Just one week after another bustling edition of the Vienna Art Week, the Dorotheum recorded their best ever result in the Post War and Contemporary Art market segment, with a total €7,353,553 at auction’s end, representing a 60% of lots on offer. The fast-paced evening was led by Lucio Fontana’s “Concetto spaziale” (1968) which topped the seven figure mark to find a taker in a French collector at €1,071,389 (all prices include VAT and buyer’s premium). The yellow work, which features a single, vertical cut in its center had been estimated, presale, to go for only half that amount, on the range of €400,000 – €600,000. Continue Reading
Alexander Forbes' Berlin Art Brief
Modern and Contemporary art once again proved its ever accelerating market last Tuesday and Wednesday (November 26/27th, 2013) at Lempertz headquarters in Cologne, with works by Lyonel Feininger and Hermann Max Pechstein leading a charge to €9.5 million. Overall modern art sold at 100% by value, with the contemporary sector bounding yet further to 120% of its estimated total. Continue Reading
At Berlin’s Villa Grisebach last Thursday (November 28th), buyers were aplenty for the premium works pulled from various categories across their fall auction calendar for a special, “Selected Works” sale. Already by lot 10 the room broke into the seven figure range crowning Karl Schmidt-Rottluff’s oil “Watt Bei Ebbe” (1912) as the evening’s top lot with a price, including 25% buyer’s premium, of €2,720,000. The Brücke master’s work, which was consigned by a west German private collection and had previously been shown at the Museum Folkwang and the Tate, nearly doubled it’s presale high estimate of €1.5 million. Continue Reading
A Ciria biopic, Leo Gabin’s new film premiere at Peres Projects, Nathan Carter’s Esther Schipper solo, Anthony McCall at Spruth Magers and Ingrid Furre at Dan Gunn top our list of Berlin openings for the weekend of November 21st-24th. Continue Reading
Almost two thousand years of fine art, design, antiques, and objects come together this week at the Koelnmesse for Cologne Fine Art’s annual run. Having emerged out of the 70s Westdeutsche Kunstmesse, the fair consistently attracts around 100 exhibitors and a hoard of loyal visitors and collectors with its cross disciplinary focus. Rather than presenting their wares in separate, discipline and time period segregated sections, dealers are encourage to mix and match available pieces at their booths, all of which are vetted by a committee of experts. They are actively organized without accord to genre such that the entire 13,500 square meters melds into what might be an eclectic collector’s store rooms.
Here, Cologne Fine Art Director Cornelia Zinken speaks with Alexander Forbes about her fair’s 2013 edition, maintaining its cross-disciplinary focus, and staying true to its local collector base. Continue Reading
In September of 2005 an unannounced painting exhibition went up in the ground floor of Fasanenstraße 69. Rumors circulated. A newspaper ad was placed, which read, “Ist das eine Ausstellung? Gehört Maki Na Kamura derweil zur Kunstwelt?” (Is this an exhibition? Does Maki Na Kamura belong in the art world?) — More whispers and articles. But, by the time Art Forum rolled around at the end of the month and the art scene took off its sleeping mask, ready to see the show, the works had already been taken down in a purposeful wink at the art spectacle.
Honored this month for her win of the seventh annual Falkenrot Preis 2013 with an exhibition of nearly 50 of her works at Berlin’s Künstlerhaus Bethanien, Maki Na Kamura might have more appropriately posed herself the question, “Does she care if she belongs to the art world?” Really, it probably depends which art world is meant. The trend-bound world of art stars, YouTube remixers, and flash in the pan conceptualism she’d likely let float on by. “That’s not how it is with me; it’s not that simple,” she says of peers’ practices, which take their root in current events or ephemeral moments in contemporary culture. But that art world’s rather more patient, historically driven cousin, that might well be of interest. “Up to this point, what I have truly dealt with are pictures from the 18th and 19th centuries, really perfectly modern pictures,” she explains. Continue Reading
Following headquarters in Stuttgart, Cologne, three different Berlin spaces, and an early 90s jaunt to Santa Monica for Luhring Augustin Hetzler, Galerie Max Hetzler closes its over 17,000 square foot space in a former light bulb factory in Berlin-Wedding on December 21 in favor of two new spaces in the city’s west. The survey of its current roster of 21 artists such as Mona Hatoum, Jeff Koons, Beatriz Milhazes, Richard Philips, Bridget Riley, and Christopher Wool celebrates the gallery’s 40th anniversary, but has its eyes set squarely towards the future. Nearly all the works are new, some created specifically for the show.
For Hetzler, it’s a chance to take stock of his status quo before the gallery’s next big move: Paris. Set to open in May at an undisclosed location in the city’s gallery-rich Marais district, the Paris location debuts with Hetzler stand-by Albert Oehlen but is aimed at forging into new, younger artistic territory for the dealer as well. Alexander Forbes spoke with Hetzler in Berlin about his gallery’s anniversary, its Paris plans, and the art world’s ever-changing changing requirements. Continue Reading
The 80s are back bigger than ever. At least that’s the case at Frankfurt’s Städel Museum, which announced the gift of 15 works of 1980s German painting from art book publishing heir Benedikt Taschen on Wednesday. The haul is heavy in focus on the “Junge Wilde” group of artists and includes a suite of portraits by Albert Oehlen from 1984, Werner Büttner’s “Bitte um 20 Uhr wecken” (1982), and further work by Martin Kippenberger, and Markus Oehlen. Continue Reading
For an artist who died nearly 500 years ago, Albrecht Dürer was remarkably contemporary in his practice. From his Hirst-like factory operation to his mother and wife’s hawking of works at fairs, his use of traveling salesmen as proto-gallerists distributing works further afield to protecting his works with copyrights, Dürer was a market sensitive master of business as well as a master of art making itself. This context, along with the work of his contemporaries forms the crux of the Städel Museum’s current survey of the artist (on through February 2nd, 2014), arguably Germany’s most famous of the Renaissance period, if not ever. Continue Reading
Now in its 11th year, Art.Fair Cologne continued to gain prominence on the fall fair circuit in its 2013 edition. With 36,000 in total, more visitors than ever roamed the halls of Cologne’s Staatenhaus am Rheinpark over the fair’s five day run. And though nearly half of that total visited during the vernissage, a wealth of serious collectors were among them, leaving a bounty of sales in their wake and reason for Art.Fair to call its 2013 edition its most successful to date. Continue Reading