アート・バーゼル、壮麗さへの回帰 (アーティストたちによって裸にされたアート・バーゼル、さえも*) 2023年度 ART BASEL - The Return to its Grandeur (ART BASEL Stripped Bare by Her Artists, Even*) 2023 version
Post-corona with no masks. Art Basel is back with its grandeur, which hosted 284 galleries from 36 countries and territories. Strong booths and an overwhelming Unlimited. Back to normal, so to speak. 82.000 visitors attended the fair, – 10.000 more than the number reported last year -, cementing its reputation as the premier event of the international art world.
Works on view at several booths were regularly rotated throughout the week and were met with consistently strong foot traffic.
Beyond the core fair itself, Art Basel’s Unlimited sector presented 76 large-scale installations and performances; plus, the Parcours sector featured 24 site-specific installations across the city.
At the entrance of Unlimited, the artist Adel Abdessemed, who’s work is often imbued with the theme of exile, greets the audience in an imposant video installation. A highlight, indeed, also meant as a metaphorical statement, as the ship (MCH Group) of Art Basel is still burning (must be sponsored with Swiss taxpayers money) but the new CEO stands firmly on the bow.
Nota bene: World famous Adel Abdessemed is purposely ignored in the U.S., because “A French artist of Berber origin, Adel Abdessemed was born in Constantine, Algeria in 1971. He lives and works in Paris, France”? Quote from his website: https://www.adelabdessemed.com/about/
Why is that so?
In this context, chapeau to Art Basel, acting without fear and favour.
It shows also to where the curatorial practice is shifting. The next Venice Biennale 2024 has the theme: STRANIERI OVUNQUE – FOREIGNERS EVERYWHERE.
Btw, the concept of the art fairs around the world changed dramatically.
Let me exemplarily point out to the new circumstances in art dealing during Art Basel.
Unfortunately, for obvious reasons regarding secretive art dealing, in 2019 Art Basel stopped publishing its beloved catalogues. Transparency is gone; if you can’t find the artist’s name on Art Basel’s website… you’re lost. Until several years ago, sold art works, which were chosen by the art dealers because of their extraordinary execution, stayed in the booth to be appreciated during the fair. Nowadays, the sold works disappear on the same day, new ones being installed on the booth’s wall the next morning. Sometimes, at the newly displayed works: no names, no titles, no date of the execution. Therefore, each time you’re obliged to bother the art dealer by asking for more information about that “anonymous” art work.
Neither price lists are openly seen anymore.
You have to ask the art dealer for the price of the art work, which ultimately varies during the days of the art fair (if it’s still available on the last days).
This is the new normal in art business.
As a “veteran” artist I can tell you, that in former times, you could buy an art work (in the range of 5.- 10.000 US$) with a 50% discount during the last hours of the art fair. One of the reasons was the expensive shipping costs back to the art dealer’s gallery. It meant a “win-win” situation for three parties: Happy collector (newly acquired work), happy art dealer (no shipping fee), happy artist (who received the 50% as usual).
For my Japanese readers I would like to show how two Japanese artists got into the print media during Art Basel.
1. NARA Yoshitomo 奈良美智
YOSHITOMO NARA. ALL MY LITTLE WORDS | ALBERTINA MODERN
4,017 views May 22, 2023
“Mich fasziniert an Yoshitomo Naras Werken diese Punk-Attitüde”, sagt Kuratorin Elsy Lahner über die Ausstellung des japanischen Künstlers in der ALBERTINA MODERN.
Yoshitomo Nara (*1959) zählt weltweit zu den bekanntesten Künstlerinnen und Künstlern seiner Generation. Ab den 1990er-Jahren erlangt er mit seinen „Angry Girls“, stark stilisierten Mädchendarstellungen mit grimmigem Blick, Vampirzähnen oder Messer in der Hand, internationale Aufmerksamkeit.
YOSHITOMO NARA. ALL MY LITTLE WORDS
401 views Jun 16, 2023
How did YOSHITOMO NARA develop his childlike, emotional characters? What was his artistic process? The artist, Yoshitomo Nara, himself answers these questions in our video about the exhibition.
Francis Bacon, artist, Paris, April 11
Gelatin silver print.
40 x 63 in. (101.6 x 160 cm)
Signed, numbered 9/10 in pencil, copyright credit reproduction limitation, title, date and edition stamps on the verso.
$120,000 – 180,000
SOLD FOR $209,000 https://www.phillips.com/detail/richard-avedon/NY040314/152
Egon Schiele “Woman with Hat Masturbating (Wally Neuzil)” 1914, Gouache and pencil on paper @ Richard Nagy, Art Basel 2023
As the enfant terrible of the American art scene, Jason Rhoades came through the turn of the century like a meteorite. Exhibited at David Zwirner’s before the age of 30, then stuck down by a heart attack a decade later, Rhoades is the author of an iconoclastic work that shook up the decorum and aseptic aesthetics of the art world. As proof, the abundant light installation “Topa” (2005), created shortly before his death, develops a surprising lexicon in slang. Each neon sign uses different designations for the female s*x, like “My Madinah”, a major work by Rhoades from which “Topa” is derived, which combines lights hanging from cables and traditional carpets on the floor. As a student of the sulphurous Paul McCarthy, Rhoades inherited the transgressive spirit of his master, inhabited by the same desire to flout good taste and social norms. Intertwining s*x and religion, Rhoades’ installation points to both the puritanism and Islamophobia of post-september 11 America. Ab electric work in an abundance of pop colours…
Swing of things in her recent show at the Neue Nationalgalerie in Berlin, Monica Bonvicini filled Mies van der Rohe’s glass and steel behemoth with s*x swings and handcuffs, described in the exhibition text as a “feminist appropriation” of Modernist architecture. A similar experience could be enjoyed at Unlimited with a collection of leather swings dripping in chains, suspended from a steel structure. Both playful and unyielding, a fusion of minimalist sculpture and sadomasochism.
