Cathryn Drake

  • Left: Collector Cecilia Matteucci Lavarini and artist Stefano Cagol. Right: View of the panel Small Budgets, High Hopes. (All photos: Cathryn Drake)
    diary February 08, 2012

    Small World

    ALTHOUGH THE BIG WINTER STORM had not hit Italy in time for the thirty-sixth Bologna Arte Fiera, it was clear that the European crisis had already put a freeze on the art economy. But the striking dearth of visitors at the preview on January 26 was more likely the result of the slew of national transport strikes. (Artist Michelle Rogers told me that even the fishermen were boycotting, so no one would be eating fish on Friday.) Indeed it seemed that only the most dedicated—a rarefied group of collectors, artists, and curators—had made it to Italy’s biggest fair, in the venerable old university

  • Kalliopi Lemos, The Big Egg and the Hairy Goddesses, 2007–11, mild steel and two- way acrylic mirror; papier-mâché, animal hair, 13' 1 1/2“ x 8' 10 3/4” x 8' 10 3/4". Ibrahim Khan Mosque, Rethymno, Crete.

    Kalliopi Lemos

    “Navigating in the Dark,” a trilogy of exhibitions by Kalliopi Lemos, was installed in three far-flung locations, suitable to its theme of psychic and geographic exploration. Curated by Maria Marangou, director of the Museum of Contemporary Art of Crete and curator of the Greek Pavilion at last year’s Venice Biennale, it was initiated at the Benaki Museum in Athens, where four large-scale biomorphic steel sculptures were placed around a honeycomb-shaped pool of water dotted with steel-mesh human heads slowly attaining various patinas. Bear All Crawl, 2009, is a wriggling larva split to reveal

  • Left: Jeffrey Deitch, director of the Museum of Contemporary Art, Los Angeles, with artist Cai Guo-Qiang. Right: The “Black Ceremony.” (All photos: Cathryn Drake)
    diary December 13, 2011

    Playing with Fire

    WHILE SOME IN THE ART WORLD continued the party in Miami Beach, an adventurous few chose to dry out on an eastern peninsula on the Persian Gulf, in the sleepy kingdom of Qatar. The occasion that Sunday was the opening at Mathaf: Arab Museum of Modern Art of Cai Guo-Qiang’s splendid exhibition “Saraab,” which the artist put together during a fifty-day residency in the fall.

    Getting around Doha invariably entails a cruise along the Corniche, and on the drive to the museum that morning we inched past a panorama of the city skyline, freshly punctuated by Jean Nouvel’s sleek, bullet-shaped Tower Qatar.

  • Left: Artist Pipilotti Rist with her mother and sister Tamara. Right: Cape Cod Chandelier in the Cinema Manzoni lobby. (All photos: Cathryn Drake)
    diary November 20, 2011

    All in the Rist

    AFTER A GENTLE RAIN Tuesday evening, Milan was shiny and ethereal for the opening of Pipilotti Rist’s “Parasimpatico,” produced by the Trussardi Foundation. In my haste to make it into the former Cinema Manzoni, the 1950s movie palace in the center of the city that was hosting the show, I mistakenly entered the burlesque cabaret William’s Club le Roi next door. In any case, Rist’s demure incandescent underwear (Cape Cod Chandelier) hanging in the cinema’s lobby would have been perfect in either venue.

    The theater had been made into its own kind of erotic carnival. Up the red-carpeted steps, people

  • Left: Curator Nicolas Bourriaud, collector Dakis Joannou, and curator Xenia Kalpaktsoglou. Right: Curator Marina Fokidis with artists Actually Huizenga and Socrates Mitsios. (All photos: Cathryn Drake)
    diary October 27, 2011

    Crisis Management

    FLOODS IN ROME, riots in Greece, a despot deposed in North Africa—the days leading up to the Third Athens Biennale, “Monodrome,” inspired by Walter Benjamin’s 1928 book Einbahnstraße, brought forth biblical allusions. In practical terms, the biggest strikes yet had shut down the Greek capital, so my flight from London was delayed by a day and biennial cocurator Nicolas Bourriaud came from Paris three days after he was scheduled to arrive, also landing just the night before the opening. The denouement of the trilogy that started with “Destroy Athens” and “Heaven,” in 2007 and 2009 respectively,

  • Left: Artist Nate Lowman (right) with parents. Right: Gagosian's Pepi Marchetti and artist Dan Colen. (All photos: Cathryn Drake)
    diary October 04, 2011

    Friends in High Places

    THE LATEST NEW YORK INVASION of Rome took the form of “Three Amigos,” a suite of solo shows by Dan Colen, Nate Lowman, and Dash Snow at three local venues: the Palazzo Rospigliosi, the American Academy in Rome, and MACRO, respectively. The brat pack is hardly new to the Roman scene: They all participated in the Depart Foundation’s irrepressible “New York Minute” survey two years ago (back when six-figure auction records for these artists were an exception rather than the norm). The trilogy opened on the heels of Lisson’s inauguration of a new space in Milan, which took cues from two prior

