Guggenheim Announces Short List for the Hugo Boss Prize 2010
GUGGENHEIM ANNOUNCES SHORT LIST FOR THE HUGO BOSS PRIZE 2010
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(NEW YORK, NY – October 9, 2009) – Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum, and Claus-Dietrich Lahrs, Chairman of the Managing Board and CEO, HUGO BOSS AG, today announced the short list for the Hugo Boss Prize 2010. Established in 1996 to recognize significant achievement in contemporary art, this biennial award is administered by the Solomon R. Guggenheim Foundation and juried by a distinguished international panel of museum directors, curators, and critics. The following artists are finalists for the eighth presentation of the prize:
• Cao Fei (b. 1978, Guangzhou, China) — video, installation, performance, photography, and online projects.
• Hans-Peter Feldmann (b. 1941, Düsseldorf) — sculpture, installation, photography, and artists’ books.
• Natascha Sadr Haghighian — sculpture, installation, performance, video, photography, sound, and online projects.
• Roman Ondák (b. 1966, Žilina, Slovakia) — performance, installation, photography, drawing, and sculpture.
• Walid Raad (b. 1967, Chbanieh, Lebanon) — photography, video, mixed media, essays, and lectures.
• Apichatpong Weerasethakul (b. 1970, Bangkok) — film and installation.
“The Hugo Boss Prize is internationally recognized as one of contemporary art’s most prestigious accolades,” said Armstrong. “In line with the Guggenheim’s commitment to supporting the most innovative and compelling art of our time, the prize is an opportunity for us to honor artists around the world who are redefining the parameters of creative production. We are delighted to have this opportunity to celebrate the outstanding achievements of the six short-listed artists.”
A publication featuring the work of all six finalists with accompanying essays will be published in June 2010. The prizewinner will be selected and announced in fall 2010, and the artist’s work will be presented in an exhibition in 2011 at the Solomon R. Guggenheim Museum, New York.
“We are proud that the HUGO BOSS PRIZE has been recognizing artists for so many years,” said Lahrs. “This demonstrates how firmly the award has become anchored in the contemporary art world and also underscores our continuing commitment to the arts as an integral part of our corporate culture.”
The Hugo Boss Prize is given to an artist whose work represents a significant development in contemporary art. The award sets no restrictions in terms of age, gender, race, nationality, or medium, and the nominations may include emerging artists as well as established individuals whose public recognition may be long overdue. The 2010 prize carries with it an award of $100,000.
The jury for the 2010 prize is chaired by Nancy Spector, Chief Curator, Solomon R. Guggenheim Foundation, and the jurors are Udo Kittelmann, Director, Nationalgalerie, Berlin; Alexandra Munroe, Senior Curator of Asian Art, Solomon R. Guggenheim Museum; Yasmil Raymond, Curator, Dia Art Foundation, New York; Joan Young, Associate Curator of Contemporary Art, Solomon R. Guggenheim Museum; and Tirdad Zolghadr, independent writer and curator.
Since its inception in 1996, the Hugo Boss Prize has been awarded to American artist
Matthew Barney (1996), Scottish artist Douglas Gordon (1998), Slovenian artist Marjetica
Potrč (2000), French artist Pierre Huyghe (2002), Thai artist Rirkrit Tiravanija (2004), British
artist Tacita Dean (2006), and Palestinian artist Emily Jacir (2008). Previous finalists have
included 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 and Ingar Dragset,
Tom Friedman, Barry Le Va, and Tunga in 2000; Francis Alÿs, Olafur Eliasson, Hachiya
Kazuhiko, Koo Jeong-a, and Anri Sala in 2002; Franz Ackermann, Rivane Neuenschwander,
Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004; Jennifer
Allora and Guillermo Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal
in 2006; and Christoph Büchel, Patty Chang, Sam Durant, Joachim Koester, and Roman
Signer in 2008.
