Biennales | Paris-Venice

Santiago Art December 9, 2017

By Andreea Belba



A frenetic September in shades of yellow and titian heralded Paris and Venice Biennales, romantic and cultural destinations for worldwide art-lovers avid of artistic beauty.


The Paris Biennale, a pinnacle of the “Art de vivre à la française”, went through a complete metamorphosis in terms of name, president, and momentum, meeting the expectations of the most exigent collectors with its dynamic and radiant configuration. Morphing into an evanescent and elegant venue of fine arts, antique furniture, sculptures and jewellery the biennale mesmerized the audience with a surplus of novelty ingrained by its three identical sidewalks reflecting impartiality and plasticity. From 11 to 17 September 2017, the Grand Palais hosted 95 galleries with 36 international exhibitors with Barbier-Mueller and Giada Ripa exhibitions as special guests. The two-yearly biennale acted as an art promoter that disclosed the mundane reality by limiting the artists exclusiveness and rejecting formal rigors. Among the most notable galleries were Hélène Bailly Gallery featuring Pablo Picasso’s “Anthropomorphic Landscape”, Chevalier Gallery with gold woven tapestries, Kevorkian Gallery remarkable for its ancient marble female statuette, Delvaille Gallery showing the impressionistic painting “Le Vaudreuil en été”, Mullany or Sycomore Ancient Art with bronze or marble beauties. If Boghossian, Bernard Bouisset and Pautot-Sugères exposed jewellery, galleries like Aktis, Opera, Pedro Aguiar Branco, Ary Jan, Bacquart, Perrin Antiquaires, Boon, Fleury, Whitford Fine Art, Robilant & Voena etc. opened up new perspectives.

Pablo Picasso’s exhibit was one of the most ravishing on sale at Hélène Bailly Gallery. Created in 1963, the piece showing the hidden portrait of a man was unique in the painters production. Alternatively, Kevorkian Gallery showcased a 13 cm-high alabaster statuette from Anatolia, an effigy of a protective “goddess mother” indicative of fertility that probably belonged to the 4th-5th millennium B.C.


The prodigious collection Barbier-Mueller exhibited on 220 m² more than 130 art objects collected from generation to generation since the beginning of the 20th century when Josef Mueller started purchasing works signed by Picasso, Cézanne and Hodler. It was the most impressive collection of African, Asian and Oceanic art objects valorized by “Les Collections Barbier-Mueller, 110 ans de passion,” a book published by Editions Glénat. Echoing this spirit of renewal, the Barbier-Mueller exhibition was displayed in two large rooms located at each end of the Nave to encourage circulation throughout the space.

Another synergetic initiative was the partnership between Paris Biennale and Chantilly Arts and Elegance Richard Mille. By displaying historical car collections, haute couture creations, automobile clubs and the French Art of Living, the two events shared common values and the same public.

The Downtown gallery paid homage to the art of Le Corbusier whose particular scenography defined a polychrome wood sculpture entitled Ozon Opus I, after the village where the artist had taken refuge in 1940. Concurrently, Gallery Art Cuellar-Nathan exhibited a marvelous watercolour piece entitled “Explosion”, evaluated at Euros 800,000.

Still hypnotized by the glittering mirage of the fabulous Paris Biennale and craving for another artistic escapade, visitors continued their periplus to Venice, a unique and vibrant must-attend place full of inspiration, nostalgia and time value.

The Venice Biennale “Viva Arte Viva” unveils as the largest contemporary art show that paints new colour shades upon a city that is looking forward to the future. Opened in November 2017 in the Arsenale, the Giardini and the city center, the Biennale with 120 participants from 51 countries out of which Antigua and Barbuda, Kiribati, and Nigeria are newcomers attracts visitors from five continents.

The exhibition seems an introversive journey in an extroversive space conveying positive energy through its nine trans-pavilions conceived as chapters of the same book. The digressive story that reflects the worlds intricacies starts with the “Pavilion of Artists and Books” and ends up with the “Pavilion of Time and Infinity”, a reflect upon transience and repetition. “Viva Arte Viva” is a fervent overreaction for art and artists state “designed with artists, by artists and for artists,” as curator Christine Macel states.

The Venice Biennale is also special for its weekly “Open Table” where artists share impressions with visitors, for the project “Unpacking My Library” that enables the artists to create a list of their preferred books, and for “Educational activities” dedicated to students in schools or universities or to professionals in various fields of activity.



Moreover, The Venice Biennale partnered with the Victoria and Albert Museum, London on the Pavilion of Applied Arts, and Swatch getting support from many sponsors: Artemide, JTI (Japan Tobacco International), Vela-Venezia Unica, Bloomberg Philanthropies, COIMA, i-AMFoundation and Trenitalia Gruppo Ferrovie dello Stato Italiane.

As for prizes, Germany was awarded the Golden Lion for the Best National Participation for an inventive installation that formulated crucial questions about our time provoking visitors discomfort. The amazing installation by Anne Imhof called “Faust” was the quintessence of an absolute work of art with graceful performance in a spectacular setting: fierce Dobermans behind a metal fence, glass platform and walls hid the feeling of alienation rotting our contemporary society. Brazil got a special mention as National Participation for an installation that created a mysterious insecure space. Franz Erhard Walther was awarded the Golden Lion for the Best Artist of “Viva Arte Viva Exhibition,” whose work combined shapes, colours, fabrics, and performances. The Silver Lion for a Promising Young Artist was conferred to Hassan Kahn whose work established an intricate and profound relationship with the audience. Two Special Mentions were awarded to Charles Atlas, for two splendid videos that connected natural and artificial beauty to words, and Petrit Halilaj whose interventions in the structure of the Arsenale and Central Pavilion linked the history of Kosovo to childhood memories.



“Treasures from the Wreck of the Unbelievable Damien Hirst” is an exquisite solo exhibition consecrated to the artist that reflects belief and truth about an imaginary past. Covering a surface of 5,000 m2, it tells the story of the Unbelievable, an ancient vessel that shipwrecked 2,000 years ago. What remained of the wreck was the amazing collection of Aulus Calidius Amotan devoted to a temple of the sun that Hirst showcased in two venues: marble, gold and bronze, crystal, jade and malachite artifacts but also heroes, gods, beasts, and mythic figures brought to the surface from
the Indian Ocean.

The South Korea’s Pavilion gives a deep insight into the concept of modern national identity inspired by Cody Chois and Lee Wans works that investigate the friction between its changing identity and the growing influence of the West. Their exhibition “Counterbalance: The Stone and the Mountain” emphasizes the upheaval sensed by the two artists in the Korean identity, comprising works that purify the human experience. As a response to this impact, Choi made his parodic sculpture “The Thinker”, a reinterpretation of Rodins sculpture created from toilet paper and Pepto-Bismol, the pink American stomach medicine underlying the artists confusion to assimilate Western philosophy. Chois work has also consisted of a new piece, “Venetian Rhapsody”, especially designed for this Biennale, a kaleidoscopic intermingling of neon signage mounted on the façade of the venue. In his turn, Lee Wan has scrutinized the hidden life of people affronted by global power structures. Venice Biennale exhibits his work entitled “Proper Time: Though the Dreams Revolve with the Moon”, an installation of 668 clocks having engraved name, birthdate, nationality, and profession of those individuals met and interviewed by the artist while analyzing the various economic context of the
working people worldwide.


Every two years, Paris and Venice transfigure into resplendent art carousels to reflect two sensational Biennales, prestigious cultural events focused on international art that convey a single subtle message that art is eternal.

For Ms. Macel, the chief curator of the Pompidou Center in Paris, the 57th Biennale was seen as “an exclamation, a passionate outcry for art and the state of the artist.” She added that it is “a Biennale designed with artists, by artists and for artists.” This Biennale curator decided to turn away from the fiery political climate and focus on art for art’s sake? Ms. Macel said, “I’m very interested in politics,” she said, walking through the Biennale gardens here. “But not all art should be about politics. It’s only one dimension.” I hope you enjoyed finding out more about the Art Biennale that took place in Venice and Paris this year.

