Calendario de Exposiciones en Buenos Aires

22/10/2023 por Hoornik Art

Calendario de Exposiciones

Galerías de arte en Buenos Aires

Hemos recopilado un calendario actualizado de las exposiciones en la ciudad de Buenos Aires para que puedas agregarlas a tu Google Calendar y no perderte ninguna.

Además, puedes encontrar la ubicación de cada galería en Google Maps para facilitar tu visita. Aquí tienes los enlaces:

Calendario de Exposiciones de Galerías de Arte

Galerías de arte en Buenos Aires

Este calendario te ayudará a mantener un seguimiento de las fechas de las exposiciones y te permitirá planificar tus visitas a las galerías de manera más eficiente.

¡Disfruta del arte y la cultura de nuestra ciudad!

Bs.As. Argentina

[email protected]

Chaile

05/06/202322/05/2023 por Hoornik Art

Gabriel Chaile. Ingeniería de la necesidad

Por Victoria Verlichak

Gabriel Chaile (Tucumán, 1985) es un escultor que tiene algo de antropólogo y arqueólogo. Desarrolla una sentida obra que incluso refleja su identidad; posee ascendencia afro-árabe, española e indígena de la comunidad La Candelaria. Sus grandes y notables piezas condensan saberes ancestrales y preocupaciones sociales. Con rasgos antropomorfos o biomórficos, mayormente, se inspiran en artefactos de diferentes antiguas culturas prehispánicas y de su propia historia; traen al presente ciertas expresiones visuales de los pueblos que se desarrollaron en el Noroeste argentino. Las piezas, como los hornos de barro, suelen conjugar lo simbólico con lo utilitario. En este sentido, éstos recuerdan a la obra Construcción de un horno popular para hacer pan que Víctor Grippo, con Jorge Gamarra y un artesano llamado Rossi, realizó en 1972 en la Plaza Roberto Arlt para la muestra Arte e Ideología, CAYC. Tiempos de dictadura militar (1966-1973), la exhibición duró un solo día y el horno fue destruido entonces por la censura. ¿Por qué invitaba juntarse y compartir “el ritual comunitario de la alimentación”?Precisamente, un horno funcional de Chaile acaba de ser vendido por la galería berlinesa CherLüdde por 60 mil euros, a un coleccionista europeo en la feria ARCO Madrid. Pero no es la única escultura del artista que se halla en la vieja Europa. Es que el artista no solo vive entre Lisboa y Buenos Aires sino que es uno de los impulsores -junto a otros artistas- del proyecto colectivo NVS, “plataforma estratégica” y galería europea, que representa a artistas latinoamericanos en la capital portuguesa y que tiene a Chaile como director artístico. Multipremiado, Chaile estudió artes plásticas en la Universidad Nacional de Tucumán. Fue invitado a varias residencias y programas de artistas como el de la Universidad Torcuato Di Tella. Tuvo su primera exposición individual en 2008. Además de las esculturas, que son exhibidas en museos y bienales de aquí y del exterior, su trabajo suma foto performance, dibujo, pintura y performances. Piensa su proceso de creación, principalmente a partir de dos conceptos: la “ingeniería de la necesidad -lo que tengo y lo que me falta”-, consistente en “desde el arte, crear objetos y estructuras que colaboren en mejorar las condiciones de una situación límite determinada, y la genealogía de la forma, que implica asumir que cada objeto, en su repetición histórica, trae consigo una historia que contar”, que muchas veces es la del propio artista.

Obras monumentales

En los últimos años su nombre aparece una y otra vez en la prensa, no menos porque muchas de sus espléndidas y penetrantes piezas son instaladas en el espacio público o en concurridas bienales. Convocado por la curadora italiana Cecilia Alemani, para la realización de un proyecto en la edición de Art Basel Cities en Buenos Aires, 2018, presentó la escultura Diego (Retrato de Diego Núñez), que recordaba a una joven víctima de la violencia policial. La estructura de metal, ladrillo, adobe y huevos, de casi 3 metros de alto, llamó la atención cuando fue erigida junto al Riachuelo, cerca del Puente Transbordador Nicolás Avellaneda, porque era un horno similar al que utilizaban sus padres para fabricar pan; el artista y los familiares de la víctima cocinaron pan, empanadas, pizza. La pieza pertenece ahora a un comedor popular de La Boca cercano al antiguo taller del artista.

En 2019 fue invitado por la curadora Zoe Lukov a instalar The last supper (La última cena), seis piezas con citas al arte precolombino en el Faena Festival (Miami Beach). Las esculturas -algunos hornos de barro funcionales- fueron desplegadas en los jardines del Hotel Faena en paralelo a la feria Art Basel, donde su obra fue mostrada por la galería Barro. Impagable vidriera internacional: el artista mismo cocinó los panes, que fueron repartidos entre un glamoroso público que deambulaba por el hotel. Uno de los concurrentes que vio su obra entonces fue el desarrollador inmobiliario y coleccionista Jorge Pérez, gran donante del Pérez Art Museum, PAMM, de Miami y creador del Espacio Twenty Three, que alberga su colección privada y que incluye obras de Chaile. Meses antes de esa acción en el estado de Florida, Chaile desplegó en galería Barro de La Boca la muestra Genealogía de la forma, una “proto panadería” con obras que -nuevamente- combinaban huellas del pasado con las características y complejidades del arte contemporáneo, siempre abierto a múltiples interpretaciones. ¿Evoca solamente a sus antepasados, visibiliza la contribución de los pueblos originarios en la construcción del país, denuncia las condiciones precarias en la que ahora que viven muchas comunidades indígenas? ¿Cuándo enciende el horno y reparte pan, recuerda a sus padres, ofrece abrigo o también señala el hambre que muchos padecen?Artefactos y hornos a manera de “retratos” -como el de su madre y hermanas, Irene, Patricia, Sonia, realizados en 2016, 2017, 2018, respectivamente- incluso comenzaron a trazar una genealogía familiar. La gran escultura Mamá Luchona -homenaje a las madres, también a la propia- es la primera obra de Chaile instalada de forma permanente en el espacio público de la Argentina. Presentada en la última Trienal del New Museum de Nueva York en 2022, fue adquirida entonces por el empresario, pianista y coleccionista Andrés Buhar, para el frente del edificio de Fundación ArtHaus, que creó y dirige. Ahora esta imponente estructura de hierro y adobe de más de cuatro metros de alto recibe y mira a los transeúntes de Bartolomé Mitre 434, en el microcentro porteño. “Mamá Luchona es la madre de todas las esculturas que he hecho”, dijo el artista en la presentación de la pieza. “Me emociona que tantas personas que pasan por el microcentro porteño puedan acercarse a mi obra”.

