267 en

NEWSLETTER
267
9 December 2016
TRAFFICKING
CULTURAL GOODS
DECEMBER 2016
D U BA I
Pokras Lampas
Calligrafuturism
6 Dec. - 20 Dec.
SEOUL
Raoul Dufy & Bernard Buffet

Two visionaries in the 20th century French Art
7 Dec. - 22 Dec.
M IA M I
Mastery of Craft
14 Dec. - 29 Dec.
operagallery.com
NEW YORK MIAMI ASPEN LONDON PARIS MONACO GENEVA DUBAI BEIRUT HONG KONG SINGAPORE SEOUL
Jacques MAJORELLE
Moussem dans les Chiadma
au printemps Circa 1940-195
Oil on canvas
65,5 x 81 cm
Estimate: 70,000 - 90,000
PARIS # MARRAKECH
Jacques Majorelle and his contemporaries III

International and Arab Modern
& Contemporary Art
Auction in Paris
Thursday 29th December 2016
6pm
Live broadcast in Marrakech
Exhibition at Es Saadi Palace
from 27th to 29th December 2016
Contact:
Olivier Berman
+33 (0)1 42 99 20 67
oberman@artcurial.com
7 Rond-Point
des Champs-lyses
75008 Paris
[ TOC
RMB City, Cao Fei. Courtesy CCAA
Kerak Castle, 3D image.

Iconem, DGAM
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ADAGP, Paris 2016 for artworks from its members. - Cover: Palmyra Arch, 3D image. Iconem, DGAM.
WIDE ANGLE
Trafficking cultural goods 8
DISCUSSION
douard Planche 12
Top stories 18
INTERVIEW
Uli Sigg 20
Museums 26
Artists 27
Auctions 28
Collectors 29
DATA
Paul Gauguin
30
Varaumati ti oa. Varaumati elle se nommait, Paul Gauguin.

Fondation Louis Vuitton. Martin Argyroglo
Galleries 38
DCEMBRE 2016
D U BA
Pokras Lampas
Calligrafuturism
6 dc. - 20 dc.
SOUL
Raoul Dufy & Bernard Buffet

Two visionaries in the 20th century French Art
7 dc. - 22 dc.
M IA M I
Mastery of Craft
14 dc. - 29 dc.
Pokras Lampas, cntrst betwe, 2015, sur la Mer Baltique gele
operagallery.com
NEW YORK MIAMI ASPEN LONDRES PARIS MONACO GENVE DUBA BEYROUTH HONG KONG SINGAPOUR SOUL
[ WIDE ANGLE
Palmyre. Ghaylam
TRAFFICKING CULTURAL GOODS

From Afghanistan to Syria, the worlds emblematic cultural sites have turned into hostages at the hands
of religious extremists. This is the context in which one particular exhibition is opening in Paris,
under the patronage of UNESCO. An opportunity to look at the matter from a legal angle
The past year has been marked by an intensification of conflicts in the
Middle East, echoed in the West by a series of bloody attacks, namely in
France. Beyond the loss in human lives, these conflicts have a universal
impact on the cultural field, given that they are staged in countries,
namely Iraq and Syria, whose archaeological heritage is particularly rich.
In addition, certain combatants have decided to target cultural heritage
in their destructive strategies, for ideological or mediatic reasons and
also for financial motivations as trafficking is a lucrative activity. The
archaeological nature of this heritage makes it particularly vulnerable.
Given the conflicts underway, it is not possible to monitor sites or to fight
against underground digs. Meanwhile, unlisted archaeological objects
are especially difficult to locate, and hence, to trace, making them easier
to transport and deal in handy qualities for the criminal sphere when
objects draw attractive market values to boot. All these elements promote
the development of illicit trafficking of cultural goods.
The response to this phenomenon is firstly political and international, with
measures taken against the conflicts in general, and against trafficking
in particular. It also comes from the rallying of professionals and national
and international authorities who play a role in the circulation of cultural
goods. Finally, it occurs through the application of legal measures aimed
at illegalising all movements and transactions of goods involved in this
trafficking. The standards making up these legal measures for fighting
against the trafficking of cultural objects can be classified into four distinct
and complementary categories.
The first category of standards concerns international law stemming from
two UNESCO conventions1, the 1954Convention for the Protection of
Cultural Property in the Event of Armed Conflict, and the 1970Convention
on the Means of Prohibiting and Preventing the Illicit Import, Export and
Transfer of Ownership of Cultural Property. The first comprises a set of
measures that warring parties are supposed to take during armed conflict
in order to protect culturally-sensitive sites. It does not target transactions
themselves, unlike the 1970Convention which aims to fight against the
trafficking of cultural goods. Ratified universally or almost universally,
the latter leads States to commit to cooperating to combat such trafficking,
namely by banning and sanctioning the sale of cultural goods deriving from
theft, illicit digs or circulation. This Convention is the reference text on an
international level: it lays down the principles on banning the sale of illicit
cultural goods, which States are to insert into their national legislation.
Where it is nonetheless limited is that it carries no binding force. It therefore
cannot be invoked to take legal action, and its application depends on the
decision of States on whether to comply or not.
Apart from these conventions, international action can arise when the
United Nations Security Council adopts resolutions comprising binding
measures aimed, if not at preventing, then at least striking out imminent
danger to a States cultural heritage. This was the case of Resolution2199
adopted on 12February2015, requesting that States ban the trade of Iraqi
cultural goods illegally taken from the country following 6August1990,
and Syrian goods removed following 15March2011. This Resolution
Objects restored to Bagdad Museum.

Khalid Mohammed
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9]
WIDE ANGLE
Trafficking cultural goods
ICOM General Conference, Milan, July 2016. DR
thus extends, on the international sphere, measures already imposed in

Europe by Council Regulation(EC)1210/2003 of 7July2003 concerning
Iraqi goods and Council Regulation(EC)36/2012 of 18January2012
concerning Syrian goods.
The second category of standards concerns rules for controlling the
circulation of cultural goods. These measures, grouped together in France
by the Code du Patrimoine (Heritage Code), largely stem from European
law which sets rules on controlling exports within the European Union as
well as to non-EU countries, the latter being directly governed by Council
Regulation(EC)116/2009 of 18December2008. The measure provides
for the State to control the export of cultural goods outside of national
territory, and it may ban the export of goods considered to be national
treasures. The administrative procedure for the delivery of export licences
is thus aimed to allow the State to assess whether the good in question
constitutes a national treasure or not. But in the face of trafficking, this
measure for controlling the circulation of cultural goods, which ultimately
protects national heritage, is inadequate in that it only targets exports and
not imports. The entrance of archaeological cultural objects is therefore not
BEAR IN MIND
In its yearly report, the Conseil des Ventes, the authority which
regulates public auctions in France, turned its attention to the
legal framework of a hot news topic: the trafficking of cultural
items following the events in the Middle East.
Les ventes aux enchres publiques en France
Conseil des ventes volontaires. La Documentation franaise.
296pages. www.conseildesventes.fr
www.patrimoineprocheorient.fr
[ 10
Art Media Agency 9 December 2016
concerned, so obviously this is no tool for fighting against illicit trafficking.

The French bill on the freedom of creation, architecture and heritage
[editorial note: French bill n2016-925 of 7July2016] is an attempt to fill
in this gap. It namely foresees the banning of the imports and sales of
archaeological goods illicitly exported from their countries of origin (when
the latter is in a conflict situation) and subjects import of a cultural good to
the production of an export licence issued by the country of origin (when the
countrys regulations comprise such licences). However, the boundaries of
this control on imports need to be defined, notably so that this instrument
for fighting against trafficking doesnt become an obstacle to the circulation
of cultural goods. In any event, this type of regulation is an indispensable
prerequisite for intervention on goods with proven illicit origins.
The third category of standards more specifically targets the fight against
the laundering of terrorism-related capital and financing. These norms
are inspired by recommendations made by the FATF (Financial Action
Task Force), an intergovernmental body set up in1989 to establish
standards to combat money laundering and the financing of terrorism. Its
recommendations are integrated into European law via directives which
in turn are transposed into the national legislation of member States
the Code Montaire et Financier (Monetary and Financial Code) as far
as France is concerned. These measures dont primarily aim to defend
cultural heritage. It nonetheless seems that the trafficking of cultural
goods financially supports parties involved in the Middle East conflicts and
is a tool used by terrorist groups involved in these conflicts. While it is
impossible to estimate the sums in question, it is clear that the trafficking of
cultural goods, the laundering of capital and the financing of terrorism are
interrelated. The rules implemented in the fight against laundering mainly
consisting in surveillance measures, identification of the origins of goods
sold, the parties involved and funds used, and if applicable, the obligation
to report on suspicious movements should therefore also contribute
to the fight against trafficking. These rules on surveillance and reporting
apply to all art-market professionals, voluntary-sales operators and antique
dealers, thus backing up the body of ethic rules pertaining to their activities.
The fourth and last category concerns professional rules applicable to
art-market professionals. Indeed, its impossible to conceive the fight
against the trafficking of cultural objects without the involvement of
professionals. The procedures which they implement when carrying out
research into the origins of the goods that they sell constitute obstacles to
the sale of trafficked pieces. As far as voluntary-sales operators in France
are concerned, these procedures stem from the Code de Commerce
(Trade Code) and the Recueil des Obligations Dontologiques2, whose
Article1.5.4. provides that: The operator of voluntary sales shall conduct
appropriate research to identify the good entrusted to it for the purpose
of its sale, and determine, on the basis of current knowledge, the quality
of the latter, namely in relation to its nature, its geographical origin and
its era. Outside of the ethical obligations imposed by these texts, it is up
to professionals to practise personal ethics when dealing with the objects
offered to them, to assess the appropriateness of their sale by considering
their origins and the risk of lending a hand to trafficking. Incidentally, those
archaeological goods identified as deriving from trafficking to date, have
not emerged on the public-auction market or, more globally, the legal
market. There is therefore reason to fear that these objects are passed on
by the underground market or remain dormant before reappearing on the
market, purged by forgetfulness. There is a continual need for vigilance,
whether governed by norms or personal ethics.
The Unidroit Convention on Stolen or Illegally Exported Cultural Objects (1995)

bears no actual effective force unless it has been ratified by States which are
the destinations of trafficking.
This Set of Ethic Obligations is approved by a bill issued by the French

garde des Sceaux (Keeper of the Seals), the minister of justice, and as a
consequence, holds regulatory force.
Aleppo, following destruction, in October 2014.