  • Left: Art advisor Francesca Ferrarini and dealer Chiara Repetto. Right: Clockwise, left to right: Collectors Lorenzo Paini and Giuseppina Girardi, dealer Ludovica Barbieri, dealer Verusca Piazzesi, artist Massimo Bartolini, and a friend. (All photos: Cathryn Drake)
    diary September 28, 2011

    Fresh Start

    ARRIVING IN MILAN at rush hour the Thursday before Fashion Week proved to be a logistical adventure. All of the galleries were open late for “Start Milano,” a collective inauguration of the fall shows. “The fashion traffic chaos has already begun,” Massimo De Carlo explained when I finally arrived at his gallery, in the former industrial district Lambrate. “It is no problem getting around with a bike!” shared artist Cristian Bugatti, aka pop star Bugo, who arrived breathless a few moments later. In the context, Massimo Bartolini’s installation upstairs—an entire room laced with pulsating religious

  • Left: Art-o-Rama codirector Jérôme Pantalacci and dealer Alix Dionot-Morani. Right: Artist and performer Mathis Collins. (All photos: Cathryn Drake)
    diary September 19, 2011

    Rama Lama Ding Dong

    THE OPENING OF THE ART-O-RAMA fair in Marseille on the first Friday of September was a great way to ease into the swing of the coming fall frenzy, with only thirteen galleries invited to show and the glistening Mediterranean within reach. Many of the booths took the form of curated solo exhibitions, such as Antonio Rovaldi’s fractured landscapes appropriated from magazines, comprising a tribute to Richard Prince, at Rome’s Monitor gallery, and the Bendana Pinel gallery’s pristine presentation of Steven Le Priol’s striking black-and-white cutouts warning against the violence augured in the current

  • Left: Artist Harold Ancart and dealer Xavier Hufkens. Right: Artist Michel François. (All photos: Cathryn Drake)
    diary May 06, 2011

    Collectors’ Call

    THE TWENTY-NINTH EDITION OF ART BRUSSELS was certainly the place to be last week for a breather between the Royal Wedding in London and Pope John Paul’s beatification in Rome. Brussels is elegantly retro and understated, cool and multicultural, and doing just fine without a national government—ironic considering it is the seat of the European Parliament. In any case, the art market here is robust and dependable, and Belgium has some of the most sophisticated collectors in Europe.

    Inside the Brussels Expo during the fair preview, the hallways were bustling with an urbane crowd resembling the

  • Marisa Albanese, Partiture per mani sole (Score for Hands Only), 2005, still from a three-channel black-and-white video installation, 3 minutes 20 seconds.

    Marisa Albanese

    Naples stands in the shadow of a time bomb, Mount Vesuvius, and the chaotic, colorful city itself is a memento mori. Marisa Albanese’s double exhibition, “Spyholes” and “Grand Tour 2.0,” was a meditation on the passing of time at different scales through the strange wormhole of personal experience under the volcano, a potent symbol of mortality.

    “Spyholes” was introduced by Partiture per mani sole (Score for Hands Only), 2005, three small videos, each framed in a hardback book, that chart blurry spatial paths as pairs of hands move in time to unheard musical compositions. A metronome clicking

  • Left: Christie's Amy Cappellazzo; Roger Mandle, executive director of the Qatar Museums Authority; and Art Dubai director Antonia Carver. Right: Artist Ilya Kabakov and chief boatbuilder David Harold. (All photos: Cathryn Drake)
    diary March 23, 2011

    Back to the Future

    THERE WAS A BUZZ in the air last week at the fifth edition of Art Dubai, with a new director, journalist Antonia Carver, and the fair’s proximity to regional regimes toppling one after another. I arrived at midnight on Sunday and my Syrian taxi driver sped us down the nearly empty multilane Sheikh Zayed Road through a corridor of skyscrapers, with the two distinctive towers, Burj Khalifa and Burj Al Arab, lit up on either side like alien beacons. Built from the desert up within the past decade—kitschy new villas, high-rises, luxury hotels, and an overwhelmingly multinational population—it looks

  • Left: Artists Christian Jankowski and Rainer Ganahl, dealer Enrico Astuni, and curator Lorenzo Bruni. Right: “Art First” curator Julia Draganovic and curator Lorand Hegyi. (All photos: Cathryn Drake)
    diary February 09, 2011

    First Family

    NEITHER RAIN NOR SNOW, Italian economic crisis nor Egyptian revolution, could stop Bologna’s Arte Fiera, the biggest and oldest art fair in Italy, from opening its thirty-fifth edition on the last Thursday of January. Clutches of elegantly dressed collectors chatted cheerfully in the expansive aisles of the city’s exhibition center, giving it the familial atmosphere of a reunion rather than a marketplace. Neapolitans seemed to have the majority, among them Aurelio De Laurentiis, nephew of film producer Dino and chairman of the SSC Napoli football team. A former resident offered a possible