Arts Arbiter Bettina Korek and Curator-Entrepreneur Maria Baibakova On What's Coming to Museums and Galleries
Los Angeles contemporary arts advocate Bettina Korek zooms in on ceramics by Ken Price and exhibiting online while Moscow's Baibakov Art Projects founder Maria Baibakova predicts digital enhancements for international fairs in these forecasts from dynamic young players on the creative scene. Korek has been central to the cultural reinvigoration that her native SoCal sprawl has seen during the past few years, having worked in development at LACMA, where she started a young donors group before leaving to found the development company For Your Art. Baibakova has made waves building bridges between Russian contemporary art and the global arena, with the foundation of her eponymous not-for-profit platform for international exhibitions as well as publishing and educational outreach. As for their personal 2013 goals, Baibakova looks forward to graduating from Harvard Business School in May, returning to working full-time in the art world and resolving "to drink more water than champagne." Korek meanwhile will be turning to LA-based painting master David Hockney, who wrote, “I like to enjoy now, as there is only now.” Here both arts protagonists break from the present to cast an eye towards the hot creators and technological evolutions of the very near future.
BETTINA KOREK'S PERSONAL 2013 PREDICTIONS
Which artists will be important next year?
Historical Southern California artists like Ken Price and James Turrell. The Ken Price retrospective at LACMA will open at the Metropolitan Museum of Art in the spring. A surfer, he expanded notion of ceramics and his work reflects the potential of intimate experiences with small objects.
What will be a major trend in art for 2013?
Engagement. As Independent Curators International is celebrating 20 years of Hans Ulrich Obrist’s “Do It”, which engaged local communities in the dialogue of exhibition making, public engagement is an increasing priority for artists and museums, with the Hammer Museum for instance implementing a new Public Engagement Artist Residency.
What interesting source of art will we see on the rise in the coming year?
The internet. Artists are bugging, hijacking, over-sharing and exploring new ways of approaching the internet as a medium. Maybe the Nam June Paik of the web will emerge in 2013 if they haven't already. Cory Arcangel and Jayson Musson are good examples of artists who have come to attention through the web and have used it as a venue for performance. The “#artselfie” hashtag has become a major trend in the internet art scene, which I think originated from Los Angeles-based Ryan Trecartin—and he was also recently named as the co-curator of the New Museum’s next Triennial alongside former Rhizome.org Executive Director Lauren Cornell.
What will be next year's hot app?
Art Stack. It’s Instagram for art, just as people are looking for the new Instagram!
MARIA BAIBAKOVA'S PERSONAL 2013 PREDICTIONS
Which young artist should we be excited about for next year?
I'm watching Rashid Johnson and Walead Beshty very closely and waiting to see how their work evolves with new exhibitions and gallery representation, respectively.
Do you predict a Renaissance for any veteran artists?
Jeff Koons is poised to surprise us all with his Whitney/MoCA show. David Zwirner is also shaking things up for Koons by inaugurating his new space in New York with a Koons show in May. I think David Zwirner will overcome Larry Gagosian as the number one gallerist in the world. This would be a significant industry shift.
How will the form of the art fair evolve in the coming year?
The art fair will supplement its operations more and more with digital capabilities to reach wider audiences and international clients. Also, historically an artist needed local representation to get his or her work in front of clients in LA, London, Paris and Hong Kong, but the prevalence of the art fair is also erasing the need for artists to work with more than one gallery to ensure global exposure.
What will be next year's hot app?
Artspace.com - it will make contemporary art by great artists accessible to so many people who admire it but have been deterred from buying due to high price points and a lack of transparency in the gallery system.
A Film for Dasha Zhukova's Garage Magazine Reveals the Passion Driving the Tattoo Scene
Internationally renowned tattooist Mo Coppoletta divulges the personal significances of being inked in this intricate profile by filmmaker Ryan Hope. Owner of influential London parlor A Family Business, Coppoletta has turned his dedication into a lifestyle, making international pilgrimages to be tattooed by those at the pinnacle of the craft. “For me the key to a brilliant documentary is to tell it through a brilliant character,” says Hope. “Mo has an amazing technique and dedication, he is an absolute purist. His energy and his style are beautiful.” Today’s short is an exclusive extract from Hope’s documentary Skin, which follows five skin-art collectors on their journey to be tattooed with designs created by major contemporary artists Damien Hirst, Jeff Koons, Raymond Pettibon, Jake and Dinos Chapman, and Richard Prince. Originally commissioned to accompany a Hedi Slimane photo shoot featuring the contemporary artists and collectors for Dasha Zhukova's Garage magazine, Hope redeveloped the original concept. “It seemed more interesting to tell the subject's story, rather than that of the artists themselves,” he says.
