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Ugo Rondinone

Ugo Rondinone
spring moon
2011
Cast aluminium, white enamel
Approx. 580 x 500 x 600 cm
© the artist. Courtesy Galerie Eva Presenhuber, Zürich; Barbara Gladstone Gallery, New York /Brussels; Sadie Coles HQ, London; Galerie Esther Schipper, Berlin and Gallery Kukje, Seoul

Vincent Mauger

Vincent Mauger
Les injonctions paradoxales
2016
Structure en inox et bois. Oeuvre réalisée grâce au soutien de la fondation François Pinault. Sculpture
700X750X750 m. Courtesy Vincent Mauger et Galerie Bertrand Grimont. Photo : Marc Domage

Tetsumi Kudo

Tetsumi Kudo
Symbiose
1972
Mixed media
Galerie Chistophe Gaillard Represented by:Christophe Gaillard

Robert Rauschenberg

Robert Rauschenberg
Moat (Salvage)
1984
Acrylic and collage and graphite on canvas
134 x 81 inches
Courtesy Robert Rauschenberg Fondation and Galerie Thaddaeus Ropac, Paris/Salzburg
Photo credit: Ulrich Ghezzi © Robert Rauschenberg Foundation. / VAGA, New York / ADAGP, Paris, 2016 Represented by:Thaddaeus Ropac

Jean NouvelWW 6x6 FDH Worldwide, 6x6 Flexible, deliverable house2016
Matériaux : Aluminium / verre
6m x 6m
Présentée par le Studio Jean Nouvel Design Copyright Jean nouvel Design. Courtesy Revolution Precrafted - Robbie Antonio Photo : Marc Domage

Jean Nouvel
WW 6x6 FDH Worldwide, 6x6 Flexible, deliverable house
2016
Matériaux : Aluminium / verre
6m x 6m
Présentée par le Studio Jean Nouvel Design
Copyright Jean nouvel Design. Courtesy Revolution Precrafted - Robbie Antonio
Photo : Marc Domage

FIAC

La FIAC au Grand Palais , 2016 © FIAC 2016. Photo by Marc Domage

Marcel Duchamp

Marcel Duchamp
Porte-bouteilles
1959 (after 1914 original) signed 1960
Galvanised Iron
23.27 x 14.49 inches
Courtesy Robert Rauschenberg Foundation
© Succession Marcel Duchamp / ADAGP Paris, 2016
Photo: Glenn Steigelman

Jean Dubuffet

Réminiscence du sol, July 1960

Jean Dubuffet Réminiscence du sol, July 1960 No. 59783 Alt # London: L02243 Photographer: Damian Griffiths

LAUNCH SLIDESHOW

Judith Benhamou-Huet Reports on FIAC: Paris Showing Big Ambition in Challenging Times

The setting is sensational: FIAC, which takes place from October 20-23, is swelled with 186 galleries from 26 different countries and this year stretches beyond the Grand Palais into the Petit Palais (where 4o works are shown inside and out at the front). The main road between the two buildings, Avenue Winston Churchill, has been pedestrianized especially for the occasion like it was in 1900 when the two buildings were first erected. Never has the city of Paris contributed so much to the magnificence of this event.

Jennifer Flay, the fair’s director, wants to stand strong against the misfortunes that Paris has suffered in recent months: “Our role is to be defiant in the face of the challenges. FIAC is a strong fair, but nothing can ever be certain. All our plans, such as pedestrianizing Avenue Winston Churchill, are designed under the watchful eye of the police headquarters.”

In fact, across Paris, art professionals are redoubling their efforts this year to deliver stunning exhibitions in their spaces while the fair is in town. The design specialist Patrick Seguin has invited New York-based gallery Karma into his large space in Bastille. This art book publisher is displaying nearly 200 works on paper that start from 500 euros and go up to several hundred thousand. These include works by some fairly prominent painters and sculptors, from a etching by Manet of the famous Olympia offering her body on a sofa to an aquarelle by the American painter John Currin (born 1962). What do they all have in common? They’re all erotic scenes.

Thaddaeus Ropac is showing in his Marais space and at FIAC the work of Robert Rauschenberg (1925-2008) from ’84-’85 (on sale for between $550,000 and $4 million) as well as an ultra-rare item that was part of Rauschenberg’s personal collection: the famous Marcel Duchamp bottle rack that was remade in 1958. It is one of the archetypes for the “ready-made.” Only one museum will be able to purchase it. Thaddeus Ropac is not revealing the exact price but can confirm that it will top the record 8.9 million euros paid in 2009.

This year the FIAC management has killed off its satellite fair, Off, which took place for two years in the 13th arrondissement and was dedicated to younger galleries. It’s not entirely a bad thing: the work displayed there was uneven and the venue was unattractive and hard to get to.
If what you expect from a fair is a broad international spectrum and a relatively large showing of interesting works, then FIAC’s 2016 vintage is excellent, even if it’s just to wonder around like you would in a museum.

Pace Gallery, for instance, one of the historic American galleries run by Arne Glimcher, has several upmarket pieces on its stands.

We can start by mentioning the two-meter-long  mobile by the American artist Calder on sale for $15 million, as well as the painting by Jean Dubuffet (1901-1985) from 1974 offered at $2 million.

When we asked the dealer his opinion of the French painter he answered, “If you can buy a key painting by Dubuffet for the price of a third-rate Andy Warhol drawing, it clearly goes to show that he is still under-valued.”

In New York, the Morgan Library has just inaugurated an exhibition of drawings by Dubuffet from ’35-’62 which should remind people of the importance of this artist from across the pond.
Arne Glimcher remains ambivalent about fairs, comparing them to a “carnival because they are designed as entertainment and contribute to the death of art’ but he himself exhibits because ‘nowadays collectors go more readily to fairs than galleries.”

This year, the most outstanding stand goes to the Londoner Sadie Coles with a space primarily filled with digitally enhanced self-portraits by the New York-based Swiss artist Urs Fischer, who I posted about last week. He had also created iron zigzag lines, which are like childish doodles crossing out all the space.

The most interesting one-man show at the fair is on the first floor of the Grand Palais. Here the Parisian gallerist Christophe Gaillard is showing the work of Tetsumi Kudo (1935-1990), a Japanese artist who lived in Paris and is best known for his fanciful installations made of bits of human organs and artificial vegetation. According to Christophe Gaillard the prices for Kudo have multiplied ten-fold over the past decade and those on his stand go from 180,000 euros to 280,000 euros. Two influential galleries have recently organised exhibitions by the Japanese artist, Andrea Rosen in New York, who has a Kudo work selling at FIAC for $250,000 and the multinational gallery Hauser & Wirth, conspicuous by its absence at this year’s fair.

To read more, go HERE.

 

 

 

To read more about FIAC and its surrounding events and exhibitions this week, pick up the latest copy of Whitewaller in Paris.

 

 

Judith Benhamou-Huet
Judith Benhamou-Huet - 8 articles
Judith Benhamou-Huet is a French journalist, independent curator and author who specialises in art and the art market. She is a columnist for the French newspaper Les Echos and the magazine Le Point. [...]
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