Jennifer Allen

  • news December 16, 2002

    Fuchs Steps Down; Virilio's Accidents; Flick's Future

    This week in the European papers: Rudi Fuchs steps down from the Stedelijk; views on Paul Virilio's exhibition on accidents; and Berlin considers the Flick Collection.

    RUDI FUCHS TO LEAVE THE STEDELIJK: Last Thursday, Rudi Fuchs announced plans to step down from his position as director of the Stedelijk Museum in Amsterdam. Fuchs, who took the position in 1992, plans to leave in January 2003. The sixty-year-old curator will become a guest lecturer in the new chair for arts praxis created by the University of Amsterdam in association with the Rietveld Academie and the Hoge School voor de Kunsten.

    As de Volkskrant’s Anne van Driel writes, Fuchs has faced criticism in the wake of the fiasco surrounding the plans to rebuild the Stedelijk Museum. The Amsterdam

  • news December 09, 2002

    Bonami's Plans for Venice; Forgeries in Austria

    This week in the European papers: Francesco Bonami reveals themes and curatorial teammates for Venice in 2003; Arnulf Rainer helps police trace forgeries of his own works.

    WHAT TO EXPECT IN VENICE: Francesco Bonami unveiled detailed plans for the next Venice Biennale during a talk held last week at the university in his native Florence. As La Repubblica's Stefano Miliani reports, the fiftieth edition of the Biennale is called “Dreams and Conflicts. The Dictatorship of the Spectator” and will be presented “like an archipelago,” uniting such diverse and topical themes as survivors, displacement, illegal migrants, and utopia. “The dream and the conflict, the totality of the world against its political and geographical fragmentation, national aspirations in contrast

  • news December 02, 2002

    German Venice Commissioner; Art Press Birthday, and More

    This week in the European papers: the commissioner for Venice's German pavilion is named, Catherine Millet talks about Art Press at thirty, and a look at the state of Net art.

    JULIAN HEYNEN NAMED VENICE COMMISSIONER: Julian Heynen has been named the commissioner of the German pavilion for the 2003 Venice Biennale. As the Süddeutsche Zeitung's Stefan Koldehoff reports, the fifty-one-year-old Heynen directed Haus Lange–Haus Esters in his native Krefeld for over two decades before coming last year to Düsseldorf's K21, a new dependency of the Kunstsammlung Nordrhein-Westfalen dedicated to contemporary art. When Heynen's predecessor Udo Kittelmann was named commissioner for the German pavillion two years ago, it quickly became clear that Kittelmann's choice would be Gregor

  • news November 24, 2002

    Martha Rosler versus Video; ZKM's “Future Cinema”; and More

    This week in the European papers: an interview with Martha Rosler, a close-up on ZKM's “Future Cinema,” and a look at plans for Paris's art history library.

    MARTHA ROSLER RAILS AGAINST “VIDEO ART”: Artist and “agitator” Martha Rosler takes time out from her exhibition at the Maison Européenne de la Photographie in Paris to speak with Libération's Elisabeth Lebovici. Rosler cites feminism and the movement against the Vietnam War as the two most important influences on her work, especially her photomontages, which became more political after 1967. Rosler explains why so many women artists continue to choose photography today—“because you don't need a master teacher to take photographs”—and also relates her disappointment with the art historicization

  • news November 17, 2002

    Bern's Kunstmuseum; UNESCO Turns Thirty

    This week the European papers look at the Kunstmuseum Bern's identity crisis and the state of UNESCO's World Heritage Sites as the organization turns thirty.

    BERN'S KUNSTMUSEUM IN CRISIS: As dwindling budgets and disappearing sponsors have become increasingly familiar to museums, the financial problems at the Kunstmuseum in Bern have been compounded by a full-scale identity crisis. The decision to build a Paul Klee center outside the city implies that the Kunstmuseum will lose part of its impressive Klee collection. Possession of the Klee paintings has sustained the Kunstmuseum's reputation and has also allowed the institution to bring in spectacular works from abroad in the form of loans.

