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The 20 Best Booths at Art Basel

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The 20 Best Booths at Art Basel The 20 Best Booths at Art Basel ARTSY EDITORIAL BY MARINA CASHDAN AND MOLLY GOTTSCHALK JUN 15TH, 2016 9:32 PM The 47th edition of Art Basel is in full swing. From a historical performance at Luxembourg & Dayan involving a violinist and a ballerina, to an immersive installation at Laura Bartlett that appropriates the interior of a Venezuelan currency exchange, to a stunning pairing of works by Pia Camil and James Turrell at OMR, this year’s Art Basel has something for everyone. We scoured the fair’s 286 galleries to bring you the 20 booths you cannot miss. Laura Bartlett Gallery STATEMENTS SECTION, BOOTH N17 With works by Sol Calero Installation view of Laura Bartlett’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP Sol Calero has dropped a Venezuelan currency exchange in the Statements Up and Coming: Sol sector—and good luck passing by the Calero Turns Studio installation without stopping to take a Voltaire into a Kitsch-ified seat in a tropical, fruit-covered chair. Caribbean Classroom Like Calero’s Latin-themed hair salon or READ FULL ARTICLE the kitchy Caribbean classroom she installed at Studio Voltaire last year, the work appropriates Latin American imagery to tap into cultural histories. Here, the immersive installation, titled Casa de Cambio (2016), sees walls festooned with paintings of fruit and exotic travel posters, a glass column filled with hand-made jewelry, and wall-mounted monitors streaming commissioned videos by Latin American artists. Approach the counter to find Calero’s stacks of editions, held together with rubber bands and recalling Venezuelan bills. The price of the editions are continuously updated on a chalkboard, dictated by text messages sent by Calero and reflective of the habits of Venezuelans who monitor prices via Twitter and iPhone apps. Galería OMR GALLERIES SECTION, BOOTH R17 With works by Pia Camil, James Turrell Installation view of OMR’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP In a stunning pairing between 36-year-old Mexico City-based artist Pia Camil and 73-year-old American artist James Turrell at OMR, Camil’s work is what draws visitors into the booth. The brand new body of work, “Skins,” from Camil—whose conceptual and performative pieces make use of natural materials and textiles—is an homage to Frank Stella’s iconic Copper Paintings (1960-61). The artist references Stella’s unusually shaped canvases through a variety of sculptures and textile works, from a stage to a series of cloaks (designed in collaboration with British fashion designer Erin Lewis). Camil’s twist, however, is the materials she employs— whether slatted MDF board used in dollar and department stores or material that was dyed improperly and is therefore unusable, until now. The booth effectively delivers a mini-exhibition within the fair, which would have been enough. But fairgoers are also treated to a series of delicate India ink-on-paper drawings by Turrell, tucked quietly behind a wall facing the aisle. Galleria Lia Rumma Galleria Lia Rumma FEATURE SECTION, BOOTH J9 With works by Ettore Spalletti Installation view of Lia Rumma’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP Aptly titled Dormiveglia (2010)—an untranslatable Italian term for the state between wake and sleep—this installation by Italian Minimalist Ettore Spalletti is a blissful art fair reprieve. Enter through the doorway of a giant grey cube in Naples gallery Lia Rumma’s booth (the same work inaugurated the gallery’s new space in 2010) and you’ll find yourself in a fuzzy blue daydream. Eight monochrome panels, in varying shades of cloud blue and each trimmed in gold leaf, are hung beneath a canopy of brilliantly radiating neon white light. Marian Goodman Gallery GALLERIES SECTION, BOOTH B16 With works by Nairy Baghramian, John Baldessari, Marcel Broodthaers, Tony Cragg, William Kentridge, Juan Muñoz, Gabriel Orozco, Giuseppe Penone, Gerhard Richter, Ettore Spalletti, Thomas Struth Installation view of Marian Goodman’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP A 12-panel canvas by Giuseppe Penone hangs on the interior wall of American gallerist Marian Goodman’s booth. Entitled Spine d’acacia – contatto, marzo 2005 (2005), it’s made from Acacia thorns and designed in the formation of lips. Penone, with his unusual, often very tactile materials, is certainly a crowd-pleaser. If the Penone doesn’t appeal, though, there’s also Gerhard Richter’s 11-meter-long work installed on the booth’s exterior wall. Either way, the works will be sure to keep you occupied for a while. Grimm Gallery FEATURE SECTION, BOOTH J12 With works by Ger van Elk Installation view of Grimm’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP