Wir Freuen Uns Sehr, Sie in Diesem Jahr Begrüssen Zu Dürfen. We Are LISTE!

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Wir machen We are Inhalt / Content LISTE! LISTE! Wir freuen We very much uns sehr, Sie look forward to in diesem welcoming Jahr begrüssen you this year to zu dürfen. the fair.

4 Hauptpartner: Ein Kapitel geht zu Ende 66 Performance Project Main Partner: A Chapter Comes to an End 74 Zeitschriften / Magazines 8 Peter Bläuer: Schön und aufregend war es! 78 Galerien / Galleries A– Z Peter Bläuer: How wonderful and exciting it has been! 238 Künstlerliste / Artist List

12 Dank / Acknowledgment 241 Inserate / Advertisements

18 Elsa Himmer: Jenseits der Displays 260 Messeinformationen / Fair Information Elsa Himmer: Beyond the Displays

23 Medienpartner / Media Partners

24 Inserate Ausstellungen Advertisements Exhibitions

Sondergäste / Special Guests 58 Istituto Svizzero, Rome 60 HeK (House of Electronic Arts Basel) 62 Kaskadenkondensator, Basel von links nach rechts / from left to right: 64 Kunstpreis / Art Prize: Fabienne Blanc, Nadja Kilchhofer, Tina Stork, Peter Bläuer, Jacqueline Uhlmann, Helvetia Versicherungen, Basel Neyl Aragon, Fabian Nichele 2 / 3

HauptpartnerMAIN PARTNER Ein Kapitel geht zu Ende Die 23. LISTE wird eine besondere LISTE zusammen. Zurück bleiben wunderbare werden; noch ganz mit Herz und Seele Erinnerungen, voller Emotionen, Begegnun- Peter Bläuer. Als wir Dich vor 22 Jahren gen, die uns menschlich bereichert haben kennen gelernt haben, waren wir bei und viel Liebenswertes. Die ganze Stadt E. Gutzwiller & Cie noch fünf Teilhaber, Basel hat teilgenommen an Deinem Experi- zusammen mit Philippe Gutzwiller. Heute ment, das weit über die Grenzen ein leucht- sind wir eine Generation älter. Der Geist endes Beispiel geworden ist. Wir können ist derselbe geblieben. Brauchte es damals uns nur eine Zukunft mit einer langen Liste viel Mut und Leidenschaft, ein Projekt wie die ‚LISTE‘ wünschen. zusammen zu starten, kann man heute fast bequem und selbstsicher zurücklehnen Deine Partner und den grossen Erfolg zusammen genies- François, Stéphane, Lorenz und Peter sen. Obwohl sich die Messe stetig er- neuert hat, sind die Gedanken die gleichen wie am Anfang: Nicht gewinnbringend ausgerichtet und nach strengen Qualität- skriterien neuen, internationalen Galerien mit noch wenig bekannten Künstler- Innen günstige Konditionen für eine mehr- jährige Messepräsenz zu ermöglichen. Dies ist heute fast noch nötiger als damals. Neben dem Hype in der ‚globalen‘ Kunst welt gehen Experimente und Wagnisse gerne verloren. Aber sind es nicht gerade diese, die dem Begriff Kunst am nächsten kommen? Zu etwas stehen, was noch nicht bewährt und Mode ist. Dies hat uns damals begeistert und beflügelt uns noch heute.

Du möchtest Dich nun aus der operationel- len Leitung zurückziehen. Wie es nicht François Gutzwiller Stéphane Gutzwiller Lorenz von Habsburg Peter Handschin Philippe Gutzwiller anders denkbar ist, machst Du es auf Deine Weise elegant und für alle Beteiligten rücksichtsvoll. Die LISTE in eine Stiftung zu überführen egwu ist die geeignetste Lösung und garantiert ein Weiterbestehen mit ähnlichem Profil. Du hast Dich engagiert, dies mit höchster BANQUIERS Qualität zu erfüllen und vertrauenswürdige NachfolgerInnen einzusetzen, was zu den wichtigsten Aufgaben jedes Unternehmers MEMBER OF THE SWISS PRIVATE BANKERS ASSOCIATION gehört. Wir sind natürlich alle gespannt, wen die Findungskommission als DirektorIn wählen wird.

Wir wollen Dir heute für die einzigartigen BASEL – GENEVA – ZURICH Jahre danken, die wir zusammen verbracht haben. Eine Zusammenarbeit wie wir WWW.GUTZWILLER.CH sie hatten, konstruktiv und ohne jegliche Formalitäten, ist eine Seltenheit geworden. 4 / 5 Nie hatten wir ein ernsthaftes Problem Main Partner A Chapter Comes to an End

The 23rd LISTE will be a special one, Basel has taken part in your experiment, still with its heart and soul, Peter Bläuer. which has become a shining example When we met you 22 years ago, E. Gutziller well beyond our borders. We can only wish & Cie had 5 partners, along with Philippe for a future with a long list like ‘LISTE’. Gutzwiller. Today we are a generation older. Our spirit has remained the same. While Your Partner back then we needed a lot of courage and François, Stéphane, Lorenz und Peter passion to start a project together, today we can sit back, feeling comfortable and self-confident, and enjoy our great success together. Although the fair has con tinually innovated and evolved, the ideas are those that we had at the beginning: not-for-profit oriented and providing new, international galleries with relatively un- known artists the opportunity to participate in the fair multiannually at reasonable terms and conditions. Experiments and ventures can get lost among all the hype in the ‘global‘ art world. But aren’t those exactly the things that come closest to the concept of art? Believing in and standing by something that is neither proven nor in Peter Handschin, Peter Bläuer, François Gutzwiller, 1998 fashion. That is what excited us back then and what inspires us today.

You are now planning to retire from the fair´s operational management. Just as we would expect from you, you are doing it with an elegance and a consideration of everyone involved that is completely you. Transferring ownership of LISTE to a foundation is the most fitting solution and ensures continuity. You have committed yourself to doing this with such thoroughness and quality and to finding trustworthy and dependable successors, something that belongs to the most important duties of the head of a business. We are excited, of course, about who will be chosen by the selection committee.

We would like to thank you today for the unique and exceptional years we have spent together. A collaboration such as ours, constructive and without formalities, has become a rarity. We never had a serious issue in our work together. What remains involves wonderful memories that are full of emotion and encounters that have enriched us as people, and so many Peter Bläuer, Lorenz von Habsburg, François Gutzwiller, Peter Handschin, 2016 6 / 7 endearing moments. The entire city of Schön und aufregend war es!

Ja! nun ist es soweit – nach 23 Jahren Da ist der Werkraum Warteck pp! gut erprobtes Team, das gemeinsam Es gibt nichts Wertvolleres in meinem ziehe ich mich aus dem aktiven Leben der Seit 23 Jahren packen einmal im Jahr all durch dick und dünn geht. Viel Nähe und Leben als die Begegnung und den Austausch LISTE zurück. Ich gehe in Pension. die vielen Warteckies ihr ‚Bündel‘ und Freundschaft ist entstanden. Wir werden mit Menschen! (danach kommt die Kunst) Aber viele gute Erinnerungen bleiben in mir! lassen die Galerien, die Messe einziehen uns weiterhin sehen! und das eingebettet sein, das mitgetragen und das Haus in Beschlag nehmen. sein von Freunden! Und damit wurde ich Die Arbeit mit der LISTE hat mir ein reiches Ein verrücktes Unterfangen. Eine spezielle Dann seit 1997! der wertvolle und treue reich beschenkt. Leben beschert. Viele Menschen habe ich Freundschaft ist entstanden. Die LISTE Hauptpartner der uns finanziell und ideell kennen gelernt, Menschen in allen Facetten gehört heute zum Warteck wie das unterstützt, die Privatbank E. Gutzwiller Was für ein Glück habe ich gehabt… was und aus unterschiedlichsten Ländern und Warteck zur LISTE. & Cie, Basel, mit den sehr geschätzten Teil- für eine ‚reiche Zeit‘. Kulturen. Es war eine ereignisreiche und habern, Stéphane und François Gutzwiller, aufregende Zeit. Viel Neues habe ich erkun- Eine Messe in diesem speziellen aber Lorenz von Habsburg und Peter Handschin. Eine überaus grosser und herzlicher Dank det – viel gelernt – viel Freude und Spass komplizierten Gebäude zu bauen, verlangt an Euch alle! gehabt. Aber natürlich gehören auch die den Bauchefs und ihren MitarbeiterInnen Und seit 2004 bei der LISTE, der Helvetia schlaflosen Nächte zu einer solchen Arbeit viel ab. Die unersetzbaren Bauchefs Kunstpreis, betreut von den engagierten Und weiter geht’s… Judihuiii! – wenn ‚das Kind‘ seine Kinderkrankheiten mit ihren Teams haben es immer grandios Nathalie Loch und Andreas Karcher. hat – und nicht alles reibungslos läuft. Dann hinbekommen. 1996 Andreas Stäuble! Euer Peter jedoch immer getragen vom Team und 1997–2001 Kurt Küng (von seinem Sohn Seit 14 Jahren ist das Performance daheim vom Partner. Und danach überwiegt Tri wurde ich später Götti!) 2002–2005 Projekt mit hoher Qualität zu Gast auf der wieder die Freude, wenn man sieht, wie sein Markus Egger. Und jetzt, seit 2005 unser LISTE. Kuratiert wurde es von Monika Kästli ‚Kind‘ wächst, wie es gedeiht, selbst all geschätzter Fabian Nichele (nein, (2005–2007), Silke Bitzer (2008–2010), sicherer wird und stark und selbstbewusst nein… deine Zeit bei uns ist noch nicht Maja Wismer (2011), Burkhard Melzer (2012), da steht – dann sind die Sorgen vergessen. abgelaufen!). Fabian Schöneich (2013–2014) und seit Und heute bin ich stolz auf mein ‚Kind‘! 2015 von Eva Birkenstock. Am meisten ist man ja mit den Mitarbeiter- In den 23 Jahren haben etwa 370 Galerien Innen im Büro zusammen. Als rechte Nun bekommt die LISTE bald eine neue aus über 40 Ländern mit ihren über Hand standen mir ab 2001 zwei wunderbare, Direktion. Die LISTE wird sich weiter- 4000 Kunstschaffenden die LISTE geprägt. warmherzige und engagierte Frauen entwickeln und sich an der Förderung von Zu vielen der GaleristInnen und Künstler tatkräftig zur Seite. Von 2001–2009 Sonja neuen Galerien und jungen Kunstschaf- Innen pflege ich bis heute einen per Wüthrich. Dann seit 2009 Jacqueline fenden tatkräftig engagieren. Als Träger- sönlichen Kontakt und mit einigen haben Uhlmann. Dann gehören zum engen Team schaft steht ihr eine neu gegründete sich Freundschaften entwickelt. – Tina Stork, seit 2008 bei uns! Neyl Stiftung zur Seite. Aragon, mein Lebenspartner (der mich Sie wissen es, ein solches Projekt kreiert auch noch zu Hause erleben darf) und Und ich kann mich etwas zurücklehnen! man nicht alleine. Man braucht zuverlässige Fabienne Blanc. Und durch all die Jahre Judihuiii… und wie ich pflege zu seriöse Partner und kreative, engagierte die jährlich wechselnden engagierten sagen – mich vermehrt dem ‚Rosen schnei- MitarbeiterInnen. PraktikantInnen. Wir sind ein standhaftes, 8 / 9 den‘ widmen. How wonderful and exciting it has been!

And now the time has come – after 23 by one person. You need serious, depend my domestic partner (who gets to deal And I´ll be able to lean back and relax a years, I am bowing out of LISTE’s able partners and creative, highly dedicated with me at home as well) and Fabienne bit! Yeah! … and as I´m getting used active operations. I am retiring. But I will co-workers. Blanc. And through all the years, our dedi- to saying: dedicate myself to ‘cutting the carry many great memories with me! cated interns, each of whom has worked roses’. We have Werkraum Warteck pp! on one fair. We are a steadfast, tried and Working with LISTE has given me a rich For 23 years, the Warteckies have packed tested team that has gone through thick There is nothing more valuable in my life life. I have met so many people, people of up their ‘bundles’ once a year to let the and thin together. And we have enjoyed than meeting people and sharing in the many facets and from the most diverse galleries, the fair, move in and monopolize such closeness and friendship. We´ll still give-and-take of interaction with people! countries and cultures. It has been an the place. A crazy undertaking. And a be seeing each other! (art comes in second) and being embed- eventful and exciting time. I have explored special friendship has developed. Today, ded, being supported by friends! In that so many new things – have learned so LISTE belongs to Warteck just as Warteck And since 1997! our so valued and loyal respect, I have been deeply blessed. much – had such joy and fun. But, at the belongs to LISTE. main partner, who has supported us finan- same time, my work has also left me cially and with ideas, the private bank I have been so lucky … what a ‘rich time’. with my share of sleepless nights – when Setting up a fair in this special and E. Gutzwiller & Cie, Basel, with their part- ‘my child’ goes through its childhood complicated building demands a great deal ners, Stéphane und François Gutzwiller, My deepest and very big thanks to all of diseases – and things don’t exactly run of the construction managers and their Lorenz von Habsburg und Peter Handschin. you!! smoothly. But then that precious support co-workers. The irreplaceable construction from my team and at home from my managers with their teams have always And at LISTE since 2004, the Helvetia And the beat goes on … Yeah! partner. And the tough times, joy comes come through in a spectacular way. In 1996, Art Prize, overseen by the very dedicated to the fore again and seems to outweigh Andreas Stäuble! 1997–2001 Kurt Küng Nathalie Loch and Andreas Karcher. Yours, everything else when you see how (I later became godfather to his son Tri!) Peter your ‘child’ is growing, how it’s thriving, 2002–2005 Markus Egger. And since For 14 years, the Performance Project with is becoming more self-assured and 2005 Fabian Nichele, whom we simply treas- his great quality has been a guest at LISTE. is standing there looking strong and self- ure. (no, no … your time with us isn’t The program was first curated by Monika aware. Then all the cares and worries up yet!) Kästli (2005–2007), then Silke Bitzer are gone, are forgotten. And today, I am (2008–2010), Maja Wismer (2011), Burkhard proud of my ‘child’! In this position, you spend most of your Melzer (2012), Fabian Schöneich (2013–2014) time in the office with your co-workers. and since 2015, by Eva Birkenstock. Over the course of these 23 years, approxi- Since 2001, two women have served as my mately 370 galleries from over 40 countries right hand, two wonderful, warm and dedi- LISTE will soon have a new director. and over 4 000 artists have left an indeli- cated women who have provided me The fair will continue to develop, grow and ble mark on LISTE. I still maintain personal with such energetic and dynamic support. work tirelessly in the promotion of new gal contact with many of the gallerists and From 2001–2009, Sonja Wüthrich. And leries and young artists. A newly estab- artists and have developed a real friendship since 2009, Jacqueline Uhlmann. And also lished foundation will serve as the organizing with a number of them. You certainly all in our close-knit group – Tina Stork, who institution and provide support to LISTE. know – such a project cannot be created has been with us since 2008! Neyl Aragon, 10 / 11 Dank Acknowledgment Dank Acknowledgment

Einen besonderen und sehr herzlichen A special and very warm thank-you to Einen ganz grossen Dank! A hearty and warm thank you! Dank an nachfolgende Unternehmen und the following firms and institutions Institutionen, die unseren Katalog whose ads provide financial support for Jedes Jahr ist es für mich ein schönes Each year, it is a pleasure for me to dank ihrem Inserat finanziell unterstützen. our catalogue. Erlebnis zu sehen, mit welch grosser witness the amount and type of support Unterstützung und Hilfe von ganz unter and help provided to our fair from schiedlichen Seiten unsere Messe such diverse sources. mitgetragen wird.

Artstübli, Basel S AM Schweizerisches Wir danken herzlich: dem Werkraum Sincere thanks to the: Werkraum Warteck Ausstellungsraum Klingental, Basel Architekturmuseum, Basel Warteck pp – unserem Hauptpartner, pp – our main partner E. Gutzwiller & Cie, Bildrausch, Basel Schaulager, Münchenstein E. Gutzwiller & Cie, Banquiers, Basel – der Banquiers, Basel – Steudler Press, Bodega zum Strauss, Basel Schloss Bottmingen Steudler Press, Basel – Carhartt, Weil am Basel – Carhartt, Weil o. t. Rhine – Buchner Bründler AG, Basel Set & Sekt, Basel Rhein – Globus Basel – dem Gasthof zum Globus Basel – the Gasthof zum Goldenen Bündner Kunstmuseum, Chur Stampa Galerie, Basel Goldenen Sternen, Basel – Aesop Sternen, Basel – Aesop Switzerland – Cantina Don Camillo, Basel Swiss Art Awards, Basel Schweiz – Blumen Eric, Basel – der Blumen Eric, Basel – the art prize provider: Carhartt, Weil am Rhein Theater Basel Kunstpreis-Vergeberin: Helvetia Helvetia Versicherung, Basel – Warteck Cartoonmuseum Basel Verein Galerien in Basel Versicherung, Basel – der Warteck Invest Invest AG, Basel – the Department of Civil Colab Gallery GmbH, Weil am Rhein Videocity, Basel AG, Basel – dem Bau- und Polizei Engineering and the Police Department of Egeler Lutz AG, Basel Volkshaus Basel departement der Stadt Basel – der Abteilung Basel – the Department of Culture, Enothek Christian Nussbaumer, Basel Werkraum Warteck pp, Basel für Kultur, Basel – Basel Tourismus – Pro Basel – Basel Tourismus – Pro Innerstadt – Fondation Beyeler, Riehen / Basel Wolfcons VAT Refund, Obfelden ZH Innerstadt – den Museen der Region the museums of the region of Basel – the Gasthof zum Goldenen Sternen, Basel Young Art Club – Fondation Beyeler, Basel Basel – dem Team der Art Basel – unseren team at Art Basel – our graphic designers Haus für Kunst Uri, Altdorf Grafikern Claudiabasel: Jiri Oplatek, Claudiabasel: Jiri Oplatek, Nevin HeK (Haus der elektronischen Künste Nevin Goetschmann – esense: Tom Wespi, Goetschmann – esense: Tom Wespi, Basel) Markus Erdmann – Eye Communications Markus Erdmann – Eye Communications Hochschule für Gestaltung und Kunst AG – oriented.net GmbH – ProIT AG – oriented.net GmbH – ProIT FHNW, Basel Informatik AG – CO13 – Daniele Vecchio Informatik AG – CO13 – Daniele Vecchio Hochschule Luzern, Design & Kunst Lopez – Swiss Art Awards – Pro Lopez – Swiss Art Awards – Pro Hot Lemon, Basel Helvetia – Möbeltransport – den Nach Helvetia – Möbeltransport – LISTE’s I never Read, Art Book Fair Basel barinnen und Nachbarn – den neighbors – the gallerists – the journals Innenarchitektur Brigitte Hasler, Riehen Galeristinnen und Galeristen – den Zeit and magazines – members of the media – Kaserne Basel schriften und Magazinen – den Istituto Svizzero – Kaskadenkondensator, Kunsthalle Basel Medienschaffenden – dem Istituto Basel – HeK (House of Electronic Arts Kunsthalle Bern Svizzero – dem Kaskadenkondensator, Basel) – Eva Birkenstock and Verena Kittel Kunsthalle Palazzo, Liestal Basel – dem HeK (Haus der elektronischen of the Performance Project – all who Kunstmuseum Basel Künste Basel) – Eva Birkenstock und work out front and behind the scenes – our Kunstmuseum Bern & Zentrum Paul Klee Verena Kittel vom Performance Projekt – consultants – our expert jury – those Kunstmuseum Luzern den Helferinnen und Helfern vor und running LISTE’s bars and restaurants – our Kunstmuseum Solothurn hinter den Kulissen – den Beraterinnen und invaluable co-workers – the technicians Kunstmuseum St.Gallen Beratern – der Fachjury – den Bar- – our friends. Kunstmuseum Thun und Restaurantbetreibern – den wertvollen Kunstmuseum Thurgau, Warth Mitarbeiterinnen und Mitarbeitern – den La Kunsthalle Mulhouse Bauleuten – den Freundinnen und Freunden. Luca Selva AG, Basel Lüdi Coiffure, Basel Und einen ganz speziell grossen Dank And very special thanks to my fabulous Migros Museum für Gegenwartskunst, meinem grossartigen Team: team: Zürich Jacqueline Uhlmann, Fabienne Blanc, Jacqueline Uhlmann, Fabienne Blanc, Museum Tinguely, Basel Tina Stork, Nadja Kilchhofer, Tina Stork, Nadja Kilchhofer, Photo Basel Fabian Nichele, Neyl Aragon und Reto Suter. Fabian Nichele, Neyl Aragon und Reto Suter. Pro Innerstadt, Basel Rhyschänzli Gruppe, Basel Ihnen allen ein grosses Dankeschön! To all of you, my heartfelt thanks! Ricola AG, Laufen 12 / 13 Peter Bläuer Peter Bläuer Dank Acknowledgment

Wir schätzen uns glücklich, so wunder- We consider ourselves very lucky to have bare, unkomplizierte und hoch such wonderful, down-to-earth and highly professionelle Partner und Sponsoren professional partners and sponsors. zu haben.

