Les héritiers de cette dynastie de marchands de tableaux ont utilisé leur collection de maîtres pour des montages opaques. Leur chef de file, Guy, mécène de l’UMP, est rattrapé par le fisc.
Impossible de savoir le nombre de toiles de maîtres détenues par cette famille. Des centaines, des milliers, valant plusieurs milliards d’euros - entre trois et dix, selon les estimations. Le pionnier, Nathan Wildenstein (1851-1934), né en Alsace, était passé du négoce de chevaux à celui des Watteau, puis des Fragonard. Georges (1892-1963) a élargi sa collection à Cézanne, Degas ou Monet. Daniel (1917-2001) a misé sur Bonnard tout en constituant - retour upper class à la case départ - une écurie de chevaux de course. Guy Wildenstein (65 ans, principal héritier depuis le décès de son frère Alec en 2008), collectionne plutôt les procédures judiciaires et fiscales. Certains tableaux sont parfois prêtés à des musées, sans jamais mentionner leur authentique propriétaire mais sous la sobre mention «collection privée». La plupart ne quittent guère le coffre-fort d’une banque suisse, servant de caution à des montages financiers : ils sont gagés pour emprunter à taux réduit auprès d’une banque, l’argent étant ensuite placé avec un rendement supérieur. Un courrier de 2002 de la banque Coutts (celle de la reine d’Angleterre) aux gestionnaires de fortune de la famille Wildenstein détaille la manœuvre. «La sûreté sera constituée d’une collection d’œuvres d’art d’une valeur estimative pouvant représenter 250 millions de dollars [197 millions d’euros, ndlr], conservée dans l’entrepôt de Zurich. Coutts Bahamas obtiendra une facilité de prêt d’un montant de 100 millions, et investira ces fonds dans le but d’obtenir un rendement suffisant pour payer les intérêts du prêt et générer des flux de trésorerie disponibles.» L’opération est chiffrée : emprunt à 7,4%, placement à 11,2% pour un gain annuel de 3 millions par an. De l’art de se constituer légalement quelque argent de poche tout en dormant. Paris' Grand Palais was getting ready to showcase French artist Daniel Buren's work for the fifth Monumenta exhibition on Wednesday (May 9). Each year Monume... Buren said he wanted the visitors to take possession of his work, an important notion in his career. "If it (the artwork) is fluid and coherent enough, then I think that the public can have a kind of freedom, do what they want. They wander about; as it is very big they can discover by themselves all the different angles possible. There isn't one part better than the other, for me at least. One can say this is the best angle, but it is the point of view of the one saying it," he told Reuters Television. Visitors wandered below the coloured roofs, but the main attraction of the structure was the mirrors installed by the artist right under the dome of the Grand Palais, the highest point of the museum.Buren's challenge in this exhibition was to make the Grand Palais seem more human to visitors, so they could have a different perspective of it. 
L'artiste chinois Li Wei se met en scène dans des situations où, défiant les lois de la gravité, il interroge, non sans humour, nos perceptions de l'espace, nos relations affectives et sociales.
Chinese artist Li Wei portrays himself in situations where, defying gravity, he asked, not without humor, our perceptions of space, emotional and social relations. 
Some of the works strive to be indecipherable from their everyday inspirations, while others play with scale and material to impart an understated surrealism. All of the lifelike objects contain a quiet poetry, asking viewers to step outside of the endless flood of images and focus on just one. Ron Muek's sculpture "Crouching Boy in Mirror" gains a supernatural power from being "too human," while the delicate texture of Yoshihiro Suda's "Weeds" betrays its materials. These humble works question the limits of authenticity. Can it be perfected? Manufactured like a craft? Our spectacle-centric lives capture and distort authenticity at once by putting it on view. This exhibition, in a way, does the opposite. It doesn't aim to capture authenticity -- the works are obviously replicas made by the artists -- but aims to transcend it, giving it "magical realism." Encountering these pieces gives a similar feeling to seeing a blender for the first time and swearing it must be extraordinary. 
