Jorge Méndez Blake

OUR SELECTION OF ARTISTS AT THE FAIR

Art Basel Miami Beach Edition DECEMBER 2015 SPECIAL ISSUE

ART BASEL MIAMI BEACH ARTISTS GUIDE

WWW.LEQUOTIDIENDELART.COM 2 euros EDITORIAL PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 02 Art Basel Miami Beach Artists Guide

BY PHILIPPE REGNIER

Art Basel Miami Beach presents each year a large choice of international artists represented by the most prominent galleries worldwide. Four different sectors are dedicated to specific projects. Galleries in the Nova sector present two or three artists showing new works that have been created within the last three years, allowing to discover never-before-seen pieces fresh from the artist’s studio. Positions sector is dedicated to the display of a single artist’s work, a selection of ambitious new talents from all over the globe. In Kabinett, galleries present in a specific space on their booth curated group or solo exhibitions on various topics. Survey shows art-historical projects to facilitate the rediscovery of works by unfairly neglected artists, benefitting from renewed visibility here. For Art Basel Miami Beach, as well as for Art Basel Hong Kong in March and Art Basel in June, Le Quotidien de l’Art – The Art Daily News publishes its “Art Basel Artists Art Basel Miami Guide” focusing on a selection of artists and their works exhibited in these sectors. In Beach 2014. this guide, reknown international specialists on these artists consider their creations to General Impression. present a vision of the international art scene showcased at Art Basel Miami Beach this © Art Basel. year. Enjoy discovering the artists we have selected this year for you in our special “Art Basel Miami Beach Artists Guide”! l www.lequotidiendelart.com

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Ruth Benzacar Galería de Arte, Buenos Aires – Stand B23 Eduardo Basualdo

BY NATALIA VALENCIA ARANGO

The practice of Eduardo Basualdo, who lives and works in Buenos Aires, is inscribed within the Southamerican continent’s long-standing tradition of Eduardo drawing, historically implemented as a tool to apprehend nature in academic Basualdo training, and more recently treated by a variety of artists as an expanded 1977 Born in Buenos Aires, medium with which to deconstruct the exhibition space, the Western Argentina standards of measurement, the industrial applications of construction 2006 Solo materials, among other usages. Basualdo stages subtle space interventions exhibition at Museo where the ephemerality of the concept of the line and its limits is evoked de Antioquia, by mirrors, light and shadow, as well as by other materials whose intended Medellín functions have been subverted, such as metal rods, industrial chains or 2015 Venice watches, thus suggesting bizarre ambiances that the public is invited to pierce Biennale through hallucinatory explorations; these spaces are thus fictional realms created by the tweaking of banal everyday elements. Therefore, drawing also becomes a mental exercise, as perception is altered to create unexpected alleyways of fiction in memory. l

Eduardo Basualdo, Break of Day, 2015. Courtesy Ruth Benzacar Galería de Arte, Buenos Aires.

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François Ghebaly Gallery, Los Angeles – Stand P6 Dan Bayles

BY JULIE PORTIER

Though they fall within the heritage Dan Bayles of American abstract expressionism, Dan 1977 Born in Bayles’ paintings are part of a conceptual Los Angeles process, connected for its part to the 2007 M.F.A., tradition of studying the site. Dan Bayles University brings to the surface of the canvas American of California, building ambitions that had been relegated Irvine, California to oblivion. This epiphany of architectural 2007 New Ruins, Chung King Project, repression operates in a versatile pictorial Los Angeles style - appearing to select its influences 2015 The depending on the subject - while also Apotheosis characterized by soft lines and colorful of Washington, ranges. The seductive painting, calling for François Ghebaly an experience of ruin, underscores through Gallery, Los Angeles its ambiguity the paradoxes governing the constitution of the landscapes. While the Khan Bani Saad Correctional Facility (2011) series is interested in the failed reconstruction of the prison in Iraq, the paintings and collages presented by the François Ghebaly Gallery are derived from research on early plans conceived for Black Mountain College. Accordingly, the artistic project could be Dan Bayles, located in the gap between the ideal and the actual facts, which themselves Science Building, 2015, form a mythological narrative in the history of art. l Color Photo and Transparency Film on foam board, 40 x 30 inches. Courtesy François Dan Bayles, Ghebaly Gallery, Studies Building Pylon Los Angeles. (Inspiration), 2015, Flashe and pumice gel on canvas and panel, 96 x 96 x 12 inches. Courtesy François Ghebaly Gallery, Los Angeles. KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 07