US Department of State. NextView License/DigitalGlobe
[ RENCONTRE
Palmyra Arch, 3D image.

Iconem, DGAM
CULTURE IN CONFLICT ZONES

As the international conference on endangered heritage comes to an end in Abu Dhabi,
we meet douard Planche. Art and war with one of UNESCO's experts on treaties
for the protection of cultural heritage.
What is the nature of the programme set up by UNESCO against the
trafficking of cultural objects?
UNESCOs action occurs in the context of a mandate in the cultural
domain, relating to the protection of heritage against illicit trafficking. This
mission was formalised in a treaty dating from1970, called the UNESCO
Convention, which is the second great treaty after the one from1954, The
Hague Convention on the protection of cultural heritage in the event of
armed conflict. The latter is a text that speaks entirely to our times, and
contains, in one of its two additional protocols, provisions on the fight
against trafficking and on restitution in armed-conflict situations whereas
the UNESCO Convention applies to all situations, namely in times of
peace. To sum up, lets say that the convention is structured around three
major areas. Firstly, a preventative aspect foresees having States take
on extremely clear legislation on protected sites, cultural property, export
licences, market regulation, inventories, etc. The second major area is
international cooperation. The 131States linked by the Convention today
commit to cooperating to fight against trafficking and facilitating restitution.
One article stipulates that when a State sees its heritage under particular
threat due to armed conflict, for example, or a natural catastrophe, it can call
on other States to instigate exceptional protective measures a situation
in which we find ourselves today, given the events in Syria or Iraq, and
more generally, the destruction and pillaging in the Middle East. Finally,
the third pillar of our convention concerns restitution, supplemented by the
1995Unidroit Convention on Stolen or Illegally Exported Cultural Objects.
douard Planche. DR
What specific actions do you currently carry out in the Middle East?
In the Middle East, we carry out actions through our regional offices, in
Bagdad itself for Iraq, and in Beirut, Lebanon, for Syria. As far as Libya
goes, our office has been moved to Tunisia; for Yemen, we operate from
Doha. These are therefore units that act on the spot or near territories
in conflict. Our action consists in drawing up an inventory on destruction
and looting, collecting information thanks to experts and preparing
reconstruction. Unfortunately, in Palmyra, which was liberated (editorial
note: by the Syrian army at the end of March2016), but which remains
surrounded by Islamists, nothing can be reconstructed yet.
When you talk about restitution, its a way of broaching the issue
of trafficking
In terms of restitution, we act in conjunction with the authorities in the
countries in question, as well as border countries, namely Turkey,
Lebanon, Israel, Jordan and Gulf countries when were talking about Syria
and Iraq. But our action also reaches far beyond because antiquities now
move very quickly, to all market places where such objects are likely to
turn up. Im mainly thinking about the art market in Northern and Western
European countries, the Asian market, Gulf countries. In fact, wherever
you find money and collectors.
13 ]
DISCUSSION
douard Planche
Kerak Castle, 3D image.

Iconem, DGAM
has been circulating on the market for a long time, namely indicating that
the object left Syria or Iraq before the start of the conflicts. To have this,
you must make sure that Interpols registers on stolen objects have been
consulted, as well as national police files. These are the basic precautions
to be taken today. I have the recent example of a sensitive Middle Eastern
piece: an Iraqi foundational nail, Mesopotamian in origin, meant to go
on sale, even though it lacks a provenance! Lets say that the art market
hasnt yet acquired the basic reflexes.
The legislative measures are in place but it seems like something,
somewhere, isnt quite right
Whats missing, on an international level, is a massive ratification of the
Unidroit convention, which counts only 37party States, all source States.
For now, the art market is reluctant to undertake this ratification, which
is nonetheless crucial as it would facilitate procedures for the restitution
of cultural objects. The problem is that it inverts the burden of proof of
good faith. In other words, it is up to the person who possesses the object
to prove that he or she holds it legally, that he or she has checked the
provenance. According to the French Civil Code, whoever possesses
an object is deemed to be its owner, whereas Unidroit says that for
cultural objects, you will only be considered the owner when you have
proven that the provenance is licit. We dont wish to curb the art market,
but there are certain pieces that are sensitive, particularly those related
to the archaeological heritage of conflict zones. But things are starting to
change. Switzerland made a move by changing its legislation in2003, then
ratifying the UNESCO convention, implemented in2005, and adopting
the UNESCO ratification in a complete form by integrating the UNESCO
convention in its national legislation along with Unidroit clauses. Germany
has also recently adopted more restrictive legislation, namely in terms
of the import of archaeological pieces. A new European directive also
emerged in2016, reinforcing import and export checks.
Can you tell us about the Syrian archaeological landscape?
Do you manage to get an idea of the volume of this traffic, in terms
of the number of pieces, as well as the value generated by this
underground trade?
Regarding the so-called legal market, what we find from illicit imports in
worldwide trade, in galleries or public sales, represents around 50billion
dollars per year. As for the illegal market, the black market, which by
definition is more opaque, we have an estimate established by the Financial
Action Task Force (FATF), an intergovernmental body, which estimates
between3 and 6billion dollars. In France, nothing substantial has been
visible recently on the so-called open market. If this were the case,
the transaction would be immediately denounced as any object recently
excavated from ancient sites has been banned from sale in accordance
with the resolutions of the United Nations Security Council, namely by virtue
of Resolutions22-53 and21-99, the latter having introduced a moratorium
on the trade of antiques from Syria and Iraq. Here, international regulations
apply: those of UNESCO, Unidroit, and the United Nations. So much to
say that in the event of doubt, abstain from trading. I can mention that for
Bagdad Museum alone, today we deplore the loss of 10,000pieces, stolen
in2003, whose whereabouts are currently unknown.
When exactly can doubt be lifted?
Its simple: doubt can only be lifted when you have very clear details on the
provenance of a piece, enabling it to be traced. Either an export licence
from the country of origin, or a document which attests that the object
[ 14
Syrias threatened sites, already largely damaged, include six World

Heritage sites, plus a certain number of sites that are not yet listed, but
which are on an indicative list tipped for listing due to their archaeological
value. Today, the damage is considerable. According to an estimate, 25%
of the countrys archaeological sites have been looted, with trafficking
serving to finance armed conflict.
What can be said about prevention?
Syria, like Iraq, is an archaeological field. Weve transmitted the details
of all sensitive cultural sites to armed forces, for them to be integrated
into the operation plans of armed forces. This was the case in Mosul, to
avoid bombing on heritage sites. It is a mattwer of educating the armed
forces, in conjunction with the military staff a measure that has been
fairly well integrated by French, German and American forces that are
gradually taking this culture component into account in military operation
plans. Prevention also means working with local civil servants and helping
them in museum-evacuation phases, working with the police and customs
authorities in border zones, with many pieces already seized in Turkey, and
also working on the inventories of national collections.
Sites ternels. De Bmiyn Palmyre.
Voyage au cur des sites du patrimoine universel
From 14 December 2016 to 9 January 2017.
Grand Palais, avenue Winston-Churchill, 75008 Paris. www.grandpalais.fr
Damaged sculpture from Palmyra Museum. UNESCO
DISCUSSION
douard Planche
Great Mosque of Aleppo, Syria.