This solo presentation by Amsterdam gallery Grimm dives into the historical works of pioneering Dutch conceptual artist Ger van Elk, who passed away just two years ago, offering a thoughtful reflection on the artist’s influence over the last 45 years. The booth combines painted-over photographs of urban landscapes, framed video works, and iconic 16mm films—including the humorous video installation How Van Elk inflates his left foot with his right one (1969), a projection of the artist pumping up one sock by stepping onto a balloon nestled within the other. Nearby, a looping, framed LCD video work, Talking Trees - Window (2004), sees two trees billow back and forth as though they were a man and woman caught up in a flirtatious exchange. Société STATEMENTS SECTION, BOOTH N14 With works by Timur Si-Qin Installation view of Société’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP Enter the foreboding stone temple in the Statements sector for a welcome surprise. The dark chamber is home to Timur Si-Qin’s New Peace (2016), a prayer space and video installation. The project recalls the artist’s current work in the DIS-curated Berlin Biennial, and imagines a materialist religion of the future. Two videos play inside, one streamed on the wall, another covering the ceiling. They effectively create a simulated landscape, while ambient sound echoes through glass-lined walls that have been stamped with logos for New Peace—a spinoff of the artist’s earlier brand, PEACE. Moran Bondaroff FEATURE SECTION, BOOTH J1 With works by George Herms Installation view of Moran Bondaroff’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP At Moran Bondaroff’s first showing at Art Basel in Basel, the Los Angeles- based gallery extends beyond its typical “young, cool artist” wheelhouse to present the work of 80-year-old California assemblage pioneer George Herms. (The artist, one of the last living members of America’s Beat generation, has works in the Pompidou’s upcoming show about the movement.) Herms’s Joseph Cornell-like boxes from the 1960s onwards, made from found materials—film reels, door knobs, rusted saw blades, and readymade sculptures—and all signed with “L-O-V-E,” feel fresh at the very European Basel fair. At the same time, the gallery’s placement in a section showing mostly Arte Povera artists makes the work feel almost at home. Dominique Lévy Gallery GALLERIES SECTION, BOOTH H11 With works by Alberto Burri, Alexander Calder, Enrico Castellani, John Chamberlain, Lucio Fontana, Piero Manzoni, Pat Steir, Frank Stella, Günther Uecker Installation view of Dominique Lévy’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP If you read the recent New York Times piece on how New York dealer Dominique Lévy prepares for Art Basel, then you may be curious to see how the booth materialized—one of many reasons to pay it a visit. Bringing together post-war European and American artists in a salon-like setting, Lévy juxtaposes the likes of Piero Manzoni, Frank Stella, and John Chamberlain, among other mostly male artists from the era. In one corner, Lévy has installed a stunning pairing of an intensely red Lucio Fontana canvas with an Alexander Calder mobile. While delicate, the Calder mobile matches Fontana’s vivid work with an equally bold play of shadows on the wall. The booth creates a luxurious environment that contrasts with the fast-paced fair experience. Mendes Wood DM FEATURE SECTION, BOOTH T5 With works by Solange Pessoa , Francesca Woodman Installation view of Mendes Wood DM’s booth at Art Basel, 2016. Photo by Benjamin Westoby for Artsy. WHY YOU SHOULD STOP Brazilian gallery Mendes Wood DM makes a surprising but resonant pairing between Brazilian artist Solange Pessoa, who uses mostly organic materials in her practice, and late American photographer Francesca Woodman, whose haunting self-portraits have become part of a lineage of female photographers who use themselves as subject. The booth unites three of Woodman’s rare color photographs, including one of the artist in a bathtub, the black-and-white tiled floor beautifully juxtaposing her blurred body, with a couple dozen of Pessoa’s earthy sculptures. Amorphously shaped, the sculptures combine terracotta with natural materials such as feathers, sheepskin, hay, leaves, and even dried onion skins that dot the floor and walls. If the presentation alone doesn’t lure you in from the aisle, the desire to touch one of Pessoa’s forms likely will. That said, don’t touch the art. AnneMarie Verna Galerie Search GALLERIES SECTION, BOOTH B4 With works by James Bishop, Antonio Calderara, Joseph Egan, Dan Flavin, Giorgio Griffa, Sol LeWitt, Robert Mangold, Rita McBride, Ree Morton, Sylvia Plimack-Mangold, Glen Rubsamen, Fred Sandback, Richard Tuttle Installation view of AnneMarie Verna’s booth at Art Basel, 2016.
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