Hugo Boss Prize 2004
GUGGENHEIM MUSEUM ANNOUNCES SHORTLIST FOR
HUGO BOSS PRIZE 2004
NEW YORK, NY, February 6, 2004—Thomas Krens, Director, Solomon R. Guggenheim Foundation, and Bruno Saelzer, Chairman and CEO, HUGO BOSS AG, today announced the shortlist for the HUGO BOSS PRIZE 2004. The finalists include: Franz Ackermann (Germany), Rivane Neuenschwander (Brazil), Jeroen de Rijke and Willem de Rooij (Netherlands), Simon Starling (UK), Rirkrit Tiravanija (Thailand), and Yang Fudong (China). A publication featuring the work of all six finalists with accompanying essays will be published in June 2004. The winner of the HUGO BOSS PRIZE 2004 will be selected and announced this fall, followed by an exhibition of the prize-winning artist's work to be presented in early 2005 at the Solomon R. Guggenheim Museum.
"On the occasion of the fifth biennial HUGO BOSS PRIZE, I'm delighted to announce the shortlist for 2004," said Thomas Krens. "It is our privilege to honor Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, Rirkrit Tiravanija, and Yang Fudong with this nomination. The international character of the art world is amply demonstrated by the increasing geographic variety of the short-listed artists for the HUGO BOSS PRIZE." Mr. Krens added, "It has been almost a decade since the Guggenheim entered into this collaboration with HUGO BOSS by administering the prize that bears its name. In that time, the biennial prize has become one of the premiere juried prizes of the contemporary art world. It has also given the Guggenheim the opportunity to identify, exhibit, collect, and honor the work of extraordinarily talented artists who are actively redefining cultural, intellectual, and artistic boundaries around the world. Through this prize, the Guggenheim and HUGO BOSS hope to continue to foster the development of forward-thinking artists and expand public awareness of important figures in contemporary art."
"The continuity of our cultural engagement and our belief in contemporary art are more important than ever in today's world, where people are attaching far greater importance to things that possess a certain profundity and credibility," said Bruno Saelzer, Chairman and CEO of HUGO BOSS. "That's why we are so proud to have created an art prize—together with the Guggenheim Museum—that has achieved worldwide recognition."
The biennial HUGO BOSS PRIZE is administered by the Solomon R. Guggenheim Foundation and is juried by a distinguished international panel of museum directors, curators, and critics. According to the HUGO BOSS PRIZE criteria, the award is given to an artist whose work represents a significant development in contemporary art. The prize sets no restrictions in terms of age, gender, race, nationality, or media, and the nominations may include young, emerging artists as well as established individuals whose public recognition may be long overdue. The prize carries with it an award of $50,000.
The jurors of the HUGO BOSS PRIZE 2004 are: Daniel Birnbaum, Rector of the Städelschule Art Academy and Director of the Portikus Gallery, both in Frankfurt am Main; Susan Cross, Associate Curator, Solomon R. Guggenheim Museum; Thomas Krens, Director, Solomon R. Guggenheim Foundation; Adriano Pedrosa, Curator, inSITE 2005, San Diego/Tijuana; Beatrix Ruf, Director, Kunsthalle Zürich; and Joan Young, Assistant Curator, Solomon R. Guggenheim Museum.
This year marks the fifth presentation of the HUGO BOSS PRIZE at the Guggenheim Museum. Since its inception in 1996, the prize has been awarded to American artist Matthew Barney (1996); Scottish artist Douglas Gordon (1998); Slovenian artist Marjetica Potrc (2000) and French artist Pierre Huyghe (2002). The list of finalists in previous years includes: Laurie Anderson, Janine Antoni, Stan Douglas, Cai Guo Qiang, and Yasumasa Morimura in 1996; Huang Yong Ping, William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in 1998; Vito Acconci, Maurizio Cattelan, Michael Elmgreen & Ingar Dragset, Tom Friedman, Barry Le Va, and Tunga in 2000; and Francis Alÿs, Olafur Eliasson, Hachiya Kazuhiko, Koo Jeong-a, and Anri Sala in 200
HUGO BOSS has provided critical support to many of the Guggenheim Museum's programs since 1995. In addition to the HUGO BOSS PRIZE, the company has helped to make possible retrospectives of the work of Georg Baselitz, Ross Bleckner, Francesco Clemente, Ellsworth Kelly, and Robert Rauschenberg, Matthew Barney, and James Rosenquist.
