It was in a landscape that was both «familiar and new,» to use the words of Clément Delépine, co-founder of the very underground travelling off fair, Paris Internationale, and now the director of Paris +, that we surveyed the 156 stands of the new offshoot of Art Basel, grafted on in place of the legendary FIAC. With the strength and aura of the world’s most important modern and contemporary art fair, Paris + by Art Basel, far from showing any signs of weakness, brought a new wind to the Paris marketplace by attracting international galleries that had never come before. Amongst these driving forces of the art market, the big names but also the more modest galleries, we were moved by the look. Our eyes stopped in front of the works of Anne Imhof (at Buchholz Gallery), Giulia Andreani (at Max Hetzler), and Ben Sledsens (Tim Van Laere Gallery), already met, respectively, in Venice, Lyon, and Antwerp.1 Here are more we have chosen for you to discover.
- Anne Imhof : Biennale de Venise 2017 et Palais de Tokyo, été 2021 (voir Acumen #27) ; Giulia Andreamin : Biennale de Lyon (voir Acumen #27) ; Ben Sledsens : (solo show à la Tim Van Laere Gallery en septembre dernier à Anvers).
Nathanaëlle Herbelin & Anne-Charlotte Finel / Galerie Jousse Entreprise
Images in suspense, captured at dawn or at dusk, at the moment when everything flickers, light and darkness, forms and thoughts… sprung from dreams or insomnia, from reverie or melancholy…; images between two non-places… Bathed in a strange silence, at once soothing and disturbing, and in murky, soft but almost evanescent colors, the works displayed by Noam Alon, curator and art critic, on the stand of the Jousse Gallery, caught us with their troubled and ghostly aesthetic. Nathanaëlle Héberlin’s intimist paintings, although bathed in an apparent tranquility, cast doubt on the flat calm of these scenes of everyday life. Similarly, the fake immobility of the prints from a video taken at dawn on an airport runway by Anne-Charlotte Finel casts doubt on the truth of the image: we float between sky and earth, in a liminal zone with fuzzy and downy contours (accentuated by the printing on fresson paper) evoking a conscious dream…
Waqas Khan/Galerie Krinzinger
Through a slow and meticulous drawing consisting of the application of millions of tiny dots or ink strokes on canvas or paper, in the tradition of Persian Mughal miniature, Wagas Khan seeks to provoke an «emotional and spiritual connection with the viewer,» «a dialogue between the viewer and the work»: «It’s about assimilating the outside with the inside and letting the outside image enter you,» explains the Pakistani artist, who sees his art as an opening to the consciousness of time, a trace left in our «existential space»…
Kibong Rhee / Kukje Gallery
The Korean artist we discovered on the Kukje Gallery stand also plays with the confusion of image and perception. Seeking to show, not as a representation but as an abstraction, not as an evocation but as an active simulation, an experimentation of the internalization of the gaze and of meditation, the impermanence of things, the mutability of forms and of our perception, their flux and their constant metamorphoses, Kibong Rhee has developed a technique of acrylic painting on transparent Plexiglas in superimposed layers on canvas, giving his landscapes an impression of latency, of floating between two states, between appearance and disappearance. Trees drowned in the mist, Shadows… dreamlike, evanescent, fluctuating landscapes, they constitute an introspective, meditative space that leads us to the borders of the visible and the invisible.
Daniel Turner / Galerie Allen
Evanescence, again and again with Daniel Turner, seen on the stand of the Allen Gallery and in Cyprien Gaillard’s exhibition at the Palais de Tokyo (to which we will devote an article in our next issue),1 while a solo show is devoted to him at the Kunsthalle in Basel.2 The steel powder that the conceptual artist deposits on the walls or on previously coated canvases, through its evanescence, reflects back to us the image of our own deliquescence, resulting from the combustion of sinks and other steel furniture or household appliances. In their minimalist, atmospheric, and volatile forms (and thus promised to disappear), these ephemeral wall- paintings are veritable memento mori, while the canvases «burnished» with this steel powder, impregnated with this dust of life, confront us with our future dissolution.
1. Humpty / Dumpty, a two-part exhibition by Cyprien Gaillard, presented until January 8 at the Palais de Tokyo and Lafayette Anticipations, in which Daniel Turner was invited to participate.
2. Daniel Turner, works from Three Sites, Kunsthalle Basel, until 8 January