Art Basel Was His Masterpiece. Miami, His Signature: Lorenzo Rudolf

By Silvia Gonzalo, Germany Correspondent

He was nine when he saw an entire museum disappear beneath a sheet of fabric. He was ten when he watched art break free from its shackles. At thirty-two, Lorenzo Rudolf was running Art Basel, and contemporary art was never the same again.

There is an hour in Basel when only a few are let in. It happens before the doors open to the world, when the aisle is silent and the dealers stand waiting for the beginning of what Lorenzo Rudolf invented: an art fair turned into the event of the year. Seven hundred galleries wanted to be there. He had understood before anyone else that a place is worth what it costs to enter, and that a seat you inherit thrills no one. In his Basel, every year you had to earn it again.

In 1968/69, in his native Bern, art history was made. First, its young, rebellious local director, Harald Szeemann, the inventor of the curator and godfather of the entire guild, had Christo and Jeanne-Claude wrap the entire Kunsthalle in fabric and three kilometers of rope, the world's first wrapping of an entire building, no less. And just one year later, Szeemann finally broke the shackles of art with his iconic and seminal exhibition at the Kunsthalle, “When Attitudes Become Form.” Lorenzo Rudolf was ten years old and on the one hand didn't quite understand the world yet, on the other hand he felt the unbridled urge and the need for absolute freedom in art as well as its power, if necessary to overcome boundaries and conventions; a certainty and fascination that would accompany him throughout his life: Two art events determined the future of a curiously amazed boy, of a beautiful but somewhat provincial city and country, and were to change the entire art world, and subsequently, in the vast international art world, a Bernese curator and exhibition maker became a friendly sparring partner and mentor to a Bernese art fair director.

He took over Art Basel in 1991, at thirty-two, coming not from art history but from knowing how a thing must be told for the world to want to see it. The first thing he did was give the fair back its power to stop a city. He invented a morning that only a few may attend, and made sure the rest of the planet knew that morning existed. He brought bank sponsorship to the table of art when the idea seemed unthinkable, and today there is not a fair in the world that does not do the same.

He trusted video when video was still looking for its place in art, and gave it the heart of the fair; the first honoree, in 1995, was a young Swiss artist named Pipilotti Rist. The following year he opened a section for names still waiting to be discovered, and out of it went Elizabeth Peyton, Vanessa Beecroft, Kara Walker, Ernesto Neto, Ugo Rondinone, Franz West and William Kentridge toward the collections that hold them today. With him, Richard Serra took the open air, and Hall 1 was cleared entirely to make room for “Art Unlimited” with works on a monumental scale.

After transforming Basel into a global event and, incidentally, arguably the first profitable art fair, the next step in an increasingly globalized and neoliberal economics-driven art world was just as logical to him as the previous one: the fair had to become a global player, the first one in the art world, ideally the leading one. The first target was, of course, the ever-growing American market. But where? NYC? LA? Chicago? Following the advice of a rather eccentric gallery owner friend, he finally traveled to Miami and Miami Beach and, even though practically the entire art world declared him crazy for doing so, “How can you even consider such a white spot on the art map offering nothing but sun, fun and beach?!?”, he was convinced from the very first moment: This is the place! A tropical hedonistic but ambitious city, with great committed and visionary collectors, officials and citizens who wanted to make Miami a shining hotspot, and for that, world-class culture was essential. It was the perfect match: Art Basel needed Miami, Miami needed Art Basel, and together they created the best art fair in the world. When the fair opened in Miami Beach in December 2002 and the entire art world, and beyond, headed therefore to Florida, Lorenzo Rudolf had already moved to Germany, directing with the Frankfurt Book Fair the at the time probably biggest and most global cultural event worldwide, which had asked him to further develop it. But to this day he calls Miami his favorite baby.

Lorenzo Rudolf's heart beats for art. For this reason, it was no surprise that after his foray into the world of literature and communication, he returned to his great passion, and it was equally unsurprising that this happened in the vast market of the future, in Asia, and, quite typically for Rudolf, in China. In 2007, the spectacular ShContemporary in Shanghai was the first top international contemporary art fair in Asia, which was not only important for the Asian, and particularly the Chinese self-understanding, but also immediately served as a crucial bridge and gateway between the Eastern and Western art worlds, and especially their markets.

After more than twenty years virtually without interruption at the helm of top international events worldwide, including being one of very few to direct two global events in two different cultural fields, the time had come for him to dedicate himself even more directly and purposefully to good art and good artists worthy of support. Captivated by Southeast Asia, including its incredible artistic creativity and expressiveness, he created and launched his own event, Art Stage Singapore, in 2010. Already with its very first edition, it became the flagship event for all of Southeast Asia, putting its art scenes on the map and bringing them subsequently into the international circuit.