FIAC, the MoMA in Paris and no to be missed, Chateau de Versailles

Santiago Art November 24, 2017

By Caroline von Krockow

The 44th edition of FIAC, which took place from the 19th to the 22nd of October attracted countless visitors to the city of lights and Jennifer Flay, the director, did a marvellous job once again!

The art world has been changing a lot since I wrote about the FIAC for Ccercle Magazine last year. Hong Kong, Dubai, Beirut, Vienna and Cologne all host art fairs that have been growing rapidly with local contemporary art fairs popping up all over the world. I still believe, however, that FIAC in Paris – even compared to Frieze, Art Basel and Art Basel Miami – is still the best and the following article will tell
you why.

We are in Paris, which is an art piece in itself. The fair is not in a purpose built hall, but in the 1900 Belle Époque building, the Grand Palais and the city transforms into an open-air museum. During the FIAC there is exceptional art in the Petit Palais, Hors des Murs, in all museums of the city and in the Chateau de Versailles.

The sun accompanied the FIAC this year and the 193 galleries from 30 countries could set up their stands with rays of light entering the glass roof. I could hear jokes about being on holidays as I strolled through the aisles on Wednesday morning. Some of the most exquisite pieces this year were to be found at Thaddeus Ropacs stand. Georg Baselitz Trauerseeschwalbe, 1972 is his first finger painting and upside down composition. The image of the bird, historically charged, also reminds us of his experience as an animal photographer during his youth. There is also Brahmanda by Wolfgang Laib, Yan Pei-Mings Déjeuner sur lherbe and Imi Knoebels Schnitt.

At Tornabouni Art Günther Ückers Riss III, a horizontal rectangular nail composition in the form of a tree is a must have. Then the red Lucio Fontana Concetto spaziale, 1965 mesmerized me. Mikayel Ohanjanyans Materialita dellinvisible square marble piece was equally exceptional.

Kamel Menours Christodoulus Panayiotous pulp painting made of bills with the soft colors would look great in a house in Mykonos. Daniel Buren, Camille Henrot and Baldessaris image of a man thinking with the lamp next to him was inspiring.

More edgy was my experience at the Paris Internationale. Never before had I looked at art in five floors of a parking lot. “Too much of nothing” a solo show by Robert Brambora, is where I discovered two very cool lamp shades. The nomad gallery continues their show during the FIAC in the gorgeous Hotel Particulier on 28, rue de Bourgogne.

Do not miss Être Moderne: Le MoMA à Paris, which is a remarkable exhibition in the LVMH foundation a taxi ride away in the Bois de Boulogne. Go for a walk in the woods before you take in the very American art. Amongst the pieces are Andy Warhols hand-painted, not-quite-identikit, 32-canvas “Campbells Soup Cans” (1962) and Felix González-Torress Aids memorial “Untitled (USA Today)” from 1990. Many of these works have not yet come to Paris before. Overwhelmingly US is Yayoi Kusamas chair overlaid with fabric phallic shapes “Accumulation No 1”, made in the US in 1962 and Romare Beardens collage “Patchwork Quilt” (1970), the first dark-skinned reclining nude to enter MoMAs collection. There follows, among many others, Lynn Hershman Leesons videos exploring gender and performance through the alter ego of a blonde divorcee (“Lynn Turning Herself into Roberta”, 1974) and Barbara Krugers feminist collages of found images and text. David Hammons “African-American Flag” (1990) and Sherrie Levines black glass “Black Newborn” (1994) are also interesting. My personal favorite Cindy Sherman gets a room of her own for an overview of “Untitled Film Stills” (1977-80), her deconstruction of our media-saturated identity. The exhibition is a brutal expression of American power and certainly worth a visit.
Saturday, the 21st of October is not a time to be sad that the FIAC is almost over, instead throw on a lavish gown and jump into a limousine to Versailles. The reason for the party is that Palais de Tokyo was invited to create Voyage dHiver in collaboration with Alfred Pacquement, the curator of contemporary art at the Chateau de Versailles. The poetic gardens have just been embellished and ruffled by 17 contemporary artists, which added their creations amongst the perfectly trimmed greenery and fountains. Among them are Tomás Saraceno, who takes inspiration from spiders webs to create floating utopian architecture, Sheila Hicks inspired by weaving techniques and Ugo Rondinone who says that “Nature is my religion and best friend.”

Ultimately, there is nothing better than sipping cold champagne in the Queens Garden, transformed by fashion designer Rick Owens. He describes his work as “the meeting between Frankenstein and Greta Garbo falling in love in an S&M bar.” As part of the Voyage d’Hiver he has clothed the statues in a white veil, revealing more than concealing. Four presents are their presence in front of us.

From Dubai to Hong Kong

Santiago Art July 1, 2017

by Andreea Belba

Art Dubai is a stunning international art fair that renders the artistic richness of the Arab world from a unique perspective and continues to host valuable artwork that reflects Dubai’s multiculturalism in the diversity of the galleries. This year’s edition made its appearance under its new Director Myrna Ayad. Considering the cradle of artwork from the Middle East, Africa and South Asia, Art Dubai 2017 presented 277 artists from 40 countries with solo or two-artist exhibitions, allowing a more focused contemplation and multi-artist shows, enabling an overview of different works.

Offering an extensive program, the fair included several sections such as Art Dubai Projects, dedicated exclusively to performance art, Global Art Forum 11, including the most outstanding yearly arts conference in Asia and the Middle East, the Room which looked like an immersive, large-scale installation and included visual art, gastronomy, performance and a dynamic dining experience. Art Dubai also provided the largest educational program for children and students sustained by a group of famous writers and curators who got involved in a series of intensive workshops during and after the Art Dubai Fair.


Art Dubai Contemporary comprised 77 galleries rigorously selected that focused on solo or group exhibitions. This year’s edition included galleries from Europe and North America such as Marianne Boesky Gallery (New York), Galerie Daniel Templon (Paris, Brussels), Carlier Gebauer (Berlin), Galleria Franco Noero (Torino) Victoria Miro (London). The participants from the Middle East, North Africa and South Asia included 12 galleries from the UAE and newcomers like Al Marhoon Gallery from Algeria and Ab / Anbar and Mohsen Gallery from Tehran.

Art Dubai also welcomed back Athr Gallery (Jeddah), Chatterjee & Lal (Mumbai), Dastan’s Basement (Tehran), Experimenter (Kolkata), Selma Feriani Gallery (Tunis), Gypsum Gallery (Cairo) and Zawyeh Gallery (Ramallah). The most extensive number of galleries came from South America, with first attendants from Peru and Uruguay and exhibiting galleries such as the likes of Piero Atchugarry Gallery (Pueblo Garzón) Revolver Galeria (Lima), D12 Proyectos de Arte (Santiago) and Vermelho (Sao Paulo).




The 4th edition of Art Dubai Modern featured 15 galleries from 12 countries including Agial Art Gallery (Beirut), exhibiting the ‘icon of Arab graphic arts,’ Mustafa Al Hallaj (1938-2002), ArtTalks (Cairo). This section was dedicated to museum-quality works signed by masters from the Middle East, Africa and South Asia that had a specific influence throughout the 20th century. The inaugural edition Art Dubai Modern Symposium consisted of various talks and presentations related to the cultural impact of 20th century masters from the Middle East, South Asia and Africa.

This edition showcased impressive masterpieces by Reza Aramesh, Avish Khebrehzadeh, Sirak Melkonian and Raha Raissia, who exhibited a wide range of works from sculptures and paintings to installations and photos, each relating to a specific message from the artist. Reza Aramesh’s works expressed the violence of the surrounding world appealing to voluptuous fabrics. It was an exquisite artistry and historical data capture depicting emotion and real concern. In his turn, Avish Khebrehzadeh’s works connected memory to discourse by resorting to the human figure and vivid colours immortalised on her canvas. The artist Sirak Melkonian embodied contempt, transposing in his works the struggle between abstractness and stylization, whereas Raha Raissia’s art reflected clarity by overlaying positive and negative spaces.