También en 2022 Chaile fue invitado por la citada Alemani a la 59ª Exposición Internacional de Arte de la Bienal de Venecia Su lema fue The Milk of Dreams (La leche de los sueños), inspirado en el libro Leche del sueño de la artista surrealista británica-mexicana Leonora Carrington (1917-2011). Chaile fue el único argentino entre los 213 artistas participantes de la muestra central, desplegada en los Giardini di Castello y en el Arsenale (grandes galpones navales y jardines adyacentes). Allí mostró cinco esculturas monumentales, que adquirió para su colección personal el empresario Eduardo Costantini, fundador y presidente honorario del Museo de Arte Latinoamericano de Buenos Aires (Malba).

Bs.As. Argentina

[email protected]

La Biennale di Venezia

14/05/202304/05/2023 por Hoornik Art

Go Inside The 58th Venice Biennale DuJour

La Biennale di Venezia

La Biennale di Venezia18th . International Architecture Exhibition. The Laboratory of the Future

Venice, 21 February 2023 – The 18^th International Architecture Exhibition, titled The Laboratory of the Future, will be open to the public from Saturday May 20 to Sunday November 26, 2023 at the Giardini and the Arsenale, and at Forte Marghera; it will be curated by Lesley Lokko and organised by La Biennale di Venezia. The pre-opening will take place on May 18 and 19, the awards ceremony and inauguration will be held on Saturday 20 May 2023.

LA BIENNALE DI VENEZIA’S COMMITMENT TO CLIMATE ACTION

La Biennale di Venezia is working concretely towards the crucial goal of fighting climate change, by promoting a more sustainable model for the design, installation and operation of all its events. In 2022 La Biennale obtained this certification for all the events it held that year. This was made possible by carefully collecting the data on the causes of CO2 emissions generated by the events themselves, and on the adoption of consequent measures. The entire process for achieving carbon neutrality, conducted in compliance with the international standard PAS2060, was certified by RINA. For all the events, the most important component of the overall carbon footprint involves the mobility of the visitors. In this sense, La Biennale will engage again in 2023 in a communication campaign to raise the awareness of the participating public, starting with the 18^th International Architecture Exhibition, which will be the first major exhibition in this discipline to test in the field the process to achieve carbon neutrality, while furthermore reflecting upon the themes of decolonisation and decarbonisation. – (Press release attached)

THE INTERNATIONAL EXHIBITION AS AGENT OF CHANGE

“What does it mean to be ‘an agent of change’? (…) Over the past nine months, in hundreds of conversations, text messages, Zoom calls and meetings – stated Lesley Lokko – the question of whether exhibitions of this scale — both in terms of carbon and cost — are justified, has surfaced time and again. In May last year, I referred to the exhibition several times as ‘a story’, a narrative unfolding in space. Today, my understanding has changed. An architecture exhibition is both a moment and a process. It borrows its structure and format from art exhibitions, but it differs from art in critical ways which often go unnoticed. Aside from the desire to tell a story, questions of production, resources and representation are central to the way an architecture exhibition comes into the world, yet are rarely acknowledged or discussed. From the outset, it was clear that the essential gesture of The Laboratory of the Future would be ‘change’.” “(…) For the first time ever, the spotlight has fallen on Africa and the African Diaspora, that fluid and enmeshed culture of people of African descent that now straddles the globe. What do we wish to say? How will what we say change anything? And, perhaps most importantly of all, how will what we say interact with and infuse what ‘others’ say, so that the exhibition is not a single story, but multiple stories that reflect the vexing, gorgeous kaleidoscope of ideas, contexts, aspirations, and meanings that is every voice responding to the issues of its time?”

“It is often said that culture is the sum total of the stories we tell ourselves, about ourselves. Whilst it is true, what is missing in the statement is any acknowledgement of who the ‘we’ in question is. In architecture particularly, the dominant voice has historically been a singular, exclusive voice, whose reach and power ignores huge swathes of humanity — financially, creatively, conceptually — as though we have been listening and speaking in one tongue only. The ‘story’ of architecture is therefore incomplete. Not wrong, but incomplete. It is in this context particularly that exhibitions matter.” – (Lesley Lokko Statement attached)

EXHIBITION STRUCTURE

“The Laboratory of the Future is an exhibition in six parts. It includes 89 participants, over half of whom are from Africa or the African Diaspora. The gender balance is 50/50, and the average age of all participants is 43, dropping to 37 in the Curator’s Special Projects, where the youngest is 24. 46% of participants count education as a form of practice, and, for the first time ever, nearly half of participants are from sole or individual practices of five people or less. Across all the parts of The Laboratory of the Future, over 70% of exhibits are by practices run by an individual or a very small team. (…)” “Central to all the projects is the primacy and potency of one tool: the imagination – Lokko said. It is impossible to build a better world if one cannot first imagine it. The Laboratory of the Future begins in the Central Pavilion in the Giardini, where 16 practices who represent a distilled force majeure of African and Diasporic architectural production have been gathered. It moves to the Arsenale complex, where participants in the Dangerous Liaisons section – also represented in Forte Marghera in Mestre – rub shoulders with the Curator’s Special Projects, for the first time a category that is as large as the others. Threaded through and amongst the works in both venues are young African and Diasporan practitioners, our Guests from the Future, whose work engages directly with the twin themes of this exhibition, decolonisation and decarbonisation, providing a snapshot, a glimpse of future practices and ways of seeing and being in the world. (…) We have deliberately chosen to frame participants as ‘practitioners’ – the Curator stated – and not ‘architects’ and/or ‘urbanists’, ‘designers’, ‘landscape architects’, ‘engineers’ or ‘academics’ because it is our contention that the rich, complex conditions of both Africa and a rapidly hybridising world call for a different and broader understanding of the term ‘architect’. – (Lesley Lokko Statement attached)

PRESIDENT’S STATEMENT ON THE EXHIBITION AND THE COLLEGE ARCHITETTURA

“A laboratory of the future must necessarily begin from a specific starting point, from one or more hypotheses seeking confirmation – Roberto Cicutto, President of La Biennale di Venezia, stated. Lokko starts with her continent of origin, Africa, to talk about its historical, economic, climate and political criticalities and to let us all know «that much of what is happening to the rest of the world has already happened to us. Let’s work together to understand where we have gone wrong so far and how we must face the future». This is a starting point that seeks to heed those segments of humanity that have been left out of the debate and opens to a multiplicity of voices that have been silenced for so long by the one that considered itself to be rightfully dominant in a vital and unavoidable contest.” “I believe that this is La Biennale di Venezia’s true task as an institution, and not only for Architecture. We must start here to seize the opportunity that will allow us to raise the bar in the way we approach all the other disciplines as well.” – (Roberto Cicutto Statement attached) “For the first time ever, Biennale Architettura will include the Biennale College Architettura, which will run from 25 June to 22 July 2023. Fifteen renowned international tutors – Samia Henni, Marina Otero, Nana Biamah-Ofosu, Thireshen Govender, Lorenzo Romito, Jacopo Galli, Philippa Tumubweinee, Ngillan Gbadebo Faal, Rahesh Ram, Guillermo Fernández-Abascal, Urtzi Grau, Samir Pandya, Alice Clancy, Sarah de Villiers and Manijeh Verghese – will work with fifty students, early career practitioners and academics from around the world, selected by Lesley Lokko through an Open Call process over the four weeks of the teaching programme. At the conclusion of the Call on February 17^th, 986 applications had been received. A documentary of the educational experience will be filmed by Ángel Borrego Cubero and released in October this year. An international cast of critics will join the College in July.” – (Biennale College Architettura press release attached)