Profiles of HUGO BOSS PRIZE 2004 Short-Listed Artists
Franz Ackermann was born in Neumarkt St. Veit, Germany in 1963 and currently lives and works in Berlin and Karlsruhe. Ackermann attended the Akademie der Bildenden Künste, Munich (1984–88) and Hochschule für Bildende Kunst, Hamburg (1989–91). Ackermann's hybrid works—merging painting and installation, abstraction and representation—depict the artist's perceptions and recollections of urban environments. Solo exhibitions of his work include Mental Maps, Portikus, Frankfurt (1997); Songline, Neuer Aachener Kunstverein, Aachen (1998); OFF, Kasseler Kunstverein, Kassel (1999); B.I.T., Castello di Rivoli, Turin (2000); Eine Nacht in den Tropen, Kunsthalle Basel (2002); and Naherholungsgebiet, Kunstmuseum Wolfsburg (2003). Group exhibitions featuring his work include Cocktail, Hamburger Kunstverein, Hamburg (1994); Atlas Mapping, Offenes Kulthurhaus Linz (1997) travelling to Kunsthaus Bregenz (1998); Time Out, Kunsthalle Nürnberg (1997); Dream City, Kunstverein München, Munich (1999); Mirror's Edge, BildMuseet, Umea, Sweden (1999–2000), travelling to Vancouver Art Gallery (2000), Castello di Rivoli, Turin (2000–01), Tramway, Glasgow (2001), and Charlottenborg Udstillingsbygning, Copenhagen (2001); Carnegie International 1999/2000, Carnegie Museum of Art, Pittsburgh (1999); Hausschau: das Haus in der Kunst, Deichtorhallen Hamburg (2000); Republic, Grazer Kunstverein (2000); Painting at the Edge of the World, Walker Art Center, Minneapolis (2001); Hybrids, Tate Liverpool (2001); Casino 2001: de Quadriënnale voor Hedendaagse Kunst, SMAK Stedelijk Museum voor Aktuele Kunst, Ghent (2001); Form Follows Fiction, Castello di Rivoli, Turin (2001); Drawing Now: Eight Positions, The Museum of Modern Art, New York (2002); Centre of Attraction, The 8th Baltic Triennial of International Art, Contemporary Art Center, Vilnius, Lithuania (2002); Home and Away, Wexner Center for the Arts, Columbus, Ohio (2003); Painting Pictures, Malerei und Medien im digitalen Zeitalter, Kunstmuseum Wolfsburg (2003); GNS (Global Navigation System), Palais de Tokyo, Paris (2003); and un-built cities, Bonner Kunstverein (2003).
Jeroen de Rijke/Willem de Rooij
Jeroen de Rijke (born 1970, Brouwershaven, The Netherlands) and Willem de Rooij (born 1969, Beverwijk, The Netherlands) live and work in Amsterdam, where they attended the Gerrit Rietveld Akademie and Rijksakademie. They have collaborated since 1994 on a body of meditative films and installations that investigate the perception of minute changes. Solo exhibitions of their work have been organized by Städtisches Museum Abteiberg, Mönchengladbach (1999); Stedelijk Museum Bureau, Amsterdam (2000); Van Abbemuseum, Eindhoven (2000); The National Museum of Contemporary Art, Oslo (2001); Institute of Contemporary Art, London (2002); Villa Arson, Nice (2002); Studio, Van Abbemuseum, Eindhoven (2003); and Kunsthalle Zürich (2003). Their work has also been featured in numerous group exhibitions including the Nederlands Filmfestival, Utrecht (1995); Verbindingen/Jonctions, Palais des Beaux-Arts, Brussels (1997); 26th International Film Festival, Rotterdam (1997); Manifesta 2: Biennale Européenne d'art contemporain, Casino Luxembourg—Forum d'art contemporain, Luxembourg (1998); L'Autre Sommeil, Musée d'Art Moderne de la Ville de Paris (1999); Still/Moving: Contemporary Photography, Film, and Video from the Netherlands, The National Museum of Modern Art, Kyoto (2000); For Real—voorstel tot gemeentelijke kunstaankopen 1999/2000, Stedelijk Museum, Amsterdam (2000); YOKOHAMA 2001: International Triennale of Contemporary Art, Yokohama (2001); Casino 2001: de Quadriënnale voor Hedendaagse Kunst, SMAK Stedelijk Museum voor Aktuele Kunst, Ghent (2001); Tableaux Vivants: Lebende Bilder und Attitüden in Fotografie, Film und Video, Kunsthalle Wien, Vienna (2002); Centre of Attraction, The 8th Baltic Triennial of International Art, Vilnius, Lithuania (2002); Nation, Frankfurter Kunstverein (2003); and Prosessi, Kiasma Museum of Contemporary Art, Helsinki (2003).