Casas Riegner, Bogotá – Stand K25 Adolfo Bernal

Adolfo Bernal, BY ANA MARÍA GUERRERO The End, 1980. Courtesy the artist and Casas Riegner, Often described as a subtle artist, overlooked by the critics of his Bogotá. time, nowadays Adolfo Bernal has reemerged as one of the figures most Adolfo Bernal 1954 Born in representative of conceptual art in Colombia. From the 1970s, his artistic Medellín, Colombia production was built around language, both its limits and power as a force for 1986 Havana creating meanings. Amateur poet, inspired by the city as a space of writing, Biennale Bernal dedicated his output to overcoming the spatial boundaries of art, either 2007 Señales, by pasting numerous posters on city walls juxtaposing seemingly random MDE07, Museo de words, or by the introduction of reflective zinc panels producing light signals Antioquia, Medellín upon contact with the sun. The scope of his oeuvre expresses the artist’s 2008 After his death, constant concern to reveal the complexity of linguistic signs as cultural two solo exhibitions emanations, while playing with the possibility of making images appear by were held in Medellín and Cali their very absence. l POSITIONS PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 08

Marcelle Alix, Paris – Stand P1 Pauline Boudry and Renate Lorenz

BY EMMANUELLE LEQUEUX

Two silhouettes speak together hidden behind a black curtain in the surreal setting of an abandoned public swimming pool. Then the curtain is removed and the figures appear, surrounded by swirls of pink smoke in a glittery and glamorous decor. Are they men? Women? It’s hard to tell. A leather jacket, a diamond necklace, a moustache and painted nails… A voice over reads a text by Jean Genet dealing with the notions of war and resistance… But who or what is the enemy? Is it war, capitalism, patriarchy? The enemy is Pauline Boudry / invisible and undefined and this is the essential message of Genet’s text. With Renate Lorenz, Opaque, 2014, their ten-minute film entitled Opaque (2014), the two young Swiss artists installation with continue their transgender interrogations with a form of performative cinema film super 16 / HD, 10 min. Courtesy that has as much in common with cabaret as socially-engaged literature. On Marcelle Alix, Paris. the stand, the film is projected behind a sequinned curtain, a device frequently used by the duo to proclaim the “right to opacity” as evoked by the writer, poet and essayist, Édouard Glissant. l

Pauline Boudry and Renate Lorenz 1963 Renate Lorenz is born in Bonn, Germany 1972 Pauline Boudry is born in Lausanne, Switzerland 2007 The Swiss Awards, Basel; they started working as a duo 2011 Venice Biennale 2015 Solo exhibition at the Kunsthalle Vienna

Pauline Boudry / Renate Lorenz, Opaque, 2014, installation with film super 16 / HD, 10 min. Courtesy Marcelle Alix, Paris. KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 09

Galerie Krinzinger, Vienna – Stand K20 Chris Burden

BY JULIE PORTIER

Chris Burden’s Deluxe Photo Book 1971-1973 brings together a legendary chronicle in the form of a document binder, strictly composed of photographs Chris Burden 1946 Born and descriptive text where conceptual rigor contrasts with the extreme nature in Boston, of the recounted experiences. Beginning with Shoot at the F-Space Gallery Massachusetts in 1971, where Burden was shot in the arm at close range, the binder - 1971 The Shoot hand painted by the artist like a testamentary gesture - covers three years of Performance at the performances. They inaugurated an activist artistic approach to play against F-Space Gallery societal upheavals by endangering the artist’s body. And this critical allegory in Santa Ana, of the martyrdom solution is particularly resonant in view of current events. California From body sculpture to constructions inspired by the civil engineering from 2013 The “Extreme 1990s, Chris Burden’s art has maintained a critical subtlety illustrated by the Measures” retrospective, New stainless steel models such as Tower of London Bridge (2003), also presented on Museum, New York l the Krinzinger gallery stand. 2015 His last installation, Ode to Santos Dumont, presented at LACMA, Los Angeles 2015 Died in Topanga Canyon, California

Chris Burden, Prelude to 220, or 110, Performance, F Space, September 10-12, 1971, deluxe Photo Book 1971- 1973, 53 photographs and text in loose-leaf binder with hand painted cover and cardboard box, 30.5 x 30.5 x 7.6 cm, Edition of 50 with ten Artist’s Proofs. Courtesy Galerie Krinzinger, Vienna. PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE SURVEY 10