    In his report, the Neue Zürcher Zeitung's Samuel Herzog places

  • news November 10, 2002

    Michel Majerus Dies in Plane Crash at Thirty-five

    This week in the European papers: the tragic death of painter Michel Majerus; Andre Breton's possessions go on the block; and more.

    MICHEL MAJERUS DIES IN PLANE CRASH: Thirty-five-year-old artist Michel Majerus was among the victims of an airplane crash on November sixth in Luxembourg. Majerus, who was born in Luxembourg and studied in Stuttgart before moving to Berlin in 1992, forged a bold new brand of painting-installation, which combined pop-cultural and painterly concerns. Among his many memorable works was a painting that also served as a functional half-pipe ramp for skateboarders at the Kölnischer Kunstverein in 2000. In its report, FAZ.NET notes, “Majerus's images spread over walls and floors, ceilings and ramps.

  • news November 03, 2002

    Culture on the Move in Paris; Art Fairs in Paris and Cologne

    This week, European papers cover the proposed reoganization of several Paris cultural institutions. Plus: a look at FIAC and Art Cologne.


    Last week, France's minister of culture, Jean-Jacques Aillagon, held a major press conference to announce the fate of not only the Jeu de Paume but also several other major projects planned for the French capital. Libération's Hervé Gauville confirms that the Centre National de la Photographie will be moved into the building that houses the Jeu de Paume. The two institutions will merge into a single center dedicated to the image: photography, video, and multimedia. Employees at the Jeu de Paume, who are circulating a petition against the merger, plan to

  • news October 28, 2002

    Jeu de Paume, “Art-sharing,” Yoko Ono, and More

    This week, European papers cover the threat to Jeu de Paume, collective acquisitions of artworks, Yoko Ono's new peace prize, and a variety of new exhibitions.

    JEU DE PAUME TO CLOSE (OR MERGE)? Libération's Annick Peigne-Giuly reports on an emergency meeting held last Friday at the Jeu de Paume, the Galerie Nationale d'Art Contemporain located in the Tuileries gardens of Paris. Employees learned that the Ministry of Culture may dissolve the organization as it now exists in December 2003, when current director Daniel Abadie's term comes to an end. Jeu de Paume would then be merged with the Centre National de la Photographie, creating one new center dedicated to “the image” and located in a building at Place de la Concorde. “We are surprised,” said an

  • news October 21, 2002

    News from Rome; Architecture Overview

    This week in the European papers: Rome's new spaces for contemporary art, the battle over Italian heritage, and a roundup of writing on architecture.

    ROME’S NEW CONTEMPORARY ART CENTER: Il Manifesto's Arianna di Genova reports on the opening of MACRO—the Museo d’Arte Contemporanea di Roma. Born from Rome's Galleria Comunale, the new museum has its main exhibition space in the former Peroni Brewery, currently being remodeled by French architect Odile Decq. In addition to the brewery space, MACRO will also use two pavilions in the old Testaccio Abattoir for special projects. “It's our Palais de Tokyo,” writes di Genova, “A sort of multidisciplinary research laboratory with rotating exhibitions and various experiments, from concerts to performances.”

  • news October 13, 2002

    New Cultural Minister for Germany; Architecture and Design

    This week in the European papers: opinions on Christina Weiss, Germany's new culture minister, and a roundup on architecture and design.

    GERMANY'S NEW CULTURAL MINISTER: Christina Weiss has been named Germany's new state minister for culture. The forty-nine-year-old Weiss, who officially took over from Julian Nida-Rümelin last Thursday, headed Hamburg's Literaturhaus in the late 1980s before accepting a post in 1991 as the city's cultural senator. In his report for the Frankfurter Rundschau, Frank Keil recalls that it was she who canceled two publicly funded concerts by Karlheinz Stockhausen after the composer called the September 11 terrorist attacks a work of art. In an additional report, Christian Schlüter praises Weiss's “

  • news October 06, 2002

    New Belgian Art Center, Baltic Triennial, and More

    In this week's European papers: a new contemporary art center for Belgium, a Triennial with a history, and the German art councillor resigns.