UNESCO
FOCUS
Stone hostages
Bamiyan, Palmyra, Khorsabad, Umayyad Mosque in Damascus,
or Kerak Castle World heritage sites threatened by conflict are
today innumerable. From Afghanistan to Syria, emblematic sites in
global culture have become the hostages of religious extremists.
According to the UN, in Syria alone, 24historic sites have been
completely wiped out, 300others damaged or looted. In the
context of a cultural state of emergency, the RMN-Grand Palais,
in association with the Muse du Louvre, have joined together to
present, under the patronage of UNESCO, an exhibition (free of
charge) offering discovery of the lost splendours of these greate
archaeological sites that are inaccessible today. The aim? To
raise the general publics awareness of the notion of peril, through
an immersive exhibition plunging the visitor into the heart of
heritage treasures, thanks to the projection of 360images. How?
Using digital recreations and new shooting techniques by means
of drones. For good measure, and in pedagogical interests, the
filmed images are dynamically combined with archive documents,
drawings, old photographs, showing the evolution often
dramatic of various sites.
The exhibition, whose general curatorship was entrusted to
Jean-Luc Martinez, president-director of the Muse du Louvre,
is organised into two sections. One, named The Universal Site,
shows four films, each dedicated to a major archaeological site,
projected in a vast 360panorama. This is the immersive
aspect of the experience, aimed at raising visitor awareness on
the looting of antiquities and illegal trafficking of objects from
Khorsabad in Iraqi Kurdistan, reconstruction issues for Palmyra,
the archaeological (re)discovery of Umayyad Mosque, Islamic
architectural masterpieces, and finally, conservation of the Kerak
Castle ruins which offer rare proof of the presence of Christians
in the East. Each site is represented by a work from the Louvre
collections. The other section, The Image Laboratory, is
organised like a cabinet of curiosities, namely dedicated to more or
less scientific data-collection techniques used by archaeologists,
ranging from engravings to digital images captured by drones.
But as far as recreation goes, everything counts: even images
brought back by tourists before the sites became inaccessible
offer precious documentation today. It is thus that dynamic3D
imaging allows us to witness the destruction, room by room, of the
Palmyra Arch of Triumph, at the hands of the Islamic State and
also to see in augmented reality its simulated reconstruction.
To fill out this programme, bear in mind that the Muse du
Louvre-Lens is presenting, from 2November to 23January2017,
an exhibition on Mesopotamia, situated in modern-day Iraq,
the cradle of the modern economy and of writing (LHistoire
commence en Msopotamie).
[ 16
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17 ]
[ TOP STORIES
Jean-Marc Bustamante.
Photo Olivier Blanckart. Courtesy Galerie Thaddaeus Ropac
HERITAGE__________________________________
Conservation fund and network set up to protect endangered world heritage
During a conference on
2 and 3
December in Abu Dhabi, the
representatives of 40states approved the creation of a $100million fund
aimed at protecting heritage sites threatened by conflicts and terrorism, as
well as a refuge network for conserving them. France has already pledged
$30million, and the United Arab Emirates, $15million, reports France24.
This conference on endangered world heritage was supervised by French
president Franois Hollande and the Crown Prince of Abu Dhabi, Sheikh
Mohammed bin Zayed. The Declaration of Abu Dhabi, adopted by
consensus in the presence of UNESCO director-general Irina Bokova
validated these two objectives. The funds head office will be in Geneva,
and while it was hoped that the fund would be larger, Hollande has declared
that we wont complain, nor shall we refuse any additional contributions.
Other Gulf monarchies have committed to the fund as well as China. The
Abu Dhabi conference is, according to Hollande, a rendezvous which will
mark History in the fight against fanaticism. This is the first time that
countries, along with organisations, experts and donors are gathering
together to protect the common property of humanity and to give them the
means to do so, he pointed out. The conference, as readers will note, took
place following recent destruction and looting in Afghanistan, Syria, Iraq,
and Mali. The warehouses of the Louvre Lens will be made available for
the conservation of endangered antiquities, and Hollande has asked other
museums to do the same. This diplomatic event comes one year before
the opening of the Louvre Abu Dhabi, scheduled for2018.
Antiquities seized during criminal investigation at Geneva Freeport
HUMAN RESOURCES________________________
Brett Gorvy leaves Christies to join Dominique Lvy in New York
Chairman and international head of post-war and contemporary art at
Christies, Brett Gorvy has decided to join his long-time friend Dominique
Lvy as a partner. His arrival in January2017 will coincide with the
inauguration of the gallery at 909Madison Avenue as Lvy Gorvy. The
auction house states in a press release that Brett will continue to work
closely with Christies on special projects and consignments across the
twentieth-century field. Meanwhile, Dominique Lvy who opened a
space in London in2014 envisages developing in coming years, mainly
in Asia, on the secondary market and also by creating a structure for
advising collectors.
Jean-Marc Bustamente elected to Acadmie des Beaux-arts de Paris
Jean-Marc Bustamante, artist and director of the Beaux-arts de Paris
has been elected to replace Zao Wou-Ki in the painting section of the
Acadmie des Beaux-Arts. As the first artist to run the Beaux-Arts de Paris
in 50years, Jean-Marc Bustamante addressed the Acadmie, during a
talk on 16November, and called for closer collaboration between the two
institutions (which were related to one another until1968). He declared:
I hope that other contemporary artists will follow me to the Quai de Conti!
Bustamante represented France at the So Paulo Biennale in1994, the
Venice Biennale in2003 and Documenta in Kassel (Documenta VIII, IX
and X). He is currently represented by the Galerie Thaddaeus Ropac
(Paris, Salzburg, London).
[ 18
According to The Art Newspaper, antiquities stolen from Yemen, Libya

and Palmyra were seized by Swiss authorities at Geneva Freeport. The
objects were conserved in clandestine warehouses from2009 to2010.
Dating from 4B.C. up to 3A.D., these works including two funerary
bas-reliefs, a pair of steles and a priests bust were identified in2013
and authenticated last year in Berne. A criminal investigation ending on
22November has not been followed up by any arrests. It is supposed
that the works crossed Qatar and the United Arab Emirates before landing
in Switzerland. They will be conserved at Geneva Art and History Museum
before being returned to their countries of origin.
EXHIBITION________________________________
Syrian exhibition at the Atassi Foundation in Dubai
Alserkal Avenue will be inaugurating, during Dubai Art Week from 9March
to 3April2017, its new gallery designed by OMA. It will be opening with
the exhibition Syria: Into the Light, the first retrospective on contemporary
and modern Syrian art in the Gulf region, reports Artnet. Works from the
Atassi Foundation are dedicated to promoting Syrian art and culture on
an international level. Syria has a long history of producing some of the
regions most socially engaged artwork, and an exhibition that shines a
light on the countrys incredibly talented contemporary artists is long
overdue, declared Vilma Jurkute, director of Avenue Alserkal. Toufiq
Tarek, Fateh Moudarres, Youssef Abdelke and Omran Younes are some of
the stars of this exhibition featuring historic masters and emerging figures.
The event is curated by Rasha Salti with exhibition design by Michel Zayat.
Conferences and screenings are scheduled.
TOP STORIES ]
VILLAINS___________________________________
FAIR_______________________________________
Jan Fabre accused of mistreating animals at the Hermitage
Positive feedback on Art Basel Miami Beach2016
According to The Art Newspaper, Belgian artist Jan Fabre has roused the
anger of animal rights activists and Russian Orthodox fundamentalists
after opening an exhibition called Knight of Despair/Warrior of Beauty
at the Hermitage Museum in Saint Petersburg. Held until 30April, the
exhibition presents several stuffed animals and is part of the institutions
contemporary art programme. And yet, Jan Fabres intention had been to
sound the alarm on abusive treatment of animals. A label from the exhibition
even reads: Abandoned, starving, hanging around near busy roads,
these animals are afforded a final accolade in this art. Like an exorcist,
Jan Fabre tries to bring them back to life in a carnivalesque set-up. The
general director of the Hermitage, Mikhail Piotrovsky, has declared that
everything is completely clear with Fabre. You dont have to be a genius
to understand what hes saying, so he definitely does not deserve any
accusation of mistreating animals. He adds that the reaction has shown
the overall level of hatred that exists in Russia. We nonetheless bear in
mind the criticisms already aimed at Fabres work in Antwerp in2012 when
he threw cats around.
This year, Art Basel Miami Beach welcomed 77,000persons over the fairs
5days a lower visitor rate than last year when it drew 90,000visitors. But
dealers say that sales remained strong, reports Artforum. Brussels gallerist
Xavier Hufkens thus declared: The steady flow of visitors and the level
of serious collectors this year has allowed us to do very well. We were
not overwhelmed with crowds, and are very happy to have doubled our
business from last year. Sadie Coles also stated: We had strong sales
throughout the week and were particularly delighted to see an exceptional
range of collectors from China, South America and Europe The response
to Jonathan Horowitz [] was extraordinary. Nova and Positions were also
exceptionally strong the younger generation of galleries put a powerful
foot forward this year. Many American dealers seized the opportunity
to comment on the countrys recent elections. Susanne Vielmetter from
Los Angeles namely presented a large grand portrait of Hillary Clinton by
Karl Haendel, while Blum & Poe offered a piece by Sam Durant on which
could be read End White Supremacy. Coles sold five prints by Jonathan
Horowitz showing Donald Trump playing golf and titled Does she have a
good body? No. Does she have a fat ass? Absolutely (2016).
Bavaria lags behind in the restitution of looted artworks

