline.Its like a virus. Increasing the number of fairs we participate in has increased the number of fairs we take part in: Asias autonomy will soon allow us to participate in four fairs in Asia, and the self-suffi-cieny of our New York gallery has allowed us to become involved in more fairs there.

At the moment, we already participate in two fairs in New York, as well as one in Miami, which is held by the National union of Antique dealers in February. It is most likely we will participate in a fourth fair in the united states very soon. In terms of our participation in these types of fairs, were actually one of the more underrepresented galleries since we only take part in Masterpiece in london, and Pad in Paris. Weve also stopped participating in the Biennale, having hosted exhibitions there for the past 25 years.

Is your decision to open galleries abroad based more on your taste for adventure or economics?our decision is predominantly based on moral obligation. Anyone representing artists must not confine them to a discrete and modest success, even if they would be satisfied with doing so. I find, in fact, that this is generally one of the weaknesses with French galleries. Without intending to cause offence to anyone, I believe that my fellow French gallerists dont have the physical or moral drive, or the means or they dont give the means necessary to promote artists outside of France. Many of them simply dont have the bilingualism which is absolutely necessary for this activity.

GALerIe duMonteIL, A GLobAL AMbAssAdor For FrenCH CreAtIon: IntervIew wItH PIerre duMonteIL

Apart from that, when youre a gallery specialising in sculpture and you start to work with original editions produced by contemporary artists, theres an obliga-tion to spread their works, to help them conquer the art market. The French mar-ket can be easily saturated with a dozen artists producing three to four works per year.

Another important point is the adven-turous side of our work is very exciting! I started this adventure with my wife over thirty years ago, in 1982, while she was working as a model for Yves saint laurent -but she had the same love for art as me. her assistance was very crucial to the success of our ventures.

Grand Ours BrunGuyot

photo credit: Dumonteil Gallery





It was a great adventure that became a family business, with our children deciding to join us. My son dorian is in New York, and my daughter roxane will take on France and Asia. As my wife died fifteen days ago, and considering the fact that we started this adventure together, we three have decided to pursue it as far as we can, in her memory.

How do you manage your three galleries?First of all, we have a very competent and efficient staff, with Ms Yuxin Zheng in Shanghai and Mr Frank Laverdin in New York. We delegate some projects to some of our local staff, but our global policy, in terms of supervision and management, as well as our regular work, is under my sole direction. As with most galleries and because of our choice of artists, our way of operating is so personal that I cannot help but fully involve myself in our activities.

Yesterday we were two, and today I am alone, but I want to continue promoting our image and personal taste. If we were a gallery belonging to the second market and that we were in charge of selling works by artists from this second market, our only concern would be our profit margin. If that were the case, we would not need to develop any permanent spaces abroad, or be overly concerned by our physical presence. But in our case, theres a very intimate relationship between our artists, the gallery and collectors. As soon as you propose your personal choice to clients, and they follow your advice, the link created is significantly stronger than if you had just sold them something whose value had already largely been confirmed via the history of art.

Is settling abroad absolutely necessary when promoting emerging artists? Absolutely! Today, I have noticed that there are two categories of gallerists. I respect both, but I identify with only one that would be, gallerist who defend an artists entire estate, whether the artist be living or dead, and who seek to create an exclusive relationship with their uvre. Its in this way that lasting relationships start something which requires a lot of investment. I find it more appealing and interesting to work with artists who speak to me personally, and I also put a lot of energy into artists who have fallen out of favour, promoting the work of artists who people have begun to forget- I do all of this in agreement with their beneficiaries.

What is the position of French galleries in the global art market? Scandalously insufficient, for several reasons. Their simultaneous strength and weakness is their autonomy. Theres very little or not much money available. French galleries only very rarely achieve the necessary level of funds to participate in the art market at an international level.

Then there is this national mentality which means that the French are quick to be satisfied with the fact that they are based in Paris, which is truly a wonderful place, but they lack the de-sire for adventure. There is also the important issue of French galleries accountability, which does not allow them to pay off their stock and prevents them from gathering new stocks. In order to go abroad, we have to create lasting relationships with our artists. But today, the cost of storing works prevents lots of galleries from succeeding and they do not have enough means to develop their promotional methods. As far as we are concerned, working with edi-tions allows us to be very flexible, since we have the opportunity to renew our stocks more easily. Today, we work with artists who are better known abroad than in France, a fact which seems paradoxical, but which is thanks to our presence at fairs across the world for over 25 years.

Front of the French Galleryphoto crdit:

Dumonteil Gallery





Unfortunately, we are only a few French galleries to make this effort, both in terms of the way we engage with individuals and with regard to our relationship with government support. There are certainly means which French gallerists could use to better equip themselves to conquer the world. These means dont necessarily include grants. Although it is necessary to give grants for public projects, it is very different for individual companies in my opinion.

We are certainly the country with the least presence on the international market, both in terms of the development of our market and the fame of our artists. Today, among the best-known French artists on the international scene, besides Pierre soulages, it is hard to mention many more artists. There are lots of reasons for that, but the main reason is that we do not export our artists sufficiently.

How do you see things evolving?In general, I think that politicians are becoming more aware of the situation, as well as admi-nistrative departments. We have to consider the promotion of our culture as a means of lasting development, as well as a positive form of cultural imperialism. We complain a lot about the cultural imperialism of others, but we dont change our own activities so that we can have a more international presence. I think that we are beginning to go in the right direction, but external factors such as the economic crisis and exchange rates could affect this.

developing both the material and cultural presence which French culture has at an international-ly level would no doubt help us to fight against weakness arising from our geopolitical or econo-mic status. Its also a magnificent way of attracting art lovers the world over to artistic production in French speaking countries, an attraction which often begins to evolve from the moment people discover our works..

Leopard on Red-OrangeKoller

photo credit :Dumonteil Gallery



Anselm Kiefer Art Analytics

Anselm Kiefer was born in 1945 in donaueschingen, germany. Before devoting himself to art, he studied law, languages and literature. he afterwards attended the Fine Arts schools of Fribourg-en-Brisgau and Karlsruhe. After working in Buchen, he settled in France in 1993 to work in Barjac, in the French region of gard, then moved to Paris in 2007.

