During recent years, the Leopold Museum, centrally located in the midst of Vienna’s large cultural quarter “Museumsquartier” and ideally suited for temporary events, has established itself as a unique venue for fairs. Along with the museum’s new leadership, it seemed fitting to adapt the fair venue Leopold Museum to current circumstances, reorienting itself towards the changing interests of audiences and exhibitors.
A new partner was found in the Viennese presenter M.A.C. Hoffmann, for decades the driving force behind the ART&ANTIQUE fairs at Vienna’s Hofburg and Salzburg’s Residenz.
The first edition of Art Vienna will be held from February 23 to 26, 2017.
In terms of content, Art Vienna focuses on Austrian and international art of the 19th, 20th and 21st centuries, with particular emphasis on classical modernism and contemporary art.
The fair’s orientation corresponds to the artistic concept of the Leopold Museum under its new museological director, Hans-Peter Wipplinger, who is planning to use the central holdings of the collection focusing on Austrian classical modernism, to build bridges towards advanced modernism and the present.
Art Vienna offers space for approximately 40 exhibitors on two-floor levels, bringing together the best and most renowned Austrian gallery owners and dealers, alongside selected international exhibitors.
To Alexandra Graski-Hoffmann, managing director of M.A.C. Hoffmann, Art Vienna is a fascinating new challenge: “Given its special programmatic focus and thanks to the unique synergies with the Leopold Museum, I am convinced that Art Vienna will quickly establish itself as the central Viennese art fair event at the beginning of the year, offering a fresh, intriguing fair project as a counterbalance to the art scene’s already rather overextended autumn season.”
Rising to this challenge, Art Vienna opens its doors for the first time from February 23 to 26. But not only that, next to its main areas of focus, contemporary art, it also creates a place for classical modernism. Without exception, the most important criterion is quality. And when the mixture is right, this opens up and unfolds a field of tension for the viewer – in analogy to the artistic concept of the fair’s venue, the Leopold Museum, where the curators take the central pillar of the collection, Austrian classical modernism, as the point of departure for exploring advanced modernism and contemporary artworks. Art Vienna assembles outstanding Austrian gallery owners and dealers as well as selected international exhibitors.
Other Criteria are pleased to participate in this first edition of Art Vienna. Featuring Damien Hirst’s most recent collaboration with French crystal connoisseurs Lalique, alongside editions from Harland Miller, Rachel Howard and Don Brown.
Leopold Museum, Museumsplatz 1, 1070 Vienna, Austria
Opening: Thursday 23rd February, 11am – 9pm
Fair: Friday 24th to Sunday 26th February, 11am – 7pm
Ben Brown Fine Arts presents Give In, an exhibition of Gavin Turk's highly influential works to coincide with the artist's major survey show, Who What When Where How & Why at Damien Hirst's award-winning Newport Street Gallery. Give In transforms the gallery into a Museum of Curiosities, with pseudo-archaeological objects in cabinets punctuating the space, an installation cum magician's trick, and brand new trompe l'oeil sculptures.
Gavin Turk, Painted Bronze Paint (Albers Table), 2016
Painted bronze, limited edition of 8, 28 x 148 x 60 mm
Over the last three decades, Turk has relentlessly challenged the notions of value, authorship, and identity in his work, audaciously intermingling references both to modern masters and to himself, in the pieces he creates. Give In plays with the modernist framework; the works presented allude to the nuances of language, philosophy and to the Age of Reason and beyond. Paternal art historical references are layered like geological strata: Josef Albers, Joseph Beuys, Christo, Marcel Duchamp, Damien Hirst, Donald Judd and Joseph Kosuth, are familiar forbearers who resonate in his work.
Gavin Turk, Edgar Allan Poe Award Painting
Painted bronze, limited edition of 8, 410 x 270 mm
Turk will premiere new works inspired by the defining 'boxes' Judd began in the Sixties.Balloons, Nature Nurture, Purgatory and Ship in a Bottle (all 2017) cleverly fuse the careful minimalist structures of the Juddish boxes with the worn and discarded found objects within. Viewers are forced to look, and then look again. By juxtaposing these materials, Turk elevates familiarly banal objects to undeniably significant pieces of art, pushing the viewer to take notice of the form and function of the object. This idea is echoed in Rotrophydhian (2017), the museum's high alter, in which the sleek, clinical Pop Art aesthetic of Hirst's iconic 'medicine cabinets' are challenged by the very detritus that fills it - making provocative references to utopian images of an ideal society and addressing age-old philosophical preoccupations with birth, death and decay. These latest works add another layer of illusion to the artist's subversion of the rules of commercial art.