Robilant+Voena, London, Milan, St Moritz – Stand S8 Gianni Colombo

BY ANA MARÍA GUERRERO

Gianni Colombo, By experimenting with different artistic mediums, Gianni Colombo Gianni Colombo, Spazio elastico explored the mechanisms of perception throughout his career, particularly of Untitled, 1974-1977, (Bianco), 1973, 36 x 36 cm. Courtesy diam. 80 cm. space in relation to change and movement. His artistic production consists Robilant+Voena Courtesy firstly in objects that defy the traditional visualization of space, as it is (London, Milan, Robilant+Voena St Moritz). (London, Milan, understood in architectural and geometric models; and secondly in complex St Moritz). installations designed as “environments”, where the artist subjects the viewers to almost surreal situations, putting their spatial bearings to the test using mechanical and lighting effects. In 1967, Colombo exhibited the Spazio elastico environment, a work that later defined his artistic production as a quest on visual instability in relation to the body in balance. Gianni Colombo was one Gianni of the founding members of Gruppo T, a collective of artists interested in the Colombo development of kinesthetic stimuli, where the viewer and the work interact in 1937 Born in l a reciprocal motion, generating new sensory experiences. Milan, Italy 1959 Founded Gruppo T 1968 Awarded first prize at the Venice Biennale with his work Spazio elastico 1985 Appointed director of the Brera Art Academy in Milan. 1993 Died in Melzo, Italy NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 11

Noga Gallery of Contemporary Art, Tel Aviv – Stand N11 Keren Cytter

BY JULIE PORTIER

Faithful to the dramaturgic scheme that leads from seduction to peril, combines love and revenge, and places wile at the service of madness in Keren Cytter 1977 Born the films of Keren Cytter, Siren is centered on a crime ordered by a spurned in Tel Aviv, Israel woman, in the name of gender 2005 Published inequality. The confusion of the novel The Man feelings and opinions are brought Who Climbed the to bear on images that exploit Stairs of Life and effects facilitated by open source Found Out They software, while the soundtrack Were Cinema Seats (Song to the siren by Tim 2008 Founded Buckley) stutters on YouTube and the dance company D.I.E flashbacks are similar to replays. NOW (Dance In this way, Keren Cytter engages International the “poor” image and its modes Europe composed of production and circulation of non-professional in the melodrama. The Israeli- dancers) born video artist and writer also 2015 Exhibition engages in a drawing practice, at the Chicago with the presentation of a new Museum of series here. Closely related to her Contemporary Art films, the drawings play on the ambiguity of their nature, further disturbing the order of values and temporalities, between working document and by-product. l

Keren Cytter, Keren Cytter, Red Hand, 2014. Siren, 2014, video, Courtesy the artist 14:39 min. Courtesy and Noga Gallery the artist and Noga of Contemporary Art, Gallery Tel Aviv. of Contemporary Art, Tel Aviv. SURVEY PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 12

Jenkins Johnson Gallery, San Francisco – Stand S1 Roy DeCarava

BY SABRINA SILAMO

Born in Harlem, Roy DeCarava (1919-2009) roamed New York for nearly a half century. He took photographs featuring anonymous subjects Roy DeCarava 1919 Born in or the most illustrious jazz musicians. His ambition? “To intimately express Harlem, New York the condition of Black Americans, which could only be truly interpreted by one 1952 The first of their own,” he wrote in 1952 to the Guggenheim Foundation jurors in his Black American application for a grant. Initially a painter, it was while documenting the streets photographer to in order to better depict them that Roy DeCarava discovered photography. At receive a grant from a time when Helen Levitt, William Klein and Lisette Model were defining the the Guggenheim contours of documentary photography in the streets, he stood out by stating Foundation that it was not so much the subject that interested him as the perception of 1955 He it. His most famous pictures - mostly shot in natural light - include a profile participated in “The Family of of Billie Holiday smoking near a piano, a young bride in a wasteland or a Man” exhibition mother crossing the street with her two children – one of the prints exhibited curated by Edward on the stand of the Jenkins Johnson gallery, based in California. Whether Steichen at MoMA playgrounds, schoolyards, churches or bars… Roy DeCarava reflects the dignity 2006 Awarded of the black population. Images, he asserted, conveying the voice of African- the National Medal Americans stronger than any music. l of Arts 2009 Died in New York RUBRIQUE PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 013

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KOW Gallery, Berlin – Stand N7 Eugenio Dittborn

BY NATALIA VALENCIA ARANGO

Eugenio Dittborn, Unfinished-Finished. Airmail Painting No. 187, 1987 - 2014, paint, photosilkscreen on 1 section of wrapping paper, 210 x 140 cm. Courtesy of Eugenio Dittborn and KOW, Berlin.

