Nachruf: «Der Unternehmer, Galerist, Kunstsammler und Mäzen Hansfried Defet im Alter von 90 Jahren überraschend gestorben»

Das «Neue Museum Nürnberg» in der Außenansicht
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Fotos von unserem Redaktionsfotografen Andreas Baier

Hansfried Defet
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Noch am 16. September 2016 nimmt Hansfried Defet anläßlich seines 90. Geburtstages, auch ausdrücklich im Namen seiner seit längerem verstorbenen Frau Marianne, die Gelegenheit wahr und erläutert im Rahmen seiner Pressekonferenz im «Neuen Museum Nürnberg» eine weitere großzügige Schenkung von 50 Arbeiten aus seiner Sammlung an eben jenes Haus. Damit krönt der Nürnberger Pinselfabrikant, ehemalige Galerist und Kunstsammler sein mäzenatisches Lebenswerk. Nur sechs Wochen später ist Hansfried Defet gestorben.

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Bildunterschrift: Hansfried Defet (sitzend) während seiner Sammlungspräsentation «Raum um Raum. Schenkung Marianne und Hansfried Defet» umgeben von Journalisten. Direkt links neben ihm im Bild der Leiter der Sammlung des Museums, Dr. Thomas Heyden, sowie die stellvertretende Direktorin und Leiterin des Referates für Öffentlichkeitsarbeit, Eva Martin (am rechten Bildrand).

Die zweite große Schenkungstranche umfasst unter anderem Werke von Peter Angermann, Horst Antes, Johannes Brus, Rolf-Gunter Dienst, Christian Faul, Günter Fruhtrunk, Hildegard Fuhrer, Johannes Geccelli, Gotthard Graubner, Erich Hauser, Gisela Kleinlein, Bernd Klötzer, Werner Knaupp, Gerhard Mayer, Christiane Möbus, Andreas Oehlert, Karl Prantl, Josua Reichert, Hans Peter Reuter, Susanne Roth, Dashdemed Sampil, Alf Schuler, Anne Sterzbach und Lea von Wintzingerode.

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Hansfried Defet wurde 1926 in einer Pinselmacher-Familie geboren und übernahm nach dem Tod seines Vaters den 1890 gegründeten Betrieb, der sich seit 1930 in Familienbesitz befindet. Den Eingangsbereich der «da Vinci Künstler- und Kosmetikpinselfabrik Defet GmbH» stellten er und seine Frau seit 1965 jungen Künstlern für die Präsentation ihrer Werke zur Verfügung – der Beginn einer über Jahrzehnte langen engagierten Galeristentätigkeit. Und wer «A» sagt, sagt natürlich auch «C», weshalb das Ehepaar Defet konsequenterweise ebenfalls an der Gründung der «Art Cologne» beteiligt war; und selbstredenderweise auch den von 1981 bis 1985 mit 10.000 Mark dotierten Defet-Preis des «Deutschen Künstlerbundes» stiftete. Nutznießer dieser fünf wunderbaren Veranstaltung waren Albrecht von Hancke, Johannes Brus, Hiromi Akiyama, Gisela Walther und, of course, Timm Ulrichs. (Über die Gründungsphase der «Art Cologne» berichtete Meerschweinchenreport hier).

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Bildunterschrift: Für dieses Portrait von Hansfried Defet ließ sich unser Redaktionsfotograf von einer riesigen, weitestgehend schwarzen, Arbeit des Künstlers Werner Knaupp inspirieren, die ebenfalls zum aktuellen Schenkungskonvolut gehört.

Die Galerie Defet schreibt auf ihrer Website: «Unsere Galerie wurde 1965 in den Räumen der ‹da Vinci Künstlerpinselfabrik› gegründet. Sie war nach dem Krieg die erste zur Förderung junger Künstler eingerichtete Privatgalerie Nürnbergs, die ihr Programm auf den Kunstmärkten in Basel und Köln einem internationalen Publikum vorstellte. Über 200 Ausstellungen wurden in den zurückliegenden Jahrzehnten organisiert, wobei u.a. auch die Performance-Scene der 70er und 80er Jahre eine hervorgehobene Rolle spielte. Unsere Aktivitäten im Bereich der Skulptur hatten im Dürerjahr 1971 mit dem ‹Symposium Urbanum› einen besonderen Höhepunkt erreicht. Bereichern doch eine Reihe der seinerzeit entstandenen Plastiken noch heute das Stadtbild Nürnbergs. Mit Ende der Ausstellung Reuter-Fuhrer ruhen die Aktivitäten der Galerie.»