Anselm Kiefer centres his work on the past, on the history of his country, and does not hesitate to portray the trauma of the second World War, namely the holocaust. his work is based on a crucial question: after the holocaust, how should an artist belonging to the German tradition portray himself? This reflective work on identity was broadened by a spi-ritual quest regarding the great myths of mystical kabbalism, an esoteric Jewish tradition that is presented as the oral and secret law of YhWh (god) given to Moses on Mont sinai, along with the Written and Public law (Torah). his work includes painting, photography, books and sculptures. As he is influenced by the Beuys, he adds all sorts of materials to his canvases, including sand, dirt, chalk, hair and saliva. Anselm Kiefer is also fascinated by Ju-daism and has explored the theme of kabbalism in all of his works, with the same emphasis as germanism.

his works are part of the collections of the worlds largest museums. In october 2007, three of them (Athanor, an 8-metre painting, dana and hortusconclusus, two sculptures) were added to the collections of the louvre. Anselm Kiefer inaugurated the Monumenta pro-gramme of the grand Palais in Paris in 2007, with a work paying tribute to notable poets such as Paul celan and Ingeborg Bachmann, including cline.

In 2009, on the occasion of the 20th anniversary celebrations of the opra Bastille, the ins-titution called upon Kiefer to create a musical show with the recital Am Anfang, including a mise en scne, dcors and costumes referring to passages from the old Testament.

Anselm Kiefer received the prestigious Praemium Imperial Prize in Tokyo in 1999, and he was chosen as the laureate of the Peace Prize of the german Book Trade for the year 2008.

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Although he started producing works in the 1960s, his work became popular only in the 2000s, gaining the admiration of the public and artistic institutions. In fact, he has been benefiting from about forty exhibitions per year since the beginning of the 2000s. Anselm Kiefers works have been exhibited most regularly in the united states, with 153 events, followed by his homeland germany (110), Italy (46), the united Kingdom (38), and France. Among the venues that hosted exhibitions on his work the most often are the Anthony dof-fay gallery (united Kingdom), the galerie Thaddaeus ropac in salzburg (Austria), the MoMA - Museum of Modern Art (united states), the Neue National galerie (germany), and White cube (united Kingdom). Moreover, his works have been displayed the most often alongside gerhard richter, georg Baselitz, Joseph Beuys, Andy Warhol and sigmar Polke.

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1981 1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011

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Anselm Kiefer

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At auction houses, Anselm Kiefers works have amounted to a total turnover of almost $90m, with an average price exceeding $235,000. In addition, all of his mediums have been marked with great success, both in terms of price and sale rate.

While his paintings represent 70% of the lots that were offered and 85% of the turn-over achieved during public sales, they are sold for an average price of $220,000. The artists sculptures are sold for $280,000 on average, his photographs for more than $70,000 and his drawings for about $55,000.

Among the works that fetched the most substantial amounts, the artists record was set in February 2007 at christies london, with the painting lasstTausendblumen-blhen! (1999) being sold for $3,152,960 hammer price, followed by the painting demunbekanntenMaler (To the unknown Painter) (1983), which was purchased in May 2011 at christies as well, but this time in New York for $3,100,000 hammer price. In November 2012, the sculpture eisen-steig (1986) fetched $1.6m hammer price.

While the number of lots offered on sale has been regularly increasing for the past fifteen years, Anselm Kiefer has been benefiting from a significant growth for the past five years.

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Illustrated by the success of all of Anselm Kiefers mediums, his creativity has allowed him to present drawings, multiples, as well as paintings and sculptures. concerning the unsold rate for the works of the artist who has settled in France, it is within the usual average of contemporary artists, with the sale of 76% of his lots offered at auction houses.

As for the regions where his works have been sold, while his creations have been of-fered in various countries, the united states and the united Kingdom have conducted more than of his auctions, accounting for a great part of his turnover (83%). The relatively high price of Anselm Kiefers works have allowed sales to be organised at the British and American auction houses that have been dominating the market, so-thebys and christies, and Phillips to a lesser extent.

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Painting Drawing PhotographySculpture Multiples

5%6%

15%

70%

8%4%

85%

United States United KingdomGermany others

12%

10%

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47%

46%

24%

76%

sold unsold Sothebys Christies Phillips others

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Auction results from Artprice.com

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The works created in the 1980s by the 68-year-old artist are among the most repre-sented at auction houses, although no period of creation has been more valued by buyers. In fact, the creations that he produced throughout the past forty years are equally sought after at auction houses.

until 19 January 2014, Anselm Kiefers work is presented at the state hermitage Mu-seum in st Petersburg, on the occasion of the exhibition titled gegenlicht. german Art from the george economou collection, which is centred on the heritage of ger-man expressionism and of new objectivity in post-war and contemporary painting. For this occasion, Anselm Kiefers works are presented alongside those of artists such as otto dix, christian schad , george grosz, ernst ludwig Kirchner, Max Pechstein, erich heckel, georg Baselitz, Jrg Immendorff, Markus lpertz and Neo rauch.

The german artists works are also presented at another venue, until 26 January 2014, at the saint louis Art Museum, on the occasion of an exhibition centred on german post-war art, titled Postwar german Art in the collection. The works of Joseph Beuys, gerhard richter, sigmar Polke, georg Baselitz, Jrg Immendorff, Martin Kippenberger, hilla Becher, Andreas gursky, and candida hfer are currently exhibited alongside those of Anselm Kiefer at the American museum.



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lots turnover

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LeGAL MAttersAtais skull to be returned to New CaledoniaJean-Marc Ayrault is to restore Atais skull to New caledonia, according to an article published in Journal des Arts. The deci-sion was announced during the French Prime Ministers recent three-day visit to New caledonia. The skull is a symbol of the Kanak revolution of 1878, during which Atai was decapitated by French colonisers. The skull was then taken to Paris, where it was exhibited in Trocaderos Muse dethnographie, before joining the collections of the Muse de lhomme. Thought to have been stolen until 2011, the skull was rediscovered- at which point it was reclaimed by Atai representatives. com-menting on the matter, Jean-Marc Ayrault stated The posi-tion of the state is clear: yes, this relic should be returned to New caledonia, and it will be returned. The promise comes 25 years after the Matignon agreements, with the restitution expected to take place in september 2014. The event recalls a prior case which took place in France in 2011, regarding the restitution of a skull taken from the Maori people. The French government was forced to pass a law enabling the restitution, which goes against a prior law stating that works housed in French museums must remain part of their collections.