Michael Hulton and his wife, Penny, heirs of an art dealer persecuted by
Nazis, Alfred Flechtheim, have filed a suit in New York demanding their
recuperation of 8paintings by Max Beckmann, Juan Gris, and Paul Klee,
with an estimated value of nearly $20million. The works are currently in
the possession of the German federal state of Bavaria. The familys lawyer,
Nicholas M. ODonnell, has declared: Bavaria is completely out of step
with the international community with respect to restitution of Nazi-looted
art. Its refusal to return the Flechtheim paintings [] is an insult to the
victims of the movement that began right in Munich. In1933, Flechtheim
fled Germany via Paris before settling in London where he died in1937
in destitution. His wife committed suicide one year later. His niece and
mother-in-law also took their own lives in1942, reports Artforum. Bavaria
holds over one thousand looted works in its State collections and only a
dozen of them have been returned to their owners for now.
OBITUARY__________________________________
Death of Ferreira Gullar
Poet and art critic Ferreira Gullar passed away on 4December, as
Hyperallergic informs us. This was the man who, in1959, wrote the NeoConcrete Manifesto to which Lygia Clark and Hlio Oiticica, his friends,
adhered. In1964, when a military coup dtat suddenly overturned the
situation in Brazil, Gullar, a member of the Communist party, abandoned
Neo-Concretism, judging it to be too elitist. He then fled the country for
Lima, Buenos Aires, Santiago, and Moscow for a certain time. During his
exile in1976, he composed his most famous work, Dirty Poem, based
on nostalgic memories of his childhood and the implacable Brazilian
dictatorship. One year later, after returning to Brazil, he was incarcerated
and tortured. Gullar subsequently wrote for television and theatre, and
produced a number of essays.
Jean-Claude Boisdevsy at heart of Fondation du Patrimoine turmoil

As reported by Connaissance des arts, it is thanks to the outspokenness
of Sarah Hugounenq from Le Quotidien de lart that the embezzlement
of funds by Jean-Claude Boisdevsy, regional general delegate of the
Fondation du Patrimoine for the Limousin region, already revealed by
Mediapart, has been confirmed. Despite the many projects of this 20-yearold body formed to safeguard rural heritage, the foundation now faces
an unprecedented situation. Since2002, Jean-Claude Boisdevsy, who
planned to leave the institution in December, has notched up excessive
rents for the office in the Limousin region, bribes and employment law
abuses. He will soon be replaced by Christel Chinour, now appointed to
the position. In its2013 yearly report, the Cour des Comptes (French court
of auditors) had already noted that supervision of the Fondations regional
delegations was poorly managed, resulting in the establishment of a single
account at the establishments Parisian headquarters.
Ferreira Gullar. DR
19 ]
[ INTERVIEW
Lure of the Body N 16 (2010), Xu Di.

Courtesy CCAA
ULI SIGG: A LITTLE MORE FREEDOM

The recent attribution of the Chinese Contemporary Art Award offers us a pretext to meet Uli Sigg.
He tells us about his experience as a collector, his diplomatic career And his commitment
to contemporary Chinese creation.
Uli Sigg first arrived in China in the1970s to work for the Schindler Elevator
Co. in Beijing and Shanghai, at a time when the countrys leader Deng
Xiaoping had initiated Chinas policy of openness to the world. He was
subsequently appointed as Switzerlands ambassador to China, North
Korea and Mongolia, from1995 to1998. Today, Uli Sigg is vice chairman
of Ringier, Switzerlands largest media company. Over the years, he has
met nearly 2,000Chinese artists. At one time, his collection comprised
around 2,300works: Ai Weiwei, Fang Lijun, Zhang Xiaogang, Zeng
Fanzhi, Shao Fan, Cao Fei and Song Dong. This was before2012, the
year in which he donated 1,453works and sold 47pieces to Hong Kongs
future M+Museum.
Uli Sigg.
Fotoagentur Ex-Press AG
How were you introduced to contemporary Chinese art?

The very first contact I had was through an American friend whod been
living in Beijing for some time. This was in around1979-1980. She wrote a
book on Chinese artists a few years later. She was very close to the scene
and was the first to show me so many works.
Was there an alternative or underground scene at the time?
The interesting stuff was alternative, but in reality, there wasnt much of
interest at first. I used to look through a Westerners eyes, and Id look for
the avant-garde contemporary art that I was used to in the West. And there
was nothing of the sort. Art had been completely cut off from all information
about contemporary art in the West, and artists had no idea about what was
happening overseas. Their art was a derivative of Western modernism,
Impressionism, etc. Artists had to catch up for their lack in education in
terms of information. Suddenly, they felt relatively free, they could namely
choose their own subjects. When contemporary art started in China, artists
tested out their different gifts, theyd ask themselves what to do. This was
after Socialist realism. So the first years werent very interesting if were
talking about contribution to global artistic discourse. What I saw wasnt
part of this discourse; what was happening was very important for the
Chinese artists themselves, but not any further. So I didnt collect anything,
I just observed. I didnt start collecting seriously until the1990s, especially
when I noticed that no one else was collecting Chinese art. This seemed
very strange to me: it was the worlds largest cultural space and no one
was paying attention to what was happening there. If no one collected
them systematically, no institution, no individual then I had to do it.
Was collecting banned?
No one saw it as important. And no one knew this art because works were
shown in exhibitions that lasted several hours, perhaps a day, and only a
very small circle could see contemporary-art works, which moreover didnt
appeal to a wide public. No one can develop real interest if theres no
visibility. So for a very long time, contemporary art relied on this type of
underground or semi-underground event.
21 ]
What can be said about art in a dictatorship context?

Theres always an official art that serves the government. Chinese artists
at the time had to educate the masses, it amounts to the same thing. It was
art with a purpose. There is never any autonomous art under a dictatorial
system. So it represents a very small segment of art production compared
with art in the free world. You have academic art with political assumptions,
so the question remains: is there space for alternative art, as in the late
period of the Soviet Union, and in China in1979? Or is there no place, as
in North Korea, where you risk your life. There are different degrees.
In2012, your donation of a large part of your collection to the M+
caused a big controversy. What do have to say about this today?
The controversy came from a small group of three or four individuals. They
criticised the donation by saying that it was mainly made up of works from
the1980s, and that these works had no artistic value. Someone else said
that I only donated 1,500works so there were700 or800 other pieces that
I kept which had a gigantic value, and that I was going to sell everything.
Someone else said that it was only political art and that it didnt reflect
contemporary Chinese art, and that it was very selective. I still dont know
who was behind all that, but this forced me to respond to the tension. If you
take Bill Gates or Warren Buffett, theyve given half their fortune away but
no one asked why they didnt give away everything. I was also asked which
business interests I wanted to promote, which taxes I wanted to dodge
They couldnt believe that there was no secret motive. It was very difficult
for them to understand that.
The M+ museum will be opening in2019. Do you know which artists
will be represented at the inauguration?
They now have 1,500works and theyve started programming the inaugural
exhibition. It wont be on one artist in particular, but more about the historic
line of contemporary art that Ive developed from1979 until today. Im the
exhibitions co-curator.
FOCUS
The Chinese Contemporary Art Award 2016
Uli Sigg created, in1997, the Chinese Contemporary Art Award
(CCAA), the first prize to be set up in China for contemporary
Chinese art. This year, the biannual award recognised three artists
with international careers. The Best Artist Award went to Cao Fei
(1978), belonging to the xin xin ren lei 1990sgeneration attesting
to the globalisation and extension of contemporary China. The
Contribution Award was attributed to Xu Bing (1955), who has
worked since the1980s on symbols of Chinese society. This artist
lived for 18years in the United States before returning to China.
Since2013, Xu Bing has developed his History without Words
project on a form of writing composed of pictograms that can be
read. He is also vice president of the China Academy of Fine Arts.
The Best Young Artist Award was won by He Xiangyu (1986).
Criticising the effects of globalisation, he presented the Coca
Cola Project, during which 127tonnes of soda were transformed
into solid material, as well as the Tank Project, requiring several
thousand hours of work and tons of leather
[ 22
INTERVIEW
Henri Barande
Uli Sigg
Tank Project, He Xiangyu.

Courtesy CCAA
23 ]
Square Word Calligraphy, Xu Bing.

Courtesy CCAA
[ 24
INTERVIEW
Uli Sigg
The 2016Chinese Contemporary Art Award winners have recently

been announced. Among 64 artists, you chose Cao Fei (Best
Artist), He Xiangyu (Best Young Artist) and Xu Bing (Outstanding
Achievement). This selection seems evident given their international
careers. Why havent these artists won the awards earlier?
Cao Fei won the Best Young Artist Award in2006. We can say on this
basis that weve singled out young talents very early. But the award
depends on artistic production in the last two years. Artists may have a
profile but not over the given period. He Xiangyu was a candidate in2014,
but the jury chose Ni Youyu. Its become more difficult to surprise today
because information is so powerful with Internet, magazines, catalogues,
etc. The big challenge, today, is to judge one artists production in relation
to that of another.
What do you now hope for China?

For Chinese art, I hope that it will occupy the place that it deserves
because it has been long excluded from the global artistic world. People
werent acquainted with it. Chinese artists are very unprivileged. I hope
that things will turn around and that these artists will be able to have a
little more freedom.
Is freedom a stimulus for creation?
This is what has driven art in the last 20years, in the face of government
pressure. Artists are stimulated by this friction.
You say that its difficult for Chinese artists to escape from the
international tendency towards group exhibitions based on national
and cultural identity. Dont these artists have their role on the
international stage?
Chinese artists are under-represented in global artistic events such as
biennales and even Documenta, most of the time. Those who head up
these events are always predominantly Westerners, and there isnt enough
information on Chinese artists, except in certain networks which show the
same artist all the time. Institutions think about Chinese artists and Chinese
art when they feel that its once again time to put on a Chinese exhibition.
Regarding the 2016Awards, you say that it was rare for you to come
across new ways of thinking and savoir-faire, and that this weakness
reflects the global situation. Do you feel that these artists have
trouble creating individual and singular works?
While in the past many Chinese artists perhaps due to a lack of information
on global art trends produced art that was different from the movements
of the time, today most Chinese artistic production is in line with global
trends. Very few produce art on the strength of their difference. This can
sum up the impression of most of the jury members about current Chinese
production this year.
For a businessman like yourself, or as an ambassador, how would
you describe the role of art?
Are you speaking about my heart, my stomach, or my mind? Well, my
collection occupies me a great deal intellectually, I can remember every
word, every image, its been my way of studying China. Ive studied the
country as a businessman and as an ambassador, but the most colourful
way has been via contemporary art.
Why havent you created a foundation?
Why should I have done so? To have my name out there forever? My aim
was to bring my collection back to the Chinese people. Im more a fan of
public museums than private institutions where were sort of hostages to
other peoples tastes, and also perhaps their weakness In China, several
private museums have gone bankrupt. I think that the public museum is
memory, public memory, and we should support it.
Old Peoples Home (2007), Sun Yuan & Peng Yu.