Handmade Type is a typographic experiment by designer Tien-Min Liao wherein shapes painted on her hands are transformed by gestures to create letterforms. However she gave herself a unique constraint: the painted figures on her hands for each individual letter had to be utilized for all variations of the letter, both upper and lowercase and sometimes even italic and handwritten. See more examples and the full alphabet over on Behance. The Creators Project: What was the idea behind the project? What were you looking to study? http://thecreatorsproject.com/fr/blog/%C3%A0-la-rencontre-de-paul-et-pete-les-robots-artistes Subsculpture 14 motorised measuring tapes, kinect tracking systems, computers, cameras, thermal printer, custom-made hardware and software dimensions variable Rows of motorised measuring tapes record the amount of time that visitors stay in the the installation. As a computerised tracking system detects the presence of a person, the closest measuring tape starts to project upwards. When the tape reaches around 3m high it crashes and recoils back. Each hour, the system prints the total number of minutes spent by the sum of all visitors. Commissioned by the Museum of Contemporary Art, Sydney. 
About the project Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?” The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh. At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform. As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
radio interview: http://www.breakthruradio.com/#/post/?dj=thomas&post=787&blog=64&autoplay=1 This week on Art Uncovered I speak with Steve Lambert. Steve makes objects and creates experiences that connect idealistic and radical ideas with everyday life. His projects help us imagine a better (dare I say utopian?) world, and allow us to ask, "well what if?" 
It is not everyday you walk into a building and see an enormous plane crashing into the floor. English artist Fiona Banner thought of adding a unique touch to the galleries of Britain Tate Modern Art Museum and created an installation that dazzles the mind. The official name of the project is Harriet and Jaguar, two plane models that were used in putting the installation together. According to Technabob, the two models were bought by Fiona for an undisclosed sum and were further modified in order to be exhibited in Tate Britain. The Sepecat Jaguar XZ118 was reconditioned and polished, so that viewers can see their reflection. It is positioned on the floor, reminding one of a wounded bird. The Harrier (first photos of the the post) was placed vertically, ensuring a strong visual effect. What is your stand on modern art installations?
Are we going to let it crash? That is the question! “Locomotive”, the most recent addition to the mosaic screen installation in the foyer of Place des Arts, is a fantastical portrayal of a human machine. The context resembles an elaborate organic dominos game. It begins with a musical impulse and is accompanied by an inexorable advancement of light. 
Doug Wheeler, a founder of the so-called Light and Space movement, constructs his first Manhattan “infinity environment” at the David Zwirner gallery in Chelsea. THE artist Doug Wheeler tells two stories, both having to do with light, that go a long way toward explaining why he is so revered by many fellow artists — as a visionary and a relentlessly stubborn perfectionist — and also why his work has been seen by so few American artgoers over the last few decades, particularly those in New York. 
Retour du festival TEMPS D'IMAGES créé par ARTE et La Ferme du Buisson avec 4 spectacles : L'Idée du Nord de Glenn Gould, Kiss & Cry, Memories from the Missing Room avec Moriarty, et le Concert dessiné de Rodolphe Burger, Dupuy & Berbérian... 
We are pleased to announce that our new video installation, The Shape of Our Best Intentions, will debut at the 2012 deCordova Biennial. We'll also be giving an artists’ talk at the museum on Saturday, March 10 at 2pm. There is a full list of events for the exhibition, as well as directions and hours, on the museum's website. http://www.decordova.org/art/exhibition/2012-decordova-biennial
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Mark Moore Gallery is pleased to announce "Twice Told," the gallery's inaugural solo show by emerging artist Stephanie Washburn. Featuring photographs from “Reception” – a series of "television drawings" - her work explores the persistence of human touch in relationship to pictorial flatness, and the resulting interface between painterly and digitally mediated images. 
Christo's 'Over The River' project just took another step forward. On Tuesday, commissioners in Fremont County approved a permit for the fabric art project which proposes to hang 5.9 miles of aluminum coated fabric panels across a 42-mile stretch of the Arkansas River. 
At the exhibition "Sensing Nature" Tokujin Yoshioka presents a 15-meter-wide dynamic installation, "Snow" 2010 (1997-). 
As a primary member of the Light and Space movement, Pashgian played a pivotal role in establishing the legitimacy of California art in the second half of the 20th C. However, being one of the only women in LA’s macho art scene of the era, her work was often overshadowed. An exhibition of new sculptures at Ace Gallery Beverly Hills, as well as her inclusion in a recent encyclopaedic Pacific Standard Time show, aims to set the record straight. 