Das LISTE-Team The LISTE-Team Peter Bläuer, Jacqueline Uhlmann, Peter Bläuer, Jacqueline Uhlmann, Tina Storck, Neyl Aragon, Fabian Nichele, Tina Storck, Neyl Aragon, Fabian Nichele, Nadja Kilchhofer, Fabienne Blanc Nadja Kilchhofer, Fabienne Blanc

Lieber Herr Steudler Dear Mr. Steudler Lieber Herr Fäh Dear Mr. Fäh Lieber Herr Hübner Dear Mr. Hübner Lieber Herr Reinhart Dear Mr. Reinhart

Herzlichen Dank für die wunderbare, Our warmest thanks for our wonderful, Ihnen einen grossen Dank für die hoch Many thanks to you for the high quality hoch professionelle und langjährige Zusam- highly professional and long-standing wertige und ökologisch verantwortungsvoll and sustainably produced clothing for our menarbeit und Ihre grosszügige Unter collaboration and your generous support! produzierte Bekleidung für unsere Mit co-workers, for the gifts for the gallerists stützung! Es ist wie immer eine grosse It is, as always, a great pleasure to arbeiterInnen, für die Geschenke an die and for the cloth tote bags that we all love. Freude all die qualitativ hochwertigen hold the high-quality printed materials such GaleristInnen und die beliebten Stoff For the first time, the musical program Drucksachen wie Katalog, Flyer, Messe- as the catalogue, flyer, fair guide and so taschen. at LISTE´s opening party in Volkshaus will führer und noch viele mehr, schlussendlich many other things in our hands! In diesem Jahr wird zum ersten Mal be presented by carhartt this year. We are in den Händen zu halten! das Musikprogramm an der LISTE looking forward to a splendid start to Ihnen und dem ganzen Team von Eröffnungsparty im Volkshaus vollständig the week! Steudler Press ein grosses und herzliches We extend our deep thanks to you and the von carhartt präsentiert. Wir freuen uns Dankeschön! entire team from Steudler Press. auf einen fulminanten Wochenstart! Ein grosses Dankeschön für die erneut Our sincere thanks for the fantastic fantastische Zusammenarbeit! working relationship!

Lieber Herr Rittscher Dear Mr. Rittscher Liebe Frau Krausz Dear Ms. Krausz

Dank dem grosszügigen Sponsoring von Thanks to the generous sponsorship Wir freuen uns sehr, dass sie unsere We are very pleased that you will delight Globus, begrüsst die LISTE traditionsgemäss by Globus, LISTE will be welcoming its Aussteller wieder mit Aesop Produkten our exhibitors again with Aesop products. ihre VIP Gäste mit erlesenen Leckereien VIP guests with choice delicacies beglücken. Es ist eine Freude, It is wonderful that you are making fair und einem spritzigen Glas Wein, bevor die and a glass of sparkling wine before the dass Sie unseren Ausstellern mit week extra special for our exhibitors with Tore zum Auftakt der Messewoche geöffnet gates are open to kick off fair week. natürlichen und hochwertigen natural and high-quality personal care werden. Our warmest thanks for the wonderful Pflegeprodukten die Messewoche products. Für die wunderbare und sympathische and pleasant working relationship verschönern. Zusammenarbeit ganz herzlichen Dank! that has developed!

14 / 15 23 Jahre LISTE 23 years of LISTE

Peter, für Dich eine weitere Liste Peter, another list of LISTE der LISTE. Menschen, die die LISTE for you. People who have accom in den 23 Jahren mit Dir zusammen panied and shaped LISTE with begleitet und geprägt haben, vor und you over the 23 years, in front of hinter den Kulissen. and behind the scenes.

Mohammed Abd El Karin Bernhard Björn Ciesinski Sonja Gasser Moses Henke Tim Kiefer Anouk Madörin Deirdre O'Leary Sebastian Sadowski David Siebert Viatcheslav Timo Woraschek Aziz Marion Betizeau Jessica Cipolla Jürgen Gässler Jennifer Herman Nadja Kilchhofer Anne-Katrin Maggi Florian Olloz Mia Sanchez Uli Siegwart Vassiliev Timo Wotschke Violetta Abd El Aziz- Guilherme Bezerra Nino Crimi Denis Gebele Benjamin Herr Marc Kirner Katharina Philippe Olza Marta Tudela Joao Pedro Silva Daniele Vecchio Juy Würtenberg Erbacher Rinny Biberstein Robin Cyrill Lukas Gehweiler Dunja Herzog Verena Kittel Malcherek Sandra Opikofer Sánchez Santos Lopez Sonja Wüthrich Janik Ackermann Kai Bittner Stefano Davide Manuel Geller Samuel Herzog Hans Joachim Klaar Vladimir Manis Jiri Oplatek Anabel Sarabi Sebastian Silveira Tanja Veith Gregor Wyder Marko Addis Silke Bitzer Leandro de O. Ingo Gerken Anja Heusel Dana Klausener Bruno Vladimir Claudio Oster Marc Sarasin Shumani Singo Raphael Verscheure Fabian Wyss Akimsola Adesuyi Daniel Blage Bernardes Stephan Gerloff Renato Hidalgo David Klausener Marcek Ed Paca Marco Schaad Diana Siwek Robert Vilim Caner Yilmaz Luigi Adinolfini Fabienne Blanc Helena De Vallier Florentine Gerrard Ronald Tobias Emil Michael Klein Carsten Marek Pasquale Passaseo Sebastian Mohamed Slimani Juozas Vilimas Stefan Zahler Alexandra Adler Heiko Blankenstein Martino Decarolis Maria Gideon Hidalgo Norman Michele Francesco Valeriano Passaseo Schachinger Klaus Sokolow Gian-Luca Vintrici Andrea Marco Zarn Benjamin Adler Susanne Blaser Pietro Del Sonno Claudio Gioiella Florian Hochschild Kleinböhmer Marrini Henning Penski Christof Schaffnel Dan Solbach Giuseppe Vintrici Simone Zihler Jonathan Aeby Romain Blumberger Shala Demuth Romuald Glinka Christian Hofer Cora Knolle Robert Martin Demian Peper Sandra Luzia Rungruedee Cornelia Vinzens Jez Zikica Isabelle Aenis Basil Bösch Jonas Di Lorenzo Nevin Goetschmann Matthias Holliger Annina Koch Juan Masson Ruiz Stefan Pfeiffer Schafroth Sombatin Georg Yvonne Vogel Daniel Agozzino Corsin Bösiger Bogan Kennedy Daniele Golonai Daniel Hostettler Florin Köfeler Ricardo Matos Neville Pfenninger Friedrich Schaller Benjamin Raphael Petra Vogt Elisa Alessi Jan Bossert Doguie Aline Gommel Andreas Hottinger Anna-Lena Köfeler Marcel Mayer Michel Pfister Rico Schalück Sommerhalder Sybille Völkin Carla Allan Marcel Bossert Chris Dreisvogt Robin Gommel Stefan Huber Alexander Kokol Irène Mebert Ranvir Roland Alban Schär Flavia Spichtig Lukas von Känel Patrick Alvarez Sali Boubakar Ute Drewes Axel Görger Alex Huber Timur Kolesnikov Stella Mehkek Philipp Daniel Schäuble Romy Spoth Christoph von Planta Stefka Ammon Rafik Boussad Christian Drossbach Lara Victoria Gorski Aarold Huber Johannes Kolonko Tobias Meier Marika Pierri David Schäublin Rahel Stacher Clara von Schell Meret Antony Nadya Bouzrara Xiaoxia Duan Andreas Grahl Suchawalee Huber Tobias König Ivan Mele Marc Pipping Sarina Scheidegger Franz Staeudinger Mara von Zitzewitz Neyl Aragon Theresa Brar Caroline Ebner Julian Gresenz Widekind Huber Stefan Korn Ali Meraihia Marco Pivari Manuel Scheiwiller Alexandra Stähli Nino Voneschen Ralph Araque Fenja Braster Saskia Edens Eran Grinberg Suchawalee Huber- Nicolò Krättli Joachim Merkle Lucia Planta Judith Schifferle Rolf Stalder Viktor Wagner Lars Arnemann Thomas Brenneisen Markus Egger Elvira Grob Kijsawad Laurin Krause Jon Merz Lukas Popp Armin Schilli Andreas Stäuble Michael Wagner René Arnold Bernhard Stefan Ralf Eichberger Adrian Groeflin Tabea Humbert Lena Krause Jonas Mettler Bianca Porcelli Buck Schlegel Daniel Staudenmann Oliver Wahmann Bruno auf der Maur Bretz Hatem El Qirinawi Pascal Grünenfelder Patrick Hüppeler Moritz Krauth Nicole Meyer Francisco Porras Michael Schley Raphael Stavac Lukas Walker Max Auste Maya Bringolf Helge Emmaneel Martin Gschwind Daniel Infanger Thomas Kreth Philipp Meyer Romero Tibor Schlingloff Matthias Steck Hans-Jörg Walter Udo Bachmann Arne Brinkmann Kevin Emmenegger Jonas Gschwind Rahel Inhauen Boris Krumm Roland Michel Marina Probic Fiona Schlink Marc Steck Manuel Waltz Michelle Bachmann Dean Anthony Severin Albrecht Güttler Sonja Isser Simone Kubiessa David Mickel Uta Pütz Claudia Schmid Marina Steckan Clifford Walzar Salif Bah Brown Emmenegger Dominique-Sarah Daniel Jauch Sandra Kubli Maris Mijailovic Julien Quartier Johannes Schmid Nicolas Puck Stegen Thomas Waser Dang Ba-Le Barbara Brülisauer Kailash Engelicht Haab Lena Jermann Dominic Kummler Ivan Mitrovic Tobias Rebmann Kathrin Schmidt Elvira Sternke Ralf Wawroschek Ueli Bänziger Andrea Bruneau Jann Erhard Katja Habazin Cyril Jocz Kurt Küng Dominique Mollet Monika Rechsteiner Franziska Schmidt Valentina Stieger Florentin Weber Niculin Barandun Thilo Bruneau Joël Erzer Alex Habisreutinger Benjamin Jonin Karin Küng Wera Morawitz Eva Rediger Ruben Schmoll Anna Stiller Roland Weidl Nicole Barbieri Raphael Bucher Emmelia Faka Markus Hädrich Martin Josephy Lukas Kunz Christian Mueller Horst Reichert Peter Schnider Kaspar Stöbe Doris Weiller Alaji Bari Matthias Bucher Guido Falke Sylvain Haenen Patrick Joulin Florian Kunz Annette Müller Clemens Reichle Sandra Schöll Dieter Stocker Melina Weissenborn William Barnes Ruth Buck Georg Faulhaber Simone Häfele Aline Juchler Dominique Laleg Jonas Müller Robin Resch Rebekka Schraner Marko Stojkovic Melanie Weisskopf Florian Bärtschi Rino Buess Matthias Felber Vanessa Hafenbrödl Moritz Jüdes Aziz Lamari Fabian Müller Sebastian Tanja Schröder Tina Stork Torsten Welke Nelson Bassing Thomas Bühler Sonja Feldmeier Maurus Haldner Michael Kaiser Aljoscha Lanz Christian Müller Ribeiro-Silveira Céline Schroeder Monica Studer Philippe Werler Öze Bastung Andy Bühler Antonio Guerra Stella Händler Philipp Kaiser Anna Lardrot Florian Müller- Leonhard Richter Bernhard Schroff André Sülthaus Myriam Werner Anna Baud Julia Bünning Fernandes Dominik Handschuh Andreas Jodok Läser Morungen Fritz Rickenbacher Jörg Schroth Yves Suter Jens Werz Christian Bauer David Burch Melanie Fischer Carole Hartmann Kalbermatter Mike Lederer Vincent Mundschin Maja Rieder Ulrich Schubert Daniel Suter Alberto Weyeneth Michael Bauer Leonardo Bürgi Rosa Flicker Thomas Haug Linus Källstigen Christian Lehner Guillaume Musset Albert Riedlin Jonas Schulenburg Bedris Syla Alexander Widmer Saskia Baumgartner Beat Burkhard Martin Foley Aaron Hauswirth Anders Källstigen Roman Lehner Baye Mor Ndiaye Marion Ritzmann Wolfgang Schulze Mathieu Sylvestre Olivia Wiederkehr Jan Baumgartner Christian Burnoski Severin Frank Babara Heck Mathias Kaspar Tobias Lemmehaed Axel Neck Angel Luis Rivera Franziska Julio Taboada Silja Wiederkehr Yussuf Bayraektar Claudius Buser V.C. Frank Alina Hecker Aiste Kasparaviciute Sandra Liebig Ines Nerger Ortega Schüpbach Maria Tackmann Jürgen Wiedmann Valentin Beck Robin John Butcher Oliver Franklin Max Hecklinger Monika Kästli Matthias Liechti Sebastian Neuhaus Tanja Rochow Dina Schüpbach Florence Tafesse Manuela Wiese Jonathan Beck Ronny Franz Buth Franca Frey Angela Heier Sabrina Kazenwadel Jakob Lingerfelt Jano Nichele Fritz Roesli Verena Schwarz Joel Thurnherr Marco Winkler Uwe Becker Sandro Cammarota Timothy Frey Sara Heinlin Jürgen Keilwerth Johanna Löffel Jelin Nichele Sabrina Roesner Michael Schwarz Alexander Véronique Winter Tayeb Belaid Simone Can Bernd Frey David Heitz Frowin Keller Robin Lommel Giuna Nichele Lucas Romeik Philip Schwarz Timmermans Pawlo Wirz Abdelkrim Guillaume Cayrac Alessandro Frigerio Asael Heizmann Emanuel Keller Tinu Lötscher Fabian Nichele Julien Rondez Mareike Schwarz Marc Touzin Pedro Wirz Belkacemi Erdal Celik Steven Frisch Jan Helbig Martin Keller Benedikt Löwenstein Mathaeus Lea Ronner Benedikt Seher Tom Tuchardt Lucas Wirz Manon Bellet Yvon Chabrowski David Frisch Svenja Held Daniel Kemeny Marco Lüdin Nierzwicki Olivier Rossel Fabian Seiler Manuel Giorgio Maja Wismer Marco Bellina Mateo Chacon-Pino Benjamin Fritz Martin Heldstab Anatol Kempker Andreas Ludwig Singoh Nketia Hischem Rouine Wera Selenowa Tumino Arnaud Wohlhauser Thierry Benet Nicolas Charon Alexandre Gerry Helfenstein Silvia Keppler Gia Dich Luong Anna Nuic Anja Rüegsegger Christoph Senn Eneas Ugalde Christoph Wolber Thierry Beney Alessandro Chelli Froidevaux Dietmar Helfrich David Kerman Corinna Luther Tobias Nussbaumer Frederic Runge Tom Senn Jacqueline Uhlmann Moritz Sebastian Mara Berger Tan Chen Claudio Gallasch Jan Helinski Helena Kern Oscar Lüthi Claudia Nussbaumer Catherine Nathalie Sidler Kim Urech Wolf Sinje Berneker Vera Chiquet Michel Garcia Karin Hemming Shila Khatomi Irene Maag 16 / 17 Gergyö Nyirö Rutishauser Celia Sidler Milan van Zanten Tommy Wonka Jenseits der Displays von Elsa Himmer, Kunsthistorikerin

Neugierig widmen sich aufstrebende sind. Entsprechend verfügen sie über 1: Ein Trend, für den ersetzt wird. Die Bilder sind, auch wenn Bewusst unterläuft das Medium die die stock images, KünstlerInnen der aktuellen gesellschaft Denk- und Wahrnehmungsmuster, die der die von Bilddaten- sie dauerhaft im Internet zirkulieren, flüchtig, Zeitlichkeit des digitalen Bildes. Zum einen, lichen Situation, indem sie die Beziehung Schnelligkeit des Informationsflusses bank verwaltet und die Motive vielfach simpel, und für den da bereits der Entstehungsprozess eine gehandelt werden, des Menschen zu seiner Umwelt sowie sein und der Möglichkeit des permanenten Multi bezeichnend ist. schnellen Konsum geeignet während ihr deutlich längere Zeit in Anspruch nimmt, emotionales Erleben der Realität erforschen. taskings angepasst sind. Nachdem das Dank ihrer Beliebig- Informationsgehalt immer häufiger zweifel- vergleicht man ihn mit der Digitalfotografie. keit und der Dabei rücken der Alltag und die Populär Kunstschaffen der 00er Jahre durch Video daraus resultierende hafter Natur1 ist. Bildproduktion, die ge- Zum anderen überträgt sich diese Ent kultur ebenso in den Fokus, wie die (Kunst-) kunst und digitale Animationen – das Möglichkeit wandelten Möglichkeiten der Distribution schleunigung auch in den Ausstellungsraum, des Auftauchens in Geschichte und das Mystische und Okkulte. künstlerische Ausloten des technologischen verschiedensten und Sehgewohnheiten beeinflussen denn anders als im Internet, lässt sich Diese unterschiedlichen Bereiche gehen in Fortschritts – geprägt war, besinnt sich Kontexten, fügen sie sich wechselseitig. Dabei zeichnet sich ab, das Bild hier nicht einfach ‚weiterwischen‘. sich besonders ein- den Kunstwerken lebhafte Symbiosen die neue Generation jedoch mit ihrem Fokus fach in gewünschte dass immer häufiger ein vereinfachendes Die der Malerei eigene Präsenz widersetzt ein. Vielfach sind es persönliche Erfahrun- auf die figurative Malerei erneut auf eine Deutungsraster Rastern und Generalisieren des Wahrgenom sich der Schnelllebigkeit unseres (visuellen) ein und bieten be- gen, die als Stimuli genutzt werden, um traditionelle Form der Kunstproduktion wusst keine ver- menen im Vordergrund steht, das sich Konsumverhaltens. Sie schafft eine ästhe- Überlegungen zu gesellschaftlichen Macht- zurück, um sich mit der Gegenwart ausein- schiedene Lesarten auch auf unsere Wahrnehmung gesellschaft- tische Unterbrechung, mit der die Seh- oder Interpretations- strukturen, Geschlechterfragen, Stereo- anderzusetzen. Zynisch könnte man be- möglichkeiten an. licher und politischer Verhältnisse erstreckt. und Interpretationsgewohnheiten, die man typen bezüglich Körper und Sexualität, haupten, dass die erneute Popularität der Die Malerei hingegeben lebt von bild sich im Umgang mit dem primär digitalen 2: Siehe Marion Kapitalismus, Rassismus und Nationalismus Malerei dem Umstand geschuldet sei, Strunk „Was kann internen Mehrdeutigkeiten, die es zu ent Bildmaterial angeeignet hat, kritisch hinter- anzustoßen. Die künstlerische Anthropo dass sie besonders gut verkäuflich sei und die Kunst? schlüsseln gilt, der physischen Präsenz fragt2. Die bildinternen Assoziationsge Neun ästhetische logie widmet sich dem Individuum, in dem dass es sich folglich um ein Phänomen han Strategien“, durch das Gebunden-sein an ein Träger flechte stellen das Bekannte und Gewohnte sein Erleben in Bezug zur öffentlichen dele, das lediglich den Mechanismen Kunstforum Nr. 253, medium und einen zeitintensiven in Frage. So sieht sich der Betrachtende Köln 2018, S. 62. Sphäre sowie dem privaten Umfeld gesetzt des Kunstmarkts geschuldet sei. Das mag Entstehungsprozess, der immer auch mit mit Widersprüchlichkeiten und Unstimmig- wird. Eine Untersuchung des mensch- ein Einflussfaktor sein, trotz alledem lassen Autorschaft assoziiert wird. Dabei zehrt keiten konfrontiert, die sich einer schnellen lichen Daseins, die kein gesetztes Ziel an- die Arbeiten einen bewussten Einsatz das Medium von einer jahrhundertelangen Generalisierung entziehen und zur ein strebt, nicht zu generalisieren, zu ordnen der medienspezifischen Eigenschaften er Tradition, verschiedenen Stilen, Form gehenden Auseinandersetzung einladen. oder quantitativ zu erfassen versucht, kennen, der zur genaueren Betrachtung vokabularen und Lesarten, die immer wieder Der rationalisierten Erkenntnis wird sondern ergebnisoffen mit der wissbegieri- des Phänomens einlädt. neu verhandelt wurden. Die Generation ein emotional-intuitives Erleben gegenüber gen Hoffnung auf neue Entdeckungen junger KünstlerInnen eignet sich dieses Erbe gestellt – Kunst ist hier nicht nur das, betrieben wird. Alltäglich sind wir mit einer schier end- ganz bewusst an und nutzt es als reichen was sich faktisch auf der Leinwand oder losen Folge von Bildern konfrontiert, so dass Fundus mit dem spielerisch (weiter-) dem Papier befindet, sondern gerade Als digital natives (geboren nach 1985) die Rezeptionshaltung schon lange keine gearbeitet wird. Ein technisch versiertes auch das, was der Betrachtende darin für sind die KünstlerInnen mit dem Internet, kontemplativ-kritische Auseinandersetzung, Be- und Umschreiben kunsthistorischer sich erkennt. Smartphones und Computerspielen sondern vielfach ein sekundenschnelles Traditionen, die mit Motiven aus Populär- aufgewachsen. In der Sozialisierung ihrer Überfliegen und Kategorisieren ist. Man hat und Alltagskultur zu einem zeitgenös- Generation bildet die Digitalisierung einen sich daran gewöhnt in kürzester Zeit das sischen Bildvokabular ergänzt und erweitert integralen Bestandteil. Es ist selbstver- Gesehene auf eine prägnante, möglichst ein- werden. Sie verlangen dem Betrachten- ständlich, dass Informationen und Bilder in deutige Botschaft zu reduzieren, die alsbald den damit eine andere Rezeptionshaltung Sekundenschnelle von überall abrufbar durch den nächsten visuellen Impuls 18 / 19 ab, als er /sie aus dem Alltag gewohnt ist. Beyond the Displays by Elsa Himmer, Art Historian