About HUGO BOSS
Since 1995 HUGO BOSS has provided critical support to many of the Guggenheim Museum’s programs. In addition to the Hugo Boss Prize, the company has helped make possible retrospectives of the work of Matthew Barney (2003), Georg Baselitz (1995), Ross Bleckner (1995), Francesco Clemente (1999–2000), Ellsworth Kelly (1996–97), Robert Rauschenberg (1997–98), and James Rosenquist (2003–04); the presentation Art in America: Now (2007) in Shanghai; the Ed Ruscha (2005) and Felix Gonzalez-Torres (2007) exhibitions in the U.S. Pavilion of the Venice Biennale; and the exhibition theanyspacewhatever (2008–09) at the Solomon R. Guggenheim Museum. For more information about the Hugo Boss Prize, visit hugoboss.com/hugobossprize.
About the Solomon R. Guggenheim Foundation and Museum
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, architecture, and other manifestations of visual culture, primarily of the modern and contemporary periods, and to collect, conserve, and study the art of our time. The foundation realizes this mission through exceptional exhibitions, education programs, research initiatives, and publications, and strives to engage and educate an increasingly diverse international audience through its unique network of museums and cultural partnerships. Currently the foundation owns and operates the Solomon R. Guggenheim Museum on Fifth Avenue in New York; the Peggy Guggenheim Collection on the Grand Canal in Venice; and provides programming and management for two other museums in Europe that bear its name, the Guggenheim Museum Bilbao in Spain and the Deutsche Guggenheim in Berlin. With nearly three million annual visitors worldwide, the Guggenheim and its network of museums are among the most visited cultural institutions in the world. In 2013 the Guggenheim Abu Dhabi Museum, a museum of modern and contemporary art designed by architect Frank Gehry, is scheduled to open.
Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free.
Admission includes audio-guide tour.
Museum Hours: Sun–Wed 10 am–5:45 pm, Fri 10 am–5:45 pm, Sat 10 am–7:45 pm, closed Thurs. On Saturdays beginning at 5:45 pm, the museum hosts Pay What You Wish.
October 9, 2009
FOR ADDITIONAL INFORMATION CONTACT
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Profiles of the Hugo Boss Prize 2010 Short-Listed Artists
Cao Fei (b. 1978, Guangzhou, China) received a bachelor of fine arts degree from the Guangzhou Academy of Fine Arts and currently lives and works in Beijing. In her photographs, videos, performances, and new-media work, she examines the rapid evolution of Chinese society and the burgeoning of cultural trends, such as costumed role-play and online communities, that enable the creation of alternate identities and realities.
Solo exhibitions of Cao’s work have been held at institutions including, the Serpentine Gallery, London (2008–09); Kunsthalle Nürnberg, Nuremberg (2008–09); FRAC Ile-de-France – Le Plateau, Paris (2008); Orange County Museum of Art, Newport Beach (2007); Center for Contemporary Art Kitakyushu, Japan (2007); Museum Het Domein, Sittard, Netherlands (2006); SIEMENS Art Project, Fu Shan OSRAM Factory, Guangzhou, China (2005–06).