CARNIVAL

The Laboratory of the Future programme is enriched by Carnival, a six-month-long cycle of events, lectures, panel discussions, films, and performances, that explore the themes of the Biennale Architettura 2023. “Conceived as a space of liberation rather than a spectacle or entertainment, Carnival offers a space for communication in which words, views, perspectives, and opinions are traded, heard, analysed, and remembered – Lokko said. Politicians, policymakers, poets, filmmakers, documentary makers, writers, activists, community organisers and public intellectuals will share the stage with architects, academics, and students. This public event programme is increasingly a form of architectural practice that attempts to bridge the gulf between architects and the public.” Carnival is supported by Rolex, Exclusive Partner and Official Timepiece of the Exhibition.

NATIONAL PARTICIPATIONS

64 National Participations will organize their exhibitions in the historic Pavilions at the Giardini (27), at the Arsenale (22) and in the city centre of Venice (14). Niger participates for the first time at the Biennale Architettura; Panama participates for the first time with its own pavilion and has already participated in previous editions as part of the I.I.L.A. (Italo-Latin American International Organization).The Holy See returns to the Biennale Architettura, participating with its own Pavilion on the Island of San Giorgio Maggiore (it participated in the Biennale Architettura for the first time in 2018). The Italian Pavilion at the Tese delle Vergini in the Arsenale, sponsored and promoted by the Directorate-General for Contemporary Creativity of the Ministry of Culture, is curated by the Fosbury Architecture collective, consisting of Giacomo Ardesio, Alessandro Bonizzoni, Nicola Campri, Veronica Caprino, Claudia Mainardi. The title of the exhibition is SPAZIALE: Everyone Belongs to Everyone Else.

VENICE PAVILION

The exhibition of the Venice Pavilion, located in the Giardini di Sant’Elena, is organized by the Municipality of Venice. Details of the project will be announced soon.

COLLATERAL EVENTS

The Collateral Events, which are admitted by the Curator and promoted by non–profit national and international bodies and institutions, will be announced in the coming weeks. Organized in several locations around the city of Venice, they offer a wide range of contributions and participations that enrich the diversity of voices that characterizes the Exhibition.

APPLIED ARTS PAVILION

La Biennale di Venezia and the Victoria and Albert Museum, London present for the seventh consecutive year the Applied Arts Pavilion Special Project (Arsenale, Sale d’Armi A) titled Tropical Modernism: Architecture and Power in West Africa, curated by Christopher Turner (V&A) with Nana Biamah-Ofosu and Bushra Mohamed (AA). The presentation is organised in collaboration with the Architectural Association (AA), London and the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. – (Press release attached)

BIENNALE SESSIONS, THE PROJECT FOR UNIVERSITIES

La Biennale dedicates the Biennale Sessions project to Universities, Academies of Fine Arts, and other Institutes of Higher Learning. The aim is to facilitate three-day self-organized visits by groups of at least 50 students and teachers, offering assistance in the organization of travel and accommodations and the possibility of organizing seminars in exhibition venues free of charge. – (Document attached)

EDUCATIONAL

For the past decade, La Biennale di Venezia has been devoting increased attention to learning activities and has developed a growing commitment to educational initiatives addressed to the audience of its Exhibitions, to universities, young people, and children, from schools at all levels. In the past two years, Biennale Architettura 2021 and Biennale Arte 2022 counted 111,164 participants in Education activities, of which 52,392 were young people. A broad Educational programme will be offered in 2023 as well, addressed to individuals and groups of students, children, adults, families, professionals, companies, and universities. All these initiatives aim to actively involve participants. They are conducted by professional operators, carefully trained by La Biennale, and they fall under the following categories: Guided Itineraries and Workshop Activities and Interactive Initiatives. – (Document attached)

EDITORIAL PROJECT AND GRAPHIC IDENTITY

The official catalogue, titled The Laboratory of the Future, consists of two volumes.

Volume I is divided into different sections dedicated to the events of Carnival and to the Curator’s Special Projects. Two sections are dedicated to the International Exhibition curated by Lesley Lokko, respectively titled Force Majeure and Dangerous Liaisons. Each project on display in the Exhibition is accompanied by a critical text and a rich iconography that completes the Participants’ work. A further section is dedicated to the first edition of the Biennale College Architettura. Embedded throughout are a series of essays developing the themes of the Exhibition and a detailed record of the works on display.

Volume II presents the National Participations and the Collateral Events. It includes a series of illustrated texts that delve deeper into the projects on exhibit in the Pavilions and the Collateral Events at the Giardini, at the Arsenale and in various locations across Venice. The graphic identity of the Biennale Architettura 2023 and the design of the publications are the work of Die Ateljee – Fred Swart. The volumes are published by Edizioni La Biennale di Venezia. – (Document attached)

PARTNERS AND SPONSORS

Biennale Architettura 2023 has been made possible by the support of Rolex, Partner and Official Timepiece of the event. We would like to thank the Sponsors of Biennale Architettura 2023:

Bloomberg Philanthropies with Bloomberg Connects and Vela-Venezia Unica.

We would also like to thank Cleary Gottlieb Steen & Hamilton LLP.

ACKNOWLEDGEMENTS

We would like to thank the Ministry of Culture, the local institutions that support La Biennale in various ways, the City of Venice, the Veneto Region, the Soprintendenza Archeologia, Belle Arti e Paesaggio per il Comune di Venezia e Laguna, and the Italian Navy. We thank the important international Donors, organisations and institutions who have contributed to the success of the Biennale Arte 2023. Our warmest thanks go to Lesley Lokko and her entire team. Finally, we would also like thank everyone at La Biennale for the great professionalism and dedication they have demonstrated in the realisation and administration of the Exhibition.

The official website of the Biennale Architettura 2023: www.labiennale.org

Official hashtags: #BiennaleArchitettura2023 #TheLaboratoryOfTheFuture

Facebook: La Biennale di Venezia

Twitter: la_Biennale

Instagram: labiennale

Youtube: BiennaleChannel

IMAGES of the 18^th International Architecture Exhibition may be downloaded at the following link:

https://cloud.labiennale.org/url/biennale2023

Password: biennale2023

Bs.As. Argentina

[email protected]

W – Galería

04/05/202328/04/2023 por Hoornik Art

W galería

Incorporación de Federico Curutchet como Co-Director de la galería W (Buenos Aires, ARG) / walden naturae (Pueblo Garzón, URU).