US restores artefacts to IraqThe united states is to return around 10,000 artefacts to Iraq, the majority of which were stolen during the Iraq war fol-lowing the fall of saddam hussein in 2003, with some origina-ting from the National Museum of Iraq.The restitution was made possible thanks to the efforts of the university of cornell, which carried out a census listing all of the objects to be returned. In a report released by the AFP, Bahaa al-Mayahi, the Iraqi Minister of culture stated: We have reached an initial agreement on returning more than 10,000 Iraqi artifacts that are in the united states. details of the restitution are still being finalised, but it is thought that an agreement may be signed at any moment. This announ-cement, however, does not explain how works entered the United States in the first place, though Bahaa-Mayahi stated that the two countries had agreed not to further detail regar-ding this matter. over the past few years, the united states has restored over 1,000 objects to Iraq. The National Museum of Baghdad, however, lost 14,000 pieces from its collection in 2003, only 4,000 of which have been returned. In 2004, in response to the situation, uNesco created the International coordination committee for the safeguarding of the cultural heritage of Iraq. The IcoM also created an emergency red list, detailing artefacts from the country which are considered to be endangered.

JurIdIque4,000 artefacts seized in SpainAccording to an article which appeared in the Journal des Arts, around 4,000 artefacts, over 2,000 years in age, have been seized by authorities in the small spanish village of Aranda de Moncayo. These ancient artefacts were taken by an inhabitant of the village ricardo granada, who had been carrying out clan-destine excavations for 20 years. The objects originate from a celtic Iberian tribe which established the ancient village of Aratikos, near Aranda de Moncayo today. The site was under no of-ficial protection, and had not been subjected to official excavations, allowing Ricardo Granada to carry out his digs without difficutly. granada was arrested, after two helmets of unclear origin- appeared at auction, raising the suspicions of experts at The romano-germanic central Museum and causing the spanish police to begin an investigation.The mayor of Aranda de Moncayo has seen the affair as an opportunity to launch an official, legal excavation into the sites at Aratikos.

Tax credit seeks to encourage art investments in France14 members of the French opposition party have presented the draft of a law which, if passed, would see the implementation of a tax credit system aimed at encouraging French citizens to invest in art. News of this move appeared on the website Tout sur les Impts on Wednesday 24 July 2013,The tax credit would apply to individual tax payers who purchase artefacts, collectors items, and antiques, within an annual limit of 1,000 euros, and a maximum of 80% of the total price paid offered the maximum amount of tax credit per year would therefore be 800 euros per year. To counter the loss which the adoption of such a measure might represent, those behind the law proposed an increase on the tax applicable to the sale of precious me-tals, jewellery, artefacts, and antiques. It is suggested, however, that this mea-sure be implemented only in the case of a transaction equalling or superior to 100,000. The law follows recommendations made in a 2008 report by Bethenod, based on the similar incentives implemented in the united King-dom and the Netherlands.

Former art gallery director accused of fraudAccording to an article published in the Journal des Arts, the former director of the Art gallery of calgary, valerie cooper, is currently facing accusations of embezzlement.cooper is suspected to have taken a total of $500,000 from the institution, which she acquired by making false expenses claims. In an interview with po-lice on 24 July 2013, she admitted to having taken $100,000, though stating that she had been unaware that her actions had been fraudulent, and would not have pursued them had she been aware that she had been committing a crime. Cooper now faces up to two years in prison; a final decision regarding her case is to be made on 1 November 2013.The Art gallery of calgary is one of the largest public institutions dedicated to contemporary art in canada. Whilst it does not have a private collection, it does host a selection of exhibitions and educational programmes.

ArtICLe oF tHe weekRussia to take greater care of its cultural heritage

russia has adopted a law aimed at aiding authorities who seek to combat the des-truction of cultural heritage. The law came into effect on 7 August 2013, and will see substantial fines imposed against anyone who transgresses the legislation for the protection and preservation of cultural he-ritage. Problems concerning the destruction of russian heritage have long attracted the

attention of cultural bodies, with both na-tional and international associations dedi-cated to the protection of cultural heritage calling for action. This federal law is based on propositions made by the department of cultural heritage of the city of Moscow. The law aims to dissuade individuals and the owners of estates from undertaking actions which might contribute to the destruction of

russian cultural heritage. The decision sees the number of acts considered to be legally reprehensible increase, as well as the num-ber of fines. The impact of this, however, is expected to be relatively minor: only buil-dings which are already classified by the go-vernment, or which have been officially re-cognised as important for cultural heritage will be subject to the law.



AwArdPraemium Imperiale prize open for entrantsThe Praemium Imperiale is a prestigious prize, which rewards artists in the fields of painting, sculpture, architecture, music, theatre and cinema. This year marks the prizes 25th edition, which is to be given in a ceremony on Wednesday 17 sep-tember 2013. The laureates of the prize are selected for their artistic production, their contribution to international art, and the enrichment they bring to humanity as a whole. each winning artist receives 150,000, a diploma and a medal, which are presented by Prince hitachi, the honorary president of the Japan Art Associa-tion, on the occasion of a formal ceremony held in Tokyo. Along with this prize, the Japan Art Association also assists young artists on an annual basis, by making a contribution of 50,000 to an organisation or institution which helps young artists to enter the professional world.

Arte Laguna Prize launches new categoryorganisers of the Art laguna Prize have announced a new category, created in collaboration with design company riva. Arte laguna is to take place in serenissima, venice, and is accepting entries until 9 october 2013. Those wishing to enter the riva design competition are asked to design an object to be created from Bricolla wood, which hails from the venice region. The winning designer is to be invited to create their work during a ten-day residency at Rivas workshops, and will have the opportunity to present the fini-shed piece at Milans 2014 salon del Mobile. The 8th edition of the International Arte laguna Priza aims to promote the work of contemporary artists and desi-gners. The total prize fund available is 180,000. The prize is open to all artists, regardless of age, gender or nationality, and each is allowed to enter one or two works to more than one competition category. Winning artists are to receive a prize of 7,000. The competition has no overall theme, though it is divided into five sections, including: Painting; Sculpture and Installation; Photography; Video and Performance Art; and Digital and Virtual Art. Winning entries are to be selec-ted by an international jury of ten members, directed by Igor Zanti.

