Issue No. 96 / December 2014 “The Gallerists”

As gatekeeper to artistic production on the one hand and market valuation on the other, the gallerist, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position within the artistic field. But in recent years, the demands of this profession have changed. Expected to maintain 24/7 communication, perpetual travel, and a constant presence at fairs, this art world protagonist has in turn, adapted their role to accommodate these pressures.

In light of this, what, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And how does this position correspond with those of the many new (or at least newly prominent) mediators further altering the field – the advisors and consultants, the “flippers,” and various digitally-based aggregators? Further to this we ask if this restructuring is affecting (or indeed is an effect of) the ways in which artists now work. And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?

Issue No. 96 / December 2014 “The Gallerists” Table of contents

6 Preface 34 Olav Velthuis ARTRANK AND THE FLIPPERS: APOCALYPSE NOW? 50 New York Recall / Friedrich Petzel on his gallery / Richard Kern on Feature Inc. 64 Hannes Loichinger TRADING NOTIONS 82 Isabelle Graw The Gallerist’s Hat / On John Knight’s „JK, a work in situ, Art Basel“ and the structural transformation of the art world 110 G-Force: Gallerists and the expanded Market / A roundtable conversation with Simon Denny, Nicole Hackert, Lisa Schiff, Niklas Svennung, moderated by Caroline Busta and Hanna Magauer 136 Lane Relyea SHIFTING TERRAIN 144 Harald Falckenberg Tips for a Gallerist I / On galleries as commercial enterprises 156 Noah Horowitz Tips for a Gallerist II / The passion of the industry Bildstrecke Dan Mitchell Your Mind Belongs to Them Rotation 170 Event Horizon / Sven Lütticken on Johanna Burton and Anne Ellegood’s “Take It Or Leave It: Institution, Image, Ideology" Liebe Arbeit Kino 176 Land des Überflusses und des Glücks / Esther Buss über „Jauja“ von Lisandro Alonso 180 Sancta Simplicitas / Stefanie Diekmann über Bill Viola und die Sakralisierung der Videokunst KLANG KÖRPER 184 Heart and Soul / Brendan Fowler on Colourbox at Between Bridges, Berlin Short Waves 187 David Bussel on KP Brehmer at Raven Row, London / Ines Kleesattel über Judith Raum im Heidelberger Kunstverein / Dorothea Jendricke on Valentina Liernur at Campoli Presti, London / Ana Teixeira Pinto on Mariana Castillo Deball at Kurimanzutto, Mexico City / Mara Kölmel über Ryan Trecartin im KW Institute for Contemporary Art, Berlin Reviews 203 TOWARD CRITICISM AS AN ANECDOTAL SCIENCE / Philipp Ekardt on “Pictures, Before and After: An Exhibition for Douglas Crimp” at Galerie Buchholz, Berlin 208 ALL 47 LIKES ARE MINE / David Rimanelli on Richard Prince at Gagosian Gallery, New York 212 Algorithmisierte Archivalien / Christina Landbrecht über „Your uncertain archive“ von Olafur Eliasson 216 Broodthaers in Bahia / Felix Vogel über die 3. Bienal da Bahia, Brasilien 221 Studio Sessions / Brigid Doherty on Hanne Darboven at Museo Nacional Centro de Arte Reina Sofía, Madrid 226 Punkt, Pathogenese, Strich / Simon Baier über Maria Eichhorn im Kunsthaus Bregenz 231 Rückzug aufs Kanonische / Georg Imdahl über die Manifesta 10, St. Petersburg Nachrufe / Obituaries 237 Michael Schmidt (1945–2014) by Michael Hagner 241 On Kawara (1932–2014) by Mario Kramer