Estamos muy contentos de anunciar la incorporación de Federico Curutchet como co-director de la galería W (Buenos Aires, ARG) / walden naturae (Pueblo Garzón, URU). Con más de diez años de carrera trabajando en el mundo del arte contemporáneo Federico ha sabido distinguirse en sus trabajos curatoriales, escriturales y galerísticos acompañando la carrera de artistas de diferentes generaciones y colaborando con sus crecimientos profesionales tanto a nivel local como a nivel internacional. Estamos felices de darle la bienvenida a nuestro equipo y convencidos que su incorporación nos permitirá seguir creciendo como galería.

Federico se formó en Peritaje y Valuación de Obras de Arte (UMSA), Lic. en Filosofía (UBA) y Crítica de Artes (UNA). Durante los últimos diez años desarrolló su carrera profesional en el sistema del arte contemporáneo latinoamericano a nivel global. Trabajó como Coordinador General de la galería Aldo de Sousa (2013-2015) y de la galería Rolf (2015-2017) y dirigió la galería Barro (2017-2021) en la Ciudad de Buenos Aires. Realizó trabajos curatoriales en diferentes instituciones públicas y privadas, reseñas críticas para medios, producción de exposiciones y propuestas feriales locales e internacionales y asesorías para distintos clientes y colecciones de arte contemporáneo.

Bs.As. Argentina

[email protected]

ESTE ARTE 2023

11/02/202306/01/2023 por Hoornik Art

Nuevo Formato

NUEVO PROGRAMA

ESTE ARTE es más que un lugar donde los artistas y las galerías del más alto nivel presentan lo mejor del arte actual, es un espacio donde se exponen obras para ser apreciadas por su belleza, emotividad y capacidad inspiradora.

En esta edición nos acompañan una vez más las galerías uruguayas: Black Gallery (Pueblo Garzón), Galería Sur (La Barra) y La Pecera (Punta del Este). Esta última plantea una serie de artistas que destacan por su uso del color: Azul van Peborgh, Martín Pelenur y Juanito Conte. Galería del Paseo (Manantiales, Lima), por su parte, hace una apuesta más conceptual con artistas de gran nivel, entre ellos: Guillermo García Cruz, Azul Caverna, Pedro Tyler, Nicolás García Uriburu, Nelson Ramos, Ana Tiscornia, Liliana Porter y Marco Maggi.

Del ámbito internacional, ESTE ARTE 2023 presenta a: ArtBag (Buenos Aires), Bensignor Gallery (Buenos Aires), Elsi del Rio (Buenos Aires), Espacio Líquido (Gijón), Galeria Karla Osorio (Brasilia, San Pablo), Galería Zielinsky (Barcelona), María Casado (Buenos Aires) y Xippas (París, Ginebra, Punta del Este). A su vez, Reginart Collections (Madrid, Ginebra) presenta en esta oportunidad artistas con una trayectoria inigualable para el devenir del arte del siglo XX: Lucio Fontana (Argentina, 1899-1968), Amodeo Modigliani (Italia, 1884-1920), André Masson (Francia, 1896-1987) y André Cadere (Polonia,1934-1978). Caben destacar las nuevas incorporaciones de expositores internacionales radicados en Uruguay que sumamos a esta exclusiva selección: Walden Naturae (Pueblo Garzón) con la obra de Ulises Beisso, Gonzalo Delgado y Christina Schiavi.

ESTE ARTE, en su sentido más amplio, es una estrategia de comunicación, una forma de promover puntos de vista y ofrecer opciones. Como en las obras que presentan las galerías, el arte significa lo que el artista imagina que significa, moldeado por los materiales, técnicas y formas que utiliza, así como también por las ideas y sentimientos que genera en los espectadores. ESTE ARTE es un catalizador para compartir sentimientos, pensamientos y miradas.

NUEVO PROGRAMA

ESTE ARTE 2023 tiene el placer de recibir en las costas de Punta del Este, Uruguay, a cuatro curadoras de renombre internacional: Cecilia Alemani, curadora de la 59.ª Bienal de Venecia; Barbara London, fundadora de la colección de videos del Museo de Arte Moderno (MoMA) de Nueva York; Joanna Warsza, cocuradora del pabellón polaco-romaní en la 59.ª Bienal de Venecia y el Pabellón de Georgia en la 55.ª Bienal de Venecia; y Jenny Moore, curadora independiente y directora por más de 9 años de la Fundación Chinati en Texas, Estados Unidos. Con su visión única, cada una de estas mujeres ha moldeado el mundo del arte contemporáneo. Estas curadoras lideran comunidades artísticas que defienden la práctica artística, construyen infraestructuras e instituciones esenciales y generan compromisos públicos con el arte.

Hacé click acá para conocer el mapa de los picks que no te podés perder.

DOMINGO 8 DE ENERO

18.30-19.30 h | ESTE CHARLA | Centros de arte inesperados
Jenny Moore, curadora independiente y ex-directora de Fundación Chinati, Texas
Veronica Flom, directora de Fundación Ama Amoedo, José Ignacio
Modera Camila Pose, curadora
Con la colaboración de Fundación Ama Amoedo. Esta actividad se llevará a cabo en español e inglés, con traducción.

20-21 h | ESTE FOCUS | La 59.ª Bienal de Venecia: Cecilia Alemani
Cecilia Alemani, directora artística de la 59.ª Bienal de Venecia
En conversación con Laura Bardier, directora de ESTE ARTE
Con la colaboración del Istituto Italiano di Cultura a Montevideo. Esta actividad se llevará a cabo en inglés, sin traducción.

LUNES 9 DE ENERO

18.30-19.30 h | ESTE FOCUS | Azul Caverna y Pedro Tyler
Azul Caverna, artista
Pedro Tyler, artista
Modera Fabián Muro, periodista de El País (Uruguay)
Esta actividad se llevará a cabo en español, sin traducción.

20-21 h | ESTE FOCUS | Curating Beyond Mainstream: Joanna Warsza
Joanna Warsza, curadora
En conversación con Adriana Rostovsky, arquitecta y artista visual
Con la colaboración de Uruguay XXI. Esta actividad se llevará a cabo en inglés, sin traducción.

MARTES 10 DE ENERO

18.30-19.30 h | ESTE FOCUS | Pati Fernández y Juanito Conte
Pati Fernández, artista
Juanito Conte, artista
Modera Elisa Valerio, ESTE ARTE
Esta actividad se llevará a cabo en español, sin traducción.

20-21 h |ESTE FOCUS | Seeing Sound: Barbara London Barbara London, curadora. En conversación con Leonardo Secco, investigador de la Universidad Católica del Uruguay
Con la colaboración de ARCA International Film Festival y la Universidad Católica del Uruguay. Esta actividad se llevará a cabo en inglés, sin traducción.