Rivane Neuenschwander currently lives and works in her hometown of Belo Horizonte, Brazil. Born in 1967, Neuenschwander received a B.A. in Fine Art from the Federal University of Minas Gerais, Brazil, in 1993 and later received an M.A. from the Royal College of Art, London, in 1998. Neuenschwander uses simple materials to emphasize sensory experiences in often ephemeral installations. Recent solo exhibitions include Syndrome, IASPIS, International Artists Studio Program, Stockholm (2000); Spell, Portikus, Frankfurt (2001); Rivane Neuenschwander, The Americas Society Art Gallery, New York (2001); To/From: Rivane Neuenschwander, Walker Arts Center, Minneapolis (2002); and Superficial Resemblance, Palais de Tokyo, Paris (2003). Group exhibitions featuring Neuenschwander's work include Material Immaterial, The Art Gallery of New South Wales, Sydney (1997); 2nd Johannesburg Biennale (1997); 5th International Istanbul Biennale (1997); Bili Bidjocka, Los Carpinteros, and Rivane Neuenschwander, New Museum of Contemporary Art, New York (1998); XXIV Bienal Internacional de São Paulo (1998); Looking for a Place, 3rd International Site Santa Fe Biennial, New Mexico (1999); Trace, Liverpool Biennial of Contemporary Art (1999); The Quiet in the Land 2: Everyday Life, Contemporary Art and Projecto Axé, Bahia, Brazil (2000); Haunted by Detail, De Appel Foundation, Amsterdam (2002); Eye of the Beholder, Dundee Contemporary Arts, Dundee, Scotland (2002); Delays and Revolutions, 50th International Art Exhibition, Venice Biennale (2003); and Land, Land!, Kunsthalle Basel (2003). She has been awarded residencies at IASPIS, Stockholm (2000) and ArtPace, San Antonio (2001).
Simon Starling was born in 1967 in Epsom, England, and lives and works in Berlin today. He studied at the Maidstone College of Art (1986–87), Nottingham Polytechnic (1987–90), and Glasgow School of Art (1990–92). Starling's projects and objects investigate the intimate relationship between material and technique in Modernist design, traditional crafts, and systems of mass production. His work has been featured in several solo exhibitions including Project for a Modern Museum, Moderna Museet, Stockholm (1998); Simon Starling, Camden Arts Centre, London (2000); Inverted Retrograde Theme, Secession, Vienna (2001); CMYK/RGB, Frac Languedoc-Roussillon, Montpellier, France (2001); Kakteenhaus, Portikus, Frankfurt (2002); Hammer Projects: Simon Starling, UCLA Hammer Museum, Los Angeles (2002); and Djungel, Dundee Contemporary Arts, Dundee, Scotland (2003). His work has been seen internationally in such group exhibitions as Institute of Cultural Anxiety, Institute of Contemporary Art, London (1994; Thinking Aloud, Camden Arts Centre, London (1998); Un Certain, ATA Centre d'Art Contemporain, Sofia, Bulgaria (1999); Fireworks, De Appel Foundation, Amsterdam (1999); What If, Moderna Museet, Stockholm (2000); Manifesta 3, Moderna Galerija, Ljubljana (2000); Circles 4: Glasgow, One for One, Zentrum für Kunst und Medientechnologie, Karlsruhe (2001); Open Country: Contemporary Scottish Artists, Musée Contonal des Beaux-Arts de Lausanne (2001); Squatters, Serralves Foundation, Porto and Witte de With, Rotterdam (2001); Matthew Jones/Simon Starling, Museum of Modern Art, Sydney (2002); The Moderns, Castello di Rivoli, Turin (2003); GNS (Global Navigation System), Palais de Tokyo, Paris (2003); Scottish Pavilion and Individual Systems, 50th International Art Exhibition, Venice Biennale (2003); and Moving Pictures, Guggenheim Museum Bilbao (2003–04). Starling was awarded the Blinky Palermo Prize by the Galerie für Zeitgenossiche Kunst, Leipzig, in 1999.