AssessMent...Christies to valuate collection at Detroit Institute of Artsover the course of the next 3 months, christies is to assess the collection of the detroit Institute of Arts (dIA), which will cost $200,000, according to Kevyn orr, who has been instated the emergency administrator of the region.The works belonging to the museum are currently not expected to be sold- the citys general attorney has re-iterated that, because the collection belongs to a trust, it can only be sold in the case of ongoing bankruptcy. The purpose of this assessment is to not to gage the sale value of the works, but to gain a more com-prehensive understanding of the value of the citys assets as a whole. The mu-seum houses approximately 60,000 works, including a self-portrait by van gogh and works by Matisse, caravage and degas. city authorities are also assessing the value of the tunnel which links detroit to Windsor, ontario, as well as its airport.The museums statute states that its collection is the property of detroit residents, meaning that it is impossible for its works to be sold they may, however, be ex-changed for other works. An article in The Detroit Free Press explained that, should the city authorities wish to sell works from the museum, the institution could take legal action. It is thought that the sale of the works would have a considerable effect both on the museums economic stability and on detroits image.

reLoCAtInGNew location for Issenheims altarpieceThe French Ministry of culture and communica-tion, the mayor of colmar and the schongauer so-ciety have agreed to relocate Issenheim altarpie-ce (dating from between 1512 and 1516), moving the famous piece from the Muse unterlinden to the eglise des dominicains in colmar, whilst the museum undergoes work to extend its current size. Issenheims altarpiece represents a combina-tion of some of the finest works of painter Grn-ewald, who produced the works panelling, and by Nicolas de haguenau, who was responsible for executing the sculpted portions of the pie-ce. The work is to be transferred to the church this autumn, in a move managed by schongauer, with permission having been granted by autho-rities of the city of colmar and the French state, who own the work. The painting is to remain on display at the church for the duration of the mu-seums extension, from Autumn 2013 to the end of 2014. It is to be displayed alongside a piece by colmar painter Martin schongaeur, and the Vierge au Buisson de Roses, also held at the eglise des dominicains. Works by grnewalds contempora-ries are also housed in the church, including Re-table de Sainte Catherine et de Saint Laurent, and Retable de Bergheim by veit Wagner.

CALL For APPLICAtIonsCall for applications for residency at Multimedia Centre KIBLAThe Multimedia centre KIBlA in Maribor, slovenia, has launched a call for applications for its residen-cy programme, which gives artists, curators and theoretists the opportunity to develop their prac-tice through an interdisciplinary approach, com-bining art, science and technology. The residen-cy programme is scheduled to take place during october 2013. Applicants are sought from artists, members of the cultural sector, and art theorists who wish to conduct research which considers both technological and scientific factors in asso-ciation with art. The residency programme lasts three weeks, with works produced during this pe-riod being displayed as part of the KIBlIx 2013 festival. The residency programme is supported by the european union and soft control. Appli-cants are requested to produce a short biography, accompanied by a list of their most significant works, as well as a proposition for the project to be created during their residency programme.

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schools

CHAnGe oF PosItIonGallery director resigns following falsified PhDleslie cohen Berlowitz has resigned from her position as director general of the American Academy of Arts and sciences.her resignation comes after it was revealed that several of the details on Berlowitzs CV were falsified. According to an article published in The Journal des Arts, the scandal first began when the Boston globe published a piece stating that the former director generals Phd was non-existent, and that a host of professional experiences listed by Berlowitz were made up. Following the revelations, leslie cohen Berlowitz attempted to defend herself by blaming the Academys employees, before apologising and admitting the information had been fabricated. Though she has now lost her credibility in the professional world, her actions as director general nevertheless contributed to the development of the Academy.

Rmy Fenzy holds position as head of ENSPA ministerial decree published in the French Journal Officiel on 1 July 2013, states that rmy Fenzy has once again been appointed director of the ecole Nationale suprieure de la Photographie dArles (eNsP), holding on to a position which he has held since July 2010. Founded in 1982 by Franois Mitterand, the eNsP of-fers three-year, taught courses in photography, video and sound production. students are given both theoretical and practical training, and are given the opportunity to meet with both artists and professionals in the field. Rmy Fenzy began his career at the French Embassy of reykjavik. he later graduated from the university of sorbonne, before being appointed director of the ecole suprieure dArts in Brest.

exHIbItIons...VINI, VINDI, VINCI in Bordeaux Three bodies dedicated to architecture, art and design have joined together to organise summer workshops on the theme of vinicul-ture, to be held in Bordeaux. The tablissement denseignement suprieur dArt de Bordeaux, the cole Nationale suprieure dArchitecture et de Paysage de Bordeaux and the school of design Politecnico di Milano, are to present vINI, vINdI, vINcI between 2 and 13 september 2013, bringing together around thirty students, young graduates and professionals.The first week of the fortnight-long project is to have a theoretical focus, with professors from each of the participating schools gi-ving talks, along with visiting companies and professionals. The second week is to be focused on the realisation of practical projects, to be overseen by professors and invited professionals.

nouveLLes ForMAtIonsWorks of VCAs artists exhibited at Hotel WindsorAn exhibition featuring works by artists who have studied at the victoria college of the Arts, the university of Melbourne, is current-ly on display at Melbournes hotel Windsor, where it is to continue until 5 september 2013.The event is to encompass Windsor Art Award, which gives a win-ning artist $10,000. The prize is given by a jury including: photo-grapher Bill Henson; the director of the National Gallery of Victoria, Dr Isobel Crombie; and Jan Murray, the director of VCA. The prize is open to all the graduates of the school who obtained either a BFA, a McA, a MFA or a Phd.speaking in a press release, Jan Murray stated This partnership with the hotel Windsor presents a unique opportunity for our ho-nours and graduate students at the vcA to explore the history of the hotel and experiment creatively in a completely new environ-ment.The event has been used as an occassion to announce a new partnership between two of Melbournes largest institutions. In 2017, the vcA is to celebrate its 150th year, having originally ope-ned as the National gallery school. This year marks the 130th year of the hotel Windsor, a major luxury hotel which ranks amongst The Savoy, London, Raffles, Singapore, The Ritz, Paris, and the New York Plaza.