CECILIA ALEMANI
Curadora italiana radicada en Nueva York. Alemani ha encargado y producido obras de arte ambiciosas para espacios públicos e inusuales. Recientemente se desempeñó como directora artística de la muy esperada 59.ª Bienal de Venecia (2022). En 2018, Alemani fue directora artística de la edición inaugural de Art Basel Cities: Buenos Aires. Curó una exposición para toda la ciudad, titulada “Rayuela”, que presentaba obras de 18 artistas internacionales en diálogo cercano con sus lugares, dando forma a una experiencia de múltiples capas que conectaba el arte visual, los espacios urbanos y las historias de la ciudad de forma inusual. Entre los artistas participantes se encontraban: Eduardo Basualdo, Pia Camil, Maurizio Cattelan, Gabriel Chaile, Alex Da Corte, Leandro Katz, Barbara Kruger, Luciana Lamothe, Ad Minoliti y Stan VanDerBeek. Desde 2011 ha sido directora y curadora de High Line Art en Nueva York. Alemani encabezó High Line Plinth, un programa que presenta obras de arte monumentales, que comenzó en junio de 2019 con Brick House, una escultura de Simone Leigh. Durante su mandato en High Line, encargó importantes proyectos a El Anatsui, Phyllida Barlow, Carol Bove, Sheila Hicks, Rashid Johnson, Zoe Leonard, Faith Ringgold, Ed Ruscha, Nari Ward, Adrián Villar Rojas, entre otros. Alemani también ha organizado exposiciones colectivas en High Line y sus alrededores con obras de artistas jóvenes y emergentes. Estos proyectos han examinado el papel del arte en la creación y definición de espacios públicos, la relación entre la humanidad y la naturaleza, y la ineludible obsolescencia de la tecnología, entre otros temas de actualidad. Además, lanzó una serie de performances en curso y una serie periódica de videos.
Otros proyectos han incluido el encargo de Alexandra Pirici para Art Basel en 2019; la curaduría del Pabellón de Italia en la Bienal de Venecia de 2017; la curaduría de Frieze Projects (2012-2017); y la dirección de la Iniciativa X en Nueva York (2009-2010). Alemani también trabajó como curadora independiente colaborando con museos como el Tate Modern (Londres) y el MoMA PS1 (Nueva York), el Whitney Museum (Nueva York), Gió Marconi Gallery (Milán), así como instituciones sin fines de lucro, como Artists Space y Art in General (Nueva York), y fundaciones privadas, como la Fundación Deste. Es, a su vez, cofundadora de No Soul For Sale, un festival de espacios independientes, organizaciones sin fines de lucro y colectivos de artistas. Alemani ha escrito extensamente para varias publicaciones, incluidas Artforum y Mousse Magazine, tiene una columna semanal en D, Repubblica desde octubre de 2019. Ha sido autora, coautora y editora en varios libros.

JOANNA WARSZA
Curadora, editora y escritora polaca. Warsza trabaja principalmente fuera de la órbita del «cubo blanco», en el ámbito público examinando agendas sociales y políticas. Recientemente, fue cocuradora del Pabellón de Polonia en la 59.ª Bienal de Venecia (2022) con una obra de la artista romaní-polaca Malgorzata Mirga-Tas. Junto con Övül Ö. Durmusoglu también fue cocuradora de Die Balkone en Berlín, la 3.ª y 4.ª Bienal de Autostrada en Kosovo y la 12.ª Survival Kit en Riga. Fue directora artística de Public Art Munich 2018. Warsza curó el Programa Público para Manifesta 10 en San Petersburgo (2014), que recordó los legados soviéticos y tomó una postura abierta contra la Rusia de Putin a través de intervenciones políticamente comprometidas en espacios públicos. En 2013 fue curadora del Pabellón de Georgia en la 55.ª Bienal de Venecia y la Bienal de Göteborg. En 2012 fue curadora asociada de la 7.ª Bienal de Berlín. En 2009 curó Public Movement, explorando el fenómeno de las delegaciones de jóvenes israelíes en Polonia. De 2006 a 2008 investigó la invisibilidad de la comunidad vietnamita en Varsovia con el proyecto Finissage of Stadium X. Además, fue directora del programa de CuratorLab de la Universidad de las Artes Konstfack en Estocolmo; fundó la Fundación Laura Palmer en 2006 y recientemente integra la junta directiva de la Fundación Pernod Ricard.
En sus últimas publciaciones se destacan: Red Love. A Reader on Alexandra Kollontai (coeditado con Maria Lind y Michele Masucci; Sternberg Press, Konstfack Collections y Tensta Konsthall, 2020); Y Warren Niesłuchowski Was There: Guest, Host, Ghost (coeditado con Sina Najafi 2020); I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (2017), entre otros.

BARBARA LONDON
Autora y curadora estadounidense que investiga los nuevos medios y el arte sonoro en todos los rincones del mundo. Conocida por fundar la colección de videos del Museo de Arte Moderno (MoMA) de Nueva York y por la adquisición de obras de Nam June Paik, Laurie Anderson y Bruce Nauman. London se unió al personal del MoMA en 1970. Como joven asistente curatorial en el Departamento de Grabados y Libros Ilustrados, fundó la colección de videos y los programas de exposición a mediados de la década del 1970. En el MoMA, organizó más de 500 exposiciones de arte multimedial de vanguardia, que muestran el trabajo de artistas pioneros internacionales activos. También inició Video Viewpoints (1978-2002), una serie de conferencias de cuatro años en la que los artistas de los medios presentaban y discutían regularmente su trabajo.
London fue la primera en integrar el internet como parte de la práctica curatorial, con “Stir-fry” (1994); “Internyet” (1998); y “dot.jp.” (1999), y organizó exposiciones con artistas disidentes como Laurie Anderson, Peter Campus, Teiji Furuhashi, Gary Hill, Joan Jonas, Shigeko Kubota, Song Dong, Steina Vasulka, Bill Viola y Zhang Peili. Sus exposiciones temáticas en el MoMA incluyen: “Soundings: A Contemporary Score” (2013), “Looking at Music” (2009), “Video Spaces” (1995), “Music Video: the Industry and Its Fringes” (1985), y “Video from Tokyo to Fukui and Kyoto” (1979).
Después de cuatro décadas como curadora de medios y artes escénicas en el MoMA, en 2013 cambió de rumbo para dedicarse a escribir y enseñar. Es autora de Video Art/The First Fifty Years (Phaidon Press, 2020), donde rastrea la historia del videoarte a medida que se transformaba en el campo más amplio del arte mediático. London enseña en el Departamento de Arte Sonoro de la Universidad de Columbia, anteriormente enseñó en el Departamento de Arte de Graduados de Yale (2014-2019). Sus honores incluyen: la beca del Getty Research Institute, 2016; el Premio al Valor, Eyebeam, 2016; Residencia Contemporánea Gertrude, Melbourne, 2012; Residencia Casa Dora Maar, Menerbes, 2010; un premio CEC Artslink en Polonia, 2003; una beca Bunkacho del Gobierno japonés, 1992-1993; y una beca del Fondo Nacional para las Artes de Estados Unidos, 1988-1989.