Among the most outstanding galleries, Aicon was the oldest with a ten-time participation exhibiting the works of the Pakistani artist Rasheed Araeen. Other representative artists were Mithu Sen and Chittroram Mazumdar, whose interpretation of light was shocking and interesting. Light was portrayed as natural but could also be seen as commercialized, it was nutritive but also cruel, it was the the opposite of darkness. In Mazumdar’s work, mechanical forms were endowed with desire. Each installation told a story using light as a medium to either reveal or hide things. Mithu Sen’s works were a mixture of surrealism and humour, his paintings lit up from behind to reveal the beautiful way dye had dispersed. There was a biological feel too as he included the anatomy of a bird, humans and imaginary creatures. The landscapes consisted of roots and branches which cleverly resembled the vein beneath the human skin, connecting us with nature.

Abrag Group Art Prize

The winning artist of the 2017 AGAP was Bangladeshi-born Rana Begum. This prize, which is the most notable distinction in the area, is aimed at enhancing the artist’s potential and developing their talent. His works were displayed in Al Quoz, Alserkai Avenue and in Dubai International Financial Centre. Rashid Rana has been a prominent artist in the Pakistani art world for the last 20 years. His works invite the viewer to re-analyze what spatial awareness is with his art oscillating between macro and micro awareness. The artist explained that he wanted to release himself and the viewer from the specificity of time and space, to capture the micro and the macro simultaneously in order to render a
surface tension.

Another remarkable moment within the fair was the homage paid to the recently deceased Emirati artist, Hassan Sharif. Yasmina Reggad, the independent curator who supervised the 2017 Art Dubai commissions, dedicated a show to Sharif at the Gallery Isabelle Van den Eynde. Hassan Sharif studied at the Byam Shaw School of Art in London from 1979 to 1984 and returned to the UAE to gather a following for contemporary art. The artwork under the name IF-THEN GOTO, the rope installation, was activated through dance movements and paid homage to Sharif who envisaged the audience’s transformational power for his society.

This year, curators Sam Bardaouil and Till Fellrath, were part of the Selection Committee aiming at looking forward “to bringing a renewed perspective” to the Art Dubai fair. The Abraaj Group was Art Dubai’s main partner, The Dubai Culture & Arts Authority sustained the educational program and Julius Baer and Piaget were the main sponsors, with Madinat Jumeirah hosting this awesome event.







Art Basel Hong Kong

Art Basel Hong Kong is not just an inestimable odyssey of art history and craft but also a timeless cultural bond between the vibrant West and the electrifying East. Impressive art galleries, international fairs, exhibitions and extravagant auctions metamorphose the metropolis into an art hub where even the most sophisticated visitor can fulfil his artistic cravings!

“It owes its fame to its geographical location,” states Adeline Ooi, Director of Asia-Pacific region. “Hong Kong is right at the heart of Asia and attracts visitors from across North and Southeast Asia, as well as from Australia and New Zealand. Its superb transport infrastructure and links make it convenient for Art Basel’s visitors from the US and Europe”.

As of its inaugural debut in 2013, most of Art Basel’s participating galleries emanated from Asia and the Asia-Pacific region with works of the highest quality. Any art lover will take delight in the ravishing collections of paintings, drawings, sculptures, videos and installations, overflowing with novelty, creativity and freshness.


The 2017 edition of the fair, to be held from March 23rd to 25th, will reveal a unique concept displayed in six sectors: Galleries, Insights, Discoveries, Encounters, Magazines and Film as well as a new curatorial sector, Kabinett. Art Basel Hong Kong gained its prestige both for local emerging galleries and for international galleries, concurrently attracting art institutions from around the world including notable artists, private collectors, curators and critics.

The venue to host this much anticipated fair is the Hong Kong Convention and Exhibition Centre in Wan Chai, where established and emerging artists will unveil mesmerizing artworks to showcase the intercultural exchange between the Orient and the Occident. Roaming about through this impressive artistic labyrinth, visitors will undergo a captivating experience that will arouse their senses.

Art Basel Hong Kong has disclosed its gallery array for this years 5th edition, counting 241 participants with 29 newcomers, including Imura Art Gallery from Kyoto, Mor Charpentier from Paris, Aicon Gallery and Athena Contemporânea from Brazil. The fair will comprise traditional sectors like Discoveries, propelling emerging artists, and Encounters, consecrated to large-scale pieces. The novelty will be the Kabinett with mini-exhibitions in the booths of the exhibiting galleries. Art Basel Hong Kong will permanently set itself up as a yearly stimulus with artistic platforms displaying the steady and joint endeavours of talented artists.

Galleries, the most significant section, will count 190 galleries dedicated to modern and contemporary art that will exhibit paintings, sculptures, installations, photos, films and digital art from the 20th and 21st centuries. Expect names like Antenna Space, Experimenter and Liang Gallery who have qualified for the Galleries – after a minimal three-year operation – as well as the likes of Karma International and Timothy Taylor, who are said to back after a brief interruption. You will also see the Third Line and Waddington Custot, who are first-time exhibitors.

Edouard Malingue Gallery will be a reference point in the Galleries and Encounters section this 2017 edition, with works by Cho Yong-Ik (b. 1934), Laurent Grasso (b. 1972), Eric Baudart (b. 1972), Su-Mei Tse (b. 1973) and Fabien Mérelle (b. 1981). Wang Wei will complement Edouard Malingue Gallery’s booth display in the Encounters sector. The artist will render nature in a simple and pure form conceiving windows to scrutinize other valences of meaning. He questions the genuineness of the natural shapes and constructively incorporates spaces and visual elements in a process of built-in interaction. Tackling the concept of mental modification, Laurent Grasso conceptualizes reality by exploring history, mythology, science and supernatural phenomena to create a research-based epic demarcating the actual and the impossible. Grasso will also explain concepts of time and place swinging between temporality and spatiality.

Insights section will consist of 27 galleries from Asia and Asia-Pacific region (from Turkey to New Zealand, Asia, the Middle East and the Indian subcontinent) including solo or thematic exhibitions as well as curatorial projects. Eight of them are newcomers like Aicon Gallery, C-Space, Hive Center for Contemporary Art, Imura art gallery, Kwai Fung Hin Art Gallery, Mind Set Art Center, Sundaram Tagore Gallery and The Third Gallery Aya. Aicon Gallery will be representative within the Insights sector featuring Salman Toor, a talented artist born in Lahore, Pakistan in 1983. Living and working in Brooklyn, New York, Toor had his Masters of Fine Art at Pratt Institute in Brooklyn in 2009 and several solo exhibitions in the U.S.A and Pakistan. His artwork reflects both the nineteenth century-style painting and abstractionism by using design and visual elements from Eastern and Western pop culture.

Discoveries section will allocate an influential platform for emerging artists with solo and two-person exhibitions. This sector will highlight the talent of the next generation of artists at the beginning of their career. Among the attending galleries, 12 will be first participants in the fair like A+ Contemporary, Athena Contemporânea, Bank, Thomas Brambilla, Clearing, Dittrich & Schlechtriem, High Art, Jhaveri Contemporary, Project Native Informant, etc.

Kabinett section will be new in the Hong Kong show presenting curated projects in a separately delimited space area within their booths. This inaugural curatorial concept that offers thematic solo or group exhibitions, installations, film or video programs as well as historical presentations, is a starting ramp for promoting the participating galleries and impels artists to give free rein to their imagination.

Encounters section will display 17 large-scale sculptural installations and sculptures of leading contemporary artists considered to “transcend the traditional art fair booth.” This year’s themes will exploit time, space and meaning. The section will showcase works of reputable artists like Pio Abad, Rasheed Araeen, Katharina Grosse, Gonkar Gyatso, Joyce Ho, Waqas Khan, Kimsooja, Alicja Kwade, Sanné Mestrom, Michael Parekowhai, Rirkrit Tiravanija, Wang Wei, etc. Gabriel Barredo (b. 1957) will be another eccentric artist to have initiated kinetic sculptures. His work is designed to generate total opuses that he conceives after an intense work of bricolage, sketching, and painting, lifting his sculptures to theatrical lengths, interactive for the viewer. He will feature both large and small pieces from simple drawings to narratives associated with sound and light.

