The Vincent Award
The international jury and organisers of The Vincent Award hereby announce that The Vincent Award 2016 is to be suspended. This decision has been taken after careful consideration of the facts surrounding the nomination and the withdrawal of two candidates.
In January 2016 the organisers of The Vincent Award announced that two of the nominated artists were withdrawing from The Vincent Award 2016. Read more about their withdrawal here. For one of the artists, this decision had been prompted by the dispute between the artist Danh Vo and collector Bert Kreuk, whose collection was exhibited at Gemeentemuseum Den Haag in 2013. The news of the withdrawals precipitated a lot of discussion about this particular dispute, which the museum merely witnessed; it was never a party to the dispute.
The jury believes that the recent discussion has overshadowed the intentions of the award and could eventually comprise the nominated artists. After close consultations with the Broere Charitable Foundation, the jury has decided to cancel The Vincent Award 2016.
A new edition of The Vincent Award will be organised in 2018
The international jury:
Sabine Folie (independent curator, Vienna)
Hubertus Gaßner (director of Hamburger Kunsthalle, Hamburg, Germany)
Julia Peyton-Jones (director of Serpentine Galleries, London, UK)
Jaroslaw Suchan (director of Muzeum Sztuki, Łódź, Poland)
Benno Tempel (chair, director of Gemeentemuseum Den Haag)
The Vincent van Gogh Biennial Award for Contemporary Art in Europe – known for short as The Vincent Award – is one of Europe’s leading contemporary art prizes. It is awarded to a mid-career artist working or living in Europe who has had considerable influence on the development of international art. The cash prize associated with the award – made available by the Broere Charitable Foundation, which established The Vincent Award – is intended to give the recipient complete freedom to work on their artistic development. The award is also intended to foster communication in a free, united and peaceful Europe.
For more information, please contact Anne de Haij, Public Affairs Manager, Gemeentemuseum Den Haag: firstname.lastname@example.org.
The organisation of The Vincent Award announces that the artists Nairy Baghramian and Jutta Koether have withdrawn as nominees for The Vincent Award 2016. Gemeentemuseum Den Haag regrets this, as both the international jury, museum and Broere Charitable Foundation were delighted with their nomination.
Jutta Koether has withdrawn as nominee for The Vincent Award 2016 for private reasons.
Nairy Baghramian has announced that she is withdrawing from The Vincent Award 2016 in response to the dispute between artist Danh Vo and art collector Bert Kreuk.
The Vincent Award was established by Broere Charitable Foundation. An independent international jury nominates five European artists for the award. Gemeentemuseum Den Haag provides the platform for the prize, and organises the associated exhibition and award ceremony.
Two years ago, the museum was unfortunately the context for a dispute between artist Danh Vo and art collector Bert Kreuk. This led to a lawsuit. In this case the museum was called to appear as witness. In court, the museum answered questions under oath of both the judge and both parties’ lawyers. Gemeentemuseum Den Haag was never party to this case. Nevertheless, Nairy Baghramian has withdrawn as a nominee for the award, citing the dispute.
The international jury, the museum and Broere Charitable Foundation were delighted with Nairy Baghramian’s nomination, and regret the fact that she has decided to withdraw. Her reason for withdrawing is particularly regrettable given the fact that The Vincent Award specifically aims to allow artists to devote themselves freely to their development as artists, and reflects the great value Europe places on art. The winner is free to spend the €50,000 in prize money as he or she sees fit.
The organisers of The Vincent Award are currently considering how to proceed.
The names of the international jury members and correspondents for the Vincent Award 2016 have now been announced. The jury will once again be chaired by Gemeentemuseum director Benno Tempel. The other members of the jury will be Julia Peyton-Jones (director of the Serpentine Galleries, London), Sabine Folie (freelance curator and former director of the Generali Foundation in Vienna), Hubertus Gaßner (director of the Hamburger Kunsthalle) and Jaroslaw Suchan (director of the Muzeum Sztuki, Poland). They will draw up a shortlist of artists, selecting them from a longlist prepared by 10 correspondents.
The shortlist of artists nominated for the Vincent Award 2016 will be announced in autumn 2015.
Anri Sala is the winner of the Vincent Award 2014. The news was announced on 21 November 2014 at an award show held in the Gemeentemuseum in The Hague. According to Benno Tempel, chairman of the international jury, “Sala succeeded the best in creating an installation where the viewer is constantly challenged by image, sound and movement. It is a poetic and at the same time conceptual work.” Anri Sala won € 50,000, to be used as he sees fit. The Vincent Award is one of Europe’s foremost contemporary art prizes, second only to the UK’s Turner Prize.
Anri Sala (b. 1974, Tirana, Albania) is interested in turning points in history: moments that upset the status quo and produce a new order. He sees such moments as providing the scope for new opportunities. Sala’s early works refer to his personal experience of social and political change in Albania following the collapse of the Communist regime in 1991. History, memory and change continue to be recurrent themes in his more recent work. Sala works mainly with film and video.
For the Vincent Award 2014, Sala combined three works to create a single installation. His films ‘Le Clash’ and ‘Tlatelolco Clash’ transport the viewer to a derelict Modernist arts venue and to spots in the vicinity of the Plaza of Three Cultures in Tlatelolco (Mexico City) – places he sees as symbolizing the failure of a ‘Great Ideology’. These images are accompanied by various renditions of punk band The Clash’s renowned ‘Should I stay or should I go?’ track. In ‘Le Clash’, the song becomes a flowing melody played alternately on a barrel organ and a music box, whereas in ‘Tlatelolco Clash’ it reappears in fragmentary form as different players insert separate sheets of perforated music into a barrel organ. Each player cranks the barrel organ at his own rhythm and speed, creating varying interpretations of the tune. The two films are linked by a third work called ‘Doldrum’ (a reference to the windless area of the Atlantic known as the Doldrums, where sailing ships can be becalmed for days or weeks at a time). In all three films, a snare drum beats automatically in response to inaudible, low-frequency noises on the soundtrack.