My sculpture and drawings inhabit a non-verbal place resonant with such primal human conditions. Systemic and non-representational, these works are subtle, rhythmic, abstract, and immersive. I find beauty and disturbance through shifts in tool, layering and material to create passages of tone, density, speed, path and frequency within a system. In recent room-sized installations, I discovered an optical and spatial phenomenon that excites me as the work spans the outer reaches of our peripheral vision. The work references physiological systems – such as heartbeat, respiration, neural paths, equilibrium - and psychological states. A mysterious street artist has been leaving his mark all over Moscow. But his works have caught the eye of critics all over the world - who have dubbed him the Russian Banksy. Prime Time's Jacob Greaves tracked down the elusive P-183. 
There is a place where it’s possible to listen to soundtracks of life from the other end of the world: cows from the pampas of Argentina, New York commuters rushing to catch their subway train, maritime life of Stockholm or the sounds of Berlin Central Station. The German design firm, Topotek1 was called by the Xi’An International Horticultural Exposition to create an installation for the Expo’s garden. The studio came up with the idea of creating an “endless” hole in the ground, close to the shape of a speaker or an ear, that offers a visual and auditory journey to different faraway places. It looks like a big dig, designed as the emerging point of a trans-national travel. When you come close to the edge, a sound installation stages discreetly the ambience of travelling – from the hole in the ground you can hear the noises of another side of the world. Artificial grass covers all surfaces, the hole, the lawn and the bench, and creates a monolithic appearance. A thin glass barrier encircles the hole and prevents the visitors from falling in the ‘abyss’ and, possibly, ending up in an unknown land. This is the world talking to China and China talking back to the world. An almost magnetic curiosity lures the visitors to get closer to the crater and look inside to listen to its messages. At the same time one is almost invited to send out its voice to the world by shouting in it. This evocative project concretizes the specific current role of China as an amplifier of cultural trends from all over the world. 
Ring was envisioned by artist Arnaud Lapierre and was a project implemented in VENDÔME square, Paris, as part of FIAC Art Fair. We received some information of the project from the developer, and we are happy to share them forward: “Ring is an installation which takes into consideration the urban space networking : the rhythm, flow, organization and spatial hierarchy. The installation embodies a visual effect that is to connect all of these interactions through the implementation of an optical effect: the repetition of an cubic mirror to break the perception of the place. This dynamic installation changes the relationships between individuals and the space they are going through. 
Milan : Dirty Corner d'Anish Kapoor à La Fabbrica del Vapore.
Dirty Corner, oversized sculpture by Anish Kapoor, is currently on display at La Fabbrica del Vapore Milan until 8 January. This masterly work has found its place in the "cathedral" of the former tram depot, next to the monumental, the great cemetery of the Lombard capital. 
Churchill used to say: “In England, everything is permitted, except that which is forbidden. In Germany, everything is forbidden, except that which is permitted. In France, everything is permitted even that which is forbidden. In the USSR, everything is forbidden, even that which is permitted.”
DMCA is England; the Movie Industry thinks it’s France and wants us to be in Germany but this could end up in the USSR.
More on why this matters for curators on the Scoop.it blog. Join the debate and make your voice heard! Via gdecugis 
This groundbreaking focus show explores the implications of tactile perception for enjoying sculpture by melding the research of a Johns Hopkins University neuroscientist studying how the brain reacts to tactile stimuli and a Walters curator interested in the increased appreciation of tactility as an aspect of European Renaissance art--a period marked by a new availability of small "collectibles" meant to be held. Did artists anticipate a reaction to tactile stimulus in shaping sculpture, specifically statuettes of female nudes? Visitors can hold and register their evaluations of replicas of "appealing" statuettes, as well as variants assumed to be unappealing. Displays illustrate the Renaissance attitudes towards touch, the sensation of touch being stimulated without actual contact and the neural processing and perception of objects during touch. 1st images of the preparation of the exhibition of Chiharu Shiota, "Infinity" Opening Saturday, January 7, 2012 from noon to 20H The exhibition runs until February 18, Daniel Templon Gallery, Paris Via Installation art |
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