Wednesday, August 29, 2007

Amazing mail

Ain´t it amazing what kind of offers you get as an artist?
This text i got tonight by e-mail, it´s not only insulting but also very arrogant!
Love to share it with you!



279 Sherbrooke West, suite 205 Montréal QC Canada H2X 1Y2 tel: (514) 879.9694 fax: (514) 879.9694

ATT: Tjebbe Beekman

We have viewed your work and would like to offer you an opportunity for an exhibition of your work in Montreal, for the year 2007/2008. Please find below the “Terms and conditions”.

You will receive a confirmation, an exhibition date and other related information (by fax or e-mail) within a week of the gallery’s receipt of the “application form” (see page 4)

Visit the gallery website for additional information:

Gallery Gora is in the heart of downtown Montreal. The gallery is adjacent to the “Musée d’Art Contemporain” and other major museums. Gallery Gora has existed since 1994 and represents a number of artists in Montreal and in contemporary international art exhibitions.

As an expanding cultural center in North America, Montreal is increasingly attracting ‘cultural tourism’. It has two official languages (French and English) as well as many other tongues spoken by its multi-cultural population. This provides the basis of a lively cultural scene that organizes a great array of cultural events, such as the Montreal Jazz Festival, the Just for Laughs Festival, and the International Film Festival. Montreal is also home to many other entertainment and sporting events, such as the Formula I car races.


1. Eligibility and Application Procedure

Gallery Gora invites you to exhibit in a solo or in a group exhibition. Selections are made solely on the basis of artists’ portfolios.

Please send to the gallery:

- Completed and signed application (see page 4)

- International bank/postal money order or bank transfer (see “deposit” paragraph 3)

You will then receive a confirmation, an exhibition date and other related information.

2. Duration of Exhibition

The exhibition runs for a minimum of 3 weeks (at least 19 opening days, not including setup and take down time).

3. Exhibition Fee

A - Solo Exhibition

- Each artist can have up to 20 pieces of work depending on size

- The fee for a solo exhibition is US $2,400.00 to cover gallery expenses

- The gallery takes a 10% commission during the 3 week exhibition

- A deposit (25% of the total fee) is paid together with the application. It is payable by International Money Order to “Gallery Gora” or electronic bank transfer to:

Galerie Gora / Imperial Bank of Commerce / 600 Cathcart street, Montreal, Quebec, H3B 1K8 / Transit # 00021 / Acc # 010 0340219 / Swift code : CIBCCATT / Routing # or ABA # : 026009593.

- The balance of the fee is payable 5 weeks prior to the exhibition date. The deposit is refundable in full if Gallery Gora cancels the exhibition.

B - Group exhibition
- The fee to take part in a group exhibition is US $250.00 for first work and US $150.00 for each additional work.

- The number of artists in a group show depends on the total number of works. The width of each work should not exceed 4ft or it will be counted as two works.

Exhibition fees cover furthermore:

Advertising and public relations

- Mention of the show in all weekly newspaper arts calendars in Montreal (when possible)

- A press release including an invitation to the exhibition e-mailed to a list of contacts (over 10,000) 1 week prior to the opening. Our contacts include the press, curators, critics, dealers, consultants and corporations, as well as a larger body of public members and buyers. If artists supply us with additional e-mail lists, we will forward the invitation to these addresses as well.

- Full colour invitation cards. If we are provided with a postal mailing list of addresses within Canada, these cards will be sent out free of charge.

Other advertising options are available at extra cost (see application form)


- On the evening of the exhibition’s opening, the gallery will welcome guests with wine and other beverages.

- Gallery staff will be at hand to receive visitors throughout the exhibition and to organize corporate/cultural events and receptions whenever possible, whether the artists choose or not to be present at the show.

4. Commissions
- Gallery Gora takes a 10% commission on sales during the 3 week exhibition.

- All money due will be sent to you within 10 days of the sale.

5. Shipping
Artists are responsible for all shipping fees and procedures to and from the gallery door.

If you need help please send an e-mail to

Arrival: Shipped works must arrive in a strong, protective and reusable package. All shipments must be delivered to the gallery door.

Pick-up: If the work is not retained for representation, it must be picked up from the gallery within 10 working days following the end of the exhibition. The gallery will assist you with shipping if necessary.

6. Installation of Works

- An information tag should be provided for each work, noting the following information: name, title of work, size, medium and price.

- All work must be ready to hang or show. The gallery provides pedestals for sculptures. Installations should come with clear instructions.