Eugenio Dittborn, who lives and works in Santiago de Chile, has been Eugenio recognized worldwide for his long-standing project of Air Mail Paintings Dittborn that he started in 1986, as a response to living under the oppression of 1943 Born in Pinochet’s regime and its censorship. Dittborn found a manner of production Santiago de Chile and circulation that allowed for exchange and denunciation with fellow 1986 Starts the ongoing Air Mail practitioners, as well as for participation in international exhibitions from Paintings project his isolated and deeply complex situation. The works appropriate archives 2013 América about the politics of terror endured by the country during those long years Latina 1960- (1973-1990) and function as a very specific strategy to resist oblivion; they 2013, Fondation also engage with the physical container that is an envelope and play on a Cartier pour l’art formal level with its geometry and folding, as well as with the papers and contemporain, Paris fabrics that can go inside them. Their specific materiality and periodicity that 2014 First European has remained unchanged through global digital connectivity makes them solo exhibition more unique as archive, even though more wanted for the market, which was at KOW Berlin definitely not the intention when created. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 15

Francis M. Naumann Fine Art, New York – Stand A2 Suzanne Duchamp

BY EMMANUELLE LEQUEUX

Suzanne Duchamp is remembered primarily as Suzanne the younger sister of Marcel. During her lifetime Duchamp she was also overshadowed by her two other artist 1889 Born in brothers, Jacques Villon and Raymond Duchamp- Blainville-Crevon, Villon. However for her like all her family, art was France 1912 Participated a way of life: she even exhibited at the famous in the Section d’Or Section d’Or exhibition in 1912 (which revealed exhibition Cubism to the world). After quite radical debuts in 1952 Retrospective a dada vein, the wife of painter Jean Crotti (with at the Galerie whom she created the discrete movement Tabu in de l’Institut, Paris the 1920s) rapidly reverted to a more conventional 1963 Died in style. From around 1925, her work varied between Neuilly-sur-Seine, a deliberately primitive approach and more faithful France depictions of bouquets and landscapes, begging the question whether this naivety wasn’t in answer to the ambiguity of her older brother’s creations. Since her death in 1963, her work has been shown in several exhibitions devoted to the Duchamp family, but has only very rarely been shown on its own. Last spring, Francis M. Naumann put on the first ever American exhibition devoted exclusively to her work and in Miami continues the task of putting this artist back on the map. l Suzanne Duchamp, Self Portrait, ca. 1920, ink on paper, 14 1/8 x 9 7/8 inches. Courtesy Francis M. Naumann Fine Art, New York.

Suzanne Duchamp, Untitled (Landscape with Lake), ca. 1945, watercolor and pencil on paper, 28 ¾ x 35 inches. Courtesy Francis M. Naumann Fine Art, New York. POSITIONS PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 16

Galerie Max Mayer, Düsseldorf – Stand P15 Henning Fehr and Philipp Rühr

BY EMMANUELLE LEQUEUX

Henning Fehr and Philipp Rühr, the young artist duo based in Henning Fehr Cologne, are unveiling their latest and Philipp film at Art Basel Miami Beach. Rühr Polyrhythm Technoir III – Leisure Time 1985 Henning Fehr Future: The Rattle Snake is the third is born in Erlangen, Germany part of their trilogy exploring the 1986 Philipp Rühr history of electronic music. The first is born in Brühl, film dealt with the origins of this Germany musical form, the second with the 2009 First culture and protagonists of Europe’s exhibition party nights and the third questions at the Galerie Henning Fehr and Philipp Rühr, Polyrhythm Technoir III: Leisure Time the future of electronic music. CapitalGold, Future: The Rattle Snake, 2015, digital video, 129:23 min, color, sound, Shot in Latin America, Quebec Düsseldorf, still. Edition of 5 + 3 AP. Courtesy the artists and Galerie Max Mayer, Germany Düsseldorf. and at the Burning Man festival in 2014 Participated Nevada, it addresses the emerging in ‘Living with Pop. techno scene in a celebration of an A Reproduction of alternative culture that encompasses Capitalist Realism’, both ecology and esotericism. It Artists Space, endeavours to describe the different New York groups of people that will comprise the movement’s future, whilst comparing it with various utopian movements, in particular 1960s land art. In their role as modern- day ethnologists, Fehr and Rühr are continuing in their reflections in Henning Fehr and Philipp Rühr, Polyrhythm Technoir III: Leisure Time what they call, in their own words, Future: The Rattle Snake, 2015, digital video, 129:23 min, color, sound, “a shamanic form of cinema”. l still. Edition of 5 + 3 AP. Courtesy the artists and Galerie Max Mayer, Düsseldorf.