Behind every strong man, as the saying goes, stands a strong woman. Naturally, that's true for him too; and once again, a perfect match! In Asia, they called them a dream team. Maria Elena Rudolf, a sophisticated Ecuadorian beauty, daughter of a typical Latin American intellectual family, trained across sociology, theatre, marketing and international management in New York, Miami and Fribourg, was always his most honest but also most constructive critic. And in Singapore, the children having since left home, she skillfully managed and liaised the exclusive clientele with the ease of a lady hosting a gala rather than running a fair. He came with the perfectionism of a Swiss watchmaker and the reserve of a creative mind, bored by mindless small talk and superficiality. She came with the insight of a successful diplomat: people are won over in personal conversation. He says she touched him emotionally. She says she admires him every day because he is a man who never wavers from his convictions, and smilingly calls him her guru. When cool ice from the Swiss Alps and hot fire from the Andes meet, he says, an azure lake is formed.

Today they live in Lugano, on the shores of the azure Lake Lugano. And when she is throwing one of her legendary dinner parties, and he perhaps even cooks, the places at their table are more coveted than ever. Life, she says, has always been very kind to them. And every December, Miami Beach is the center of the world. He was the first to know it.

In His Own Words

You explained that you evaluated and checked out several cities in America, but only Miami truly convinced you. What made Miami better than the others?

The clear and strategically necessary goal in an increasingly globalized world was a sister event to Art Basel in America, the foreseeably strongest market for contemporary art worldwide, offering the same quality, but with its own distinct identity, and, to avoid any cannibalism, taking place each winter, half a year away from Basel. NYC, the Mecca of art, was practically an international art fair 365 days a year; hardly any artist, no matter how well-known, wasn't already represented by a New York gallery, and would accordingly be fiercely defended against foreign competition, and its infrastructure was far from ideal; in short: it made no sense. LA, while seemingly awakened by a vibrant young scene around artists like Jason Rhoades and Mike Kelley, suffered massively from the fact that West Coast people traveled to NYC for every event, no matter how small, while the East Coast people snobbishly avoided LA; in short: it makes just as little sense. The logical compromise would have been Chicago, as Art Chicago, then the most important art fair in America, had already proven; but I wanted the best art fair in the world, not a compromise! And also South America, Rio? São Paulo?, made absolutely no sense with the USA accounting for over 80% of the total American art market. And Miami? Actually the perfect counterpoint to Basel: A tropical climate and lifestyle 365 days the year and therefore the winter refuge for big parts of the US, the “old money” in Palm Beach, the “new money” in Miami, and increasingly a destination for sophisticated Europeans escaping cold and wet European winters; a place that “covered” the entire continent, North as well as South America; a young, hedonistic but very ambitious city keen to make it a unique lifestyle destination worldwide; a globally unique Art Deco district undergoing a complete stylish renovation and transformation, and when even hip, well-known hotel developers like Ian Schrager or the Rubells, legendary names of the NYC culture and entertainment industry, think of Studio 54, invested in Miami Beach, and also MTV was considering Miami as its Latin American headquarters, you could imagine where things are headed, and this in the heart of one of the largest and most attractive pedestrian zones in the US. Even though many couldn't understand it at the time, it was the absolutely perfect match: Miami needed Art Basel, it was the missing piece, and Basel needed Miami, it was the decisive step towards becoming the undisputed leading global player in the worldwide art market.

Can you describe your first concrete impressions when you arrived for the first time in Miami respectively Miami Beach?

It was like in a movie, a surreal one. It must have been in 1996 or 1997. I flew in directly from Europe, landed in the evening after nightfall, and took immediately a cab to the hotel, which, given the purpose of my trip, could only be the “Delano”. Throughout the entire taxi ride the driver tried to sell me all sorts of things in such an extreme Creole that I, who actually speak fluent French, didn't understand one single word. Collins Avenue was quite dark, and the few figures in the street were mainly some sad-looking pensioners with walkers on their way to the supermarket, gloomy crack junkies shuffling around for some stuff, and black or Dominican hookers, wobbling precariously on killer high heels, waiting for Godot. And then, amidst countless construction sites, gleaming in dazzling spotlights, Philippe Starck's world-renowned hotel icon where, behind the billowing entrance curtains, the beautiful and the rich, as well as the would-be beautiful and the would-be rich, celebrated the night, Miami, and themselves, surrounded and served by what was surely the most beautiful staff in the world, and has surely never seen the inside of any service or even hotel management school. (laughs) What a start!

