POWER! 100

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Artist-as-theorist, theorist-as-artist

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Cerebral conceptual artist

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Theorist on science, technology and feminism

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Artistic director of Documenta 14

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The head of a New York, London and soon-to-be Hong Kong gallery empire

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Artistic director of the Serpentine Galleries and instigator of global, networked art projects

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Major gallerists with spaces in Zürich, London, New York, Los Angeles and Somerset

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Director of the Studio Museum in Harlem

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Philosopher and sociologist de rigueur

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British-born gallerist now hopping between Harlem and Rome

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Art Review descriptors

<h2>Hito Steyerl</h2>
<p>Artist-as-theorist, theorist-as-artist </p>

<h2>Pierre Huyghe</h2>
<p>Cerebral conceptual artist</p>

<h2>Donna Haraway</h2>
<p>Theorist on science, technology and feminism</p>

<h2>Adam Szymczyk</h2>
<p>Artistic director of Documenta 14</p>

<h2>David Zwirner</h2>
<p>The head of a New York, London and soon-to-be Hong Kong gallery empire </p>

<h2>Hans Ulrich Obrist</h2>
<p>Artistic director of the Serpentine Galleries and instigator of global, networked art projects </p>

<h2>Iwan & Manuela Wirth</h2>
<p>Major gallerists with spaces in Zürich, London, New York, Los Angeles and Somerset</p>

<h2>Thelma Golden</h2>
<p>Director of the Studio Museum in Harlem</p>

<h2>Bruno Latour</h2>
<p>Philosopher and sociologist de rigueur</p>

<h2>Gavin Brown</h2>
<p>British-born gallerist now hopping between Harlem and Rome</p>

Google Profiles

Hito Steyerl
German filmmaker
Hito Steyerl is a German filmmaker, visual artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Wikipedia
Born: 1966, Munich, Germany
Education: Academy of Fine Arts Vienna
Movies: How Not to be Seen. A Fucking Didactic Educational .MOV File, Lovely Andrea, In Free Fall, November, Abstract
Books

Duty Free Art: Art in the Age o…
2017

Beyond Representation
2016

Hito Steyerl: Too Much…
2014

What is a Photograph?
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Harun Farocki

Ryan Trecartin

Anton Vidokle

Trevor Paglen

Camille Henrot

Pierre Huyghe
French artist
Pierre Huyghe is a French artist who works in a variety of media from films and sculptures to public interventions and living systems. Wikipedia
Born: 11 September 1962 (age 55), Paris, France
Period: Contemporary art
Education: École nationale supérieure des arts décoratifs
Movies: Human Mask, A Way In Untilled, The Host and the Cloud, Pierre Huyghe Artist Spotlight
Awards: Hugo Boss Prize
Books
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No Ghost Just a Shell
2003

School Spirit
2003

Pierre’s Issue 01: Devoted t…
2016

Pierre Huyghe: Streamsi…
2005

One Year Celebration
2006
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Philippe Parreno

Dominique Gonzales‑Foerster

Rirkrit Tiravanija

Liam Gillick

Douglas Gordon

Donna Haraway
American professor
Image result for who is Donna Haraway
Donna J. Haraway is a Distinguished American Professor Emerita in the History of Consciousness Department and Feminist Studies Department at the University of California, Santa Cruz, United States. Wikipedia
Born: 6 September 1944 (age 73), Denver, Colorado, United States
Parents: Dorothy Maguire Haraway, Frank O. Haraway
Education: Yale University, Colorado College
Influenced by: Sandra Harding, Nancy Hartsock, G. Evelyn Hutchinson, Gregory Bateson
Awards: American Book Award
Books
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Simians, Cyborgs and Wom…
1991

Staying with the Trouble…
2016

When Species Meet
2008

The Companion Species…
2003

A Cyborg Manifesto
1984
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Rosi Braidotti