Film section will offer projections of short and feature-length films dedicated or created by artists at the Hong Kong Convention and Exhibition Centre or the Hong Kong Arts Centre. Moreover, the film sector will exhibit Abigail Reynolds’ film that explores the lost libraries along the Silk Road and whose work was awarded the BMW Art Journey in 2016.

Conversations and Salon will provide challenging programs and talk shows to enhance the audience’s artistic knowledge about international art. The Conversations will reveal the conceptions of world artists, collectors and critics regarding creating, collecting and displaying art pieces. Salon will function as a platform for short, informal presentations, talks, performances, lectures where different speakers will expose their personal perspectives upon the art world.

Art Basel Hong Kong has developed tight cultural relationships with organizations like Asia Art Archive, the Asia Society, Spring Workshop, Para/Site Art Space, Hong Kong Arts Center and M+ to present creative shows. Hong Kong Art Gallery Week, Gallery Night and HKU, local and international cultural groups, have also an extensive collaboration with Art Basel.

Art Basel’s main partner is UBS which is also actively involved in innovative art projects such as Guggenheim UBS MAP Global Art Initiative. For sponsors: Davidoff, Audemars Piguet and NetJets are the Associate Partners; Ruinart is the a Lounge Host; BMW is the Official Automotive Partner; Mandarin Oriental, Hong Kong as the Official Hotel Partner; Swiss International Airlines as Official Carrier and of course The Financial Times as main Media Partner.

Art Basel Hong Kong is the essential artistry pillar of Asia’s contemporary art scene whose creativity, innovation and values inspire a new audacious experience. It has become an incontestable driving force with an incredible potential that nurtures and supports the art world offering platforms where artists, collectors and museum directors have prolific debates to exchange ideas. If Hong Kong perpetually enchants visitors with its exclusive background, then Art Basel fascinates them with inestimable masterpieces as an active cultural custodian of international artwork.

Building Bridges Through Art

Santiago Art July 1, 2017

By Mohammed Afkhami



On February 2nd 2017, the Agha Khan Museum opened Rebel, Jester, Mystic, Poet: Contemporary Persians drawing on works from my family collection of over 300 Iranian modern and contemporary artworks.  The show could not have been more timely, opening five days after President Trump’s controversial banning entry for citizens of seven predominantly Muslim countries, of which Iran being the largest The show comprises of 27 works from 23 Contemporary Iranian artists based both in Iran and in the diaspora. The selection has been put together by the respected Dr. Fereshteh Daftari, who has had a long and distinguished career as an internationally acclaimed curator.





Having come from a family of collectors with my grandfather, Senator Mohammed Ali Massoudi and my mother, Maryam Massoudi having assembled a vast antiquity and Islamic Collection, art has been a constant in my surroundings and upbringing. My journey collecting Iranian art started over 12 years ago after an extended visit to Iran where I found myself increasingly drawn to Iran’s rich cultural heritage but in particular some of the very eclectic and diverse art works being produced by today’s artists. My initial focus was on traditional mediums, such as oil on canvas but I quickly found that I was collecting all forms of sculpture, photography, videography, tapestry, mirror work and sequence. Over the past few years, and as the collection has achieved a critical mass, I have become determined to exhibit the works in the public domain to paint a softer narrative of what Iran as a country represents and my hope is that by viewing the art, people regardless of background, will find common ground and a different perspective through art.




The forms of art exhibited in this show demonstrate the versatility of Iranian artists but also the complex themes that underpin Iranian art today. As the title of the show suggests, the Rebel, is portrayed by the likes of Rokni Haerizadeh whose work on paper has a very poignant political


Santiago Art December 12, 2016

by Andreea Belba


The esoteric Miami Beach will reopen its gates in early December inaugurating a more dazzling edition where exclusive galleries, illustrious artists, enthusiastic admirers, fervent collectors and curators will relish on the most refined contemporary art. Prestigious in terms of exhibition space, quality, and reputed artists who look to expand their position on the worldwide stage, Miami is the cradle of endless ravishing events revolving around the commonly known Art Basel Week (December 1st – December 4th , 2016), a bloom of prolific art shows, celebrations, splashy parties, music concerts, film, and design. 

Miami Beach will always make a splash in resplendent art deco architecture, impressive local art museums, fine sandy beaches and a bustling nightlife remaining an exclusive and emblematic haven with a unique variety of influences. Vibrant and effusive, Art Basel Miami will feature all forms of visual arts and multimedia works, the impact of satellite fairs enhancing its notoriety (Pulse with a new dialogue approach between artists, Satellite with audacious projects, Scope Miami Beach concerned in contemporary art market.)

Since its start-up in 2002, Art Basel Miami has continually evolved into an exquisite art fair, a prolongation of the original Art Basel in Switzerland providing a platform for emerging and established artists from all over the world. It is an annual unique show that reveals modern and contemporary art from curatorial perspectives. Conceived as a pivot in the region, Art Basel Miami’s aim is to create a diverse artistic ecosystem in terms of participating galleries, artists and artworks to be mirrored in amazing contemporary paintings, sculptures, drawings, photography, digital art and installations. Each show is a genuine event emphasizing the latest achievements of each sector enchanting and stimulating the visitors’ imagination and creativity. Moreover, Art Basel Miami will bring forth to a myriad of other innovative stands, outdoor exhibitions, private parties and grandiose openings.

Galleries_Sadie Coles HQ

Galleries_Sadie Coles HQ



Galleries_Hauser & Wirth

Galleries_Hauser & Wirth

Galleries_Hauser & Wirth

Galleries_Hauser & Wirth

Galleries_Peter Freeman_Inc.

Galleries_Peter Freeman_Inc.

The 15th edition of Art Basel Miami sounds particularly exciting as a high percentage of the former participants will reapply this December but there is also an endless list of first-time participants. Emanating from North and Latin America, Europe, Asia, and Africa, the 269 outstanding galleries are dispersed in nine sections: Galleries, Nova, Positions, Edition, Kabinett, Public, Survey, Film and Magazines will embellish the main hall, Collins Park and SoundScape Park with paintings, sculptures, drawings, large-scale installations, photographs, and films of the highest quality belonging to modern and contemporary masters, and to emerging artists as well.

Galleries, the highly invigorating sector, will comprise 193 exhibitors covering paintings, installations, sculptures, drawings, photographic, digital and video art. While some top names have renewed their participation, others will make their first appearance such as Altman Siegel, Cherry and Martin, GALLERYSKE, Labor, Pilar Corrias, etc. Pairing galleries will comprise Galerie Micky Schubert with sculptures by Benedicte Gyldenstierne Sehested (b. 1977) and paintings by Mark van Yetter (b. 1978); Maisterravalbuena by Maria Loboda (b. 1979) and Cristián Silva (b. 1969); mother’s tank station belonging to Nina Canell (b.1979) and Sebastian Lloyd Rees (b. 1986). Revolver Galería with José Carlos Martinat (b. 1974) and Andrea Galvani (b. 1973) will inspect the gap between the real and the virtual, Lawrence Abu Hamdan (b. 1985) and Oscar Muñoz (b.1951) will explore the impact of language upon spy systems, and Freedman Fitzpatrick will analyze bias across three generations of German artists: Amelie von Wulffen (b.1966), Lucie Stahl (b. 1977) and Mathis Altmann (b. 1987). David Castillo Gallery will display artwork by Sanford Biggers (b. 1970) and Xaviera Simmons (b. 1974) to reveal morality in the context of historical and cultural contexts. Moreover, Vivian Caccuri (b. 1986) and Jaime Lauriano (b. 1985) at Galeria Leme will convey the dynamics between Brazil and Africa, whereas at Travesía Cuatro, Sara Ramo (b. 1975) and Mateo López (b. 1978) will explore the language of objects. 