compare with the newly created works:
Compare the same artwork by Basquiat during Art Basel 2019, at the same booth VAN DE WEGHE FINE ART. Means, the work had not been sold until 2023, June 9th.
In September 2019 “Onion Gum” had been prominently displayed in the rental gallery of the Mori Art Museum, Tokyo, namely “Mori Arts Center Gallery”.
At Sotheby’s the same work had been sold for the lower estimate of 7.362.500 US$.
Driving school, laundromat, supermarket… The subversive artist Guillaume Bijl was the first to conceive the ready-made as a total and immersive installation, reproducing to the last detail, life-size, spaces that segment our consumer society in which we are caught. His mattress store, first presented in 2003 at the Ausstellungshalle Hawerkamp in Münster, Germany, is shown again, twenty years later without having aged a bit, quite the contrary. This format also allows the artist to generate a social critique of the status of the exhibition which, according to him, is not meant to be found within the four walls of a museum or a white cube. Setting, staging, fiction or reality? The art object is desacralised, the artistic space becomes a functional, ordinary and used one. This work reactivation raises the crucial question of art commodification within the largest contemporary art fair in the world. What is a work of art? A commodity or an icon? Let’s lie down on Bijl’s mattresses and meditate.
Listen to Wolfgang Laib and KATAOKA Mami 片岡真美 (Director of the Mori Art Museum):
アーティストトーク「ヴォルフガング・ライプ：花粉から宇宙まで」 英語版｜Artist Talk “Wolfgang Laib: From Pollens to the Cosmos”
A rare opportunity to understand the involvement (read: “cozy relationship between auction house and gallery”) of the auction house at the art fair. Selling its works through galleries; check the “Special Notice”, below.
Documented on ARTnews, June 13th, 2023, see the link.
Interestingly, the fair had two de Kooning paintings from the late ’70s, both of which were put up for sale at Christie’s last year and are on offer for north of $20 million a piece.
Untitled XXI (1977) which is being exhibited by Mnuchin Gallery, sold at Christie’s in May for $25 million, backed by a third-party guarantee; Mnuchin declined to give an asking price on the record. However, a collector at the fair with direct knowledge of the price pre-fair said it was around $28 million. Meanwhile, at the Gagosian booth, a sales associate quoted the price of de Kooning’s Untitled III (ca. 1978) at $33 million; that painting notably failed to sell at Christies in November. As ARTnews reported at the time, the painting, which Christie’s guaranteed, had an asking price over $35 million and was declared a “pass” after a mere minute on the block. In the post-sale press conference, Christie’s executives said that the auction now owned the painting. Gagosian gallery confirmed that the painting, now in its booth, is on consignment; assuming it hasn’t sold between November and now, the consignor is most likely Christie’s. (The gallery did not return a request for comment by press time.) Other dealers said it is not unusual for auction houses to consign works to dealers’ booths at art fairs.
more @ https://www.artnews.com/art-news/news/major-artworks-sold-art-basel-2023-1234671376/
More painful still, Willem de Kooning’s Untitled III (around 1978) failed to sell. After a mere minute on the block, it became clear the painting wouldn’t get close to the estimated $35 million price tag and the auctioneer declared it a “pass.” There were at least three audible gasps and one very prominent “Oh wow” from the bidding floor.
more @ https://www.artnews.com/art-news/news/christies-20-21-sales-bring-in-421m-1234647141/
Read also the “Special Notice” by Christie’s at the lot:
SPECIAL NOTICE On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Japanese Artist Tetsuya Ishida Dreamed of Having a Solo Show in New York Before His Untimely Death. Two Decades Later, Gagosian Is Honoring His Wish
Gagosian, which now represents Ishida globally, will present the late artist’s New York solo debut, curated by Cecilia Alemani.
Vivienne Chow, August 23, 2023 https://news.artnet.com/art-world/gagosian-ishida-new-york-japan-2352133
Compressed can, light models, streetlight models, used cable, trivet, lens, tambourine, internet hub, horn speaker, wooden gear. Dimensions variable (As installed: 125 x 250.5 x 49 cm)
See more @
Venice Biennale 2024 with the title: “Foreigners Everywhere”. Contemporary Art Star MOHRI Yuko @ Japan Pavilion. Can MOHRI challenge ‘L’Arte dei rumori’ by Italian Futurist Russolo?
ヴェネツィア・ビエンナーレ 2024のテーマ：「外人だらけ」。現代美術のスター 毛利悠子 @ 日本館。 https://art-culture.world/articles/mohri-yuko-毛利悠子/
Old pics about Basel people and visitors swimming in the Rhine…