It may have been the smallest gallery in Chelsea, but Family Business was impossible to miss. Strolling down West 21st Street, one might find raspberry bushes growing inside the tiny space, an impromptu tea party spilling out onto the sidewalk, artists raising hell on homemade instruments or the latest exhibition getting set on fire or smashed to bits. Sadly, the oddball operation founded by “retired” artist Maurizio Cattelan and New Museum associate director Massimiliano Gioni, is on the move. The gallery “ended its current reincarnation and will be reborn some day on planet Earth again,” wrote Daria Irincheeva, the former director, in an email. It has, in fact, already cropped back up in Paris, where guest curator Nadja Argyropoulou is working on projects with Chalet Society and the Palais de Tokyo.
Lanky Martin Creed was standing on the first floor of Hauser & Wirth gallery on the Upper East Side, dressed in lightly paint-splattered, black pants that rose up just above the ankles and an ever-so-slightly mismatched navy shirt, his frizzy gray hair pulled into a ponytail and his face covered by glasses so large they looked like protective eyewear. He was laughing enormously about—something. With apologies to our brothers and sisters across the pond, his giggles were punctuated with bursts of indecipherable Scottish twang, made all the more difficult to discern by the presence of his parents, making use of their own heavy slurs. This was somehow appropriate, though, because “what is he trying to say” is a frequent starting point for the uninitiated in conversations about Mr. Creed.
Venice Biennale 2013
Massimiliano Gioni, international man of mystery and Maurizio Cattelan stunt double, has understandably been giving a lot of interviews ahead of his Venice Biennale. Through meticulous research involving a crack team of interns and my Google Reader I have collected them all below for absolutely no reason.
When the next Venice Biennale opens in June, the city is going to be even more crowded than it typically is at that time. Carol Vogel of The New York Times reports this evening that at least eight countries are expected to inaugurate national pavilions: the Bahamas, Bahrain, Ivory Coast, Kosovo, Kuwait, the Maldives, Nigeria and Paraguay. There could be even more! The New Museum’s deputy director Massimiliano Gioni, who’s organizing the main exhibition, told Ms. Vogel that it’s too early to say exactly how many countries will be participating.
The Italian press is reporting that Massimiliano Gioni, currently the associate director and director of exhibitions at the New Museum, has been appointed director of the Venice Biennale.
It’s 11 in the morning and visitors to Carsten Höller’s new exhibition, “Experience,” are emerging one by one down the shoot of a 102-foot-long slide. The structure itself, which bores through two concrete floors of the museum, looks like nothing so much as the pneumatic mailing ducts from the movie Brazil, long snakes of stainless-steel segments. The sliders’ feet are wrapped in canvas blankets, their arms are crossed over their chests. They board on the fourth floor; you can see them shoot by on the third floor through the slide’s transparent upper shell. The expressions on their faces are ecstatic. They land with whoops and thuds on a mattress on the second floor.
At one point in his speech welcoming journalists to the press preview for Carsten Höller’s new exhibition, “Experience,” New Museum curator Massimiliano Gioni reminded the assembled press that the artist had trained as an etymologist.