Bruno Latour

Judith Butler

Karen Barad

Sandra Harding
Awards: American Book Award

Adam Szymczyk
Art critic
Adam Szymczyk is a Polish art critic and curator. He is the artistic director of Documenta 14 in 2017 in Kassel and was director and chief curator at Kunsthalle Basel from 2003 until 2014. Wikipedia
Born: 1970, Piotrków Trybunalski, Poland
Books
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Nevin Aladağ

Energy Centre, Automobi…
2012

Bok
2013

Leonor Antunes: The Last…
2016

Films, paintings, and perfo…
2009
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Arnold Bode

Quinn Latimer

Carolyn Christov‑Bakargiev

Annette Kulenkampff

Okwui Enwezor

David Zwirner
German art dealer
Image result for David Zwirner
David Zwirner is a German art dealer and owner of the David Zwirner Gallery in New York City and London. Wikipedia
Born: 23 October 1964 (age 53), Cologne, Germany
Education: New York University
Parents: Ursula Zwirner, Rudolph Zwirner
Organization founded: David Zwirner Gallery
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Suzan Frecon

Sherrie Levine

Rudolf Zwirner

Hans-Ulrich Obrist
Art curator
Image result for who is Hans Ulrich Obrist
Hans Ulrich Obrist is an art curator, critic and historian of art. He is artistic director at the Serpentine Galleries, London. Obrist is the author of The Interview Project, an extensive ongoing project of interviews. Wikipedia
Born: 1968, Weinfelden, Switzerland
Books
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Ways of Curating
2014

A brief history of curating
2008

Lives of the Artists, Lives of t…
2015

Everything You Always W…
2010

The Age of Earthquakes: A Guide t…
2015
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Julia Peyton‑Jones

Philippe Parreno

Klaus Biesenbach

Daniel Birnbaum

Liam Gillick

Iwan Wirth
Iwan Wirth is President of Hauser & Wirth, an international gallery of contemporary art and modern masters, which he co-founded with his wife, Manuela Wirth and mother-in-law, Ursula Hauser in Switzerland in 1992. Wikipedia
Born: 1970, Zürich, Switzerland
Organization founded: Hauser & Wirth
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Nicholas Serota

Larry Gagosian

Glenn Lowry

Julia Peyton‑Jones

Jason Rhoades

Image result for who are iwan and manuela wirth
Iwan Wirth is President of Hauser & Wirth, an international gallery of contemporary art and modern masters, which he co-founded with his wife, Manuela Wirth and mother-in-law, Ursula Hauser in Switzerland in 1992. Wikipedia
Born: 1970, Zürich, Switzerland
Organization founded: Hauser & Wirth
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Nicholas Serota

Larry Gagosian

Glenn Lowry

Julia Peyton‑Jones

Jason Rhoades

Thelma Golden
Curator
Thelma Golden is the Director and Chief Curator of The Studio Museum in Harlem, New York City, United States. Wikipedia
Born: 1965, New York City, New York, United States
Spouse: Duro Olowu (m. 2008)
Education: Smith College
Awards: Glamour Award for The Fresh Eye
Books
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Black male
1994

Glenn Ligon: America
2011

Bob Thompson
1998

Lorna Simpson
2002

‘Lorna Simpson Photowor…
2003
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Lorna Simpson

Mickalene Thomas

Okwui Enwezor

Adam Weinberg

Wangechi Mutu

Bruno Latour
French philosopher
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bruno-latour.fr
Bruno Latour is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies. Wikipedia
Born: 22 June 1947 (age 70), Beaune, France
Era: Contemporary philosophy
Award: Holberg Prize (2013)
Influenced by: Gilles Deleuze, Michel Serres, Gabriel Tarde, MORE
Alma maters: Institut de recherche pour le développement, François Rabelais University (Doctor of Philosophy)
Books
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We Have Never Been Mo…
1991

Reassembling the Social
2005

An Inquiry Into Modes of Existen…
2013

Laboratory Life
1979

Science in Action
1987
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Michel Callon

Steve Woolgar

Karin Knorr Cetina

John Law

Donna Haraway

Gavin Brown
Art dealer
Gavin Brown is a British art dealer, the owner of Gavin Brown’s Enterprise, the gallery he established in 1994 on Broome Street, in SoHo, and now at 620 Greenwich Street, New York City. Wikipedia