Courtesy CCAA
25 ]
[ MUSEUMS
The Winton Gallery, Science Museum.
Nick Guttridge
POST MORTEM_____________________________
Zaha Hadid project at the Science Museum in London
This week, the London Science Museum opened a new room dedicated to
mathematics, designed by the late architect Zaha Hadid. Called the Winton
Gallery, it covers 400years in the history of mathematics, from the first
instruments to contemporary technologies, and explores the disciplines
links with our everyday lives, reports Artnet. This is the first of Zaha Hadids
projects to be launched in England since her death in March2016.The
gallerys layout and lines, from the position of windows and benches to
the structures three-dimensional curved surfaces, represent the flows of
air around a historic plane, the 1929Handley Page Gugnunc, when in
flight. The plane itself is suspended over the room. Zaha Hadid studied
mathematics before taking up architecture. Regarding this new room, lit
up from floor to ceiling, Patrick Schumacher, Zaha Hadids successor at
the head of the agency, declared to The Evening Standard : Mathematics
was part of Zaha Hadids life from a young age and has always been the
foundation of her architecture. The new room opened on the same day
as the Zaha Hadid exhibition at the Serpentine Gallery in London, an
exclusive showing of her notebooks and first paintings.
HUMAN RESOURCES________________________
RETURNS___________________________________
A Camille Pissarro painting returned to owners
According to AP, a work by Camille Pissarro, Rue St Honor, aprs-midi,
effet de pluie, de1897, currently valued at $30million, is to be restored to
the heirs of Lilly Cassirer, a Jewish woman who sold the painting before
fleeing the Third Reich in Germany. But according to Thaddeus J. Stauber,
lawyer for the Thyssen-Bornemisza Museum which today conserves the
painting, this is not a case of a Nazi looting, but one of ownership rights,
for the work was acquired legally. The lawyer argues that Lilly Cassirer
lost all power on the painting when the German government offered her,
in1958, compensation of$13,000. But the lawyer for the Cassirer family
has contested this argument: at that time, Lilly Cassirer had no idea of the
paintings whereabouts and thus did not officially give up her ownership
rights. The works discovery in a museum catalogue in1999 alerted the
family. The painting was purchased and sold several times before being
acquired by Hans Heinrich von Thyssen-Bornemisza, from New York
dealer Stephen Hahn, in1976. Thyssen-Bornemisza, after whom the
museum was subsequently named, bequeathed his art collection to the
Spanish government in1993.
Sculpture to be restored to heirs of editor Rudolf Mosse
According to The Art Newspaper, the marble statue Susanna (1869) by
artist Reinhold Begas, currently on display at the Alte Nationalgalerie in
Berlin, will be restored to the heirs of the late Rudolf Mosse, a Jewish
editor at the Berliner Tageblatt. The piece was confiscated by Nazis. It was
in2012 that the heirs of Rudolf Mosse started looking for works from the
collection, including works by Max Liebermann, Carl Spitzweg, Wilhelm
Leibl, Hans Makart and Adolph von Menzel. In2015, the Prussian Cultural
Heritage Foundation returned 8objects to the rightful owners. In June, a
painting by Carl Blechen, kept at the Kunsthalle Karlsruhe, was restored to
them; then in October, a work by Anton von Werner representing Mosse at
a dinner, conserved by the Jewish Museum in Berlin.
[ 26
Amy Landau recruited at Walters Art Museum

According to Art Daily, Amy Landau has been appointed head of curatorial
affairs at the Walters Art Museum in Baltimore. She has already worked for
the museum for 7years as associate curator of Islamic and South Asian
art. Her new role brings her in charge of a team of 7full-time curators,
and all of the institutions employees. Amy Landau has organised several
exhibitions including Threshold to the Sacred: The Ark Door of Cairos
Ben Ezra Synagogue (2013), presented at the Yeshiva University
Museum in New York in 2013 and 2014, as well as The Art of the Writing
Instrument from Paris to Persia (2011). Landau has a PhD in Islamic art
and archaeology from Oxford University.
Mark Beasley appointed at Hirshhorn Museum and Sculpture Garden
The Hirshhorn Museum and Sculpture Garden in Washington, has
recruited Mark Beasley, as curator of media and performance. This former
producer at Creative Time in New York will be in charge of organising the
museums exhibitions and acquisitions. Beasley was previously curator for
the Performa biennial and the British Council in London. He also worked
as curatorial advisor to the first Okayama Art Summit in2016, then guest
curator at MoMAPS1 for performances. He also supervised a series of
performances for the Mike Kelley retrospective at MoMA PS1 in2011.
SANTA_____________________________________
Nam June Paik donation to Harvard Art Museums
Ken Hakuta, nephew of Nam June Paik and executor of his estate,
has given $1million and 10works by the Korean artist to Harvard Art
Museums in Cambridge. The director Martha Tedeschi has welcomed
this donation, which she believes will benefit students and researchers
from all over the world. Ken Hakuda has declared: I could not be more
pleased that the Harvard Art Museums will be the centre of Nam June
Paik research for generations to come, working with other institutions
globally with an interest in Paik.
ARTISTS ]
AWARDS___________________________________
BAD ENDING_______________________________
Turner Prize goes to Helen Marten
Deadly fire in artists warehouse in Oakland
Helen Marten, 31years old, has won the Turner Prize, one of the most
prestigious contemporary-art prizes, after recently also taking out the
Hepworth Prize for Sculpture. The jury, recognising a British artist (or
one working in Great Britain) under 50years, appreciated the young
Londoners installations composed of unusual materials, and hailed the
poetic and enigmatic qualities of her work which reflect the complexities
and challenges of being in the world today. The careers of artists such as
Richard Long (1980), Anish Kapoor (1991) and Damien Hirst (1995) were
launched by their winning of the Turner Prize. In2013, Laure Prouvost
from France was the winner of the prize, this year worth 25,000.
In Oakland, near San Francisco, a fire started on the night of 2December

during a party at the Ghost Ship, a warehouse used by artists that was
also home to some of them, causing at least 36casualties. The fires causes
remain unknown, but among them was the security of the building, raising
the issue of real-estate prices in the region. An investigation is underway,
with authorities looking into the illegal use of the warehouse as a residence,
as well as the illegal construction of certain structures, and the absence
of permission for the party to be held. Emergency services noted the
difficulties they encountered during their intervention, describing the place
as a labyrinth filled with salvaged objects and furniture. The young victims,
aged20 to 30years old, were imprisoned by flames as the windows were
barred and said their goodbyes to loved ones by text messages.
Maria Theresa Alves wins Vera List Center Prize for Art and Politics
The Vera List Center Prize for Art and Politics, attributed to artists whose
works examine politics and social justice, has been awarded to Maria
Theresa Alves for her project Seeds of change and her floating garden,
reports Connaissance des arts. Awarded for the first time in2012, then
every two years since, to pay homage to collector and philanthropist Vera
List, this years prize recognises a creator whose project explores human
migration through her ballast seed gardens, a metaphor which associates
the idea of cultivation with that of movement (ballasts are water tanks
used to stabilise boats) and which echoes the involuntary dissemination
of seeds via ships holds. Maria Theresa Alvares, who lives and works in
Berlin, has contributed to founding the Green Party in Brazil.
Philip Smith wins the NADA in Miami
The NADA (New Art Dealers Alliance) collective and Artadia, a non-profit
organisation which delivers grants to artists, has chosen Philip Smith as
winner of the Miami Beach NADA Award Artadia2016 for his Night photo
series. The prize consists in$5,000, awarded every year to an artist
shown at the NADA Miami Beach fair. The artist, a leading figure of the
Pictures generation, was presented at the Artists Space in1977 alongside
Robert Longo, Sherrie Levine, Troy Brauntuch and Jack Goldstein in the
Pictures exhibition curated by Douglas Crimp. Today, his works can be
found in the collections of the Whitney Museum, the Dallas Museum of Art
and the Detroit Institute of Arts.
OBITUARY__________________________________
Death of artist John M. Miller
Painter John M. Miller, born in
1939 in Pennsylvania, died on
30November2016 in Los Angeles at the age of 77years, reports
Artforum. The artist is recognised as one of the major representatives of
abstract art. His paintings, compared to monochromes, are made up of
coloured angled bars repeated over a canvas. The creator declined this
geometrical motif systematically in his work for four decades, imposing
his own aesthetic style. His pieces are found in the permanent collections
of many museums, including the J. Paul Getty Museum, the LACMA, the
Museum of Contemporary Art San Diego, the SFMoMA and the Carnegie
Museum of Art.
Thibault Grougi wins the inaugural Prix Bic pour lENSAPC

