Art Update: Washington DC November 2-4, 2012

Arrived on Friday, November 2nd in Washington DC to attend the International Forum (IF) weekend presented by The Phillips Collection and to see Xavier Veilhan's first major US museum presentation, curated by Vesela Sretenovic.  Dorothy Kosinski, the director, brilliantly organized a stimulating weekend filled with lectures, panel discussions, visits to private collections, a luncheon and a seated dinner Saturday evening in the museum with artists, trustees and philanthropists.

Although not part of the IF events, my first stop was a much anticipated visit to the Glenstone Museum Foundation in Potomac, to view the private collection of Mitchell P. Rales, who opened a museum to house his post WWII art collection in 2006. It was a sheer delight to experience the sublime integration of art, architecture and landscape owing to the collaboration with Charles Gwathmey Siegel & Associates, Peter Walker and Partner Landscape Architects.

The current exhibition entitled "No Substitute," curated by his wife Emily Wei Rales, taps into the extraordinary quality of the Rales collection.  Our group of four (one must reserve in advance) was privileged to be escorted around the exquisitely designed and installed galleries by Ginger Spizey, the art historian who shared her vast knowledge, passion and enthusiasm with us. Photography, sculpture and installations were featured by 12 artists, whom the Rales collect in depth, including Thomas Demand, Peter Fischl and David Weiss "The Objects for Glenstone," Katharina Fritsch, Robert Gober, Damien Hirst "Medicine Cabinet," Barbara Kruger "I SHOP THEREFORE I AM," Louise Lawler, Sherrie Levine, Richard Prince, Charles Ray, Cindy Sherman and Jeff Wall's light boxes.  The only way to describe the Glenstone Museum experience is breathtaking! It is perfection personified!

Xavier Veilhan, "Bear" at The Phillips Collection 

Later that evening, I attended a private reception at the residence of the Ambassador of France Francois Delattre and his wife Mrs. Sohphie L'Helias-Dalattre to honor Xavier Veilhan. Xavier was charming and easy to talk to both in French and English. Xavier Veilhan's exhibition titled “Intersections: (IN)balance” is a survey of 18 of his works. His 8 foot tall polyurethane sculpture called "The Bear," 2010, painted Ferrari Red is a welcome sight outside the Phillips Collection Gallery. You just want to give the bear a big hug! The "Bear" as well as "Xavier" self-portrait, 2006, both digitally rendered, investigate the relationship between the constructed and the created, the engineered and the organic. "He uses strong shapes, clear forms, monochromatic palettes, and mathematical precision to create his pieces, tempering their coolness with careful humor and a fair amount of whimsy." In September 2009, Xavier had an exhibition in the Royal Court of the Chateau de Versailles for 3 months including a 50 foot long coach and horses in purple which greeted the visitor upon entering the exhibit.  It was extraordinary to walk inside the palace and outside in the gardens to see his monumental sculptures of the great architects that he adores! 

Xavier Veilhan, "Xavier" at The Phillips Collection

On Saturday morning the day began with a visit to the private collection at the home of Anita and Burton Reiner in Bethesda Maryland, where we were welcomed by the vivacious couple who have amassed an eclectic collection of their favorite artists.  

Then headed over to see Ai Weiwei's "According to What" exhibition at the Hirshhorn Museum and Sculpture Garden, a retrospective of his work, spanning three decades. Upon taking the escalator up to the main exhibition floor, one sees the head of a giant snake coiling above. "Snake Ceiling" consists of hundreds of children's backpacks, 600 to be precise, attached to the ceiling of the Hirshhorn's circular hall. The backpacks represent the thousands of children lost in the 2008 earthquake in China.  According to the artist, "When the masses of life are ignored in this kind of tragedy, it takes away anybody who is alive," recalling how much the earthquake had changed his own life. "It is a struggle — how as an artist do I do work to remember it when I see the pain is disappearing and it is like the memory is not real." Another extraordinary piece titled "Forever" consists of 42 Forever-brand bicycles twisted, taken apart and reassembled into a circular motif.  This installation speaks to the rapid modernization of China and is loaded with personal, social and political references. One of his most famous works is "Colored Vases," 2006 "a collection of ancient pottery painted in vivid colors like lime green, hot red and bright yellow."