    MUSEUM OF CONTEMPORARY ART OPENS AT GRAND HORNU, BELGIUM: Le Monde's Emmanuel de Roux visits the new Musée d'Art Contemporain (MAC), recently opened at Grand Hornu, an abandoned former coal-mining village near Mons, Belgium. Liège-based architect Pierre Hebbelinck added a new structure to a nineteenth-century brick complex, creating six thousand square feet of exhibition space, for a total of 25,500 square feet. To de Roux, the transformation—which cost 16.7 million euros—successfully unites the aims of “heritage” with the practices of contemporary art. He contrasts the site with Paris's Palais

  • news September 30, 2002

    Dercon Goes To Munich; The Stedelijk's Woes

    This week: European papers on events in the Netherlands

    DERCON HEADS FOR HAUS DER KUNST: Chris Dercon is leaving his position as the artistic director of the Museum Boijmans Van Beuningen in Rotterdam to head the Haus der Kunst in Munich. The forty-four-year-old Belgian, who has been at Boijmans for seven years, has signed a five-year contract in Munich and will officially take over for the current director, Christoph Vitali, in June 2003. NRC Handelsblad's report speculates that the change in Rotterdam’s political climate may well have hastened Dercon's departure. Recently, Dercon lamented the “Berlusconi culture in the city” since Leefbaar Rotterdam

  • news September 23, 2002

    Udo Kittelmann, Palais de Tokyo, and Louise Bourgeois

    In the European newspapers: praise for Kittelmann's first exhibition at MMK, inquiry into the Palais de Tokyo's “Art and Squats,” and a chat with Louise Bourgeois.

    FRANKFURT IN LOVE: How is Udo Kittelmann faring at Frankfurt’s Museum für Moderne Kunst (MMK)? The former head of the Kölnischer Kunstverein took over the MMK directorship from Jean-Christophe Ammann just over nine months ago. Kittelmann’s debut exhibition, “The Museum, the Collection, the Director, and His Loves,” selections from the MMK’s permanent collection, has evidently won over the critics. The Frankfurter Allgemeine Zeitung’s Thomas Wagner enjoys following the clues—starting off with “Wanted”-poster works by Marcel Duchamp, Andy Warhol, and Lucien Freud—that Kittelmann has left throughout

  • news September 15, 2002

    Munich's New Museum, Andreas Gursky, and More

    European papers report on a major new museum in Munich, a residency in Toulouse, Andreas Gursky's campaign poster, and contemporary galleries affected by Eastern European floods.

    MUNICH'S PINAKOTHEK DER MODERNE OPENS: The Süddeutsche Zeitung's Holger Liebs takes a preliminary tour of Munich's Pinakothek der Moderne, which opens this week after over ten years of planning and building. Artworks were still being installed during Liebs’s visit. “That's the fate of monumental museum buildings,” muses Liebs of the massive concrete structure designed by Stephan Braunfels. “At some point, the architecture loses its innocence, and the art moves in. In the case of the Pinakothek der Moderne, it's moving in quite rapidly.” While the Kunst der Klassischen Moderne galleries will be

  • news September 09, 2002

    The Moderna Museet, Documenta Ends, 9/11 Memorials and More

    This week, European papers visit the Moderna Museet, sum up Documenta 11, note Edinburgh's plans for a Guggenheim, and interview Peter Eisenman on 9/11 memorials.

    MODERNA MUSEET GOES NOMAD: Libération's Olivier Truc pays a visit to Stockholm's Moderna Museet and discovers a museum on the move. Last winter, the Moderna Museet was forced to close its doors for major repairs; the newly revamped building, designed by Rafael Moneo and completed in 1998, was overrun with mold. In December, after having left Tate Modern, director Lars Nittve took up his new position at the Moderna Museet and was forced to announce that the museum would remain closed at least until the end of 2003.

    Not one to be easily discouraged, Nittve opened a temporary exhibition space last

  • news September 02, 2002

    Portikus, the Smithsonian, the Johannesburg Summit, and more

    This week European papers look at new and old ideas for Frankfurt's Portikus and Berlin's Kulturforum; funding strategies at the Smithsonian in Washington, DC; and culture's role at the Summit for Sustainable Development in Johannesburg.