Full of curiosity and inquisitiveness, the possibility of permanent multitasking. 1: A trend referring production, the altered possibilities other hand, this deceleration is also trans to stock images emerging artists are addressing the current While the artistic work of the first decade that are managed regarding distribution and viewing habits ferred to the exhibition space as, unlike on social situation by examining the relation of the 2000s was marked by video art and and merchandized. have a reciprocal influence on each the internet, the image there cannot Thanks to their ship of man to his environment as well as digital animations – the artistic exploration randomness and the other. In this context, it has become appar simply be ‘swiped’ as on a cellphone or his emotional experiencing of reality. of technological progress –, the new resultant possibility ent that, more and more often, an over tablet. The painting´s own presence defies that they will appear In this process, daily life and popular culture generation, when it focuses on figurative in the most varied simplified categorization and generalization the speed of our (visual) consumption move into focus as well as (art) history painting, is harking back to a traditional of contexts, they can of what we perceive is dominant takes behavior. It creates an aesthetic interruption very easily be and the mystical and occult. These diverse form of art production in order to grapple applied / they can center stage and that this process also with which the habits of viewing and inter spheres form lively symbioses in works with the present time. One could cyni- easily be inserted / extends to our perception of social and preting we have adopted in dealing with integrated into of art. In many cases, it involves personal cally claim that painting owes its renewed the desired inter political situations and conditions. Painting, primarily digital image material are called experiences functioning as stimuli that popularity to the fact that it is highly marketa pretation grid on the other hand, lives on image-internal into question.2 The image-internal asso- and consciously do initiate consideration of social power struc ble and thus involves a phenomenon that not offer varying ambiguities (that must be deciphered) of the ciation networks challenge the known and tures, questions of gender, stereotypes is simply a function of the mechanisms of readings or possible physical presence formed by being the habitual. In this way, the viewer sees interpretations. regarding the body and sexuality, capitalism, the art market. That may, in fact, be a bound to a medium and to a time-intensive him- / herself confronted with contradictions racism, and nationalism. Artistic anthro factor; nevertheless, the works indicate a 2: See Marion process of creation that is always also and inconsistencies that elude quick Strunk “Was kann pology focuses on the individual by placing conscious use of media-specific charac die Kunst? associated with authorship. At the same generalization and invite us to engage in a his act of experiencing in relation to the teristics that invites a closer consideration Neun ästhetische time, the medium feeds on a centuries- thorough examination. Rationalized know Strategien“, public as well as the private sphere. of the phenomenon. Kunstforum Nr. 253, long tradition, various styles, vocabulary of ledge is juxtaposed with emotional-intuitive An examination of human existence that Köln 2018, S. 62. forms, and interpretations that have again experience – here, art is not only what does not strive toward a specific goal nor Every day we are confronted with such and again been negotiated anew. The gene factually exists on the canvas or on paper, try to generalize, to sort and arrange, an unceasing succession of images that ration of young artists is consciously but also especially what the viewer sees or measure quantitatively, but rather, is pur our receptive attitude reception no appropriating this legacy and using it as a for her- / himself in the work. sued unbiasedly with an inquisitive hope longer involves contemplative-critical con rich source with which they (continue to) for discoveries. sideration but much more, a split-second work playfully. A technologically well-versed scanning and categorization. In a very short describing and paraphrasing of art- As digital natives (born after 1985), amount of time, we have become accus historical traditions that are supplemented these artists have grown up with the inter tomed to reducing what we see to a concise with motifs from popular and daily culture net, smartphones and computer games. message that is as unambiguous as and expanded into a contemporary Digitalization forms an integral component possible and that is immediately replaced vocabulary of image. They demand of in the socialization of their generation. by the next visual stimulus. Even though the viewer a different reception attitude from It is a given that information and images are they may be permanently circulating in the what s / he is accustomed to in daily life. available from anywhere and everywhere internet, the images are fleeting, the The medium consciously subverts the tem within a matter of seconds. Accordingly, motifs often simplistic, and well-suited to porality of the digital image. On the one digital natives are equipped with patterns rapid consumption, while their information hand, since the process of creation requires of thought and perception that are adapted content is, as is more and more often a significantly longer amount of time in 1 to the speed of information flow and the case, of a questionable nature. Image 20 / 21 comparison to digital photography. On the Onlinepartner / Online Partners

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22 / 23 Artstübli, Basel Ausstellungsraum Klingental, Basel ANZ_Arstuebli_140x1875_RZ_Druck.pdf 1 29.04.18 08:14

Auss�ellungsraum Kasernens�r. 23, CH–4058 Basel info@auss�ellungsraum.ch Artstübli Gallery Klingen�al Telefon +41 61 681 66 98 www.auss�ellungsraum.ch presents Öffnungszeiten( 12.6. – 17.6.): EddiE 13 – 21 Uhr Requiem

haRA 17 mit Franziska Baumgartner, Samuli Blatter, Gregor Brändli, Martin Chramosta, Madeleine Fischer, Corsin Fontana, Bettina Grossen bacher, Max Grauli, Urs Hauser, Jan Hostettler, .

Regula Huegli, Sophie Jung, Daniel Karrer, Markus Kaufmann, Juni André Lehmann, Olivia Lehmann-Christen, Maude Léonard- Contant, Alexandra Meyer, Werner Merkofer, Barbara Maria Meyer, Deirdre O‘Leary, Camillo Paravicini, Peter Baer, Marius Rappo, Werner Ritter, Brigitte Ritter-Kretz, Nora Roth, René Schlittler, Bruno Seitz, Celia und Nathalie Sidler, Alex Silber, Yanik Soland, Aldo Solari, Paul Stebler, Beatrice

Steudler, Eduard Stöcklin, Gilbert Übersax und Marie- 2018 Thérèse Véron u. a.

OPENING HOURS During Art Basel (June 11 – 17): Daily, 11am – 7pm Meet & Greet the artist: June 14, 4pm – 7pm Mai bis

«The Dog and its Master», Acrylic on canvas, 40 x 30 cm . 27

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OF 1960, Gips, 188,5 cm × 111,2 × 29,1 1Opium 2SHY Arsek&Erase Homme II, qui marche Eliote Fafa N.O.Madski Alberto Giacometti,

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3. Februar bis 18. März top Bar Vernissage Freitag 2. Februar 18 Uhr oof r uSeuM von den KünstlerInnen aus … @KunStM Vanessa Billy Markus Gadient Barbara Maria Meyer 15. September bis 28. Oktober Vernissage Freitag 14. September 18 Uhr November 2018 bis Januar 2019 gegenwart Edit Oderbolz BaSel | 5. Mai bis 24. Juni IM STREIFLICHT – Aktuelle Malerei Regionale 19 Vernissage Freitag 4. Mai 18 Uhr Christine Streuli Renée Levi Anne Loch Kuratoren: Kitty Schaertlin, Künstlerin, Sissach Urs Aeschbach Künstler, Basel Figurative Malerei aus dem Umfeld Genf Heinz Egger Lisa Hoever Kotscha Reist GEIST GENF und HEAD (Ecole d’Arts et de Design, GE) Christian Lindow Uwe Wittwer Dominik Stauch Melanie Akeret Caroline Bachmann Josse Bailly Albrecht Schnider Bruno Jakob Christian Vetter Fred Bott Vittorio Brodmann Mathis Gasser Vivian Suter Christoph Gugger u.a. Vidya Gastaldon Adrian Huber Zara Idelson Im Kabinett: Marie Theres Amici Samuel Blaser Yoan Mudry Hayan Kam Nakache Peter Rösch Pascal Danz Silvia Gertsch Inga Häuser mann Caroline Tschumi Urban Zellweger u.a. Martin Ziegelmüller Stadt Kuratorinnen: Claudia & Julia Müller, Künstlerinnen, Basel / Berlin Kuratoren: Massimiliano Madonna, Zug und Konrad Tobler, Bern Liestal

Öffnungszeiten: Di – Fr 14 – 18 Uhr Sa/So 13 – 17 Uhr Öffnungszeiten Regionale 19: siehe Homepage Adresse: Kulturhaus Palazzo Bahnhof platz Liestal/BL Postadresse: Kunsthalle Palazzo Postfach 277 CH-4410 Liestal Tel 0041 (0) 61 921 14 13 E-Mail: [email protected] Foto: Niggi Messerli November 2015 Portofino Ligurien Italien Infos: www.palazzo.ch Museum Tinguely, Basel La Kunsthalle Mulhouse

june 7 — august 26 2018 nœuDs négatiFs solo exhibition étienne Chambaud 2017 – Pyrites gravées sur matrice en marne, 7 × 5,5 × 4,5 cm – Courtesy de l’artiste et de LABOR, Mexico 7 × 5,5 4,5 cm – Courtesy de l’artiste en marne, matrice sur 2017 – Pyrites gravées Étienne Chambaud – SET, Chambaud Étienne

Opening hours during art Basel 2018 12-13 june 10 am – 6 pm 14 june 10 am – 8 pm 15 june 10 am – 10 pm KunstHaLLeMuLHOuse.COM 16-17 june 2 - 6 pm

La Kunsthalle is a City of Mulhouse cultural establishment. With the support from the Regional Cultural affairs Office of grand est - French Ministry of Culture and Communication – Region grand est - Department of Haut-Rhin.

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Switzerland's first Volkshaus Basel www.schaulager.org international art Rebgasse 12–14 Organisiert von der Laurenz-Stiftung, Schaulager Basel und dem Museum of Modern Art, New york fair dedicated to 4058 Basel photography based Switzerland Bruce Nauman, Green Horses, 1988, gemeinsam erworben von der Albright-Knox Art Gallery, Buffalo, New York, mit Mitteln aus art. photo-basel.com dem Nachlass von Arthur B. Michael, durch Tausch; und dem Whitney Museum of American Art, New York, mit Mitteln des Director’s Discretionary Fund und des Painting and Sculpture Committee, 2007 Foto: Ron Amstutz, © Bruce Nauman / 2018, ProLitteris, Zürich Stampa, Basel Swiss Art Awards, Basel

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11.6. AFTER PREVIEW ART BASEL: OPEN HOUSE 18 – 21 H, NINE GALLERIES VON BARTHA BASEL Kannenfeldplatz 6, T +41.61.322 10 00, www.vonbartha.com 11.06., 18–21 h OPEN HOUSE 12.06. > 21.07. Landon Metz, Opening: 11.06., 18–21 h 14.06. > 17.06. ART | Basel, Booth 2.0 / H12

CARZANIGA Gemsberg 10, T +41.61.264 30 30, www.carzaniga.ch > 16.06. Lorenz Spring / Im Kabinett: Klassische Werke aus einer Privatsammlung 11.06., 18–21 h OPEN HOUSE 14.06 > 17.06. ART | Basel, Booth 2.0 / D15 TOMAS ELLER 23.06. > 11.08. Lenz Klotz / Mark Tobey, Vernissage: 23.06., 11 h GRAF & SCHELBLE Spalenvorstadt 14, T +41.61.261 09 11, www.grafschelble.ch “COSMIC STRINGS” > 20.06. Exkurs: «L’Art dans la Rue», Plakatgrafik und dekorative Blätter um 1900 11.06., 18–21 h OPEN HOUSE

LALEH JUNE Picassoplatz 4, T +41.61.228 77 78, www.lalehjune.com 08.06. > 28.07. «10 Years Laleh June» Group Exhibition, Opening Reception: 11.06., 6–9pm May 31– August 5 11.06., 18–21 h OPEN HOUSE With certain exceptions, the videos are screened daily from GISÈLE LINDER Elisabethenstrasse 54, T +41.61.272 83 77, www.galerielinder.ch 8:00–24:00 in between the regular messages shown on the 26.05. > 14.07. Luo Mingjun «en scène», Opening: 25.05., 17–20 h 11.06., 18–21 h OPEN HOUSE Congress Center Basel e-board Messeplatz 21 next to Swissôtel 14.06. > 17.06. ART | Basel, Booth 2. 1 / K 17 Le Plaza, and from July on the e-boards of the City Lounge ANNE MOSSERI-MARLIO Malzgasse 20, T +41. 61.271 71 83, www.annemoma.com 08.06. > 13.07. Kimiyo Mishima: «Paintings & Ceramics», Vernissage: 07 .06., 18 –20 h 11.06., 18–21 h OPEN HOUSE Furthermore they will be shown from Monday till STAMPA Spalenberg 2, T +41.61.261 79 10, www.stampa-galerie.ch 29.05. > 01.09. Vivian Suter « Bilder, 1988 – 2 018» / General Idea « Works, 1973 – 19 92» Friday 10:00–13:00 on the screen of the Mediathek, 11.06., 18–21 h OPEN HOUSE FHNW Academy of Art and Design, 8th ﬂ oor, Freilager-Platz 1 14.06. > 17.06. ART | Basel, Booth 2. 1 / R19; Bookshop Hal l 1.1

DANIEL BLAISE THORENS Aeschenvorstadt 15, T +41.61.271 72 11, www.thorens-gallery.com 08.06. > 23. 06. Andreas Rickenbacher May 31 – June 17 11.06., 18–21 h OPEN HOUSE Daily screenings also from 8:00–24:00 in one of the windows TONY WUETHRICH Vogesenstrasse 27–29, T +41.61.321 91 92, www.tony-wuethrich.com © by curator Andrea Domesle, graphic BureauDillier 28.05. > 30.06. Bettina Scholz «Parallel Realities», Vernissage: 28.05., 17 – 20 h of GLOBUS Basel Marktplatz 2 11.06., 18–21 h OPEN HOUSE

KUNSTHALLE PALAZZO / LIESTAL Poststr. 2, 4410 Liestal, T +41.61.921 50 62, www.palazzo.ch > 24.06. «Geist Genf». Narrative Malerei aus dem Umfeld Genf, Kuratorinnen: Claudia und Julia Müller.

Sulger-Stiftung KUNST-iN-BaSeL.CH VERein GalErien in Basel Young Art Club, Basel Bündner Kunstmuseum, Chur Young

Share Art your passion – Club Join us! Immer anders, • Freier Eintritt immer gleich • Exklusive Events Ein Versuch über Kunst (Get Together, Kunstausflüge) • Einladungen zu Vernissagen und Systeme 30.06.–11.11.2018 youngartclub.fondationbeyeler.ch

#fondationbeyeler #beyeleryouth Michael Riedel, Untitled (Cross), 2013, © Michael Riedel 2013, Michael Riedel, Untitled (Cross), Kunsthalle Bern Kunstmuseum Bern

HARALD SZEEMANN Etel Adnan Museum 15.06. – 07.10.2018 der Obsessionen www.zpk.org

Grossvater:

Ein Pionier wie wir Hamburg/Beirut Gallery, and Sfeir-Semler the artist Courtesy 24 x 30 cm (Ausschnitt), 2010, Öl auf Leinwand, 9. Juni – 2. September 2018 Ohne Titel, Ohne Titel,

KUNSTHALLE BERN Adnan, Etel

102nstelAdnanL140x175mmindd 1 270201 154542 Hochschule Luzern, Design & Kunst Kunstmuseum Luzern

24.02. 17.06. 2018 TARYN SIMON SHOUTING IS UNDER CALLING

WERKSCHAU DESIGN & KUNST 23.6.–1.7.2018, Messe Luzern, Hallen 3 & 4, Vernissage: 22.6./19 Uhr hslu.ch/werkschau 01:16:50 Udaipur, India, 1983, Field Guide to Exploding Warhead, Eglin Air Force Base, Florida. ON – Ausstellung des Master Kunst in Stansstad, Eröffnung: 16.6./16 Uhr Birds of the West Indies, 2014. © Taryn Simon An American Index of the Hidden and Unfamiliar, 2007

182ds18insliste1418.indd 1 28..18 14 Kunstmuseum Solothurn Kunstmuseum St. Gallen Maria Lassnig Be- Ziehungen 5.5. bis 23.9. 2018 Kunstmuseum Thun Kunstmuseum Thurgau

Bildstein | Glatz – Nr.1 13. Mai bis 12. August 2018 , 2016. Courtesy der Künstler; KÖNIG GALERIE, Berlin; 303 Gallery, New York; Galleri Nicolai Wallner, Kopenhagen. Foto: Hendrik Albrecht Hendrik Foto: Kopenhagen. Wallner, Galleri Nicolai York; New GALERIE, Berlin; 303 Gallery, KÖNIG Künstler; der , 2016. Courtesy INHALE HOLD EXHALE

Jeppe Hein, Hein, Jeppe Bildstein | Glatz: LOOP, 2017,1520 x 2680 x1060cm, vor dem Kunstmuseum Thurgau, Kartause Ittingen www.kunstmuseum.ch Haus für Kunst Uri Migros Museum, Zürich

TERESA BURGA

26.05 – 12.08 2018 POSITIONEN MARIE-CLAIRE BALDENWEG KOKI SELINA BAUMANN TANAKA HEIDI BUCHER 25.08 – 11.11 2018 PATRICK GRAF MARIA 9. Juni bis 19. August 2018 EICHHORN 20.11 2018 – 3.02 2019

HAUS FÜR KUNST URI Limmatstrasse 270 CH–8005 Zurich Herrengasse 2, 6460 Altdorf migrosmuseum.ch migros-culture-percentage.ch Do/Fr 14 – 18 Uhr, Sa/So 11 – 17 Uhr 041 870 29 29 AN INSTITUTION OF THE MIGROS CULTURE PERCENTAGE www.hausfuerkunsturi.ch Istituto Svizzero 2 / 4 / 1 Sondergast / Special Guest Istituto Svizzero Via ludovisi 48 T +39 064 204 21 [email protected] Joëlle Comé 00187 Rome www.istitutosvizzero.it/de Samuel Gross Italy

Istituto Svizzero, Exhibition title: ‘Fair Models – Fragments six artists and six research fellows for Roma Photo: © OKNO of history, suggestive fair booths’ its ten-month residency programme Roma Studio Presenting booths of: Air de Paris, Paris; Calling. Kurimanzutto, Mexico City; Sadie Coles, London; Eva Presenhuber, Zürich, Barbara ‘A Cross-Pollination between Art and Weiss, Berlin. Science’ The Istituto Svizzero’s characterising Fair Models is organised and curated aspect, since its inception, is the together with Mousse Magazine & cohabitation of people from different Publishing. artistic and academic disciplines. The activities and the programme are Istituto Svizzero developed by collaborations and a trans-disciplinary approach. ‘A Platform for Swiss Creation and Innova tion in Italy’ The Istituto Svizzero is a foundation created by the Swiss Confederation in 1947, which has the objective of promoting scien tific and artistic exchange between the two countries. The Institute, which is located in Rome and Milan, is a landmark for Swiss culture in Italy. The Institute has a prolific artistic and scientific multidisciplinary programme which includes: exhibitions, concerts, conferences, performances and much 58 / 59 more. Each year the Institute hosts HeK (House of Electronic Arts) -1 / 1 / 1 Sondergast / Special Guest HeK (House of Electronic Arts Basel) Freilager-Platz 9 T +41 613 315 840 Sabine Himmelsbach 4142 Münchenstein / Basel office @ hek.ch Boris Magrini Switzerland www.hek.ch

Shown at LISTE: Lauren Huret, 1984, CH RYBN.ORG, 1999, FR

Lauren Huret HeK (House of Electronic Arts Basel) is Lauren Huret tackles the growing pre- Frozen facial features (ice dedicated to digital culture and the new art sence of digital media in our daily life and memory), 2018 forms of the information age. As a special how these are constantly changing our Video still, 1 minute loop guest of the LISTE Art Fair, HeK presents a behaviour and our perception of the world site-specific installation by the French around us. She employs simple appli- RYBN.ORG Offshore Tour artist group RYBN.ORG, together with a new cations that are nowadays commonplace, Operator, 2017, 2017 work by the emerging Swiss artist Lauren thanks to the widespread use of smart Script python, database, text-to- Huret. phones and social websites. An example speech, GPS, is her personal use of the ‘face swap’ Wearable computer, photographs, prints, Founded in 1999, the artistic group tool, frequently used in the popular snap dynamic RYBN.ORG frequently appropriates the chat platform. Huret’s curious use of visualisation Photo © Wilfried instruments of information technology, these social apps creates unexpected, Bartoli distorting their original function while almost surreal works, that seem to depict giving them a new lifeform in the context mystic and uncanny occurrences in of art. They have created obscure algo our surroundings. rithms for the stock exchange, based on esoteric codes or upon the logic derived RYBN.ORG and Lauren Huret invite us to from ancient gods. They also examined the think about technology as a tool that extent to which money laundering reveals the hidden connections and the permeates institutions around the globe, various layers of meaning that underpin a practice that has not spared the art world reality. At the same time, they suggest that and its market. The underground space these very tools could also be used to of the former Warteck brewery building conceal certain aspects of the world from serves as the headquarters for their our understanding by means of ongoing research, as well as a place to mystification and distortion. display some of their innovative codes 60 / 61 and blueprints. Kaskadenkondensator Basel 2 / 2 / 3 Sondergast / Special Guest Kaskadenkondensator Burgweg 7 M +41 78 822 21 57 [email protected] Chris Regn 4058 Basel M +41 79 777 82 56 www.kasko.ch Switzerland

Shown at LISTE: Artina, reborn 19XX, CH / ZA PANCH, since 2014, CH

Performance von Der Kaskadenkondensator The Cascade Condenser Gisela Hochuli Being a Being III präsentiert PANCH und Artina presents PANCH and Artina Nacktfestival, Body and Freedom, Biel (CH), 2015 Performance, Produktion und Produkt Performance, production and product will 7 ' wird mit der Einladung an PANCH, das junge be addressed with the invitation to PANCH, Photo: Regina Jäger Performance Art Netzwerk Schweiz und the young performance art network mit Artina & Friends thematisiert. Perfor Switzerland, and with Artina & Friends. mance kann erfahren, aktiviert, eingeladen Performance can be experienced, und gekauft werden und wir freuen uns activated, invited and purchased, and we die Performancedichte in der Schweiz zu are happy to reflect the performance reflektieren. density in Switzerland.

PANCH ist ein Intereressen- und Fach PANCH is an interest group and associa tion verband für Performanceakteure, verbindet for performance artist, connects the per die Performancelandschaft, lädt dazu formance landscape, invites you to take up ein, brennende Themen aufzugreifen und burning issues and also goes into the geht auch auf der Messe in die performative performative examination of performance Auseinandersetzung mit Performance products at the fair. produkten. The hostess Artina accompanies us Die Gastgeberin Artina begleitet uns durch through the trade fair jungle and welcomes den Messedschungel und begrüsst und and interviews key players on the Talk Sofa befragt auf dem Talk Sofa wichtige Akteure, who tell us something about the current die uns etwas zum aktuellen Performance performance hype and scenes, production Hype und zu Szenen, Produktion und Markt and market. erzählen.

62 / 63 Helvetia Versicherungen 2 / 1 / 4 Kunstpreis / Art Prize Helvetia Versicherungen Steinengraben 41 kunst @ helvetia.ch Kunstpreis CH-4002 Basel www.helvetia.ch/art

Helvetia congratulates the 2018 prizewinner Gina Proenza.