Zu den von der Galerie Defet vertretenen Künstlern gehörten: Hiromi Akiyama, Peter Angermann, Horst Antes, Reiner Bergmann, Jürgen Bordanowicz, Johannes Brus, Nicola Carrino, Thomas Eller, Christian Faul, Johannes Geccelli, Rupprecht Geiger, Gotthard Graubner, Edgar Gutbub, Gisela Kleinlein, Bernd Klötzer, Werner Knaupp, Herbert Koller, Nikolaus Lang, Alf Lechner, Johan Lorbeer, Karl Prantl, Christiane Möbus, Josua Reichert, Hans Peter Reuter, Alf Schuler, Anne Sterzbach, Timm Ulrichs und Lambert Maria Wintersberger.

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Der Oberbürgermeister der Stadt Nürnberg Dr. Ulrich Maly: «Für die Kultur der Stadt Nürnberg ist der Tod von Hansfried Defet ein großer Verlust. Die Nürnberger Kunstszene, viele Künstlerinnen und Künstler und Kunsteinrichtungen haben Hansfried Defet ungemein viel zu verdanken.» Und die Kulturreferentin der Stadt Nürnberg, Prof. Dr. Julia Lehner, würdigt Hansfried Defet als leidenschaftlichen Förderer zeitgenössischer bildender Kunst: «Das Atelier- und Galeriehaus Defet, der Skulpturengarten an der Stadtmauer, die von ihm ins Leben gerufene ‹Marianne und Hans Friedrich Defet-Stiftung› und seine großzügigen Gaben an das ‹Neue Museum› werden als sein Vermächtnis bleiben.»

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Es ist alles andere als alltäglich, daß ein Unternehmerehepaar nicht nur das eigene Unternehmen sukzessive erfolgreich ausbaut, expandiert, expandiert und expandiert, sondern darüber hinaus auch noch eine Galerie gründet, die schon nach wenigen Jahren zu einer der ersten Adressen im Segment der zeitgenössischen Kunst avanciert. Und wenn man dann noch liest, daß Marianne und Hansfried Defet ihre Galerie ursprünglich wegen einer weiteren Expansion des eigenen Unternehmens geschlossen, dies aber nicht lange durchgestanden haben, was zur Wiederaufnahme des Galeriebetriebs führte, dann läßt sich leicht ablesen, daß nur wahre Leidenschaft einen dazu befähigen kann, solche Extraenergieleistungen konstant zu erbringen.

Dieser Sachverhalt wird auch von einer Anekdote gestützt, die Hansfried Defet Mitte September anläßlich seiner hier gegenständlichen Pressekonferenz im «Neuen Museum Nürnberg» erzählte, als er Horst Antes einmal mehr in seinem Atelier besuchte, um ihn darüber zu unterrichten, daß er gerade eine große Arbeit von ihm verkauft habe. Aber anstatt Horst Antes die marktübliche Provision für seine Tätigkeit zu berechnen, zog er es lieber vor, sich von ihm mit einem weiteren Bild vergüten zu lassen. So handelt eben nur jemand, dem es in erster Linie um das Sammeln und die Förderung von Kunst geht.

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Mit Hansfried Defet hat sich nicht nur einer der ganz Großen vom Parkett der internationalen Kunstszene für immer verabschiedet, sondern mit ihm ist einmal mehr einer jener Humanisten verschwunden, diese adäquat zu ersetzen, sich unsere hinreichend seltsam mutierte Gesellschaft derzeit leider nicht in der Lage sieht.