CALL For APPLICAtIons...Final call for applications from LUCA School of ArtsThe lucA school of Arts, located on the campus of sint-lukas in Brussels, has launched a final call for applications to candidates wishing to enrol for the MA course in art and design.Interested candidates should submit their applications before 15 August 2013, in order to enrol for the MA visual and Audiovi-sual Arts course, before 1 october 2013 for the MA Transmedia course, and before 1 september 2013 for enrolment in the MA doc NoMAds course.MA visual and Audiovisual Arts is a masters degree in visual arts, lasting one year, and open to students who wish to develop careers as artists, designers (in the field of animation, film, or digital design) and fine artists.The MA Transmedia course lasts two years, and is focused on research into different medias and design, with both a practical and theoretical approach.The MA doc NoMAds is a two-year masters programme which offers specialist training to those wishing to produce documen-taries. degrees received from the institution are presented in en-glish by three european institutions: the sint-lukas in Brussels, the univetsidade lusfona de humanidades e Tecnologias in lisbon, and the university of Theatre and Film Arts in Budapest.

ArtICLe oF tHe weekNew curators programme at the School Visual of ArtsAs of september, New Yorks school of vi-sual of Arts is to accept applications for its new curatorial programme. The first year of the programme is to gra-duate in 2016. The programme will be directed by steven Henry Madoff, the former chief editor of Art News and author of Pop Art: A Critical Histo-

ry and Art School (Propositions for the 21st century).According to an article published in Art in America, Steven Henry Madoff explained that, although various programmes de-voted to curators are already in existence, he would like to start a programme that has very much to do with the dNA of the

school visual of Arts.Matthew higgs, the director of New Yorks White columns, hou hanru, an inde-pendent curator, claire gilman, a curator at New Yorks drawing center, and charles Renfro, an associate of architectural firm Diller Scofidio + Renfro, are some of the lecturers of this upcoming programme.



Museums

noMInAtIonsElonore de Lacharrire named new President of the Muse Rodinelonore de lacharrire has been named the President of the Muse rodins Administrative council, according to an article which appeared in The Art News-paper. she succeeds Yves chaisemartin, who has been the President of the ins-titutions Administrative council for six years. Past roles have included director general of the Fondation culture & diversit (The Foundation for culture and diversity), which seeks to increase the visibility of culture in deprived areas. lacharrire is also a member of the conseil de Fi-malac, a society which was founded and directed by her father Marc ladreit de lacharrire, and the centre Franais des Fonds et Fondations.

New artistic director at MAXXIgiovanna Melandri, President of the MAxxI foundation, has announced that hou hanru is to take the role of Artistic director at the Italian national museum. hou hanru an art critic and curator specialising in exhibitions of chinese art will take office in September 2013, and is to be responsible for the development of the institutions collections. since opening in 2010, the MAxxI has sought to become one of Italys leading contemporary art institutions, and to acquire an international reputation. Three years after its inauguration, however, the muse-um is still working to raise visitor numbers and boost both its visibility in Italy and further afield. It is hoped that Hou Hanru will contribute to a new period of success and development in MAxxIs history. hou hanru lives between Paris and san Francisco, and has contributed to the organisation of a large number of international exhibitions and biennials. he has also worked as a professor and consultant to cultural institutions.

reoPenInG...The Muse dHistoire de Marseille to reopen in SeptemberThe history museum of Marseille, France, should reopen on 12 september 2013. during renovation works in the Bourse district in 1967, lots of items were found near the port of the city of Marseille. But the educational-centred museum did not have sufficient space to exhibit the collection as a whole. After several years of re-novation and a 6,500-sqm extension, the new museum will finally reopen its doors to the public.This transformation is the result of an ambitious restructuring programme launched by the city of Marseille, on the occasion of the citys designation as the european capital of culture this year. The museum thus aims to present the history of Mar-seilles port and marina, including various periods from 600 Bc to today. The open archaeological site adjacent to the museum will allow it to present its collection of 44 objects and documents. Future exhibitions will also feature 3d technology and multimedia works.

exPAnsIonV&A could receive 5m funding for extension projectlondons victoria & Albert Museum has re-ceived the first round of approval for a grant from the heritage lottery Fund (hlF), which has offered to give a grant of just under 5m for its proposed extension. A previous proposal for a grant of 8m was re-jected in April, as the heritage lottery Fund was said to have had received an excess of funding applications. requests for less than 5m, howe-ver, can be processed more quickly by the hlF, so the v&A is said to have asked for a grant of 4,999,999. To date, the museum has raised 30m towards the 42m project, with building work expected to start in early 2014. designed by architect Amanda levete, the new structure is to provide a new entrance, cour-tyard, and underground gallery devoted to tem-porary exhibitions. It is expected to open three years after construction begins.

Londons Serpentine Gallery to expandlondons serpentine gallery has announced an expansion project in association with Zaha ha-did, the Pritzker Prize-winning architect.located in Kensington gardens, the gallery commissions an architect to create a temporary, outdoor pavilion each year. The project with hadid, however, is to see the gallery install its first permanent extension. En-titled the sackler gallery, the venue is to hold both an exhibition space and restaurant. hadids construction consists of a white, si-nuous canopy, which extends from a former gun-powder store, once known as The Maga-zine. The space is scheduled to open in sep-tember 2013.Zaha Hadid was the first woman to receive the Pritzker Architecture Prize in 2004. she was also awarded in 2010 and 2011 with the stirling Prize.

ArtICLe oF tHe weekMet Museum reaches 1 million visitors in 18 months

Thomas P.campbell, the director and ceo of New Yorks Metropolitan Museum of Art, announced that the Museums New galle-ries for American Paintings, sculpture and decorative Arts have welcomed over 1 million visitors, following their reopening on 16 January 2012. Prior to opening, the galleries underwent major expansion and redevelopment, and have since attracted an average of around 2,000 visitors a day, re-presenting approximately 11% of the Mu-seums total attendance over this 18-mon-th period. commenting on the news,

campbell stated that The American Wings glorious new galleries provide an elegant 21st century home for the Museums unpa-ralleled collection of American paintings, sculpture, and decorative arts, adding that all of those who come to see our stellar collection of American art have responded enthusiastically to the new spaces, which have been redesigned and reconceived for the first time in 40 years. The New Galle-ries for American Paintings, sculpture and decorative Arts add over 3,300 square feet to the institutions American Wing, allowing

nearly all of the wings collection of 17,000 works to be displayed as part of a chrono-logical exhibition of American art. Artists with works featured in the section include emanuel gottlieb leutze, John singleton copley, gilbert stuart, Thomas cole, Frede-ric edwin church, Winslow homer, Thomas eakins, and John singer sargent. sculptors whose works are on view include: erastus dow Palmer, John Quincy Adams Ward, Augustus saint-gaudens, daniel chester French, Frederic remington, and Frederick William MacMonnies.



