ART BASEL 2017 | TOP 5 GALLERIES

A GENTIL CARIOCA

uuPaulo Paes, Sem Título / Untitled, 2016, Mulungú, bamboo, floral guriri capsule, waxed ramie and steel tanks

The space imagined by A Gentil Carioca for Basel seeks to break with an aseptic structure installed on an earth floor. A walkway in the shape of an L, a work by João Modé developed from his exhibition “Para o silêncio das plantas” (translated “For the silence of the plants”), allows people to roam the certain orthogonality of the stand. His research relates time and space as if the two could be completely attached and in love with one another, coming together in a single force, a single vector, a poetic amalgam that fuels the naturalness of nature. The works are everywhere, coming out of the floor, hanging from the walls, like a forest/landscape of art. Discussing the diversity of languages is an important pretext for undoing the image of Brazil as a “natural” country. Even in the forest, often seen as an original oasis, a territory with a vast culture grows. The ima- ginary of this discussion could lead, without representation, to the work of the proposed artists. What is alive in Laura Lima, the invented archaeology of Rodrigo Torres, the collective coexistence of Opavivará, the memories of Arjan Martins, the fantastic imaginary of Cabelo, the architecture and topologies of João Modé, the new basis for personality of Ricardo Basbaum, the sound anthologies of Vivian Caccuri, the color of Maria Nepomuceno, the ruins of Thiago Rocha Pitta, the plastic organisms of Paulo Paes, the untidy utopias of Jarbas Lopes, all the subtle tissues of Maria Laet and the deep kood’s knowledge of José Bento.

FOCUS ON | PAULO PAES

PAULO PAES born in Belém, Pará, Brazil, in 1960, Paulo moved to Rio de Janeiro 1978, where he joined Escola de Artes Visuais do Parque Lage, first as a student and subsequently as a teacher, until 1992. Since 2006 he has been doing experimental installations involving marine sculptures at Instituto de Estudos do Mar da Marinha Almirante Paulo Moreira (IEAPM) in Arraial do Cabo, Rio de Janeiro, and in the mangroves of Recife, Pernambuco. He has taken part in several exhibitions, including solo shows “Continentes Flutuantes” (2016), at Centro Cultural Banco do Nordeste, Fortaleza, Brasil; “Djanir” (2015), at A Gentil Carioca gallery, Rio de Janeiro, Brasil; “Pneumática” [Pneumatic] at Maus Hábitos in Porto, Portugal (2013); at Palácio Gustavo Capanema/Funarte, Rio de Janeiro (2012) with the support of the Ministry of Culture’s contemporary art award; and “Pôr do Sol” [Sunset] at Sesc, Nova Friburgo, Rio de Janeiro (2005); joint exhibitions “Tudo é Brasil” [It’s All Brazil] Paço Imperial and Itaú Cultural, Rio de Janeiro and São Paulo; and “Onde está você geração 80?” [Where are you, 80s generation?] at CCBB, Rio de Janeiro and Brasília (2004); a solo show at the 21st century room at Museu Nacional de Belas-Artes, Rio de Janeiro (2002 and 2001); and a solo show (2001) and Atelier Finep (1998), both at Paço Imperial, Rio de Janeiro. In 1999, he was selected to take part in the 6th Salon of Bahia, Salvador, and 1991 he participated in the 21st São Paulo International Biennial. The artist is currently investigating the routines (operations and manoeuvers) involving devices in the marine biome designed to attract and retain life. These routines produce material culture: (marine) paintings, underwater photographs, samples of mature colonies, drawings, videos, vessels, texts, the devices and their component parts, tools, etc. The artist lives in Cabo Frio, Rio de Janeiro, where he undertakes his experiments in partnership with IEAPM in the research area of Farol island in Arraial do Cabo. Parallel to this, he is also investigating inflatable sculptures made of tissue paper originally from hot-air balloons.