The Prix BIC pour lcole Nationale Suprieure dArts de Paris-Cergy was
recently attributed, for the first time, to Thibault Grougi. The company,
aiming to encourage creation by supporting the university, invited students
to enter a competition by presenting a work produced with its signature
Cristal pen. This pens design has remained the same since1950, earning
it a place in the MoMAs permanent collection in New York. The jury was
made up of Bruno Bich, CEO of Bic, Sandra Hegeds, founder of SAM Art
Projects, Florence and Daniel Guerlain of the Fondation Guerlain, Pierre
Ardouvin, artist and teacher at the ENSAPC, Marie-Ange Moulonguet,
a committee member of the Prix Marcel Duchamp and of Art Paris, and
Herv Mikaeloff, exhibition curator. The work presented by the young artist,
Shaire Bic, an installation consisting of tracing-paper columns holding
drawings produced by blue-ink Bic Cristal, won the favour of the jury. It can
be seen along with other works from the competition in the YGREC space
in Paris until 8January2017.
John M. Miller. DR
27 ]
[ AUCTIONS
RESULTS____________________________________
Encouraging Russian Art Week in London for auction houses
Londons Russian Art Week sales at Sothebys, Christies, MacDougalls
and Bonhams raised a total of 23.2million. An encouraging result
compared with the 17.2million at the end of November last year, or
the 16.4million in June this year. The market relied heavily on Russian
buyers, The Art Newspaper reminds us. Sothebys scored the weeks
most successful sale with a total of 13.9million while Christies flirted
with 4.5million, MacDougalls, 3.7million and Bonhams, 1.1million.
Alexander Rodchenkos Construction No.195 (1919), estimated at
between 2.5million and 3.5million, sold for a record-making 3.6million,
but it was Ilya Chashniks The Seventh Dimension (from the early1920s)
that stole the show. Valued at between100,000 and150,000, it fetched
2.3million. This is one of the rare works by the artist whose archives in
Vitebsk were destroyed in World War II. Another highlight of the sale was
the Bar-Gera collection composed of 63lots of Russian non-conformist art.
The latter sold for just above its estimate, for 1.4million.
New world record for Hanta
On 6December in Paris, Sothebys sold Simon Hantas m.a.4, the fourth
in his Mariales series, for4,432,500, in other words twice its high estimate
(lot4). This acquisition was bitterly fought out between five bidders.
A total of 17paintings make up this series, a third of which already belong
to museums: the work on offer is the only red Mariale to be painted by
the artist. As a result, m.a.4 smashed the previous world record set
in December2013, by Sothebys Paris once again, for m.a.5, Mariale
(2.5million). The painting was reproduced in the catalogue of the Simon
Hanta exhibition at the Centre Pompidou in2013.
m.a.4 (Mariale, 1960), Simon Hanta.
Sold 4,432,500 at Sothebys Paris on 6 December 2016.
Sothebys
FRANKENSTEIN_____________________________
New research department headed up by James Martin at Sothebys
James Martin is joining Sothebys to run its new scientific research
department, after the acquisition of Martins company Orion Analytical.
This departments role will be to analyse the provenance of works and
wines using techniques comparable to those used by large museums.
James Martin has been a researcher, art conservator and teacher for
over 40years. He has been involved in more than 1,800investigations for
clients on five continents. He has taught at the Getty Conservation Institute,
the Smithsonian Museum Conservation Institute, the FBIs anti-terrorism
department for 20years, as well as the Forensic Science Research Unit.
James Martin teaches at New York University and Williams College. As
reported by The Art Newspaper, he also played an important role in the
investigation into the fake abstract expressionist paintings sold by Knoedler
Gallery in New York. In2011, Sothebys sold a portrait attributed to Frans
Hals to Richard Hedreen for $10million, but this year Orion Analytical
proved that it was a fake. The auction house had to reimburse the collector.
[ 28
Auction of Jean Leymarie collection at Artcurial

In Paris, at the end of November, three private collections were dispersed
during Artcurials second half-year modern and contemporary art sales,
bringing in a total of12,970,400. 82% of the lots sold came from the
Michel Fedoroff, Jean Leymarie and Jean-Claude Riedel collections.
Of particular note, 100% of Jean Leymaries collection sold, including a
drawing by Antonin Artaud pre-empted by the French State for the graphic
arts department of the Centre Pompidou. During the sale of Michel
Fedoroffs collection, the acrylic-on-canvas 63-F-5-1963 by Martin Barr
went over estimates and set a world record of715,800.
One million dollars for work by Njideka Akunyili Crosby at Sothebys NY
As reported by Ventures Africa, last week, during the contemporary art
evening sale at Sothebys New York, the painting Drown by Nigerian artist
Njideka Akunyili Crosby sold for over a million dollars. This result tripled
its high estimate of$300,000 during the event dedicated to contemporary
African art, with no less than eleven bidders vying for the work. The painting
is typical of the artist who represents herself with her Texan husband to
reflect on her multicultural and multiracial identity.
Ren Bovins jewellery collection doubles estimate at Christies Paris
The Christies Paris Jewels sale this week produced a total
of3,955,400. 84% of lots were sold, reaching 91% of the estimated value.
A7.93-carat rectangular diamond, Dcolour, VVS1, type IIa, estimated at
between350,000 and450,000, went for554,500. The Ren Boivin
collection registered, for the 20pieces sold, a record of571,525, thus
doubling its initial estimate of283,500. Bidders, including82 on Christies
Live (online), represented 27different countries from 5continents. 45% of
lots sold for above their estimates.
COLLECTORS ]
CHICKEN__________________________________
DONATIONS________________________________
Russian billionaire accuses Sothebys of selling fake Fabergs
Historic gift for Portland Museum of Arts
Russian billionaire Alexandre Ivanov, who opened, in Baden Baden,

Germany, a museum wholly dedicated to his collection, comprising
Faberg eggs, has accused Sothebys of proposing for sale two fakes
reputedly produced by the jewellery house in St Petersburg. The collector
also accuses the auction house of showing a counterfeit egg on the
cover of its November2016 Russian Works of Art sale, challenging the
competence of its experts. Sothebys, on the other hand, while denying the
allegations, has withdrawn the sale of the two denounced objects, reports
The International Business Times.
The Portland Museum of Arts has recently announced that it has received
the most generous gift in its history: $5million from New York-based
philanthropists and collectors Judy and Leonard Lauder, reports Artnews.
The donors hailed the work of the museums management and team, and
hopes that others will follow their example. Aged 83years, Leonard Lauder,
one of the sons of Este Lauder, already gave, in2013, 78cubist works
from his collection to the Metropolitan Museum in New York, including
paintings by Fernand Lger.
INTERIOR DESIGN___________________________
$25million have been given by J. Landis and Sharon Martin to the Denver
Art Museum for the renovation of the institutions north building. The
ageing structure, dating from1971 and designed by architect Gio Ponti,
needs a makeover, now entrusted to Fentress Architects and Machado
Silvette, with an estimated cost of $150million. The works will be delivered
in2012, the year of the 50thanniversary of the museums north building,
reports The Denver Post.
Jeff Koons works in a residential complex

Eduardo Costantini, an Argentinian billionaire businessman, launched
during Art Basel Miami his latest luxury residence project, Oceana Bal
Harbour, in which an art collection worth several million dollars occupies
a key position. Pieces by Callum Innes, An Te Lieu and Taryn Simon
were specially commissioned for the new space. The gardens already
showcase two works by Jeff Koons, Pluto and Proserpina and Seated
Ballerina. The latter uses several colours, which is unusual for this artist
who tends to create monochrome sculptures. The real-estate magnate can
boast of having water basins that reflect the most expensive works ever
to be installed in a residential complex, given that Jeff Koons remains the
highest-rated contemporary artist.
Denver Art Museum receives $25million
OBITUARY__________________________________
San Jos scene loses a legendary benefactor
The announcement of the creation of the Museum of the 20thCentury by
architects Herzog and de Meuron prompted Ulla and Heiner Pietzsch to
give their modern-art collection to the city of Berlin, says Artnet. Estimated
at 130million, the Pietzsch collection is considered one of the most
remarkable modern-art collections. Started in1964, the collection focuses on
two areas: European surrealism and its influence on abstract expressionists
in the United States. It thus includes works by Max Ernst, Ren Magritte,
Joan Mir, Salvador Dal, Paul Delvaux, Jackson Pollock, Ad Reinhardt,
Mark Rothko, Robert Motherwell, Barnett Newmann, Frida Kahlo and Diego
Rivera. The project was left hanging for several years as the conditions
required by the couple could not be honoured by the museum.
DONATION_________________________________
Pietzsches give collection to Berlins Museum of the 20thCentury
The announcement of the creation of the Museum of the 20thCentury by
architects Herzog and de Meuron prompted Ulla and Heiner Pietzsch to
give their modern-art collection to the city of Berlin, says Artnet. Estimated
at 130million, the Pietzsch collection is considered one of the most
remarkable modern-art collections. Started in1964, the collection focuses on
two areas: European surrealism and its influence on abstract expressionists
in the United States. It thus includes works by Max Ernst, Ren Magritte,
Joan Mir, Salvador Dal, Paul Delvaux, Jackson Pollock, Ad Reinhardt,
Mark Rothko, Robert Motherwell, Barnett Newmann, Frida Kahlo and Diego
Rivera. The project was left hanging for several years as the conditions
required by the couple could not be honoured by the museum.
Pluto and Proserpina, Jeff Koons.
Oceana Bal Harbour
29 ]
Maternit (II) (1899), Paul Gauguin.