Cao’s work has been featured in group exhibitions, including Dress Codes: The Third ICP Triennial of Photography and Video, International Center of Photography, New York (2009); The Generational: Younger Than Jesus, New Museum of Contemporary Art, New York (2009); There Goes the Neighborhood, Museum of Contemporary Art Cleveland (2009); H BOX, Orange County Museum of Art, Newport Beach (2009); Prospect.1 New Orleans, Contemporary Arts Center New Orleans (2008); Life on Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh (2008–09); Time Crevasse, Third Yokohama Triennale, Japan (2008); China Power Station: Part III, Musée d’art moderne Grand-Duc Jean, Luxembourg (2008); Laughing in a Foreign Language, Hayward Gallery, London (2008); Third Guangzhou Triennial, Guangdong Museum of Art, China (2008); Brave New Worlds, Walker Art Center, Minneapolis (2007–08); Second Shenzhen and Hong Kong Bi-City Biennale of Urbanism/Architecture (2007); Ninth Biennale de Lyon (2007); Tenth International Istanbul Biennial (2007); Everyday Miracles (Extended), 52nd Venice Biennale (2007); China Welcomes You . . . Desires, Struggles, New Identities, Kunsthaus Graz, Austria (2007); Fifth Taipei Biennial (2006); China Power Station: Part I, Serpentine Gallery, London (2006); Seventh Busan Biennale, South Korea (2006); First Singapore Biennale (2006); 15th Biennale of Sydney (2006); Follow Me! Contemporary Chinese Art at the Threshold of the Millennium, Mori Art Museum, Tokyo (2005); First Moscow Biennale of Contemporary Art (2005); Past in Reverse: Contemporary Art of East Asia, San Diego Museum of Art (2004–05); Between Past and Future: New Photography and Video from China, International Center of Photography in New York, David and Alfred Smart Museum at the University of Chicago, Asia Society and Museum in New York, and Museum of Contemporary Art in Chicago (2004–07); Fifth Shanghai Biennale, Shanghai Art Museum (2004); China Now, Museum of Modern Art at Gramercy Theater, New York (2004); Tenth Biennial of the Moving Image, Centre pour l’image contemporaine Saint-Gervais, Geneva (2003); Alors, la Chine? Centre Pompidou, Paris (2003); Z.O.U. (Zone of Urgency), 50th Venice Biennale (2003); Fourth Kwangju Biennale, South Korea (2002); Living in Time: 29 Contemporary Artists from China, Hamburger Bahnhof, Berlin (2001–02); and Second Berlin Biennial (2001).
Cao was selected as Best Young Artist in the 2006 Chinese Contemporary Art Awards. She was a recipient of a German Federal Cultural Foundation fellowship in 2005.
Hans-Peter Feldmann (b. 1941, Düsseldorf) lives and works in Düsseldorf. His seminal work calls attention to visual culture by gathering images and everyday objects appropriated from disparate commercial and domestic sources and presenting them in serial form or other carefully orchestrated installations.
Solo exhibitions of Feldmann’s work have been held at such institutions as the Arnolfini, Bristol (2007–08); Sprengel Museum Hannover, Germany (2007); Contemporary Art Gallery, Vancouver (2006); P.S.1 Contemporary Art Center, Long Island City (2004–05); Fundación Antoni Tàpies in Barcelona, Centre national de la photographie in Paris, Fotomuseum Winterthur in Switzerland, and Museum Ludwig in Cologne (2001–03); Museum Folkwang, Essen, Germany (2001); Grazer Kunstverein, Graz, Austria (1999); Guggenheim Museum Soho, New York (1993); Musée d’art moderne de la ville, Paris (1992); Neuer Aachener Kunstverein, Aachen, Germany (1991); Kunstverein Heinsberg, Germany (1991); Kunstverein für die Rheinlande und Westfalen, Düsseldorf (1990); Kunstverein München, Munich (1990); Halle für Internationale Kunst, Zurich (1979); Kunstraum München, Munich (1978); and Museum Folkwang, Essen, Germany (1977).
