Art Basel Miami

Screen Shot 2017-12-06 at 18.18.18.pngBalerie Greta Meert
Booth F3

With Sollewitt, Joe Zorrilla, John Baldessari, Jean-Luc Moulène, Carla Accardi, Jan Dibbets, Thomas Struth, Niele Toroni, Anne Neukamp, Carlos Caballero, Edith Dekyndt

Screen Shot 2017-12-06 at 18.08.16.pngGaleria Nara Roesler
Booth B10

WithAlexandreArrechea, Artur Lescher, Abraham Palatnik, Daniel Buren, Daniel Senise, Helio Oiticica, Lygia Clark, Julio Le Parc, Marco Maggi, Paulo Bruscky, Vik Muniz

Screen Shot 2017-12-06 at 17.59.13.pngAnat Ebgi Gallery
Booth P3

with Jibade-Khalil Huffman

Screen Shot 2017-12-06 at 16.34.17.pngPilar Corrias
Booth C30

With Tschabalala Self

Screen Shot 2017-12-06 at 16.37.54.pngStephen Friedman Gallery
Booth A15

With works bYinka Shonibare, Andres Eriksson, Channing Hansen, Tonico Lemos Auad, Tom Friedman, Jim Hodges, Rivane Neuenschwander, Ged Quinn,  Kehinde Wiley and Luiz Zerbini

Screen Shot 2017-12-06 at 17.23.25.pngJessica Silverman Galler
Booth H9

Work by Dashiell Manley, Matthew Angelo Harrison, Julian Hoeber, Nicole Wermers and Judy Chicago

Screen Shot 2017-12-06 at 17.53.01.pngSkarstedt
Booth C9

Works by John Baldessari, George Condo, Eric Fischl, Mike Kelley, Louise Lawler, Albert Oehlen, Richard Prince, David Salle, Cindy Sherman, Rosemarie Trockel and Christopher Wool


Sexual abuse (in the art world)

As more revelations about sexual abuse are coming out everyday, the art world too has

not been spared. Some names have already been published. This probably will not come as a surprise to anybody, for there have always been rumors; of art school teachers sleeping with their pupils, of artists giving sexual favors to gallerists in exchange for representation etc etc.

Of cause this does not always necessarily have to be non consensual. However when the balances of power are so blatant and unequal the “weaker” party of the two may feel extreme pressures to comply with the abuser.

Power often plays a role in sex but it is in this state of physical, fiscal or emotional imbalance, that these horrific situations often tend to occur. It is easy to see how an abuser can bend that power to achieve their own selfish ends, and manipulate the one who feels or knows that they are dependent on the other for their career into some sort of sexual favors or into not reporting harassment or abuses.
Sometimes things start of being consensual but can turn into what can be classified as harassment or systemic forms of abuse. Also it does not have to be constricted to more predictably cliched narratives about the previously “accepted” mores surrounding the politics of power, age, gender or sexual orientation.
Rape and sexual abuse conviction rates are notoriously low. Victims are often not believed and many many cases are either simply unreported or, if they are, they never reach trial. We hear of cases exactly like this every single day.

Using sex to propel ones career is well known as a concept.
To kiss up and kick down, to use the polite version of the phrase is as old as the world. How often it happens, and if it really works, is impossible to prove but reversing the gender or power roles, or just doing it the other way round probably doesn’t work either.
Men who are asked are more often willing to admit that they would certainly engage in sexual relations with a superior if a promotion was thus guaranteed. Some will even admit that they’d probably sleep with any woman, for whatever the reason, if she was the instigator. Women who sleep their way to the top or who are rumored or known to engage in similar behaviors are usually looked down upon. But if you have the opportunity to reach towards your professional goals just by having consensual sex, why not? The problem is, of course, when the boundary lines get blurred.

Do you: let that one remark go…that hand linger… just because, if you say anything it might effect you (your career) negatively? If your attacker states, that they indeed did have sex with you, but that it had been consensual – entirely voluntary upon both sides? If there are no witnesses or other incidents, it is just their word against yours.
Indeed some claims might be false. Some people might have malevolent reasons for releasing a name, or making an accusation. In my opinion though this is rare. When you name someone, they are being tainted forever, without any form of trial. And so will you. So real victims don’t ever just do this haphazardly. That is a myth that misogynist men often make a claim to, as a way of tarnishing women, transferring blame elsewhere and denying their own sexist guilty conscience.
It cannot be justified that an abuser was simply not aware of any evil their actions might have entailed. Nor should any jury allow such an injustice, an abuse of power, to be acceptable in society.
Lawyers will emphasize inconsistencies in a story, will call certain actions manipulative. This can in itself be a sophisticated and hyper-manipulative way of undermining valid accusations. Of course, this is what lawyers have been taught to do. Everybody is innocent until proven guilty and, of course, that is how it should be. The problem is that proving it is so very very difficult.
I see no reason why a “victim” should lie about these things. It can also be hard to disprove to an outsider that the “perpetrator” felt that it wasn’t consensual.