-Gallery staff will do the hanging and packing/unpacking of the work.

7. Canvas stretching

If works on canvas arrive at the gallery in a roll (to save on shipping costs), gallery staff will stretch (and un-stretch) the paintings for US $10 per painting. Cost of stretchers is extra ($1.50/linear foot).

8. Liability

Gallery Gora will take every possible care for the safety of all work; however, Gallery Gora or its staff is not responsible for any loss or damage of any work, during shipping, storage, on exhibit, at art fairs or at associate galleries.

9. Beyond the exhibition at Gallery Gora

- If the first solo exhibition produces significant interest and/or enough commissions to cover the gallery’s minimum expenses, the second exhibition will be free of charge. The commission will be raised to 50% and your work will be represented in Montreal.

- A 50% commission rate also applies to any work sold after the 3 week exhibition period.

Further general information:

Use the most economical shipping procedure

- We suggest the following shipping companies: UPS, PUROLATOR or DHL.

- Sometimes sending two or three boxes is cheaper than one big crate. You might want to consider bringing the work with you and visiting Montreal (a wonderful city) at the same time.

- Another way to reduce shipping costs is to take canvases off the stretchers and ship them to the gallery in a roll, where we can have them re-stretched (see paragraph 7).

- Canadian customs may charge a 7% tax on the declared value of your work. This tax will be refunded to you (on non sold work) when the work returns to you.

If you have any further questions about shipping, feel free to contact Lyne at the gallery.

Work studio rentals

Monthly work space rentals in Montreal are also possible. Contact the gallery for more details.

Additional services

Gallery Gora also offers:

- Custom framing

- Publication of artist catalogues and posters

For a price quote or for more information, please contact the gallery.

Please see application on the next page

279 Sherbrooke West, espace 205 Montreal, Qc Canada H2X 1Y2 tel: (514) 879-9694 fax: (514) 879-0164


Name and address:..…………...…………………………………………………………
Phone……………………………….. Fax……………………….……………………….

Gallery fee for group show (see paragraph 3B)
- First piece of work-----------------------------------------------------------------------US $ 250.00
- US $150 (for each additional work)-------------------------------------------------US $ ______

Gallery fee for solo exhibition (around 20 pieces of work)
- 25% deposit on US $2400.00 (balance 5 weeks prior to show date)------US $ 600.00
(see paragraphs 3 and 4)
Please circle your choice of space: A or B or C or D (see plan on the gallery web site). If your choice is not available the gallery will assign you a space.


- Advertising in the “GAM” Montreal gallery guide-----1 page US $ 685.00 $………..
(10,000 copies) Half page US $ 480.00 $………..
Quarter page US $ 320.00 $………..

Total exhibition fee:--------------------------------------------------------------------US $ ______

I am including:
Money Order in US currency or a copy of the electronic bank transfer to:
Galerie Gora / Imperial Bank of Commerce / 600 rue Cathcart, Montreal, Quebec H3B 1K8 / Transit # 00021 / Acc # 010 0340219 / Swift code : CIBCCATT / Routing # or ABA # : 026009593 for the above amount (Please fax copy of transfer to the gallery)


Please do not hesitate to contact the gallery for further information.

Joseph Gora (director)
Tel: (514) 879-9694 - Fax: (514) 879-0164
Mailing address: Gallery GORA
279 Sherbrooke West, #205, Montreal, QC. CANADA H2X 1Y2

Signature: _______________________ Date:___________________

Wednesday, August 22, 2007

designboom interview: joep van lieshout, about ethics in art

Paul McCarthy - Painter (preview)

Jammin' Unit - Life On The Balkon

please pause the video in the beginning and maybe get a coffee for continuous play as it has hi resolution. this clip was made by kotai and daniel pflumm, berlin.

Matthew Barney Interview

Tuesday, August 21, 2007

Size Matters: XXL - Recent Large-Scale Paintings

On Sunday, September 16, 2007, the HVCCA opens Size Matters: XXL – recent large-scale paintings, the second installment of a two-part exhibition investigating scale in contemporary painting. From the monumental to the miniature, a painting’s dimensions are crucial to its context and success (e.g. massive wall murals commissioned for specific architectural spaces or small religious icons used for devotional purposes). Featuring 32 artists from 9 different countries, XXL presents work in which scale plays an essential role in achieving the goals of the artist. By occupying nearly the entire visual field of the viewer, these paintings demand absorbed attention.