JENNY MOORE
Curadora independiente de arte contemporáneo y profesional de museos. De 2013 a 2022 fue directora de la Fundación Chinati en Texas, Estados Unidos. Bajo su dirección, Chinati completó la instalación permanente más grande de Robert Irwin, creó el primer plan maestro del museo y restauró el edificio John Chamberlain, una estructura de 23,000 pies cuadrados distinguido como lugar histórico, de acuerdo con el Registro Nacional de Estados Unidos. A su vez, Moore defendió el trabajo de mujeres artistas, académicas y profesionales en dicha institución. Esto incluyó la presentación de instalaciones a gran escala por parte de Charlotte Posenenske, Bridget Riley y Solange, además de recibir una subvención de USD 1.25 millones de #StartSmall para brindar oportunidades de desarrollo económico y profesional a mujeres en el lejano oeste de Texas. Moore ha ocupado puestos curatoriales en el New Museum (Nueva York), la Andy Warhol Foundation for the Visual Arts (Nueva York), Exit Art (Nueva York) y la 8.ª Bienal de Gwangju.

Art Basel Paris

11/02/202324/10/2022 por Hoornik Art

Art Basel Paris

Art Basel is a like a vortex of fantastic revolutionary ideas that are represented in many different ways by diverse minds, which are capable of intrinsic lifestyles, approaches to devices, materials, creations, art in general, and also, that interact with the art fair in a special way.

I can imagine “ The garden of delights’ by El Bosco, the dutch painter of 1500. It also reminds me of a digital artwork of Studio Smack at “Coleccion Solo” in Madrid, an interactive big screen showing millions of creatures moving through the place in ways a lot of people could be seen moving around in masses.

Art Basel Paris, was, in my opinion, a boutique, a little bit quiet, more organized, and a beautiful art fair. This did not happen to me when I arrived at Art Basel Miami 2 years ago, where the city is more like “ revolutionized” about it like foreign fanatics take the streets. Here the scene is more easygoing. French people somehow got the dynamic a little bit relaxed but also out of control, like, everything was settled, but not just people from the art scene, but tourists, visitors, artists in Paris, designers, etc, were all there, like “of course we came to Paris, what else are we gonna do here?”.

My press pass was for 3 pm, i went there on the morning of October 30th, and nobody could tell me why i couldn’t get in at that moment. Suddenly an Art Basel Paris manager appeared and explained to me the situation. It was not a big deal, I went to Palais de Tokyo and came back.

The main exhibition sector of Paris + par art Basel features 140 galleries specializing in modern and contemporary art, displaying exceptional quality work including paintings, drawings, sculptures, installations, photography, video, and digital art.

I started walking through the art fair. I did not have much time but 3 hours for it. I had a meeting afterward and the whole art Basel Paris scene was in front of me.

I usually do it per row, the first line of galleries was mixed from all over Europe, and most galleries were. The Grand Palais Éphémère is 15 minutes away from Tour Eiffel.

The inaugural edition of Paris+ par Art Basel brought together 156 premier galleries from 30 countries and territories – including 61 exhibitors with spaces in France – in a new flagship event that further amplifies Paris’s international standing as a cultural capital. A strong line-up of galleries from France was joined by exhibitors from across Europe, Africa, Asia, North and South America, and the Middle East for a global showcase of the highest quality. Reaching beyond the Grand Palais Éphémère, the fair presented an active cultural program from morning to night, all week, and throughout the city, through a robust program of collaborations with Paris’s cultural institutions and its city-wide sector Sites.

The debut edition of Paris+ par Art Basel was attended by leading private collectors from France and across Europe, the Americas, the Middle East, Asia and Africa, as well as museum directors, curators, and high-level patrons from approximately 140 cultural organizations including: Albertina, Vienna; Art Institute of Chicago; By Art Matters, Hangzhou; The Bourse de Commerce – Pinault Collection, Paris; CAPC musée d’art contemporain de Bordeaux; Centre Pompidou, Paris; Dia Art Foundation, New York; Elgiz Museum, Istanbul; Fine Arts Museums of San Francisco; Fondation Louis Vuitton, Paris; Fondazione MAXXI, Rome; Hirshhorn Museum and Sculpture Garden, Washington D.C.; ICA Boston; Jeu de Paume, Paris; Lafayette Anticipations, Paris; Leeum Museum of Art, Seoul; Les Abattoirs, Toulouse; Los Angeles County Museum of Art (LACMA); The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Mudam – The Contemporary Art Museum of Luxembourg; Munchmuseet, Oslo; Musée d’art contemporain de Lyon; Musée d’art contemporain de Montréal; Musée d’Art Moderne de Paris; Musée d’Orsay, Paris; Museo Tamayo, Mexico City; The Museum of Modern Art, New York; Nasjonalmuseet, Oslo; Nelson-Atkins Museum of Art, Kansas City; New Museum, New York; NSU Art Museum Fort Lauderdale; Palais de Tokyo, Paris; San Francisco Museum of Modern Art; Serpentine Galleries, London; Tate, London; and Zachęta – National Gallery of Art, Warsaw.

The fair welcomed President of France Emmanuel Macron and French Minister of Culture Rima Abdul Malak. First Lady Brigitte Macron was also in attendance on the fair’s first public day. During his visit, President Macron congratulated Art Basel on having reinvented a true international contemporary art fair in Paris.

‘I believe this week marks a true inflection point for the arts community in France, one in which Paris’s cultural actors came together to collectively present, on the global stage, the best of what the city has to offer,’ said Clément Delépine, Director, Paris+ par Art Basel. ‘The excitement in the halls and throughout Paris is testament to the city’s renewed momentum and the spirit of collegiality which has made the extraordinary success of this first edition possible’.

‘This is a truly historic moment for Art Basel,’ said Marc Spiegler, Global Director, Art Basel. ‘Despite having only nine months to prepare, this felt like a strong show in every way. Collectors came from all over the world and were rewarded with the highest quality of artworks in the booths. We couldn’t have hoped for a better debut in this amazing city, whose cultural scene continues to go from strength to strength.’

Galleries exhibiting across all sectors of Paris+ par Art Basel –including Galeries Émergentes, the fair’s premiere sector dedicated to galleries presenting young and emerging artists –remarked on their experiences of the debut edition:

Galeries

‘Art Basel is the plus for Paris! The fair and its organization have strongly reinforced Paris’s artistic energy. We are seeing more collectors, from the US and Asia notably, sales are high, and the audience is eager to discover new talents as well as modern masters. I could not dream of more for Paris.’

Kamel Mennour, Founder, kamel mennour (Paris)

‘It was an honor to be part of Art Basel’s first Paris edition, having participated in all of the fair’s locations for many successful years. The quality and number of important international collectors remained high, and we placed several works in significant collections in the first few hours of the fair opening.’