What I am sure of, is that victims who have not come forward yet and watch this are frightened. They see what can happen when you open your mouth: not being believed, being put away as a liar and manipulator. That is why people stay silent.


alminerechgallery.jpgAlmine Rech
Booth 0.A44

Works by Arlene Schechet, Ernst Wilhelm Nay, Francesco Vezzoli, Günther Förg, Zhu Jinshi, Jean-Baptiste Bernadet, Agustín Cárdenas, Ha Chong-Hyun, John Giorno, Kim Tschang-Yeul, Ida Tursic and Wilfried Mille
Sorry We’re Closed
Booth 1.F03
Works by Yann Gerstberger, Josh Sperling and Eric Croes
Esther Schipper
Booth 0.B42

Tomás Saraceno

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303 Gallery
Booth 0.B20
Jeppe Hein
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Blum & Poe
Booth 0.A40
Henry Taylor
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Simon Lee Gallery
Booth B19
With Angela Bulloch, Mel Bochner, Michelangelo Pistoletto, Christopher Wool, Bernard Frize

Frieze London

Screen Shot 2017-10-05 at 14.13.40.pngKate MacGarry
Booth A12

With Patricia Treib

Screen Shot 2017-10-05 at 14.39.40.pngPilar Corrias gallery
Booth B1

With Mary Reid Kelley and Patrick Kelley

Peres Projects
Booth B11

With Donna Huanca and Beth Letain

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Gavin Browns enterprise
Booth C2

With Arthur Jafa, Thomas Bayrie, Jonathan Horowitz, Mark Leckey, Sturtevant, and Alex Katz and Joan Jonas

Stephen Friedman Gallery
Booth C5

With Melvin Edwards

Fons Welters gallery
Booth G22

With Jennifer Tee and Evelyn Taocheng Wang

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The Sunday Painter
Booth H30

With Emma Hart

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Richard Saulton Gallery
Booth S7

Renate Bertlmann



Campaigns against racism affect cultural institutions too.

‘Witte de With’ center for contemporary art in Rotterdam is going to change it’s name. The names literal translation is “White the White”. It was named after the street it is housed on. The streets name comes from the name of a controversial 17th century Dutch naval officer. Witte Corneliszoon de With led violent expeditions into India and Indonesia for the Dutch East India Company. After recent protests from ethnic minority groups the board decided to get rid of the name. The core of the criticism seems to be that; a white art institution can not be relevant to black people and black artists. By coping with that critique Witte de With attempts to immunize itself. The black discourse is absorbed by white majority bureaucracy people in such a setting and thus rendered harmless. But it is not enough to merely ‘welcome’ such institutional criticisms. Apologies, name changes and the optics of renewed attention to diversity do not suffice, if there is no actual systemic decisive radical action. The extent to which they submit to enjoin in a black revolutionary agenda cognizant of the value of diversity will prove its relevance to the liberation of black and other oppressed people. If they do not, Witte de With under any other name will remain an institution appearing to, if not overtly, “condone colonial violence”, then at least appear to those with a deep sense of the continuing reality of such issues in our cultures, be blind to the legacy represented by such a myopic understanding of what historically based names directly infer.
It’s not the first time that a largely white cultural institution has to deal with the criticism of Black and Non-Black People of Color. Indeed many Dutch institutions for contemporary art are intertwined with the troubling colonial history. Other institutions may have to change their names soon or change staff or policy. Institutions funded by a country or a city, that has become rich in colonial times, are effected too. It also applies to all cities with streets named after naval “hero’s” or merchants who made their money in the slave trade. One Dutch museum that is dealing with it’s past is the Rijksmuseum in Amsterdam. It recently was in the news for altering racially insensitive titles and descriptions of works in its collection. In 2020, it will devote a large exhibition to slavery. The museum advertised for a ‘Junior Curator of Slavery’. He or she must develop ideas on how the Rijksmuseum could become a platform for the debate about slavery.
Hollandse_koopman_met_slaven_in_heuvellandschap,_anoniem,_1700_-_1725_-_Rijksmuseum.jpg It is important to look at our past and acknowledge the dark sides of history, but we also have to see these things as being of their time. The Royal Academy in London and the MoMA have recently put on exhibitions of the Russian Revolution. There was some criticism at the time but if they had put on a large exhibition of the national socialist accepted art from Hitler’s Germany, there would rightly be an uproar. So why is it then ok to show communist art when Stalin and Mao both where responsible for more people being killed each than Hitler. Do we have to constantly adjust our perspectives and opinions on history or do some understandings stay the same for ever?
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The Whitney Museum in New York got criticism for displaying Dana Schutz’s ‘painting ‘Open Casket’ Based on a 1955 photo of the dead Emmett Till, a black teen murdered because he was accused of flirting with a white woman.
The letter to the Conservators of the Whitney Biennial objecting to this painting, was widely circulated.
Hannah Black writes:
“I am writing to ask you to remove Dana Schutz’s painting Open Casket with the urgent recommendation that the painting be destroyed and not entered into any market or museum. … it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time.”
The painting has never been offered for sale. If it would sell or if entry fees are asked for exhibitions where it is shown should the money go to a good cause? Does the artist have the right to choose a particular topic. Or do opponents have the right to block the display.
Hannah Black goes on to say:
“The subject matter is not Schutz’s; white free speech and white creative freedom have been founded on the constraint of others, and are not natural rights.”
Does this mean that white western people are not allowed to comment on any matters of black suffering. But where does one draw the line. Do critics or  Do people who support this kind of aesthetic political judgement not create a new type of aesthetic or creative censorship akin to segregation here? Do all art institutions have to be be run by a politicized aware proportional representation of the population. Well, that would be ideal but is it feasible? Female representation is clearly improving in the art world. More and more mature museums, galleries and collections are directed by a woman. The work on display is frequently made and curated by women. We are not fully there yet, but we are getting there. However it took generations. To reach the top you need bigger representation at the start of the chain. Art schools, Curatorial and Art history courses are still mainly populated by white students and tutors.
Lets start by trying to see if we can get more black and ethnic minority people into art education.

