Guggenheim Museum Announces Short List For THE HUGO BOSS PRIZE 2012


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(NEW YORK, NY – November 28, 2011) – Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation, and Claus-Dietrich Lahrs, Chairman and CEO, HUGO BOSS AG, today announced the finalists for the Hugo Boss Prize 2012. The biennial award was established in 1996 to recognize significant achievement in contemporary art.

The following artists are finalists for the Hugo Boss Prize 2012:

Trisha Donnelly (b. 1974, San Francisco)

Rashid Johnson (b. 1977, Chicago)

Qiu Zhijie (b. 1969, Zhangzhou, China)

Monika Sosnowska (b. 1972, Ryki, Poland)

Danh Vo (b. 1975, Bà Rịa, Vietnam)

Tris Vonna-Michell (b. 1982, Southend-on-Sea, United Kingdom)

“On behalf of the jury, we are delighted to announce the ninth biennial Hugo Boss Prize finalists,” said Mr. Armstrong. “Since its inception in 1996, the Hugo Boss Prize has become one of the world’s most noted juried prizes. The selection of these six exceptional artists for the 2012 short list offers insight into some of today’s most dynamic practices.”

A publication featuring the work of the six finalists with accompanying essays will be published in summer 2012. The winner will be selected and announced in fall 2012, followed by an exhibition of the artist’s work to be presented in 2013 at the Solomon R. Guggenheim Museum, New York.

“Already in its sixteenth year, the Hugo Boss Prize has become a fixture in our arts sponsorship program and a key feature of our corporate culture,” said Mr. Lahrs. “We are therefore particularly delighted that it enjoys such a fine reputation on the international arts scene. We congratulate the six short-listed candidates and are already looking forward to the award ceremony in the fall of 2012.”

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, nationality, or medium, and the nominations may include emerging artists as well as more established individuals whose public recognition may be long overdue. The 2012 prize carries an award of $100,000.

The prize is juried by an international panel of museum directors, curators, and critics. The 2012 jury is chaired by Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Foundation, and the jurors are Magali Arriola, Curator, Colección Jumex, Ecatepec de Morelos, Mexico; Suzanne Cotter, Curator, Abu Dhabi Project, Solomon R. Guggenheim Foundation; Kate Fowle, Executive Director, Independent Curators International, New York; Nat Trotman, Associate Curator, Solomon R. Guggenheim Museum; and Theodora Vischer, Senior Curator at Large, Fondation Beyeler, Basel.

History of the Prize
This year marks the ninth presentation of the Hugo Boss Prize at the Guggenheim Museum. Since 1996, the 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), Palestinian artist Emily Jacir (2008), and German artist Hans-Peter Feldmann (2010). Previous finalists have included Laurie Anderson, Janine Antoni, Cai Guo-Qiang, Stan Douglas, 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; Allora & Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal in 2006; Christoph Büchel, Patty Chang, Sam Durant, Joachim Koester, and Roman Signer in 2008; and Cao Fei, Roman Ondák, Walid Raad, Natascha Sadr Haghighian, and Apichatpong Weerasethakul in 2010.

Arts sponsorship has a long tradition at HUGO BOSS. Since 1995, the company has been providing support to both established and upcoming artists in a variety of ways. Above all, the collaboration with the Guggenheim Museum has made it possible to organize numerous special exhibitions featuring major artists – ranging from Matthew Barney, Georg Baselitz, and Ross Bleckner to Francesco Clemente, Ellsworth Kelly and James Rosenquist. For more information on the Hugo Boss Prize, visit

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and provides programming and management for the Guggenheim Museum Bilbao. The Deutsche Guggenheim in Berlin is the result of a collaboration, begun in 1997, between the Guggenheim Foundation and Deutsche Bank. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by Frank Gehry on Saadiyat Island, adjacent to the main island of Abu Dhabi city, the capital of the United Arab Emirates, is currently in progress. More information about the foundation can be found at

Admission: Adults $18, students/seniors (65+) $15, members and children under 12 free. Admission includes an audio tour of highlights of the Guggenheim’s permanent collection, as well as of the building, available in English, Spanish, French, German, and Italian.

