The artist and actor Shia LaBeouf has found a new home for his anti-Trump video installation, HeWillNotDivide.Us. The public artwork, which New York’s Museum of the Moving Image in Queens had removed because it was “a flashpoint for violence,” opened at the El Rey Theater in Albuquerque, New Mexico, on February 18.
In a joint statement, LaBeouf and his artistic collaborators, Nastja Säde Rönkkö and Luke Turner, accused the Queens museum of caving to political pressures when it took down the work. An excerpt reads: “From the outset, the museum failed to address our concerns about the misleading framing of our piece as a political rally, rather than as a participatory performance artwork resisting the normalization of division. In fact, the museum demonstrated a spectacular lack of judgment—and courtesy to us as artists—by neglecting to consult us when they staged a political rally at the site of our artwork on January 29, 2017. On numerous occasions, we voiced serious concerns to the museum about hate speech occurring at the site of our project, and requested that the museum act responsibly in moderating this and providing the public a means of reporting such incidents. Our requests were not even acknowledged, let alone acted upon . . . It is our understanding that the museum bowed to political pressure in ceasing their involvement with our project.”
The Museum of the Moving Image removed the work on February 10, citing “ongoing safety hazards” that the work posed for visitors, staff, local residents, and businesses. In a statement on its website, the institution said that “while the installation began constructively, it deteriorated after one of the artists was arrested on the site of the installation and ultimately necessitated this action.” LaBeouf was the artist who was arrested. He was detained after quarreling with a man outside the museum on January 26. The institution said that threats of violence also contributed to its decision to shut down the piece.
Matthew Hemley of The Stage reports that Bath and the North East Somerset Council has approved a 100 percent cut to all arts funding within their budget. Equity, the UK trade union for actors and other creative professionals, has asked the conservative party’s Karen Bradley, the UK’s minister of culture, to intervene in the decision.
Grants provide theater companies up to about $6,200 annually. The council calculates that halting funding would save them nearly $540,000 by the year 2020. Equity is worried that Bristol’s city council will make similar cuts. Stephen Spence, Equity’s general deputy secretary, said, “The council has committed an act of cultural vandalism in Bath that will result in a new dark age for arts and culture in the region.”
A government spokeswoman, responding to calls made by Equity, said, “One of the best investments we can make as a nation is in our arts and museums. That is why the government has protected funding for National Museums to ensure they remain free to enter, and between 2015 and 2018 Arts Council England will invest approximately $1.9 billion of government and National Lottery funding,”
Performer Les Dennis said, “Our children should be encouraged to embrace the arts to develop their cultural outlook. If the arts aren't funded they won't be able to. We ignore its importance at our peril.”
Berlin-based African architect Diébédo Francis Kéré has been commissioned to design the 2017 Serpentine Pavilion in London’s Kensington Gardens. Kéré, who is from the village of Gando in Burkina Faso, is the first African architect to receive an invitation for the project.
This year’s pavilion takes its inspiration from a tree that serves as the central social hub in Gando. The pavilion’s supporting structure will be fabricated from steel, while the roof, made from wood, will be designed to look like the canopy of a tree. There will be four separate entry points that will allow visitors to wander easily throughout the open courtyard. An oculus on the building’s roof will funnel rainwater into a kind of splashing ornamental display before it is evacuated into a drainage system, also made from wood, for irrigating the park. The pavilion will continue to host its performance series, Park Nights, in addition to the Build Your Own Pavilion program, an architecture campaign funded by Bloomberg Philanthropies that “invite[s] young people to consider the relationship between architecture and public space.”
“As an architect, it is an honor to work in such a grand park, especially knowing the long history of how the gardens evolved and changed into what we see today,” said Kéré. “I am fascinated by how this artificial landscape offered a new way for people in the city to experience nature. In Burkina Faso, I am accustomed to being confronted with climate and natural landscape as a harsh reality. For this reason, I was interested in how my contribution to this Royal Park could not only enhance the visitor’s experience of nature, but also provoke a new way for people to connect with each other.”