Feldmann has been featured in numerous group exhibitions, including Making Worlds, 53rd Venice Biennale (2009); For the blind man in the dark room looking for the black cat that isn’t there, Contemporary Art Museum St. Louis (2009); Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York (2008); Beyond Paradise, Stedelijk Museum, Amsterdam (2008); Organizing Chaos, P.S.1 Contemporary Art Center, Long Island City (2007); The Eighth Square, Museum Ludwig, Cologne (2006); Classified Materials: Accumulations, Archives, Artists, Vancouver Art Gallery (2005–06); Universal Experience: Art, Life, and the Tourist’s Eye, Museum of Contemporary Art, Chicago (2005); Regarding Terror: The RAF Exhibition, Neue Galerie, Graz, Austria (2005); The Last Picture Show: Artists Using Photography, 1960–1982, Walker Art Center, Minneapolis (2003–04); Living with Duchamp, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York (2003); Sem Limites – No Limits, Centro de artes visuais, Coimbra, Portugal (2003); Images of Society, Kunstmuseum Thun, Switzerland (2003); Utopia Station, 50th Venice Biennale (2003); Presumed Innocent, CAPC Musée d’art contemporain, Bordeaux (2000); do it, Kunsthalle Ritter, Klagenfurt, Austria (1994); Photography in German Art: 1960 to the Present, Walker Art Center, Minneapolis (1993); Zwischen Schwarz & Weiss, Neuer Berliner Kunstverein, Berlin (1988); Kunst mit Photographie, Nationalgalerie, Berlin (1983); Kunst na ’68 . . . in Europa, Museum van Hedendaagse Kunst, Ghent, Belgium (1980); Right in Time, Cornell Museum, London (1978); Über Fotografie, Westfälischer Kunstverein, Münster (1977); Malerei und Photographie im Dialog, Kunsthaus Zurich (1977); Documenta 6, Kassel, Germany (1976); New Media I, Malmö Konsthall, Sweden (1975); Projekt ’74, Wallraf-Richartz Museum, Kunsthalle Köln, Kunst- und Museumbibliothek, Kölnischer Kunstverein, Cologne (1974); Eighth Biennale de Jeunesse, Musée national d’art moderne, Paris (1973); and Documenta 5, Kassel, Germany (1972).
Feldmann was awarded the eighth Benesse Prize at the 53rd Venice Biennale in 2009.
Natascha Sadr Haghighian
Natascha Sadr Haghighian’s rigorously conceptual work investigates representational structures and demythologizes the romantic notion of the artist as creative genius. Her projects promote a broader conception of authorship by employing collectivity and collaboration to unveil the communal nature of artistic production, display, and dissemination.
In place of her biographical note, Haghighian wishes to draw readers’ attention to bioswop.net.
Roman Ondák (b. 1966, Žilina, Slovakia) studied at the Academy of Fine Arts and Design in Bratislava, Slovakia, and Slippery Rock University in Pennsylvania; he currently lives and works in Bratislava. Ondák’s performative interventions expose the inner workings of tacitly accepted sociocultural structures by playfully calling attention to their absurdities. He frequently includes the viewer in his creative process, realigning the traditional roles of producer and consumer.
Ondák has had solo exhibitions and projects in the Museum of Modern Art, New York (2009); Loop, 53rd Venice Biennale (2009); CCA Wattis Institute for Contemporary Arts, San Francisco (2008); Pinakothek der Moderne, Munich (2007–08); Basis voor actuele Kunst, Utrecht, Netherlands (2007); Galerie im Taxispalais, Innsbruck, Austria (2007); Galleria civica di arte contemporanea, Trento, Italy (2007); Tate Modern, London (2006); Center for Contemporary Art Kitakyushu, Japan (2004–05); Kölnischer Kunstverein, Cologne (2004); Brno House of Art, Switzerland (2003); Moderna galerija, Zagreb, Croatia (2002); and Ludwig Múzeum, Budapest (1999).