From German artist Jonathan Meese’s 25-foot mixed media exploration - incorporating photographs, found objects, journal papers, graffiti tags, and splashy puddles of paint - to iconic American artist Richard Jackson’s living room set doused in paint, XXL investigates painting’s boundaries in order to assert the fact that it is still vital medium that continues to defy simplistic categorizations. The exhibition features a majority of work produced within the last three years.

Including works by:

* Janis Avotins
* Tjebbe Beekman
* Mark Bradford
* Daniel Buren
* Mike Cloud
* Francesca DiMattio
* Caroll Dunham
* Tim Eitel
* Zhang Enli
* Alexander Esters
* Bendix Harms
* Christian Hellmich
* Anton Henning
* Richard Jackson
* Kristina Jansson
* Aaron Johnson
* Toba Khedoori
* Uwe Kowski
* Sven Kroner
* Tala Madani
* Jonathan Meese
* John Newsom
* Yan Pei-Ming
* Ryan Pierce
* Ulf Puder
* Neo Rauch
* Christoph Ruckhaberle
* Pierre Soulages
* Erik van Lieshout
* Tom Wesselmann
* Toby Ziegler

Monday, August 20, 2007

Luc Tuymans - April 16th 2007

I´m sorry again ...
this is in Flamish dutch.
But i´m enjoying my new found video toy so much...

Daniel Richter - Interview

I´m so sorry that this is in german, but for the few of you who understand enjoy and those of you who don´t enjoy the images.

Jackson Pollock 51

Damien Hirst talks about

Interview With Damian Hirst



IN 2004 the glass door to this new gallery was decorated with a big hand-painted question mark, as if asking: what does it all mean? Today, not quite three years later, the young Italian Isabella Bortolozzi has established her gallery not only as one to look out for in Berlin, but as a place where questions are asked rather than answers found or things resolved. A potent indicator of which was choosing legendary Slovak artist and self-proclaimed UFOnaut Julius Koller for the opening exhibition – the question mark could be the logo of a gallery prone to taking a refreshingly radical stance.

Next door to blue-chip gallery Johnen’s new Berlin branch, providing top-scale artists such as Anri Sala, Jeff Wall or Thomas Ruff with a change of home, Isabella Bortolozzi has been carving out her own terrain far from the madding crowd of mainstream, high-performance export articles like German painting, and has developed into one of the most hip galleries in the city. Now that young Berlin galleries are once again sending impulses around the globe, with painting the number one export, this is saying a lot.

Without a single German artist on board, it’s clear that this gallery owner was not born to follow. While other promising young directors such as Sassa Trülzsch and Mickey Schubert, to mention just a few in an ever-expanding art megalopolis, have taken on the potentially glorious task of representing the best of a new home-grown generation, Bortolozzi has tuned her radar to a wider pitch. Following international discourses closely, she has assembled an artistic programme that combines a unique conceptual edge with an unfinished, decidedly risqué attitude, as revealed in the sound works of Susan Phillipsz, the performances of Yorgos Sapountzis or the complex sculptures of Leonor Antunes.

It was undoubtedly a coup to secure the first European solo presentation for young American hotshot Seth Price. But it may be the current show by Danh Vo that gets the point across best, with a presentation of objects belonging to ‘Joe’, a talented amateur photographer with a soft spot for Asian men who portrays everyday life in pre-war Vietnam. In an installation that draws the viewer into the slippery terrain of personal desire, excerpts from Joe’s diaries reveal a taste for the exotic erotic. The role of the author and the power of the gaze, cultural identity and personal autobiography are all combined here in close relation, offering no easy way out.


The worst art show ever

Richard Dorment searches desperately for signs of artistic talent at the 12th 'Documenta' show in Kassel, Germany

I came back exhausted and depressed from Documenta, the sprawling exhibition of international modern art that takes place every five years in Kassel, Germany. The artistic directors this year are the freelance curator Roger Buergel and his art historian wife Ruth Noack, and between them they have managed to stage the single worst art exhibition I have ever seen anywhere, ever.

Though Documenta 12 has more than 500 works, so much of what is on view is second-rate, chosen for who knows what reason and displayed so eccentrically that, just as in the Royal Academy's summer exhibition, it is easy to overlook the few really good things in it.

The only thing a critic can do is to try to distinguish between what was done deliberately, and what is simply bad taste. To create their exhibition, Buergel and Noack began by choosing themes so vague as to be meaningless, ranging from "Is the modern our antiquity?" to "What is our mere life?" This enabled them to include any work of art by any artist, living or dead, from any era in history right back to the 16th century.