Day 1, scheduled to conclude with my first visit to Norman and Irma Braman at Indian Creek Island. I was downtown beforehand and ended up about 45 minutes late due to extreme traffic jams when I excitedly announced my arrival at their gate. Norman was at the loudspeaker, greeted me warmly, explained how happy he was to welcome me, and made it clear that they had been waiting for almost an hour and that I should come back the next day, on time. Wham! Miami lesson no. 1: Hedonism at any time, as long as absolute professionalism and total seriousness are not compromised! The next day I was as punctual as a Swiss watch, and we had an incredibly constructive discussion for almost four hours. Norman convinced me that quiet December was the ideal time; I had my doubts about people spending money on art so close to Christmas and was leaning more towards January or February, when all the snowbirds flood Miami and Florida, but I must unequivocally admit, he was absolutely right. And subsequently he became my most determined ally. (laughs) By the way, even the “Delano” grasped Miami lesson number one pretty quickly.

Day 2, lunch with Don, Mera and Jason Rubell at a restaurant on Lincoln Road. They listened to me very attentively, and after less than 10 minutes Mera interrupted me, grabbed her cell phone, had a short discussion with someone, and said to me: “We can't let this opportunity slip away; it would be good to have the mayor of Miami Beach on our side right from the start.” Not even half an hour later, Neisen Kasdin was also sitting at the table with us. Miami lesson number 2: If you believe in something, seize any opportunity to make it happen; don't overthink it, there will never be a 100% success guarantee! And the idea of an Art Basel Miami had gained four new engaged supporters.

You said that you were deeply impressed by the engagement shown by local collectors; can you explain it more concretely?

It was incredibly impressive, although the competitors eyed each other suspiciously rather than warmly embracing buddies, how quickly and with what conviction and determination most of the major local collectors rallied behind the project.

Above all, outside of any competition, Norman Braman, who passionately and wholeheartedly made the realization of an Art Basel event in Miami Beach practically a personal goal. Even a local Miami Beach law had to be changed. Norman's incredibly energetic support was absolutely crucial; Miami truly owes him a debt of gratitude.

Then, of course, the Rubells, the whole family, always open and innovative, who were absolutely always ready and willing to actively help and advise. I think therefore I could have even gotten them out of bed in the middle of the night. They too were absolutely crucial and deserve great recognition in this regard.

Marty Margulies, generous almost beyond belief, who was absolutely always there when needed... (laughs)... or rather, whenever the Dolphins weren't playing a home game.

Rosa and Carlos de la Cruz, as always very straightforward and uncompromising, who were the first to open their private home to international guests.

And of course, Dennis and Debra Scholl, Craig Robins, Jorge Perez, and Ella Cisneros absolutely must not go unmentioned... (laughs)... I'm sure I've forgotten many, and I sincerely apologize to all of them.

But it wasn't just the collectors by any means.

Yes?

Let us not forget incredibly dedicated museum directors like Bonnie Clearwater or Diane Camber as well as gallery owners like Fredric Snitzer or, later, Diana Lowenstein, whom I already knew from her historic gallery “Der Brücke” in Buenos Aires.

And we absolutely mustn't forget the uniquely open and constructive public officials. I have already mentioned Neisen Kasdin, the smart, humble, yet all the more dedicated former mayor of Miami Beach; I actually wish every city had a mayor of such caliber. But also his staff were incredible, especially Dennis Leiva, who was responsible for all events in Miami Beach, and with whom my wife and I are still friends to this day.

And I'll never forget Bill Talbert, the then-President and CEO of the Greater Miami Convention & Visitors Bureau. On the advice of many, I met him downtown in his typically American corner office, with its spectacular view of “his” Miami, and presented him with my ideas. Completely lost! I explained to him what art fairs are, what Art Basel is, what the global art market is, why there is an increasing hype, etc., etc. Still completely lost! I talked myself hoarse, and he really tried his very best to understand me. Still totally lost! After about half an hour, vaguely suspecting something but understanding absolutely nothing, we were both on the verge of complete resignation, I looked around the office for help and spotted a beautifully displayed football in a glass case, signed by the legendary Dolphins quarterback Dan Marino. My last chance! With a forced smile, I explained to him: “Dan, what we want to bring to Miami is the Super Bowl of the arts, and not just an American one, but a global one.” His features relaxed immediately, his eyes widened and began to shine, and with a relieved smile, unlike mine, an absolutely genuine one, he simply replied, “Lorenzo, that's exactly what we need, I'm on your side!” You remember? Miami lesson nr. 2.

Art Basel remains an incredible success story to this day, both for the international art market and for America, and of course, for Miami. Almost a fairy tale. What were the key factors in its success?

(laughs) Fairy tales are just that, fairy tales, even in the art world. Success is the fruit of hard work, in this case, hard collaborative work. I threw Miami the ball, certainly not purely out of altruism, and Miami caught it, integrated it into their own game, and thus gave it a unique identity, equally certainly not purely out of altruism. Miami welcomed Art Basel with open arms, and not just the Miami art scene or the local authorities. Many citizens also embraced the ball and enthusiastically began to play with it. In the meantime, the countless local art and culture projects that followed, both large and small, have transformed Miami into a unique art and culture metropolis and destination year-round. First of all, Miami should be proud of itself.