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Kunstszene: «Günter Uecker im Wandel der Zeit»

1986: Günter Uecker in der Galerie Dorothea van der Koelen
Foto von unserem Redaktionsfotografen Andreas Baier
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2016: Günter Uecker auf der Art Basel
Foto von unserem Redaktionsfotografen Andreas Baier
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Telegrammstilesk ließe sich sagen: Lediglich die Rundungen der Schädeldecke Günter Ueckers sind geblieben – alles andere hat sich geändert. Aber ist das der Erkenntnis letzter Stand der Dinge? Und: Ist es nicht eigenartig? Da bringt man nur mal eben so zwei Fotografien in einen thematischen Bezug zueinander – und schon bietet sich einem die Gelegenheit, – im Idealfall – stundenlang über die «Wirklichkeit der Wirklichkeit» zu philosophieren. Und/oder über die «wirkliche Wirklichkeit im absolut Wahrhaftigen». Und/oder über die «wirksame Wirklichkeit im wahrhaftigen ABSOLUT». Und das Ganze abwechselnd in weiß, schwarz, grau und/oder irgendwie auch hinreichend farbig inszenierten Räumen – mal mit und mal ohne die segensreiche Unterstützung eines modernen TV-Geräts. Sie merken, liebe Meerschweinchenreportleserinnen und Meerschweinchenreportleser: Die Rezeption von Kunst ist eine höchst individuelle und gelegentlich auch verzwickte Angelegenheit. Und damit das auch weiterhin so bleibt, findet unser kleiner Besinnungsaufsatz mit nachfolgendem Satzzeichen sein wohlverdientes Ende. Naja, fast:

Magazin KUNST,
Titelbild, 13. Jahrgang, Nr. 52, 4. Quartal 1973, DM 7,50
Thema: Kunst und Fernsehen.
Abbildung: Günter Uecker, Benagelter Fernsehapparat.
Foto: Bernd Jansen.
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Art|Basel|2016: «Dan Holdsworth’s ‹Continuous Topography› series presented in Audemars Piguet’s ‹Ice Cycle Lounge› created by Sebastian Errazuriz»

All photographs by Andreas Baier
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When visiting one of Art|Basel’s most adorable places, the «Collectors Lounge» on 2nd Floor, it is very hard to ignore Audemars Piguet’s shiny and gleamy «Ice Cycle Lounge», the homebase of Switzerland’s oldest watchmaking company on world’s best art fair. The object in the spot of this photograph is the «ice tank», composed of illuminated acrylic rods which will flash to mimic the regular rhythm of a heartbeat – and has been designed by Sebastian Errazuriz who is, by the way, responsible for the booth’s complete design.

Short before the press conference is about to start the journalists celebrate a relaxed form of open queueing in a professional manner – ça veut dire that they pretend being interested in something else.

In the background there is one piece from Dan Holdsworth’s ‹Continuous Topography› series to be seen. Later, during the press conference, we will learn that Holdsworth’s pictures are the result of a mixture between analogously manufactured photographs and digital imaging. The artist says that everything is a matter of precision.

And that fits perfectly to skill #1 when it comes to watchmaking: precision. As a visitor of Audemars Piguet’s booth you can also gain a deep insight into the richness of detailed work that needs to be done when creating or repairing watches with mechanical clockworks:

It’s a bit of a surprise but all journalists made it to their seats unfrozen.

Audemas Piguet’s CEO, François-Henry Bennahmias, introduces the design of the «Ice Cycle Lounge» and it’s creator, Sebastian Errazuriz, to the audience.

The artist and designer Sebastian Errazuriz explains the way he works. He calls himself «a prodigious and obsessive workaholic». Or, according to Henry Ford’s most famous quote: «Before everything else, getting ready is the secret to success.» About his creation for Audemars Piguet specifically he announces: «I was humbled by the craftsmanship and ingenuity of the Audemars Piguet watchmakers in Le Brassus. the work they have been doing for almost two centuries is so incredible that any creative person who visits their installations will feel inspired to hold themselves to a higher standard of gravitas, beauty, and precision. the new lounge will hopefully become an experience for its visitors, managing to steal their attention and offering them a space to take a moment to think about time.»

According to his website: «Sebastian’s work has been featured in multiple magazine covers and portrayed in thousands press articles by the specialized art and design media. He has also received critical acclaim from The New York Times, The Financial Times and The Wall Street Journal, Art+Auction. In addition, his work has been featured in mainstream TV in BBC, CNN, ABC, and NY1. Multiple books and catalogues feature his projects and his first monograph The Journey of Sebastian Errazuriz was published and distributed internationally by Gestalten in 2012.»