Ai Weiwei, "Colored Vases" at the Hirshhorn

It was a quick walk over to the National Gallery of Art to see Roy Lichtenstein: A Retrospective, which is the first major exhibition of the artist's work since his death at 73, in 1997.  Beginning with works from the 50s, it offers a comprehensive look at his various interpretations and styles.  On view is his first pop painting, "Look Mickey," humorously showing Lichtenstein's riff on Mickey Mouse and Donald Duck.  It, as well as many of his early works helped change notions about art.  This retrospective includes 134 of his most iconic paintings including his memorable 1960s cartoons about war and romance, his landscapes made of small dots, nudes, brush stroke series and his re-interpretations of works by Picasso, Cezanne and other artists. 

An elaborate brunch was offered on Sunday morning in the modern and airy apartment of Linda Kaplan and her husband Louis (Beau). She addressed the group and discussed their American modernist collection in a scholarly manner reflecting how the collection was formed over 25 years.

  

In the early afternoon, I returned to the Phillips collection to take in how it all began with a small family collection of paintings inherited from Duncan Clinch Phillips, his father, a Pittsburgh window glass millionaire. As an art critic, the son was instrumental in introducing America to modern art.  The Phillips Collection is America's first museum of modern art, which opened its doors in 1921. He conceived of his museum as "a memorial...a beneficent force in the community where I live - a joy-giving, life-enhancing influence, assisting people to see beautifully as true artists see." I found the Rothko Room particularly moving and to think how Mr. Phillips had the foresight to purchase these paintings in the early 1960s attests to his extraordinary vision! 

Off to the airport…

London/Paris October 2012 (Part 2 Paris)

Day 1

  

The action continued in Paris on Saturday evening October 13th with a sumptuous dinner hosted by the esteemed Austrian dealer Thaddaeus Ropac to celebrate his new glorious space in the Pantin district, northeast of Paris with a double exhibition of Anselm Kiefer and Joseph Beuys.  The site is 50,000 square feet with 22,000 square feet of exhibition space. There is also a multimedia room for performances. The architects Buttazzoni & Associates built the main gallery building comprising of 4 luminous halls 22 x 40 feet in a formerly early 20th century boiler work factory.  

Dinner at Ropac, Pantin

A new series of works by Anselm Kiefer entitled "Die Ungeborenen" (The Unborn) includes many monumental canvases and sculptures, "which reference the artist's interest in the origin and creation of life, referencing well-known myths and iconography. Through the new works, Kiefer explores the hybrid sphere of non-belonging, in which life and unborn life are in an intermediate world dominated by the question of why one is and where one belongs. Through this concept, the artist considers the theological concept of limbo, the region on the border of Hell, the abode of souls awaiting entrance into Heaven."

Joseph Beuys's show featured a "white horse stomping in a corner, echoing Beuy's historic 1969 'Iphigenie' performance in Frankfurt, where the artist appeared in a fur coat alongside a white horse, cymbals crashing together in a commentary of Goethe's eponymous myth."

Horse in Beuys exhibition at Ropac, Pantin

In his welcome speech to the art world glitterati, including forty artists and thirty museum curators, Thaddeaues said "We found we were limiting the vision of our artists, we couldn't take four-ton sculptures by Anthony Gormley. If you give them an ambitious space, they will produce their best work, and that is easier to sell."

Day 2 

Monday October 15th in the evening, we arrived after dinner at the The Palais de Tokyo, which conveniently stays open until midnight every night except Tuesdays. The new exhibition "Imagine the Imaginary"opened in late September in the museum's newly enlarged space. It is now one of the largest spaces devoted to contemporary art in Europe. The exhibition is spread out over all four floors of the museum and includes "Chloe.Attitudes," which is the first exhibition dedicated to Chloe celebrating it's 60 year contribution to fashion culture. It brings together artists from different generations whose works demonstrate and describe the processes involved in their development.  The outstanding artist Fabrice Hyber presents the solo exhibition titled "Raw Materials" where he creates "a mental spa composed of two paths one active and one contemplative" and a physical and virtual landscape.  Richard Baqui's "Untitled" 1985 (LE TEMPS DE RIEN) dominates and awes the viewers. 

Richard Baqui, "Untitled" at The Palais de Tokyo

Day 3

On Tuesday morning October 16th, I walked over to the Louvre Museum to join the curator of the new spaces of the Department of Islamic Art, which opened three weeks ago. He enthusiastically gave us the background of the project, marking the museum's greatest development since the iconic glass pyramid constructed 20 years ago. Created by architects Mario Bellini and Rudy Ricciotti, the new wing is encased in glass with an undulating roof spanning over 30,000 square feet.  Nearly 3,000 works will be exhibited, representing 1300 years of history and from an area crossing over three continents, from Spain to Southeast Asia. On display are some pieces never seen by the public.