Galleries_Goodman Gallery

Galleries_Goodman Gallery

Nova, the fresh sector, will host 35 new galleries exposing vivid paintings of maximum three artists. Edouard Malingue Gallery and Wong Ping’s film, House of Gaga with Josef Strau, Vivian Suter, and Nanzuka range among newcomers. Dedicated mainly to young galleries, Nova will also showcase works by Keiichi Tanaami (b. 1936), drawings by Hiroki Tsukuda (b. 1978) and a video by Oliver Payne (b. 1977). Leo Xu Projects will exhibit for the first time an installation of works by Aaajiao (b. 1984), Cui Jie (b. 1984) and Liu Shiyuan (b. 1985) showing an urban model and the Shanghai myth, whereas Clearing will highlight an installation by Harold Ancart (b. 1980) and Korakrit Arunanondchai (b. 1986). The sector will also show creations exploiting chicken skin, animal fur, and synthetic flora to investigate anxiety as a result of radical biotech by Anicka Yi (b. 1971) at 47 Canal, Rita Ponce de León (b. 1982) and Ishmael Randall Weeks (b. 1976) at Ignacio Liprandi Arte Contemporáneo; Rey Akdogan (b. 1974) and Elaine Cameron-Weir (b. 1985) at Hannah Hoffman Gallery; Xavier Antin (b. 1981) and Renaud Jerez (b. 1982) at Galerie Crèvecoeur; and Matthias Bitzer (b. 1975) with Armin Boehm (b. 1972) at Francesca Minini. Nicole Wermers (b. 1971) and Margo Wolowiec (b. 1985) will search for the social and psychological significance of daily forms at Jessica Silverman Gallery. Wojciech Bąkowski (b. 1979), Julia Rommel (b. 1980), and Christine Rebet (b. 1971) will study time-based methods by means of drawing, painting and animated film. Kaspar Müller (b. 1983) at Société will have solo presentations, Kostis Velonis (b. 1968) at Kalfayan Galleries will present redeemed sculptures, whereas Mika Tajima (b. 1975) at 11R will display conceptual works made of textile, wood and steel. Joan Jonas (b. 1936) will combine several Murano mirrors and a video piece at Galleria Raffaella Cortese while Anita Schwartz Galeria de Arte will expose solo exhibitions by Wanda Pimentel (b. 1943) and Michael Dean (b. 1977) at Supportico Lopez. Simone Subal Gallery will show works of Anna K.E. (b. 1986) and Florian Meisenberg (b.1980), while Ghebaly Gallery will reveal the link between architectural space and the body rendered by Kelly Akashi (b. 1983) and Patrick Jackson
(b. 1978).

Edition, the printing sector, will spotlight 11 leaders reputable in prints and edition works like: Alan Cristea Gallery, Carolina Nitsch, Crown Point Press, Gemini G.E.L. LLC, Pace Prints, Paragon, Polígrafa Obra Gràfica, Sabine Knust, STPI, Two Palms and ULAE.

Positions, the resourceful sector with 16 solo stalls, will include eight newcomers: Callicoon Fine Arts; Christian Andersen, High Art, JTT, Galerie Maria Bernheim, Off Vendome, Thomas Erben Gallery and Various Small Fires and notable artists to exhibit a main project on focused platforms. Adrià Julià’s (b. 1974) multimedia installation will include a mural reflecting Picasso’s ‘Guernica’, while Manuel Burgener’s (b. 1978) installation will reveal the effect of light between sculptures and photograms. Callicoon Fine Arts will focus on tapestries and Ulrike Müller’s (b. 1971) enamelwork, while High Art will display Max Hooper Schneider’s ‘Trans-Habitats’. Beto Shwafaty (b. 1977) will depict the Brazilian current matters at Prometeogallery di Ida Pisani based on video and architectural techniques whereas Becky Kolsrud’s (b. 1984) installation will mirror the artist’s dedication to the feminine profile. Jeanette Mundt (b. 1982) will expose female figures from historical paintings, Melanie Gilligan’s (b. 1979) TV sculptures with abstract animations will criticize the commerce systems, whereas Maggie Lee’s (b. 1987) installation will remodel a teenager’s bedroom, and Gao Ludi’s (b. 1990) symbols from Alice’s Adventures in Wonderland will scrutinize how the virtual world interacts with the real one.   

Survey, the thematic sector, will feature historical projects with solo presentations by individual artists, juxtapositions or various cultural exhibits. This sector will comprise Carmelo Arden Quin (b. 1913) at Simões de Assis Galeria de Arte, Romare Bearden (b. 1911, d. 1988) at DC Moore Gallery, Graciela Carnevale (b. 1942), Ibrahim El-Salahi (b. 1930) at Vigo Gallery, Margaret Kilgallen (b. 1967, d. 2001) at Ratio 3, Giorgio Morandi (b. 1890, d. 1964) at Galleria d’Arte Maggiore G.A.M. and Howardena Pindell (b. 1943) at Garth Greenan Gallery. There will also be David Reed (b. 1946) at Peter Blum Gallery, George Rickey (b. 1907, d. 2002) at Maxwell Davidson Gallery, Barbara T. Smith (b. 1931) at The Box, Betye Saar (b. 1926) at Roberts & Tilton, and Jacques Villeglé (b. 1926) at Galerie Georges-Philippe & Nathalie Vallois.

The fair’s project-based sections Kabinett, Public, and Film as well as the Magazines will add a surplus of value to the main gallery sectors. 

Kabinett, the thematic sector based on various curatorial conceptions, will present a plethora of group and solo exhibitions as well as art-historical showcases. Artists from the Galleries section will present their works in a distinctively mapped out space. 

Public, the outdoor sector conceived in cooperation with the Bass Museum of Art, will enchant its visitors with outdoor sculptures, installations, and shows, placed in a public space at Collins Park.

Film, the dynamic sector, will present movies about artists curated by David Gryn and Marian Masone. The screenings will be projected on a huge wall in the Convention Center and in SoundScape Park. 

Magazines, the editorial sector, will offer worldwide art magazines in single stands or collective booths.

No art lover should miss this four-day amazing cultural experience that will break all frontiers metamorphosing Miami into a global art show with electrifying programs both for the amateurs and the aesthetes. Sponsored by its Lead Partner UBS, Art Basel Miami will be held at the Miami Beach Convention Center from December 1st to December 4th, 2016.


Santiago Art December 5, 2016

by Nina Milic 


SAM, The Immense World Of Beauty You Want To Know About


Art Masters opened to the world for the first time in the valley of Engadin in 2008. In the very heart of Switzerland, you will find a place which seems to always be in perfect peace and harmony. St. Moritz is one of the most amazing places, hidden amongst brilliant scenography made of eye-catching  mountains, lakes and breathtaking landscapes. The nature is pure and serves as a glorious backdrop for hosting one of the biggest art festivals in the world, for nine years in a row. It is a festival defined by quality and by culture. In a short space of time, Art Masters has emerged as a one of the most prestigious cultural events in the world. The biggest artists from all over are invited to be a part of this extraordinary event every year.

The man that we can heartily thank for Art Masters is Monty Shadow. An amazingly talented individual with the creative flair of a true artist but also a visionary willing to share his ideas with the world for many years now, a man who has always been ahead of his time. The event and brand which Monty created began as a wish to create a unique place and opportunity for the best quality art and artists from around the world to come together. He certainly succeeded in his intention. Today Art Masters is not only the opportunity to admire art but also a place where anything is possible….When good ideas are also surrounded by amazing people that can see and recognize them, true value for life can take place and visions can become realities.

St. Moritz, known for its prestigious skiing in the winter, opens its doors to SAM and to the so-called Walk of Art at the end of August each year. The Walk of Art takes you through the magical narrow streets of St. Moritz, bursting with beautiful houses that interlace modern and classical architecture. At every corner you will find a new gallery, a museum or a church that offers another exhibition, each one of them giving you a new perspective on the world, seen through an eye of a different artist.

prisedevuesanstitre-2-8The newest achievements in technology, design, photography and music are presented here, giving us the privilege of enjoying something the world is only yet to see, we are the first to witness it and excite in the potential. There are also beautiful retrospectives on the history of Art and the most appreciated works and artists from the past. This 9th Art Masters was dedicated to American art and gave us the opportunity to go back in time, 50 years, at least for a few minutes.