Rirkrit Tiravanija was born in Buenos Aires, Argentina, in 1961 and is based today in New York, Berlin, and Bangkok. He has studied at the Ontario College of Art, Toronto, the Banff Center School of Fine Arts, Banff, Canada, The School of the Art Institute of Chicago, and The Whitney Independent Studies Program, The Whitney Museum of American Art, New York. Tiravanija's installations and actions engage viewers in a dialogue that articulates the social role of the artist. He has had solo exhibitions at Musée d'Art Moderne de la Ville de Paris, Migrateurs (1993); Kunsthalle Basel (1995); De Appel Foundation, Amsterdam (1995); Kunstverein in Hamburg (1995); FRAC Languedoc-Roussillon, Montpellier (1995); Le Consortium, Centre d'Art Contemporain, Dijon (1995); Kölnischer Kunstverein (1995); Kunsthalle St. Gallen, Switzerland (1995); Projects 58, The Museum of Modern Art, New York (1997); Los Angeles County Museum of Art (1999); Center for Contemporary Art, Kitakyushu (2000); Portikus, Frankfurt (2001); Secession, Vienna (2002); Galerie für Zeitgenossiche Kunst, Leipzig (2003); and Ikon Gallery, Birmingham, UK (2003–04). Group exhibitions featuring Tiravanija's work include The Big Nothing or Le Presque Rien, The New Museum of Contemporary Art, New York (1991); Aperto, 45th International Art Exhibition, Venice Biennale (1993); L'Hiver de l'Amour, Musée d'Art Moderne de la Ville de Paris and P.S.1., Long Island City, New York (1994); 3ème Biennale d'Art Contemporain, Lyon (1995); Kwangju Biennale, Republic of Korea (1995); Carnegie International 1995, Carnegie Museum of Art, Pittsburgh (1995); 1995 Whitney Biennial, Whitney Museum of American Art, New York (1995); Africus, Johannesburg Biennale (1995); Manifesta 1, Rotterdam (1996); Truce: Echoes of Art in an Age of Endless Conclusions, 2nd International Site Santa Fe Biennial, New Mexico (1997); Cities on the Move, CAPC Musée d'Art Contemporain, Bordeaux, France (1997), travelling to Secession, Vienna (1998), Louisiana Museum of Modern Art, Copenhagen (1999); Wounds: between democracy and redemption in contemporary art, Moderna Museet, Stockholm (1998); Berlin Biennale (1998); Everyday, 11th Biennale of Sydney (1998); dAPERTutto, 48th International Art Exhibition, Venice Biennale (1999); Egofrugal, 7th International Istanbul Biennial (2001); Public Offerings, The Museum of Contemporary Art, Los Angeles (2001); YOKOHAMA 2001: International Triennale of Contemporary Art, Yokohama (2001); Public Affairs, Kunsthaus Zürich (2002); To Eat or Not to Eat, Centro de Arte de Salamanca, Spain (2002); and En Route, Serpentine Gallery, London (2002). Tiravanija recently co-curated Utopia Station at the 50th International Venice Biennale (2003). He was awarded the CENTRAL Art Prize from Central Krankenversicherung AG Cologne, in collaboration with the Kölnischer Kunstverein, in 1996, and the Lucelia Artist Award from the Smithsonian American Art Museum in 2003.
Yang Fudong was born in Beijing in 1971. He graduated from the China National Academy of Fine Arts, Hangzhou in 1995 and currently lives and works in Shanghai. Yang Fudong's films and installations investigate contemporary China and its relationship to Chinese history, philosophy, and the environment as the culture develops into a capitalist economy. Exhibitions in which his work has been featured include the YOKOHAMA 2001: International Triennale of Contemporary Art, Yokohama (2001); Egofrugal, 7th International Istanbul Biennial (2001); Living in Time, Contemporary Artists from China, Hamburger Bahnhof Museum für Gegenwartskunst, Berlin (2001); Bienal de Valencia (2001); Documenta 11, Kassel (2002); Shanghai Biennale 2002 (2002); and First Guangzhou Triennial, Guangdong Museum of Art, Guangzhou (2002). In 2003 his work was exhibited in Alors, la Chine? at Centre Pompidou, Paris; Camera, ARC, Musée d'Art Moderne de la Ville de Paris; Utopia Station at the 50th International Art Exhibition, Venice Biennale; and in Happiness: A Survival Guide for Art and Life at the Mori Art Museum, Tokyo (2003–04). His work will also be included in the film program China Now at The Museum of Modern Art, New York (2004) and at the Renaissance Society, Chicago and Liverpool Biennial later in 2004.
February 6, 2004
Betsy Ennis / Jennifer Russo
Guggenheim Public Affairs