Art Review Write-ups

Artist-as-theorist, theorist-as-artist

Art is powerful. Or at least it’s the construct of powerful forces, not always of the positive kind. This is something Steyerl recognises. ‘Contemporary art is made possible by neoliberal capital, plus the internet, biennials, art fairs, parallel pop-up histories and growing income inequalities,’ she told The Guardian this year. ‘Let’s add asymmetric warfare, real-estate speculation, tax evasion, money laundering and deregulated financial markets.’ Steyerl makes the top slot on this list because she actively attempts to disrupt this nexus of power.

Her own art – characterised by research-heavy, narrative-led video (combining found, filmed and digitally animated footage) and installation, which took a prominent place in this year’s once-a-decade, era-defining Skulptur Projekte Münster – is combined with dogged outspokenness and academic rigour through her writing, performative lectures and teaching, critically influencing agendas internationally.
 She is slowly effecting change too. In September, for example, on discovering that an exhibition she was part of, Deutschland 8: German Art in China, spread across eight museums in Beijing, was sponsored in part
 by Rheinmetall AG, a Düsseldorf-based manufacturer of tanks and military technology, Steyerl protested. As well as writing to the organisers and, on receiving no reply, drawing attention to the issue in the press, 
the artist, alongside a number of the others in the show, was characteristically proactive, drawing up a standard exhibition agreement for artists that places an onus on curators and institutions to perform due diligence.

The Berlin-based artist’s writings – restless, fast-moving speculations on digital culture, the politics of images and the state of human consciousness in the age of technologically advanced capitalism – have become go-to texts for a generation for which the lure of art and networked culture have lost their utopian promise. She writes in Duty Free Art, an anthology of essays published this year, ‘Contemporary art belongs to a time in which everything goes and nothing goes anywhere, a time of stagnant escalation, of serial novelty as deadlock’. But rather than eschew a corrupt system, Steyerl has exploited the opportunity to occupy the platforms available with works that have become emblematic of the postcrash decade. And maybe it’s indicative of the ascendance of ‘post-Internet’, network-conscious art that Steyerl’s art should be popping up around the globe. This year alone has seen solo appearances of her 2015 video installation Factory of the Sun (premiered in the German Pavilion at that year’s Venice Biennale) at New York’s Whitney Museum of American Art, Copenhagen’s Kunsthal Charlottenborg, Düsseldorf’s Julia Stoschek Foundation and coming up at the Fondazione Sandretto Re Rebaudengo in Turin, alongside a slew of presentations in institutional group shows from Helsinki to Vienna, and excursions to São Paulo, Buenos Aires and Gwacheon. Lecture theatres are packed out for her talks, which then invariably circulate on YouTube. Being connected on both sides of the Atlantic helps – her profile in the Anglosphere is bolstered by strong relations with New York-based critical platform e-flux (at 45 in this year’s list) and its e-flux journal, and a network of political art luminaries such as Trevor Paglen (87) and Laura Poitras. December sees her 2014 installation Liquidity Inc. arrive at Boston’s ICA, and inclusion in Still Human at Miami’s Rubell Family Collection.

So, her work is everywhere, her ideas have urgency. In 2016 she wrote on how art’s circulation outlines its operational infrastructure. ‘Could these structures be repossessed to work differently?’ the artist asked. ‘How much value would the alternative currency of art lose if its most corrupt aspects were to be regulated or restructured to benefit art’s larger communities?’ Steyerl is on a mission to find out.