Sold $39,208,000 by Sotheby's NY on 4 November 2004.
[ DATA
Sothebys
DATA
PAUL GAUGUIN
Art Analytics ]
He was one of the painters who heralded modernity. Some of his masterpieces are currently on display
at the Fondation Louis Vuitton, in Paris. Spotlight on Gauguin, equally appreciated by the art market
as by museum institutions.
Eugne Henri Paul Gauguin was born on
7June1848, in Paris. His father, Clovis Louis Pierre
Guillaume Gauguin, was a Republican journalist
for the National, who would die three years later
off Punta Arenas when the family planned to move
to Peru to flee NapolonIIIs regime. Young Paul
Gauguin and his mother Aline Chazal (1825-1867)
would return to France in1855.
Paul Gauguin kept a taste for travel from his early
years. He signed up with the French Navy in1865,
to serve on the clipper Luzitano, but following the
advice of his tutor Gustave Arosa a painting
collector , he left it in1871 to become a stockexchange agent not without first taking part in
the 1870war. Notching up a certain success in
business, he wed Danish woman Mette-Sophie
Gad (1850-1920) with whom he had five children,
and became a weekend painter
In
1874, Gustave Arosa introduced him to
Impressionists, starting with Camille Pissarro.
Gauguin started to show his works regularly
at Impressionist fairs and at that time painted
in Pontoise, where he invited Jean-Baptiste
Armand Guillaumin and Paul Czanne to join him.
The latter helped to detach Paul Gauguin from
Impressionism.
In1883, economic crisis drove Gauguin away from
the stock market, and he tried to earn his living
from painting. The next year, he spent ten months
in Rouen with Camille Pissarro, and painted some
forty works over this period. When he began to run
short of money, he tried to enter into business in
Denmark with his in-laws. But things didnt work
out: Gauguin did not get on with his wifes family
and he returned to Paris alone in1885.
He made two trips to Pont-Aven, in1886 and1888,
during which he met mile Bernard. They forged
a new aesthetic that took a distance from the
Pointillism in which Gauguin dabbled in Martinique
in1887, and also from neo-Impressionism, taking
a more synthetic approach. From November to
December1888, Paul Gauguin joined Van Gogh
in Arles at the invitation of the latters art-dealer
brother Tho. He left after Vincent Van Gogh had
a violent fit the famous ear-severing episode,
on 23December1888. During these three years,
Gauguin sought inspiration elsewhere: in the
Japanese prints to which Van Gogh introduced
him, and in medieval stained glass. La Vision

aprs le sermon (1888), Autoportrait au Christ
jaune (1889) and Alyscamps, works produced
alongside his friend, demonstrate his lively
pictorial research over this time.
But the call of exoticism became more urgent to
his ears. With financial ruin hanging over him,
Paul Gauguin set off for the first time to Tahiti

in spring1891. Here, he found life close to the
origins, which matched his quest for virgin
nature in order to produce simple art. His style
did not change drastically but remained synthetic,
composed of large areas of lively expressive
colours.
Evolution of the number of

exhibitions by type.
30
20
10
0
1926 1932 1938 1944 1950 1956 1962 1968 1974 1980 1986 1992 1998 2004 2010
group shows
solo shows

exhibitions by type of venue.
30
20
10
0
1926 1932 1938 1944 1950 1956 1962 1968 1974 1980 1986 1992 1998 2004 2010
gallery
museum
festivals
other
31 ]
DATA
Paul Gauguin
exhibitions by country.
30
20
10
0
1926 1932 1938 1944 1950 1956 1962 1968 1974 1980 1986 1992 1998 2004 2010
United States
other
Distribution by venue type,

exhibition type and country.
15%
42%
44%
85%
91%
gallery
museums
festivals
other
group shows
solo shows
14%
United States
Germany
other

articles published about the artist.
3,000
2,000
1,000
0
1946 19501954 1958 19621966 1970 19741978 1982 19861990 1994 19982002 2006 20102014
From time to time his Polynesian paintings were

shown at Durand-Ruel but fate was not so gentle
with him. Fortune did not come his way, and a
scuffle in Concarneau in1894, sparked when
sailors made fun of his Javanese partner Annah,
ended with him getting a leg injury, which would
poison the painters final years. Even worse,
his daughter Aline died in1897. Paul Gauguin
produced his masterpiece D'o venons-nous? Que
sommes-nous? O allons-nous? in the same year.
In1901, he left for the Marquesas Islands, bought
a plot of swampy land, and built a house on stilts.
He formed a relationship with a vahine Marie-Rose
Vaeoho. He objected to how colonists treated the
locals, refused to pay tax, and went from lawsuit
to lawsuit. At the time, he was contracted to
Ambroise Vollard, who paid him 300francs per
month for 25paintings per year. But his wound
worsened and Paul Gauguin died on 8May1903.
Modernitys heavyweights
As one of the major figures of 19thcentury
painting, Paul Gauguin is often associated with
Paul Czanne and Vincent Van Gogh as one
of the three initiators of modern art. In a happy
[ 32
coincidence, we find all three artists in the

exhibition Icons of Modern Art. The Shchukin
Collection, presented at the Fondation Vuitton,
in Paris, until 20February2017. The latter pays
homage to one of the 20thcenturys greatest
sponsors and unveils several major works by the
French painter, including Aha o feii (Eh quoi, tu
es jalouse?), produced at the start of his time in
Tahiti, in1892.
We also find Gauguin in the exhibition Mystical
Landscapes: Masterpieces from Monet, Van
Gogh and more, on until 29January2017 at
the Art Gallery of Ontario (Toronto), as well as
Seeing the unseen, at the Pushkin Museum of
Fine Arts, until 15February.
This robust activity comes as no surprise.
Since1926, Paul Gauguins works have hung
in over 475exhibitions, primarily in institutions
(91%). The pace of his appearances also picked
up at the end of the1990s. While throughout that
decade, only a handful of exhibitions showed his
work, the number has doubled since.
Gauguin is very frequently displayed alongside
the heavyweights in modernity, namely Pablo
Picasso, Vincent Van Gogh, Paul Czanne and
Henri Matisse. He is shown alone in only15%

of the exhibitions in which he appears. The
painter has nonetheless featured in around ten
retrospectives per decade since1990.
The latest retrospective was in 2015, when
the Fondation Beyeler showed nearly
50masterpieces by the artist in Basel, mainly
paintings. But recently, Gauguin exhibitions have
tackled other angles, namely his prints. In2014,
the exhibition Gauguin: Metamorphoses at
the Museum of Modern Art (MoMA) in New York
showcased some 150works, prints and transfer
drawings which curator Starr Figura described as
even more radical and inventive than his bestknown canvases. This wasnt the first time: the
Kunsthaus Zurich, in Switzerland, had already
exhibited 50Gauguin prints in2012, principally
unveiling his zincographs lithographs made
using zinc plates rather than stone and the
astonishing Noa Noa series (1891-1892).
L'Homme la hache (1891), Paul Gauguin.

Sold $40,336,000 by Christie's NY on 8 November 2006.
Christie's
DATA
Paul Gauguin
Te Poipoi (The Morning, 1892), Paul Gauguin.

Sold $39,241,000 by Sotheby's NY on 7 November 2007.
Sothebys
The most expensive artwork on the market

The market presents absolutely no cause for
concern. Already during his lifetime, the artist
sold some thirty paintings by auction to finance
his first voyage to Tahiti this sale in1891 raised
10,000francs for him at the time.
Since
1985, nearly
3,000 Gauguin lots have
been offered for sale a phenomenon that is
gaining momentum since an average of 41lots
were placed on sale in the1990s, nearly70
in the2000s, and around90 since2010. The
artist used a whole range of mediums: painting,
drawing, lithography, sculpture, ceramics And
all have turned up at auctions, with greater or
lesser degrees of success.
[ 34
31%
by
the
47%
So
tie
12%
29%
40%
an
31%
32%
31%
29%
82%
Sw
37%
as
40%
Pi
40%
ris
Its obviously painting that comes out on top:

canvases make up 12% of lots sold while
generating 82% of the artists business volume. At
auctions, the record for a Paul Gauguin work dates
back to November2006 when Christies New York
sold LHomme la hache (1891) for $36million.
This result set a new record, the previous one
having been established two years previously
at Sothebys New York in November2004
when Maternit (II) (1899) went for $35million.
Another notable result was achieved by Te Poipoi
(Le Matin), a 1892work sold at the Sotheby's
Impressionist and Modern Art sale in New York, for
the same amount in2007. In2015, the sculpture
Thrse (1902-1903) sold at Christies New York
for $27.5million. This was an auction record for
a sculpture by the artist, and the years 34thbest
result. The painters rating tends to fluctuate a
great deal depending on the quality of pieces
appearing on the market.
Ch
While present in around a hundred institutional