A GENTIL CARIOCA

 


MEHDI CHOUAKRI

Mehdi Chouakri.pngHans-Peter Feldmann, Venus reclined, 2016, Mehdi Chouakri

Being part of the first generation of Berlin’s new gallery scene, Galerie Mehdi Chouakri opened its first space in 1996 in Berlin Mitte. Since then, international artists like Sylvie Fleury, Mathieu Mercier, Gerold Miller and Gerwald Rockenschaub have found their platform here. Generous, often space related installations of sculptures, wall pieces etc. have earned the gallery a reputation for being open to unconventional artistic experiments and creative proposals. Since the beginning the gallery has been working with artists that also investigate in non art related concepts such as architecture, fashion, music, physics, sociology, and the more profane world of everyday life. For some major artists like John M Armleder and Hans-Peter Feldmann the Mehdi Chouakri Gallery has become their main base in Germany. After twenty years in the district of Berlin Mitte, the gallery moved in 2017 to West Berlin, in the Charlottenburg district, with two distinct spaces on Mommsenstrasse and Fasanenplatz. Mehdi Chouakri successfully keeps introducing younger discoveries like Saâdane Afif, Luca Trevisani, Philippe Decrauzat, and N. Dash and also continues to follow and present the development of its internationally established artists with exclusive special productions. With Charlotte Posenenske, Peter Roehr, and Martin Disler, Mehdi Chouakri included three historical positions to his program and effected their posthumous success. The gallery collaborates regularly with renowned international institutions and major private collections.

FOCUS ON | HANS-PETER FELDMANN

Hans-Peter Feldmann, born 1941 in Düsseldorf German, is a German visual artist. Feldmann’s approach to art-making is one of collecting, ordering and re-presenting. Hans-Peter Feldmann is a figure in the conceptual art movement and practitioner in the artist book and multiple formats. Feldmann’s approach to art-making is one of collecting, ordering and re-presenting amateur snapshots, print photographic reproductions, toys and trivial works of art. Feldmann reproduces and recontextualizes our reading of them in books, postcards, posters or multiples. Feldmann made his first series of books between 1968 and 1971. Works from the early 1970s include 70 snapshots depictingAll the Clothes of a Woman and four Time Series projects including, for example, a row of 36 pictures of a ship moving along a river. Feldmann’s series Photographs Taken From Hotel Room Windows While Traveling clusters 108 nondescript, unframed snapshots of buildings, streets and parking lots. (Like other Feldmann projects, this calls to mind Ed Ruscha’s photographic catalogs.) 11 Left Shoes presents 11 shoes borrowed from 303 Gallery employees, in a row on the floor. Que Sera has the words of the song of that title handwritten on the wall. Bed With Photograph simulates part of a hotel room with a slept-in bed, a side table and a framed photograph of a woman in leopard-print pants. Feldman’s photographic essays might have a more intimate singularity in book form. His book Secret Picturebook (1973) — is a thick, densely printed, scholarly tome with little pictures of women’s torsos in sexy underwear inserted at intervals. It most pointedly embodies the artist’s mischievous relationship to high culture. Another book, “1967-1993 Die Toten” reproduces images from newspapers of all of the lives lost due to the violence and terrorism that permeated contemporary German history. Creating carefully conceived installations from everyday images is what Feldmann is best known for. In 2004-5 MoMA P.S. 1showed “100 Years,” an exhibition made up of 101 photographic portraits of people ages 8 months to 100 years. And at theInternational Center of Photography in 2008 he filled a room with the framed front pages of 100 newspapers, from New York, Paris, Dubai, Sydney, Seoul and elsewhere, printed on Sept. 12, 2001.

MEHDI CHOUAKRI

KURIMANZUTTO

234.pngMinerva Cuevas, Vase, 2013, kurimanzutto

kurimanzutto was founded on August 21st, 1999 in Mexico City by José Kuri, Mónica Manzutto and a group of thirteen artists. Following an idea proposed by Gabriel Orozco, for many years, kurimanzutto did not have a fixed space – for each event or exhibition, the gallery and artists chose a specific location to best suit the project. Nine years after ‘Economía de Mercado,’ their one day inaugural exhibition in a typical fruit and produce market in Mexico City, the gallery’s natural growth lead to the necessity of concentrating its history, energy and information, as well as its work towards the future, in one space. In 2008, a former timber yard built from 1949 was restored by Alberto Kalach and adapted to house an exhibition space, gallery offices and storeroom. In the fall of 2016, the gallery celebrated 17 years of ongoing efforts towards collaborative cultural exchange.