Gina Proenza The Helvetia Art Prize for graduates in conceptual and visual terms. The jury L’ami naturel, 2017 Plaster and motors of Swiss colleges of visual arts and media also appreciated the worldliness of the is given annually to a young artist at the questions she raised. Gina Proneza Suto, 2018 start of his career. The encouragement Wood, olfactory paint prize includes a monetary award of The 2018 Helvetia Art Prize jury consisted and speakers CHF 15 000 and a curated exhibition at the of Peter Bläuer (LISTE - Art Fair Basel), LISTE. It affirms and expands the insurance Raffael Dörig (Kunsthaus Langenthal), Ines group’s longstanding commitment to art Goldbach (Kunsthaus Baselland), Olivier production in Switzerland. Kaeser (Centre culturel suisse, Paris), Andreas Karcher (Helvetia art collection), Gina Proenza (*1994) holds a Bachelor’s Nathalie Loch (Helvetia art collection) and degree in ‘Visual Arts’ from the Haute Peter Stohler (Kunst(Zeug)Haus Rapperswil). Ecole d’Art de Lausanne. Her prize-winning presentation is an amalgamation of works in different media. The starting point is the story of a Colombian village, which was founded by fleeing slaves in the 17th century and which remained undiscove- red for a long time. The inhabitants shared not only their own culture but also the ‘Palenquero’ language. The artist has a particular flair for storytelling and has succeeded in conveying her narration convincingly in scenographic format. She opens up spatial, narrative and even olfactory experiences, and is highly adept 64 / 65 at implementing individual genres both The Performance Project is made Alfred possible by the BALIMA Richterich Performance Project generous support of: STIFTUNG Stiftung The 14th Performance Project of LISTE - Art Fair Basel Curated by Eva Birkenstock

The 14th Performance Project proudly features of the 14th Performance Project have the opportu a series of seven solo and group performances nity to encounter multiple performative penetrations by internationally renowned artists interested of today’s complex, degenerated geopolitical in dissolving the boundaries of performance art, and virtually influenced realities while attending a sound, and music, of art, pop, and politics as well drag show, a dystopian opera, a concert, a blind as of matter and life in general: some adopt audition, or ‘exercises in getting well soon’ in vari formats from the realm of music to unfold the politi ous locations throughout the city of Basel. cal potential of the affective spheres of perception, or to transform poetry into noise; some articu- late site-specific assemblages of sonic materiality and vibrating matter that exceed the limits of percep tibility; while other participants venture into a variety of mediums from performance, to music, poetry, sculpture, dance, and film in order to acti vate the body as a site of action and disruption, of radical politics as well as of personal trajectories. In short, from June 11 to June 15, 2018, visitors

Monday, June 11 6 p.m. at LISTE / Warteck Burgweg 15, Basel Free admission

Vaginal Davis Blick und Begehren (Gaze and Desire), 2017–2018

Legendary artist and punk icon Vaginal Davis ap pears at the 14th Performance Project of LISTE - Art Fair Basel with a one-night-only performance. Davis’s vivacious work deploys radical politics, makeshift aesthetics, and wicked humour in powerful artworks spanning a variety of mediums, from music and performance to painting, sculpture, and film. In the late 1970s, as the frontwoman for the punk band the Afro Sisters, Davis drew inspiration from Angela Davis and the Black Panthers. Her unique brand of punk drag aesthetics – deemed “drag terrorism” by the late scholar José Esteban Muñoz – revels in a refusal to be recuperated by the mainstream. “I was always too gay for the punks and too punk for the gays. I am a societal threat,” Davis recalled in a recent interview with Grace Dunham.

Courtesy Dan Gunn 66 / 67 Gallery, London Performance Project

Jan Vorisek Tuesday, June 12 Whip Top Drone, HEAD Geneva, 2017 4 p.m. at Union Basel Klybeckstrasse 95, Basel Free admission

Jan Vorisek Whip Drone, 2018

Jan Vorisek works across sculpture, installation, mance Project of LISTE - Art Fair Basel Vorisek performance, improvised music, and noise. continues this endeavour with a new iteration In site-specific assemblages of accumulated mate of his ongoing piece ‘Whip Drone’ (2018). He rials and objects, the exhibited elements are swings a whip to accelerate metal spinners which continuously disassembled to be subjected to new consequently create layers of gnarly, nearly systems of organization. The emerging, subtly hallucinatory, vaguely technoid sighing sound animated structures and scores often function spheres exceeding the limits of perceptibility. as both the producers of and resonant spaces for sounds. The recurring motif of corrosion – of infi nitive configurations of sound and objects – is used as a productive method: ongoing adjustments of the used sonic materialities and vibrating sur faces are constitutive to Vorisek’s potentially endless production processes. For the 14th Perfor

NIC Kay Tuesday, June 12 pushit!![ an exercise in getting well soon ] 7 p.m. at Kaserne Basel (Rossstall 1) Photo: Sarah-Ji Rhee Klybeckstrasse 1b, Basel Admission: CHF 15.– (www.starticket.ch, or + 41 61 666 6000)

NIC Kay pushit!![ an exercise in getting well soon ]

Can resistance be choreographed? ‘Pushit!’, a site-responsive performance by NIC Kay, is a meditation on emotional labour and the impossibility of the stage as a place of freedom for the Black performer. This work is part of a larger set of ‘exercises in getting well soon’.

68 / 69 Performance Project

Studio for A transtemporal archeology: And in the light this spectatorship: Wednesday, June 13 Propositional Cinema Where time acts not two-dimensionally, As unactivated information, 7 p.m. at St. Alban-Kirche Redundant as eyelids Like a unidirectional road, but Dead while dormant, is resuscitated in absence of light. St. Alban-Kirchrain 11, Basel Translator’s Notes, Spherically, like an infinite haystack By mouth, eye, and body of an other, 2018 With omnidirectional cross-hatchings; Our translation (between forms, across time), Free admission Within infinitely navigable Gleaned from recordings of unknowable And calculable permutations of Potential pasts and potential futures Studio for Propositional Cinema Presents/pasts/futures, observable as Made through blind circumnavigation RECITAL: Redundant as eyelids in absence of Objects (to study or make pliable, Of time’s lines, focussed on swaths of darkness, light., 2018 Alterable according to our needs), Quietness, stillness; fields of inquiry: ‘Redundant as eyelids in absence of light.’ is composition to be played on the organ of Basel’s Objects consisting of information Translations untangle then re-ravel, a libretto for a five-dimensional dystopian opera St. Alban-Kirche by Swedish organist Hampus Made legible through the measurements of Translators butcher then reanimate, set in a society in which all forms of language Lindwall. Each song represents an attempt by the Lightwaves, sound-waves, gravitational waves, Filling the dark space between languages And the images, sounds and movements that With tendons, permitting movement, as the and interpersonal communication have been miti- protagonists to relearn various communication We create, variously, at all times Bones of history and the flesh of now gated or eliminated. Composed in blank verse tools such as image, sound, movement, textile, (Being time’s material); data-fields Determines what’s to come: shards of tracings but filtered through the jargon of the archive, the writing, and broadcasting, yearning for connections (Our individual cacophonies) (Transcribed and translated from a brutal screenplay, the legal system, and the political in a world where expressive and dialogic forms That can be de-ciphered (made tangible Potential future, ours if we want it), speech, the libretto is staged in various forms, have been suppressed to the brink of being As communicational attempts) and Excavated and analysed, may be such as publication, exhibition, and concert. forgotten. Presented (as dialogical forms). A line to follow or map for re-course. For the 14th Performance Project the libretto is Presented in co-operation with Kunst Halle Sankt translated from English to Greek to an endan Gallen, which will stage the opera as an gered Greek whistled language, then transcribed exhibition (opening 29 June and running through to musical notation, forming the basis of a 16 September).

Luci Lippard at KW Thursday, June 14 Institute for Contemporary Art, 7 p.m. at SALTS 2017 Haupstrasse 12, Birsfelden Photo: Daniele Tognozzi Free admission

Luci Lippard Maracas from Caracas, 2018

MONEY AS METAL Luci Lippard is a performance band formed in Berlin MONEY AS MATTER in spring 2014 by artists Lucinda Dayhew and MONEY AS MOTHER Hanne Lippard. Using drums, voice, synths, and MONEY WHICH MATTERS songs, the duo make noise out of poetry. MONEY FOR MAD HATTERS TURN OLD MONEY INTO A NEW PAPER HAT AND HAVE FUN WITH YOUR MONEY- MAKING-BUSINESS ENJOY SUMMER WHILE IT LASTS LAST SUMMER WAS A BLAST

THIS YEAR IT WILL BE AN EXPLOSION

(excerpt from the song ‘Moaney’ by Luci Lippard, 2016)

70 / 71 Performance Project

CHEAP presents Thursday, June 14 Susanne Sachsse & Xiu Xiu 9 p.m. at Kaserne Basel (Rossstall 1) Original Sin – A Klybeckstrasse 1b, Basel Concert, 2018 Photo: Hektor Admission: CHF 20.– Martinez (www.starticket.ch, or + 41 61 666 6000)

Susanne Sachsse & Xiu Xiu Original Sin – A Concert, 2018

with: Vaginal Davis, Susanne Sachsse, Angela Seo, Marc Siegel, Jamie Stewart

It’s a true story. It’s her story. The story of her wall. That wall is gone. Luise Brand is dead. GDR conflicted admiration and disdain for Luise Brand, socialism failed. Übermasstedt succumbed to her grandmother. The East German government an evil destiny. Capitalism. The house is reborn built an anti-fascist protective wall around Berlin. bad. It’s alive and it’s not pretty. Luise Brand conceived and constructed a majestic private house in a small village in Thüringen where she lived with her older husband, younger lover, two dogs, and two daughters. Übermasstedt. Her walls were twice as thick as the Berlin

Garrett Nelson Friday, June 15 Blind Audition Kunsthalle Basel, 2018 4 p.m. at Volkshaus Basel Photo: Ignacio Fanti Rebgasse 12–14, Basel Free admission

Garrett Nelson Blind Audition – Viva, 2018

For the 14th Performance Project of LISTE - Art The separation in practice is usually a makeshift Fair Basel Garrett Nelson presents the second black curtain or a screen. iteration of his performance series ‘Blind Audition’ (since 2017). On this occasion he collaborates Viva was a denizen of the Chelsea Hotel and the with Viva, the American performer, artist, model, New York scene from the 60s to the 90s. She may and muse. Viva will read from a collection of be best known for her performances in Andy poems that went unpublished when the original Warhol’s films ‘Blue Movie’, ‘Tub Girls’, ‘The Nude editor died of AIDS in the early 80s. Restaurant’, or ‘Bike Boy’. She wrote the first video novel ‘The Baby’ in 1975 while with her for A blind audition is a method of judging a skill mer husband Michel Auder. without seeing the performer. It is a physical sepa ration of the jury or audience and the performer. It allows some information to pass through while leaving out visual cues of gender, race, physical appearance, and style of clothing. It is a method used by orchestras for hiring musicians as well as art academies for admission of music students.

72 / 73 1FSJPEJDPUSJNFTUSBMFBOOP997QSJNBWFSBQJBQSJMF BQSJMFNBHHJP 1PTUF*UBMJBOF4Q"4QFEJ[JPOFJOBCCPOBNFOUPQPTUBMF%- DPOW Zeitschriften / Magazines 0 / 9 / 9 JO-O BSUDPNNB %$#3PNB /VNFSP &VSP _975 art / days / basel arte e critica ArtNexus Brand-New-Life Cura. CURA. Lucerne Basel Rome Miami / Bogota Zurich Rome $07&3(03%0/."55"$-"3, www.957.ch basel@ redazione@ magazine@ office@ [email protected] 6/&41&3*&/;"$3*5*$"0-53&*-A$0/7&34";*0/&$0/#36/0$03® "%*"-0(6&8*5))"30-%#&3(0/(03%0/."55"$-"3,6/%*"-0(0$0/)"30-%#&3(46(03%0/."55"$-"3, 5)&)&(&.0/*$53"/47&34"-*5:0'$0-063*/5)&6/$0/'*/&%41"$&40',"5)"3*/"(3044& -&(&.0/*$"53"47&34"-*5®%&-$0-03&/&(-*41";*4$0/'*/"5*%*,"5)"3*/"(3044& 0-"7"4*-+&7"5)&10&5*$40'0#+&$54-"10&5*$"%&(-*0((&55* 0/40.&1&$6-*"3*5*&40'$0/5&.103"3:#&-(*"/1"*/5*/(8"-5&348&//&/ 46"-$6/&1&$6-*"3*5®%&--"1*5563"#&-("$0/5&.103"/&"8"-5&348&//&/ artdaysbasel.com arteecritica.it artnexus.com brand-new-life.org www.curamagazine.com +Ã3(&/1"35&/)&*.&3 "/"35*45i8"/%&3&3#&58&&/803-%4w +Ã3(&/1"35&/)&*.&3 6/"35*45"i7*"/%"/5&53".0/%*w QSJNBWFSB /*$0-"$"33*/0*/3"(*0/&%&-$6#0130(&5501&3"35&&$3*5*$" ."/'3&%0."44*30/*3*$&3$)&7*46"-*

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Sinnlichkeit und Erotik Giovanni Copelli Gérard Traquandi Michelangelo Pistoletto www.arteallimite.com für Wissenskultur [email protected] Luciano Fabro Tao Hui Piero della Francesca Lucio Fontana Basel contemporaryArt- www.elephant.art Justin Fitzpatrick SOU T H Dominique Papety Jean-Auguste-Dominique Ingres Anne Bourse info avenue.jetzt Galleries.net Jean-Alain Corre @ Isa Genzken Guillaume Apollinaire Alberto Burri Enrico Prampolini Arte!Brasileiros www.avenue.jetzt Berlin Giorgio de Chirico Jannis Kounellis Eva et Franco Mattes Giuseppe De Mattia Sao Paul www. Esse arts + opinions Superstudio Authors: Sinnlichkeit und Erotik Charlotte Cosson & Emmanuelle Luciani contemporaryartgalleries Montréal Im Interview: Otto Waalkes Sonia D’Alto Specials: Kunstakademien, Sommerakademien, Kunstschulen / Kunst aus Israel Nikita Dmitriev Belot · Bohlen · Degenfeld · Diemer · Kalusche · Kerstan · Klee · Kwasniewska · Mack · Munch · Nash · Puetz · Rubens · Scholz · Struif · Zangs Francesco Angelucci Joël Riff Barnebys.de .net [email protected] Stanislas Colodiet Sacra www.barnebys.de www.esse.ca/en

05 |2018 Kunstmagazin

Aarau Appenzell Augsburg Baden-Baden Basel Conversazione Bern Biel Bregenz Dijon Donaueschingen Freiburg Barton Genf Heidelberg Karlsruhe n°5 Konstanz Luxembourg Mannheim Mulhouse München Nancy Bonn Nürnberg Offenburg Saarbrücken Solothurn SOU T H St. Gallen Strasbourg Stuttgart Vaduz FREE www.barton-mag.de Winterthur Zürich Zug Sacra • Mika Rottenberg, Cosmic generator, 2017, Conversazione

Videostill, Courtesy of Mika Rottenberg and Andrea Rosen Gallery, New York, Rédaction en chef : Charlotte Cosson & Emmanuelle Luciani zu sehen in der Ausstellung „Mika Rottenberg” im Kunsthaus Bregenz, 21. April bis 1. Juli 2018 Éditeur associé : Sonia D’Alto Avril — Octobre 2018

Top 200 Collectors Fall 2018

74 / 75 Zeitschriften / Magazines 0 / 9 / 9

Even Grabado y Edición May New Art Examiner Selections Magazine This is Badland New York Madrid Paris New York / Washington / Dubai / Beirut Berlin [email protected] info@ [email protected] Chicago / Toronto / [email protected] [email protected] evenmagazine.com grabadoyedicion.com www.mayrevue.com Madrid / Pittsburgh / www.selectionsarts.com www.thisisbadland.com THIS IS THIS www. London / Cornwall grabadoyedicion.com www. Eyeline Mirus newartexaminer.net Vellum Magazine Brisbane Zürich SITEmagazine Brooklyn, NY info@ Hystery www.mirusmag.com Düsseldorf vellumartzine@ eyelinepublishing.com Milan [email protected] Novembre Magazine www.sitesite.com gmail.com www. www.hystery.net Lausanne www.vellumartzine.com #SITE eyelinepublishing.com www. magazine Momus novembremagazine.com Spike Art Quarterly Kunstbulletin Toronto Vienna / Berlin Whitewaller exhibtions Flash Art Zurich [email protected] spike@ New York Milan [email protected] www.momus.ca Paint! spikeartmagazine.com [email protected] editions bana@ www.artlog.net Milan www. www.whitewall.art flashartonline.com www.paintdiary.com spikeartmagazine.com site www.flashartonline.com Monopol Kunstmarkt.com Magazin für Kunst und Widewalls Würzburg Leben Paris LA springerin London frieze www.kunstmarkt.com Berlin Los Angeles Vienna [email protected] London info@ www.paris-la.com [email protected] www.widewalls.ch [email protected] monopol-magazin.de www.springerin.at/en

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RUND UM WIEN UM RUND ART Boom for Real maeve.nicholson@ Milan www.textezurkunst.de vice.com Leap www.moussemagazine.it Im Porträt: Martha Jungwirth, Rudolf Polanszky SAMMLUNG The Heidi Horten Collection www.garage.vice.com Shanghai Pleasure Poster Zingmagazine IM PORTRÄT Martha Jungwirth Rudolf Polanszky RUND leap Magazine TheArtGorgeous New York UM WIEN @ Kunst- und Kulturraum SPOT ON modernmedia.com.cn MutualArt Warsaw Hong Kong www.zingmagazine.com MOUSSE Kunst am Bau Heft 1/2018Heft | Ö/DE: | www.parnass.at | März–April EUR 18,– | CH: SFR 31,– | Loquaiplatz GesmbH | Österreichische | MZ 12 M | PARNASS AG Post | 1060 Verlag Wien 02Z032769 Geneve Art www.leapleapleap.com London pleasurepostermagazine thegirls@ MAGA Contemporain www.mutualart.com @gmail.com theartgorgeous.com Geneva www. www. ZINE info@geneve-art- pleasurepostermagazine theartgorgeous.com & PUBLI contemporain.ch My Art Guides .com www.geneve-art- Venice, Italy SHING contemporain.ch [email protected] The Collectors Chronicle SINCE www.myartguides.com Ran Dian published by Collectors Hong Kong Agenda 2006 www. Vienna randian-online.com hello@ collectorsagenda.com www. Segno collectorsagenda.com THEARTGORGEOUS.COM ISSUE 4 2018 Pescara

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76 / 77 Galerien / Galleries

0–9 148 Hopkinson Mossman, S 80 VI, VII, Oslo Auckland / Wellington 208 Sabot, Cluj-Napoca 82 80M2 Livia Benavides, Lima I 210 Sé, São Paulo A 150 Instituto de Visión, Bogotá 212 Société, Berlin 84 Altman Siegel, San Francisco 152 Ivan, Bucharest 214 Southard Reid, London 86 Andersen, Copenhagen J 216 Staiger, Zurich 88 Antenna Space, Shanghai 154 Jenny’s, Los Angeles 218 Stereo, Warsaw 90 Aoyama Meguro, Tokyo K 220 Subal, New York 92 Arcadia Missa, London 156 Klink, Berlin 222 Sultana, Paris B 158 Koppe Astner, Glasgow T 94 Balice Hertling, Paris L 224 Tang, Paris 96 Bernhard, Zurich 160 Labor, Mexico City 226 Temnikova & Kasela, Tallinn 98 Bernheim, Zurich 162 LambdaLambdaLambda, Pristina 228 The Breeder, Athens 100 Blank, Cape Town 164 Laveronica, Modica 230 The Sunday Painter, London 102 Bodega, New York 166 Lewis, New York 232 Truth and Consequences, Geneva C 168 Lomex, New York U 104 Centeno, Porto M 234 Union Pacific, London 106 Chapter NY, New York 170 MadeIn, Shanghai W 108 Clearing, New York / Brussels 172 Maisterravalbuena, 236 Weiss Falk, Basel 110 Commonwealth and Council, Los Angeles Madrid / Lisbon 112 Crèvecœur, Paris / Marseille 174 Marcelle Alix, Paris D 176 Marfa’, Beirut 114 D’Alessandro, Copenhagen 178 Martins, São Paulo 116 de Bruijne, Amsterdam 180 Minini, Milan 118 Donahue, New York 182 Monitor, Rome / Lisbon 120 Dürst Britt & Mayhew, The Hague 184 Montassut, Paris E N 122 El Apartamento, Havana 186 Neue Alte Brücke, Frankfurt o. t. M. 124 Emalin, London 188 NoguerasBlanchard, 126 Ermes - Ermes, Vienna Madrid / Barcelona F O 128 Friedrich, Berlin 190 Öktem Aykut, Istanbul 130 Frutta, Glasgow / Rome 192 Overduin & Co., Los Angeles G P 132 Gaga, Mexico City / Los Angeles 194 Park View / Paul Soto, 134 Gaudel de Stampa, Paris Los Angeles / Brussels 136 Gianni Manhattan, Vienna 196 PM8, Vigo 138 Ginerva Gambino, Cologne 198 Project Native Informant, London 140 Green Art, Dubai 200 Proyectos Monclova, Mexico City 142 Gunn, London 202 Proyectos Ultravioleta, Guatemala City 144 Gypsum, Cairo R H 204 Radziszewski, Warsaw 146 High Art, Paris 206 Raster, Warsaw

78 / 79 VI, VII 1 / 7 / 1

VI, VII Tordenskiolds gate 12 M +47 902 798 62 [email protected] Esperanza Rosales 0160 Oslo www.VIVII.no Norway

