Are galleries screwing over artists?

 
 
Plus: Pierre Boulez's art collection
 
 
 
 
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Hettie Judah on how the art world exploits artists
 
Hettie Judah on how the art world exploits artists
Art and sex – according to a romanticised view – are the product of passion and should not be commodified. There is the suggestion of a causal relationship: that a thing done for love does not merit remuneration on the same terms as a thing done to satisfy a contractual obligation. Herein lies the basis for exploitative practices within the art world that are as egregious as they are pervasive. Some of these practices are outlined in research conducted by the British artist-run organisation Industria. Their report is titled Structurally F~cked and I think it is no coincidence that Industria reached for the language of sexual exploitation to describe artists' pay and working conditions.
 
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Tom Wilkinson on the Venice Architecture Biennale
 
Tom Wilkinson on changes at the Venice Architecture Biennale
The main exhibition of the Venice Architecture Biennale opens with an arresting video installation by the British poet Rhael 'LionHeart' Cape, in which footage of the writer is intercut with clips from the Notting Hill carnival and a Venetian reveller in a sinister costume. In his spoken word soundtrack, a blindfolded LionHeart calls architecture to account for its failings, and proposes that 'those with walls for windows' try looking out of them for a change. This challenge sets the scene for the exhibition that follows.
 
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BURBERRY

 
Samuel Reilly finds Pierre Boulez had a rather eclectic taste in art
 
Samuel Reilly finds Pierre Boulez had a rather eclectic taste in art
The Fontaine Stravinsky (1983) – an assemblage of whirring and spinning contraptions by Jean Tinguely and monumental, brashly colourful creatures by his then-wife, Niki de Saint Phalle – is, today, a beloved Parisian landmark. Yet few of the millions of tourists who pass through the Place Stravinsky en route to the Pompidou will be aware that the sculpture is connected with the experimental Institute for Research and Coordination in Acoustics/Music (IRCAM), whose offices extend out beneath the basin of the fountain. Fewer still will know that this whimsical, carnivalesque group of sculptures were first suggested to the City of Paris by IRCAM's founding director, the irascible composer and conductor Pierre Boulez. At Artcurial in Paris, 12 remarkable sketches setting out Tinguely's plans for the Fontaine Stravinsky – each addressed 'cher Pierre', with little suggestions and explanations in the sculptor's spidery hand creeping round the margins – go on sale on 8 June.
 
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Nitsch Foundation

 
Thea Hawlin on how Venice is focusing on photography
 
Thea Hawlin on how Venice is focusing on photography
The history of photography in Venice is rich. Most famously, in 1979, the city hosted the large-scale event Venice '79 La Fotografia, with 26 exhibitions, 46 workshops and a large program of seminars and conferences taking place across the island from June through to September. Denis Curti, the artistic director of Le Stanze della Fotografia, hopes that the museum will revive this tradition, but also move it forward. 'Our objective', he says, 'is to share the culture of photography, to make Venice become a point of note, a kind of capital of photography in Italy. We don't merely want to present exhibitions, we want to develop engagement, a continual movement.'
 
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Nicola Shulman gets wrapped up in Tartan at the V&A Dundee
 
Nicola Shulman gets wrapped up in Tartan at the V&A Dundee
Given the size of the exhibition and the many and conflicting claims for the purpose of tartan, it perhaps makes sense to imagine the exhibition as a type of tartan itself. If it were, it would be a complex one, akin to Ogilvie of Airlie with its 180-odd colour changes; and woven from such threads as: tradition, design, craft, romanticism, fashion, Walter Scott and the visit of George V to Edinburgh in 1822, Queen Victoria and her 'Balmoralisation' of the British Crown. Crosswise, we have the defeat at Culloden, soldiery, rebellion, spectacle and performance, folklore, fantasy, commerce, queerness and outrage. These elements repeat and interweave, show their front and also their inverse planes, where colours reverse and merge in murky combinations.
 
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In the current issue…
 
Rosamund Bartlett on how Sydney Modern is rethinking Australian art
 
Rosamund Bartlett on how Sydney Modern is rethinking Australian art
A good-natured spirit of competition has always characterised the relationship between Australia's two largest cities, Sydney and Melbourne. In the case of their respective state art institutions, the National Gallery of Victoria (NGV) in Melbourne has traditionally claimed pre-eminence by virtue of the size and quality of its collection and the earlier date of its foundation. In recent years, the NGV has also boasted a more impressive exhibition programme, but the Art Gallery of New South Wales (AGNSW) has now stolen a march on its southern counterpart with a spectacular new extension designed by the Tokyo-based architectural studio SANAA.
 
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In the next issue…
 
The fine art of food
 
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