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Stedelijk Museum begins search for new contemporary art venue

Plus: Christie’s to open exhibition space in Beijing | Art Basel announces winner of BMW Art Journey | Eva Birkenstock appointed director of Düsseldorf Art Foundation | and recommended reading

25 May 2016

Our daily round-up of news from the art world

Search begins for new contemporary art venue in Amsterdam | The Stedelijk Museum and Ammodo are to launch a survey to identify the best way in which a new contemporary art venue might serve Amsterdam and its current artistic developments. The new space will provide a home for the Stedelijk Museum Bureau Amsterdam, which is scheduled to close the doors of its present venue on 1 July.

Christie’s to open exhibition space in Beijing | Christie’s is to open a new space in Beijing this autumn, complementing its existing office in the Chinese capital with permanent exhibition facilities. As The Art Newspaper reports, the move will surprise many: the Chinese art market is thought to have contracted by up to 23 per cent since 2015.

Art Basel announces winner of BMW Art Journey | An international jury has awarded British artist Abigail Reynolds the commission for the next BMW Art Journey. Reynolds, whose project is titled The Ruins of Time: Lost Libraries of the Silk Road, was selected from a shortlist of three artists. The commission will allow her to travel to famous libraries in Europe and Asia, exploring the secular and spiritual narratives of the lands she visits.

Eva Birkenstock appointed director of Düsseldorf Art Foundation | Kunsthaus Bregenz director Eva Birkenstock is to take the reins at the Düsseldorf Art Foundation. She will replace Hans-Jürgen Hafner, who has directed the organisation since 2011.

Recommended reading | Times art critic Rachel Campbell-Johnston has spoken to Nicholas Serota for the paper. Among the highlights of their conversation is a view into the Tate supremo’s attitude to fundraising: ‘I don’t mind asking people for money,’ he says. ‘Do I get irritated because they refuse? Yes, of course I [do].’ Meanwhile in New York magazine, Jerry Saltz revisits the work of Philip Guston. ‘While Pollock was the first to truly break through to pure non-objective painting, it was Guston who was the first to break out,’ he writes.

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