Cerebral conceptual artist

Huyghe, currently based in New York, has gone from strength to 
strength in recent years, producing ambitious work with a perspective that goes beyond the human, whether in terms of thousand-year timescales or animal experiences. Along with major shows at the Espaces Louis Vuitton in Tokyo and Venice, and his win of the 2017 Nasher Prize (including $100,000), Huyghe sent work to Münster that was the undisputed highlight of this year’s Skulptur Projekte: a postapocalyptic ecology within the rubble of an abandoned ice-skating rink featuring
 bees, peacocks and algae. Sensors monitored the movement of the
 animals, as well as the CO2 and bacteria levels, transmitting the information to an incubator containing cancer cells. The more vitality recorded
 within Huyghe’s ecosystem, the higher the rate of reproduction catalysed in the petri dish. As Huyghe has stated, he’s not interested in creating fictions, but new realities; the realities he has created have proved unsettlingly visionary.

Theorist on science, technology and feminism

Haraway maintains her tentacular presence in the artworld. Her writing, which is both academic and breezily poetic, and which ranges from ‘A Cyborg Manifesto’ (1984), now regarded as a key text in discourses regarding identity and the rise of artificial intelligence, and Staying with the Trouble (2016), which tackles the Anthropocene, was cited, explicitly or implicitly, by any number of artists and curators as inspiration. She was namechecked this year in group exhibitions such as Past Skin at MoMA PS1, New York; The Dream of Forms at the Palais de Tokyo, Paris; Belgium’s Contour Biennale; and the Lofoten International Art Festival in Norway. Alongside her continued teaching at the University of California, Santa Cruz, she and her work were central to a conference held at the Stedelijk Museum, Amsterdam, and she delivered a keynote lecture at the San Francisco Art Institute.

Artistic director of Documenta 14

If anybody was unsure about the seriousness of Szymcyzk’s ambition to dramatically up the stakes of what a ‘largescale exhibition’ can do in a period of political crisis, then his Documenta 14 – staged in both Athens and its usual Kassel home – confirmed he was prepared to polarise his audience. Drawing on every radical zeitgeist of marginality and resistance, from trans politics to indigeneity, from the migration crisis to various flavours of anticapitalism, Szymczyk’s show upbraided cultural tourism by confronting the audience with the contradictions of globalisation. In Athens there were accusations of disaster tourism; in Kassel (very) mixed reviews, particularly from the local press. Szymczyk’s fraught relationship with the German town came to a head in August when it was learned that the costs of the Greek adventure had overrun, landing Documenta a reported €7m in the red. Szymczyk hit back, declaring that it was time to talk critically about the purpose of the mega-exhibition. You don’t hire this curator for an easy ride.

The head of a New York, London and soon-to-be Hong Kong gallery empire

In addition to representing contemporary heavyweights such as Yayoi Kusama, Neo Rauch and Wolfgang Tillmans, Zwirner continues to hoover up artist estates: that of Felix Gonzalez-Torres (represented alongside
the estate’s executor, Andrea Rosen) being his most significant gain this year. A New York show of Gonzalez-Torres’s work was, like so many others the gallery puts on, worthy of any museum. In February Pulitzer-winning critic Hilton Als curated a show of work by Alice Neel, and the gallery’s interest in writers and writing was further reflected in the latest offers from Zwirner Books, among those French art-historian Jean-Claude Lebensztejn’s Pissing Figures, a history of urinators in artworks through the ages. Outside the US, a new space in Hong Kong launches in 2018, while in London the gallery gave exhibitions to artists not (yet) on the roster, including octogenarian British painter Rose Wylie and young Brazilian artist Lucas Arruda. No wonder Zwirner invested in Arta, a price comparison startup for art shipping.
Artistic director of the Serpentine Galleries and instigator of global, networked art projects

There are not many people on this list (and not many people full stop) whose average day might include presenting lectures alongside astronaut Buzz Aldrin, novelist Chimamanda Ngozi Adichie, philosopher Bruno Latour and ecopsychologist Peter Webb. But then most don’t employ an assistant to work from midnight to 6am transcribing and editing interviews, hundreds of which Obrist conducts a year. To describe Obrist as a curator therefore – and he does curate, of course, aside from the day job at the Serpentine: shows this year included Maria Lassnig at the Municipal Gallery of Athens and a group show featuring the likes of Philippe Parreno, Etel Adnan and Adrián Villar Rojas at Villa Empain, Brussels – undersells him. Information ‘node’ might be a better description, moving incessantly from place to place (the interviews gathered from various trips to India were published this year). The Serpentine’s two spaces hosted, among others, exhibitions by Rose Wylie, Wade Guyton and, most notably, Arthur Jafa. Obrist is also part of the core advisory team of Luma Arles, due to open in early 2019.