Monika Sprüth and Philomene Magers, Co-owners, Sprü̈th Magers (Berlin, London, Los Angeles)

‘I expected Paris+ par Art Basel to be a vibrant and dynamic fair, but now I think it should be called Paris+++. A great job in so little time! At the fair I engaged with people from Australia to Latin America, from North America to Asia. Paris is at the heart of these beautiful and diverse connections. Seeing President Macron and Minister of Culture Rima Abdul Malak come to support the fair and its galleries is a great sign. It shows that culture in France is at the center of the current agenda, and it places France at the center of culture in the world!’

Lorenzo Fiaschi, Director, Galleria Continua (San Gimignano, São Paulo, Beijing, Havana, Les Moulins, Paris, Rome)

‘Paris+ was beyond expectations; it’s a fair which brought us all together again in the most elegant and transformative way. The sales were to A-plus collectors and foundations that we haven’t seen in a few years, and the fair reminded us of the before times. We want to thank the Art Basel team for creating such a significant fair in such a short period of time, further building upon the foundation that FIAC established.’

Lisa Spellman, Owner and Director, 303 Gallery (New York)

‘We were thrilled by the energy of the fair and impressed by the truly global cross-section of great collectors we saw on the first day – the most astute Europeans and Americans, as well as great Asian clients. Paris has always been an art capital and a place our partners consider a second home, but this week we felt a whole new momentum here. And so LGDR’s focus for this first edition of Paris+ was on quality, with works by modern and contemporary artists that are the ne plus ultra of their oeuvres. The response to our presentation was fantastic, with many works on our stand sold, and just as important, so many marvelous conversations made possible by the fair’s atmosphere – neither too grand nor too intimate, but just right.’

Amalia Dayan, Co-Founder, LGDR (New York, Hong Kong, Paris, London)

‘The inaugural Paris+ par Art Basel was a success for us, and I believe for many of our colleagues, too. The early crowd was reminiscent of a typical Art Basel preview day, with collectors coming from all over Europe and the US, and we were pleased to see so many collectors from Asia in person again. We were especially happy to have conversations with many major international museum directors and curators.’

David Zwirner, Owner, David Zwirner (New York, London, Paris, Hong Kong)

‘This first edition was particularly dynamic for us and very satisfying! We were sold out from the very first day and placed works with American, Belgian, French, Mexican, and South African collectors. Many of the works entered the collections of foundations and museums.’

Loïc Garrier, Paris Director, Ceysson & Bénétière (Paris, Saint-Etienne, Lyon, Koerich, New York)

‘We are so proud to have participated in the inaugural edition of Paris+ par Art Basel. The sales were significant, and the energy throughout the fair grounds and the city was fantastic to experience. We are incredibly grateful for the support and organization of the fair, now in this new city.’

Max Falkenstein, Senior Partner, Gladstone Gallery (New York, Brussels, Rome, Seoul)

‘It was one of the best fairs the gallery has participated in, and not only from a sales perspective. We were delighted to see many collectors from all over the world, American trustees but also French collectors.’

Jérôme Poggi, Founder, Galerie Jérôme Poggi (Paris)

‘The arrival of Art Basel to Paris has undoubtedly added great momentum to the ecosystem of the French capital. We saw much more international attendance to the fair with sales being both strong and consistent. Paris has so much to offer, and we are very happy to be a part of this comeback of the city.’

Mathieu Paris, Senior Director, White Cube (London, Hong Kong)

‘With the concentration of international collectors, curators, and art world players, everyone seems to be in Paris and Paris+ par Art Basel has definitely increased the attractiveness of the city’s art market. Since some time, Paris is experiencing a strong renaissance and has gained back an important role as an art world capital. Paris+ was a strong sign for this.’

Thaddaeus Ropac, Founder, Thaddaeus Ropac (London, Paris, Salzburg, Seoul)

‘We were delighted to reconnect with several collectors, particularly from Hong Kong and Southeast Asia, who we have not seen for some time, due to travel restrictions. The network of Paris+ par Art Basel collectors is of high quality. Paris is booming, with major galleries that used to shun the French capital moving in and private foundations multiplying.’

Anna Kraft, Director, galerie frank elbaz (Paris)

‘Artists and collectors have always been particularly drawn to Paris for its art historical importance and cultural resonance. Many of our artists were keen to place their works specifically in prestigious French collections, and with the excitement around the inaugural edition of this fair they have put forward both new and historically important works. This has been greatly appreciated by local collectors and those from far and wide.’

Serena Cattaneo Adorno, Director, Gagosian (Geneva, Basel, Gstaad, Rome, Athens, Hong Kong)

‘The increase in the quality of the works presented and the profile of the players led to a higher number of sales. The installation by Ashley Hans Scheirl and Jakob Lena Knebl at the entrance to our booth, echoing the Austrian Pavilion at the last Venice Biennale, will join the prestigious collection of one of the leaders in the tech industry. It will also result in exhibitions in several institutions for this duo, whose work will be shown next year at the Palais de Tokyo and in the Falckenberg Collection in Hamburg.’

Hervé Loevenbruck, Founder, Loevenbruck (Paris)

‘James Thurber once said that “the whole of Paris is a vast university of art’, and this first Paris+ fair week confirms those words remain absolutely true. For us at Hauser & Wirth, the atmosphere is particularly inspiring as we’re preparing our new Paris space to open next year. Our stand at Paris+ reflected our delight in being here and our commitment to art of the highest caliber, through a concise selection of museum-quality works by gallery artists, with each represented by the very best of his or her oeuvre. And it was clear on this first day of the fair that collectors and curators have gotten the assignment: Major works went quickly within the first few hours of Day 1.’

Marc Payot, President, Hauser & Wirth (Hong Kong, Ciutadella de Menorca, Gstaad, St. Moritz, Zurich, London, Somerset, Los Angeles, New York)

‘Paris is buzzing. Art Basel’s debut undoubtedly confirmed the city’s status as an art capital. This was echoed by the numerous extraordinary exhibitions across town – not least the important show of Alice Neel at the Centre Pompidou, on the artist’s political and social engagement – and strong sales and international attendance at Paris+.’

Xavier Hufkens, Owner and Founder, Xavier Hufkens (Brussels)

‘I am positively surprised by the international audience and institutional attendance. There was an incredibly good atmosphere and interesting conversations, and we are happy to report positive sales, as well as connecting with many interesting French collections that have strong links to the fashion industry.’

Emanuel Layr, Founder, Layr (Vienna)

‘A great success for the first edition of the Art Basel fair in Paris. We were able to witness a profusion of international clients from all over the world, an audience rarely seen at an event of this type in Paris. This first edition probably announces the comeback of Paris at the center of the art market.’

Benoît Sapiro, Founder, Galerie Le Minotaure (Paris)

‘With this first edition of Paris+ by Art Basel, we have seen a real improvement in the quality of the works exhibited, with collectors coming from all over the world: this has resulted in a real emulation which allowed us to say, on Friday afternoon, that the fair is already a success.’