Following this extraordinary experience, the group walked over to the Tuileries Gardens for a tour of the outdoor projects which are created annually in collaboration with the Louvre. Works were installed in the fountains, basins and all over the lawn.  Among my favorites, Marc Quinn's "Origin of the World" in the pond, Aaron Curry's "BBZ" on the lawn, Jeppe Hein's "Modified Social Benches" (where children were sitting) and lastly William Kentridge & Gerhard Marx's "Fire Walker." The project is magnificent in this exceptionally beautiful site!

Linda, Louis and Doreen in front of Kentridge/Marx "Fire Walker" at Tuileries Gardens

At 4 PM, I arrived at the Pompidou Museum for a private visit of the Adel Abdessemed's exhibition titled "I am Innocent," where his gigantic bronze statue of two soccer players, titled "Headbutt" stands roughly 16 feet high. This major survey includes 25 works from 1990-2012.  Abdessemed uses shock tactics to make an impact on the viewer and to cause visceral reactions. He takes us on a journey through art history, including references to 18th century Goya works and minimalist works of the 1960's. He uses imagery such as burning helicopters, monstrous skeletons, the carcasses of burned-out cars to show the waves of destruction that shake our contemporary existence as well as the violence of western history. 

Abdessemed, "Headbutt" at Pompidou

Day 4

Wednesday morning, October 17th, the art enthusiasts crowded into the early 10am opening of the 39th edition of FIAC at the Grand Palais. Of the 184 galleries, 41 participated for the first time.  The fair sizzled with excitement as the viewers were directed to the second floor where the younger artists were being shown. The new sculptures of Hugh Scott-Douglas at the Jessica Silverman Gallery (no relation) caught my eye.  On the main floor, which was more spacious, collectors quickly spotted their favorite  dealers and sought out their artists.  A few of my favorite works include: David Altmejd's "Mirrored Wall Panel #3" at Xavier Hufken's, Thomas Bogaert and Wang Du's "Post-Image 003" at Albert Baronian, Berlinde de Bruckere at Continua, Katharina Fritsch's umbrellas at Matthew Marks, Theaster Gate's "Flag"(Tricolore) at White Cube, Pierre Huyghe's "I DO NOT OWN SNOW WHITE" at Marian Goodman's, Annette Messager's "Chaos" at Marian Goodman and the kinetic Takis installation at Xippas.  

Day 5

Early Thursday morning, October 18th, I went to view Michael Werner's collection of 900 works at the Musee d'Art Moderne de la Ville de Paris for a private viewing which opened earlier this month. It is a tribute to Michael Werner and his achievement as a gallerist and collector for fifty years. 127 paintings and sculpture were donated by Werner to the Museum.  He opened his first gallery in Berlin in 1963, Werner and Katz with the first exhibition of paintings by Georg Baselitz. One of my favorite rooms was the Baselitz installation with beautiful paintings from the 1980's. This gift is the most significant since the bequest made by Dr. Maurice Girardin in 1953 which led to the creation of the institution. 

Next on my agenda was the Louis Vuitton Cultural Space on Rue Bassano to view the current exhibit "Journeys: Wanderings in contemporary Turkey." Upon arrival, the guests were taken down the Olafur Eliasson elevator and there was total blackness for approximately 30 seconds. Luckily no one fainted! The guide discussed the various artists' struggles documenting the challenges and issues facing the transition to life in Turkey today.

Walked to the Champs Elysee and over to the Gagosian Gallery on rue de Ponthieu to view the stunning Rudolf Stingel exhibition which opened Tuesday.  His practice concerns the passage of time by both celebrating and memorializing it.  In this show of eight new works, he uses large sections of graffiti-covered celotex insulation panels that were shown at the Museum of Contemporary Art 5 years ago, where the viewers were free to further transform the works by scratching and writing on the surface, thus becoming part of the work. In the current exhibition he has cast and plated them. They are glistening and absolutely exquisite!  "the new panel paintings are a new form of luxurious abstraction borne of humble materials and mundane gestures." 