Henning Fehr and Philipp Rühr, Polyrhythm Technoir III: Leisure Time Future: The Rattle Snake, 2015, digital video, 129:23 min, color, sound, still. Edition of 5 + 3 AP. Courtesy the artists and Galerie Max Mayer, Düsseldorf. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 17

Galerie Mor Charpentier, Paris – Stand N31 Teresa Margolles

BY ROXANA AZIMI

Could we possibly have seen the end of political artists? The Teresa Mexican artist Teresa Margolles Margolles proves otherwise. With rare 1963 Born in Culiacán, Mexico courage, she risks her life to tell 2009 Venice of the day-to-day violence in the Biennale Mexican town of Juarez, which 2013 Exhibition holds the record for the most ‘Teresa Margolles: collateral victims of the war Carnal’, Prince between drug smugglers. After Claus Fund, the government decreed that Amsterdam the facades of the town’s houses should all be whitewashed in an Teresa Margolles, attempt to erase the memory of this devastation, Teresa Margolles published La Nieve, a series entitled, ‘La esperanza en blanco’. Should open wounds be left for all HD video, 4:47 min, video still. Courtesy to see? Is it really so easy to turn the page? In her video, La nieve, she moves Mor Charpentier, away from the oppressive framework she knows so well and tackles the no Paris. less terrifying world of police racism in America. Her starting point was the murder of Eric Garner in July 2014, who was choked to death by the policeman arresting him for selling smuggled cigarettes. On January 20th 2015, Martin Luther King Day, a memorial to the memory of Garner was burnt down – it was arson. Margolles doesn’t have such a short memory. She asked a local white resident to sweep the snow from the memorial and collect the burnt fragments as a reminder of this social violence. l

Teresa Margolles, La Nieve, HD video, 4:47 min, video still. Courtesy Mor Charpentier, Paris. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 18

Meessen De Clercq, Brussels – Stand N24 Jorge Méndez Blake Jorge Méndez Blake 1974 Born in Guadalajara, Mexico 2010 Exhibition ‘All the Poetry Books’, Museum of Latin American Art, Los Angeles 2015 Exhibition ‘Projects for a Possible Literature - Jorge Méndez Blake’, Kunsthalle de Mulhouse, France

Jorge Méndez Blake, Untitled (Books floating), color pencil drawing, 200 x 140 cm. Courtesy Meessen de Clercq, Brussels.

Jorge Méndez Blake, BY ROXANA AZIMI Index drawing, 2015, poem made using the titles of the poems Jorge Méndez Blake has more than one string to his bow - poetry by the American poet and contemporary art, not forgetting architecture - which explains why Robert Frost. 150 x 100 cm. his entire body of work is situated at the confines of these disciplines in Courtesy Meessen a materialisation of language and a spatialisation of the written text. His De Clercq, Brussels. installations combine literary references – to Melville, Joyce, Borges, T.S. Eliot or Kafka – and more architectural devices, sometimes in a precarious equilibrium, seeing as the inherent fragility of monumentality is often at the heart of his constructions. In Nova, Méndez Blake’s works converse with those of a young Belgian artist, Leon Vranken. Finding his initial inspiration in ‘Mending Wall’ by the American poet Robert Frost, the Mexican artist has created some forty drawings of architectural structures enclosed within walls. Could it be that the higher the wall, the more neighbourly the neighbour? It’s not sure. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 19

Metro Pictures, New York – Stand E1 John Miller

BY EMMANUELLE LEQUEUX

This most Californian of New York artists trained at Cal Arts in Los Angeles John Miller alongside Mike Kelley and Tony Oursler. John Miller, who is a close friend of Jim 1954 Born in Shaw, shares with the other members of this crazy school the same ironic take Cleveland, Ohio 1985 Participated on the American dream and its unbridled consumerism, as well as an undeniable in the Whitney aptitude for pulling out all the stops. John Miller doesn’t need a signature – his Museum Biennial, work is recognisable thanks to his trademark faecal brown coloured paint. He New York also covers piles of detritus, in which Roman helmets and costume swords can 2004 Exhibition be spied, with gold leaf and imagines installations made from banal and very ‘The Middle of the middle class everyday objects. Thirty years after they were first unveiled in a joint Day, 1994-2004’, exhibition with Mike Kelley (already at Metro Pictures) Miller returns to a series Mamco, Geneva of paintings and drawings in a wide variety of styles from the most realistic to the most cartoon-like. For him these are “images of images” which behind their insignificant appearance poetically “challenge the idea of what has already been seen” and invite the spectator “to take a second look.” l

