於11月3日至6日舉行的東京藝術周將邀請世界各地的訪客體驗東京充滿活力的當代藝術景況

Payal Uttam

東京藝術周為日本文化首都掀起序幕

<a href="https://parisplus.artbasel.com/catalog/gallery/2906/Galerie-Pietro-Spart%C3%A0">Pietro Spartà藝廊</a>是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。

Spartà在法國沙尼（Chagny）的工人階級環境中成長，但他發現圍繞他成長的那些典型職業 &mdash;&mdash; 例如農業和工廠職業 &mdash;&mdash; 並不適合他。「我希望能有一些改變 &mdash;&mdash; 徹底的改變。雖然我愛我的家人，但我不想和他們一樣。」他說道。可是他也不想離開這裡。這位藝廊主的家鄉沒有文化氛圍 &mdash;&mdash; 他坦然承認這一切 &mdash;&mdash; 除了一家米其林星級餐廳。 Spartà自學成才，他通過書籍發現了藝術，並對彼特蒙德里安（Piet Mondrian）和<a href="https://www.artbasel.com/catalog/artist/7524/Kazimir-Malevich">卡濟米爾馬列維奇</a>（Kazimir Malevich）產生了特別的興趣。在書中，他瞭解到貧窮藝術（Arte Povera）、極簡主義（Minimalism）和觀念藝術家，並希望有朝一日可以與書中所記載的令人讚歎的藝術家們見面。他說：「我一定要在他們離世前見到他們。」他覺得自己的這種迫切期望很好笑。但對此的堅持卻十分真誠。「我想知道他們做了什麼，他們如何生活 &mdash;&mdash; 作為一名藝術家是什麼樣子。」

Artist&nbsp;<a href="https://www.artbasel.com/catalog/artist/11462/Mark-Handforth" target="_blank">Mark Handforth</a> remembers that when he first came to Miami from London after art school in the early 1990s, South Beach was sketchy and run down. ‘The big hotels were still gutted crack houses, and it was super cheap and weirdly beautiful,’ he recalls. ‘A very different kind of landscape, piercing sun by day and a neon day-for-night existence for so many people.’Handforth’s wife, artist&nbsp;<a href="https://www.artbasel.com/catalog/artist/23556/Dara-Friedman" target="_blank">Dara Friedman</a>, had the idea to come in the first place. ‘She wanted to film here, so we just got on a plane,’ he says. ‘We have both worked here on and off ever since, and while so much has changed with the influx of money and unhinged development, certain fundamental tensions remain intact and inspired... its richly dislocated neighborhoods and fabulously combative tropical entropy.’The Rubell Collection relocated to Miami soon after Handforth arrived and he worked on its first incarnation in Wynwood, which featured pieces by&nbsp;<a href="https://www.artbasel.com/catalog/artist/8680/Cady-Noland" target="_blank">Cady Noland</a>,&nbsp;<a href="https://www.artbasel.com/catalog/artist/7650/Paul-McCarthy" target="_blank">Paul McCarthy</a>,&nbsp;<a href="https://www.artbasel.com/catalog/artist/7509/David-Hammons" target="_blank">David Hammons</a>, and&nbsp;<a href="https://www.artbasel.com/catalog/artist/8689/Jose-Bedia" target="_blank">José Bedia</a>. ‘That work made so much sense in a city without monolithic cultural hierarchies,’ Handforth says. ‘In a place that’s experienced so many varied iterations of itself, there was, and is, still room to create.’

Given the relative chaos and mess of Miami at the time, the idea of doing a serious art fair there – not to mention a version of Art Basel, whose Switzerland incarnation was known for being cool, rational, and organized – ‘sounded like total insanity’, says Handforth. ‘You might as well have suggested a fair on the moon,’ he adds.While Art Basel has now inspired new fairs all over the world, when Miami started, it was still something of a rarity. ‘I had no real sense of what it would be like,’ Wooldridge says. ‘The idea that such museum-level works were available for sale to the average multimillionaire Joe was a revelation.’

The first installment of this story can be read <a href="https://www.artbasel.com/stories/20-years-art-basel-miami-beach-oral-history-part-one">here</a>, and the third installment will be published on Wednesday, November 23, 2022.This article was originally commissioned for the&nbsp;Art Basel Miami Beach&nbsp;magazine 2022.Robin Pogrebin has been a reporter for The New York Times since 1995, where she covers cultural institutions, the artworld, architecture, and other subjects.Captions for full-bleed images: 1. Miami skyline. Photo by Matthew T. Rader. 2. An artwork by&nbsp;Santiago&nbsp;Sierra installed outside during Art Basel Miami Beach.&nbsp;3. Hotel balconies in South Beach. Photo by Nichlas Andersen.

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