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. For general information, call 212 423 3500 or visit the museum online at:

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November 28, 2011

Betsy Ennis, Director, Media and Public Relations
Lauren Van Natten, Associate Director, Media and Public Relations
Solomon R. Guggenheim Museum
212 423 3840


The Hugo Boss Prize 2012 Short List

Trisha Donnelly (b. 1974, San Francisco) lives and works in San Francisco and New York. Donnelly engages the mediums of photography, drawing, sound, video, carving, and demonstration. Her spare, enigmatic gestures evoke shifting perceptions and associations, challenging the confines of time, language, and conventional narrative.

Solo exhibitions of Donnelly’s work have been presented at Portikus, Frankfurt, Germany (2010); MAMbo Museo d’arte moderna di Bologna, Italy (2009); Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2008); Renaissance Society, University of Chicago (2008); and Modern Art Oxford (2007). Donnelly’s work has been featured in numerous group exhibitions, includingVideoSpace, Astrup Fearnley Museum of Modern Art, Oslo (2011); Venice Biennale: ILLUMInazioni (ILLUMInations) (2011); I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York (2011); Off the Wall Part 1: Thirty Performative Acts, Whitney Museum of American Art, New York (2010), and Museu de arte contemporãnea de Serralves, Porto, Portugal (2011); Yokohama Triennial, Japan (2008); The World as a Stage, Tate Modern, London (2007–08), and Institute of Contemporary Art, Boston (2008); Il Tempo del Postino, Manchester International Festival (2007, organized with Théâtre du Châtelet, Paris), and Theater Basel (2009, organized with Art Basel and Fondation Beyeler, Basel); Whitney Museum of American Art, Whitney Biennial: Day for Night (2006); Strange Powers, Creative Time, New York (2006); Berlin Biennial: Of Mice + Men (2006); A Brief History of Invisible Art, Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco (2005–06); and Carnegie International, Carnegie Museum of Art, Pittsburgh (2004–05).

Rashid Johnson (b. 1977, Chicago) lives and works in Brooklyn. Johnson’s conceptual photographs, sculptures, and videos draw on personal memories and pop culture, as well as myriad literary and arthistorical sources, to explore and complicate notions of racial and cultural identity.

Solo exhibitions of Johnson’s work have been held at Power House Memphis (2009); Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany (2008); and Indianapolis Museum of Contemporary Art (2005). Johnson’s work has been included in group exhibitions such as the Venice Biennale: ILLUMInazioni (ILLUMInations) (2011); 30 Americans, North Carolina Museum of Art, Raleigh (2011), Corcoran Gallery of Art, Washington, D.C. (2011–12), and Chrysler Museum of Art, Norfolk, Virginia (2012); Seeing Is a Kind of Thinking: A Jim Nutt Companion, Museum of Contemporary Art, Chicago (2011); Secret Societies. To Know, To Dare, To Will, To Keep Silence, Schirn Kunsthalle, Frankfurt, Germany (2011), and CAPC Musée d’art contemporain de Bordeaux, France (2011–12); From Then to Now: Masterworks of African American Art, Museum of Contemporary Art Cleveland (2010); 30 Seconds off an Inch, Studio Museum, New York (2009–10); Across the Divide: Reconsidering the Other, Illinois State Museum, Chicago Gallery (2008–09); MCA Exposed: Defining Moments in Photography, 1967–2007, Museum of Contemporary Art, Chicago (2007); American Identities, Brooklyn Museum of Art (2006); Prague Biennial: In Search of a Continuous Present (2005); Common Ground: Discovering Community in 150 Years of Art, Selections from the Collection of Julia J. Norrell, Corcoran Gallery of Art, Washington, D.C. (2004–05); Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum of American Art, New York (2004); Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York (2003–04), Seattle Art Museum (2004), and Museum of Photographic Arts, San Diego (2005); The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis (2003–04); and Freestyle, Studio Museum (2001).

Qiu Zhijie (b. 1969, Zhangzhou, China) lives and works in Beijing and Hangzhou, China. Qiu’s diverse practice embraces sculpture, painting, printmaking, video, photography, and performance. His work, which frequently translates traditional techniques into conceptual forms, examines the intersection between political history and current social realities in China.