Kempinski Grand Hotel Des Bains presented an amazing exhibition of Albert Watson’s work. Watson is one of the biggest photographers of our time, well known for his fashion, art and celebrity photography. He presents a unique atmosphere in his work, you feel a great sense of emotion and presence, as if you are almost standing there with him, right in front of his model. Through the decades, from the 60s till now, he has worked with a great number of rock stars, actors, supermodels and the like. His most famous works are with Andy Warhol, Alfred Hitchcock, Queen Elizabeth, Michael Jackson, Mick Jagger, Steve Jobs and of course Kate Moss. Once you lay your eyes on his photography, it will be hard to forget it. His distinctive style will occupy your thoughts for a long time. For me personally, his portrait of Mick Jagger is an absolute winner. The range of his artwork leaves a lasting impression on all that see it, therefore, for many of the above reasons, Watson received a lifetime achievement award by Cartier Foundation at their gala dinner hosted at Hotel Kempinski.

After a great dinner with American specialties, complete with various performances, we were honoured to end the evening with music by the famous pianist, Cesare Picco. He led us into his magical world of music and through the sweet sounds of his piano, told us his story. We were relocated into his imaginary world of music for half an hour. It was a truly inspiring experience.

The hallway of Kempinski was filled with lights, cameras, and scenes from shoots. Anthony Pierre Allard was the next artist in whose talent and charm we could rejoice in. One of the most famous French photographers who too has worked with many celebrities, gave us an opportunity to enjoy his work and creation. Anthony has a true talent for taking breathtaking portraits, always bringing out the best qualities in his subjects. I had an opportunity to sit in front of his camera and I have to say he made it so easy going that I did not even notice the time that had passed. Spending time with him was fantastic and we were able to witness his boyish enthusiasm and the great energy he brings with him wherever he goes. One whole day was dedicated to his kids. The smallest one had the chance to enjoy brunch, various games and painting. It was their ‘adult day’ and it seemed they were very happy about it. It was so special to watch Allard do a photoshoot with his children, the boys sitting proudly on big Pirelli tires set in the hall especially for this day and their own little shoot.

As days were passing by very fast, we tried to find some time for hiking in the beautiful mountains. It was very difficult to do it all. The night was calling and it led us further away to gala parties and many social events. Once again there was a  great crowd of quality people with lots of positive energy all around. The variety of talented people to meet was very inspiring. Hotel Kulm was another key destination that hosted us mostly during the evenings. It gave us Art, design and a great exhibit of idea books. The best edition was definitely GOAT-Muhammad Ali, a tribute to the icon of all time, published by Taschen.

This book weighs 34 kg and is really an epic piece containing 800 pages of original photographs, artwork and articles, including some entirely new content only published in GOAT. Taschen is a powerful publishing house that offers great limited editions dedicated to the biggest artists of our times like the Rolling Stones, David Bowie and many others. Great personalities have been immortalized in their luxury editions which truly are a masterpiece worth owning.

Over the past nine years hundreds of artists, photographers, musicians and designers have left their traces in the Engadin valley. Since 2008, SAM has presented to the world more than 500 artists. From René Burri to David Douglas Duncan, from Steve McCurry to Michel Comte, from Andy Warhol to Albert Watson. By connecting the greatest artists and creatives of our time, SAM creates an inspirational space for beauty and art. Every year bringing us a new theme, all equally  enchanting. We are all looking forward to next year and the new program, projects, partners, events and artists that it brings. I have no doubt that the 10th anniversary will shine light on all the outstanding achievements thus far as well as open the doors of discussion for future breakthroughs in the art world. SAM is a special event that I am honoured to attend each year, where the art masters of our times, those who have passed and those still to come, can be celebrated.


Santiago Art December 2, 2016


By Caroline von Krockow – Lahame


There are so many contemporary art fairs around the world these days, admit it… how many do you attend a year? Three at least? Even though many of us might not understand or even like contemporary art. But with our already busy schedules and the endless options which one do you attend? In the good old days, we mingled with our newest dresses, hats and shoes at horse races in Ascot, Baden Baden or the Arc de Triomphe. But now, contemporary art fairs have become the new place to be. There are VIP events, where one has to go two or three days early so as to attend the pre, pre-VIP cocktails and events, especially if one wants to rub shoulders with the crème de la crème and still get the pieces (which are often actually sold before you arrive.) It would not be difficult to go to a different contemporary art fair each month as there are new ones popping up all over the world, all the time.

Art Cologne (established in 1967 as Kölner Kunstmarkt) is regarded as the world’s oldest art fair for modern and contemporary art of the 20th and 21st century. Art Basel (established in 1970) is now possibly the most important one and from there the list goes on forever.  There is for example Art Basel Hong Kong, Bogoart in Colombia, Art Dubai, Melbourne ArtFair, Arco in Madrid and Art Turin to name but a few. So after Frieze London and with Art Basel Miami around the corner, is it all really worth it? Why go to FIAC especially with all the bad news coming from France? Is it even safe in Paris?


Kim Kardashian just had all her gems stolen (news I discovered in the train on my way to London). But flying back I noticed someone sitting next to me, a celebrity covered in gems, who obviously did not worry about the recent news and terrorist attacks. Paris’s appeal stays unshakable. With the sparkling Eiffel Tower, the Louvre, the Arc de Triomphe – the City of Lights remains one of the most magnificent cities in the world.  A glass of champagne in the Hemmingway Bar of the newly opened Ritz, beautifully served with a white rose at its rim, just does not taste the same in New York or London. There is something about celebrating in Maxim’s, an institution since the 19th century. Thaddeus Ropac’s, a must for a seated dinner during the FIAC, an obvious and glamorous choice.

Paris uniquely combines historical buildings with contemporary art and FIAC (since 1974, also one of the oldest contemporary art fairs) has made its mark especially since its taking place in the arched historical edifice. Most art fairs tend to exhibit in impersonal halls, not the FIAC however, which is situated in the Grand Palais, an immense building housing international fairs since its creation in 1900. Built for the Exposition Universelle, the first exhibition which showcased sculptures, horse shows and motor cars, drawing visitors from around the world. A century later, international visitors are still attracted by the contrast in architecture with its heavy stone on the outside and a light iron structure on the inside. This year, on September 24th, Emmanuel Perrotin rented out the whole space to host a party around his stand showing Elmgreen & Dragset’s work.


This October, for FIAC’s 43rd edition, I checked out the 174 international galleries and other events in Paris. The FIAC has become unbeatable since Jennifer Flay took charge. The New-Zealand born galleriast was FIAC’s artistic director from 2003 to 2010 and is its general director since June 2010. She recently stated that FIAC is the only art fair in the world which is able to provide true museum conditions for her exhibitors and said that there are some really beautiful works being shown in the Petit Palais as well, including a great Damien Hirst “Fallen Angel,” an ensemble of Abraham Cruzvillegas light sculptures, a new David Altmejd, a new Oscar Tuazon, and a new Guillaume Leblon – 38 artworks in total.

Some of my personal highlights at the fair include:

Paul Mc Carthy’s  “White snow dwarf (bashful)” at Galerie Valois

Alicja’s Kwada’s “Be-hide” at Galerie Perrotin

Duane Hanson’s “Old couple on a bench”

and the George Baselitz at Gagosian gallery

All the Robert Longo’s (Vincent Van Gogh, Rose) at Thaddeus Ropac

Barbara Kruger and Hans Op de Beeck’s “The Settlement” at
Galerie Krinzinger

A short distance from the Grand Palais you will find my favorite antique gallery. How can an antique gallery attract visitors during FIAC you might wonder? The Galerie Aveline on Place Beauveau next to the Hotel Bristol, which specializes in 18th century furniture, knows how. Jean-Marie Rossi is a visionary having collected Liechtenstein and Daniel Buren long before others. The gallerist bought 10 Buren paintings in the 60s and this year Buren did the façade of the gallery making it shine. Inside are Rossi’s Burens, but in addition many more. Marella Rossi, Jean Marie Rossi’s daughter now runs the gallery with the same vision and energy of her father. To perfection, she combines contemporary art and antique furniture, creating a beautiful dialogue between the centuries. Lovers of the artist should definitely visit the Louis Vuitton Foundation where Buren’s roof shows bright colors until April 2017.