Their next step was to ensure that the show had no form or structure whatsoever, claiming in the introduction to the catalogue - wrongly and with absolutely no justification - that large shows of this kind are inherently formless. Minimalist and figurative work is exhibited side-by-side with conceptual art, installation, film and video with no thematic relationship between the mediums that I could discern. The fact that there are many more artists from Eastern Europe, the Middle East and Far East than from Western Europe or America might have been interesting, if only the work in the show had been better than it is.

But entirely absent from almost every work on view is a sense of emotional depth, ambiguity, or psychological or moral complexity. To take two examples almost at random, Ahalam Shibli shows colour photos of the homes of dispossessed Palestinians in the Naqueb; George Osodi's photos document the struggles of the poor people who live in oil-rich coastal Nigeria. That's fine, but because the only possible response to these images is to feel pity or anger, as the artist intended, these are works of reportage or photojournalism, not high art. They have only one layer of meaning.

Halil Altindere shows a film about a Kurdish tribe called the Dengbejs, who, unusually, chronicle their history not by reciting epic stories of rebellion, massacre and family tragedy, but by singing them. The film is well made and the subject may be of interest to some people, but it is informative, not poetic or allusive, and so belongs not in an art exhibition but on the Discovery Channel.

The trouble with Johanna Billing's film about a group of musicians learning to sail on the Firth of Forth is not just that it is exceptionally dull - but that it doesn't transcend its status as a documentary to become memorable as a work of art.

And that brings me to the question of taste. I couldn't believe my eyes when I saw how many works there are on show by the Chilean-born Australian painter Juan Davila, an artist whose high-camp imagery is best characterised as pornographic folk art. His heavy-handed satire is what you'd expect in the work of a political cartoonist, only Davila is a crude draughtsman, uses a paintbrush as though it were a sledgehammer, and isn't remotely funny. Until this show, I didn't think it possible that his work could receive attention outside Australia.

And then there is the inimitable Mary Kelly, whose Primpara, Bathing series consists of a series of black-and-white photographs taken between 1974 and 1996 showing the artist cutting her toenails. Now, for any of you who are too young to remember, this feminist conceptual artist achieved some notoriety 20 or so years ago by exhibiting her baby's soiled nappies at the ICA. Her art was so jaw-dropping in its banality that I've never actually met anyone who had anything positive to say about it.

Until now. Of all the female artists in Britain - from Gillian Wearing and Rachel Whiteread and the Wilson Twins - the one whose almost forgotten work the Documenta curators chose to resurrect was Kelly. And she's as terrible today as she was back then, showing an installation of texts and photographs surrounding an illuminated glass house in which she expresses her feelings about a women's liberation demonstration that took place in 1970. The quality this elaborate installation shares with almost every other work of art in the exhibition is the complete absence of nuance or subtlety.

Of course, there are good things in Documenta. But I began to feel that they got in under the radar, by accident, not because the artist had talent, wit or originality but because he or she came from the right part of the world or had the correct political opinions.

Nigerian artist Romauld Hazoumé showed a wall with African masks made of plastic petrol cans, oil cans and tea kettles, decorated with bristling hairdos made of toilet brushes and straw. Here was real wit, and a connection made between modern industrialised Nigeria and its ancient tribal culture.

One of the stars of the show was the American Kerry James Marshall, who shows fresh, funny and sophisticated paintings and works in pen-and-ink based on the urban African-American culture he comes from. Also nice to find were the British artist John McCraken's minimalist sculptures. And I'd like to see more of the watercolours and sculptures of Bangalore-based Sheela Gowda.

I know where Gowda and all the other artists in the show come from because the information is buried deep inside the catalogue, not because the viewer can find it on the labels. The organisers believe that the artist's nationality should not come between the art work and the viewer's response to it. But nationality is often vital to the context in which we view a work of art.

Refusing to give us the artists' nationalities is just arrogant, particularly as it denies the viewer information that was available to the selectors.

This is a show organised by two pseuds and intended for graduate students and people who don't really like visual art at all.

# Until Sept 23. Information: 00 49 180 511 5611,

the Morrinho project

Morrinho means 'little hill' in Portuguese and alludes to the shantytowns, or favela, located on the hills surrounding Rio de Janeiro.