A look at Yoko Onos 50-year careerlouisianas Museum of Modern Art is currently presenting Yoko ono half-a-Wind show, a re-trospective of the artists works which is to be on

display until 29 september 2013.A statement released by the gallery states that the show is to surprise, challenge and expand our notion of a legendary and extremely vital artistic pioneer. The exhibition coincides with the artists 80th birthday, and celebrates 50 years of production. over one hundred works on display were produced across a variety of media including visual art, poetry, music, installation, performance and film.The exhibition includes en Trance, one of onos major archi-tectural installations, which is to be shown for the first time in several years. several works produced at the beginning of the 1960s include experimental and conceptual works first perfor-med in New York and Japan. large billboards across copenhagen will feature poetic messages from the artist, and will be on display in the city throughout the course of the exhibition.

William Furlong talks to prominent contemporary ar-tistsFlorences villa romana is currently presenting speaking to others: Who speaks to Who, an

exhibition of recorded artists voices produced by William Furlong. The show is to run until 30 August 2013.speaking to others is a newly-commissioned work by the Bri-tish artist, created in response to the spaces of the villa roma-na in Florence. The works bring together recordings of the voices of signifi-cant contemporary artists, made by Furlong between 1973 and 2007 as part of his collaborative project Audio Arts. Ar-tists to feature in the recordings include: Joseph Beuys, Mario Merz, Nam June Paik, susan hiller, richard serra, Mary Kelly, richard hamilton, lawrence Weiner, rachel Whiteread, richard Wentworth, gerhard richter, dieter roth, Tracey emin, Jean Tin-guely and sarah lucas. The work explores the notion of constructed conversation and the experience of listening.William Furlong was born in 1944, and established Audio Arts magazine in 1977. Audio Arts now represents the most substantial archive of original recordings of contemporary art. speaking to others follows Furlongs previous audio pieces, including To hear Yourself as others hear You (south london gallery, 2003) and Intelligence (Tate Britain, 2000). The exhibi-tion is curated by lucia Farinati.

Brenda L. Croft looks at the contemporary life of AboriginesFrom 6 April to 8 september 2013, the Art gallery of New south Wales is presenting an exhibition

on the work of artist Brenda l. croft.Brenda l. croft is a gurindji/Malngin/Mudpurra artist who works closely with her family, her friends and her indigenous community, in order to create her photographs. Most of the time, the works that she builds are biographical and inspired by her own personal history. In fact, Brenda l. croft grew up in the suburbs with a white mo-ther and an indigenous father who was taken away from his family at the age of 2, due to an Australian policy that allowed Aboriginal children to be taken away from their parents.Brenda l. crofts works are thus centred on the problems en-countered by many Aborigines, which stolen generation ef-fects are still currently felt. Her creations then offer a realistic portrait of the contemporary life of Aborigines.

wHAts onPeter Doigs work at the National Galleries of ScotlandFrom 3 August to 3 october 2013, the National gal-leries of scotland are to present an exhibition of works by scottish artist Peter doig. entitled Peter

Doig: No Foreign Lands, this event is the first exhi-bition of the artists works to be held in the scottish museum. It features works created over the past ten years, during which the artist worked in Trinidad and Tobago.For thirty years, Peter doig has been creating paintings which seek to redefine the medium. Though he has been associated with the Conceptualist school, his works express a distinct style; works included in the exhibition at the National galleries of scot-land are produced in a vivid palette of warm colours.commenting on the exhibition, doig said I left scotland as a child as many of my generation did; however I know Edinburgh, the city where I was born, through many visits as a child and youth. To be able to exhibit my paintings in the magnificent rooms of the National galleries is a great honour. Following the show in scotland, the exhibition is to travel to Montreals Museum of Fine Arts, where it is to be curated by stphane Aquin.

Modigliani and the cole de Paris at the Pierre Gianadda Foundationuntil 24 November 2013, the Pierre gianadda Foun-dation in Martigny, switzerland, is presenting an ex-

hibition entitled Modigliani et lcole de Paris.This event features some eighty works issued from the collec-tions of the centre Pompidou, which are exhibited alongside se-venteen works from private collections, as well as swiss and fo-reign museums. Among the paintings to be discovered, are some rare portraits and nudes by Amedeo Modigliani (1884-1920), as well as works by the leading figures of the cole de Paris.The presentation is centred on the development of the artists work, from the time of his arrival in Paris in 1906, to his death in 1920, thus retracing the career of this major artist. under the artistic direction of curator catherine grenier, who is also the vice-president of the centre Pompidou, this exhibition is centred in part on the tradition of portraits, which was greatly promoted by the cosmopolitan artists of the cole de Paris, as well as the aesthetical revolution of cubism.Among other artists whose works are exhibited alongside Mo-diglianis are cham soutine, Brancusi, Jacques lipchitz, Picasso, lopold survage, Fernand lger, georges Kars and ortiz de Za-rate.

World Press Photo: 2012 in picturesottawas canadian War Museum is currently present-ing some of the past years most significant pieces of photojournalism, as part of World Press Photo

13, an exhibition of award-winning images from the prestigious annual World Press Photo contest. The exhibition is to continue until 28 August 2013.The Canadian War Museum is the second of five Canadian venues on the exhibitions international tour, and is organised in associa-tion with the embassy of the Kingdom of the Netherlands. The exhibition features more than 150 images from 2012, docu-menting news events, including recent conflicts from around the world. Photographs have been selected from a total of 103,481 images, submitted by 5,666 photographers representing 124 nationali-ties. An international jury of 19 members awarded prizes in nine cat-egories, including daily life, Nature, sport and contemporary Is-sues.The World Press Photo contest was established in the Nether-lands in 1955 and is sponsored by canon.



Forthcoming exhibition of Chinese Painting at Londons V&AFrom 26 october 2013 to 19 Janua-ry 2014, londons victoria and Al-

bert Museum is to host an exhibition titled Masterpieces of chinese Painting 700 1900.The museum bills the event as a once-in-a-life-time chance to see rare surviving works, which have been gathered from collections across the world. 70 pieces will be on display, and will demonstrate some of the finest examples of chinese paintings, from small-scale works by monks and academic figures, to a 14-metre long scroll painting. It is the first time that many of the works will be shown alongside one another.covering a 1,200-year period, the exhibition de-monstrates the evolution of styles and subjects in Chinese art. Religions figure paintings on silk will be accompanied by landscape paintings, which demonstrate the introduction of Western influences.

