SHORT READ
Thomas Girst, looking into the crystal ball
RF: Thomas, you have positioned yourself at the heart of the global art world- what are the main trends in art 2024?
TG: The rise of the collector, the conglomeration of big names represented by a few galleries, the superfluous extravagance of much of what we see, the shallow gestures, the emptiness exuding from within, the selling out to corporations, the faux Top 100 lists which represent wishful thinking rather than the real power structures in the artworld, the ever higher auction results, the non-knowledge, the decline of humanities and of reading, our increasing inability to focus and spend time on one thing alone (“distraced from distraction by distraction”, as T.S. Eliot already knew in the 1930’s) is what makes me reluctant to name a trend. Look at the fringes, look at the outskirts, look at where you are not expected to look, surprise yourself – and you will find it, you will be rewarded by the powerful and life-changing magic of art!
RF: What art events will you make sure to attend?
TG: All Art Basel and Frieze art fairs around the world, The Venice and Kochi Muziris Biennials, Westbund Shanghai, India Art Fair, Art Dubai, Esther Mahalgu’s restrospective in South Africa, the Price of the Nationalgalerie in Berlin, Rencontres d’Arles, Paris Photo. That is just the tip of the iceberg of our global partnerships. I am afraid there is not much room for more. It is a huge privilege to be travelling and to be connecting with artists around the world! To speak with Billie Zangewa on a panel in Capetown, with Koyo Kouoh in Paris, with Anita Dube, Jitish Kallat and Bartheleme Toguo in Delhi, with Essence Harden in Los Angeles – what a treat!
RF: What is on the BMW group Culture agenda for 2024?
EA: A lot! From Opera for all in Melbourne to BMW Classics on Trafalgar Square. Art, Music, Design and Architecture is our focus. For lack of space, let me just mention the world premiere of Julie Mehretu’s BMW Art Car y#20 on May 21 at the Centre Pompidou in Paris. The car will race in mid-June at the 24 Hours race in Le Mans and then it is off to China, Korea and Tokio for its Asian premieres before it will be presented in Miami during Art Basel there in early December.
RF: Munich is where you are based, if one would go there this year, what would you suggest to do in arts and food?
TG: Watch the mash-up of Warhol/Haring at the Brandhorst Museum, see the Cao Fei retrospective at the Lenbachhaus! And if nothing else, the Haus der Kunst is always worth a visit and so is the Architecture
Museum And the Alte Pinakothek’s second floor with its amazing Dürer’s and monumental works by Rubens will make you never want to leave Munich ever again. As for food, I am not as explorative as I wish I would be so I go again and again to what is best: The duck at the Schwaige at Nymphenburg Castle, Schumann’s at Odeonsplatz every week for the past two decades, and for Persian food, pick your favorite at Dachauer Strasse (mine is Dehbaschi).
RF: Can you name one artist on the rise and why that is?
TG: I think Xin Liu is a great artist. To spend time last year with her installation NOAA which we commissioned in Shanghai last year made me confident that her path will continue in the right direction. The sadness and poetry of collecting signals from decommissioned satellites speaks of human curiosity, high-tech and loneliness at the same time.
RF: What are your expectations on the Venice Biennale?
TG: I LOVED the sensuality and indulgence and discoveries of Cecilia Alemani’s wonderland of a Biennial in 2022. I am a fan of this year’s overall title “Foreigners Everywhere”. Personally, I am looking forward to Benin’s first ever pavilion, “Everything fragile is precious”! As a German I have hopes that our pavilion is not as self-obsessed and brainy as previous editions. And Julien Creuzet representing France I am sure will be very good! We worked with him on his BMW Art Journey years before he became a household name in the artworld. When in Venice, you must see Julie Mehretu’s show at Palazzo Grassi and never miss Bellini’s Madonna in San Zaccaria Church behind the Danieli Hotel. Bring a 1 Euro coin so the work will light up, you are in the dark otherwise. The best remedy against the circus of much of what constitutes contemporary art!
RF: You have written a few books about art and artists- is there a new title on the horizon?
TG: In the fall, Thames & Hudson will publish “Esther Mahlangu: A Life in Color”. Edited by Hans Ulrich Obrist, Azu Nwagbogu and myself. We interviewed this amazing pioneering 87 year old artist in Mpumalanga, South Africa, and interviewed her for three days. Rihanna, Beyoncé, John Legend, Trevor Noah, they all collect her work and now, at the end of her amazing career, the artworld will pay full attention! My book on “Cultural Management: A Global Guide” should have been published years ago. I will get around to write it this year. Thames & Hudson will publish it in the course of 2025. Hallelujah!
Interview by Richard Feigin
*Thomas Girst is an author and head of cultural Engagement at the BMW Group.
SHORT READ
Pastry Art, Elle is unbeliveable!
CC: Pastry and art is your specialty. Can you explain how you combine these two from your point of view?
EA: Using pastry as a medium to create edible art is not something that I set out to do from the very beginning, it was born out of experimentation. I have always loved and enjoyed the arts and culture so it all happened very organically. And I've always been a bit of an encyclopedia of references (with very strong likes and dislikes) so I find it easy to sift through references, drawing much inspiration from symbolism and esoteric philosophies. And then I just get to it without overthinking it, letting my intuition take the space it needs. The main reason why I love pastry art so much is that it has forced me to
*enjoy the process*. I used to be so consumed with the end result in my previous career that I totally forgot to enjoy the journey. Cliché, but true.
