November 16 | A new direction for la Monnaie de Paris
After five years with La Monnaie de Paris, Cultural Programming Director Chiara Parisi has announced that she is soon to leave the institution and will be replaced by curator Camille Morineau, formerly curator at the Centre Pompidou.
Parisi has closed her five-year mandate with the exhibition “Not Afraid of Love” — Maurizio Cattelan’s first major retrospective since his 2011-2012 show at the Guggenheim Museum. Parisi’s other projects include “Chocolate Factory,” Paul McCarthy’s first institutional exhibition in Paris, as well as a reboot of the 1995 show “Take Me I’m Yours,” the exhibition conceived by Christian Boltanski and Hans Ulrich Obrist for the Serpentine Gallery. Despite Parisi’s intelligent programming, the visitor attendance has not increased significantly, and La Monnaie is hoping to increase these figures under the artistic direction of Morineau. Chiara Parisi will continue her collaboration with Villa Médicis in Rome. More information (in French) via Connaissance des Arts.
Hong Kong’s K11 Art Foundation and the Palais de Tokyo in Paris have announced they will be continuing their three-year-long partnership with a residency exchange program between the two organizations. Together, the institutions have selected one artist from France and one from China to participate. French artist Julien Crépieux, who works mainly with video, will undertake his residency at the K11 art village in Wuhan, during which he will engage with the local art scene by working alongside emerging Chinese artists. The sculptor and installation artist Yu Ji will spend six months at the Palais de Tokyo as part of its “Pavillon Neuflize OBC” residency program, beginning this January. Whilst in residence, she will produce work that responds to her experiences in Paris and will work on a group project for an exhibition at the institution. Further details in the Palais de Tokyo’s press release.
The New York auction week continued with Christie’s Postwar and Contemporary Art Auction, (November 15) which fetched a total $277.5 million — well above its pre-sale low estimate of $216 million, but shy of the high estimate of $296 million. The sale was led by William de Kooning’s 1977 work Untitled XXV, which sold for $59 million, well exceeding its pre-sale estimate of $40 million and crushing the previous auction record for the artist, which was set at $32.1 million for another 1977 work titled Untitled VIII, which also sold at Christie’s in 2013. By selling 54 of the 61, the auction had a sell-through rate of 89%. Read more on ARTnews.
Tate St. Ives, scheduled to reopen in Spring 2017 after an 18-month closure, has appointed Scottish born, New-York based director of Art in General Anne Barlow as its new director. Barlow, who was also the co-curator of the Latvian Pavilion at the 55th Venice Biennale in 2013, will take up her post once the museum reopens. Two shows, “That Continuous Thing: Artists and the Ceramics Studio, 1920 – Today” and “The Studio and the Sea,” are scheduled to open on March 31, 2017 when the museum reopens. The Art Newspaperhas more information.
For the first time in its history, auction house Paddle 8 will go live from a physical location — their premises just off Regent’s Park — from November 29 through December 5, with a series of sales in Fine Jewels, Objects of Design, Photographs, 1,000 Years of Asian Art, Editions, and culminating in Contemporary Art. The traditional auction house’s structure will converge with livestream video technology. The sale will of course will be viewable via Auctionata.com, as the two companies recently merged. More via a press release.
Earlier this week, academic Bogomila Welsh-Ovcharov, a professor at the University of Toronto in Canada, claimed in a press conference to have discovered a sketchbook of 65 drawings by Dutch artist Vincent Van Gogh, produced between 1888 and 1890. Within minutes, however, the Van Gogh Museum, the world’s leading authority on the artist, released a statement denying the authenticity of the drawings. “It contains distinctive topographical errors and its maker based it on discoloured drawings by Van Gogh” said the museum. More information on this art world controversy is available via The Guardian.