The artist Dan Holdsworth’s explains that his photographs deal with the phenomenology of technology, place, and consciousness, and are reflective of his profound engagement with photographic history. Holdsworth’s scenes are shot on site at exotic locations around the world, chosen for their pre-historic, futuristic, or metaphysical resonance. According to Patricia Low’s website «it takes up to one year to produce, the otherworldly effects of his landscapes are achieved through both analogue and digital processes; his images never falsify information, but rather enhance the invisible ‹truths› that are normally imperceptible to the human eye but can be visually evidenced on film. Holdsworth’s work has been featured at museums such as Tate, Photomuseum Winterthur, and the Pompidou Centre.»

Monsieur François-Henry Bennahmias cannot help but stating that «the awe-inspiring detail with which Holdsworth’s images are created echoes the precision and accuracy at the heart of Audemars Piguet’s watchmaking.»

Jasmine Audemars, the VR-President of Audemars Piguet, states that «Dan’s work portrays the Vallée de Joux in the Jura Mountains, the watchmaking company’s home, in all its glory and perfectly embodies Audemars Piguet’s philosophy: ‹to break the rules, you must first master them›» She continues that «each of Holdsworth’s works reveals millions of minutely calibrated measurements, showing the surfaces of the Vallée de Joux.».

She also says that «bridging the worlds of science and art, each image is created with the latest photogrammetry and geomapping technologies. It is the result of weeks of meticulous fieldwork in conjunction with a research geologist, amassing hundreds of photographic images. Through a specially configured computer programme correlating these images to GPS coordinates, Holdsworth has created astonishing three-dimensional models of the landscape, which offer us a new form of what he calls ‹future archeology›».

François-Henry Bennahmias and Sebastian Errazuriz.

A soundproof room serving as a private vault is enveloped with custom-designed panels illustrating icicles, stalactites, and stalagmites and feature a series of timepieces on display. At this place you can hear the mechanically ticking clockworks as if they were directly implanted into you ears. This will definitively help to make plastic surgeons jobless. More about this amazing «Ice Cycle Lounge» on designboom.

More about Dan Holdsworth’s work on Audemars Piguet’s website.

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Art|Basel|2016: «An Incredible Evening With Douglas Gordon And Hans Ulrich Obrist At Fondation Beyeler»

All photographs by our staff photographer Andreas Baier
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Please note:
In order to honour this great event at its utmost deserved way and to give our readers a referable idea what it was all about; and how this amazing happening took place; the following description has been originally written in German and was sent through translation row afterwards: Step 1 – French; step 2 – Italian; step 3 – Swedish; step 4 – Chinese (Traditional); step 5 – English. Should you wish to find out the real meaning of the lines below you might like to decode by re-translating them backwards. We used this translation pool. We are pretty far from sure if this will work but we are more than happy to wish you good luck!

View out of the window at Fondation Beyeler

What a beautiful «Art dialogue» of the Foundation Beyeler. Hans Ulrich Obrist directly from London, due to the associated traffic problems, too late, which is why the artist Douglas Gordon invited replace public bath on the podium and make their short-term social seemingly absurd dialogue.

Selbstgeimkerten he took a cup of honey, let it go through the audience, is aufdaß all its costs time. When the challenge audience – originally scheduled for the end of the evening was not observed in all cases – beginning of the problem, rather than as usual, at the end of the event. The basic feeling dadaeske seems even now, by the public, because the first question is that you can easily have a response from Douglas Gordon ironic, but came back. «I’m the best political bees?» «No, bees can not pull so easily.» And before the audience has been able to explain what this sentence misunderstanding we finally managed to find a way to overcome hatred. Violence then laughed, not to mention the name, word and gesture of bad habits – like some other artists – turning Nazi greeting into absurdity good movie!

And now, simulation based on the social networking pioneer: tattoos. Old «show who you are – and wear» memory shirt. In this context, long no longer apply. This is quite uncomfortable to use and a «slap in the face» registry is now completed by a qualified tatto studios: personal conviction, a special word of perseverance or sometimes just a shopping list will be clearly visible and indelible stripes. When the surface of the skin, Douglas Gordon, which means «do so forever.»

Hans Ulrich Obrist is now entering the building; and the stadium. Soon after, he threw himself in a variety of content including: white – Hongjian control. In line with the rest of the event. Eventually, Douglas Gordon, turn the bottle choose to invite the audience on the stage, talk to them and ask them to sing their favorite button. The rest of the crowd joined in, which is a more spontaneous and whistling chord Summkonzert. Reward knowledge: Flaschendrehen seem to international practice.

