Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Savarin, 1982; Savarin, 1982; Savarin, 1982; Savarin, 1982; Studio II, 1966. Photograph by Ron Amstutz

In our ongoing online monthly series, LUX’s editors, contributors, and friends pick their must-see exhibitions from around the globe

Sophie Neuendorf, Vice President of artnet & LUX Contributing Editor

This month, Hauser & Wirth presents glimpse, British artist Phyllida Barlow’s first solo exhibition in Los Angeles, opening on 17 February (until 8 May 2022) to coincide with Frieze LA. The show will include new large-scale works assembled on site and made in response to the gallery’s physical adaptation of the historic Globe Mills, a collection of late 19th and early 20th century buildings. It’s sure to be a knock-out and as an added bonus, the gallery has an excellent on-site restaurant named after one of its founders: Manuela.

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Phyllida Barlow, Undercover 2, 2020. Installation view, ‘Another Energy: Power to Continue Challenging – 16 Women Artists from around the World,’ Mori Art Museum, Tokyo, 2021. © Phyllida Barlow. Courtesy the artist and Mori Art Museum, Tokyo Photo: Furukawa Yuya

While you’re in LA, I also recommend stopping by Esther Kim Varet’s gallery Various Small Fires. The gallery launched in 2012 with the aim of fighting back against the traditional gallery system that allowed for already-big Western names to get even bigger. As a gallerist and dealer, Varet likes to keep it small: she only represents around 20 artists, fostering their growth right from the early-stages of their careers. As such, the shows here are always a great place to discover new talent before they take off. The current group show, for example, includes eleven artists curated by Todd Bockley of Bockley Gallery (on until 20 February 2022).

Julie Buffalohead, The Nourished, 2019. Courtesy of the Artist, Various Small Fires, Los Angeles/Dallas/Seoul and Bockley Gallery

Sutapa Biswas, Artist

Three powerful, beautiful and moving exhibitions which are ‘must sees’ over this next month (in addition to my own solo show at the BALTIC Centre for Contemporary Art, Gateshead of course) are Lubaina Himid’s exhibition at Tate Modern in London (on until 3 July 2022), Shigeko Kubota Liquid Realities at MoMA, New York (on until 13 February 2022) and Jennifer Packer’s The Eye Is Not Satisfied With Seeing at The Whitney, New York (on until 17 April 2022). I had the good fortune of seeing Lubaina’s exhibition, and the Serpentine’s iteration of Packer’s show, but I was devastated that the recent outbreak of the omicron Covid variant resulted in my having to cancel a scheduled visit to Kubota’s exhibition – I’m still dreaming of seeing it and hope this exhibition travels!

Shigeko Kubota, Video Haiku–Hanging Piece, 1981. Courtesy Shigeko Kubota Video Art Foundation. Artwork © 2021 Estate of Shigeko Kubota / Licensed by VAGA at Artists Rights Society (ARS), NY. Digital image © 2021 The Museum of Modern Art, New York. Photo by Denis Doorly

All three exhibitions bring together something vitally important in terms of our engagement with the subjects of their works in relation to the context, to form (the aesthetic) and to the nuances of meaning. I’m drawn to how each of these artists explore the intersections between art, history, form and our everyday realties and hopes. I love the confidence with which each of these artist’s works speaks through their works and what I learn as a viewer through my experience / encounter with their works. Moreover, I love how these artists’ works are haunting, opening thought in unexpected ways. Though the medium within which each of these artists work are so different, there is a language that connects them which relates to ‘the seeing’ and ‘the being’. Perhaps, for me, this ghosting of sorts is in part articulated through Kubota work titled Video Haiku – Hanging Piece, 1981. Prior to MoMA’s show I had not seen this work previously, but even on encountering it as a reproduction, I did a double-take. As a piece, it resonates deeply both formally and conceptually in terms of my own work as an artist. Such is the power and beauty of these women’s art.

Lubaina Himid
, Ball on Shipboard, 2018. 
Courtesy of Rennie Collection, Vancouver 
© Lubaina Himid

Darius Sanai, LUX Editor-in-Chief

The two shows I want to see most in February are shows I know I am not going to get to. First there is Mind/Mirror, the Whitney’s retrospective of Jasper Johns, in association with the Philadelphia Museum of Art (on until 13 February 2022). It’s the most comprehensive retrospective of Johns’ work ever staged and likely to be a once-in-a-lifetime experience for most of us. He has long fascinated me for his reflections of the dramatic ructions in American society immediately after WW2, when within a few years, women in the western world gained arguably their biggest single step change in emancipation, segregation was officially abolished, and teenagers were invented. Along with Kurt Schwitters and Roy Lichtenstein, I think he is an artist whose importance will increase dramatically over time. If you’re lucky enough to be on the East Coast – go!