Shown at LISTE: Represented Artists: Tobias Kaspar, 1984, CH Mikael Brkic, NO David Lieske, DE Eva LeWitt, 1985, IT / US Than Hussein Clark, US Kulisek / Lieske, DE / US Benjamin Crotty, US Ervin Løffler, HU Brad Grievson, EN Landon Metz, US Eloise Hawser, EN Jochen Schmith, DE Tobias Kaspar, CH Stefan Vogel, DE Lars Laumann, NO Amy Yao, US Eva LeWitt, IT / US Mark van Yetter, US

top: Eva LeWitt (b. 1985, Spoleto, Italy) lives The artist’s work has been included Eva LeWitt Installation View, and works in New York City. in group exhibitions at Palais de Tokyo, 2018 Previous exhibitions include: Eva LeWitt, Kunsthalle Basel, Kunsthalle Zürich, bottom left: VI, VII, Oslo; a solo presentation at Hamburger Bahnhof, The Artist’s Institute Tobias Kaspar Frieze New York; All Over, Studio Leigh and Artists Space, New York. Untitled (NFS14 Red, Pink Beach Scene Gallery, London; Altar, Chiesetta Madonna Forthcoming exhibitions include a solo on Red Background), del Pozzo, Spoleto, Italy; Eva LeWitt and exhibition at the Kunsthalle Bern. 2018 Embroidery, fleece, Allison Katz, Malraux’s Place, New York; neoprene Love to Love You, Mass MOCA, North 200 × 140 × 2.5 cm Adams, Massachusetts, USA; bottom right: The Open, Deitch Projects, New York; Tobias Kaspar Untitled (NFS28- AGRO BONGO, Rivington Arms Gallery, Blue and Violet New York. Wintercoat with Greyhound Dogs, on Forthcoming exhibitions include a solo Black Background exhibition at the Jewish Museum in with White Embroidery Stripes), New York and The Aldrich Contemporary 2018 Art Museum in Ridgefield, Connecticut. Embroidery (84% WV, 11% VL, 5%PL), wool, cotton Tobias Kaspar (b. 1984, Basel, Switzerland) 42 × 35 × 2.5 cm lives and works in Zurich. Solo exhibitions by Kaspar have taken place at KIM? Contemporary Art Center, Riga, Latvia; Peter Kilchmann, Galerie, Zurich; Alex Zachary, New York; Silberkuppe, Berlin; The Swiss Institute, Rome; Kunsthalle St. Gallen, Switzerland; Midway Contempo 80 / 81 rary Art Center, Minneapolis. 80m2 Livia Benavides 0 / 10 / 9

80m2 Livia Benavides Malecón Pazos 252 T +511 2529 246 [email protected] Livia Benavides Barranco, Lima 04 www.liviabenavides.com Peru

Shown at LISTE: Represented Artists: Adriana Bustos, 1965, AR Gabriel Acevedo, PE José Vera Matos, PE Gilda Mantilla, 1967, PE Iosu Aramburu, PE Eliana Otta, PE José Vera Matos, 1981, PE Fernando Bryce, PE Marco Pando, PE Teresa Burga, PE Rita Ponce De Leon, PE Adriana Bustos, AR Santiago Roose, PE William Cordova, PE Juan Diego Tobalina, PE Sandra Gamarra, PE Adan Vallecillo, HN Ximena Garrido Lecca, PE Maya Watanabe, PE Nancy La Rosa, PE Sergio Zevallos, PE Gilda Mantilla, PE David Zink Yi, PE

Adriana Bustos 80m2 Livia Benavides is an art gallery Gilda Mantilla’s work seeks to generate Historia del Positivismo Mágico, specialized in contemporary Peruvian art an artistic reflection about popular, 2015 and its dynamics within the international personal and intimate aesthetics through Acrílico, graffito y láminas de bronce art scene, characterized by representing the seemingly banal and insignificant, sobre tela conceptual artists with an interest on everyday objects of everyday life, which 193 × 310.5 cm political and social reflection. nevertheless possess the ability to model subjectivity and desire. In these works, Adriana Bustos, Gilda Mantilla and Jose the design of the glass used would refer Vera Matos share in their work a particular to a very common element of Peruvian interest in mapping contemporary Latin culture, being at the same time a global America. Each of them explore from a dif object that is universally identifiable. ferent stand point the current state of The work of José Vera Matos accounts for affairs, through the most intimate, daily and a complex historical investigation that personal, to the more anthropological, led to contemporary Latin America, focusing sociological and historical. attention on the tension that arises as a Adriana Bustos’ art produces singular consequence of colonialism. According to ways of knowledge, so research, the Max Hernandez ‘Vera Matos enacts a sort revision of history in non-linear terms and of ‘historical inversion’, symbolically its articulation with the present are the annulling Spanish domination by imposing background of her work. The strategies of an Incan structure on writing- one of anthropology, juxtaposition, montage the main instruments of colonial power’. of images, history, science, popular culture, fiction, biographical quotes, the academic, the intuitive, the fragmentary, the objective and subjective dimension are some of the devices that she uses to build a network 82 / 83 of new associations. Altman Siegel 0 / 1 / 1

Altman Siegel 1150 25th Street T +1 415 576 9300 [email protected] Claudia Altman-Siegel San Francisco, CA 94107 M +1 917 674 4239 www.altmansiegel.com USA

Shown at LISTE: Represented Artists: Zarouhie Abdalian, 1982, US Zarouhie Abdalian, US Shinpei Kusanagi, JP Jessica Dickinson, 1975, US Nate Boyce, US Devin Leonardi, US K.r.m. Mooney, 1990, US Jessica Dickinson, US K.r.m. Mooney, US Sara VanDerBeek, 1976, US Shannon Ebner, US Alex Olson, US Liam Everett, US Trevor Paglen, US Laeh Glenn, US Will Rogan, US Fran Herndon, US Sara VanDerBeek, US Chris Johanson, US Emily Wardill, UK Matt Keegan, US Garth Weiser, US

K.r.m. Mooney For 2018 LISTE, Altman Siegel presents Zarouhie Abdalian and K.r.m. Mooney Circadian Tackle III, 2017 painting, photography and sculpture represent a younger generation of artists Pneumatic actuator, by American artists Zarouhie Abdalian, creating sculptures that reflect human grounding wire, inset glass, steel, silver Jessica Dickinson, K.r.m. Mooney and Sara history while offering new material wire, cast organic VanDerBeek. Though utilizing differing syntheses and considerations of progress. compounds, water, iron media, their work expresses a shared Abdalian’s Hydrocol reliefs – comprising 11.4 × 106.7 × 35.6 cm interest in the passage of time, accumula the series from chalk mine hollow – are Courtesy of the Artist, KW Institute ting layers and traces that evoke a made from molds of the interior walls of an for Contemporary universal shared history, while asserting abandoned chalk mine in Mississippi. Art, Berlin and Altman Siegel, the specificity of their own creation. In these reliefs, the individual strokes of San Francisco the laborers are recorded meticulously, Jessica Dickinson and Sara VanDerBeek bringing to the present the workers’ precise have worked in the same studio building markings and drawing attention to a global for over a decade, cultivating a dialogue practice still in existence today. Similarly, of mutual interests. Both Dickinson and Mooney focuses on the interactions of VanDerBeek address sculpture; VanDerBeek objects, bodies, and space, pursuing a dis- photographs ancient sculptures, archi tinct form of abstraction that alters our tecture and textiles, abstracting her source understanding of how art and bodies relate imagery and weaving her material into to one another. Mooney’s objects, like geometric compositions. Like VanDerBeek, Abdalian, Dickinson and VanDerBeek, blur Dickinson’s paintings are heavily lay- boundaries between mediums, materials ered in form and concept. Incorporating and time, engaging historical conversations traditions of fresco painting, Dickinson relative to our present condition. utilizes sculptural tools to build and chip away at the paintings’ plaster surfaces.

84 / 85 Andersen 1 / 1 / 3

Christian Andersen Bispevej 29 T +45 253 741 01 [email protected] 2400 Copenhagen NV www.christianandersen.net Denmark

Shown at LISTE: Represented Artists: Julia Haller, 1978, DE Julia Haller, DE Shelly Nadashi, IL Hans-Christian Lotz, 1980, DE Benjamin Hirte, DE Rolf Nowotny, DK Till Megerle, 1979, DE Tom Humphreys, UK Lasse Schmidt Hansen, DK Morten Skrøder Lund, 1980, DK Hans-Christian Lotz, DE Morten Skrøder Lund, DK Sven Loven, US Astrid Svangren, SE Carl Mannov, DK Lina Viste Grønli, NO Till Megerle, DE

Hans-Christian Lotz Julia Haller (b. 1978 in Frankfurt am Main, include David Lewis Gallery, New York; Untitled, 2017 Bronze lives and works in Vienna) studied at Diana Lambert, Wien; and Nousmoules, 8 × 18 × 18 cm Akademie der Bildenden Künste Wien. Vienna Courtesy the artist and Christian Recent exhibitions include Galerie Meyer Andersen Kainer, Vienna (solo); Svetlana Gallery, Morten Skrøder Lund (b. 1980, lives and New York (solo); Galerie Nagel Draxler, works in Berlin) studied at the Royal Danish Berlin (solo); Halle für Kunst, Lüneburg; Academy of Fine Arts. Recent exhibitions Galerija Vartai, Vilnius (w. Heimo Zobernig); include Belmacz Gallery, London (solo); Secession, Vienna (solo); Belvedere, Galleri Ping-Pong, Malmö; Galleri Flach, Vienna; and Neues Museum, Nuremberg. Stockholm; Ltd. Los Angeles (solo); and This autumn the artist will have a solo Christian Andersen, Copenhagen (solo). exhibition at Midway Contemporary Art, This autumn the artist will have a solo exhi Minneapolis bition at Christian Andersen, Copenhagen

Hans-Christian Lotz (b. 1980 in Hamburg, Till Megerle (b. 1979 in Bayreuth, lives lives and works in Berlin) studied at and works in Vienna) studied at Akademie Hochschule für Grafik und Buchkunst der Bildenden Künste Wien; and Hoch Leipzig; Städelschule, Frankfurt am schule für Grafik und Buchkunst Main; and Akademie der Bildenden Künste Leipzig. Recent exhibitions include Kunst Wien. bunker, Nuremberg (solo); Christian Recent exhibitions include Kunst- Andersen, Copenhagen (solo); Galerie der verein Freiburg (solo); Christian Andersen, Stadt Schwaz; 21er Haus, Vienna (solo); Copenhagen (solo); Galerie der Stadt Kunstverein Freiburg (solo); Nousmoules, Schwaz (w. Anita Leisz); Dominique Lévy, Vienna (w. Michael Franz); Galerie Micky New York (solo); Midway Contemporary Schubert, Berlin; and Diana Lambert, Art, Minneapolis (solo); and Lars Friedrich, Vienna (solo). Upcoming exhibitions include 86 / 87 Berlin (solo). Upcoming solo exhibitions a group exhibition at Nagel Draxler, Berlin Antenna Space 1 / 7 / 3

Antenna Space 202, 50 Moganshan Rd T +86 21 6256 0182 [email protected] Simon Wang Building 17 www.antenna-space.com /en 200060 Shanghai China

Shown at LISTE: Represented Artists: Han Bing, 1986, CN Nadim Abbas, CN Li Ming, CN Li Ming, 1986, CN Cheng Xinyi, CN Liu Ding, CN Yu Honglei, 1984, CN Cui Jie, CN Nancy Lupo, US Karsten Födinger, DE Tsang Wu, US Guan Xiao, CN Xu Qu, CN Han Bing, CN Yu Honglei, CN Allison Katz, CA Zhou Siwei, CN

Li Ming Yu Honglei, born 1984 in Inner Mongolia, His recent group exhibitions include: Inspired by transliteration currently lives and works in Beijing. ‘com/.cn’, chi K11 art museum, Shanghai, – Chapter Three: His recent solo exhibitions include: China (2017); ‘Hugo Boss Asia Art 2017’, Wavelength, 2018 Single channel HD ‘Yu Honglei‘, Kraupa-Tuskany Zeidler, Berlin, Rockbund Art Museum, Shanghai, video (4K, color, 2018; ‘Flower’, Carl Kostyál, London, 2017; China (2017); ‘No walk, no work’, Centre sound) 18' 58" ‘Swallow’s Century’, Antenna Space, d’Art Contemporain Yverdon-les-Bains, Shanghai, 2016; ‘Sketch’, Telescope, Beijing, Switzerland (2016); ‘Why the Performance?’, Yu Honglei Elephant, 2016 2015; ‘Fat Mouse’, Antenna Space, Ming Contemporary Art Museum (McaM), Pedestal (board, Shanghai, 2014. Shanghai, China (2016). fiberglass, resin, paint); copper, His recent group exhibitions include: ‘Cul- titanium De-Sac’, Antenna Space, Shanghai, China, 245 × 125 × 210 cm 2017; ‘I Scream, You Scream, We All Scream For Ice Cream’, Fondazione Baruchello, Rome, Italy, 2017; ‘Marching in Circles’, Long March Space, Beijing, China, 2017; ‘Hybrid Layers’, ZKMCenter for art and media, Karlsruhe, Germany, 2017; ‘After Us’, chi K11 Art Museum, Shanghai, 2017.

Li Ming, born 1986, Yuanjiang, currently lives and works in Hangzhou, China. His recent solo presentations include: ‘1703’ at Antenna Space, Shanghai (2018); Inspired by ‘Transliteration’ at HDM Gallery, Hangzhou (2017); ‘MEIWE’ at Ullens Center for Con temporary Art, Beijing (2015); and ‘Mediation’ 88 / 89 at Antenna Space, Shanghai (2014). Aoyama Meguro 3 / 3 / 1

Aoyama Meguro 2-30-6 Kamimeguro Meguro T +81 33 7114 099 [email protected] Hideki Aoyama 153-0051 Tokyo M +81 80 3123 2688 www.aoyamameguro.com Japan

Solo show at LISTE: Represented Artists: Katsunobu Yaguchi, 1978, JP Shinya Aota, JP Hiroaki Morita, JP Shuzo Azuchi Gulliver, JP Tatsumi Orimoto, JP Mitsutoshi Hanaga, JP Ken Sasaki, JP Satoshi Hashimoto, JP Junya Sato, JP Hirofumi Isoya, JP Teppei Soutome, JP Chosil Kil, KR Koki Tanaka, JP Lotte Lyon, AT Katsunobu Yaguchi, JP Euan Macdonald, US

Katsunobu Yaguchi Katsunobu Yaguchi was born in 1978. This process had been documented with Demolition To Revival – He presented numerous improvisational a 35mm Camera, a Super 8mm Film Camera Washingtown art performances mainly around Europe and on digital video. Documentaries, 2013–2016, from 2004 to 2008. After returning to Japan, Single Channel he initiated various activities as a leading In 2015 the film ‘Washingtown Documen Version 57'19" enthusiast of ‘neighborhood movements’ taries’, a documentary of the demolition, while serving as a host for the “Café had been edited and shown the next Katsunobu Yaguchi Untitled (Remnants’ Washingtown.” year as a world premiere at the group show Replay), 2011–2012, ‘Imprisoned, Jailbreak, Imprisoned, Jail Pencil on paper, 113 × 287.8 × 2 cm Yaguchi’s ten years of dedication to break ‘Time Tunnel’ ’. (Curated by Yu Araki at his social practice in Mito City started Aoyama | Meguro) in October 2008, when he renovated a two-storey, traditional Japanese-style Resistance towards ‘modernistic’ move house and converted it into the ‘Café ments in urban and rural societies and the Washingtown’. The house was originally mourning for what had been lost, belong hand-built by the owner using scrap to the central topics of Yaguchi’s social and wood gathered from the town after it had cultural art practices. been ravaged in World War II. While Questions about identity in relationship to working at the café, he produced his own the development of suburban cities are newspaper, hosted local festivals raised. By taking a critical stance, Yaguchi and opened an art school. In August 2013 challenges the Japan-specific, scrap- the building was finally scheduled to be and-build policy in architecture- and city- torn down. Yaguchi was determined to exe planning, and reminds us that with the cute all the demolition work by his own vanishing of traditional houses also the pre hands without any electric tools and to pre ciousness of ephemeral entities, the remem serve all the remains of the café. The bering of local history and the beauty in 90 / 91 demolition took three months to complete. neighbouring socialization will disappear. Arcadia Missa 0 / 7 / 2

Arcadia Missa 14 Brewer St, First Floor T +44 785 145 2924 [email protected] Rózsa Farkas London W1 F0SQ www.arcadiamissa.com United Kingdom

Shown at LISTE: Represented Artists: Janiva Ellis, 1987, US Hannah Black, UK Ann Hirsch, US Hamishi Farah, 1991, AU Phoebe Collings-James, UK Ruth Ige, NG Lewis Hammond, 1987, UK Maja Čule, HR Cheyenne Julien, US Ruth Ige, 1992, NG Jesse Darling, UK Hannah Quinlan & Rosie Cheyenne Julien, 1994, US Janiva Ellis, US Hastings, UK Hamishi Farah, AU Harry Sanderson, UK Penny Goring, UK Amalia Ulman, AR Lewis Hammond, UK

Janiva Ellis “All the West knows as ‘art’ since the Cheyenne Julien lives and works in The Envoy Bomb-like, 2017 Enlightenment is an ecology of criteria Bronx, New York. Her work has recently been Oil on canvas for inclusion which relies on the co- exhibited at Smart Objects in Los Angeles, 120.6 × 87.6 × 3.8 cm Courtesy the Artist lonial subsumption of Black and brown Loyal Gallery in Stockholm, Arcadia Missa and Arcadia Missa, aesthetics.” – Manuel Arturo Abreu and White Cube Bermondsey in London. London The desire for “inclusion and diversity” are Hamishi Farah features of an aesthetic deficiency rooted Janiva Ellis was the 2018 recipient of the George, 2017 Acrylic on Canvas in the erotic lack of the colonial libido. Stanley Hollander Award and the Rema 88 × 62.5 cm Black and brown participation in an ex Hort Mann Foundation Grant. Her paintings Courtesy the Artist and Arcadia Missa, change of capital is a sorrowful striving have been included in a solo presentation at London towards health, and might be better 47 Canal, New York and the 2018 New understood as the accumulation of moral Museum Triennial. capital. Here whiteness operates with a sadomasochistic inertia and hypochon Lewis Hammond lives and works in dria that I will call white death. London where he graduated from the Royal Technologies subsumed into whiteness Academy of Art in 2017. can no longer satiate a colonial libido, Ruth Ige is a Nigerian artist living in New relegating them to a regulated known. Zealand. Her paintings have recently been In contemporary art the objectivist perspec exhibited in Artspace and RM Gallery, tive required to view the poetic inconclu Auckland. sivity of white death can only be enjoyed from a black and brown perspective. Hamishi Farah is a Somali artist. We have been watching a civilisational Recent solo and duo presentations include collapse from the very beginning, these are White ppl think im radical (w Aria our stories. Dean), Arcadia Missa, London; Retirement, — Hamishi Farah Gertrude Contemporary, Melbourne. 92 / 93 Balice Hertling 0 / 7 / 3

Balice Hertling 239 rue Saint-Martin Project space Belleville [email protected] Daniele Balice 75003 Paris 47 rue Ramponeau [email protected] Alexander Hertling France 75020 Paris www.balicehertling.com T +33 143 481 568 France M +33 648 297 024

Solo show at LISTE: Represented Artists: Buck Ellison, 1987, US Julie Beaufils, FR Enzo Cucchi, IT Neïl Beloufa, FR Buck Ellison, US Will Benedict, US Simone Fattal, LB Jonathan Binet, FR Eloise Hawser, UK Sebastian Black, US Alexander May, US Camille Blatrix, FR Kayode Ojo, US Xinyi Cheng, CN Puppies Puppies, US Isabelle Cornaro, FR Stephen Willats, UK Morgan Courtois, FR

Buck Ellison Buck Ellison group shows such as ‘Golden State’ ’Hotchkiss vs.Taft, 2018 The Los Angeles based artist Buck Ellison (curated by Drew Sawyer), Marianne Boesky Archival pigment creates pictures that capture a seemingly Gallery, New York, USA (2017) and print, framed 200 × 134.5 cm banal moment and give the impression ‘The Sun Placed In The Abyss’, Columbus Edition of 1 + 2 APs of documentary photographs akin to Tina Museum of Art, Columbus (2016). Barney’s snpashots of her WASP family His work was recently subject to articles and friends. in various publications, such as Artforum, However, Buck Ellison’s pictures are Mousse, Monopol, Flash Art, Double, meticulously staged images: he employs Osmos and Pop magazine amongst others. actors and uses Hollywood’s film studio locations to create pictures that slowly dis close a gnawing sense of malaise as they reproduce the customs and habits of a certain segment of the United States’ white upper-middle class. The viewers who are able to decipher the cultural signifiers cannot help but become aware of their own embroilement in this world.

Buck Ellison (born 1987), lives and works in Los Angeles. He graduated in 2014 from Frankfurt’s Städelschule, where he did a master with Willem de Rooij. He took his B.A. in German Literature from Columbia in 2010. Recently his work was subject to a solo exhibition at Balice Hertling in Paris 94 / 95 (2016). He also participated to many Bernhard 0 / 8 / 3

Galerie Bernhard Waldmannstrasse 8 T +41 797 711 263 [email protected] Christian Wirtz 8001 Zürich www.galeriebernhard.com Switzerland

Solo show at LISTE: Represented Artists: Jan Vorisek, 1987, CH / CZ Matthias Brunner, CH Tobias Spichtig, CH Andreas Selg, CH Ellie de Verdier, SE Heji Shin, KR Jan Vorisek, CH / CZ

Jan Vorisek Working across sculpture, installation, Jan Vorisek’s (born in Switzerland, 1987). Amplified Sludge, 2017 performance, improvised music and noise, He lives and works in Zurich. Recent Installation View, Vorisek’s installations are site-specific solo presentations include ‘Burst City’ Kunstverein Braunschweig comments, ephemera, and documentation (2017, Nottingham); ‘Total Fragmented – all examining formal hierarchies. Darkness’, Hard Hat (2017, Geneva); With assemblages consisting of used and ‘NotFair’, Galerie Bernhard (2016, Warsaw); found materials, as well as sound- ‘Rented Bodies’, Galerie Bernhard producing devices, the artist reflects on (2015, Zurich). He has shown in group the fluctuation of noise as a vessel for exhibitions including at Kunsthalle information. An image is plastic, the perfect Exnergasse (Vienna, 2017); Plato Ostrava comfort zone to compress the world (Ostrava, 2017); Kunstverein Braunschweig instantly into convincing, disembodied (2017); Kunsthalle St.Gallen (2016); information, an easy medium to flatten the 83 Pittstreet (New York, 2016); Espace world into a picture. Making the image a Aurlaud (2016, Lausanne) and Kunsthaus visible enemy, Vorisek’s work builds Glarus (2016). contradictions into those transitions and Recent performances include Spring Work uses distortions to escape the convenience shop (Hong Kong 2016); Cave12 (Geneva (and security) of the image, twisting 2016, with Timotheé Calame); Kunsthalle dimensions and creating new encounters Zurich (2015). Together with Mathis with reality. The recurring motif of Altmann and Lhaga Koondhor, Vorisek has corrosion – the corrosion of new configu been organizing a series of club nights rations of sound and material – is used called ‘House of Mixed Emotions / H.O.M.E’ as a productive method. The act of arranging since 2011. and modifying the material assemblages becomes visible, periodically throughout performances of the artist. 96 / 97 Bernheim 1 / 2 / 2

Maria Bernheim Limmatstrasse 257 M +41 797 007 928 [email protected] 8005 Zürich www.mariabernheim.com Switzerland

Solo show at LISTE: Represented Artists: Denis Savary, 1981, CH Mitchell Anderson, US Jon Rafman, CA Manuel Burgener, CH Thomas Sauter, CH Miriam Laura Leonardo, CH Denis Savary, CH Ebecho Muslimova, US Bailey Scieszka, US Nick Oberthaler, CH Ramaya Tegegne, CH Juan Antonio Olivares, US Rico Weber, CH

Denis Savary Born in Granges-Marnand, Switzerland, sculptures on wooden pedestals, studio view, 2018 Ceramic / wood Denis Savary works and lives in Geneva. inviting the viewer to realize the humblest He is currently undertaking a 6-months and most primitive idea of sculpture. residency in London.