Qiu has had solo exhibitions at such institutions as Guangdong Museum of Art, Guangzhou, China (2010); Haus der Kulturen del Welt, Berlin (2010); Ullens Center for Contemporary Art, Beijing (2009); Zendai Museum of Modern Art, Shanghai (2008); Long March Space, Beijing (2007); Fundação Oriente, Macau, China (2000); and Gallery of the Central Academy of Fine Arts, Beijing (1999). Group shows featuring Qiu’s work include Community of Tastes: Chinese Contemporary Art Since 2000, Museu de arte contemporânea da universidade de São Paulo (2011); Photography from the New China, Getty Center, Los Angeles (2010–11); Shanghai Biennial (2010); Thirty Years of Chinese Contemporary Art, Minsheng Art Museum, Shanghai (2010); Contemplating the Void: Interventions in the Guggenheim Museum, Solomon R. Guggenheim Museum, New York (2010); Breaking Forecast: Eight Key Figures of China’s New Generation of Artists, Ullens Center for Contemporary Art (2009– 10); Media Art China 2009: Timelapse, A Swiss-China Media Art Exhibition, National Art Museum of China, Beijing (2009), and Centre PasquArt, Biel, Switzerland (2010); Fukuoka Triennial, Japan (2009); Venice Biennale (2009); Guangzhou Triennial, China (2008); Poetic Realism: A Reinterpretation of Jiangnan, Centro de arte Tomás y Valiente, Madrid (2008); The Real Thing: Contemporary Art from China, Tate Liverpool (2007); Moscow Biennial: We are your future (2007); Trading Place, Museum of Contemporary Art, Taipei (2005); Yokohama Triennial, Japan (2005); Alors la Chine?, Centre Pompidou, Paris (2003); Transience: Chinese Experimental Art at the End of the Twentieth Century, Smart Museum of Art, University of Chicago (1999); and Inside Out, PS1 Contemporary Art Center, New York (1998).

Monika Sosnowska (b. 1972, Ryki, Poland) lives and works in Warsaw. Replicating the forms and vocabulary of architecture, Sosnowska’s sculptures and immersive installations express the psychology of the built environment and amplify the particular social or historical concerns that relate to the sites of her work.

Solo exhibitions by Sosnowska have been presented at the Museo Rufino Tamayo, Mexico City (2011); Artpace, San Antonio (2010); K21 Ständehaus, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (2010); Primrose Hill (public art project), London (2008); Polish Pavilion, Venice Biennale (2007); Museum of Modern Art, New York (2006); Sprengel Museum Hannover, Germany (2006); Serpentine Gallery, London (2004–05); and Künstlerhaus Bethanien, Berlin (2004). Selected group exhibitions include We Will Live, We Will See, Zabludowicz Collection, London (2011); The Power of Fantasy: Imagination at Work, BOZAR, Palais des beaux-arts, Brussels (2011); Venice Biennale: ILLUMInazioni (ILLUMInations) (2011); elles@centrepompidou, Centre Pompidou, Paris (2009–11); XXS: Extra Extra Small, Sommer Contemporary Art, Tel Aviv (2007); Stay forever and ever and ever, South London Gallery (2007); START!, Grieder Contemporary, Küsnacht, Switzerland (2006); Satellite of Love, Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2006); ARS 06 – Sense of the Real, Kiasma Museum of Contemporary Art, Helsinki (2006); Bewitched, Bothered and Bewildered: Spatial Emotion in Art and Architecture, Migros Museum für Gegenwartskunst, Zurich (2003); Architectures of Gender: Contemporary Women’s Art in Poland, Sculpture Center, New York (2003); Polish Pavilion, Venice Biennale: Clandestine (2003); Istanbul Biennial: Poetic Justice (2003); Re:Location 6: re(framed)locations, dis(covered)desires, Villa Arson, Nice (2003), and Laznia Center for Contemporary Art, Gdansk, Poland (2004); Manifesta 4, Frankfurt, Germany (2002); and Gwangju Biennial, South Korea: Project 1 (2002).

Danh Vo (b. 1975, Bà Rịa, Vietnam) lives and works in Berlin. Vo’s installations deftly intermingle autobiography with larger cultural narratives of migration, history, and identity. He allows poetic new connotations to emerge through the staging of meticulously selected images, objects, and documents.