Read more: Sophie Neuendorf on Koons, Kitsch & the Evolving Art Market

Anton Corbijn, David Bowie, Chicago, 1980. Copyright Anton Corbijn

The other show is at the other end of the scale in terms of size, but not interest. Anton Corbijn first caught my eye when I was a child and my sisters worked for NME, the pre-eminent post punk newspaper. I didn’t have much interest in the bands featured in the paper at that stage, but Corbijn’s photography, artful, moody, powerful, and always monochrome, was memorable. As an outsider, I was also always fascinated by the idea of this Dutch guy being a mover and shaker on the British 1980s music scene. He moved onto photograph movie stars, supermodels and designers, including David Bowie, Naomi Campbell and Virgil Abloh. Now uber-curator and LUX contributor Simon de Pury has curated a show, viewed by appointment at The Hague, Amsterdam (which I’m not going to make) and online at de-pury.com. Speaking to Simon last week, I told him his next move in the pop world should include the works of Pennie Smith, who created the black-and-white imagery in the book The Clash: Before And After, a kind of epic, humorous Canterbury Tales of the punk band’s first US tour. Watch this space.

Read more: Legendary photographer Iran Issa-Khan on ‘The Forces of Nature’

Tarka Russell, Director Timothy Taylor Gallery

When in Los Angeles, I never miss a visit to David Kordansky Gallery. During Frieze LA, he has Jonas Wood showing a collection of new paintings and works on paper (on until 5 March 2022). Another unforgettable trip is the The Getty museum where you are immersed in treasures.

Jonas Wood, Future Zoo, 2021. Photo by Marten Elder, courtesy of the artist and David Kordansky Gallery

Loulou Siem, Artist

This month, Pal Project, Pierre and Alexandre Lorquin’s art space in Paris, is showing Paragone by Mateo Revillo (on until 12 March 2022). I had a preview just before the opening and it is electric. Revillo has painted lines in beeswax and pigment on tile shaped plaster boards and hung them like diamonds – lines that run away and towards each other, going somewhere and nowhere and wrapping the space in unseen tape that asks: what happens outside of the edge? Live snails crawl up the walls, creating yellowish, unconfident loops on the once pristine gallery surface. Meanwhile, the wonky lines in the paintings feel fast, like static, and seem to challenge the somnolent snails. Snails that tease the limits of the paintings: awkwardly sexy?

Installation view of Paragone by Mateo Revillo. Courtesy of Pal Project, Paris

I normally think of tiles as existing in multiples, made up for architecture, but here each is given jewel-like space, and do not need a collective to communicate. In fact, the materials in the show are industrial, not typically decorative. The plaster board is part of the wall itself, the bench that has been burned has doodled soot down the wall at its fall and the relatively small church of wedged coal bricks is solid and uncomplicated. The paintings feel monumental to me in their abstraction. In some moments, paint has flaked off the edges of the plaster, reminiscent of some Mediterranean antiquity, except these tiles were always meant to be perfectly imperfect. If you’re in Paris this month or at any point the future, I highly recommend stopping by: I think there could be a lot of exciting things coming out of this space.

Rashid Johnson in the studio with a work from his series Anxious Red Paintings. Photograph by Sheree Hovsepian

Rashid Johnson is a cult superstar among contemporary artists, inexorably leading the cultural narrative. His wife Sheree Hovsepian, herself an acclaimed artist, photographs him for LUX at their New York home, while Millie Walton speaks with him about culture, identity and the future

Chicago-born artist Rashid Johnson is on his ‘daily constitutional’ around his neighbourhood in Long Island, New York where he lives with his wife Sheree Hovsepian (also an artist), and his son Julius. We’re speaking on the phone and occasionally, the whoosh of passing cars, birdsong and the artist’s breathing filter down through the speaker. As for many of us during lockdown, walking has become a vital addition to the artist’s daily routine that normally involves him being in the studio from 9am until 3pm.