Last, but not all of the participants in the photo, said the custom client. Great cinema!

Sam Keller, the director of Fondation Beyeler, introduces the audience right in the center of a quite bloody projection by the artist Douglas Gordon.

Douglas Gordon gets his mike right.

Since Hans Ulrich Obrist still sticks in a traffic jam at the airport Douglas Gordon invites Sam Keller to share some absurd thoughts with the public.

Douglas Gordon’s credo: «do so forever»

Hans Ulrich Obrist arrives.

Our staff-photographer loves photographs from people standing right in the projection light of a beamer.

Our staff-artist loves to create artistic portraits based on real photographs.

With the help of this little bottle friend Douglas Gordon convinces selected members of the audience to enter the stage.

A perfect performance by «The Mothers’ Whistlers».

Also the sound of a popping bottle cork is part of the sound collage, which is caught by Douglas Gordon and Jonas Mekas.

Hans Ulrich Obrist is documenting the performance.

A group shot of all members of the audience …

… conducted by the artist Douglas Gordon.

Real happiness has many faces.

The Fondation Beyeler also offers perfect conditions as a daylight studio for photography as well. Here: Sam Keller, director of Fondation Beyeler, and Jonas Mekas, the «godfather of American avant-garde cinema».

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Andreas Baier: «Markus Lüpertz»

Markus Lüpertz als urbaner van Gogh
auf dem Weg zur «Art Basel»

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Der Künstler Markus Lüpertz ist eine der großen internationalen Künstler-Ikonen im «Lebendmodus». Unserem Fotografen ging es darum, seine ausgeprägte Vitalität möglichst facettenreich zu visualisieren.

Markus Lüpertz detailliert

Markus Lüpertz vor dem Haupttor der «Art Basel»

Der Status Quo des Portraitlangzeitprojektes unseres Redaktionsfotografen.

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Art|Basel|2015: «Großer Luxusbildbericht!»

Jan Delay in der «Art Collectors Lounge» auf der «Art|2015|Basel».
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Alle Fotos von Andreas Baier

Etwas mehr als sehr spät veröffentlichen wir die Supersonderluxusbilderfibel unseres Redaktionsfotografen Andreas Baier über die weltbeste Mutter aller Kunstmessen: die «Art|Basel» in – natürlich – Basel. Aber nicht nur gut Ding will Weile haben, sondern auch ein mit viel Liebe hergestellter Rotwein möchte nicht einfach hinuntergeschüttet werden. Wenigstens sollte man nämlich vorher noch die Flasche geöffnet haben – bevor man sie sich fachgerecht an den Hals setzt; wobei der gut informierte Kenner der Materie längst weiß: Ohne Korkenzieher gehen da manchmal schon ein paar Jahre ins Land. In die Toscana? Auch.

Die Art|Basel ist nicht nur die weltbeste Kunstmesse, sondern auch ein exklusiver Ort der Ruhe, Besinnung und Entspannung.

Was erwartet unsere Meerschweinchenreportleserinnen und Meerschweinchenreportleser? Zum einen ziemlich viel Kunst. Klar. Zum anderen scheinen die Grenzen zwischen Sammler und Künstler, zumindest was das Äußerliche angeht, zu verschwimmen. So wird manches Baier-Bild die berechtigte Frage aufwerfen: Sammler oder Künstler?

Ganz inkognito und immer ein besonderes Highlight:
Gilbert & George beim Messerundgang.

Zusätzlich erhalten Sie einen schönen Einblick in den exklusivsten Teil des Messegeländes: die «Art Collectors Lounge» (siehe Titelbild). Dort versüßen u.a. Promotiongaben von schmackhaftem Mövenpick-Eis den millionenschweren Kunsterwerb. La vie est une Pralinenschachtelle, n’est-ce pas? Und wer meint, diesen Sachverhalt kritisieren zu müssen, der mag sich vergegenwärtigen, daß ausgewiesene Kapitalismuskritiker, beispielsweise namens Lenin, Ho Chi Minh, Che Guevara oder Mao Tse-tung allesamt Diktatoren und Massenmörder waren.

Darauf haben Kunstsammler überall auf der Welt lange warten müssen: Das genüßliche Ausruhen in der sozialen Hängematte wird für gefühlte € 2,5 Millionen pro Stück endlich gesellschaftsfähig. Endlich.