Artistic production at Camp des MillesAn exhibition is to take place from 20 september to 15 december

2013, at the memorial site of the camp des Milles in Aix-en-Provence. This camp is the only large French internment and deportation camp that is still intact and ac-cessible to the public.Between 1939 and July 1942, before becoming a deportation camp for more than 2,000 Jewi-sh men, women and children, who were sent to Auschwitz to die, this camp was the first used to trap hundreds of germans who were considered as enemies and undesirable strangers. Among them were artists who fled the Nazi regime.The show is to feature works created during this period by artists including hans Bellmer, Max ernst, Ferdinand springer and Wols each repre-senting the artistss continued commitment to artistic production in the face of adversity.This exhibition examines the intellectual and moral implications of artistic production in this period, as well as the effect which the difficult living conditions of the time had on the works of artists.

Csar in Marseille, at Muse CantiniBetween 13 september 2013 and 5 January 2014, Marseilles Muse cantini is to present an exhibition

of works entitled csar Marseille curated by christine Poullain.The exhibition is to feature works by 20th-cen-tury sculptor csar Baldaccini, who mastered both classical and contemporary sculpture techniques, as well as creating his own distinct methods. Pieces on display include les Com-pressions, Les Expansions, and Les Empreintes Humaines. The Marseille museum is a fitting lo-cation for an exhibition of works by the sculptor, who grew up alongside the workshops and war-ehouses of the nearby Belle de Mai.

CoMInG soonRsidence Secondaire at MAMO MarseilleFrom 12 october to 2 december 2013, the Audi Talents Awards Programme is to host an exhibition entitled rsidence secon-daire.

The event is to bring together works by the 12 winners of the contemporary Art and design Award, who have created pieces especially for the event. It is co-curated by Amlie du Passage and gal charbau, who chose to base the show around everyday objects.The Audi Talents Awards Programmes began in 2007, and aims to support the work of emerging talents in the fields of film, design and art.

New portraits by Jonathan Yeo at the National Portrait GalleryFrom 11 september 2013 to 5 January 2014, londons National Portrait gallery is to host an exhibition devoted to works by artist Jonathan Yeo.

Jonathan Yeo Portaits is to feature new works by the artist, on display in public for the first time. Amongst the works on display is a new por-trait of artist damien hirst, who is depicted sitting in a chair, wearing a hazmat suit and mask an outfit which was chosen to echo the tools used by the artist in his creative work. hirst and Yeo worked together on the piece, with hirst knowingly acknowled-ging the image ascribed to him by the art world.The exhibition is curated by sarah how gate, and will be accompanied by The Many Faces of Jonathan Yeo, to be released in october 2013.

Hans Richter retrospective at Centre Pompidou-Metz A retrospective of works by hans richter is to take place between 28 september 2013 and 24 February 2014 at the centre Pompi-dou-Metz, located in the French city of Metz, in lorraine.

The show is to provide the first major overview of drawings, pain-tings and films by Richter (1888-1976), and is organised in association with the los Angeles county Museum of Art. The exhibition does not intend to retrace the entirety of the artists career, but rather intends to focus on art created at defining moments in Richters life.richter worked as a painter, craftsman, and as an editor for periodicals, who worked during the height of the development of the Avant-garde movement in the 1910s. The exhibition demonstrates the development of richters work over time, and explores the political and artistic ideas which influenced his pro-duction.

Extreme Measures at New Yorks New MuseumFrom 2 october 2013 to 12 January 2014, New Yorks New Muse-um is to present a survey of works by chris Burden, titled extreme Measures, which will be the first major exhibition of the artists

works in over 25 years.Burdens career spans over 40 years, and has seen him produce works across a variety of media. his show at the New Museum presents pieces which call into question physical and moral limits. Covering five floors of the Museum, Extreme Measures demonstrates Burdens continued desire to investigate the breaking points of materials, institutions, and even himself.The show is to be accompanied by a major installation in the grounds of the mu-seum, which is to dramatically alter the visual landscape of lower Manhattan. Two small skyscrapers (Quasi legal skyscrapers) (2003/2013), each 36-feet tall, will be erected on the roof of the building, whilst ghost ship (2005), a 30-foot vessel designed to sail a 400-mile voyage, guided by a computer, is to hang on the side of the museum like a lifeboat at the ready.The exhibition is organized by lisa Phillips, the director of Toby devan lewis, with Massimiliano gioni, the Associate director and director of exhibitions, and Jenny Moore, the Former Associate curator. It is to be accompanied by an illustrated catalogue featuring essays by both critics and artists.chris Burden was born in Boston in 1946, and currently lives and works in los Angeles. his works have been featured in exhibitions at institutions including Tate, london, and New Yorks rockefeller center, and featured in the 48th venice Biennale in 1999.



InterviewJudGeMent dAy

For FreedoM oF ArtIstIC exPressIon

On 25 July 2013, Natalia Zabolotna, director of the Mystetskyi Arsenal Museum, created surprise and outrage when she destroyed a painting on display in the gallery by artist volodymyr Kuznetsov. entitled Koliyivshchyna: Judgement Day, the work was to be presented as part of an exhibition called great and grand, which sought to celebrate ukranian cultural heritage. oleksandr soloviev, a respected ukrainian curator and deputy director of Mystetskyi Arsenal, and Kateryna Stukalova, chief Editor of Art Ukraine journal have filed for resignation following the incident. Art Media Agency spoke to volodymyr Kuznetsov.

Were you shocked about what happened to your painting in the Ukraine?sure, I was shocked. Firstly, I heard that the director and curator of The Arsenale, Natalya Zabolotna had forbidden me from going near my work -I was unable to enter the Arsenal after having spent five days working there. So I said ok, and thought about this situation.

usually I speak through my work, but I realised that I could use the Internet as a way of communicating. For the past week, I have been using the web to speak out, and to share the subject of my work. Its also raised questions about censorship and self-censorship. A lot of people have said that I create my works for personal reasons, but I think I make art as a res-ponse to the unhealthy situation there is currently in the ukraine.

How bad is the situation in the Ukraine? Is there any freedom for artists working in the region?It feels like ukraine was just a very quiet place that people are asleep. The Arsenale is this big institution whose management is closely affiliated with politics (with the government, and with power)- making art and politics connected. like many other arts institutions, The Arsenale has to work hard to seek funding, and is always on the look out for potential spon-sors. Their main sponsor, however, is the government: a lot of their money comes from the state itself.