collections in some thirty countries, Paul Gauguin
remains a Western artist: 42% of his exhibitions
have taken place in the United States, 14% in
Germany and only 6% in France.
Paul Gauguins media coverage is on the rise:
around twenty articles per year in the 1980s,
90 in the1990s, around700 in the2000s, and
nearly1,400 since2010. France (15%), the United
States (13%), Great Britain (9%) and Germany
(7%) represent nearly one-half of articles about
the artist, with the most prolific writers being Kelly
Crow (Dow Jones), Jack Malvern (The Times),
Kenneth Baker (The Telegraph) and Nina Siegal
(The New York Times).
Rpartition des lots vendus en-dessous,

dans et au-dessus de lestimation.
DATA
Evolution of the yearly turnover.
$80m
$60m
$40m
$20m
$0
1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015
Evolution of the number of lots offered to sale.
120
80
40
0
1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015
Evolution of the average price per lot.
$2m
$1m
$0
1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015
Evolution of the bought-in ratio.
100 %
75 %
50 %
25 %
0%
1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015
sold
bought in
8% 6%
10%
12%
8%
54%
23%
19%
82%
Distribution of lots and

revenue by medium.
revenue by country of sale.
10%
Multiples
Sculpture
Drawing
other
Painting
78%
sold
bought in
60%
7%
France
Switzerland
United Kingdom
other
8%
20%
48%

revenue by auction house.
31%
26%
United States
Germany
22%
Bought-in ratio.
31%
40%
19%
8%
Christies
Swann
52%
Sothebys
other
Piasa
35 ]
DATA
Paul Gauguin
FOCUS
Selling only39% of his lots since1985, Sothebys

and Christies have nonetheless managed to
grab92% of Paul Gauguins business volume at
auctions. While the two houses estimations of
his works are appropriate, Piasa (which has sold
135lots by the artist) and Swann (103) demonstrate
different strategies. The first tends to undervalue
Gauguins pieces (82% of lots sold above their
high estimates) while Swann opts for the opposite
strategy (47% sold below their low estimates).
Gauguin sells where collectors and big sales are
found: the United States (60% of his business
volume for 31% of lots sold) and Great Britain
(31% for19%). New York and London are homes
to 19out of the artists 20top auction sales.
But action isnt confined to the auction rooms.
In February2015, Nafea Faa Ipoipo (Quand
te maries-tu ?), a 1892painting showing two
young Tahitians, was sold to a Qatari buyer
for$300million (265million). The painting
formerly belonged to Rudolf Staechelin, a
Sotheby's manager and art collector, and
before being offered for sale, was loaned to the
Kunstmuseum in Basel. This painting is still the
most expensive artwork on the market.
At the same time, its still possible to acquire Paul
Gauguins works for less France has specialised
in this market by selling one-quarter of the artists
lots. His multiple works sell very well and come in
different forms: monotypes, prints, lithographs
Gauguin has tried everything. These represent
54% of lots offered for sale and sell for an
average of$20,000. Its possible to find prints at
between$2,000 and$10,000. Drawings are rarer,
even if more than400 have gone on sale in the
space of 30years; a drawing will set you back an
average of$115,000 but leaves between$10,000
and$30,000 can also be found. In short: there are
no fears for Paul Gauguin, whose market cycles
are tending to emerge at shorter intervals.
Gauguin at the Russians

The Fondation Louis Vuitton is currently paying homage to the great Russian businessman from
Moscow, Sergei Shchukin, who was a big fan of Paul Gauguin. Out of the 158 or so works on
display, twelve are by the French painter. According to the exhibition curator Anne Baldassari,
the Russians passion, his visionary gaze and his personal commitment to the artists who
constructed modern art, as well as his project for a painting gallery dedicated to educating the
public constitute a model, a reference for a private-sponsorship initiative in the field of art.
Icons of Modern Art. The Shchukin Collection
Until 20 February 2017. Fondation Louis Vuitton.
8avenue du Mahatma Gandhi, 75016 Paris .
www.fondationlouisvuitton.fr
Turnover, number of lots offered for sale and bought-in ratio by estimate price range.
> $1m
$150k-$1m
$50-150k
< $50k
0%
25 %
50 %
sold
75 %
100 %
bought in
> $1m
59
126
$150k-$1m
$50-150k
83
926
< $50k
$0
$100m
$200m
$300m
$400m
Number of lots offered for sale and turnover by year of creation.
300
$120m
200
$80m
100
$40m
1873
1875
1877
1879
1881
1883
lots
[ 36
1885
1887
1889
1891
1893
1895
turnover
1897
1899
1901
1903
$0
Thrse (c.1902-1903), Paul Gauguin.

Sold $30,965,000 by Christie's NY on 9 November 2015.
Christie's
[ GALLERIES
Leo Villareal
DIFFERENT__________________________________
Change to Art Factum in Beirut
After five years of existence, the young gallery Art Factum, located in an
old steel factory in Beiruts Quarantine district, is changing its direction and
address. Previously devoted to contemporary art especially photography
and design, Art Factum has previously participated in the Art Basel fairs
in Basel and Miami. Joy Mardini, founder of the space, now wishes to focus
her activity exclusively on design, to defend the young Lebanese scene
which is just starting to emerge. To mark this shift, the gallery is moving
to the busy Gouraud Street, and changing its name to Joy Mardini Design
Gallery. Until 3 February, the new venue will be gathering a few new local
design names in the Kollectiv exhibition.
Sal or the 120 nights of 40 decors
CLOSING__________________________________
Ann Nathan Gallery closes in Chicago
Ann Nathan, the doyenne of Chicagos North River district, will be closing
her gallery on 31 December as her lease has not been renewed, reports
Crains Chicago Business. The 91-year-old admits that business is comme
ci comme a, her gallerys middling financial situation matching those of
her fellow gallerists. Six dealers in the district, including Judy Saslow, have
recently stopped activity. Echt, which occupies the same building as Ann
Nathan, will be closing in 2017, with a view to moving to another address;
Zygman Voss Gallery, closed since 31 October, is unsure whether it can
reopen elsewhere. Ann Nathan, who started collecting in 1950 and opened
her first space in 1980, is offering a wide range of artistic choices for her
last month of activity: photographs by Art Shay alongside Stephen Martins
comic strips, and Jim Roses metallic furniture. The gallerys spirit will
possibly live on, however, as Victor Armendariz, its current deputy director,
envisages opening another space next spring.
PROTEST___________________________________
Gallery targeted by anti-gentrification activists
In Boyle Heights, Los Angeles, activists have held a demonstration in front
of Nicodim Gallery, which moved into the district in 2015. The district,
made up of different immigrant communities, saw the arrival of its first art
galleries as a sign of imminent gentrification. Worried about the potential
rise in rents, the activists organised a press conference in front of the
gallery whose faade was also vandalized by a tag denouncing white art
trade, reports The Los Angeles Times. Mihai Nicodim swam across the
Danube in 1983 to flee Romania and to attain freedom. He and his wife
saved for years before opening their first gallery in China Town, then in
Culver City. Regarding the attack to his gallery, he is said to have started:
America is a great country. They have the right to demonstrate. I have
the right to be here.
[ 38
The Social Club is dead, long live Sal! The club at number 142, Rue
Montmartre in Paris, run by Manifesto agency, which also manages
Silencio, Wanderlust and Nuits Fauves, is undergoing a radical change in
artistic direction. Taking on a name that refers to Pier Paolo Pasolinis film,
the space seeks to hold freedom up as a standard (thumbing its nose to
the Mussolinian symbol of the city of Sal). In this way, the programme for
the 120 first nights seeks to abolish the barriers between the nightclub and
the gallery by giving carte blanche, every week, to a new artist, invited to
overturn the scenography in his or her own way. Out of the 40 programmed
creators, the first will be Abel Ferrara who is transforming the space into
a souk, followed by Antoine dAgata who plans for a more minimalistic
atmosphere. Also to come: artist-coiffeur Charlie le Mindu, then Larry Clark
and Christophe Honor, according to Les Inrockuptibles.
REPRESENTATION___________________________
Rosenberg & Co. represents Beatrice Mandelman and Louis Ribak estates
New York gallery Rosenberg & Co. on the Upper East Side has announced
that it will now be representing artists Louis Ribak (1902-1979) and
Beatrice Mandelman (1912-1998). The couple followed a sudden whim to
leave New York in 1944 to settle in New Mexico, like a wave of other artists
from their generation with whom they were associated: the Taos Moderns
with a yen for abstraction, including Edward Corbett and Agnes Martin. In
1947, they created the Taos Valley Art School, which would last until 1955.
The Mandelman-Ribak Foundation was launched to manage the couples
estates. In 2014, the Mandelman-Ribak Collection was donated to the
University of New Mexico.
FUTURE_____________________________________
Futurecity and Pace collaborate in public space project
Pace Gallery and Futurecity have announced their partnership in a new
project, dubbed FuturePace, whose aim is to develop an innovative
approach to art in public spaces. The new entity represents an
international group of artists intervening in urban environments on a large
scale, such as Janet Echelman, Kohei Nawa, TeamLab, Carsten Nicolai,
Random International, Michal Rovner, Studio Drift and Leo Villareal. Their
approach goes beyond the traditional notions of public art by using digital
technologies, interaction and kinetics, with monumental propositions that
can be inserted in all types of social spaces, informs Future\Pace, which
claims its interest in the idea of galleries without walls.
NEWSLETTER
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