The Art Review Power 100

Curator Carolyn Christov-Bakargiev tops the list.

This morning ArtReview announced the 2012 Power 100, their annual list of the contemporary art world’s most influential people. The rankings are decided according to “a combination of influence over the production of art internationally, sheer financial clout (although in these times that’s no longer such a big factor) and activity in the previous 12 months”, and can include collectors, scholars and curators, as well as artists.

This year the magazine are claiming the list represents a “fragmenting scene” in which the desire for political engagement and social inclusion rubs up against the traditional practices of the art world’s ruling class. A statement accompanying the list reads: “beyond Big Money, there are Big Ideas to be fought over, about who art is for, as much as what it is for. At a time of constant muttering about the 1% and the other 99%, the artworld might be living proof that art really does imitate life.”

The list is topped by Carolyn Christov-Bakergiev, an Italy- and US-based curator responsible for this summer’s highly successful Documenta 13 exhibition based in Kassel, Germany. This is the first time the top spot has been awarded to a curator (Gerhart Richter is the highest-ranked “pure” artist at number 6), a decision made not only due to the astonishing scale of Documenta 13 (it touched down everywhere from battlements and quantum physics labs in Kassel to the cities of Kabul, Banff and Cairo, expanding thematically far beyond the boundaries of art to bolster its inclusiveness), but also due of the timeliness of the statement it makes about and to the rest of the names on the list.

“Documenta 13 allowed artists to speak for themselves through their work, and to make their own sets of rules,” ArtReview says. “And by pitting artists with and against quantum physicists, military historians, biologists, economists and activist, Christov-Bakargiev and her team treated art as strong enough to hold its own in furthering debates, building meaning and extending thought, addressing the world not from an ivory tower, but from being in the world.”

New Statesman guest editor Ai Weiwei topped the list in 2011, an artist for whom making art and “being in the world” have become virtually indistinguishable. His recognition by a major international art magazine provoked criticism from Chinese Foreign Ministry spokesman Lui Weimin last year, who told a news briefing in Beijing: “China has many artists who have sufficient ability. We feel that a selection that is based purely on a political bias and perspective has violated the objectives of the magazine”. ArtReview however, had this to say: “Ai, who was arrested and imprisoned for 81 days earlier [last] year, was ranked number one as a result of his activism as much as his art practice – both articulating a move away from the idea that artists work within a priveleged zone limited by the walls of a gallery or museum”.

The 2012 edition of the ArtReview Power 100 will be published in the November issue of the magazine and will carry full profiles, features and photography portfolios. The list, in full, runs as follows:

1. Carolyn Christov-Bakargiev
2. Larry Gagosian
3. Ai Weiwei
4. Iwan Wirth
5. David Zwirner
6. Gerhard Richter
7. Beatrix Ruf
8. Nicholas Serota
9. Glenn D. Lowry
10. Hans Ulrich Obrist & Julia Peyton-Jones
11. Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani
12. Anton Vidokle, Julieta Aranda & Brian Kuan Wood (e-flux)
13. Cindy Sherman
14. Alain Seban & Alfred Pacquement
15. Adam D. Weinberg
16. Annette Schönholzer, Marc Spiegler & Magnus Renfrew
17. Marc Glimcher
18. Marian Goodman
19. Massimiliano Gioni
20. Jay Jopling
21. François Pinault
22. Klaus Biesenbach
23. Matthew Slotover & Amanda Sharp
24. Barbara Gladstone
25. RoseLee Goldberg
26. Eli & Edythe Broad
27. Patricia Phelps de Cisneros
28. Bernard Arnault
29. Nicholas Logsdail
30. Liam Gillick
31. Ann Philbin
32. Victor Pinchuk
33. Maja Hoffmann
34. Tim Blum & Jeff Poe
35. Marina Abramović
36. Dakis Joannou
37. Udo Kittelmann
38. Monika Sprüth & Philomene Magers
39. Matthew Marks
40. Gavin Brown
41. Damien Hirst
42. Rosemarie Trockel
43. Wolfgang Tillmans
44. Agnes Gund
45. Chus Martínez
46. Isa Genzken
47. Iwona Blazwick
48. Anne Pasternak
49. Sadie Coles
50. Daniel Buchholz
51. Toby Webster
52. Adam Szymczyk
53. James Lingwood & Michael Morris
54. William Wells & Yasser Gerab
55. Michael Ringier
56. Theaster Gates
57. Pussy Riot
58. Jeff Koons
59. Steve McQueen
60. Takashi Murakami
61. Boris Groys
62. Emmanuel Perrotin
63. Richard Chang
64. Tim Neuger & Burkhard Riemschneider
65. Slavoj Zizek
66. Thaddaeus Ropac
67. Chang Tsong-zung
68. Elena Filipovic
69. Tino Sehgal
70. Christian Boros & Karen Lohmann
71. Luisa Strina
72. Claire Hsu
73. José Kuri & Mónica Manzutto
74. Brett Gorvy & Amy Cappellazzo
75. Tobias Meyer & Cheyenne Westphal
76. Budi Tek
77. Walid Raad
78. Cuauhtémoc Medina
79. Massimo De Carlo
80. Bernardo Paz
81. Christine Tohme
82. Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo
83. John Baldessari
84. Sheikha Hoor Al-Qasimi
85. Dasha Zhukova
86. Vasif Kortun
87. Anita & Poju Zabludowicz
88. Candida Gertler
89. Gisela Capitain
90. Carol Greene
91. Franco Noero & Pierpaolo Falone
92. Jacques Rancière
93. Miuccia Prada
94. Maureen Paley
95. Don, Mera, Jason & Jennifer Rubell
96. Paul Chan
97. Victoria Miro
98. Adriano Pedrosa
99. Johann König
100. Gregor Podnar