My dear friend Diane opened a new space and is showing American Abstract Expressionism at her gallery Diane de Polignac & Chazournes. In the heart of St. Germain the young, dynamic gallerist presents a selection of American Abstract Impressionism including Sam Francis and Paul Jenkins. The large, airy gallery space has three rooms and visitors can also see European lyrical abstraction like Gerhard Schneider, Hans Hartung and Pierre Soulage and Post-war abstraction.

Another exciting event is the sale of Marcel Duchamp’s ‘Porte-Bouteilles,’ showing at Galerie Thaddeus Ropac. The gallerist will sell this piece to a museum, preferably an American one, which are all sending daily competing offers. Opening for FIAC week, Duchamp’s emblematic ‘Porte-Bouteilles’ is being shown in the gallery’s Marais space along with a selection of works by the French artist and archive documents. The exhibition coincides with the 100th anniversary of the term ‘ready-made’, used by the artist in a letter to his sister Suzanne in 1916. Concluding that, the contemporary art scene in Paris still has that unique, sexy
French touch!


1. Maurizio Cattelan: Not afraid of love at Monnaie de Paris, October 22 – January 8: We all know Cattelan for his colorful provocative portraits of fingernails, cigarette buds and sculptures, as for example the Pope being hit by an asteroid. In the 18th century rooms Cattelan once again seeks to challenge visitors with horses jumping into the wall, a covered elephant and a man popping up from the ground. “Is there life after death?” is his real question. In the Monnaie de Paris visitors can contemplate this whilst enjoying the delicious Guy Savoy cuisine.

2. MTX showroom, subsidiary to Chanel: Fashionistas should definitely visit this new concept, which bridges a gap between sculpture and interior design. The exclusive creations are constructed with modules that unfold and multiply themselves indefinitely. Playing with colors and sparkles of lights, these exceptional pieces defy scale, thus achieving a dialogue between the precise techniques of embroidery and the immensity of architecture.

3. Hervé di Rosa and Les Arts Modestes, plus jamais seul at La Maison Rouge, October 22 – January 22: The exhibition shows how Hervé di Rosa’s pictorial and sculptural work has drawn inspiration as much from major artists from the 20th century such as Matisse, Picabia, and Dubuffet as from the multitude of unique objects he buys, accumulates, assembles and shares.

4. Oscar Wilde, l’impertinent absolu at the Petit Palais, September 28 – January 15:

Exiting the Grand Palais, it is worth taking a peak just opposite into the Petite Palais to visit the first exhibition in France dedicated to the famous writer Oscar Wilde. The exhibition evokes his life and work through a collection of 200 pieces, bringing together exceptional documents, some of which will be presented for the first time, including manuscripts, photographs, drawings
and caricatures.

visitor-look-amid-f0cd-diaporama5. Hors Les Murs: FIAC and the Domaine national du Louvre et des Tuileries present sculptures, installations, sound works, and performances around the Tuileries garden. On view this year are projects from Berdaguer & Péjus, Joe Bradley, Alexander Calder, Mirea Cantor and more which are worth exploring and a good opportunity to get some
fresh air!

6. Carle André at the Musée d’Art Moderne, October 18 – February 12: The Musée d’Art Moderne is presenting a tribute to the major 20th century American artist Carl Andre. This retrospective reveals how André, working with standard, unmodified industrial elements, redefined sculpture as a means of experiencing space, form and matter. He also produced poems that made use of words for their visual as well as their semantic and sound value.

7. Tino Seygal at Palais de Tokyo, October 12 – December 18: The Palais de Tokyo offers carte blanche to Tino Sehgal, a major figure on the international scene and one of the most radical artists of his generation. The artist’s experiment will transform the Palais de Tokyo’s exhibition space into an area where his own «constructed situations» reside.

8. The Shchukin collection at the Louis Vuitton Foundation, October 22 – February 20: The collection constituted by Sergei Shchukin includes works by the most renowned impressionist, post-impressionist and modernist masters like Monet, Cézanne, Gauguin, Renoir, Picasso and Van Gogh. The Moscow industrialist was a visionary in his taste for modern French art, leading him to begin forming an exceptional collection from 1898, representing the most radical trends in art from the era.  Nationalized during the Russian revolution, the paintings in the collection have been displayed at separate locations in Saint Petersburg and Moscow.

9. Slick Art Fair, October 19 – October 23: SLICK co-founders Johan Tamer-Morael and Aude de Bourbon Parme have collaborated with passionate galleries who persistently contribute towards promoting the French and International art scene. A stroll along the river bank to explore the compact sized, always new, visionary fair is therefore a must.

10. Asia Now, October 20 – October 23: Asia Now is the first ‘boutique art fair’ in Europe to focus exclusively on the contemporary Asian Art scene. This year, highlights include Chimères, a platform curated by Hervé Mikaeloff in collaboration with Matthias Arndt and Shang Xia & Christie’s with a collaboration on Chinese contemporary design.


11. Outsider Art Fair, October 20 – October 23: Out of the 38 exhibitors present for the fourth edition of this fair, 15 are newcomers, which confirms that the Parisian fair is expanding.

12. The Nights of Uncertainty: The Infinite Conversation and The great animal orchestra at the Cartier Foundation, July 2 – January 8: Based on a proposal by Hans Ulrich Obrist, a conversation in his presence between artists, scientists and intellectual’s relation to the great animal orchestra exhibition. The Great Animal Orchestra was inspired by the bio-acoustic compositions of Bernie Krause. Krause contemplates ecosystems as a poet, listening to animal sounds to analyze them as a true scientific.

13. Private collection of Daniel and Florence Guerlain at the Guerlain Foundation, The founders of the Daniel and Florence Guerlain Contemporary Art Foundation in 1996, and the Contemporary Drawing Prize in 2006, have been collecting for about 30 years. Featured artists include Jose Maria Sicilia, Gilles Aillaud, Martial Raysse, and Gaetano Pesce.

14. René Magritte at the Centre Pompidou, September 21 – January 23: This new show, under curator Didier Ottinger , focuses on five figures the painter always referenced in his work : fire, shadow, curtains, words and the fractionated human body.

15. Picasso-Giacometti at the Musée national Picasso, October 4 – February 5: Organised in collaboration with the Alberto and Annette Giacometti Foundation, the exhibition will highlight the formal, amicable, or iconographic relationships that these two major artists of the 20th century maintained.

16. Francesco Gennari at Galerie Antoine Levi, September 23 – November 15: A new art scene has rapidly emerged in Belleville (mainly the 20th arrondisement.) Not to be missed is the Levi gallery, which was founded three years ago, and since has cast a bright light on the work of Francesco Gennari.

17. Tom Wesselmann: A different kind of women at Almine Rech Gallery, October 17 – December 21: Almine Rech Gallery is hosting the most significant representation of Tom Wesselmann’s work in Paris in over 20 years. The exhibition features a selection of historical works and viewers can watch the performance piece ‘Bedroom Tit Box’, as well as other
key pieces.

18. Marcel Duchamp Prize at the Centre Pompidou – Presentation of the shortlisted candidates by their representatives: Kader Attia, born in 1970, presented by Dr. Clémentine Deliss, curator and critic. Yto Barrada, born in 1971, presented by Omar Berrade, writer and art critic, director of the Dar al-Ma’mun Library
in Marrakech.

19. Ulla von Brandenburg, born in 1974, presented by Jean de Loisy, president of the Palais de Tokyo; and Barthélémy Togua, born in 1967, presented by Roger Malbert, Head of Hayward Tourig, Hayward Gallery, London.

…And the winner is?

Russia Avant Garde Chagall to Malevitch

Santiago Art May 7, 2015

The period of the Russian avant garde – roughly 1905 to 1930 – was possibly the most chaotic of any art movement in history.

In this it reflected the situation in Russia at large. Following disastrous defeat in the war against Japan, the country was in ferment. A potent mix of authoritarian government, rural poverty, industrial expansion and national humiliation was set to explode.