The consistent theme running throughout his work is an interest in art historical analogies interfering in the way the viewers see and interpret the world. Most of his works are references to iconic figures of art history such as Sophie Tauber-Arp or Giacomo Balla or inspired by ancient traditions such as inuit bones figurines or ancient art of puppeteering. The silver lining is one of timelessness, the viewer will be forced to reconsider his assumption of when and where the sculptures were made.

Introducing a new series of sculptures inspired from images of the first hockey kneepads and shin guards, Savary draws attention to the abstraction of those shapes, and how undoubtedly, they recall references to the sculpture “Le Baiser” by Constantin Brancusi, a milestone in the history of modern sculpture. To further 98 / 99 that reference, the artist will present the Blank 0 / 10 / 5 blank 10 Lewin Street, Woodstock T +27 214 624 276 [email protected] Jonathan Garnham 7925 Cape Town M +27 721 989 221 www.blankprojects.com South Africa

Shown at LISTE: Represented Artists: Bronwyn Katz, 1993, ZA Igshaan Adams, ZA Herman Mbamba, NA Pedro Wirz, 1981, BR Jan-Henri Booyens, ZA Kyle Morland, ZA Jared Ginsburg, ZA Cinga Samson, ZA Bronwyn Katz, ZA Gerda Scheepers, ZA Dorothee Kreutzfeldt, NA James Webb, ZA Donna Kukama, ZA Pedro Wirz, BR Turiya Magadlela, ZA Billie Zangewa, MW

Bronwyn Katz Bronwyn Katz (b.1993, Kimberley, South Pedro Wirz (b. 1981 Sao Paulo, Brazil) Plooiburg, 2018 Salvaged wire, wool Africa) lives and works in Cape Town, South lives and works in Zürich, Switzerland. 90 × 185 × 15 cm Africa. Incorporating sculpture, installation, Wirz’s oeuvre is predominantly sculptural video and performance, her practice or installation-based, and refers to ideas engages with the concept of land as a re around community, folklore and storytelling pository of memory, reflecting on the notion that are informed by the histories – both of place or space as lived experience, actual and mythical – of the Paraíba Valley and the ability of the land to remember and region in Brazil where he grew up. communicate the memory of its occupation. Recent solo exhibitions include ‘Fábula, Katz’s first solo exhibition, ‘Groenpunt’, Frisson, Melancolia’ (Instituto Tomie Ohtake, was held at blank in 2016, and she has São Paulo, 2017); ‘Dobrar de Espinho, participated in numerous group exhibitions, Anzol’ (Murias Centeno Gallery, Porto, 2017); including ‘Not A Single Story’ (Nirox and ‘The Horse Who Drunk Beer’ (Kai Foundation in collaboration with Wanås Matsumiya Gallery, New York, 2016). His Foundation, 2018), ‘Tell Freedom’ (Kunsthal work has also been presented at the KAdE, 2018), ‘Le jour qui vient’ (Galerie Tinguely Museum (2016), CCS Bard Hessel des Galeries, 2017), and the 12th Dak’Art Museum of Art (2015), Künstlerhaus Biennale (Senegal, 2016). Katz is a founding Stuttgart (2013), Dortmunder Kunstverein member of iQhiya, an 11-women artist (2013), Palais de Tokyo (2013), and Kunsthalle collective which has performed across Basel (2011). In 2016 he was the artist in various spaces, including Documenta residence at the Swiss Institute Rome, and (Kassel and Athens) and the Iziko South has recently completed a residency at African National Gallery. She is the 2018 the Akademie der Künste in Berlin. Later this recipient of the SAM Art Projects residency year, Wirz’s work will be presented at in Paris, which culminates in a presentation the Centre Pasquart in Biel, Switzerland. of her work at the Palais de Tokyo. 100 / 101 Bodega 0 / 3 / 2

Bodega 167 Rivington St T +1 413 884 4368 [email protected] Elyse Derosia New York, NY 10002 www.bodega-us.org Eric Veit USA

Solo show at LISTE: Represented Artists: Em Rooney, 1983, US Jason Benson, US Carlos Reyes, US Sam Lipp, US Em Rooney, US Orion Martin, US Hayley Silverman, US Andy Meerow, US Naoki Sutter-Shudo, FR / JP Alexandra Noel, US Dena Yago, US Elizabeth Orr, US

Em Rooney Em Rooney considers still photography to (with Chris Domenick); ‘redirecting’, War Is Over, 2016 Leaded crystal, be something conceptually time-based. Simone Subal, New York, NY; and ‘Rubbings’, steel, digital C-print The subject of her work often represents Skibum Macarthur, Los Angeles, CA. 46.4 × 36.8 × 5.1 cm a complex relationship to the functions Her work has been reviewed in The New of contemporary photography and moving York Times, Frieze, Artforum, and Artnews. images, referencing the photograph’s She has written for Art Papers, Performa ability to collect and obscure conceptions Magazine, and Ecocore. of unmediated or “real” life. Her specific materials, choices, and methods combine to work against the ubiquity of the photograph through their dedicational and allegorical qualities. Em Rooney (b. 1983, US) lives and works in New York City. Recent solo and two- person exhibitions include ‘The Word for Forest’, Bodega, New York, NY; ‘After the Sun’, The Vanity Gallery, Los Angeles, CA (with Chris Domenick); ‘Infinite Iotic’, Beeler Gallery, Columbus College of Art and Design, Columbus, OH; and ‘Em Rooney and Dana Hoey’, Raising Cattle, Montreal, Canada. Select group exhibitions include ‘Being: New Photography’, The Museum of Modern Art, New York, NY; ‘How Well Do You Behave? In the Flat Field.’, curated by Jo-ey Tang, Beeler Gallery, Columbus 102 / 103 College of Art and Design, Columbus Ohio Centeno 4 / 1 / 3

Nuno Centeno Rua da Alegria 598 M +351 936 866 492 [email protected] 4000 - 037 Porto www.nunocenteno.com Portugal

Shown at LISTE: Represented Artists: Adriano Amaral, 1982, BR Adriano Amaral, BR Gabriel Lima, BR Gabriel Lima, 1984, BR Ana Cardoso, PT Luísa Mota, PT Luísa Mota, 1984, PT Merlin Carpenter, UK Silvestre Pestana, PT Mauro Cerqueira, PT Dan Rees, UK Adriano Costa, BR Max Ruf, GR Carla Filipe, PT Daniel Steegmann Mangrané, ES Secundino Hernández, ES Philippe Van Snick, BG

top left: Adriano Amaral Luísa Mota Luísa Mota Visions dress (1 / 2), Adriano Amaral’s work encompasses an The imaginary of the Luísa Mota (Porto, 2012 examination of the nature of things 1984, lives in London) is articulated through Digital print on canvas, color – the stuff of the world;it’s substance, a crossingbetween extreme rurality, markers value, materiality and mutability. Blurring exotic mythologies and the absurd visions 219 × 156.5 cm the boundaries between object and of outer space films from the midtwentieth top right: space; composition and dispersion; painting century.The performative, photographic Gabriel Lima Untitled, 2017 and sculpture, Amaral creates site-specific and video works produced by the artist put Oil on canvas installations,responding to the spatial in action an unique andpersonal vocabulary 32 × 24 cm and architectural elements of the exhibition that is certainly hermetic and difficult bottom: space or gallery. to grasp, but whose radical idiosyncrasy Adriano Amaral Untitled, 2017 makes of Luísa Mota one the most original Neon light, acrylic Gabriel Lima artists of her generation. Her works are tubes, prosthetic rubber,cables, iron Gabriel Lima’s work addresses itself to populated byapparitions, of animated and sulphide, concrete, the formal qualities of painting, accepting inanimated beings, often humanoids or marble dust 9 × 130 × 13 cm the constraints of themedium whilst en human-like figures andpresences, who find gaging popular forms of aesthetic different modes of relating to the space, production beyond the realms of art with the objects and the individuals aroundthem. which itsresonates in order to test its traditional boundaries from within and with out. Whether utilizing devicesof display messages in social spaces or embracing now supposedly banal genres such as thedomestic- scaled landscape, Lima reaffirms the persistent vitality of painting as a medium precisely byworking with 104 / 105 and against the specificities of its limits. Chapter NY 4 / 1 / 2

Chapter NY 249 East Houston Street T +1 347 528 4397 [email protected] Nicole Russo New York, NY 10002 www.chapter-ny.com USA

Shown at LISTE: Represented Artists: Mira Dancy, 1979, US Sam Anderson, US Adam Gordon, US Ann Greene Kelly, 1988, US Cara Benedetto, US Paul Heyer, US Willa Nasatir, 1990, US Patrick Berran, US Ann Greene Kelly, US Milano Chow, US Willa Nasatir, US Mira Dancy, US

top left: Ann Greene Kelly’s sculptural practice Solo exhibitions include Yuz Foundation, Willa Nasatir Natural History #5, centers on an intimate and pragmatic Shanghai; Night Gallery, LA; Galerie 2017 approach to materials. Built from a intuitive Hussenot, Paris; and Chapter NY. She has C-print 81.28 × 61 cm bricolage of stone, cast objects, and been included in group shows at Simone Courtesy the Artist repurposed refuse, her sculptures present Subal, NY; Derek Eller, NY; and König and Chapter NY as both structural framework and body. Galerie, Berlin. top right: Fluctuating between architecture and Willa Nasatir builds layered photographic Mira Dancy Creeping Jenny, organism, the works underscore the artist’s compositions through analog processes. 2017 interest in the aqueous identity of public Beginning with a sculptural tableau Acrylic on canvas 55 9 × 81.3 cm and private space. Kelly lives and works in in the studio, Nasatir transforms these Courtesy the Artist Los Angeles, CA. She received her BFA elements to the point of the surreal. and Chapter NY from the Maryland Institute College of Art. Her current work focuses on the concep bottom: Solo exhibitions include “And Now”, tion and constructs of the “natural” world Ann Greene Kelly Untitled (bricked Dallas; Chapter NY, New York; and White as defined by science and language. chair with drain), Columns, New York. She has been included Nasatir lives and works in New York, NY, 2017 Plastic chairs, magic in group shows at David Zwirner, New having received her BFA from Cooper sculpt, steel mesh, York; Michael Benevento, LA; and White Union, NY. Solo exhibitions include The fabric, hydrocal aluminium and Flag Projects, St. Louis. Whitney Museum of Art, NY; Albright Knox pencil Mira Dancy’s work interrogates the role Art Gallery, Buffalo; Ghebaly Gallery, 82.6 × 55.8 × 68.6 cm Courtesy the Artist of women-as-subject across a range of LA; and Chapter NY. Nasatir has been in and Chapter NY media. Pulling from art history and popular cluded in group shows at The New Museum, culture, Dancy affords the feminine muse NY; Rosenwald-Wolf Gallery, Philadelphia; autonomy through language, narrative and Fourteen 30 Gallery, Portland. constructs, and a sense of tangible power. Dancy lives and works in New York, NY. She received her BFA from Bard College 106 / 107 and her MFA from Columbia University. Clearing 1 / 5 / 1

Clearing 311 Avenue Van Volxem 396 Johnson Avenue 43 East 78th Street Olivier Babin 1190 Brussels Brooklyn, NY 11206 New York, NY 10075 Lodovico Corsini Belgium USA USA www.c-l-e-a-r-i-n-g.com T +32 264 449 11 T +1 718 456 0396 T +1 212 585 4378 [email protected] [email protected] [email protected] Solo show at LISTE: Represented Artists: Jean-Marie Appriou, 1986, FR Harold Ancart, BE Aaron Garber-Maikovska, US Jean-Marie Appriou, FR Bruno Gironcoli, AT Korakrit Arunanondchai, TH Marguerite Humeau, FR Huma Bhabha, PK Zak Kitnick, US Sebastian Black, US Calvin Marcus, US Koenraad Dedobbeleer, BE Eduardo Paolozzi, UK Daniel Dewar & Marina Pinsky, RU Grégory Gicquel, UK/ FR Loïc Raguénès, FR Ryan Foerster, CA Lili Reynaud-Dewar, FR

Jean-Marie Appriou Jean-Marie Appriou (born 1986 in Brest, FR) The Piper, 2017 Cast aluminum, hand lives and works in Paris. blown glass, wire His work has been exhibited at Fondation 127 × 43 × 37 cm © Stan Narten Louis Vuitton, Paris; Palais de Tokyo, Courtesy of the artist Paris; Musée d’Art Moderne de la Ville de and CLEARING New York / Brussels Paris; Château de Versailles; David Roberts Art Foundation, London; Astrup Fearnley Museet, Oslo; Vienna Biennale; as well as Jan Kaps, Cologne; Simon Lee, New York; Eva Presenhuber, Zurich; and Clearing Brooklyn and Brussels. In 2019, he will have a Public Art Fund commission in New York City. Jean-Marie Appriou’s work is part of the collections of Fondation Louis Vuitton, Paris; the Zabludowicz Collection, London; and Vanhaerents Art Collection, Brussels.

108 / 109 Commonwealth and Council 0 / 9 / 2

Commonwealth and Council 3006 W 7TH ST STE 220 T +1 213 703 9077 Young Chung Los Angeles, CA 90005 M +1 917 952 3590 Kibum Kim USA [email protected] [email protected] www.commonwealthandcouncil.com

Solo show at LISTE: Represented Artists: Danielle Dean, 1982, US / UK Carmen Argote, MX Olga Koumoundouros, US Carolina Caycedo, US / UK Young Joon Kwak, US Beatriz Cortez, US Kang Seung Lee, KR Danielle Dean, US / UK Jennifer Moon, US Patricia Fernández, ES Gala Porras-Kim, CO EJ Hill, US Clarissa Tossin, BR Alice Könitz, DE

Danielle Dean Danielle Dean borrows and subverts and ruin are present simultaneously, She, 2017 Single-channel language and images from media, marketing, clumsily collapsing subjectivities and video, color, sound, and other modes of capitalist cultural markers / makers of identity. 5' 09" Edition of 3 + 2 AP production to examine how they shape and reinforce colonial power structures and Danielle Dean (b. 1982) is an Alabama- racist ideologies. Dean’s ‘She’ (2017) takes born, London-raised artist. She received her as its subject femininity (and feminism) BFA from Central Saint Martins and MFA both enabled and sold through digital plat from California Institute of the Arts. She has forms for distraction, DIY education, em been a fellow of the Whitney Independent powerment, and self-marketing /exploitation. Study Program and a resident at Floating graphics by turns reveal and hide Skowhegan, the Core Residency Program images and video clips: hair and wigs – and (Museum of Fine Arts, Houston), and their particular place in relation to black Rijksakademie (Amsterdam). Solo exhibitions womanhood – figure prominently, punctu include: Museum of Contemporary Art ating clips of natural disasters, laughing Detroit, Studio Museum, and Commonwealth babies, and audio from anti-Trump protests. and Council. Group exhibitions include: The cacophony of fragmentary quotations SFMOMA Open Space, Centre d’Art coaxes the viewer to synthesize meaning, Contemporain Genève, SculptureCenter although the only message ultimately is that (New York), Goethe-Institut Nigeria (Lagos), of materialism and consumption. The ac Hammer Museum (Los Angeles), and companying sculptures co-opt the point Tate Modern (London). Her new commis of sale process – cardboard assemblages sioned work will premiere in a forthcoming serving as disposable stand-ins for exhibition at Lafayette Anticipations- merchandise. Here, they advertise capital’s Fondation d’entreprise Galeries Lafayette logic of space – absorbing landscape (Paris) in June 2018. and distance into a nearly invisible system 110 / 111 of marketing and distribution. Revolution Crèvecœur 2 / 6 / 1

Crèvecœur 9 rue des Cascades 5–7 rue du Chevalier Roze T +33 954 573 126 Axel Dibie 75020 Paris 13002 Marseille [email protected] Alix Dionot-Morani France France www.galeriecrevecoeur.com

Shown at LISTE: Represented Artists: Julien Carreyn, 1973, FR Xavier Antin, FR Shana Moulton, US Nathaniel Mellors, 1974, UK Erica Baum, US Jorge Pedro Nuñez, VE Autumn Ramsey, 1976, US Julien Carreyn, FR Mick Peter, UK Than Hussein Clark, US Florian & Michael Quistrebert, FR Renaud Jerez, FR Autumn Ramsey, US Nathaniel Mellors, UK Louise Sartor, FR Ad Minoliti, AR

Autumn Ramsey Julien Carreyn (French, b. 1973), lives and Crèvecœur, Paris, FR; Park View, Phantom limb, 2014 Oil on canvas works in Paris. Recent solo and group Los Angeles, US; Rob Tufnell and Tanya 61 × 45 cm exhibitions include: Crèvecœur, Marseille Leighton, Cologne, DE; Bodega, New York, and Paris, FR; FRAC Champagne-Ardenne, US; What Pipeline, Detroit, US; FR; Musée Jean-Honoré Fragonard, Night Club, Chicago, US; Autumn Space, Grasse, FR; Museo Marino Marini, Florence, Chicago, US; Actual Size, Los Angeles, IT; Musée d’Art Moderne et Contemporain US; Julius Caesar, Chicago, US; The Green de Strasbourg, FR; Art Basel Miami Gallery, Milwaukee, US; among others. Beach, Positions w. Crèvecœur; Le Plateau / FRAC Ile de France, Paris, FR; CNEAI, Chatou, FR, among others.

Nathaniel Mellors (English, b. 1974) lives and works in Los Angeles. Recent solo exhibitions include: New Museum, New York, US; 57th Venice Biennial, Finnish Pavilion; Kiasma, Helsinki, FIN; Cobra Museum, Amstelveen, NL; The Box, Los Angeles, US; Hammer Museum, Los Angeles, US; Stigter Van Doesburg, Amsterdam, NL; Temple Bar Gallery, Dublin, IR; Baltimore Museum of Art, Baltimore, US; Malmö Konst hall, SWE; among others.

Autumn Ramsey (American, b. 1976) lives and works in Chicago, Illinois. Solo 112 / 113 and group exhibitions include: Galerie D’Alessandro 3 / 5 / 2

Bianca D’Alessandro Frederiksholms Kanal 28A T +45 229 943 01 [email protected] 1220 Copenhagen K www.biancadalessandro.com Denmark

Shown at LISTE: Represented Artists: Zoe Barcza, 1984, CA Zoe Barcza, CA Jean Marc Routhier, DK Rikard Thambert, 1988, SE Timothy Furey, IR Rikard Thambert, SE Amitai Romm, DK Lea von Wintzingerode, DE

Zoe Barcza Zoe Barcza (b. 1984 in Toronto, lives and Self-Portait as Michael Pitt (There works in Stockholm) graduated from is Poison in the Tap Städelschule, Frankfurt. Recent presenta Water) Acrylic, vinyl paint, tions of her work include Bonny Poon, collage on canvas Paris (solo); I Am Our Common Pronoun, 160 × 90 cm curated by Helga Christoffersen, Kunsthal Charlottenborg, Copenhagen, and SALTS, Basel; In Extenso, Clermont-Ferrand (solo); Team Gallery, New York; Cooper Cole, Toronto; Ghebaly Gallery, Los Angeles (solo); Shoot the Lobster, New York (solo). In 2018 the artist will have solo shows at Bianca D’Alessandro, Copenhagen, and Croy Nielsen, Vienna.

Rikard Thambert (b. 1988 in Stockholm, lives and works in Copenhagen) studied at the Royal Danish Academy of Fine Arts. Recent presentations of his work include Skovsnogen Skulpturpark, Herning; SØ, Copenhagen; Bianca D’Alessandro, Copenhagen (solo); Squash Club, Copenhagen; H. Bergdal, Malmö (solo).

114 / 115 de Bruijne 0 / 6 / 1

Ellen de Bruijne Projects Rozengracht 207A T +31 205 304 994 [email protected] Ellen de Bruijne 1016 LZ Amsterdam F +31 205 304 990 www.edbprojects.com Netherlands M +31 649 485 207

Solo show at LISTE: Represented Artists: Pauline Curnier Jardin, 1980, FR Kasper Akhøj, DK Zhana Ivanova, BG Lara Almarcegui, ES Suchan Kinoshita, JP Otto Berchem, US Klaas Kloosterboer, NL Linus Bill + Adrien Horni, CH Mauricio Limón de León, MX Ross Birrell, UK Erkka Nissinen, FI Pauline Boudry & Renate Maria Pask, UK Lorenz, CH / DE Susan Philipsz, UK Anne-Lise Coste, FR Falke Pisano, NL Pauline Curnier Jardin, FR L.A. Raeven, NL Jeremiah Day, US Thomas Rentmeister, DE Uta Eisenreich, DE Michael Smith, US Ksenia Galiaeva, RU Kubilay Mert Ural, TR Dora García, ES Marianne Vierø, DK

Pauline Curnier Through drawing, performance, music, and longing. Usually associated with femi Jardin The Resurrection installation, and film, Pauline Curnier Jardin ninity and passivity, she looks to pas- Puddle, 2015 (b. 1980, Pertuis, France) crafts fictional sion – traditionally opposed to “masculine” Crayon on paper 29 × 21 cm adventures full of chance occurrences and reason – as primary to sensations, wonders that nonetheless carry with them perceptions, and the subject’s – or object’s Pauline Curnier Jardin the potential for mishap or misfortune. – potential for action. More broadly, The Resurrection Through lighting, color, texture, costume, her work confounds the logic that divides Plot, 2015 Performance, 65min soundtrack, and props, she creates trans human and nonhuman, rationality Photo: Paula Court gressive, funny, and highly stylized and emotion, sacred and profane, ally and visual settings that owe more to theater enemy, masculine and feminine, showing than to conventional narrative cinema. instead how each is capable of interacting Curnier Jardin’s stories reveal a fascination and combining. with monsters, decorative objects, and animals, although her work expresses By blending the sound and meaning of a particular awareness of the roles women distinct words and mixing disparate ideas, have played in mythology, folklore, and characters, and environments, her work conventional narrative cinema, roles that serves as a receptacle for new kinds are commonly stereotyped as saint, of speech, new ways of using language, witch, mother, or mystic. and new kinds of meaning.