In 1998, kids built up a miniature reproduction of their favela (Pereirão, perched above the upper class Laranjeiras neighbourhood) using bricks and other materials left-over from building their own house. The model covers 300 square meters, and is inhabited by scavenged toys (plastic cars, little figurines carrying AK-47s or a ball, etc.) which are used to re-create scenes of everyday life in a favela: from dance events to clashes between gang members.

Morrinho is so true-to-life that it was mistaken for a war plan. “The police told us to take it down,” explains Paulo Vitor. “They thought it was a model being used by the traffickers to plan invasions of other morros (slums). "

Fame came to Morrinho in 2001 when filmmaker Fábio Gavião put together a documentary about the mini favela. Since then portions of the brick favela have traveled all over the world, the latest stop is at the Giardini of the Venice Biennale.

A Morrinho NGO has been created to contribute to the social and economical development of the region and surrounding area. The organisation is carrying out 3 projects: TV Morrinho, independent productions and contracted productions; Morrinho Turism, guided tours of the Morrinho model and exhibition Morrinho, showing a replica model in a smaller scale in other cities.

The NGO also plans to offer workshops to provide professional skills for the residence of the "Pereirão" community. These workshops focus on areas such as audiovisual, art education, Brazillian culture, Youth and Citizenship and others.

The favela reappears at the Arsenale in the work of photographer Paula Trope who documented the project together with the children of Morrinho. She made pin-hole cameras out of tin cans and handed them to the boys so that they could take pictures.

Sunday, August 19, 2007

without risks, war art is simply reportage

Ruaridh Nicoll
Sunday August 19, 2007

Peter Howson never took to the role of official war artist. The Glasgow-based painter had such a grim time during his trips to Bosnia in 1993 that he turned to drink, drugs and, latterly, religion. He created paintings of such brutality that even the hardened curators at the Imperial War Museum flinched.

The army also struggled. An officer who showed him a shattered body in a shelled bus was frustrated when he failed to draw. Complaints were raised when he revealed scenes he had not witnessed; one of a woman with her head in a toilet being raped. It damaged his reputation.

'War art is in terminal decline,' wrote the war correspondent Patrick Bishop when Howson's show opened in 1994, and he seems to have been proved right. Steve McQueen, the Turner winner who has held the position since 2003, has been spitting about the army's refusal to help him. 'For the military you are just a token artist,' he told one interviewer. 'You're in the way.' After a brief, frustrating trip to Basra early on - 'I knew I'd be embedded with the troops, but I didn't imagine that meant I'd virtually have to stay in bed' - he has been barred from returning. The reason given is that it's too dangerous.

Official war artists are appointed by the arts commission committee of the Imperial War Museum (IWM), which then relies on the military to help them. Now that McQueen's run is coming to an end they are considering whom to appoint next. The tradition has seen artists revel in the glory of battle, searching for the heroism in the sacrifice and valour, or else, like Goya, lay out the savagery for more sensitive - or voyeuristic - eyes, or, like Picasso, damn it in a quiet voice.

This all comes to mind because of a new exhibition at the National Army Museum in Chelsea. 'Helmand: The Soldiers' Story' lays out the experience of 16 Air Assault Brigade, in their equipment, recreated bunkers, video diaries and letters. The World Trade Centre is falling, with the sound turned down low, as you enter. Then, at the far end, and on the other side of the world, there is YouTube-style footage of combat, with soldiers firing machine guns and mortars and watching the bombs fall, to a soundtrack of Metallica's 'Enter Sandman', Razorlight's 'Somewhere Else' and Lostprophets' 'Rooftops'. I found it deeply affecting. It asks the question whether war art is necessary any longer when the soldiers themselves can produce such images. After all, it's hard not to have sympathy with the military authorities; artists can be egotistic, wildly off-message, and where's the advantage in having a Turner prize winner blown up?

McQueen, starved of frontline experience, has created facsimiles of postage stamps that show the faces of the fallen. His plan - one that he is still fighting for - is for Royal Mail to give them value so that little pictures of the war dead can travel. It's a clever idea, but it's hardly surprising that Royal Mail has baulked. And at its heart, it has little to do with 'war art'. War art needs to come from the front. It has been exemplified by the likes of Paul Nash, who painted the empty fields of France during the First World War. Then there is the painting that damned the 20th century, Picasso's Guernica, removing all lingering voyeurism from conflict.

The images I saw in the Helmand exhibition may be very real, a line into the experiences of the soldiers, but they don't compare. The most resonant image from Iraq - the photograph of the hooded figure wired up by the American soldiers in Abu Ghraib has been compared to a Goya print - but that is reportage too. Artists meanwhile - as Nash, Picasso and Goya show - can, and do, add something new, and in the best cases it tends to be quiet and devastating. Few understand this power so much as the combatants themselves. It was the army that reinstated the role of official war artist in 1972, after a hiatus since the Second World War.