    PORTIKUS PLANS ANNOUNCED: What does the future hold for Portikus? The fate of the Städelschule's renowned exhibition space was thrown into question last May when the city of Frankfurt announced that the old city library—whose facade hides the Portikus exhibition container—would be rebuilt to house the Frankfurter Literaturhaus. Frankfurter Rundschau's Elke Buhr reports on the new plans for Portikus, which were unveiled by Städelschule director Daniel Birnbaum at a press conference in the city last week.

    Under the proposal, Portikus would be relocated to a new building at the Alte Brücke, Frankfurt's

  • news August 26, 2002

    Damage in Dresden, Eduardo Chillida, and Palais de Tokyo

    This week European papers take stock of the flood damage, pay tribute to Basque sculptor Eduardo Chillida, and look over some unfulfilled plans for the Palais de Tokyo building.

    DRESDEN ASSESSES DAMAGE: The Frankfurter Allgemeine Zeitung's Siegfried Stadler is the first to take stock of flood damage in the Dresden state art collections. Of the twenty thousand artworks evacuated—including four thousand paintings from the depot of the Galerie Alter Meister, which were moved in seven hours from the basement to the upper exhibition floors—twenty-five large-format paintings were damaged by moisture. Five large-scale baroque paintings, including a work from Paolo Veronese's studio, are still in the depot, rolled up against the ceiling and waiting to be removed. Losses include

  • news July 29, 2002

    US Museums, the Flick Collection, Documenta, and More

    This week European papers look at a crisis facing US museums, the ongoing saga of the Flick collection, US reviews of Documenta, and the World Congress of Architecture, held last week in Berlin.

    US MUSEUMS ON THE ROPES? In Boston, the Frankfurter Allgemeine Zeitung's Susanne Klingenstein attended a public conference on the future of museums organized by Harvard University Art Museums director James Cuno. The event is part of the university's renowned museum seminar, initiated by Paul J. Sachs in 1922 (illustrious alumni include the Metropolitan Museum's John Rorimer and MoMA's founding director, Alfred H. Barr). Joining Cuno were the Art Institute of Chicago's James N. Wood, MoMA's Glenn Lowry, the Metropolitan Museum's Philippe de Montebello, the Philadelphia Museum of Art's Anne

  • news July 22, 2002

    Museums, Museums, Museums—and Photography

    This week Jennifer Allen peruses stories on the Deichterhallen Hamburg and its departing director, Zdenek Felix; the Prado expansion saga; a new museum in the Basque region of Spain; the travails of a Yugoslavian museum trying to get back on its feet; a new photo archive in Basel, and the Rencontres Internationales de la Photographie, in Arles.

    MUSEUM SHUFFLE: This week, the Frankfurter Rundschau's Frank Keil devoted a column to considering what is going to happen to the Deichtorhallen Hamburg once the current director, Zdenek Felix, takes leaves for Berlin in the coming year. Felix, who has overseen the six-thousand-square-meter space for the past eleven years, is renowned for organizing successful exhibitions of Jeff Wall, Cindy Sherman, Joan Miró, and Marc Chagall, as well as “Post Human: New Forms of Figuration in Contemporary Art.” The search for Felix's successor has not yet begun in earnest, according to Keil, who places the

  • news July 15, 2002

    Mexico City, Diedrich Diederichsen, and More

    This week, Jennifer Allen parses a German review of P.S. 1's "Mexico City: An Exhibition about the Exchange Rates of Bodies and Values” and a conference organized by Diedrich Diederichsen. She also highlights new plans for French museums.

    THE MEXICO CITY EXHIBITION AT P.S. 1: The Süddeutsche Zeitung's Jörg Häntzschel visited New York’s P.S. 1 to take in “Mexico City: An Exhibition about the Exchange Rates of Bodies and Values,” curated by Klaus Biesenbach, the director of Kunst-Werke in Berlin and chief curator at P.S. 1. The “brilliant” exhibition, which features works by Ivan Edeza, Jonathan Hernández, Daniela Rossell, Santiago Serra, Francis Alÿs, Teresa Margolles, and others, highlights the integration of the body into the era of global capital: “It's no longer just labor force that a human being brings voluntarily or