Group shows featuring Ondák’s work include Die Kunst ist Super! Hamburger Bahnhof, Berlin (2009–10); The Quick and the Dead, Walker Art Center, Minneapolis (2009); Fifty Fifty: Art in Dialogue with the 50s, Wien Museum Karlsplatz, Vienna (2009); Take the Money and Run, De Appel, Amsterdam (2009); Performing the East, Salzburger Kunstverein, Salzburg, Austria (2009); Voids: A Retrospective, Centre Pompidou, Paris, and Kunsthalle Bern (2009); Aspect Ratio, Tent, Rotterdam (2009); Fifth Liverpool Biennial (2008); Eighth Panama Art Biennial (2008); Translocalmotion, Seventh Shanghai Biennale (2008); No More Reality.Step3: Shared Folder, De Appel, Amsterdam (2008); 111 Works of Art from the SNG Collection, Slovak National Gallery, Bratislava (2008); Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco (2007–08); The World as a Stage, Tate Modern, London, and Institute of Contemporary Art, Boston (2007–08); Third Prague Biennale (2007); The Art of Failure, Kunsthaus Baselland, Basel (2007); Memorial to the Iraq War, Institute of Contemporary Arts, London (2007); Actions and Interruptions, Tate Modern, London (2007); Auditorium, Stage, Backstage—An Exposure in 32 Acts, Frankfurter Kunstverein, Frankfurt (2007); 27th Bienal de São Paulo (2006); Why Pictures Now? Museum Moderner Kunst Stiftung Ludwig, Vienna (2006); Second Prague Biennale (2005); Populism, Contemporary Art Centre in Vilnius, Lithuania, National Museum of Art, Architecture and Design in Oslo, and Stedelijk Museum in Amsterdam (2005); Post Notes, Midway Contemporary Art, Minneapolis (2005); Normalization, Platform Garanti Contemporary Art Center, Istanbul (2005); Universal Experience: Art, Life, and the Tourist’s Eye, Museum of Contemporary Art, Chicago (2005); Water Event, Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); Who if not we . . . ? episode 2: Time and Again, Stedelijk Museum, Amsterdam (2004–05); Free Entrance, Bawag Foundation, Vienna (2004); Utopia Station, 50th Venice Biennale (2003); Czechoslovakia, Slovak National Museum, Bratislava (2003); Durchzug/Draft, Kunsthalle Zürich (2003); I promise it’s political: Kooperationsprojekt Museum Ludwig/Theater der Welt, Museum Ludwig, Cologne (2002); Die Sammlung, Museum Moderner Kunst Stiftung Ludwig, Vienna (2001); After the Wall: Art and Culture in Postcommunist Europe, Ludwig Múzeum, Budapest, and Hamburger Bahnhof, Berlin (2000–01); Manifesta 3, Moderna galerija, Ljubljana, Slovenia (2000); Aspects-Positions 1949–1999, Museum Moderner Kunst Stiftung Ludwig, Vienna (1999); Manifesta 1, Natural History Museum, Rotterdam (1996); and Artists of Central and Eastern Europe, Mattress Factory, Pittsburgh (1995).
Walid Raad (b. 1967, Chbanieh, Lebanon) received a bachelor of fine arts degree from the Rochester Institute of Technology and a master of arts degree and doctorate of philosophy from the University of Rochester; he currently lives and works in Beirut and New York. Raad’s conceptual practice explores issues of trauma, collective memory, and the representation of conflict. Illuminating the fraught contemporary history of his native country through the device of a fictional archive, Raad has exhibited, published, and lectured about a growing body of photographs, texts, films, and videos that purport to chronicle Lebanon’s protracted civil war of 1975–90.
Solo exhibitions and projects have been featured at the Glassell School of Art, Museum of Fine Arts, Houston (2008); David Winton Bell Gallery, Brown University, Providence (2008); Emory University, Atlanta (2007); Migros Museum für Gegenwartskunst, Zurich (2007); Henry Art Gallery, Seattle (2006); Hamburger Bahnhof, Berlin (2006); The Kitchen, New York (2006); FACT, Liverpool (2005); Art Gallery of York University, Toronto (2005); Prefix Institute of Contemporary Art, Toronto (2004); La Galerie, Noisy-le-Sec, France, and World Wide Video Festival, Amsterdam (2003); and Kampnagel, Hamburg.