FOCUS ON | MINERVA CUEVAS

Through the intervention of images and objects of daily consumption, Minerva Cuevas invites us to rethink the role corporations play in food production and the management of natural resources. Employing irony and humor, her work seeks to provoke reflection on politics and the potential impact of local actions on the enforcement of fair labor practices and the redistribution of monetary flow. Her practice encompasses a wide range of supports –including painting, video, sculpture, photography and installation, through which she investigates certain power structures that underlie social and economic ties. Her interdisciplinary projects combine aspects of anthropology, product design and economics, in order to explore different ways of intervening in the urban space as well as in museums and galleries. She appropriates the language of the establishment (branding, advertisement and commerce) while delivering a message of non-compliance and resistance. A relentless critic of reality, Cuevas finds her source material by analyzing notions of value, exchange and ownership that rule the capitalist economy, as well as their consequences. Her works serve as tools to discuss the condition of the individual under the capitalist regime: the constant abuse, dispossession and estrangement from ancestral and cultural identity, as well as the latent possibility of revolt implicit in the everyday. Minerva Cuevas studied a BA in Visual Arts at Escuela Nacional de Artes Plásticas UNAM. In 2004 she attended the Artist Residency Edith-Ruß-Haus für Medienkunst Stipend, in Oldenburg, Germany after having made in 2003 the Deutscher Akademischer Austausch Dienst DAAD, Artist Residency in Berlin, Germany and in 1998 The Banff Centre for the Arts, Artist Residency in Alberta, Canada. Her most important solo exhibitions include: Feast and famine, kurimanzutto, Mexico City, Mexico (2015); Minerva Cuevas, Museo de la Ciudad de México, Mexico City (2012); Landings, Cornerhouse, Gallery 1, Manchester, United Kingdom (2011); SCOOP, Whitechapel Gallery, London, United Kingdom (2010); Minerva Cuevas, Van Abbemuseum, Eindhoven, Nederland (2008); Phenomena, Kunsthalle Basel, Basel, Switzerland (2007); On Society, MC Kunst, Los Angeles, United States (2007); Egalité 2007, Le Grand Café–Centre d’art contemporain, Saint Nazaire France (2007); Schwarzfahrer Are My Heroes, DAAD, Berlin Germany (2004); Mejor Vida Corp, Museo Tamayo, Mexico City Mexico (2000). Moreover, her work has been included in group exhibitions at institutions such as the,Museo Jumex, Mexico City Mexico (2013); Kunsthaus Bregenz, Bregenz, Austria (2013); Musée d’art moderne de la Ville de Paris (mam/arc), Paris, France (2012); muac Museo Universitario de Arte Contemporáneo, Mexico City, Mexico (2011); KW Institute for Contemporary Art, Berlin, Germany (2010); Centre Pompidou, Paris, France (2010) San Francisco Museum of Modern Art, San Francisco, United States (2008) among others. She has participated in various biennials, such as the Liverpool Biennial, Liverpool, United Kingdom (2010); the 6th Berlin Biennale for Contemporary Art, Berlin Germany (2010); the 9th Biennale de Lyon, Lyon France (2007); The Bienal do Mercosur, Porto Alegre, Brazil (2007); the 27th Bienal De São Paulo Brasil, Sao Paulo, Brazil (2006); the Tirana Biennale, Kompleksi–Goldi, Tirana, Albania (2005), and The 8th International Istanbul Biennial, Istanbul, Turkey (2003). Minerva Cuevas currently lives and works in Mexico City.

KURIMANZUTTO

CAMPOLI PRESTI

CAMPOLI PRESTI.pngReena Spaulings, Mollusk (Gold Wood), 2017, Marble (Gold Wood)

The gallery was founded in 2003 in Sutton Lane, London and moved to Cambridge Heath Road in 2011. A permanent space in Paris was established in 2007 located in the historical Hôtel de Lagrange built in 1731. In October 2016 Campoli Presti, Paris inaugurated an additional space in the same building. The artists often present concurrent exhibitions in London and Paris, building a narrative across the two locations of the gallery. Campoli Presti has shaped a sharp and specific program, creating a singular context and discourse for its artists’ practices. Campoli Presti first introduced a generation of artists previously unknown in Europe, cultivating their early exposure and establishing critical and institutional representation. The gallery activates a concurrent dialogue around the conventions of pictorial, sculptural, performative and photographic representation. While exploring the historical and material condition of their medium, the artists share an ongoing critical engagement with modes of display, notions of authorship, the economy of the digital and the body as ground of experience. The gallery bridges contemporary artists’ practices with historical figures who share mutual concerns by initiating exhibitions with artists such as Martin Barré (2005), Marcel Broodthaers (2008 / 2012) and the recent representation of Christian Bonnefoi.