Vo’s work has been featured in solo exhibitions at Kunsthalle Fridericianum, Kassel, Germany (2011); Statens Museum for Kunst, Copenhagen (2010–11); Artists Space, New York (2010); Kunsthalle Basel (2009); Kadist Art Foundation, Paris (2009); Stedelijk Museum, Amsterdam (2008); and Brandenburgischer Kunstverein, Potsdam, Germany (2007). Vo’s work has been featured in such group exhibitions as That’s the way we do it: The Techniques and Aesthetic of Appropriation, From Ei Arakawa to Andy Warhol, Kunsthaus Bregenz, Austria (2011); I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York (2011); To the Arts, Citizens!, Museu de arte contemporânea Serralves, Porto, Portugal (2010–11); Gwangju Biennial, South Korea: 10,000 Lives (2010); Strange Comfort (Afforded by the Profession), Kunsthalle Basel (2010); Berlin Biennial (2010);Morality ACT VII: Of Facts and Fables, Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2009–10); GAGARIN The Artists in their Own Words, SMAK Stedelijk Museum voor actuele Kunst, Ghent, Belgium (2009–10); Preis der Nationalgalerie für junge Kunst 2009, Hamburger Bahnhof, Berlin (2009); Jahresgaben 2008, Kunstverein München, Munich (2008); Yokohama Triennial, Japan: Time Crevasse (2008); Manifesta 7: Comitato, Bolzano, Italy (2008); Where the lions are, Para/Site Art Space, Hong Kong (2008); The California Files: Re-Viewing Side Effects of Cultural Memory, Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco (2007); Not a Drop but the Fall, Künstlerhaus Bremen, Germany (2005–06); Pilot:2, Pilot, London (2005); and EXIT 2004, Kunstforeningen GL Strand, Copenhagen (2004).

Tris Vonna-Michell (b. 1982, Southend-on-Sea, United Kingdom) lives and works in Stockholm. Vonna-Michell’s spoken-word performances and multimedia installations, which are constructed from audio recordings, slide projections, and related artifacts, probe the operations of storytelling and memory.

Solo exhibitions of Vonna-Michell’s work have been held at such institutions as Jeu de Paume, Paris (2009–10); X Initiative, New York (2009); Kunsthalle Zürich, Zurich (2009); GAMeC – Galleria d’arte moderna e contemporanea di Bergamo, Italy (2009); Kunstverein Braunschweig Cuboid, Brunswick, Germany (2007); Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2007); and BOZAR, Palais des beaux-arts, Brussels (2006). Vonna-Michell’s work has been featured in numerous group exhibitions, including The Other Tradition, WIELS, Brussels (2011); New Frankfurt Internationals: Stories and Stages, Frankfurter Kunstverein, Frankfurt, Germany (2010–11); British Art Show 7: In the Days of the Comet, Nottingham Contemporary, United Kingdom (2010–11), Hayward Gallery, London (2011), Centre for Contemporary Arts, Glasgow (2011), and Peninsula Arts Gallery, Plymouth, United Kingdom (2011); Manifesta 8, Murcia, Spain (2010–11); Exhibition, Exhibition, Castello di Rivoli, Museo d’arte contemporanea, Italy (2010–11); This World & Nearer Ones, Creative Time, New York (2009);Finding Chopin, Hamburger Kunsthalle, Hamburg, Germany (2009); The Generational: Younger than Jesus, New Museum, New York (2009); I Repeat Myself When Under Stress, Museum of Contemporary Art Detroit (2009); Tate Britain, London, Tate Triennial: Altermodern (2009); Fia Backström: That Social Space Between Speaking and Meaning, White Columns, New York (2008); Tate Britain, Tate Triennial: Prologue 1, (2008); Of this Tale, I cannot guarantee a single word, Royal College of Art, London (2008); KW Institute for Contemporary Art, Berlin, Berlin Biennial (2008); Floating Territories, Evens Foundation, Trans Biennial Project, Istanbul, Athens, and Venice (2007); and KölnShow2, European Kunsthalle, Cologne, Germany (2007).

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