Gavin Turk, White Square after Malevich, 2015
Unique found canvas mounted on linen, 575 x 570 x 45 mm
In our post-factual reality, the transition between throwaway rubbish and that which is elevated to the bastions of high art - through casting in bronze with Turk's pioneering trompe l'oeil surface - is not so instantly perceptible and requires our close observation. Injuries also Occur in the Language(2015), Triple QX, ATF Plus (2015), Killer Filler(2017) and Painted Bronze Paint (2016) are exquisitely detailed sculptures that resemble punctured and depleted footballs, petrol cans, car filler and paint tubes respectively.
As visitors walk through the gallery they will eventually come to enter Give In (2017), an installation that welcomes, puzzles and intrigues. An impish reference to Duchamp's infamous last major artwork Étant donnés (Given) (1946-66), Give In is an optical illusion, visible only through a key hole in an old wooden door; instead of Duchamp's tableau of a nude woman lying on her back, Turk presents his audience with a distorted examination of self, through the lens of the artist.
Ben Brown Fine Arts
12 Brook’s Mews, London W1K 4DG
9 February – 12 April, 2017
Tim Noble and Sue Webster return to Blain|Southern London to present a new body of sculptural works. In their third exhibition with the gallery, STICKS WITH DICKS AND SLITS, the duo present pairs of giant self-portraits. These stick figures are sculpted in twisted bronze, an entirely new method for the artists.
Based on handmade maquettes made with electrical wire, the sculptures are an act of upscaling playful ephemera into physically domineering artworks with a permanency and scale that transcends human limitations.
The artists are well known for reacting to circumstance. They find inspiration by walking city streets and making sculpture from materials closest to hand in an urban environment. In the past this has included inner city detritus, discarded personal objects and animal carcasses. However, the initial maquettes for this new body of work were created during a residency on the Caribbean island of St Bart’s. This idyllic environment was initially challenging for these urbanites who found themselves stripped of their usual impetus. Struggling with this creative impasse, they began doodling with electrical wire, quickly and intuitively producing two intimate self-portraits.
Part of a great tradition of artists-as-art, their personal image and the dynamic between them is an integral part of their work. As with previous self-portraits, these new paired sculptures express the artistic personae of the duo. One pair features nudes of Tim urinating and Sue lactating — engaging in basic bodily functions is a recurring motif for the artists. As much as they have used refuse in their sculptures, the artists employ their own naked forms as a way to make art with a rawness and truth, using their warts-and-all inseparable dual image as a tool to critique narcissistic obsession.
As with the punk and 2 Tone bands who had such an effect on the artists, what defines this duo is a drive to convey a particularly British ‘kitchen sink’ reality, pushing against the polished veneer of the presiding culture. Their systems of imagery, language and material are as confrontational as early punk gigs where both critique and praise were delivered through bodily fluids. As with this music, the artists play with the tensions of structure and form, purposefully teetering on the edge of chaos.
The size, medium and aesthetic of their new sculptures are yet another bold development in a practice that Noble describes as ‘consistently inconsistent.’ Working at a scale that seems to contradict the materials, the artists achieve the sketchy, continuous effect of wire by employing the traditional technique of lost wax casting. The technique involves manipulating and casting rods of wax, before pouring molten metal into cavities to recreate the final sculpture in bronze. The resulting casts retain the spontaneity of the sculptor’s hands, and remain humanised and true to the subject. The dimensional qualities vary between each pair yet they are united by a fluidity and lightness of gesture that is rare to see in large-scale sculpture.
4 Hanover Square, Mayfair, London W1S 1BP
Private View: Thursday 2 February 2017, 6-8pm
Exhibition: 3 February – 25 March 2017
Zsona MACO Diseño is featured simultaneously with Zsona MACO México Arte Contemporáneo with the aim of reinforcing bridges of collaboration among galleries, collectors, curators, critics and the general public, with a structured conference program that includes international guests, in addition to numerous parallel activities at key points of Mexico City.
Curated by Cecilia León de la Barra, Zsona MACO Diseño includes collectible furniture, as well as limited edition furniture and utilitarian and decorative objects produced during a period that goes from 1920 to the most recent trends. The fair is an exclusive opportunity to visit and acquire the most outstanding design proposals in Mexico City, that has become the very first city from the Americas to receive the title of "World Capital of Design 2018" by the International Council of Societies of Industrial Design, as a model for other megacities around the world using design to ensure a more liveable city.
Established in 2002 by Zélika Garcia, Zsona MACO is currently a platform of leading art fairs with four events that take place twice a year during February and September at Centro Citibanamex, Mexico City.