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During those hours, Johnson says he is not always actively making art, but it is the time he commits to “laying [his] creativity bare… you can’t just wait for it to happen, you have to show up and work. I get a lot of joy from making art, and I say joy specifically because I don’t really know how to participate with happiness or what that is, but I also experience a lot of frustration and disappointment. All of those things feed into my project and why I’m doing it.”

Portrait of Rashid Johnson by Sheree Hovsepian

I wonder how this period of prolonged confinement, reduced travel and fewer physical exhibitions has affected him. “I feel like I’ve been crazy busy,” he says, “in both making artworks and doing a lot of talks and community engagement projects, but I’ve also spent a lot of time with family. I feel like I’ve learnt a lot from watching them so closely.”

Johnson is one of the most influential of contemporary American artists. He is a cult figure, in fact, among many collectors and others in the art world who see him as the voice of a generation and a commentator on the issues of race and social upheaval.

From right to left: Untitled Anxious Audience (2016) detail; Fatherhood (2015) by Rashid Johnson. © Rashid Johnson and courtesy the artist and Hauser & Wirth

Johnson found early success following his inclusion at the age of 24 in the celebrated group exhibition ‘Freestyle’, at the Studio Museum in Harlem. His intimate portraits of homeless black men taken with a large-format camera immediately grabbed the attention of both the art world and the wider public. Since then, the 44-year-old artist has racked up an impressive list of solo museum shows and commissions, including a major project for the atrium at the Garage Museum of Contemporary Art in Moscow and, most recently, an installation at MoMA PS1 in New York entitled Stage (on view until autumn 2021), which comprises five microphones standing at different heights on a raised platform. There are references to protest and public oratory in this work, and also to hip-hop culture (a recurring influence on Johnson’s practice). The microphones are available for anyone to use; their words will be recorded, archived and, occasionally, broadcast via the museum’s website. The use of everyday objects is familiar Johnson territory, but the installation’s straightforward simplicity and direct call to action mark a new direction.

Read more: Artists to watch in 2021 – Arghavan Khosravi

As a black male artist, Johnson’s work is inevitably being seen in the context of the protests following the killing of George Floyd. This might risk an over-simplified or less nuanced interpretation of his work. When asked about this, he’s patient, self-analytical, and explains carefully his way of thinking. “[My work] is about how I identify and how I’ve grown in that identification – both realising when I should consider the collective nature of being a man, a black man, an American and a man in his forties, and also getting really granular with it: what are my obstacles? Which aspects of my life am I most interested in talking about? What are my character defects, and how do I start the process of unpacking some of those?”

From right to left: Falling Man (2015); and Standing Broken Men (2020) by Rashid Johnson. © Rashid Johnson and courtesy the artist and Hauser & Wirth

Has he ever felt under pressure to make a certain type of art? “No, but I knew that when I made decisions they were going to be interpreted in a certain way,” he says. “Oftentimes, as an artist of colour, in particular a Black American artist, people imagine that the effects of racism and slavery and other oppressive aspects of our history reflect on me and my project in specific ways, but what I’m really interested in is how those more monolithic racial concerns are filtered through someone like me. I’m searching for autonomy, which I think, in some ways, is what every artist is searching for.”

Portrait by Sheree Hovsepian

This process of self-reflection has, for Johnson, largely been through various forms of abstraction – a build-up of spontaneous gesture, vibrant colour and embedded layers of symbolism – which, as Megan O’Grady points out in a recent article in The New York Times, aligns his practice with a new generation of black abstract painters such as Mark Bradford and Shinique Smith who are also making non-representational work in ‘defiance’ against traditionally narrow expectations of how their work should express black identity. “None of us want to be the representative of any kind of idea or concern,” Johnson continues, “and that’s not to suggest that I see the purpose of an artist as being an individual genius – I don’t subscribe to that concept at all – but I do see the artist as an individual living in the world and interpreting that world from a very specific location.”

Read more: How will the art industry change post-pandemic?

Inevitably, that location changes over time, and Johnson’s initial interest in the art world was that it might be “really exciting to be a filmmaker”. Arriving at Columbia College in Chicago, however, he found he had registered too late and all of the film classes were full. He ended up graduating with a BA in photography in 2000, and later, at the School of the Art Institute of Chicago, he took up painting, sculpture, installation and film. His directorial debut, Native Son, released on HBO in 2019.