Doch zurück zum herrlich gepflegten Sandkasten für erfolgreiche Erwachsene und damit zum hinreichend avisierten Bilderkompendium der «Art|Basel 2015»: hier. Enjoy! Und: Möchten Sie auch dieses Jahr wieder zur «Art|Basel»? In der Zeit vom 16. bis zum 19. Juni haben Sie einmal mehr Gelegenheit dazu!

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Art or Visitors

Visitors on Art|2015|Basel
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Photo by our staff photographer Andreas Baier

It happens more often than you might think: harmless visitors of art fairs were recognised to be expensive art works; here in this case supposedly created by Fernando Botero. The unpleasant consequences: the victims will spent their time as long in custody until they will have paid their duty. For these three fellows an unsolvable problem; and it seems that the Swiss authorities are not willing to discuss this delicate matter any further until the responsible art dealer’s identity to whom ownership can be declared has been brought to the authorities’ attention.

Contrarily to this, the new German «Kulturschutzgesetz» that allows the German government to confiscate almost any kind of artwork – without a proper compensation – that might be interpreted as «an important piece of the national cultural identity», shall be seen as a second-rate joke. Therefore, in Germany no one really cares – except artists, art dealers, art collectors, directors of museums, art critics, at least almost everybody who does not call himself a bloody socialist.

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Andreas Baier: «Kasper König»

Kasper König auf der Art|Basel|2015
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Aus der Sicht unseres Redaktionsfotografen war dieses Portrait von Kasper König längst überfällig: kulturelle Stringenz gepaart mit einer zarten Portion Wahnsinn. Vielleicht ist es aber auch kultivierte Überlegenheit, die mit Licht unterfüttert den konstruktiven Dialog mit seinem Nachbarn aufnimmt.

via Andreas Baier

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Andreas Baier’s brand new «Curriculum Vitae» presenting his outstanding flashlight paintings out now!

Cover «Curriculum Vitae» with an essay by Klaus Honnef
about Andreas Baier’s amazing flashlight paintings

To our most favourite delight, our staff-photographer’s amazing flashlight paintings are pretty much known on the international art market. In the 1990s he caused one stirr after the other; his cibachrome-based vintage prints had been published and exhibited thoughout the world, even as far as «people»-magazine in China and went additionally under the hammer at Sotheby’s – only two years after they were introduced to the market for the very first time.

Art collectors who made the decision adding them to their collections must have felt a bit hard about the idea of reselling them because for the first decade of the new millennium there was a larger break in the public awareness history of Andreas’ flashlight paintings; a gap mostly welcomed by the artist to use this marvellous opportunity to celebrating extended teatime proceedings:

flashlight painting (Blitzlichtgemälde) «Teatime»;
Cibachrome Vintageprint by Andreas Baier

Or realising other projects. Now, however, they are back on stage; are to be seen on art fairs such as the Art|Basel in Switzerland. Honouring this development and since the artist does not exhibit his work anymore, a gorgeously looking and nicely designed booklet has been freshly squeezed and pressed and published and brought to life, which is meant to provide art collectors with a proper insight into Andreas Baier‘s work and informs about the world he mentally still lives in. This catalogue also contains an essay by Prof. Klaus Honnef about Andreas Baier’s flashlight painting technique.

flashlight painting (Blitzlichtgemälde) «Cube Base» –
created on the Outer Hebrides; Cibachrome Vintageprint by Andreas Baier

In total: 72 nicely designed pages, covered in a luxurious hardcover outfit which makes not only the content worth owning it but also its price explicable: € 45,-.

ISBN 978-3-7347-5365-7

Amazon: click.
Sneak preview: here.

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Sneak Preview: «Art |44|Basel|2014»

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It is very easy to say that this year’s Art Basel was again a great art fair, which in fact it was. Art Basel is still the best art fair in the world and its mangement does everything to ensure that it will remain precisely as such.

These photographs are just to be seen as some tasty tapas to enlighten your most adorable appetit. We’ve got to present you fresh and humorous artwork, relaxed art dealers and VIPs such as Kevin Spacy or Warren Edward Buffett. So, best you stay tuned.

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James Ronisetti: «Cloud Faces»

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Have you ever heard anything about an artist who calls himself James Ronisetti? Well, if you are a regular reader of our Meerschweinchenreport then you must have come across these two small features (1 + 2) about him.