But few powerful works are going to emerge from six days in Iraq, the total of McQueen's experience. Journalists are embedded. Reporters and photographers go out on patrol, living beside the troops, and seeing their experience close-up. The Guardian photographer Sean Smith has produced several extraordinary short films as a result of his experiences with the Americans. Our own Mark Townsend reports his experiences of being on the front line with British troops in Afghanistan in the news section this week. Artists must be allowed to take similar risks. If the access to conflict is increased, the empathy the artist feels for the soldiers will increase with it. By risking more, the army gets more, and we will get more.

No one is ordering artists to the front. It is a choice, and they have a responsibility not to react like Howson. The authorities must be prepared to allow artists to risk their own lives, letting them see what our soldiers are living through. That way the work they produce can have the power to trouble our souls.

Wednesday, August 01, 2007


Jérôme Sans

JÉRÔME SANS: Let’s start by talking about shows. How do you approach exhibition spaces?
Are some better than others?
Daniel Buren: No space is uninteresting. If it be an alternative space, a space on the margins or an important
institution, each space can be the possibility of doing a wonderful, experimental project. I do not necessarily give
priority to big institutions. On principle, I like to be able to make a big difference between very well known
places and more underground spaces, intervene as much in a closed down bakery as in New York’s MoMA,
move from a space of 3,000 square meters to another of 10.

JS: You are known for your mad rhythm of travels and exhibitions. In one month and ten days you have done
more than fourteen shows across the world.
DB: I am not competing for the Guinness Book of Records! It is true that it seems mad.
Sometimes, when the exhibition schedules move, you get to this rather excessive rhythm, but if you are well
organized you can face it.

JS: How do you consider the French scene which complains of its lack of visibility on the international scene?
DB: For me, this is a false question. Certainly, in the ’70s and ’80s, when I used to be invited to big international
exhibitions, particularly abroad, I regularly found myself with a maximum of two or three French artists.
At that time, few French artists were invited to big events, and this did not seem to be particularly unfair.
Especially since the artists of my generation were, with a few exceptions, rather mediocre.
The rare artists invited to these events did not participate in the leading French movement of that time:
Support-Surface. Moreover, we were not invited as French artists, but for the work we were doing.
Often nobody knew my origins and regularly took me for a Belgian.
In the ’70s, when France no longer had any audience, it still saw itself as the center of the world.
Contrary to the Belgians, Italians or Germans who traveled en masse to see all the exhibitions happening in
Europe and supported their artists, it was rare to meet any French, whether they be art critics, curators, gallery
owners or collectors, in similar circumstances. On the other hand, the aftereffects of the American
battle, directed for the most part against the School of Paris, did not make things any easier.
It was at this time that France definitively lost its predominating place in the market.
This reality lasted a long time and provoked numerous consequences until the end of the ’80s.
It is a false idea to think that French artists have had no audience since the ’90s. We can no longer say that there
are no French artists in exhibitions abroad. If French artists do not always exist in the international market — and
it is not a problem that they are not represented — moreover, if no French artist appears in the people column
of well-known magazines or in the big Christie’s, Sotheby’s or Phillips sales, they are, despite everything, invited to
big exhibitions everywhere, for the same reason as artists of other nationalities.

JS: Which French artists from the new generation do you feel close to?
DB: Philippe Parreno or Pierre Huyghe come to mind, as they each assert an original approach.
I particularly like Philippe Parreno’s work, as it is not formally defined.
You never know where he is going. He creates a loss of guidelines.
As for other artists, I also like Adel Abdessemed, Ghada Amer, Igor Antic,
Kader Attia, Pierre Bismuth, Antonello Curcio, Mohamed Elbaz, Alicia Framis, Manuel Franke,
Athina Ioannou, Claude Lévêque, Didier Marcel, Friederike Mainka, Franck Scurti, Alessandra Tesi,
Barthélémy Toguo, etc. But this list is obviously not exhaustive.

(Translated from French by Anna Hiddleston)

Jérôme Sans is director of programme of BALTIC, Gateshead, UK, associate curator at Magasin 3,
Stockholm and co-founder of Palais de Tokyo, Paris.

Daniel Buren was born in Boulogne-Billancourt, France, in 1938. He lives and works in Paris.