Photograph by Sheree Hovsepian

He has become known for his distinct visual language, which comprises specific, non-art materials that reflect his own experience as well as referencing history, literature and philosophy – subjects he was taught to deeply respect by his mother who was a poet and lecturer in African history. One of his most frequently recurring materials is shea butter, which he sometimes carves into dense, golden, bust-like forms that appear amongst leafy plants in his large-scale steel structures. “One day, I was putting it on whilst listening to the Tavis Smiley Show on the radio and I just thought to myself: this is it, the honest space,” he recalls. “It’s a material that I’m actually using in my life and on my body and it talks about Africanness, and displacement and healing and moisturising and utility.” Interestingly, the more recent additions to his ongoing Anxious Men series see the artist returning to more traditional materials (oil and linen) and consciously placing himself “within the discourse of art historical engagement”.

Photograph by Sheree Hovsepian

Ever since his Anxious Men made their first public appearance, coinciding with the initial rumblings of Donald Trump running for president, the wild, boxy characters, rendered in a scratchy, urgent style, have become the symbolic protagonists of the artist’s practice. But it is the Broken Men series (2020) that leave an even deeper impact. Monumental to the point of being intimidating in their scale, the works in this latest series comprise fractured mosaics of cartoon-like figures assembled from cracked ceramic and glass, scribbled over with paint, melted black soap and wax. Standing before them at Johnson’s solo exhibition ‘Waves’ at Hauser & Wirth in London at the end of 2020, I found myself struck by an allusion to the end of one era and the uncertain beginnings of the next. “We are now deconstructed, we will never be exactly the same,” Johnson agrees. “I’m not suggesting that the world wasn’t tragic and problematic prior to all of this, which of course it was, but this is my relationship to it now. We’re putting [the world] together again through a piecemeal process.”

With thanks to Maryam Eisler
For more information, visit: hauserwirth.com

This article originally appeared in the Summer 2021 issue alongside Rashid Johnson’s logo takeover.

Installation view from Huang Yong Ping’s exhibition ‘Wu Zei’ at Musée océanographique de Monaco (represented by Kamel Mennour)

The art world has been hit harder than most industries by the global pandemic, but the industry is adapting quickly with new digital platforms and a renewed focus on local identities. Nick Hackworth speaks to three leading European galleries, Victoria Miro, Kamel Mennour and SETAREH, about the future and how their businesses are responding

‘It was too much’ is an almost universal sentiment expressed now by those at the top of art world reflecting on pre-Covid times. For those caught up in the global merry-go-round of art fairs, biennales and major openings, the disconnect between the art – the thing-in-itself – and the business and culture around it, was increasing apparent year on year.

The energy and flavour of that now, suddenly distant world is brilliantly captured in the prologue of Boom, Michael Shnayeson’s recently published account of the rise of the contemporary art market. His opening scene is set in the Grand Hotel Les Trois Rois on the eve of Art Basel 2017, where the mega dealers are congregating: ‘Gagosian has flown to Basel on his $60 million Bombardier General Express jet two days before the fair’s first choice VIP preview… Most other dealers would arrive on Monday, a day before the fair’s coveted VIP opening. A few, like silver haired blue chip dealer Bill Acquavella, would arrive in their own planes. Others would descend at Basel’s EuroAirport in NetJets filled with collectors and money, like an art world air force.’

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Basel was, of course, just one of the many stops in a hyper-globalised art world sustained by an increasingly intense circulation of people and product. In a bid to capture as much of that energy as possible the biggest galleries, the likes of Gagosian, Pace and Hauser & Wirth opened spaces across the world, becoming truly global businesses.

Generally speaking, however, art is an object of aesthetic and intellectual contemplation, often revealing more of itself to those willing and able to take the time to look and think – a resource squandered by a culture of constant travel. Then the pandemic hit, the music stopped – cue much soul-searching about the systemic problems in the art world, prime among them, an profound imbalance between the global and local.

Victoria Miro, London & Venice

Founded in 1985, Victoria Miro is one of the most significant contemporary galleries in the world and a foundational presence in the London art scene, representing some 40 international artists and artist estates. The gallery has a boutique space in Venice, and a space in Mayfair, London, but without doubt the gallery’s spiritual home is its extraordinary complex of voluminous spaces designed by Claudio Silvestrin in its building on Wharf Road in East London.

