‘Resistance at Any Given Time, Resistance For Any Given Time,’ reads a #LawrenceWeiner text installation presented by Burgundian #GaleriePietroSparta at #ArtBasel2019. Regarded as the father of conceptual art, the artist has shown with the gallery since they opened their doors in 1982 with a group exhibition featuring Weiner, #OnKawara,#CindySherman,#RichardPrince,#BarbaraKruger, and others. — Lawrence Weiner, ‘#888’, 2003.
Art allows us to channel experiences outside of our own and imagine worlds we didn’t know existed. #UweHenneken (@UweHenneken) specializes in this kind of imagery, with surrealist landscapes and fantastical figures that inhabit an imaginary, semi-mythological space that touches the spiritual. The Berlin-based artist’s painting ‘Invocation’ (2017) was presented by @GalerieCapitain at #ArtBasel2019.#artbasel
After the Iron Curtain fell, artists in the border state of Hungary covertly exploited the chinks in that armor. Taking note of movements afoot in the West like political Pop and Conceptual art, yet facing censorship from the state, Hungarian artists like Sándor Pinczehelyi deployed creativity as a strategy of resistance. Initially associated with the Pécs Workshop, a locus of geometric abstraction, Pinczehelyi later edged into a kind of coded conceptualism. Evidence of the Pècs group’s Bauhaus inspirations can be seen in works like ‘Imagination’ (1972), shown by @MayorGallery at #ArtBasel2019.#sandorpinczehelyi 📸 by @AndrasSzanto –– In London? ‘Imagination’ is on view in Mayor Gallery’s current exhibition – ‘Pécs Workshop’ – open through July 31st.
Following a two-day art trip to London, #LiekoShiga abandoned the photography school in which she was enrolled in Japan because, as she’s said, ‘I found their way of talking about photography to be so constrained.’ Shiga resumed her studies in the UK, and retrained her focus over the following five years. The above work, ‘Hello’ (2004), from the series ‘Lilly’, is one of hundreds of images of residents living in an East London council flat shot by Shiga against an exterior wall covered with black cloth. Shiga achieves the work’s uncanny, dreamlike quality in the darkroom by manipulating each print as it develops. The aesthetic is inspired by the early days of photography, when images purporting to capture paranormal presence were popular. –– Lieko Shiga, ‘Hello’, 2004 (detail), C-print photograph via @TakaIshiiGallery | Galleries 2019 #artbasel#artbasel2019
‘I’ve always had a big problem with the hierarchy within art, craft, jewelry, design,’ #FrancisUpritchard has said. ‘I think it’s weird and silly’. Her multimedia sculptures seen here – ‘Hand of Japan’ and ‘Pruitt Igoe’, both from 2018 – were presented by @KateMacgarry at #ArtBasel2019 and used fabrics, wood, hair, paint, and glass beads (among other things) to render her vision. #artbasel
‘Erections for Transatlantica’, the title of #MilenaDragicevic’s ongoing series, has both literal and figurative meanings. Erection is as defined, and may also be understood as ‘offerings’, whereas Transatlantica refers to a fictional place of origin or an in-between place – a concept the artist identified with while growing up in Canada as a Serbian immigrant. The oil painting seen here, titled ‘Erections for Transatlantica (Ayn)’ (2018), was presented by @Galerie_Martin_Janda at #ArtBasel2019 alongside pieces by Roman Signer, Jan Merta, and others. #artbasel
'A Manual For Direct Action (pink)’ (2019) by Tokyo-based Norwegian artist #GardarEideEinarsson (@geeinarsson). The painting is based on a book of the same name published in 1965 with the tag line ‘strategy and tactics for civil rights and all other nonviolent protest movements.’ The artist, whose works relate to the anti-institutional, the interference of concepts of freedom, and the structures and organizations in society, chose the book because ‘its contents related to protest and resistance’ and ‘the phrase itself seems to speak about painting, with the three words Manual – Direct – Action in many ways describing the actual process of painting.’ Copenhagen-based gallery @NilsStaerk presented both the pink and black versions of the work at #ArtBasel2019.#artbasel
@austinleee: ‘Am I dead? If I’m dead I don’t care. If I’m not dead it’s something I haven’t made yet,’ says the artist when asked what piece of art he’d like to be remembered by. Known for his exuberant, vividly colored paintings, the American artist pushes his art towards what he’s termed as a ‘future art movement’ using Medium – Oculus Rift’s virtual-reality program – as a studio to generate VR drawings that he transforms into paintings and sculptures. #AustinLee’s new works, including ‘Floating Flower’ and ‘Family’ (both 2019), were presented by @PeresProjects at #ArtBasel2019. 📸 1 by @anitazart / 📸 2 by @smartarteyes.#artbasel
🌹 ‘You can’t explain what makes a good painting. It’s something that you feel when you’re in front of it. It has to do with experience, cognition, and topical things. All of those coming together at once is what makes a great work,’ says @Van_Hanos, a New York and Marfa-based artist. #VanHanos’ 2018 oil on linen work, ‘Rose Rosette’ (pictured above), was exhibited at #ArtBasel2019 by @TanyaLeighton Gallery. #artbasel
Belgian artist #PaulDelvaux was wary of -isms, and refused to categorize his work despite others identifying him as a Surrealist on par with #ReneMagritte. Instead, he aimed for ‘poetic shock,’ incongruous visual narratives created by ‘putting heterogeneous but real things together in an unexpected way.’ In his painting ‘Femme à la rose’ (1936) – shown by @DiDonnaGalleries at #ArtBasel2019 – a woman leans down to pick a flower in a hallway, while another watches from a distance. ‘The perspective, which leads to an open window overlooking a mountain landscape, creates a masterfully deceptive composition that approaches total three-dimensionality,’ writes @BrooklynRail.#artbasel
‘[ᴀ ɢᴇɴᴛɪʟ ᴄᴀʀɪᴏᴄᴀ] defines our approach to art very well. All three of us – Ernesto Neto, Laura Lima, and I – are artists. The 𝘈 stands for the feminine article in Portuguese, meaning that if art had a gender, it would be female. 𝘎𝘦𝘯𝘵𝘪𝘭 means gentle or kind. 𝘊𝘢𝘳𝘪𝘰𝘤𝘢 is what we call someone who was born in Rio de Janeiro. Together they suggest being from a specific place, being progressive, and being caring and positive.’ – Márcio Botner, co-founder of @AGentilCarioca, Rio’s top artist-run gallery established in 2003 by Botner, Ernesto Neto & Laura Lima. Discover more via our latest story (🔗link in bio), ‘Rio de Janeiro’s A Gentil Carioca keeps the celebratory spirit alive, fifteen years after its inception’ – an interview by @ClementDirie – first published in ‘Art Basel | Year 49’. –– 1. The gallery’s three co-founders, from L to R: Márcio Botner, Ernesto Neto, and Laura Lima. 2. Installation view of Maria Nepumoceno’s 2018 exhibition, ‘Pelo Amor’. 3. A scene from the vernissage of Maxwell Alexandre's ‘O Batismo de Maxwell Alexandre’ (July 2018). The gallery often activates the nearby streets with boisterous interventions during openings. –– #artbasel#agentilcarioca#riodejaniero#marciobotner#ernestoneto#lauralima
A double-sided painting from 1934 by German Surrealist #HansBellmer. In his practice, the artist strived to physically recreate ‘the dizzying heights of passion and to do so to the extent of creating new desires.’ Swipe to see the other side of ‘Die Puppe / Die Glasmurmel (double sided)’, presented by @BerinsonGalerie at #ArtBasel2019.#artbasel