My final visit involved traveling to Le Bourget airport in the north of Paris to view Gagosian's new exhibition space designed by French architect Jean Nouvel. This industrial 17,760 square feet on two levels is the 12th gallery for Gagosian and is indeed well located, as it is next to the private jets' hangar. One stop shopping for his illustrious collectors! For the inaugural show of Anselm Kiefer's "Morgenthau Plan," the gallery was filled with a sculpture of a golden wheat field, enclosed with a 16 feet high steel cage.  Four domestic size paintings graced another space. Kiefer's installations in both new spaces outside of Paris are a must see!

Kiefer's installation at Gagosian 

Day 6

Off to the airport!!!!!!!!!! 

London/Paris October 2012 (Part 1 London)

Day 1 

Arrived in London on Monday October 8th and headed straight over to Sotheby's to view the contemporary auctions. The highlight of the evening sale was Richter's Abstraktes Bild, 1994 (809-4) being offered by the musician Eric Clapton. It sold on Friday evening for $34.2 million, which set the record for a living artist. It was sold at Sotheby's in November 2001 for $3,415,750 as a triptych when it was offered by the Berlin collectors Ulla and Heiner Pietzsch. There was much discussion about the other two works. However, Richter's dealer Marian Goodman claims it was never a triptych merely a part of a group of 4 paintings (809-1, 2, 3, 4).

The next stop was the new Pace gallery in the west wing of the Royal Academy's Burlington Gardens Building to view a remarkable show of eight Mark Rothko paintings from 1969, the year before his suicide, with the beautiful seascape photographs of Hiroshi Sugimoto. At the end of his life, lush colors were abandoned by Rothko and a mostly palette of black and gray remained. Sugimoto has chosen to depict his seascapes in similar colors. He was inspired by the Rothko show in 1978 at the Guggenheim in New York which set him on the path to abstraction through photography. Indeed an extraordinary pairing!

Around the corner I went to view Hauser & Wirth's extraordinary show of UK born artist Thomas Houseago on Savile Row. He continues to create works which are mysterious and unworldly yet brutally straightforward. "His unique combination of graphite sketches on the plaster combines the 3-dimensionality of sculpture with the 2-dimensionality of drawing." His debut with the gallery includes two exhibitions with new monumental figures, relief wall panels and abstract, columnar lamps. Houseago's practice continues to push the boundaries of contemporary sculpture all the while looking back at art history. The work is highly energized and menacing at the same time. Indeed one of the most important sculptors working today! 

Houseago exhibition at Hauser & Wirth

Tate Modern opened that evening with a dual retrospective of New York photographer William Klein and Japanese contemporary photographer Daido Moriyama. (William Klein + Daido Moriyama). Although separate in presentation, both photographers who rose to fame in the 1960's,

document modern urban life. Klein is not only one of the great American photographers, but also a painter, filmmaker, documentarian and graphic designer. His range of work includes portraits, books, magazine covers, film posters, fashion shots, abstractions and painted contact sheets. He has embraced the new technologies and digital printing techniques.  Moriyama discovered Klein's New York photobook when he was an assistant to the photographer Takeji Iwamiya who influenced him enormously. It's an exhilarating exhibition!

Later that evening, Princess Alexandra was in attendance at the Royal Academy Now Exhibition and Auction benefit. Many artists were among the hundreds of guests including Tracey Emin who shared her excitement for her upcoming show at MOCA, opening in Miami during Art Basel Miami Beach fair this December. She is thrilled to be working on it with Bonnie Clearwater, the director.

Day 2

On Tuesday, October 9th, the Victoria Miro Gallery on Wharf Road had a brunch for the second solo exhibition of Elmgreen & Dragset's "Harvest."  One could also view Yayoi Kusama's "Narcissus Garden", which is a permanent installation of amazing floating silver balls in a lotus pond. What a

beautiful sight it was, glistening in the sunshine.

Kusama "Narcissus Garden" at Victoria Miro

There were two exhibitions of E & D. The downstairs gallery showed a series of new unique monochrome works entitled "The Named Series." Michael Elmgreen who I was introduced to explained the works he and his partner Ingar Dragset had worked on for over a year. The surfaces resulted from professionally removing white wall paint from prominent museums and public galleries and using techniques used to restore frescoes and murals. The thin layer of removed white wall paint was then applied onto raw canvas and framed. The artists have transformed the background wall paint, which has no value into new paintings with new significance and worth. The title of each painting, Solomon R. Guggenheim Museum, New York, Serpentine Gallery London show the subtle variations in texture and shade of color and quality of painting which shows the self- presentation of each institution.  Elmgreen was thrilled to see all the museums together in one space. Indeed an extraordinary concept! He was most charming and articulate.