Victoria Miro and gallery partner Glenn Scott Wright in Victoria Miro Mayfair, with artworks by Yayoi Kusama
Artworks courtesy the artist, Ota Fine Arts and Victoria Miro. © YAYOI KUSAMA

Glen Scott Wright: “We don’t see ourselves as specific to a locale. Our artists come from all over the world, they show all over the world, and the world comes to London. I think London is a great place to be for that. In the past, of course, we were able to to engage with specific localities through art fairs. For a while we were doing something like twelve or thirteen fairs a year but obviously that will change now and we’re finding different ways of addressing that global marketplace. The digital marketplace is going to be an increasingly important, of course.

Read more: Meet the winners of Prince Albert II of Monaco Foundation’s awards

We recently did a collaborative project with David Zwirner called Side by Side, where we created a micro-site, showing some of the artists that we both work with. We also used the occasion to launch an extended-reality app called Vortic Collect, a project that Ollie, Victoria’s son, has been developing for three years now. On Vortic people can actually enter our spaces virtually and look at art. They can walk around a Grayson Perry sculpture, they can walk up to a Njideka Akunyili Crosby painting and look at it close-up. It’s really very exciting that people can look at exhibitions on their phones or their iPads and have an accurate experience, in terms of being able to see what the art is like.

Victoria Miro, 16 Wharf Road, London N1 7RW. Courtesy Victoria Miro. Photograph © James Morris.

Installation view of THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE
, by Yayoi Kusama, Victoria Miro, Waterside Garden, 16 Wharf Road, London N1 7RW. 3 October – 21 December 2018. Courtesy the artist, Ota Fine Arts and Victoria Miro. © YAYOI KUSAMA

We’ve actually doing well in terms of sales on these digital platforms. We’ve had opened a sell-out show with Flora Yukhnovich on Vortic. The project with David Zwirner was very successful for us as was Frieze New York online. This illustrates an interesting point. I have clients of the old-school variety who’ve been collecting for decades and faithfully go to all the major fairs, biennales and openings. Some of them have written to me and said, ‘Look, we’ve always bought art that we can see, experience and engage with in the gallery, at an art fair, or see in a major exhibition. That’s not going to happen anymore. We’re not travelling. We’ve never bought art digitally, but we still want to buy art! So we’re going to be buying art and looking at digital images for the first time.’ These are several conversations that I’m merging together. But, in essence, the way people engage with art is changing and I think that’s a really interesting paradigm shift.

In terms of what change we would like to see happen in the art world as a result of this crisis, the change of pace is good. I mean, the amount of travelling I was doing! I just looked at first ten weeks of the year in my diary and I was in a different city, at a different opening, at a different event, at a different exhibition every other day. And this is all over the world, from Paris to Asia, to Australia to the States. Literally, just bouncing around all these places. I was recently scrolling through my photos and it was just pictures of planes and airports and different cities and dinners and openings and artists. My life was crazy! So less travel would be great and in terms of global warming it’s good that we’re not shipping things willy-nilly all over the world. Just having a little bit of breathing space has been fantastic.”

Find out more: victoria-miro.com

Kamel Mennour, Paris & London

Kamel Mennour

One of the world’s most respected gallerists, Kamel Mennour has been in business for over 20 years. His roster includes some 40 artists, including Tatiana Trouvé, Anish Kapoor, Lee Ufan, Daniel Buren, Douglas Gordon, Philippe Parreno, Martin Parr and Ugo Rondinone. Mennour is known for the quality of his program, going the extra mile to realise the creative ambitions of his artists and for championing his home town of Paris. He has three galleries in the city, two on the left bank and one on the right bank on the prestigious Avenue Matignon, as well as a boutique London space in the Claridge’s building.

Kamel Mennour: “People were often offering me opportunities to open everywhere. Bigger spaces in London, New York or Hong Kong and I was always saying no. I prefer to be extremely stable and to be extremely confident and strong in my city. I decided long ago that being Parisian was in the DNA of the gallery.

Read more: Bentley reveals its sleek new Bentayga model

As you may know, twenty years ago, Paris was totally empty, there was nothing in terms of contemporary art. I was thinking that I could, along with others, help restore Paris’ place in the art world. Also I didn’t want to be the number 38 in New York, you know? In Paris I am one of the key players, the one that the Pompidou Centre or the Palais de Tokyo calls. But of course, in order to expand and promote my artists and the gallery, my strategy is to be ambitious at art fairs like Frieze or Basel, and to stage extremely strong displays that keep the attention of the art world.