FOCUS ON | REENA SPAULINGS

Reena Spaulings emerged in 2004 from the daily operation of Reena Spaulings Fine Art in New York, a gallery founded by John Kelsey & Emily Sundblad and named after Bernadette Corporation’s novel of the same name. While exploring the ambiguities of her double identity as both artist and gallerist, Reena Spaulings presents itself as a kind of commodity. Appearing in various contexts and media, Reena Spaulings is a brand name that plays on the market value and the social function of identity. Often playing on the double-identity of art dealer and artist, Spaulings’ work undermines professional divisions of labour and disciplinary hierarchies, while interrogating accepted notions of individual authorship and agency. Spaulings’ marble surfs consist of scale replicas of surfboards re-installed in the exhibition space, where they remain stranded and functionless. The material transference of the object to a “marble version” and its elongated oval shape evokes Brancusi’s smooth and continuous forms. Reena Spaulings’ work is part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York and the French Government Collection FRAC. Reena Spaulings has an upcoming solo exhibition at the Museum Ludwig, Cologne opening in June. Her work was recently on view at the Centre Pompidou, Paris in Collected by Thea Westreich Wagner and Ethan Wagner travelling from the Whitney Museum, New York. Past exhibitions include Painting 2.0, Expression in the Information Age at Brandhorst Museum, Munich; Dystopia at Museé d’art contemporain de Bordeaux (2011); Pop Life at Tate Modern, London (2009) and How to Cook a Wolf, a solo exhibition at Kunsthalle Zürich (2007). The artist’s work is featured extensively in the most recent edition of Art Since 1900 edited by Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin Buchloh.

CAMPOLI PRESTI

AIR DE PARIS

AIR DE PARIS.pngDorothy Iannone, Les Amants, 2010, photo Hans-Georg Gaul courtesy Air de Paris

Air de Paris established 1990 in Nice by Florence Bonnefous and Edouard Merino, who both attended the Ecole du Magasin in Grenoble. In 1994, Air de Paris relocated to Paris. The name “Air de Paris” is a tribute to Marcel Duchamp and his readymade 50cc of Paris Air. At the beginning there is Les Ateliers du Paradise with Philippe Perrin, Pierre Joseph and Philippe Parreno: the exhibition was conceived like a movie in real time over Summer 1990, transforming the gallery into a photogenic living space. Paul McCarthy, Lily van der Stokker, Jean-Luc Verna among others participate to the reputation of the Nicean formula. Currently, Air de Paris represents established artists such as Philippe Parreno, Liam Gillick, Rob Pruitt, Trisha Donnelly, Sarah Morris, Bruno Serralongue; historically important artists such as Guy de Cointet (the Estate of), Channa Horwitz (the Estate of), Dorothy Iannone and Allen Ruppersberg; and emerging artists such as Leonor Antunes, Stephane Dafflon, Adriana Lara and Aaron Flint Jamison.

FOCUS ON | DOROTHY IANNONE

Dorothy Iannone, known primarily for her explicit and often controversial works, self-taught artist Dorothy Iannone depicts intimate sexual acts in a bold, colorful style influenced by folk art, Byzantine mosaics, and Indian erotic paintings. While she typically creates paintings in acrylic, Iannone has also worked with sculpture, video, and works on paper, including several artist’s books. Her book An Iceland Saga documents her first encounters with her muse and former partner, the German artist Dieter Roth, in the style of a Norse myth. Though many of her works border on the pornographic, Iannone treats sexual acts as a form of spiritual union, claiming, “it was the drive toward ecstatic unity that inspired me.” In addition to her artistic achievements, Iannone is known for her crusade against censorship: in 1961, she famously filed a lawsuit against the United States government after US Customs confiscated her copy of Henry Miller’s Tropic of Cancer. The suit was successful and the ban on Miller’s books was lifted. Iannone’s work has been exhibited in solo shows at institutions including the New Museum (2009), Kunsthalle Wien (2006), and Kunst-Werke in Berlin (1992) and in group shows such as Seductive Subversion: Contemporary Women Artists 1958—1968 at the Brooklyn Museum (2010), Bodypoliticx at Witte de With in Rotterdam (2007), and the 2006 Whitney Biennial. 

AIR DE PARIS