A painting by Camille Pissarro and a drawing by Adolph Menzel—both from the collection of the late Cornelius Gurlitt, who had been hiding a trove of artworks inherited from his father, Hildebrand, an art dealer for the Nazis—have finally been returned to the heirs of the original owners, reports Catherine Hickley of the Art Newspaper. So far, a total of four artworks from the Gurlitt collection have been restituted. Ninety-one other works, from artists such as Paul Cézanne, Max Beckmann, Albrecht Dürer, Edvard Munch, Pierre-Auguste Renoir, and Edgar Degas, are greatly suspected of being sold under duress by or stolen from their Jewish owners.
Monika Grütters, Germany’s minister of culture, returned the Menzel drawing to the heirs of Elsa Helene Cohen on February 20. Cohen sold the work to Hildebrand in 1938 so that she could pay for her escape to the United States. The Pissarro was returned to the relatives of Max Heilbronn, a French Jewish businessman, on February 17. “Germany must do everything to clarify the personal fates of persecuted people like Elsa Cohen, who saw themselves forced into selling artworks at that time, and return them to the heirs with no ifs or buts,” said Grütters in a statement.
Dubbed the Spider-Man burglar, Vjeran Tomic has been sentenced to eight years in prison and ordered to pay a $212,000 fine by a French criminal court for stealing five paintings worth more than $110 million from the Paris Museum of Modern Art in 2010, Benoît Morenne of the New York Times reports.
Notorious for scaling buildings in order to commit robberies, Tomic made off with Georges Braque’s Olive Tree near l’Estaque, 1906, Fernand Léger’s Still Life with Candlestick, 1922, Henri Matisse’s Pastoral, 1906, Amedeo Modigliani’s Woman with Fan, 1919, and Pablo Picasso’s Dove with Green Peas, 1911, in one of the biggest art heists. Whether the works have been sold has still not been determined.
According to The Telegraph, Peimane Ghalez-Marzban, the presiding judge, said that Tomic, who was able to enter the museum by cutting through a padlocked gate and breaking a window, gained access to the building and evaded the security guards with “disconcerting ease.”
While in court, Tomic confessed that he was originally only commissioned to steal Léger’s still life and swiped the other four after he discovered that the museum’s alarm system didn’t go off. Tomic apparently took his time, wandering around the institution for an hour before making his escape.
Two accomplices, Jean-Michel Corvez, an antiques dealer who allegedly orchestrated the heist, and Yonathan Birn, a clockmaker who stored the works, will also serve jail time. They were given seven- and six-year sentences, respectively, and were fined around $159,000. All three men were also ordered to pay the city of Paris $110 million in compensation for the missing paintings.
The French police arrested Tomic in May 2011 after receiving an anonymous tip about a man hanging around the museum during the days leading up to the theft. Once detained, Birn claimed he had thrown the paintings in the trash. “I thought I was being followed by the police, convinced I was being filmed or spied on. I told myself that I couldn't get out of the building with the paintings and committed the irreparable,” he said.
Yet, both Corvez and prosecutor Anaďs Trubuilt remain unconvinced. In court, Corvez said Birn was “far too crafty” and that he would never “degrade himself by destroying the works.” Trubuilt said that the men “know very well that the day they leave prison, the paintings won’t have lost their value and that they can resell them.”
After joining Alt as director and curator of exhibitions just last year, Mari Spirito will step down from her position after February 28. The space originally opened on January 18, 2016. During Spirito’s tenure at Alt, the venue hosted exhibitions by artists such as Brian Eno, Mounira Al Solh, Ahmet Öğüt, and Rania Stephan.
She will continue her work with Protocinema—a nonprofit that organizes exhibitions traveling between Istanbul and New York—where she is the curator and founding director.