Curnier Jardin supports a generous, Text by Alise Upitis, MIT List Visual Center, intelligent, non-systematic vision of conti 2014 nuity between human and nonhuman bodies – humans consume dirt, cave walls dance, a pear is covered with hair. While humans take on animal qualities, 116 / 117 things take on human traits, such as love Donahue 3 / 8 / 3

Bridget Donahue 99 Bowery, 2nd Floor T +1 646 896 1368 [email protected] New York, NY 10002 M +1 646 750 8150 www.bridgetdonahue.nyc USA

Shown at LISTE: Represented Artists: Lynn Hershman Leeson, 1941, US Lisa Alvarado, US Sondra Perry, US Satoshi Kojima, 1979, JP Susan Cianciolo, US Jessi Reaves, US Lynn Hershman Leeson, US John Russell, UK Satoshi Kojima, JP Martine Syms, US Monique Mouton, US Mark Van Yetter, US

Satoshi Kojima Satoshi Kojima and Lynn Hershman unfamiliar to our world, however populated Last Dance, 2016 Oil on canvas Leeson present figures engaged in dynamics with recognizable objects of our contempo 180 × 220 cm internal to their artworks, yet estranged rary environment. Image copyright Satoshi Kojima from the audience. Kojima’s new oil paint Courtesy of the artist ings depict a reappearing cast of and Bridget Donahue, NYC characters in a pastel-hued landscape, setting the stage for Hershman Leeson’s characters in mixed media collages, paintings and drawings dating from 1958 to 1986. Stilted mechanical humans fill Lynn Hershman Leeson’s drawings, acting as early adapters to bionic and artificial intelligence. Leeson’s works on paper depict women as early manifestations of cyborgs with mechanical organs, prefiguring her ongoing technological constructions of the last three decades. Kojima, while born in Tokyo, resides in Dusseldorf. Streets and intersections of the metropolitan German layout structure his paintings, and the disjuncture between German and Japanese language feeds back into this painted world of posed characters who speak in a closed-circuit communication. A dialogue emerges from domestic interactions staged in the 118 / 119 future within depicted surroundings Dürst Britt & Mayhew 0 / 10 / 2

Dürst Britt & Mayhew Van Limburg Stirumstraat 47 T +31 704 443 639 Jaring Dürst Britt 2515 PB The Hague M +31 624 620 663 Alexander Mayhew Netherlands [email protected] www.durstbrittmayhew.com

Shown at LISTE: Represented Artists: Puck Verkade, 1987, NL Paul Beumer, NL Raúl Ortega Ayala, MX Wieske Wester, 1985, NL Alex Farrar, UK Pieter Paul Pothoven, NL Jacqueline de Jong, NL Sybren Renema, NL Lennart Lahuis, NL Puck Verkade, NL Alexandre Lavet, FR Wieske Wester, NL Joseph Montgomery, US

Wieske Wester Puck Verkade and Wieske Wester’s shown at various venues, such as Oyster #4, 2018 Pencil on paper presentation at LISTE forms a dialogue on Gemeentemuseum Den Haag, Museum 36 × 24 cm power structures, gender issues, Hilversum, Showroom MAMA in

Puck Verkade and stereotypes concerning the body and Rotterdam, Gasworks in London, and LOOP Bait, 2018 sexuality. in Barcelona. Her work is held in private production still Puck Verkade will show a sculptural bed, and public collections, including the AKZO in which she premieres her new video work Nobel Art Foundation in Amsterdam. on the theme of sexual consent. The walls Verkade lives and works in London, where of the booth will be covered in Wieske she has been selected as a resident artist Wester’s sensual paintings and drawings at Sarabande The Lee Alexander McQueen of bananas and oysters – motives often Foundation for 2017–2018. associated with fertility and procreation. Wieske Wester obtained her BFA from the Themes of dominance and aggression Royal Academy of Art in The Hague, after recur in both artists’ practices. While Wester which she was selected for De Ateliers is looking for inner forces and energies, in Amsterdam. In 2015 she graduated from Verkade is more interested in social con the HISK in Ghent. In 2017 she was structions and externalised behaviours that nominated for the Royal Prize for Contem have come to define our culture. porary Painting in Amsterdam. In 2018 she Nevertheless, according to Wester even is participating in group exhibitions at a painted image of an orange can portray CODA Museum in Apeldoorn, Netherlands a war and for Verkade humour is an and White Crypt, London. Her work is entry into the sticky political subjects that held in private and public collections, her work touches upon. including the Lisser Art Museum in Lisse, Puck Verkade received her BFA from Netherlands and the Ahold collection the Royal Academy of Art in The Hague and in Amsterdam. Wester lives and works in recently completed an MFA in Fine Art The Hague, Netherlands. 120 / 121 at Goldsmiths, London. Her work has been El Apartamento 1 / 7 / 2

El Apartamento Calle H esq. a 15, No. 313, T +53 7835 6019 [email protected] Christian Gundín Apto 3. Vedado M +53 5263 4112 [email protected] 10400 Havana M +53 5263 7351 www.artapartamento.com Cuba

Shown at LISTE: Represented Artists: Diana Fonseca, 1978, CU Juan Carlos Alom, CU jorge & larry, CU Reynier Leyva Novo, 1983, CU Lester Álvarez, CU Reynier Leyva Novo, CU Yaima Carrazana, CU Luis Enrique López-Chávez, CU Raúl Cordero, CU Yornel Martínez, CU Arlés Del Río, CU Adrián Melis, CU Leandro Feal, CU José Manuel Mesías, CU Diana Fonseca, CU Levi Orta, CU Flavio Garciandía, CU Víctor Piverno, CU Osvaldo González, CU Eduardo Ponjuán, CU Orestes Hernández, CU Ezequiel O. Suárez, CU

Reynier Leyva Novo In spite of the distances separating the much more incisive and ludic position. In A Happy Day FC No 11, 2016–2018 artistic works of Reynier Leyva Novo and the first place, he is interested in politics Ultrachrome imprint, Diana Fonseca, we can identify a and history; also the strategic point where Baryta paper 300 g 150 × 150 cm shared interest for the rewriting of reality, the first one modifies the second. From that Unique edition the aesthetic camouflage and the simu position of relativism and camouflage, are + 1 A / P lation within their work processes. This set set up his games with historical events, Diana Fonseca of resources emerges in different ways in world leaders and power. When Reynier Untitled, from Degradation series, both artists, however, it ends up intervenes the past, he does it with the cold 2018 incorporating them into a kind of imaginary blood of surgeons. Knowing the internal Outside painting of the city on wood of the real in which each person or event is dynamics of political discourse, he knows 80 × 80 cm always an improbable version of itself. where to touch to activate new senses in In the case of Diana, it is outstanding her History. Altering the narrative is his way of taste for restructuring the everyday events. resisting the other simulation: the lie Hence her production, extremely lyrical, inherent to all political power. can also be understood as generator of Committed to the notions of rewriting and possible fictions. Fonseca transmutes the reinventing, both artists return to the simulation in truth, for that reason her work reality-fiction binomial in art. With this, in does not lie or hide anything. On the addition, they transcend the space of the contrary, it reveals the emptiness and aesthetic to enter one of the main conflicts nonsense of a unique story as physical alibi of human thought of all times: the truth of of the real. The acts of rewriting and the real in its deepest sense. symbolic redimensioning appear in the work of this artist as minimal gestures, gestures that point to the existence of new routes she is determined to explore. Novo, on the other hand, assumes the 122 / 123 processes of erasure and simulation from a Emalin 0 / 10 / 6

Emalin Unit 4 Huntingdon Estate, M +44 797 275 3664 [email protected] Leopold Thun Bethnal Green Rd www.emalin.co.uk Angelina Volk London E1 6JU United Kingdom

Solo show at LISTE: Represented Artists: Augustas Serapinas, 1990, LT Evgeny Antufiev, RU Kembra Pfahler, US Alvaro Barrington, US Megan Plunkett, US Nicholas Cheveldave, CA Augustas Serapinas, LT Athena Papadopoulos, CA

For all three images: Augustas Serapinas (b. 1990 in Vilnius, fragments. These works reanimate the Vienkiemis, Mugūnai village Lithuania. Lives and works in Vilnius) forgotten and dilapidated Vienkiemis: Photos by studied at the Vilnius Academy of Arts. outlying privately-owned sheds built in the Augustas Serapinas Exhibitions include ‘Blue Pen’, David Dale 1920–30s, found across rural parts Gallery (Glasgow, UK. 2018); ‘Give Up of Lithuania. Since joining the EU in 2004, The Ghost’, Baltic Triennial 13 (Vilnius, LT; Lithuania experienced a continuous stream Tallinn, EE; Riga, LV. 2018); ‘Everything of ever larger segments of the population Was Forever, Until it Was No More’, emigrating to Western European countries RIBOCA1 Riga Biennial of Contemporary Art or urban centres in pursuit of economic op- (Riga, LV. 2018); ‘How To Live Together’, portunities. As a result, numerous Vienkiemis Kunsthalle Wien (Vienna, AT. 2017); that until recently still served a multi- ‘Housewarming’, Emalin (London, UK. 2016); tude of purposes for local families – residen 6th Moscow Biennale of Contemporary Art, tial, agricultural or as storage – have since (Moscow, RU. 2015). deteriorated as a result of disuse. Threatened by gradual decomposition or Serapinas’ practice operates outside demolition, Serapinas acquired three dis of the conventional artist studio and often appearing simple-roofed structures. Before takes the shape of site-specific instal dismantling them, the last window lations, architectural interventions and reflections of the surroundings were photo performative actions. At stake is the graphically captured and then reproduced reimagining and restructuring of socially on the disassembled windowpanes – engaged spaces in order to highlight collaborating with local workers skilled in and complicate the assumptions that pre glass work, these scenes are eternalised cede them. by means of glass staining. At LISTE, Serapinas presents a group of sculptures constituted of a series of tinted 124 / 125 windows and deconstructed building Ermes-Ermes 0 / 2 / 1

Ermes-Ermes Linke Wienzeile 36 / 1C T +39 339 641 9316 [email protected] Ilaria Leoni 1060 Vienna www.ermes-ermes.com Austria

Shown at LISTE: Represented Artists: Gina Folly, 1983, CH Nick Bastis, US Andrea Kvas, IT Bleta Jahaj, 1981, XK Jakub Czyszczon, PL Diego Marcon, IT Gina Folly, CH Nicola Pecoraro, IT Bleta Jahaj, XK Samara Scott, UK

Bleta Jahaj Gina Folly (b.1983 in Zurich, lives Bleta Jahaj (b.1981 in Prishtina, lives Repetition lV, Glashemet Skyblue and works in Basel) studied at the ZHdK and works in Zurich) studied at Central II, 2017 in Zurich. Saint Martins, UK and ZHdK in Zurich. Glass 56 cm Folly’s work investigates the effects The main interest of Bleta is the physical of economic, political,cultural and social body. The body as a static and the Gina Folly Basic Needs X–VX, changes on the everyday realities, habits, body in movement. The physical body as 2017 and self-conception of the individual. sculpture, as dummy, projection, imprint Cardboard box, door lock, air filter, She subjects objects and symbols to mini and mould. Body and bodily memories and mini projector mal contextual shifts and critically the psychological idea thereof. Bleta’s Video looped thematizes the promises that our striving paintings create a juxtaposition of different for greater productivity and naturalness body movements: the gentle, almost in an increasingly technologized environment fragile movement of her wrist when polish holds out. The domestication and imitation ing the nails and the broad, more industrious of natural phenomena play an important role movements of her entire body when for Folly. As a result, everyday objects painting with a bigger brush. These two and situations as well as fauna and flora different processes are seen by the artist as occur repeatedly in her works as motifs embodiments respectively of female and or material and looking for a confrontation male traits, and are placed together in both between humans and their private contrast and composition, the friction and public surrounding. These relations between the two elements resonating and exchanges are emphasized in the way within the works. Folly uses, alters and mixes industrial production processes with artisanal or even homemade techniques.

126 / 127 Friedrich 3 / 6 / 1

Lars Friedrich Kantstrasse 154a T +49 303 101 4267 [email protected] Inka Meißner 10623 Berlin M +49 151 641 9709 7 www.larsfriedrich.net Germany

Shown at LISTE: Represented Artists: Flora Klein, 1988, CH LaKela Brown, US Park McArthur, US Ilya Lipkin, 1983, US Nicola Brunnhuber, AU Georgie Nettell, UK Park McArthur, 1984, US Nicolás Guagnini, AR Sam Pulitzer, US Alexander Hempel, DE Georgia Sagri, GR Nora Kapfer, DE Nolan Simon, US Flora Klein, CH Miriam Visaczki, DE Anita Leisz, AU Peter Wächtler, DE Ilya Lipkin, US Min Yoon, KR Friedrich Lissmann, DE Jutta Zimmermann, DE Mathieu Malouf, CA

Flora Klein Lars Friedrich gallery began its program in Ilya Lipkin lives and works in Berlin. He has Ohne Titel (gelb), 2017 2011. This year Lars Friedrich is participating recently shown at Svetlana, New York Acryl auf Leinwand in LISTE with works from Flora Klein, in 2018, at kim?Contemporary Art Center, 80 × 75 cm Ilya Lipkin and Park McArthur. All three Riga in 2017 and at nousmoules, Vienna Ilya Lipkin artist have exhibited with the gallery over in 2016. His works are published in Double, Untitled, 2017 Analog b / w print on the last several years. Texte Zur Kunst, Numéro and Starship. Baryt 24 × 20.6 cm Edition 1 / 3 + 1 AP Flora Klein lives and works in Berlin. Her first show with the gallery was in September 2017. She has recently shown at Galerie Max Mayer, Düsseldorf and Oracle, Berlin in 2016. Further solo shows include The Green Gallery West, Milwaukee in 2014 and Piper Keys, London in 2013.

Park McArthur lives and works in New York City. Her works were recently exhibited at Kunsthalle Bern and Carnegie Museum of Art, Pittsburg in 2018, The Whitney Biennial, MIT List Visual Art Center and Kunsthalle Basel in 2017 and at the Bienal de São Paulo in 2016. In 2018 she will have a solo exhibition at MoMA New York.

128 / 129 Frutta 2 / 5 / 1

Frutta 9 Duke Street Via dei Salumi, 53 T +39 064 550 8934 James Gardner G4 OUL Glasgow 00153 Rome [email protected] Scotland Italy www.fruttagallery.com

Shown at LISTE: Represented Artists: Ditte Gantriis, 1980, DE Gabriele De Santis, IT Jacopo Miliani, IT Jacopo Miliani, 1979, IT Stephen Felton, US Alek O., AR Ditte Gantriis, DE Santo Tolone, IT Marco Giordano, IT Yonatan Vinitsky, IL Lauren Keeley, UK

Ditte Gantriis Jacopo Miliani’s practice focuses on the watercolour paintings of dark night scenes Sexual Feeling, 2016 Installation View at creation of different forms of language in will be printed on heavy velvet, framed Frutta, Rome response to images elaborated by the spec as a canvas. They will represent scenes that Courtesy of Frutta, Glasgow / Rome tator. Questioning if a non-representative seem exotic but that evokes something Photo: Roberto Apa language could be possible, he uses image slightly generic. The frames, made of iron

Jacopo Miliani and figuration. The sculptural work and copper, will be decorated with leaves, EasyAs…Or Simple ‘Wrong?’, shows an action of paring two coils, curls in a very exaggerated manner. As…, 2014 Installation View at materials – mirror, marble – associating Her practice, is not just about calling Frutta, Rome different shapes. The basic level of langua out a fake aura. Rather it seeks to activate Courtesy of Frutta, Glasgow / Rome ges, expressed through objects, evokes the original attraction, strongly felt in Photo: Roberto Apa images that can not be controlled. It leads our mediated culture, towards a world of to the impossibility of distinguishing real sensuous pleasure. between right and wrong and makes the reality of the image impossible to define. However, there are many realities and as many viewers, whose gaze and body can be reflected in the mirrors, enlightened by the theatrical light, which will be the only lighting system in the booth and which effect will be amplified by the constructed darkened ceiling.

Ditte Gantriis’ practice examines the yearn ing of contemporary culture for authentic experiences, a demand met by dressed up mass-produced products and generic 130 / 131 design masquerading as handmade crafts: Gaga 3 / 1 / 1

Gaga Av. Amsterdam 123-B 2228 W 7th Street [email protected] Fernando Mesta 06100 Mexico City Los Angeles, CA 90057 www.houseofgaga.com José Rojas Mexico USA Gabriela Magaña T +1 556 381 1219 T +1 213 908 5033

Solo show at LISTE: Represented Artists: Danny McDonald, 1971, US Marc Camille Chaimowicz, FR Sam Pulitzer, US Bernadette Corporation, US Jay Chung & Q Takeki Maeda, US, JP Nicolas Ceccaldi, CA José Rojas, MX Juan José Gurrola, MX Guillermo Santamarina, MX Karl Holmqvist, SE Josef Strau, AT Alex Hubbard, US Emily Sundblad, SE Nina Könnemann, DE Vivian Suter, AR Mathieu Malouf, CA Anna Uddenberg, SE Danny McDonald, US Antek Walczak, US Fernando Palma, MX

Danny McDonald Danny McDonald (b. Los Angeles, CA 1971) Puddle, pothole, portal at SculptureCenter, Political Junk Food, 2017 is an artist living and working in New York New York (2014), Video Container: Potato chip tin, City. His practice delves in the fields of Museum as Method at MoCA Miami (2014), plastic potato chips, painted plastic hand sculpture, installation and video manifesting Empire State. New York Art Now at Palazzo and head, wig hair, tragicomic assemblages of everyday life delle Esposizioni, Rome (2013), and the 2010 printed cardboard hat, pedestal and the commodization of the discourses of Whitney Biennial, New York. 30.5 × 30.5 × 68.6 cm art history. Plinth Dimensions: 33 × 33 × 94 cm He is a former director of the legendary American Fine Arts gallery in New York and a founding member of the influential collective Art Club 2000, whose main purpose was that of disclosing the corpo rate infrastructures of pop culture and fashion.

Recent solo exhibitions include House of Gaga, Los Angeles (2017), Kölnischer Kunstverein Cologne, Germany (2017), Kunsthalle Bern and Kunsthaus Glarus, Switzerland (2017), Migros Museum für Gegenwartskunst, Zurich, Switzerland (2015), Maccarone, New York (2015), House of Gaga, Mexico City (2014), Cabinet Gallery, London (2013), OKO Gallery, NY (2012) and Isabella Bortolozzi, Berlin (2010). 132 / 133 Notable recent group exhibitions include Gaudel de Stampa 2 / 3 / 1

Gaudel de Stampa 49, quai des Grands Augustins T +33 140 213 738 [email protected] Denis Gaudel 75006 Paris M +33 619 555 369 www.gaudeldestampa.fr Rañy Gaudel France

Shown at LISTE: Represented Artists: Christophe de Rohan Chabot, FR Gijs Milius, 1985, NL Hildegarde Duane & Andrea Romano, IT Christophe de Rohan Chabot, 1986, FR David Lamelas, US Michael Van den Abeele, BL Ida Ekblad, NO Lina Viste Grønli, NO Samuel Jeffery, UK Jessica Warboys, UK Emil Michael Klein, CH Camilla Wills, UK Gijs Milius, NL Morten Norbye Halvorsen, NO

Gijs Milius Gijs Milius born in 1985, Utrech (NL). Upcoming group presentations: De Zonderling, 2017 He works and lives in Brussels. Recent ‘A Study In Scarlet’, Le Plateau, Paris Oil, wax, pastel and solo presentations include: ‘Le long des and Treize, Paris. oil stick on paper 59.5 × 52 cm Raduses’, Catherine Bastide, Marseille; ‘gezelligheidsvereniging de Bovenkamer’, Christophe de Rohan Chabot Mieke van Schaijk, Hertogenbosch; a (michael_myers_ ‘Fact & Life’, Gaudel de Stampa, Paris. halloween_2_mask_ by_rob_zombie), Recent group presentations include: 2017 ‘Oh les beaux jours!’, Biennale 9, Centre Glass, plexiglass, print, LED culturel d’Ottignies, Louvain-la-Neuve; (plexisglass: ‘Resurgence’, espace 251 Nord, Liege. 185 × 80 cm; LED: 500 cm) 185 × 500 cm Christophe de Rohan Chabot born in 1985, Paris (FR). He lives and works be tween Paris and Berlin. Recent solo presentations include: ‘Untitled («spiaggia dell’isola piana»)’, Gärtnergasse, Vienna ; ‘Horror_Clown’, Gaudel de Stampa, Paris ; ‘(séance)’, with Willem Oorebeek, Shanaynay, Paris; ‘Exile’, Christophe de Rohan Chabot, Exile gallery, Berlin. Recent group presentations include: ‘Dead end Galaxies’, Exile gallery & Polansky gallery, Berlin, Prague; ‘Gaudel de Stampa, group show’, Gaudel de Stampa. Paris; ‘Something stronger than me’, Wiels, Brussels. 134 / 135 Gianni Manhattan 0 / 10 / 8

Gianni Manhattan Wassergasse 14 T +43 660 296 2288 [email protected] Laura Windhager 1030 Vienna www.giannimanhattan.com Austria

Solo show at LISTE: Represented Artists: Zsófia Keresztes, 1985, HU Nils Alix-Tabeling, FR Barbara Kapusta, AT Marina Faust, AT Zsófia Keresztes, HU Matthieu Haberard, FR Simon Mathers, UK Sebastian Jefford, UK

Zsófia Keresztes Zsófia Keresztes (b. 1985 in Budapest, The results of this overstimulated bore- Fountain, 2017 Glass mosaic, Hungary) makes avatars. Her monuments dom fascinate Keresztes – Her avatars styrofoam, grout, to digital glitches are speculations on how inhabit space, waiting, all drive and desire thread, copper 110 × 110 × 230 cm the real world extends into virtuality. but essentially to no avail. Algorithms Keresztes treats the virtual as something are programmed to predict the next steps Zsófia Keresztes My Dearest Enemy, that is “as if” it was real, establishing but without the promise of a wholesome 2018 scenarios for how digital infestation be future. Her characters are endlessly Styrofoam, glass mosaic, grout, glue comes incarnated, how algorithms and repeating algorithms, feeding off their pre 134 × 126 × 60 cm digital avatars manifest themselves in the programed desire and inexhaustible world and cannibalise sensation and feedback loops. perception.