But is this really him? Well, please allow us to put it this way: It is not. We always wanted to feature him and he always rejected our gentle and tender offers. So, we had to paint him black, had to pump him up with air, had to put him in an envelope, properly addressed and stamped – of course; and that all in order to send him by mail to somebody somewhere. In short: we properly blackmail him; he enjoyed it – and finally HE saw that it was good.

As a result of that he gave us an interview during last year’s Art|Basel. We just talked about the necessity of nothing and about necessity as the mother of invention when suddenly Eli Broad popped around and provided us with his intentional vision of the meaningfulness of the means as a legitimate possibility to interpret oneself.

It was clear that both were making fun of us, which made us feel quite comfortable because fate told us that it was not only good but fair enough as well. Finally Ronisetti allowed us to publish this one print as a reference to his brand new sequence Cloud Faces. Normally, he strictly rejects being brought to public at all, so we felt – in the end – that it was not only fair enough but good to legally do so.

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Im längst mit Spannung erwarteten Buch «Der Sendemast, der Sendemast und der Sendemast» publiziert der Taschen Verlag zur kommenden Art|43|Basel die darin abgebildeten Sendemastanlagen in jeweiliger Originalgröße:

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Art|41|Basel – The Ultimate Photobook!

To go to the magic Full-Monty-Art|41|Basel-Photo-Collection just click on its cover above!

Declaration of Independence:
******

You know yourself pretty well. I know myself pretty well as well. So, this automatically means that we already know each other pretty well. And that‘s nothing but perfect.

We are all adicted to art. That‘s our fundamental understanding. Whatever you might have decided how to make the most out of your days during Art|41|Basel; this is what I did: Creating a digital photo-booklet containing some 200 photographs showing famous and less famous art collectors, gallery owners and artists from all over the world – not to forget the grand design opening on Vitra Campus.

And, of course, I turned the Art Collectors Lounge into what it has already been: a highly illuminated stage for those who cannot wait to see and to be seen. This section is entitled: VIP Lounge Express.

Finally, just in case you might like to find out a bit more about me, myself and my work I have attached some facts and portraits I took from Sir Peter Ustinov or Bill Gates or Gerhard Richter at the end of this booklet.

******Enjoy yourself******

What you see here is not the complete photo-booklet, these pictures are just the openers of each chapter – apetizers making you hungry for more; for more information, more colourful pictures, more motion stairs, more intelligence on two legs – at least more human frozen fingers on artistic canvas. Frozen fingers? Yes, frozen fingers. In art, there shall be no limit.

Wherever there is art there is design. Wherever there is design there is art. Especially when it comes to limited editions on both sides. A perfect marriage that shall not be jeopardized. Take a short look into this great fair – and do what you have been programmed for by mother nature: just be happy!

First choice is first choice is first choice. Did you ever dream of buying your favourite Picasso on Art|Basel but someone else was quicker than you? What a shame! The only rule that has the power, the unbeatable strength of well polished teeth and – of course – the dignity of helping you taking full revenge is simply to show up at its earliest moment in order to smile in front of still closed entrance doors. Even then you are not alone but surrounded by privileged people being privileged the same way as you are. And that’s a start, isn’t it?

Imagine furthermore that you favourite Picasso has already been sold. Nor have you been outstandingly slow in rushing up the motion stairs on your way to your personal Picasso-Dealer neither did you lose your wallet in an unexpected move that could have been interpreted by a less informed earthling as a nice try to perform Michael Jackson’s most legendary moonwalk. But, as a matter of fact, now you are thinking of Michael Jackson and Michael Jackson makes you think of E.T. probably the same way Andy Warhol was thinking of Michael Jackson in general and E.T. in particular when he just left the cinema one day. So here we are and there you go with a unique Warhol under your shoulder, showing a cloudy E.T. making transparent all the obvious things you might have got in common with Andy Warhol and Michael Jackson: first of all an astronomic phone bill. Congratulations!

But is that all? Can a painting really be able to replace a book? Especially, when we are talking about perfect books? Sure? You know the rule! Which rule? Well, that rule: If you haven’t been to Taschen you haven’t been to Art|Basel.