Kamel Mennour’s gallery space on Avenue Matignon, Paris

An installation by Tatiana Trouvé at Kamel Mennour’s booth at Frieze London 2018

When we opened the space on Avenue Matignon [on the right bank of Paris], people said, ‘Are you kidding? Why are you opening there?’ The right bank, yes, that’s where the wealthy collectors live, but for contemporary art at that time, it was a desert, a total no man’s land. People are coming there now, but my idea was quite retro. In the thirties and the forties, before the second World War, the right bank was where the centre of Paris’ contemporary art scene, but it collapsed as France collapsed. So I wanted try to do something new and bring something back. I said to myself, instead of opening something weak in New York, I would prefer to be confident and strong in my own city and to be very present. When a collector or the director of a museum wants to see me, I’m here. I can be extremely reactive and I am always taking the subway or an Uber to meet people. I also represent artists from my city. Some of my artists are based in Berlin or New York, but most of them are here and I’m always trying to persuade artists to come and live in Paris.

Now, with lockdown, the world we knew before – with planes and travel – is gone. Now, I’m thinking every day how lucky I was to have had this intuition, to be strong here. I wish them all the best, but it will be extremely difficult for those galleries that have places all over the world to manage in this new world.”

Find out more: kamelmennour.com

SETAREH, Düsseldorf

Samandar Setareh

Founded in 2013 by two brothers – Samandar Setareh and Elham Setareh – SETAREH grew out of a third generation family-run business specialising in textile art. That background eventually led them to open the gallery which now has three spaces in Düsseldorf, including two on the city’s grandest avenue, Koenigsallee and one, SETAREH X, that showcases emerging artists. With its broad program of global contemporary art, the gallery has brought a new and vital energy to the venerable Rhineland art scene.  Highlights have included shows of new Iranian and Chinese contemporary art, as well museum quality shows of major German art such as Hans Hartung and the Zero group.

Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.

Read more: Founder of London Art Studies Kate Gordon on digital art history

‘Light and Ceramics’ by Otto Piene at SETAREH Gallery, 2014

Installation view of Zero group exhibition at SETAREH gallery, Düsseldorf

When we started in 2013, the art market was exploding in terms of how international it was becoming. The Rhineland then was still dominated by all big artists, such as Gerhard Richter, Sigmar Polke and Joseph Beuys (who all come from the Düsseldorf Academy), the Zero art movement, Markus Lüpertz and Jörg Immendorff and so on. They dominated the way people collected and accepted art. Being from a mixed German and Persian background, one of our missions was to expand and broaden the kind of art that collectors in the region looked at and to make it more diverse, culturally. So we staged the first Italian Modernism art exhibition in Germany, the first contemporary Iranian art show in the region and have showed artists from China and so on. That’s why we also had to have a number of different spaces in the city so that we can show a wide range of art at the same time.”

Find out more: setareh-gallery.com

Nick Hackworth is a writer and curator of Modern Forms, an art collection and curatorial platform founded by Hussam Otaibi, Managing Partner at Floreat Group.

Picasso and ceramic (owl) by David Douglas Duncan (Spring 1957), Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

For a special exhibition at Vieux Chalet in Gstaad, Hauser & Wirth brings together ceramics and paintings by Picasso alongside a series of portrait photographs by David Duncan Douglas to provide a fascinating exploration of creativity, intimacy and space.

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Duncan himself was a renowned war photographer and photojournalist, who first encountered Picasso in 1956 when he  infamously rang the doorbell of La Californie, the artist’s home in Cannes. At the time, Picasso was in the bathtub and allowed Duncan to photograph him right then and there, leading onto a lasting friendship which granted the photographer unprecedented access into the artist’s creative processes. Over the course of seventeen years, Duncan took approximately 25,000 images of Picasso, documenting not just Picasso himself, but also his family and friends.

Battle between Claude and his father wearing Gary Cooper’s cowboy hat by David Douglas Duncan, July 1957, Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

Pablo Picasso with the portrait Jacqueline à l’écharpe noire (1954) by David Douglas Duncan, 1957, Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

Duncan’s photographs and Picasso’s artworks are displayed side by side throughout the domestic spaces of the chalet, emphasising the intimacy of the photographic perspective as well as the connection between the two distinct artistic mediums. In some of the images, Picasso is seen actively engaging with the lens whilst others are more candid, showing the artist amongst his easels, books, brushes and paints.