John Miller, Untitled, 1984. Courtesy the artist and Metro Pictures, John Miller, Untitled, 1984. Courtesy the artist and Metro Pictures, New York. New York. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 20

Kalfayan Galleries, Athens, Thessaloniki – Stand N16 Adrian Paci

BY ROXANA AZIMI

Adrian Paci definitely knows a thing or two about conflicts and Adrian Paci 1969 Born in social revolutions. He was forced Shkodra, Albania to flee Albania during the riots in 1999 Represented 1997 and, just like many of his Albania at the compatriots, settled in Italy, where Venice Biennale ever since he has been mixing 2013 Exhibition stories and history. Since leaving ‘Vies en transit’ his home country, Paci has been at the Jeu de Paume, mixing the stories of individuals Paris and the bigger story that is history. The fragility and absurdity of Adrian Paci, the world, as well as questions of identity and displacement, memory and The Guardians, nostalgia provide the breeding ground for his work. The theme of migration 2014, video still. Courtesy of the is at the heart of the project on show at Art Basel Miami Beach. Since 2014, artist and Kalfayan Kalfayan Galleries has been collecting, on the artist’s behalf, the names of Galleries (Athens, Thessaloniki). those Albanian migrants in Greece who have exchanged their names for Greek ones. Paci has transposed these names onto marble tablets reminiscent of headstones as if asking how can one mourn over one’s past. In parallel, his film The Guardians shows children working to clean the tombs in a cemetery Adrian Paci, in Shkodra, the artist’s home town: a strange back and forth between life and The Guardians, 2014, video still. death that sounds like an invitation to remember. l Courtesy of the artist and Kalfayan Galleries (Athens, Thessaloniki). KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 21

Galerie 1900-2000, Paris – Stand K2 Richard Pettibone

BY ROXANA AZIMI

Richard Pettibone, Andy Warhol ‘Saturday Disaster, (Right Hand Panel)’, 1964, 1968, acrylic and silkscreen inks on canvas, 21 x 28.5 cm. Courtesy Galerie 1900-2000, Paris.

No this is not a Warhol and this isn’t a Richard Frank Stella either, these tins of Campbell soup Pettibone and images of Marilyn and Mao are the work of 1938 Born Richard Pettibone. In 1964, at the age of 26, this in Los Angeles Californian artist decided to appropriate the works 1969 Exhibition at Leo Castelli of his contemporaries – pop artists, minimalists Gallery, New York and even the great provocateur himself, Marcel 2005 Retrospective Duchamp – and it went on for forty years. His at the Institute of meticulous, scaled-down copies were based on Contemporary Art, photos in ArtForum magazine. The value of this form Philadelphia of art, which can be considered as a critical tribute to the copied artists, has rarely been fully appreciated. It has been the subject of much criticism: it is art about art, self-referring, lacking in originality, and its pocket-sized format makes it just a bit too cute. It’s also closer to craftsmanship than art in the eyes of some. As Pettibone said when comparing himself to Warhol: “I am a careful craftsman, he’s a sloth.” And yet the artist asks pertinent questions: What does originality actually Richard Pettibone, mean? Is the aura of a work of art lessened when it is miniaturised? And a Andy Warhol ‘Marilyn’, 1978, supplementary question: Does the collector have less power when he has no acrylic and silkscreen more trophies to display on his walls? l inks on canvas, 9 x 7.8 cm. Courtesy Galerie 1900-2000, Paris. NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 22

Cherry and Martin, Los Angeles – Stand N34 Bernard Piffaretti

BY EMMANUELLE LEQUEUX Bernard Piffaretti 1955 Born in Saint-Étienne, France 1984 Developed his protocol 2008 V.O. (version originale sous-titrée), Musée Matisse, Le Cateau- Cambrésis, France

Bernard Piffaretti, Untitled, 2015, acrylic on canvas, 71 x 71 inches, 180 x 80 centimeters. Courtesy Cherry and Martin, Los Angeles.