Is there anything left to say about Gerhard Richter? Yes, the value of the prize tags for his work should be upgraded significantly. Why? That’s why! Well, let me a bit more specific: Do you see the yellow Madonna created by Katharina Fritsch? On the over-next picture? Yes? Good, because now you know why…

The vernissage started at 7 pm and ended at 9 pm.  All the Picassos, Miros, Clementes, Basquiats, Dubuffets, Serras, Seurats, Stellas and other premium class artist’s work was already sold out. So, now there was enough space for a quite relaxed atmosphere, an atmosphere that made freshly grounded coffee and intelligently looking dialogues between art collectors, artists and their dealers possible. I am not willing to break any rule of confidentiality, which ça veut dire that I am not going to let you know anything of what I have heard while rumbling and tumbling around and through the corridors.

But, as an emotional compensation, I will quote one of my favourite quotes taken from the unbelievable movie “Mr Bean“. Burt Reynolds plays General Newton who just paid the lovely sum of some $50m for America’s most important painting named “Whistler’s Mother“. General Newton addresses on the Grand Art Opening to the public: “I am not a particular art lover. I don’t know the difference between a Picasso and a car crash. But I love my country. And I can’t stand that some Frenchies own America’s most important painting. (He reaches out for the magnetic chip card in order to reveal the painting. He pushes the card into the slot.) Welcome home, ma!”

Well, after such a tremendous speech of infamy, it should be bright and clear that General Newton’s mother’s skin turned yellow – with immediate effect.

That the artwork, which is waiting to be bought on the Art|Basel can not be seen as the cheapest on the planet, has been already communicated quite properly – as I think. Another proof (picture above) for that might be seen in the fact that even elephants are visiting the Art|Basel only with heavily filled wallets, ready to blast each second.

Does this really need an explanation?

If the sun shines there is not better place to be on Art|Basel…

If the sun does not shine that much there is no better place to be on Art|Basel…

If it is raining there is no better place to be on Art|Basel…

Well, in this case I took a Koons from my own private collection with me, attached the pierced snail against the column, and shortly after finishing the picture an art collector just came around the next corner and integrated this lovely piece of artwork straight into his own private art collection. Fortunately, we managed to settle an agreement about the fee without greater difficulties.

Well, this house named VitraHaus built by Herzog & de Meuron you really should visit personally. And I mean it the way I say it.

As I said…

Would you like to read more about the Art|Basel? You can do so here. However, you have to be familiar with the German language.

Vitra Design Museum

Being a regular consumer of meerschweinchenreport you already know that we always keep an eye on vitra. So did we in August 2008 when they were celebrating their eye-catching Ampelphase 3 – Raumrot in Frankfurt am Main. 

Now, the new VitraHaus created by no one less than Herzog & de Meuron had its Grand Opening on Vitra Campus in Weil am Rhein during Art|41|Basel this June. Is there a better way to show all the goodness and geniality that come up with and inside of this building than to do it with a unique photo-essay? A photo-essay which understands all the great design examples as an invitation to play visually around with them? Just try to figure out the meaning of the last two sentences; and click this link! Or the following one that comes along as Grand Opening.

Award winning photographer Andreas Baier invites you into his visual world where horses still run free and men do what others only dream about. In short: this link is a must!

VitraHaus. Vitra Design Museum. Architects: Herzog & de Meuron.

ART Basel Miami – Skywalker

The Art|41|Basel|16-20|6|10 is just a couple of days away. Enough reason for a short flashback. Enough reason for a unique game which is entitled to be named quoting:

Project: Sky Walkers // Client: Toyota Scion // Project Overview: In 2006, FriendsWithYou opened Art Basel Miami with a large-scale inflatable procession that is comparable in scale to the Macy’s Day Parade. Commissioned by Toyota Scion, “Skywalkers” featured 18 giant blimps (designed by FriendsWithYou & our artist friends), over 300 volunteers, a high school marching band, and thousands of attendees all working together to celebrate the Earth as the newest member of the universal community. The parade illuminated the skies of Miami’s South Beach and made international headlines around the world including New York Times online, The Art Newspaper, and The Miami Herald. “Skywalkers” represents the magnitude and magic that only FriendsWithYou events can bring to life.

Quote taken from here. “Here” is also the place where you can get in touch with much more exciting examples of how one can express himself (or herself, of course) by adapting famously known art designs. The one above reminds us of Bridget Riley? Or may be of Paul Smith? And the other designs of Malcom Forbes light? Who knows, who knows…

via Oh Joy