Read more: How Galerie Maria Behnam-Bakhtiar aims to inspire change

Bearded man’s head (1948) by Pablo Picasso © Succession Picasso/DACS, London 2019Courtesy Succession Picasso

The artist’s ceramics are amongst the most captivating works on display, as everyday objects such as bowls and vases are transformed into animal-like creatures through warped swollen shapes and dynamic painted lines. Seen alongside Duncan’s photographs, Picasso’s creative energy becomes even more palpable as does the friendship between the two artists caught in subtle gestures and glances.

‘Picasso Through the Lens of David Douglas Duncan’ runs until 28 February 2020 at Le Vieux Chalet in Gstaad. For more information visit: hauserwirth.com/hauser-wirth-exhibitions/26682-pablo-picasso-lens-david-douglas-duncan

Installation view of Tony Cragg, Bust, 2014 from Jerome Zodo Gallery at Masterpiece London 2019, photography Ben Fisher, Courtesy Masterpiece London

Ahead of the public opening of Masterpiece London’s 10th edition, we ask the fair’s chairman Philip Hewat-Jaboor for his exclusive recommendations of what to see

Art fairs can be overwhelming, especially when they’re on the scale of Masterpiece London which, this year, brings together over 150 galleries and specialists with displays of contemporary artworks, antiquities, rare books, objets d’art, furniture and jewellery.

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‘Rather than grouping our exhibitors by the kind of objects they present, we integrate them so that an antiquities dealer may sit side-by-side with a jeweller or a contemporary art gallery. We have seen how juxtaposing different works of absolutely encourages collectors to learn about and buy works of art they may not usually have the opportunity to discover,’ says Philip Hewat-Jaboor.

Below are his top recommendations of things to see at this year’s edition:

The sculpture series

‘This year, we introduce Masterpiece London’s Sculpture Series. Our inaugural curator is Jo Baring, who is the Director of the Ingram Collection of Modern British and Contemporary Art. She has selected dynamic modern and contemporary works made from different and sometimes unusual materials to encourage visitors to challenge their perceptions about sculpture. This includes works by Gary Hume, Susie MacMurray and Bryan Kneale amongst others.’

Phyllida Barlow, ‘untitled: GIG’ (detail), 2014, ‘Revolution in the Making: Abstract Sculpture by Women 1947-2016’. Installation view at Hauser Wirth & Schimmel, Los Angeles CA. Courtesy the artist and Hauser & Wirth.© Phyllida Barlow, Photo: Fredrik Nilsen 

Phyllida Barlow’s installation

‘Not to be missed is Phyllida Barlow’s sculptural installation for Masterpiece Presents, in conjunction with Hauser & Wirth. Masterpiece Presents provides a platform for innovative, immersive works of art at the entrance to the fair. The artist is known for using found materials, and her installation follows the supersized ‘pom pom’ works she first developed in the 1990s.’

Read more: JD Malat Gallery opens psychedelic anniversary exhibition

Antiquities

‘See exceptional works of art at the fair like Edward Hurst’s rare Roman British mosaic, Augustine Rodin’s famous The Thinker (on offer at Bowman Sculpture), and the recently discovered lost work of Sir Anthony Van Dyck at Philip Mould & Company.’

Edward Hurst: Romano-British Mosaic, attributed to the Durnovarian School, early 4th century AD. From the Roman Villa at Dewlish Dorset. Courtesy Edward Hurst

Curated booths

‘Enjoy carefully curated booths that epitomise our cross-collecting ethos, such as Daniel Crouch Rare Books and Les Enluminures’ shared booth inspired by Harari’s best-selling book, Sapiens: A Brief History of Humankind. Axel Vervoordt, Godson & Coles and Rose Uniacke also work in this vein, presenting works of art across a range of materials and eras.’

Axel Vervoordt: José Zanine Caldas, Sculptured Dining Tabe, Brazil, 1979, Juerana and Pequi wood, Courtesy Axel Vervoordt

Canadian Inuit art

‘Our Principal Partner, RBC, will be presenting a curated exhibition of Canadian Inuit art in their lounge. This will include works by Shuvinai Ashoona, Annie Pootoogook, and Tim Pitsiulak, who are all artists from the Kinngait Studios Inuit art community.’

Masterpiece London 2019 sponsored by Royal Bank of Canada runs from 27 June to 3 July at Royal Hospital Chelsea. For more information visit: masterpiecefair.com