When a huge demonstration in St Petersburg was violently suppressed on January 9th 1905, the whole country collapsed into revolutionary chaos.

The revolution of 1905 spawned a snakepit of contending political ideologies – Tsarists, democratic constitutionalists, protofascist and marxist movements and peasant parties, to name but a few.

At the same time, the artistic community was engaging in its own arm waving contest – admittedly of a less violent kind. Over the next ten years there was an eyewatering upsurge of artistic movements: Suprematism, Cubo-futurism, Russian futurism, Zaum, Neo-primitism. The list goes on and on. When it comes to the artists, the list is even longer and more confusing: Kazimir Malevich, Alexandra Ekster, Vladimir Tatlin, Wassily Kandinsky, David Burliuk, Alexander Archipenko, to name but some.


In a sense, the title of the exhibition to be shown at the Grimaldi Forum in Monaco between July 6 and September 12 is misleading. Linking the names of Chagall and Malevich, suggests that they were both equally fundamental members of an intrinsically Russian avant garde movement. In fact, in terms of his influences and his later success, Chagall is best thought of as a French artist, rather than a Russian one.

It is true that Chagall was born in Vitebsk in Belarus (1887); also true that he was active in Russia in the years leading up to the 1917 revolution, of which he was initially an enthusiastic supporter. However, he also spent an important period in Paris (1910 – 1914) where he came under the influence of Impressionism, Cubism and Fauvism. When he returned to Russia in 1914 to marry his fiance, he found himself cut off by the outbreak of the First World War. He settled in Vitebsk where he continued to develop his unique form of poetic humanism.


By this time, following successful exhibitions in Paris and Berlin, Chagall was already an established artist. Accordingly, he was appointed Commissar for Art in Vitebsk with the responsibility for spreading artistic knowledge and appreciation in the working classes. He threw himself into this with great enthusiasm, providing posters and agit prop material in support of the revolution.

Enter Kazimir Malevitch. It would be difficult to imagine two contemporary painters whose artistic leanings were more contrasting: Chagall the poetic humanist and Malevich the revolutionary abstractionist.

In the years leading up to the revolution, Malevitch had been abandoning his earlier cubist influences for something he called Suprematism. He also philosophised copiously about his theories, sometimes in ways that did little to illuminate them.


Briefly, Malevitch was interested in an exploration of geometric forms – squares, triangles, circles – in a way that transcended subject matter. Malevtich, along with many of the avant garde saw himself as a standard bearer of modernity – of the new world of the radio, telegraph, flying machines and the internal combustion engine. For him, colour should reign ‘supreme’ over image and narrative. “Academic naturalism, the naturalism of the Impressionists, Cezannism, Cubism etc, all these, in a way, are nothing more than dialectic methods which, as such, in no sense determine the value of an art work”.

The resulting clash beteeen the two was as bitter as it was predictable. The art college established by Chagall in 1918 included a wide variety of artistic protagonists, each promoting their own ideas. However, by 1920, Malevich’s Suprematist ideas – forcefully promoted by Malevitch’s untiring oratory – were gaining ground. Increasingly students and their teachers were turning away from Chagall’s compassionate humanism, with its roots in folklore. By 1922, Chagall felt he had no option but to resign. He left for Moscow, where he worked mainly in theatre design, before returning to France.

Effectively, Chagall remained a French painter. He escaped to New York in 1941, but returned to the south of France after the liberation, where remained until his death in 1985, at the age of ninety eight. Today, Chagall is regarded as one of the most successful painters of the 20th century.


Santiago Art March 26, 2015


After completing elementary and High school, Mayte Teresa Mendez Cabo studied at the School of Arts and Crafts in Madrid. Later she graduated from the Fine Arts Faculty of San Carlos in Valencia where her qualities as a painter were rapidly recognized. Mayte, as she prefers to be known, is currently the Professor of Arts at the Gil y Carrasco Institute in Ponferrada.

Despite a life charged with all the responsibilities of a professional teacher, and preoccupations with her students, she has always managed to balance these with her passion – her work as a painter – as well as a busy family life.

Success came early. In 1976 she was awarded second prize at the Exhibition of Fine Arts in Valencia. She was twenty two.  From then until 2012, she has held exhibitions every year. Her shows have been seen in university faculties, cultural institutions, city councils, as well as in public and private collections all across Spain.IMG_9213

Some critics have detected a link with Impressionism or Fauvism, or suggested the influence of Van Gogh and Cezanne. But most agree that Mayte’s highly individual use of colour is entirely unique to her.

Cabo’s distinctive use of colour – particularly a vivid Mediterranean blue – seems to suggest the search for a paradise, lost since the dawn of time, to which she yearns to return.

In her later work there seems to be something of a reorientation of style, one that recalls the countryside of Bierzo, where she grew up. Here, the colours are sometimes more sombre, reflecting a some what harsher landscape which she dresses in the textured tones of autumn and spring. Her paintings are a virtuoso display of blues and greens with complements of fuchsia, yellow or crimson – colours which are rarely harmoniously combined. Particularly interesting, is Mayte’s ability to detect colours in shadows or pools of light which shows a technical competence few can match. The result is a brilliant, multicoloured explosion.





Santiago Art March 26, 2015

Mouna Rebeiz sweeps into the Saatchi Gallery, her long coat flapping in the slipstream of her arrival, carrying two or three bags and a dinner jacket – something she describes as a ‘smok-ing’.

Everything about Mouna is dramatic: tall and statuesque as be-fits an erstwhile model; coal black eyes which shine all the more brightly in contrast to her pale skin; her striking features framed by a shock of wavy black hair which in others would seem un-ruly, but which seems to fit perfectly with her restless character. In short, Mouna Rebeiz would be the ideal subject for one of her own paintings.

In a sense, the exhibition of paintings recently on show at the Saatchi Gallery is ‘the statement that isn’t’. One might think that a collection of nudes wearing nothing but the tardasche or Fez, traditionally worn in some countries in the Middle East as a symbol of male dominance, carries a feminist message. Mouna is adamant: “ I am not a feminist. I hate politics. Politics is all bullshit – its just money and power!”

This is a bold statementat a time when the Middle East is being increasingly radicalised as never before. Lebanon, her country of origin, is sixty percent muslim, but Mouna is unfazed. “His-bollah? Who are these people? I do not know them! In Lebanon we are free – like Europe”. Nevertheless, even moderate Muslim culture finds it hard to accept the frenetic sexualisation of west-ern culture, where the female form is shamelessly exploited to move product.

In contrast to this, the graceful lines and subtle skin tones of the figures in Mouna Rebeiz’ paintings seem to recall Kenneth Clark’s description of the nude in art: “The word nude…carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled, defenceless body, but a prosperous and confident body”.

This is in line with the training Mouna has received. Originally a student of psychology at the Sorbonne, she then trained for ten years under Alix de la Source, an expert in 17th and 18th century art at the Louvre and the Musee d’Orsay. Originally influenced by French painters like Watteau and Bouchard, Mouna was later drawn to the more sensual work of Rubens. So where does Mouna Rebeiz stand in the debates that rage about gender and equality? Her answers are thoughtful if a little com-

plicated. :” In Lebanon the place of women is changing in many ways. (So) it has never been more important to reflect at length on the very essence of the ‘woman being’. I am Levantine, Leba-nese…Lebanese women are at once sensual and sophisticated. I also identify as French, and a characteristic of French feminity is precisely that sophistication. … At a time when many magasines seek to reduce women, photoshopped and thin, I choose to paint them fleshy, timeless, women as mistress and mother, women both sensual and maternal”

The fez was the instrument chosen to make her point. “I decided to take an object that, in its cultural and historical context, was essentially a male article of clothing, in counterpoint… This is not a provocation. This not about any opposition between man and woman. It is not an act of militancy. To put a tarbouche on the head of a naked woman is to recall the place of woman in the world. I have hijacked the tarbouche and made it an emblem of feminity”.

After London, there are plans to take the exhibition of paintings, first to Paris , and then to New York.