The Style Critic Talks Digital Era Heritage for the International Herald Tribune Luxury Conference
As Fashion Editor for The International Herald Tribune Suzy Menkes is without doubt one of the most respected style experts and critics in the industry, demonstrated by the incredible range of speakers—including Karl Lagerfeld, Alber Elbaz, Christopher Bailey and, count 'em, three Missonis—she has enlisted for the 2010 IHT Luxury Conference in London. This year, the two-day event, which has been running annually since 2001, is themed around the idea of "Heritage"—a concept neatly mapped out in today's exclusive animated short, created for NOWNESS by Christian Borstlap. But it's not all so simple, according to Menkes, who below shares her thoughts about the idea of heritage and its importance to the luxury industry.
Is there a future in the past? That is the question being asked from R&B lyrics to boardroom discussions by luxury moguls. Everything that the millennial generation has embraced––smart phones, texting, digital photos, music downloads, Facebook, haul videos––is about the here and now. “Fast” fashion has made the entire concept of heritage––the idea of actual or emotional links with a brand’s past––seem as outdated as that once powerful symbol of Great Britain: a bowler hat. Reinterpreting tradition for a digital age is the challenge for luxury brands: how to link past and present in a more meaningful way than the concept of classic design and historic crests?
The design spirit since the start of the 21st century has been linked to a thread of modernism that started with streamlining in the 1920s. We have seen the futuristic vibe in the return of 90s minimalism and reinterpretations of Pierre Cardin’s 1960s space-age orbit. In the luxury world, brands have rushed to create a digital makeover. This can come in the form of a quickly assembled backstage video to post on the website. But at its best, it is deep-rooted and authentic, such as Burberry’s involvement in technology from its wired London headquarters, to its pro-active online initiatives; or the experimental live-stream filming and compulsive Twittering from the late Alexander McQueen.
Authenticity is at the heart of heritage. Most companies, from Louis Vuitton to Ermenegildo Zegna, are based on family stories and founding fathers (or, occasionally, mothers). Karl Lagerfeld’s relationship with Coco Chanel––although he would be the last to admit it––is like that of mother and son: warm embraces, spiky stand-offs, deliberate rejection followed by a return to comforting arms. But always the deep emotional link to the spirit and the skills of the house.
Craftsmanship is a vital part of luxury’s genetic makeup––but perhaps the most difficult to envisage digitally. Gucci has changed its advertising images from glamour pusses exuding sex and armed with handbags (part of the Tom Ford 90s legacy) to white-coated workers sewing by hand. Tod’s collaboration with La Scala produced a memorable mini-movie showing the stitching of a shoe in tandem with the magical lightness of dance. But most of the cyberspace energy of luxury brands goes into e-commerce, where, compared to bricks-and-mortar stores, the sensory pleasures of smell and touch are out of reach. If heritage is all about the physical artifacts and intangible attributes that connect the brand to its past, how does one break that down into codes that can be adapted for the Internet Age? And can any of that back-history be relevant to new markets in Brazil, China or India, where 30 percent of potential customers are under 30 and where European labels are an ocean and a world away?
Karl Lagerfeld often quotes a line from the German poet and writer Goethe: “Make a better future by developing elements from the past.” It is the designer’s mantra at Chanel and it looks like a smart take on how to handle history. Alber Elbaz says that he visits the Jeanne Lanvin archives briefly before each collection––but more to catch the spirit of the house’s founder than to find actual inspiration. That is the essence of heritage luxury: a quiver of emotion from the past in a thoroughly modern world.
Suzy Menkes is the Fashion and Style Editor of the International Herald Tribune
We asked our readers to submit questions for Suzy Menkes via Nowness' Twitter and Facebook pages—see her answers to their questions at www.facebook.com/NOWNESS