Carolyn Christov-Bakargiev. Photo: Getty Images.

Philip Maughan is Assistant Editor at the New Statesman.

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Is Danny Baker a “bona fide genius”? Not in his new show

The clichéd decade: Cradle to Grave and Danny and the Human Zoo reviewed.

I’m not qualified to rule on whether or not Danny Baker is, as the newspapers insist, a “bona fide genius”; I gave up listening to the ever more blokeish BBC Radio 5 Live a while ago, and I’m too young to remember the supposedly fantastic pieces he delivered to the NME back in the day (I read that they were even more amazing than those of Tony Parsons, which is saying something, isn’t it?). But I can tell you this: his new autobiographical comedy series, Cradle to Grave (Thursdays, BBC2, 9pm), displays no evidence at all of his talents, brilliant or otherwise. Anecdotes that just peter out. Jokes that fail to hit home. Misplaced nostalgia. Honestly, what’s the point? If you want 1974 – and quite a lot of us seem to, if the performance of Jeremy Corbyn is anything to judge by – you’d be better off treating yourself to a box set of the eternally satisfying Whatever Happened to the Likely Lads?.

The series, co-written with Jeff Pope, is based on Baker’s memoir Going to Sea in a Sieve. It’s 1974, and Danny (Laurie Kynaston) is a randy teenager who still lives at home in good old Bermondsey with his ducking and diving docker dad, Fred, aka Spud (Peter Kay), his kindly mum, Bet (Lucy Speed), and his older sister, Sharon (Alice Sykes). A voice-over tells us, in effect, to forget all about the nasty old three-day week and to consider instead the warmth of lovely south-east London. How decent its people are, how eager to try out newfangled consumer goods such as the continental quilts Spud has pilfered and which now fill the hall of his tiny house like clouds. (Correct: he’s basically Del Boy, minus the Robin Reliant, the cocktail bar and, fatally, the workmanlike jokes.)

The denizens of Bermondsey are not, you understand, quite ready for the new world. In this part of London, bomb sites remain, merrily sprouting buddleia and pink willow herb; men are men and women are women. Spud is horrified to discover that his daughter’s new boyfriend wears – wait for it – white plimsolls, though not quite so horrified as Danny is to find a stranger’s ­penis flapping exuberantly against his cheek when he goes up west to see Hair (needless to say, our Danny was in search of naked girls, not sweaty blokes). If you find this kind of thing funny and (I can hardly bear to write the words) “heart-warming”, then you have seven weeks of bliss ahead. Who knows? Perhaps the characters will go on to debate the virtues of the various flavours of Old English Spangles. But I can’t believe that many people will be so easily pleased. Those who are old enough to remember the Seventies will know that the best of the decade’s own comedy was ten times more sophisticated than this, and those who aren’t – those who have never had anything other than a duvet on their bed, and can locate a naked female or even a flapping male member with just one tap of their mobile – will simply watch something altogether more grown-up on Netflix.

Kascion Franklin (centre) on BBC1. Photo: BBC/RED

Unfathomable BBC scheduling (is it having some kind of John Whittingdale-induced nervous breakdown?) treated us to two doses of 1974 as the summer limped to an end. The second loving spoonful came in the form of Danny and the Human Zoo (31 August, BBC1, 9pm), an almost-biopic drama in which Lenny Henry told the story of his painful start in comedy.

My TV critic colleagues have all been most respectful but, lovely as Kascion Franklin’s performance in the lead role was, I couldn’t altogether get with the show. Unlike Baker, Henry certainly wiped the Vaseline from the lens: his version of the Seventies was clear-eyed, particularly in the matter of racism. But his tendency as a writer is to tell rather than show, which becomes wearying, and the narrative he offered us – success on the New Faces talent show, followed by the self-loathing that came of joining the Black and White Minstrels – wasn’t exactly unfamiliar. An unscrupulous manager with bad hair; parents who think their son should get a “proper” job but are secretly oh-so-proud; Mud’s “Tiger Feet” and Alice Cooper’s “School’s Out” on the soundtrack: such TV clichés really should be illegal by now.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 03 September 2015 issue of the New Statesman, Pope of the masses