CC: Did you gain any particular experience from working with commercial brands and being in the midst of the turmoil of popular culture?
EA: For sure. I work with brands on a regular basis, and most of the time without a strict brief and this is where my branding experience is useful. I have the ability to capture a brands' DNA without compromising on my own style and vision, I know how to speak their language and keep things relevant. I also think my background in creative direction and design has equipped me to see beyond just the pastry art, I like to consider the full experience when coming up with ideas.
CC: Tell us more about your inspiration that stems from awe.
EA: I'm a pretty effervescent character, and I love the feeling of feeling excited, so it's important to create excitement. My first memory of feeling a tremendous amount of awe was during my childhood visits to where my father grew up just outside Shiraz in Iran.
This tiny village was so beautiful and had the clearest starry skies (the most stars I have ever seen, still unmatched!). I still remember the feeling. Through my work I want to explore the relationship between awe, humanity, and healing. When people experience a sense of awe and wonder, they're likely to feel less stressed, more balanced, and satisfied with their lives. Awe is tied directly to feelings of expansiveness, transcendence, and connection. I think we all need more awe in our daily lives.
CC: Is there any artist or piece of art that has had a decisive impact on you, and if so why?
EA: Michael Jackson, without a doubt. It's all in his strive for perfection and details, from the way he composed songs and melodies, dance moves, unique fashion sense to awe-inspiring performances. And the art of basketball, the sport and its cultural significance has always inspired me and always will.
CC: How does fine arts and gastronomy influence each other?
EA: In my opinion they influence each other quite a bit. The same way, for example, a painting will stimulate your visuals with its texture, colours and strokes, a visually beautiful plate/dish or edible creation can engage and allure the senses, and evoke feelings, emotions or a memory. Food, like any other art form, has the ability to be a slice of magic - it can bring people and cultures together, spark a conversation, break the ice, or convey a message. It's not called the art of eating for no reason.
CC: To conclude with, do you have any special ingredient (råvara) or pastry that is extra dear to you in these festive seasons?
EA: Not particularly haha...but the one ingredient that I always come back to regardless of the season is rose water. I have it in my water every day even. It generally makes most Swedes uneasy but I just LOVE it. I know, very Persian lol.
Interview by Calle Carboni
SHORT READ
Frida Fjellman on her 13 meter sculpture for Ersta Diakoni
CC: From where I stand. Placing a sculpture in the courtyard of a hospital must raise some obligations to consider about the spectator. What was your thoughts about the Ersta spectator, and did you take that into account when presenting your work?
FF: Absolutely, it is a big part of the work, the existing environment/place and who will face the sculpture literally. In this case, care recipients, staff and relatives.
I have designed the sculpture as a powerful piece so that it should be experienced as vital and strong. But the piece must also have an orienting function. Hence the distinction. Since the placing in the yard is quite dark and complex with many different angles and materials, it felt important that the work should own the space and be seen properly and not disappear in its surroundings. It would be quite unsatisfactory if the work of art was not salient.
I see it as a pillar of life. Unexpected as life is. The stones (elements of the sculpture) are at a glance in disorder but they support each other. Together they create balance. And they add a complexity, just like life itself. The different parts build a powerful revelation. The work of art balances itself, strives upwards and has an air of strength. I want it to create a sense of curiosity and fascination. Hope and inspiration. Joy. And even create distraction, getting away for a while can be invaluable in a hospital environment.
CC: In my view, From where I stand is reminding of a Totempole, just like “Venus in glass” your 750 cm high sculpture at Nationalmuseum, is the pole something that intrigues You? And is that a shape that is particularly suitable for your art, or are these two just coincidences?
FF: No actually not. In these cases it has been the specific limitations and conditions of the place that sort of forced the shape. In combination with what is practically possible in terms of construction for a certain budget. And my own intention, of course.
Then I can think that it’s a bit funny that I have now created two enormous phalluses, that is not something I saw coming ten years ago.
A pillar shape can make a powerful impression and when I worked with it in the form of different building parts, I was quite free and could play with the shape. Not a definite shape that everything depends on, but I have had the opportunity to test different shapes and colors against each other and thus find the final shape step by step.
CC: The presence of Your knowledge of glass and prismas is notable in this sculpture for Ersta, But there is also a reminiscence of healing minerals, could you tell us more about that?
FF: Well, I couldn’t avoid that connection. The first time I visited the place, the whole mountain on the site was blown away and it became very clear that the hospital is built on a solid bedrock. I had a direct impulse to use the sculpture as a continuation of the mountain, leading towards the light.
As if these precious stones were found during the excavation and then used as the “foundation”. Precious stones are the hardest and the most valuable (in this case metaphor for man) but these stones also represent soft values such as healing and healing power. But the conception of stones with healing power does not correspond fully to the Christian values that the entire Ersta Diakoni stands. So that particular connection is not emphasized in the description of the artwork.
CC: I find the title of the work quite poetic, was the title a big part of the work, and when did the title appear, before during or after the work with the sculpture?
FF: The title of the artwork came later, during the assembly, my husband helped me. He is good at text. From where I stand works both as a metaphysical entrance, for each individual person, but can also be applied purely physically. And the title is nice as an image.
Interview by Calle Carboni
(photo: above Joachim Belaieff, below private)