In stark contrast the upstairs gallery, inspired by the rustic interior architecture space, E & D presented a playful humble farmyard version of the hayloft, with hay, stag antlers, sculpture of a young farm boy including abstract paintings referencing the 1950's. Their practice explores the basic process of growing in the personal and shared cultural sense of identity and memory. 

Michael Elmgreen

Inspired by my conversation with the artist, I headed over to see the "Powerless Structures, Fig. 101" in Trafalgar Square which won the "Fourth Plinth Commission" as well as their project at Louis Vuitton New Bond Street Maison entitled "Omnes Una Manet Nox" (One night awaits us all). On the second floor, an over sized fairytale bed with a dangerous looking golden vulture on one of its bed posts encourages the employees of the famed retailer to take a nap and become part of the artwork. According to the director, many employees found the bed comfortable after a long day!

E & G "One Night Awaits Us All" at LVMH

The inaugural Frieze Masters art fair opened at 3 PM in Regent's Park, a 20 minute walk from Frieze Contemporary. Ninety galleries participated. It was a pleasure to feast the eyes on works ranging from the 4th millennium, 12th century, 17th century Romney portrait, 18th century Persian miniatures to an entire stand of Giacometti sculptures to Picasso prints, photographs by Henri Cartier-Bresson, Brancusi and Richard Avedon. The atmosphere was relaxed, elegant and not crowded. It was a delight to chat with Mayor Michael R. Bloomberg who was with his partner Diana Taylor and Deputy Mayor Patricia Harris. 

Stopped by Beth Rudin de Woody's curated show "Bad For You", which was opening at the Shirazu gallery on Mount Street with 68 artists. Included in this amusing exhibition are works by Will Cotton, Robert Longo, Ryan McGinley, Marilyn Minter, Steve Miller, Ed Ruscha, Aurel Schmidt, Cindy Sherman, Rob Wynne, Dustin Yellin and Andy Warhol. 

My favorite new space in London remains White Cube's Bermondsey Gallery, which held a posh dinner in honor of the Chicago artist Theaster Gates as well as a moving performance with the musical ensemble Black Monks of Mississippi. Jay Joplin, the ever congenial host opened the gallery to present Theaster's first exhibition. His practice includes sculpture, installation, performance and urban interventions whose goal is to bridge the gap between art and life. His projects aim to inspire cultural communities to engage in awareness that will lead to political and spatial change. He collaborates with architects, researchers and performers. He appeared in the 2010 Whitney Biennial where he transformed the Whitney's Sculpture Court. His real estate project known as "The Dorchester Project" in the South Side of Chicago is ongoing and is called "real-estate art" by the artist. The renovations of the buildings are financed entirely by the sale of sculptures and artworks from materials saved from their interiors.

Day 3

A long line of eager art addicts eagerly waited for the doors to open at the 11am VIP opening of the 10th Frieze Art Fair on Wednesday morning. The atmosphere was electric and exciting as collectors, museum directors, art advisors and dealers moved about to view over 170 of the most exciting contemporary art galleries in the world. In contrast to past art fairs, this year, galleries opted to show more domestic scale works and various crafted art.  At Salon 94, the porcelain, glaze sculpture installation by Matt Merkel Hess was selling fast. Gavin Brown showed one of my favorite artists Martin Creed's works as well as several paintings by Jonathan Horowitz inspired by Roy Lichtenstein. Gavin Brown Enterprise was awarded the "best stand" prize at Frieze!  

Matt Merkel Hess at Salon 94

Day 4

Walked over to Berkeley Square to view the sixth edition of the Pavilion of Art and Design (PAD) fair. The vision of this fair is the mixing of fine and decorative arts. It's exciting to see the inclusion of design as well. New US galleries joining PAD for the first time include L&M Arts, Kasmin, Castelli and Skarstedt. Luxembourg & Dayan gallery's exhibition of Rob Pruitt's "Panda" paintings along side Chinese archaeological objects shows a renewed interest in creating a dialogue between the old and the new as seen at Frieze Masters. This seems to be an ongoing theme as I went to Pilar Ordovas' gallery on Savile Row to see the Caracci Freud exhibition. The Dulwich Picture Gallery has lent three major Annibale Caracci (1560-1609) head studies to pair with a series of Lucien Freud's (1922-2011) head portraits, presenting the never before explored connections between the two artists.  By this juxtaposition, many affinities in technique, style and subject matter are revealed.