Nathalie Obadia, Founder, Galerie Nathalie Obadia (Paris, Brussels)

‘It was a thrill for us to have such a positive reception during the opening hours of the inaugural Paris+ par Art Basel from international collectors and curators. Having done FIAC for a decade, I am thrilled to keep the gallery’s French presence alive with Paris+.’

Jessica Silverman, Founder, Jessica Silverman (San Francisco)

‘We are very pleased with our participation in Paris+. There is a strong dynamic at the fair; we notice the presence of many collectors, and notably of a new generation, which is very interesting. And there was no slowdown in transactions, even three days after the opening. All in all, an excellent edition!

Pietro Spartà, Founder, Galerie Pietro Spartà (Chagny)

‘I am thrilled to have taken part in the first edition of Paris+ par Art Basel. This is another exceptional platform that the organizer provided, allowing me to showcase our Japanese artists to a wider group of European and international audiences. The fair has already proven to be a key meeting point for the art community globally. I am glad to connect and engage with the sophisticated and emerging collectors in this city and beyond.’

Atsuko Ninawaga, Owner and Director, Take Ninagawa (Tokyo)

‘We were surprised by the number of First Choice guests and the number of collectors, which is exceptional per square meter. We had visitors from the United States, Latin America, China, but also from Turkey. We have never had such a rush, such excitement around the former FIAC. ’

Anne-Claudie Coric, Executive Director, Templon (Paris, Brussels)

Galeries Émergentes

‘We were thrilled to participate in the inaugural edition of Paris+ par Art Basel, which has brought greater attention and visibility to our gallery presentation, programme, and artists. We are even more delighted that Akeem Smith showing at our booth has been selected to carry out a special commission as part of the fair’s partnership with the Galeries Lafayette group and whose work will be supported through the production of a new piece in the workshops of Lafayette Anticipations.’

Pauline Seguin, Founder, Heidi (Berlin)

‘We are absolutely delighted about the first edition of Paris+ par Art Basel, which we think was incredibly well organized. We had a lot of insightful conversations, and participating in the fair was a decisive step in the development of the gallery.’

Oswaldo Nicoletti, Founder, Nicoletti (London)

‘We are very proud we were able to show Jessy Razafimandimby in such an important context for the Paris art scene. The fair went very well for us; we sold works from the booth and our inventory to a lot of foreign collectors we were meeting for the first time.’

Marie Madec, Director, sans titre (Paris)

‘The fair vastly exceeded our expectations. Our booth by London-based Patrick Goddard sold out within hours on the first day. We have had incredible conversations about the artist’s practice. Crucially, the impressive quality of engagement with Goddard’s work is a testament to what Paris+ is offering.’

David Hoyland, Founder and Director, seventeen (London)

‘Paris+ par Art Basel is one of the best fairs we’ve participated in since opening the gallery. The emerging section in particular, which we were a part of, was small but very strong, and we were honored to be present.’

Beatrice Beugelmans, Assistant Director, Chris Sharp Gallery (Los Angeles)

Galeries

The main sector of the fair featured 140 of the world’s leading galleries which presented the highest quality of painting, sculpture, works on paper, installation, photography, video, and digital works. For the full list of exhibitors in Galeries, please visit parisplus.artbasel.com/galeries.

Galeries Émergentes

Dedicated to emerging galleries across the globe, Galeries Émergentes featured 16 solo presentations. Exhibitors included Antenna Space from Shanghai, Instituto de visión from Bogotá and New York, LC Queisser from Tbilisi, Marfa’ from Beirut, Parliament from Paris, Galeria Dawid Radziszewski from Warsaw, sans titre from Paris, and Veda from Florence.

Supported by groupe Galeries Lafayette, artist Akeem Smith, represented by Heidi in the sector, was selected by a specially appointed jury to produce a new piece in the workshop of the Lafayette Anticipation – Fondation Galeries Lafayette. The new work will be exhibited at Lafayette Anticipations in 2023. As part of the initiative, Heidi will be reimbursed its fair participation fee.

The jury was composed by Guillaume Houzé, Rebecca Lamarche-Vadel, Myriam Ben Salah, Agnes Gryczkowska, and Jean-Marie Appriou.

For the full list of exhibitors in Galeries Émergentes, please visit parisplus.artbasel.com/galeries-emergentes

Bs.As. Argentina

[email protected]

Gaspar Libedinsky

11/02/202302/08/2018 por Hoornik Art

Gaspar Libedinsky

ARTISTA

Kunstformen der Natur

La exposición se puede visitar en Praxis galería de arte. Arenales 1331.

Ernst Haeckl (1834 – 1919) fue un naturalista y filósofo alemán que popularizó el trabajo de Charles Darwin, creando nuevos términos tales como «ecología».
Es considerado uno de los grandes ilustradores del mundo natural del siglo XIX.

Kunstformen del Natur (Formas artísticas de la naturaleza, 1904) es un libro de 100 litografías representando varios de los tipos de organismos vivos, muchos de los cuales fueron descriptos por primera vez por el propio Haekel. El libro hace especial foco en sus aportes a los estudios de los invertebrados marinos, como las medusas y las esponjas.

Kunstformen der Natur influyó en el arte, la arquitectura y el diseño de principios del siglo XX, enlazando ciencia y arte. Bajo el mismo título, Gaspar Libedinsky presenta su obra pictórica.

Una progresión de precisas
operaciones físicas,
comprensión, tensión, rotación,
generan la obra pictórica.

Cada escobillón es una pincelada.
El peinado de sus coloridas cerdas sintéticas expresa
una diversidad de intenciones plásticas con menor y mayor
grado de control y accidente.

Estas composiciones pictóricas
plasman un universo explosivo de emociones
que remiten a la naturaleza más salvaje:
aquella que aún falta por descubrir.

Otros
artistas

Artistas

Calendario de Exposiciones

Galerías de arte en Buenos Aires

Gabriel Chaile. Ingeniería de la necesidad

Por Victoria Verlichak

La Biennale di Venezia

La Biennale di Venezia18th . International Architecture Exhibition. The Laboratory of the Future

EDITORIAL PROJECT AND GRAPHIC IDENTITY

PARTNERS AND SPONSORS

ACKNOWLEDGEMENTS

W galería

Incorporación de Federico Curutchet como Co-Director de la galería W (Buenos Aires, ARG) / walden naturae (Pueblo Garzón, URU).

Nuevo Formato

NUEVO PROGRAMA

NUEVO PROGRAMA

Art Basel Paris

Gaspar Libedinsky

Kunstformen der Natur

Otrosartistas

+Hoornik

Tienda

Ernesto Arellano

Otrosartistas

+Hoornik

Tienda

Toto Fernández Ampuero

Otrosartistas

+Hoornik

Tienda

Mercedes Pérez San Martín

Otrosartistas

+Hoornik

Tienda

Otros
artistas

Otros
artistas

Otros
artistas

Otros
artistas