For thirty years the French painter Bernard Piffaretti has been following the same strict protocol. He divides the canvas in two using a thick line of paint and then imagines a motif that he places in one of the two sections, before duplicating it as faithfully as possible on the other side. It is like a musical score that is played from memory with all the mistakes and hesitations that it involves. The first abstract figures which are born out of his imagination are like ready-mades that, when copied, proclaim by their dissimilarities that this is but a vain attempt. “At the end of the day, I can say that I have only painted one picture in the last thirty years; a painting of the painting,” the artist concludes. After meeting with success with his first show in Los Angeles as part of a French season three years ago, the painter of illusory rigour continues his exchange with the Californian gallery Cherry and Martin, which is showing here several canvasses in which geometrical motifs jostle and tumble in a vertical format and a waltz of colours, Siamese twins for eternity. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 23

Kicken, Berlin – Stand C2 By Sabrina Silamo Polke and Photography

BY SABRINA SILAMO

Sigmar Polke, Sigmar Polke Zollstockstern 1941 Born in Oels, (Düsseldorf, Feldstrasse), 1970, Germany (now Polaroid, 8,5 x Olešnica, Poland) 10,8 cm. 1961-1967 Studied © The Estate of Sigmar Polke / at the Düsseldorf VG Bild-Kunst, Bonn Academy of Fine 2015 / Courtesy Arts, where Joseph Sies + Höke, Düsseldorf & Kicken Beuys was a teacher Berlin. 1986 Awarded the Golden Lion for painting at the 42nd Venice Biennale 1977-1991 Professor at the Hamburg Academy of Fine Arts 2010 Died in Cologne, Germany

Sigmar Polke moved with his family from East to West Germany in 1953. Concentrating on painting after his training at the Düsseldorf Art Academy, he gradually incorporated photography into his paintings. The exhibition presented by the Kicken Gallery at Art Basel Miami Beach, the curatorship of which was entrusted to the art critic Veit Loers, shows his influence on modern photography by comparing prints from the 1960s and 1980s with some of his important paintings, produced in accordance with photographic methods. Composed of black and white dots, these paintings reproduce - through extreme Sigmar Polke, From magnification - images retrieved from the “....Höhere Wesen press. If the process resembles that used by befehlen”, 1966-68, 14 offset lithographs, the spearheads of American pop art, Polke published 1968 nevertheless sought to signal a difference. by Galerie René Block, Berlin, Together with Gerhard Richter and Konrad Lueg 29,7 x 20,9 cm. (the pseudonym of the gallery owner Konrad © The Estate of Sigmar Polke / Fischer), he established the Capitalist Realism VG Bild-Kunst, Bonn group in 1963. l 2015 / Courtesy Sies + Höke, Düsseldorf & Kicken Berlin. SURVEY PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 24

Espaivisor, Valencia – Stand S14 Miguel Ángel Rojas

BY NATALIA VALENCIA ARANGO

Miguel Ángel Miguel Ángel Rojas has been dealing with the reality of political Rojas, Serie Faenza, oppression and marginalization in Colombian society for over 30 years, Miguel Ángel 1980, digital print, polyptych specifically from the viewpoint of homosexuality discrimination within a Rojas of 6 photographs. highly catholic, macho and conservative context. This interest is inscribed in 1946 Born in 90 x 120 cm each Bogotá, Colombia one. Edition: 1 AP / a wider frame of enquiry towards the political disciplining of the body in the 1973 Begins 3 + 2 AP. Courtesy Colombian history of a war-torn 20th century. Stemming from a generation Espaivisor, Valencia. his Faenza series whose artistic maturity came during the sinister narco period of the 1980s of homosexual and 1990s, Rojas had risen to prominence in Colombia in the 1970s with encounters at his series Faenza and Mogador -both names of movie theaters in Bogotá’s theaters in Bogotá downtown zone of tolerance, where homosexual encounters took place in 1980 Presents the bathrooms- as he furtively photographed the encounters, not always Grano at Museo succeeding in hiding his activity and being brutalized as consequence. His de Arte Moderno oeuvre spans photography, etchings, installations, drawings and videos, many de Bogotá times using the coca leave as a camouflaged primary material to comment on popular culture and the ethical ambiguities of the war against drugs. As such, these coca leaves end up making their way across artistic events in the world with an unclear legal status. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 25

Galerie Lelong, Paris, New York – Stand G61 Zilia Sánchez

Zilia Sánchez Zilia Sánchez, 1926 Born El Silencio De Eros, in Havana, Cuba ca. 1980, acrylic on stretched canvas, 1964 Left Cuba 62 x 15 x 50 inches to live in Europe, (157.48 x 38.1 x 127 cm). and later Courtesy Zilia Sánchez and Galerie Lelong in New York (Paris, New York). 1972 Moved to Puerto Rico 2000 Heróicas Eróticas, Museo de las Américas, San Juan, Puerto Rico 2013 Solo exhibition at the Artists Space, New York