The Royal Academy of Arts is partnering with more than sixty galleries and auction houses to rebrand London’s Art Weekend as Mayfair Art Weekend, scheduled to take place June 30 through July 2 this year, according to Anny Shaw in the Art Newspaper. The event will see local galleries including David Zwirner, Hauser & Wirth, Lévy Gorvy, Victoria Miro, and Sadie Coles HQ come together for three days of special events.
The Royal Academy will host a free arts festival featuring temporary artworks by emerging artists in its courtyard as well as across Burlington House. Kate Goodwin, curator of architecture at the RA, said, “We are looking for the next generation who are not yet represented by the nearby blue-chip galleries.” The festival will also coincide with the institution’s “Schools Show,” an annual exhibition of works by students, and the 249th “Summer Exhibition,” the world’s largest open-submission exhibition.
Goodwin says the artworks that are currently transforming Burlington Gardens, which are scheduled to be finished in time for the RA’s 250th anniversary in 2018, have also built a bridge to the local art scene. “For 150 years our address has been on Piccadilly,” she says. “But now we have this new entrance to the north, which leads onto a community of art galleries. It is an opportunity to become an integral part of that.”
After a previous announcement of the artists who will exhibit in Iraq’s pavilion at the upcoming Venice Biennale, details regarding the ancient Iraqi artifacts that will be displayed alongside the contemporary works have been released by the Ruya Foundation, whose chair and cofounder Tamara Chalabi is curating the exhibition with Paolo Colombo.
Titled “Archaic,” the exhibition will feature forty artifacts spanning six millennia, from the Neolithic age to the Neo-Babylonian period, that were drawn from the collection of the National Museum of Iraq displayed alongside works by artists Luay Fadhil, Sherko Abbas, Sakar Sleman, Ali Arkady, Sadik Kwaish Alfraji, Nadine Hattom, Jawad Salim, Shaker Hassan Al Said, and Francis Al˙s. Most of the loaned objects have never left the country, except for a few which were recently recovered after the 2003 lootings of the museum.
The artifacts will include cylinder and stamp seals, cuneiform tablets, medical objects, a musical instrument, and figurines of animals, deities, people, and boats, as well as everyday objects such as jugs, sieves, and toys. A number of pieces were returned to the National Museum from the Netherlands via an Interpol directive in 2010. These include a Babylonian stone weight measure in the shape of a dove and a clay figurine depicting what is presumed to be a fertility goddess dating from around 5000 BCE. Highlights also include a distinctive cylinder seal from the Akkadian period that depicts three parallel scenes from the epic of Gilgamesh and a circular clay school text from the Babylonian period that was used to teach writing. The artifacts were selected by Tamara Chalabi, in collaboration with Qais Hussein Rashid, the director of the department of antiquities at the National Museum, his team, and archaeologist Lamia Gailani Werr.
Named after Italian artist Piero Manzoni’s piece Socle du monde (Base of the World), 1961, the Socle du Monde Biennale is co-organized by the ZERO Foundation in Düsseldorf and the Herning Museum of Contemporary Art (HEART) in Herning, Denmark. It will open on April 21 at the HEART, the Carl-Henning Pedersen & Else Alfelts Museum, Herning Hřjskole, and in the parks around HEART. Titled “To Challenge the Earth, the Moon, the Sun & the Stars,” the exhibition “pays homage to all great artists, before and after, who accepted the challenge of turning our world upside down.”
Running until August 27, the seventh edition of the biennial is curated by Mattijs Visser, the founding director of the ZERO Foundation, along with curators Olivier Varenne, Jean-Hubert Martin, Daniel Birnbaum, and Maria Finders. Assisting the team are Holger Reenberg, director at HEART and founding director of the biennial; Lotte Korshřj, the director at Carl-Henning Pedersen & Else Alfelts Museum; and Michael Bank Christoffersen, chief curator at HEART.
The full artist list is as follows:
Gerhard von Graevenitz
Herman De Vries
Hesselholdt & Mejlvang
Ilya and Emilia Kabakov
Jan J. Schoonhoven
Paul van Hoeydonck