Now off to Paris...

London Update February 2012 Part 2: Kiefer at White Cube Bermondsey

Now it's time to head over to my favorite new space in London, White Cube Bermondsey (see Oct 2011 blog) to attend a lecture "Talk: Configuring Catastrophe: Anselm Kiefer (b. Donaueschingen 1945) in the 20th Century and After" by Jay Winter, the Charles J. Stille Professor of History at Yale University. The lecture provided many interesting historical facts about Germany and sets the stage to understand Kiefer's oeuvre. The exhibition "Il Mistero delle Cattedrali" (Mystery of the Cathedrals) is staged across 11,000 square feet of gallery space. The titles of Kiefer's works are indeed relevant to decipher his practice.  The multi layered references allude to a myriad of topics including, Christian mysticism, medieval history, Kabbalah, alchemy over the ages as well as Greek, Roman and Norse mythologies. What a challenge it is to absorb the layers, symbols and references. However, you may simply choose to enjoy it visually as the exhibition is magical and empowering!

London Update February 2012 Part 1

Arrived in London on Sunday February 12th for another week of art. My first stop was the National Portrait Gallery to see the Lucien Freud: Portraits exhibition. Freud's long life came to an end in July 2011 (b. Berlin 1922) during the preparation of this exhibition. It's timely to experience one of the 20th century's most important artists, a master of figuration.  The exhibition spans seven decades and occupies 42 galleries, shown chronologically.  It is an intense show and a glimpse into an artist who reveled in rendering his sitters as pounds of flesh waiting to expire. It appears that Freud lived his life in a detached cold way...capturing his subjects for months on end in his stale studio. The platform never changed over 70 years. They mostly posed on the same bed with same pile of rags nearby. The monotony of the same format, the absence of warmth, light or compassion for this subjects demonstrates Freud's inability to connect with them. The work is highly charged, but lacks passion. The awkwardness of the family portraits and his various children is highly disturbing. He is always the spectator, and never connected emotionally. Perhaps it was Freud's need to connect to the sitters and know them better that motivated him to paint naked bodies and their intimate anatomy?

My next step was David Hockney: A Bigger Picture" (b. in Bradford 1937) at the Royal Academy of Arts which has received rave reviews and record attendance. "Hockney is one of the most influential British artists of the 20th century and this important exhibition of landscape work showcases his evolution and renewed creativity". It is his first major exhibition in the UK inspired by Yorkshire landscapes. Many are extremely large in scale and created especially for this show. The works span fifty years and fill 13 galleries.  Hockney returned to live and work in Bridlington in 2005. He reconnects with his youth and it is obvious that coming home agrees with him.  The work resonates his joy and appreciation of nature. Nature nourishes his soul and the canvases sing with dazzling colors and are indeed ravishing. The oversized canvases bring a smile to the viewer's face. A majestic and optimistic feeling permeates the museum. At the end of the show, there is a film directed by Hockney using 9 cameras attached to the bonnet of his jeep. It's "drawing" with the camera. The nine-screen films are shown together, across 18 screens. The Yorkshire Wolds are his inspiration. The last gallery contains many paintings and iPad drawings created for this exhibition. Another way to pay tribute the landscape of East Yorkshire. 

On Monday the February 13th it was the David Shrigley "Brain Activity" exhibition at the Hayward Gallery,  (b. Macclesfield 1968) that caught my fancy.  He lives and works in Glasgow and is best known for his humorous drawings that make witty observations on everyday life. Originally a cartoonist, "Brain Activity" is his first major retrospective in the UK and "covers the full range of his work, extending beyond his drawings to include photography, taxidermy, sculpture, animation, painting and music." I first met the artist at the Frieze Art Fair in 2010 and was smitten with his installation at the Stephen Friedman Gallery. He was tattooing visitors in the booth. This performance was part of a solo presentation of the artist's work. He was surrounded by his insightful drawings commenting on the absurdities of human relationships and other situations. The exhibition is curated by Dr. Cliff Lauson, Curator, Hayward Gallery who did Tracey Emin's exhibition last June. "I WROTE THESE WORDS TO FILL THIS SPACE" by David Shrigley.