BY ANA MARÍA GUERRERO

The epidermal paintings of Zilia Sánchez address the eye by a subtle and sensitive dialogue of round shapes and soft colors. In a genuine aesthetic feat, they reinterpret female sexuality whilst redrawing the contours of minimalist language. Her forms - evocative of the sensual, sexual, organic and erotic - do not take a precise form but, on the contrary, are open to multiple meanings and interpretations. The entire Sánchez oeuvre stands today as a feminist statement, not only through its forceful stance on female eroticism, but also because her late appearance on the international art scene leads us to question the patriarchal canons that have defined the history of modern art. A teacher for three decades at the School of Visual Arts in Puerto Rico and contributor to the influential literary magazine Zona de Carga y Descarga, Zilia Sánchez is a fundamental figure in Caribbean art. l

Zilia Sánchez, Untitled, ca. 1965, ink on paper, 9 1/2 x 4 inches (24.1 x 10.2 cm). Courtesy Zilia Sánchez and Galerie Lelong (Paris, New York). KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 26

Galerie Nathalie Obadia, Paris, Brussels – Stand E14 Agnès Varda

BY ROXANA AZIMI

Cuba 1962, four years before the revolution led by Fidel Castro and his band of barbudos would overthrow the pro-American dictator Batista. The French film director, Agnès Varda, visited the island just as Sartre, Beauvoir and Chris Marker had done before her, hardly surprising seeing as both Cuba and China were part of the ‘Grand Tour’ of left-wing intellectuals. Her small Leica captured both the contours of power and the curves of bodies, the sensual happiness of a cha-cha- cha form of socialism, where the suburbs did not ooze poverty contrary to Brazilian shantytowns and where impoverishment seemed so much more bearable in the sunshine. She was more interested in the excitement of the revolution, than the less than rosy future to come that would bring its share of bureaucracy, authoritarianism and clientelism. Was Varda naive? Let’s not be too harsh, Agnès Varda, Fidel she was a lot less blind than many of the intellectuals whose visit preceded Castro, Havana hers and at least she wasn’t a card-carrying member. On one photo, Castro (“The man with stone wings”), 1962-1963, is leaning against a rock and seems to have stone wings: Varda may not have silver print by the been disenchanted, but she wasn’t entirely taken in for all that. l artist, 23.9 x 18.1 cm. © Courtesy of the artist and Galerie Nathalie Obadia (Paris, Brussels).

Agnès Varda 1929 Born in Ixelles, Belgium 2006 ‘L’île et elle’, Fondation Légende Cartier pour l’art contemporain, Paris 2015 ‘Varda / Cuba’, Centre Pompidou, Paris

Agnès Varda, Cha Cha Cha danced by members of the I.C.A.I.C., Havana, 1962-1963, silver print by the artist, 19.8 x 30.2 cm. © Courtesy of the artist and Galerie Nathalie Obadia (Paris, Brussels). INDEX PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2015 SPECIAL ISSUE 27 Art Basel Miami Beach Artists Guide

Eduardo Roy Adrian Paci Basualda DeCarava Kalfayan Galleries, Athens, Ruth Benzacar Jenkins Johnson Thessaloniki Galería de Arte, Gallery, Buenos Aires San Francisco 04 12 20

Dan Bayles Eugenio Richard François Ghebaly Dittborn Pettibone Gallery, Los Angeles KOW Gallery, Galerie 1900-2000, Berlin Paris 06 14 21

Adolfo Suzanne Bernard Bernal Duchamp Piffaretti Casas Riegner, Francis M. Naumann Cherry and Martin, Bogotá Fine Art, New York Los Angeles 07 15 22

Pauline Henning Fehr Polke and Boudry and Philipp Photography and Renate Rühr Kicken, Berlin Lorenz Galerie Max Mayer, Düsseldorf Marcelle Alix, 08 Paris 16 23

Chris Burden Teresa Miguel Ángel Galerie Krinzinger, Margolles Rojas Vienna Galerie Espaivisor, Valencia Mor Charpentier, Paris 09 17 24

Gianni Jorge Zilia Sánchez Colombo Méndez Galerie Lelong, Paris, New York Robilant+Voena, Blake London, Milan, Meessen De Clercq, St Moritz Brussels 10 18 25

Keren Cytter John Miller Agnès Varda Noga Gallery Metro Pictures, Galerie Nathalie of Contemporary Art, New York Obadia, Paris, Tel Aviv Brussels

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