Art week Berlin

Berlin has a new art fair; first there was Art Forum Berlin then ABC and now there is the Berlin Art fair. The perpetual question is can a high end contemporary art fair be profitable in Berlin. The people behind Art Cologne are the latest ones to try. Other fairs in the city are Positions and Berliner Liste. After the abolition of Art Forum, Liste is the oldest and largest art fair in the capital. However the standard of galleries is very questionable in my humble opinion. The first edition took place in 2004. Positions has been going for four years before that there was Preview which started in 2005. The work on show is of mixed quality. It seems to me they should be more selective in their acceptance of galleries.

Berlin Art Fair

IMG_2081Galleri Magnus Karlsson
Booth 2.E02

With Sara-Vide Ericson, Marcel Dzama and Klara Kristalova

IMG_2095Paul Stolper Gallery
Booth 2.C02

With Brian Eno, Damien Hirst

IMG_2084Galerie Karin Guenther
Booth 1.F02

With Gunter Reski

reinhardhauffGalerie Reinhard Hauff
Booth: 1.D04

With Tim Berresheim, Marc Bijl, Anne-Lise Coste, Wolfgang Flad, Jörg Immendorff, Thomas Locher, Josephine Meckseper, Julio Rondo and Stephen Willats

IMG_2090.jpgGalerie Kai Erdmann
Booth 3.A02

With Carola Ernst, Andrew Gilbert, Jonas Hofrichter and Stefan Pfeiffer

Screen Shot 2017-09-15 at 15.38.40.pngPlan B
Booth 1.B13

With Belu-Simion Fainaru, Ciprian Muresan, Serban Savu and Achraf Touloub

IMG_2079.jpgEsther Schipper
Booth 2A01

With AA Bronson

Screen Shot 2017-09-16 at 12.48.29.pngTobias Naehring
Booth 1.B02.

With Sebastian Burger, Eva Grubinger, Wilhelm Klotzek, Sophie Reinhold


Untitled_Panorama1Galerie Leuenroth
Booth C13

With Daniel Behrendt and Heinrich Mauersberger

IMG_2072Galerie Drei ringe
Booth D05

With David Eagermaher, Martin Böttger, Luise Von Rohden, Siegfried Füreder

55 Limited Gallery55 Limited Gallery
Booth E03

Jonathan McFaddenGalen GibsonIMG_2078

CK Gallery Berlin
Booth A06

Andreas Amrhein

Elsewhere in Berlin

Re- Imagining Europe‘Re: Imagining Europe’ in Box Freiraum

Agniesz Kapolska, Milena Dragicevic, Nikosas Lanidis, Luisa Kasalicky, Mark Manders, Michael Markwick, Ida Lindgren, Tessa Verder, Maria Capelo, Monika Sosnowska, Pauline Curnier Jardin

Screen Shot 2017-09-16 at 12.41.37.pngHamburger Bahnhof

Festival of Future Nows

Screen Shot 2017-09-16 at 12.52.24.pngDuve

Christopher Füllemann and Leonhard Hurzlmeier

IMG_2100.jpgMe Collectors Room

Portrait of a Nation
Contemporary Art from the United Arab Emirates
Featuring works from the ADMAF Art Collection

Art on Paper, Brussels gallery weekend and Antwerp shows


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Tim Van Laere Gallery
Rinus Van de Velde

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Zeno X Gallery
Michaël Borremans


Art on Paper @ BOZARIMG_1920.jpg

Albert Baronian
Robert Devriendt


Paper gallery
Ilona Kiss


Galerie Zink
Javi Calleja


Martin Kudlek Gallery
Frans Burkardt


Betts Project
Pier Vittorio Aureli


Galerie Maurits Van de Laar
Dirk Zoete


Meessen De Clercq
Nicolas Lamas
Winner of the SOFAM Prize for Best Solo Show


Gallery weekend BrusselsIMG_1934

Sorry we’re closed
Daniel Boccato


Supportico Lopez at Independent Régence
Charlie Billingham


Dauwens & Beernaert Gallery
Marco De Sanctis

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Xavier Hufkens
Tracey Emin