Raad’s work has been featured in group exhibitions, including The Greenroom: Reconsidering the Documentary and Contemporary Art, Hessel Museum of Art and CCS Galleries, Annandale-on-Hudson, New York (2008–09); Zones of Conflict, Pratt Manhattan Gallery, New York (2008); Other Certainties, New York Center for Art and Media Studies, Bethel University (2008); Color Chart: Reinventing Color, 1950 to Today, Museum of Modern Art, New York (2008); Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York (2008); Brave New Worlds, Walker Art Center, Minneapolis (2007–08); 15th Biennale of Sydney (2006); Without Boundary: Seventeen Ways of Looking, Museum of Modern Art, New York (2006); Word into Art: Artists from the Modern Middle East, British Museum, London (2006); New Work/New Acquisitions, Museum of Modern Art, New York (2005); Greater New York 2005, P.S.1 Contemporary Art Center, Long Island City (2005); Borrowed Time, Pratt Manhattan Gallery, New York (2005); Do You Believe in Reality? Fourth Taipei Biennial (2004–05); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004–05); Sixth International Photo Triennale, Esslingen, Germany (2004); Witness, Barbican, London (2003); Dreams and Conflicts: The Dictatorship of the Viewer, 50th Venice Biennale (2003); Documenta 11, Kassel, Germany (2002); and Whitney Biennial, Whitney Museum of American Art, New York (2000).
His numerous prizes include the Alpert Award, presented by CalArts, Los Angeles (2007); First Prize, Vidarte Festival, Mexico City (2002); First Prize, Video Ex, Zurich (2001); Certificate of Merit, San Francisco International Film Festival (2000); Special Jury Prize, Fifth Biennial for Arab Cinemas, Institut du monde Arabe, Paris (2000); Grand Prize at the Eighth Biennial of the Moving Image, Centre pour l’image contemporaine Saint-Gervais, Geneva (1999); and Best Short Film and Best Scenario for a Short Film, Beirut Film Festival (1999).
Apichatpong Weerasethakul (b. 1970, Bangkok) studied at Khon Kaen University in Thailand and holds a master of fine arts from the School of the Art Institute of Chicago; he currently lives and works in Chiang Mai, Thailand. Working in both feature-length and short forms, Apichatpong plays with various narrative devices and nonlinear structures in his profoundly expressive, lyrical films, which are produced in his native Thailand through his company Kick the Machine.
Selected exhibitions and screenings include Phantoms of Nabua, The Box, Wexner Center for the Arts, Columbus (2009); Primitive, Haus der Kunst, Munich and Musée d’Art moderne de la Ville de Paris/ARC (2009); Life on Mars, 55th Carnegie International, Pittsburgh (2008–09); Space for Your Future: Recombining the DNA of Art and Design, Museum of Contemporary Art, Tokyo (2007–08); Discovering the Other, National Palace Museum, Taipei (2007); Unknown Forces, REDCAT, Los Angeles (2007); Fourth Liverpool Biennial (2006); Grey Flags, SculptureCenter, Long Island City (2006); Waterfall, Solar Gallery, 14th Vila do Conde Shorts, Portugal (2006); La force de l’art, Galeries nationales du Grand Palais, Paris (2006); First Turin Triennial (2005); Ghost of Asia, Ninth Baltic Triennial of International Art, Vilnius, Lithuania (2005); Ghost of Asia, 11th Biennial of the Moving Image, Centre pour l’image contemporaine Saint-Gervais, Geneva (2005); Ghost of Asia and Politics of Fun, Haus der Kulturen der Welt, Berlin (2005); Slow Rushes, Artspace, Auckland (2005); KunstenFESTIVALdesArts, Brussels (2005); Fourth Taipei Biennial (2004–05); Sixth Busan Biennale, South Korea (2004); MixMax, Artsonje Center, Seoul (2004); Under Construction: New Dimensions of Asian Art, Tokyo Opera City Art Gallery (2002–03); Fourth Kwangju Biennale, South Korea (2002); Seventh International Istanbul Biennial (2001); and First Tirana Biennale, Albania (2001).
Apichatpong received the inaugural Fine Prize from the 55th Carnegie International in 2008, the Chevalier de l’ordre des arts et des lettres from the French government in 2008, and the Silpatorn Award from the Thai Ministry of Culture in 2005. His feature films have won two prizes from the Cannes Film Festival—the Prix un certain regard (2003) and the Prix du jury (2004)—while his Syndromes and a Century was the first Thai film to be selected for the Venice Film Festival, where it premiered in 2006 at the 63rd festival.