For Maria Elena, as a proud Latina, Miami must have been something very special ...

(laughs again) She felt home! What more can I say? So much so that we moved to Miami for three years between my engagements in Frankfurt and Shanghai. So much so that to this day she visits her still numerous friends in Miami at least once a year; her sophisticated girl group remains notorious to this day. So much so that, even when I have other commitments, she hasn't missed a single Art Basel Miami.

Are there any particularly memorable or special moments and/or encounters that you will never forget?

Let me mention two encounters that made me realize once again how unpredictable and unforeseeable life is:

I always had in mind the idea of contrasting the classic, very purist Basel with an open and vibrant Miami. What place is more predestined for a crossover of art with music, film, dance, fashion, and every form of lifestyle? For this reason, I met with Gianni Versace at the end of spring 1997, and over several espressos at the News Cafe, we discussed possible crossovers at length, naturally focusing on art and fashion. Who in the global fashion world was more open to transgressions than him? We agreed to meet again in Ferragosto, the traditional Italian summer holiday in August, to share concrete ideas and proposals after almost three months of quiet reflection. Who would have guessed that it would never come to pass?

How do you best announce and promote in Palm Beach an upcoming exclusive top event in Miami? And totally in keeping with Palm Beach's style. According to the glossy lifestyle magazine “Ocean Drive,” the best way to celebrate was with a sophisticated reception at Mar-a-Lago! And so it was done. The deal between “Ocean Drive” and Mar-a-Lago owner Donald Trump was, in typical Trump fashion, short and sweet: he provided the location, the lifestyle magazine ten sexy top models. To brief the girls on the Art Basel Miami reception, Marty Margulies had agreed to receive the models in advance, to guide them through his collection and to explain to them what good art and the art world are, after all, they were to go to represent Art Basel Miami, and fearing the models might get bored, he also invited the famous artist Kenny Scharf, who, of course, didn't miss this opportunity: 10 ladies and just Marty! But things don't always go as planned. Marty was in top form, he had a bunch of exciting anecdotes and gossip ready for every artwork in his collection, the girls were all hanging on his every word, and poor Kenny, completely ignored, lounged around on the sofa with one drink after the other, and every five to ten minutes you could hear him sigh in exasperation: “But he invited me to a party!” Thus prepared, we then drove to Mar-a-Lago, and the reception, regardless of the models, was a complete success despite the rather bizarre “entertainment.” All ten models, one after the other, ended up in the pool over the course of the evening, not because they were dancing and/or drinking boisterously, but “only” because the host desired it and even joined in with some of them himself. When I timidly asked him what the point of this exercise was, he simply grinned at me: “This is the only way to judge their bodies, isn't it?” Who would have guessed that this lecherous, erratic guy would one day be elected president and plunge his country and the entire world into chaos?

Final question: And today, still satisfied with Art Basel Miami?

When I left Basel for Frankfurt in 2000, with the Miami event already planned and ready for operational implementation, my top priority was ensuring continuity in my successor.

In other words, my successor should not only be thoroughly familiar with the project's background and development, but also able to intervene if necessary and adapt the event strategically and/or conceptually. For this reason, I pushed through the appointment of my long-time assistant Sam Keller against much resistance from Basel. When I was already in Frankfurt and Sam had to acquire the galleries for the first Art Basel Miami, he called me practically every week, complaining about all the extremely important New York galleries boycotting Miami, and sometimes even accusing me of not having considered this situation. Again and again I had to calm him down with the same advice: “Forget NYC and concentrate on the top galleries in Europe who, as exhibitors in Basel, already have a relationship with you and the fair; show them that Art Basel gives them access to the continuously growing US market for the first time; I bet with you that not a single NYC gallery will surrender its American home market to European competition without a fight.”

After three to four months, Sam's weekly calls gradually but surely decreased until they soon stopped altogether. That's when I knew: the king is dead, long live the king! And when I see how Art Basel Miami immediately positioned and established itself successfully, all I can say is: “Great job, Sam, it was worth fighting for you.” After years of technocratic administration and, unfortunately, conceptual stagnation, the fair, like all its competitors, is desperately searching for new ways out of the current difficulties and uncertainties. Whether the new management will succeed remains to be seen. Art Basel Miami, at least, is healthy, admittedly a bit dated, but still so robust that even a radical “rejuvenation” would elicit at most a weary smile, knowing full well that it stands on an incredibly strong and innovative foundation: unique Miami, on which it can always rely 100%.

Every major fair in the world today works by rules Lorenzo Rudolf wrote. Miami was where he signed them.