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Gutai masterpiece ・ Sadamasa Motonaga’s “Work 145” of 1964

Art Basel opens in Switzerland next week.

London-based Alexandre Carel, former Christie’s Paris wunderkind, Stanford MBA, summer intern in real estate at New York-based, global investment firm KKR (Kohlberg Kravis & Roberts; KKR manages multiple alternative asset classes, including private equity, energy, infrastructure, real estate, credit and, through its strategic partners, hedge funds),

and Paris-based gallery Natalie Seroussi are collaborating to curate a booth

exploring post-war Asian and European abstraction.

Carel and Seroussi’s catalogue “Lands of Abstraction,” prepared for their Art Basel joint exhibition, explores abstract movements that arose almost simultaneously in Asia, Europe, and the United States – all of which “matured in parallel to one another.”

Among the many masterpieces on view will be Sadamasa Motonaga’s almost nine-foot “Work 145” of 1964. Asking price: $5 million.

Sadamasa Motonaga (元永 定正, 1922-2011) was a founding member of Japan’s Gutai Art Association (1954-1972).

His “Work 145” of 1964, last shown in New York at the Guggenheim Museum during the 2013 exhibition “Gutai: Splendid Playground,” reflects Gutai’s deep connection to nature, the process of art making, and life-affirming rationale

Carel and Seroussi write:

“Literally translated as ‘concreteness,’ Gutai’s intention was to impart life to matter and reach pure creativity.

“To artists such as Sadamasa Motonaga …, this goal could only be attained by way of a deep connection between the artist’s hand and his spirit.”

See:

  1. “Massive Motonaga Stars at Carel & Seroussi Booth at Art Basel,” Marion Maneker, Art Market Monitor, 5 June 2018;
  2. 2) “Lands of Abstraction,” Natalie Seroussi Galerie, Paris & Alexandre Carel, London, Art Basel Highlights, June 2018

 

 

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Christopher Wool: “Untitled” (silk-screen, 2001, detail)

Detail of Christopher Wool’s “Untitled” (silk-screen, 2001).

J. Tomilson Hill, the vice chairman of the Blackstone Group who manages its hedge fund business, is the first American private collector to display his works of contemporary art in Asia.

“Christopher Wool: Highlights from the Hill Art Collection” opened during Art Basel Hong Kong in Central District’s H Queens, the new skyscraper designed by William Lim’s Hong Kong-based CL3 architectural practice and custom-built to house art galleries.

The exhibition, on view from March 27 through April 8, was produced by Hong Kong-based advisor Alexandre Errera.

While Mr. Hill ordinarily does not attend art fairs (dealers call him with works of interest instead), he did make it to Art Basel Hong Kong this spring for the opening of his exhibition of the works of Christoper Hill.

Following Hong Kong, Mr. Hill and his daughter left for Beijing to visit the studios of the about 15 artists there whose works he collects. Mr. Hill collects, for instance, works of Liu Wei. (See my post of yesterday regarding Liu Wei’s “Purple Air D1” of 2008).

Asked about the attraction of Chinese art now, Mr. Hill observes:

“Let’s go back to the different collections that we have,

“which is Renaissance bronzes, old master paintings, a dozen post-World War II artists, and now emerging artists.

“They all have one thing in common: At the moment that the art was created, the country of origin was going through a massive series of changes.

“China, in my mind, is going through the same thing now.

“And so I said, ‘I want to be educated.'”

 

See: 1) “J. Tomilson Hill on the Attraction of Contemporary Art,” Ted Lois, The New York Times, 26 March 2018; 2) “J. Tomilson Hill is Giving Asia Its First Christopher Wool Show in Over a Decade,” Nate Freeman, Artsy, 27 March 2018

 

#christopherwool #art #artmarket #arthistory #contemporaryart #jtomilsonhill #collection #portfolio #collectionsmanagement #alexandreerrera #artadvisory #blackstone #blackstonegroup #finance #hedgefund #hongkong #beijing #seoul #tokyo #newyork #london #paris #berlin #vienna #zurich #oslo #dubai #luxury #realestatedevelopment #architecture #design