For Zsona MACO 2017 Other Criteria are excited to debut two porcelain projects by Damien Hirst, with Nymphenburg, and Eduardo Sarabia never before exhibited in Latin America. In addition to new releases and limited edition prints, our booth will also feature newly created design pieces including Hirst Spin Chairs and Paola Petrobelli’s collaboration with Murano.
Eduardo Sarabia, History of the World 472
White clay with enamel paint – unique plate
320 mm (12 3/5 inches) diameter
Eduardo Sarabia, History of the World 479
White clay with enamel paint – unique plate
320 mm (12 3/5 inches) diameter
Eduardo Sarabia, History of the World 555
White clay with enamel paint – unique plate
320 mm (12 3/5 inches) diameter
Centro Banamex, Hall D
Av. Conscripto 311, Miguel Hidalgo, Lomas de Sotelo
11200, Mexico City
Opening: Wednesday 8th, 4pm to 9pm
Fair: 9th to 11th, 12pm to 9pm & 12th, 12pm to 8pm
The exhibition has been curated by London-based art consultant Catherine Loewe, who says: ‘The exhibition’s title comes from the 1978 Hot Gossip song of the same name, and also refers to the artist Glenn Brown, who used the title for one of his paintings, a meticulous rendition of a Rembrandt. Through this appropriation, Brown united something old and almost sacred with something modern, and this, in part, was the genesis of the exhibition. While all of the featured works open up myriad lines of inquiry, from challenging notions of value and authorship to examining modern morality, the show is in essence about the artists’ relationship with the art historical canon, from Old Masters to the present.’ The theme alludes to the collective hysteria surrounding the art market and fuses the double Frieze Fairs, the Contemporary and the Masters, in this case blurring the distinguishing factors. The works in the exhibition include both traditional materials and the use of new technologies in a wide variety of media, from plasticine to video projection.
Wolfe von Lenkiewicz, image courtesy the artist.
Wolfe von Lenkiewicz (b. 1966), is a British artist who studied Philosophy at York University, creates immaculately rendered compositions that mine familiar visual idioms from art history, creating ambiguous compositions that carefully examine what constitutes an original work of art. He is known for the reconfigurations of well-known images from art history and popular visual culture that question art historical discourses. Lenkiewicz’s ‘post-historic’ practice deconstructs the linearity of historical perspective to challenge our notions of past and present and delineate a new space that lies outside of history. Rather than relegating a painting to a time period, recent paintings by von Lenkiewicz can be viewed more accurately as a form of hybrid, a fulcrum between ages. The work in this exhibition ‘borrows’ from Jacques-Louis David’s (1748 – 1825) icon of the French Revolution, The Death of Marat, 1793, held in the collection at the Royal Museum of Fine Arts of Belgium, and Gerhard Richter’s Wolken, or cloud paintings, whose vaporescent forms create delicate sfumato brushwork around the figure of Marat. The painting hovers between past and present, engaging with both traditional craftsmanship and the readymade through the strategy of appropriation.
Gavin Turk, Large Transit Disaster (Blue, Copper & Ochre), 2013
Silkscreen on canvas, 190 x 515 cm
Image © the Artist. Courtesy Ben Brown Fine Arts, London
Gavin Turk (b. 1967) first came to prominence as a key member of the much- mythologised Young British Artists of the early 1990s, and his oeuvre consistently deals with issues of authenticity, identity, the ‘myth’ of the artist, and the authorship of a work of art. Presented for the first time in the UK, Large Transit Disaster (Blue, Copper & Ochre), 2013, is a seminal example of Turk’s on-going Transit Disaster series. Appropriations of appropriations, Turk takes on the iconography of Andy Warhol’s infamous Death and Disasters series, 1962-63, the imagery for which the Pop master took from newspaper photographs of fatal car accidents. Where Warhol’s repetitions of the images blunted their tragedy, Turk takes inspiration from the 1960s silkscreens to comment on contemporary British society. Rather than an American car, Turk uses the icon of the white transit van, a symbol of a disappearing era of working class Britain. The expressive shapes of the van’s distorted metal also allude to the underlying social tensions that led to the 2011 London riots. In recasting an iconic work from the annals of art history, Turk emphasises the power of artists to transform materials and question the uniqueness of creativity.
Artists Glenn Brown, Luke Caufield, Gordon Cheung, Stephane Graff, Henry Hudson, Nick Hornby & Sinta Tantra and Mariele Neudecker are also part of this exhibition.
21 Evesham Street, London W11 4AJ
12th January – 24th February 2017
Private View: Wednesday, 11th January, 6.30 – 8.30pm