Major gallerists with spaces in Zürich, London, New York, Los Angeles and Somerset

Combining a nose for important artists with an understanding of art collecting as a lifestyle is key to the Wirths’ gallery strategy. Fondazione Piero Manzoni and the August Sander estate were added to Hauser & Wirth’s roster this year; living artists joining the gallery include Jack Whitten and Geta Brātescu. The latter was just one of several of their artists with pavilions at the Venice Biennale, alongside Phyllida Barlow and Mark Bradford; and then there was the not-to-be-missed show of Philip Guston’s paintings at Accademia. Former Centre Pompidou curator Florence Derieux was recently appointed director of exhibitions, somewhat compensating for the moment in February when Hauser Wirth & Schimmel in LA suddenly became plain old Hauser & Wirth. Looking east, a Hong Kong space is to come, alongside offices in Beijing and Shanghai. The pair are also renovating a boutique hotel in Braemar, Scotland, no doubt to be filled with work by their artists – as is the guesthouse at their gallery in Bruton, Somerset.

Director of the Studio Museum in Harlem

The Studio Museum in Harlem celebrates its 50th anniversary in 2018. Golden, who returned to the institution in 2000 (after starting her career there in 1987), is now overseeing the building of a new home designed by David Adjaye, with ground due to be broken on the site of the museum’s longtime headquarters next year (the museum is due to reopen in 2021). As one of the curators who has helped define what she and Glenn Ligon called ‘post-black’ art, in an era that continuously and tragically asserts the fact that race is still not a ‘post’ issue, Golden has been at the forefront of African-American art for three decades. While committed to Harlem, she continues to shape museum policy and curatorial approaches in advisory roles at LACMA, the Obama Foundation (she’s helping to plan the presidential library) and New York’s Committee on Cultural Affairs.

Philosopher and sociologist de rigueur

Latour is arguably the artworld theorist of recent years, if we accept that much of the object-oriented ontology / speculative realism philosophy that’s driven recent art is crystallised by his thinking in volumes such as Reassembling the Social (2005). Equally crucially, the sociologist and philosopher Frenchman isn’t hiding away in an ivory tower. His work directly connects abstract ideas and real-world crises: Gaia, the planet as a fragile interconnected organism (including people), is his avowed preoccupation now, as in his recent Facing Gaia: Eight Lectures on the New Climatic Regime (2017), a logical development of his thinking on the agency of the nonhuman and his conception of a ‘Parliament of Things’. Latour also has a zealot’s energy, maintaining a steady stream of lectures and essays: a public intellectual for the Anthropocene era. If he’s the young artist’s bedside companion, he’s also – surprisingly for a philosopher – likely to make them get up and do something.

British-born gallerist now hopping between Harlem and Rome

If you locate your space outside the usual New York gallery neighbourhoods, you’re either foolish or supremely confident in your exhibition game. Brown, we’d assess, is the latter. He’s right to be so; staging Arthur Jafa’s debut gallery show just after the US election proved a powerful gesture (The New Yorker noted that ‘Jafa’s subject is bigger than politics – it’s the matter of black life in the United States’). Brown completed the refurbishment of his Harlem gallery (which complements a space in Chinatown and an outpost in Rome), and the rest of his programme has proved no less notable: solo shows for Joan Jonas, Rirkrit Tiravanija (who also hosted a fundraiser for Puerto Rico) and Rachel Rose (whose exhibition boasted 6pm – 6am openings hours). Brown does good business, but the gallery also acts with the spirit of an off-space: in February, he cohosted a minifestival of talks that attempted to formulate a collective response to the changing political and cultural landscape in America.

Wikipedia intro-Bio

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