The managers of the museum also try to look for money elsewhere however. Natalia Zabo-lotna the director of the museum has often worked alongside larger city-wide events and celebrations as a means of gaining sponsorship. A year ago, for example, the Arsenale was connected to euro 2012 you could say it was Arsenale euro 2012.

This time, the museums exhibition was linked to the Baptism of Kievan rus. Al-though the exhibition at the museum and this celebration were originally separate, they became linked, and saw involvement from many people.

so, the day before the opening of the ex-hibition, in the afternoon between 3 and 4 pm, I sought to enter the museum to finish my work, knowing that the ukrainian Pre-sident was visiting the next day.

The question is, what prompted Zabolotna to do what she did? Five days before the eve of the opening, I had been working in the museum, and she had walked around my work and looked at it.

I had told curator Alexander solovyov that I would come in the middle of the day to finish the work I came at the agreed time, and found I was forbidden to enter. It was around this time that people began to tell me she had painted the work in black.

photo credit Volodymyr Kuznetsov





Did you hear this from people in the gallery?I hear it from people in the offices at the Arsenale museum, yes.

Do you think that is because your work was a controversial work? Was it meant to be a political work?People at the museum asked me to make a work somehow connected to Koliyivshchyna. They liked my ideas, and invited me to make something for the Arsenale. And then some friends started to suggest that perhaps because the exhibition was linked to the Baptism of Kievan rus people might not be able to take it.

I decided to connect my work to the traditional subject Koliyivshchyna a Judgement day, calling it Koliyivshchyna: Judgement Day. The work has three components, it is based on the peoples uprising known as Ko-liyivshschna- which took place in 1768 Ive made some works focusing on this before.

It looks at the strong suppression incited by power. Ive made two works on it before which are held in museums in Kiev and in Warsaw.

The second component was a connection to the existing works in the museum, which houses a lot of icons and sacred objects. I decided to connect it to the judgement day, as one of re-ligions traditional topics, examining hell and fire.

Thirdly, I decided to connect my work to the experience of ukrainians today, refering to the things which appear in the pages of newspapers. And I explained this concept to museum organisers. And they received my ideas positively they knew it would be bloody like another of my works held in Poland.

The work which was destroyed was painted directly on to a temporary wall, and was to be dismantled in September, at the end of the exhibition, if it was yet to find a buyer.

With regards to the fact that the work was covered in black paint- we have no proper law which goes against this, which could have protected my rights. There are laws like this in France and germany, but there is nothing like this in the ukraine, where nobody can be made accountable for having destroyed a work of art.


Do you think Natalia Zabolotna herself wanted to destroy the work or do you think she was working on behalf of the government- had someone told her to destroy it?Its difficult to say perhaps someone saw the work and said that people wont like it.

And perhaps this was someone from the government but Natalia Zabolotna is also a government worker. she holds the position of Director as a government fi-gure.

I think she decided to take this step her-self as she thought they wouldnt like it, and she knew that they could take posi-tion of director away from her.





Do you feel that you have freedom as an artist in the Ukraine?Yes, there are some people who arent surprised about what has happened who have said that, of course, if you make a work for a government building, you are going to incite provo-cation.

But this is a possibility which I told the people at the Arsenale of, and it was Zabolotna who decided not to show this to those who were above her in hierarchy it was a form of self-cen-sorship on her part, you might say.

Do you not feel that, by destroying your work, Zabolotna actually made it more visible? Suddenly the scandal went across the Internet, and lots of people saw the work perhaps more than would ever have seen if had it not have been destroyed.Yes and I think what Zabolotna didnt bank on, was the fact that I photograph my work at the end of every day. so even after it was destroyed, lots of images of the work existed. The work, by the way was unfinished it was a half-created work.

Id so far represented hell, but I had also planned to show a representation of Paradise. Its sort of a joke at the moment I can say Zabolotna destroyed hell, without giving me the pos-sibility of showing paradise.

I had also thought of including a portion of text in this work, which is something I have done in previous images.

What are the projects youre working on at the moment?Im currently planning to create a work in one city in in Italy, though very few details are confirmed so far. I am also planning on producing something for the Graphic Biennale in Lju-bljana, a work entitled VIP car I want to devote this to politics during periods of conflict and to Bosnia and herzigovina which got rid of its arms, but which remains in power.

What inspires you to produce works? Is it politics?I used my work to connect different influences they might be historical, text-based or come from publications, or from my personal experiences. My influences could come from anywhere- but I often try to deal with the current situation.

I cant explain very deeply how I produce my works I use different materials, contexts or resources, but I always talk about what is going on at the moment, about real life. Maybe we could say Now is everything that the present moment is always the most important- that, for you, now is all that matters.


That is, of course, whilst remembering your former experiences.

Do you think that is what art should do?Not just that -it should also be connected to sensories of life its connected to the smells, the air the experience of life. Its not the politics of the government, its real life in the family, its picking mushrooms maybe, going to the moun-tains or to the sea, etc. Its to do with how you survive and what youre connected to in life.

But for now, yes, this political situation is perhaps louder than this. Not all of my works are dedicated to the government, but Koliyivshchyna was.





The work is also associated with the rape of Iryna Krashkova by two police officers the government now, by the way, have tried to diminsh the role these policemen played in the event.

I also wanted to focus on the Chernobyl veterans on hunger strike over benefit cuts the el-derly and issues surrounding their pensions, migrant-workers, pussy riot and gender equality.

What do you think about Pussy Riot?I think, like everyone else, one has the right to express oneself, as long as its not violent.




Galleries

rePresentAtIonThe Zach Feuer Gallery now representing Elaine ReichekAccording to The observer, artist elaine reichek has joined the Zach Feuer gallery. elaine reichek was born in 1943. she practices conceptual art and is particularly interested in fashion design and tapestry. she participated in the Whitney Biennial in 2012, and her works have been exhibited several times at the Nicole Klagsbrun gallery, which initially repre-sented the artist but recently closed down. elaine reichek will also benefit from a solo exhibition at the Jewish Museum in autumn, titled A Post colonial Kinderhood revisited. her first exhibition at the Zach Feuer gallery should take place in the autumn of 2014.

oPenInGDominique Lvy opens a new gallerygallery owner

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