Her avatars are the by-product of lonely dinners in front of a computer, surrounded by a virtual and augmented reality and the narcissism of social media, the constant bombardment of images, desires, the Tantalos promise of fulfilment that is never redeemed.

Keresztes addresses a culture that is obsessed with eradicating boredom, as if it were a global poverty, and replacing it with a peculiar modern form of active idleness oozing from our glowing screens, being overstimulated but existentially 136 / 137 bored. Ginerva Gambino 0 / 10 / 10

Ginerva Gambino Kyffhäuserstr. 31 M +49 176 459 146 00 [email protected] Laura Henseler 50674 Cologne www.ginervagambino.com Germany

Solo show at LISTE: Represented Artists: Alex Wissel, 1983, DE Simone Gilges, DE India Lawrence, US Marcus Herse, US Alex Wissel, DE

Alex Wissel Alex Wissel (b.1983 in Aschaffenburg) relation to one another. In his drawings, The grace of a gesture, 2016 lives and works in Düsseldorf and Munich. Alex Wissel combines his research with Coloured pencil on He studied at Kunstakademie Düsseldorf scenes from the film. They can be read as paper 153 × 103 cm and at École nationale supérieure des humorous, alternative writing of (art) (framed) beaux-arts de Lyon. Wissel is the initiator history. The web series Rheingold, another Courtesy of the gallery of numerous community projects such as collaboration with Jan Bonny, was ‘Oktoberbar’ (2010) and ‘Single-Club’ recently produced with Volksbühne Berlin. (2011–12). The story of the latter was later Wissel’s work has been shown at documented as well as fictionalized Kestnergesellschaft, Hannover (2017); in the eponymous film (2015). Wissel has Museum Abteiberg, Mönchengladbach realized this and several other cinematic (2017); Kunstverein für die Rheinlande projects together with film director und Westfalen, Düsseldorf (2017); Neuer Jan Bonny, in which he also sometimes Aachener Kunstverein, Aachen (2016); appears as an actor. Mumok, Vienna (2015); New Theater, Berlin The works presented at LISTE belong to (2014); Harburger Bahnhof, Hamburg an ongoing series called ‘Rheingold’. (2014); and Center, Berlin (2011). Last year Rheingold takes the life story of former art he received the Kulturförderpreis des consultant Helge Achenbach as frame Landes Nordrhein-Westfalen and the studio work to craft a social satire about art in grant of the Kölnischer Kunstverein times of neoliberal transformation. (Cologne). The now tried and convicted consultant had increased his commission by ex changing Dollar signs for Euros, forged documents that he referred to in the trial as ‘collages’. The work on Rheingold is divided into two artistic processes – draw 138 / 139 ing and film – which run parallel and in Green Art 2 / 2 / 2

Green Art Gallery Al quoz 1, street 8, T +971 434 693 05 [email protected] Yasmin Atassi Alserkal Avenue, unit 28 www.gagallery.com 25711 Dubai United Arab Emirates

Shown at LISTE: Represented Artists: Hera Büyüktaşçıyan, 1984, TR Nazgol Ansarinia, IR Chaouki Choukini, FR Maryam Hoseini, 1988, IR Kamrooz Aram, IR Shadi Habib Allah, PS Jaber Al Azmeh, SY Maryam Hoseini, IR Alessandro Balteo-Yazbeck, VE Ana Mazzei, BR Zsolt Bodoni, HU Seher Shah, US Hera Büyüktaşçıyan, TR Hale Tenger, TR

Maryam Hoseini For LISTE 2018, Green Art Gallery production, labour, destruction and Women With Long Tails I, 2018 presents a dialogue between two artists invisibility, all through the dual entities of Acrylic, ink and within the same generation Hera marble and water – two elements that, pencil on wood panel, latex paint on Büyüktaşçıyan (b. 1984, Istanbul, Turkey) for the artist, are beyond time. the wall and Maryam Hoseini (b.1988, Tehran, Maryam Hoseini captures empty historical 60.7 × 45.7 cm, overall dimensions Iran). Using different media in their work, echoes as bodies walk among the literal variable both artists consider themselves as and figurative, the visible and invisible ruins

Hera Büyüktaşçıyan ‘storytellers’, weaving together various of objects and architectures. Reflecting If the Wind Will Not histories with contemporary concerns. on her experiences of Iran and its homo Serve, Take the Oars, 2017 Much of Büyüktaşçıyan’s work is defined social atmosphere, where women may Bronze and wood by an architectural and anthropological only socialize with their own gender, Hoseini dimensions variable Photo: approach, and she often favours rethinks and restages these scenes in Angela von Brill site-specific installations inspired by the her work, in which only women are depict memories found within a place. She exam ed. In the context of the censored female ines the way in which virtual spaces figure, Hoseini presents her subjects operate in relation to the physical, and how as nude, cast simultaneously as unrealisti fragments of time and memory can cally flattened diagrams of the human be unearthed, restructured and woven body, and hyperrealistic disembodied limbs together to bring to life a forgotten aspect covered in hair. of time and history. As ever, she also touches on larger issues of geopolitics, culture and ongoing change. Büyüktaşçıyan also probes how memories of a space are shaped by waves of power throughout centuries. She brings together people, geographies and timelines 140 / 141 in history to link themes of power, Gunn 1 / 3 / 1

Dan Gunn London M +49 174 246 7251 [email protected] United Kingdom www.dangunngallery.com

Solo show at LISTE: Represented Artists: Vaginal Davis, 1969, US Paulo Bruscky, BR Musa paradisiaca, PT Alessio delli Castelli, IT Alexandra Navratil, CH Vaginal Davis, US Tracey Rose, ZA Tamar Guimarães, BR Michael Smith, US Ryan McLaughlin, US

Vaginal Davis Vaginal Davis – new paintings and videos performance madness to video, starring Book of Salma and Suvad, 2017 from the 80s and 90s in various productions that include ‘Dot’ Mixed media on (1994), her tribute to Dorothy Parker’s paper 27.9 × 21.4 cm The work of drag superstar Vaginal Creme acerbic wit and alcoholism; ‘VooDoo Courtesy Dan Gunn Davis, or, as she sometimes prefers to Williamson: The Dona of Dance’ (1995), her Gallery be called, Dr. Davis, spans several cultural celebration of modern dance and its production genres. It also appropriates, doyennes; and ‘Designy Living’ (1995), a terroristically, both dominant culture and tribute to Noel Coward’s ‘Design for Living’ different subcultural movements. Davis first and Godard’s ‘Masculine et Feminine’. rose to prominence in the L.A. punk scene through her infamous zine ‘Fertile According to Davis’s own self-generated Latoya Jackson’ and through her performan legend, her existence is the result of ces at punk shows with her Supremes-like an illicit encounter between her then forty- backup singers, the Afro Sisters. ‘Fertile five-year-old African American mother and Latoya Jackson’s first incarnation was as her then twenty-one-year-old Mexican a print zine that presented scandalous American father. Davis has often reported celebrity gossip. The zine was reminiscent that her parents only met once, when of ‘Hollywood Babylon’, Kenneth Anger’s she was conceived under a table during a two-volume tell-all history of the movie Ray Charles concert at the Hollywood industry and the star system’s degeneracy. Palladium in the early 1960s. The hand-stapled zine eventually evolved into a video magazine. At the same time as Taken from ‘The White to Be Angry’: the zine became a global subcultural Vaginal Davis’s Terrorist Drag’, happening, Davis’s performances in and José Esteban Muñoz around the L.A. punk scene, both with ‘Social Text’, No. 52 / 53, Queer Transexions the Afro Sisters and solo, became semi- of Race, Nation, and Gender. 142 / 143 legendary. She went on to translate her (Autumn–Winter, 1997), pp. 80–103. Gypsum 1 / 6 / 4

Gypsum Gallery 5 Ibrahim Naguib St, M +20 100 100 6363 [email protected] Aleya Hamza Apt. 2, Ground floor www.gypsumgallery.com 11519 Cairo Egypt

Shown at LISTE: Represented Artists: Ahmed Badry, 1979, EG Tamara Al Samerreai, LB / KU Maha Maamoun, EG Taha Belal, 1984, EG Doa Aly, EG Basim Magdy, EG / CH Setareh Shahbazi, 1978, DE Ahmed Badry, EG Mona Marzouk, EG Taha Belal, EG Ahmed Morsi, EG / US Gözde İlkin, TR Setareh Shahbazi, DE Mahmoud Khaled, EG

Ahmed Badry Gypsum presents the work of three a culture of improvised troubleshooting. Untitled, 2017 Projection of artists: Setareh Shahbazi, Ahmed Badry The objects act as monuments of thrift, animated found and Taha Belal. Setareh Shahbazi’s leading to a pattern of language that could object Courtesy of the artist practice defies categorization. Her projects exist outside of the prevailing economic and Gypsum Gallery often begin with photographs: images from conditions. private collections, snapshots taken by the artist, family photos, film stills, postcards Taha Belal’s practice is labor-intensive, and newspaper clippings but the out- delicate and spectral. He attempts to come seldom resembles the source material. subvert the glib authority and pervasiveness Using digital manipulation, she breaks of common, mass-produced, disposable down images into visual components, objects, highlighting their constructedness. and seamlessly reorders what she extracts An alteration in the familiar book object into new compositions that are at once can act a destructive formal investigation familiar and strange. Muddling our sense of of the language and images exchanged in time and place, Shahbazi’s work suggests our daily life and how they can come the possibility of infinite narrative to exist and be seen as more than one thing variations. at once. Belal conflates the daily life of an office job with an art practice that draws Ahmed Badry’s body of sculptures and from the detail of visual and physical cues drawings act as a proposition for objects surrounding him. Through acts of erasure that strive to recover usefulness. The artist and layering, he explores the dimensionality makes use of impractical scales and of these objects and signifiers to emphasize non-durable materials to rebuild bodies of an effect of alienation. everyday instruments. Using found images as models or his own design, he combines the assumed functions of some and 144 / 145 erases those of others, in reference to High Art 3 / 8 / 1

High Art 1, rue Fromentin M +33 652 033 515 [email protected] Romain Chenais 75009 Paris www.highart.fr Jason Hwang France Philippe Joppin

Shown at LISTE: Represented Artists: Matt Copson, 1992, UK Olga Balema, UA Bradley Kronz, US Cooper Jacoby, 1989, US Matt Copson, UK Mélanie Matranga, FR Mélanie Matranga, 1985, FR Keith Farquhar, UK Alan Michael, UK Aaron Garber-Maikovska, US Pentti Monkkonen, US Tom Humphreys, UK John Russell, UK Cooper Jacoby, US Max Hooper Schneider, US Valerie Keane, US Dena Yago, US Nina Könnemann, DE Nathan Zeidman, US

Cooper Jacoby The congruence in the works can (Baden-Baden), Freedman Fitzpatrick Passives, 2017 Epoxy resin, be found in the collective use of narrative Gallery (Los Angeles), KW Institute (Berlin), fiberglass, graphite, structures and an interest in how identities Mathew Gallery (Berlin) polycarbonate, silica, media player, are formed and distributed via these speaker, and hold structures. From Matt Copson’s use of medi Matt Copson (b. 1992, Oxford, UK) music 46 × 46 × 76 cm eval allegory to form effigies of irreconcil Recent solo shows include, (forthcoming) Photo courtesy of able contemporaneity to Cooper Fondation Louis Vuitton (Paris), Reading LUMA Foundation & Swiss Institute Jacoby’s analysis of mythological symbols International with Alastair Mackinven to examine infrastructures of circulation to (Reading), The Magazine at the Serpentine Mélanie Matranga’s employment of Sackler Gallery (London), Tramps (London), avant-garde filmmaking strategies to access Vilma Gold (London), Bloomberg contemporary social habits and attitudes Contemporaries (London) each artist has created a specific methodology to understand and interpret the various ways in which our selves are manifested and diffused.

Mélanie Matranga (b. 1985, Marseille, FR) Recent solo shows include, Centre d’edition Comptemporaines (Geneva), Palais de Tokyo (Paris), Karma International (Zurich), Indipendenza Roma (Rome), Frieze Artist Award (London), Prix Fondation Ricard (Paris)

Cooper Jacoby (b. 1989, New Jersey, USA) Recent solos shows include, Luma 146 / 147 Westbau (Zurich), Kunsthalle Baden-Baden Hopkinson Mossman -1 / 2 / 1

Hopkinson Mossman Level 1, 19 Putiki St Level 2, 22 Garrett St [email protected] Sarah Hopkinson 1021 Auckland 6011 Wellington www.hopkinsonmossman.com Danae Mossman New Zealand New Zealand T +64 9358 0855 T +64 4213 9837

Shown at LISTE: Represented Artists: Ruth Buchanan, 1980, NZ / DE Nick Austin, NZ Emma McIntyre, NZ Fiona Connor, 1981, NZ / US Ruth Buchanan, NZ / DE Dane Mitchell, NZ Oscar Enberg, 1988, NZ / DE Fiona Connor, NZ / US Tahi Moore, NZ Bill Culbert, NZ / FR Oliver Perkins, NZ / UK Oscar Enberg, NZ / DE Peter Robinson, NZ Nicola Farquhar, NZ Renee So, AU / HK Milli Jannides, NZ / PT Luke Willis Thompson, NZ / UK Nicholas Mangan, AU

Fiona Connor Ruth Buchanan (1980, New Plymouth, Oscar Enberg (1988, Christchurch) lives Untitled #1, 2017 Cast resin and green Te Ati Awa / Taranaki) lives and works in and works in Berlin. Recent solo exhibitions paint Berlin. She gained her BFA from the include: ‘Taste & Power, a prologue’, 2080 × 1120 × 25 mm Elam School of Fine Arts, Auckland, in 2002; Hopkinson Mossman, Auckland (2018); her MA (Fine Art) from the Piet Zwart ‘Der Amethyst, Die Opale, Die Agamemnon’ Institute, Rotterdam, in 2007. Recent solo (curated by Maurin Dietrich), Frankfurt exhibitions include: “Bad Visual Systems” am Main, Berlin (2017). In 2017 Enberg pre (with Judith Hopf and Marianne Wex), sented ‘Red Beryl and crocodile, Opal Adam Art Gallery, Wellington (2016); ‘Or, a (Irrational Exuberance in the White Man’s camera, Or, a building, Or, a screen’, Hole)’ at Art Basel Statements and Kunstverein Harburger Bahnhof, Hamburg was awarded the ars viva 2018 prize, that (2015); ‘Or a building’, Badischer Kunst included exhibitions at Kunstverein München verein, Karlsruhe (2015). and at S.M.A.K in Gent, Belgium.

Fiona Connor (1982, Auckland) lives and works in Los Angeles. She competed her BFA / BA at University of Auckland’s Elam School of Fine Arts in 2004 and her MFA at California Institute of the Arts (CalArts) (2011). Recent solo exhibitions include: ‘Community Noticeboard and Monochromes’, Stuart Shave Modern Art, London (2018); ‘Closed Down Clubs’, MAK Centre, Los Angeles (2018).

148 / 149 Instituto De Visión 0 / 9 / 6

Instituto De Visión Carrera 23 # 76–74 T +57 1322 6703 [email protected] Beatriz López 111 2 11 Bogotá www.institutodevision.com Karen Abreu Colombia Omayra Alvarado

Shown at LISTE: Represented Artists: Carmen Argote, 1981, MX Carmen Argote, MX Wilson Díaz, CO Carolina Caycedo, 1978, UK Luis Ernesto Arocha, CO Sebastián Fierro, CO Felipe Arturo, CO Fernell Franco, CO Alberto Baraya, CO Karlo Andrei Ibarra, PR Alicia Barney, CO Sandra Llano-Mejía, CO Otto Berchem, US Ana María Millán, CO Tania Candiani, MX Beltrán Obregón, ES Pia Camil, MX Mazenett Quiroga, CO Miguel Ángel Cárdenas, CO Ana Roldán, MX Carolina Caycedo, UK Manuela Viera-Gallo, IT Nicolás Consuegra, CO Santiago Reyes Villaveces, CO Marlon de Azambuja, BR

Carmen Argote Instituto de Visión is a gallery dedicated Carmen Argote, who also lives and works Ballroom Marfa, 2017 to experimentation and exchange. in Los Angeles, explore the intimate legacies Acrylic on muslim Our program is focused on conceptual of her Mexican original traditions and fabric Variable dimensions practices that propose micro-revolutions, nationality, in contrast with the necessity original perspectives and personal eco of a constant creation of a new reality.

Carolina Caycedo systems inserted into a specific context. The pieces from Carolina Caycedo called Cosmotarrafa Rio The poetics that inspire us originate in ‘Cosmotarrafas’, a series of hanging sculp Ribeira, 2016 Hand dyed artisanal interchange, tropicality, decoding, tures assembled with handmade fishing fishing net, lead cotidianity, archives and historic revision. nets and other objects, collected during a weights, 2 nylon fishing nets with field research in different riverine foam floaters, For this edition of LISTE, IV is pleased to communities affected by the privatization sandals, lycra trousers, moss, present a two artists project that deals with of waters in Colombia and Brazil, can be string, bottle with oil relevant concepts such as community, read as the cosmos of the person she 300 × 120 × 45cm human relations, mythical thinking in contra met and their stories of dispossession and position with other ideas that belong to resistance, operating as a connector be the fundaments of modernity, like architec tween community involvement and studio ture and social control. practice. On the other hand Carmen Argote´s artistic Both Carmen Argote (Mexico, 1981) and process has lead to a very personal Carolina Caycedo (London, 1978) have lived investigation, using the process of inhabiting the exile and have taken these experiences as a way to understand her own and her as a material for their practice. For Carolina, parent´s own immigrant experience as who in actuality lives in Los Angeles, it is it relates to the interaction between sites in important to unveil the crisis permanently Guadalajara and Los Angeles and the suffered by communities that resist to notion of home. the violent effects of progress and modern 150 / 151 ization in their territories and cosmologies. Ivan 0 / 3 / 1

Ivan Dimitrie Grecescu 13 T +40 214 100 139 [email protected] Marian Ivan 050598 Bucharest M +40 721 261 242 www.ivangallery.com Romania

Shown at LISTE: Represented Artists: Cristina David, 1979, RO Sandor Bartha, HU Lia Perjovschi, RO Ștefan Sava, 1982, RO Anca Benera & Arnold Estefán, RO & HU Ștefan Sava, RO Jaro Varga, 1982, SK Horia Bernea, RO Ross Taylor, UK Geta Brătescu, RO Iulia Toma, RO Andreea Ciobîcă, RO Jaro Varga, SK Cristina David, RO Mădălina Zaharia, RO Paul Neagu, RO

Ștefan Sava Cristina David explores with humour Institute in Venice (2015), Kunsthalle Shield, 2017 Mixed media and (self)irony the relation between artistic Winterthur (2015), Benaki Museum, Athens (charcoal drawing practice and daily life, through drawings, (2015), Braunschweig Museum of Photo on tracing paper with collage videos, performances and installations graphy (2013), etc. He lives and works intervention) with an overall conceptual twist. Based in in Bucharest, where since 2011 has been 136 × 92 cm Photo credits: Bucharest, she studied Mathematics and part of Salonul de proiecte’s team, Ștefan Sava Photography and took part in artistic an independent art space and curatorial Copyright: the artist Courtesy of the artist residencies in Vienna (2017), Prague (2016), program. and Ivan Gallery, Seydisfjordur, Iceland (2015), Santa Monica, Bucharest California (2012) and in exhibitions at Jaro Varga is a commentator on creation Jaro Varga Frei_raum Q21, Vienna (2017), Kunstverein and destruction, seeking out subtle details Missing Something and Itself Missing, Baden (2016), Kyiv Biennial 2015, The of what is lost while looking after what’s 2017 University of California Irvine University Art just being born. His practice encompasses Installation view Ivan Gallery Gallery, Los Angeles (2013), Manifesta8, geopolitical topography, the production Photo credits: Murcia (2010), among others. and archiving of knowledge, social faux Cătălin Georgescu Copyright: the artist pas and forgotten moments in history. Courtesy of the artist Ștefan Sava’s projects combine photo Varga lives and works as an artist and and Ivan Gallery, Bucharest graphy, video, performance and object, curator in Prague and has a PhD in visual based on an extensive process of arts. He exhibited at The 8th Floor Gallery theoretical reflection and research. He is in New York (2016), Prague Biennale 6 particularly interested in the way in (2013), National Museum of Modern and which history can be visually reactivated Contemporary Art in Seoul (2013), Grazer through an analytical approach. Sava holds Kunstverein in Graz (2011), Vienna Secession a PhD in visual arts and has exhibited (2010), etc. In 2018 he designed a site in the Riga Photography Biennial (2016), specific installation for Sonia Rykiel 50th Vienna Biennial (2015), Venice Biennale, anniversary. 152 / 153 The New Gallery of the Romanian Cultural Jenny’s 1 / 6 / 1

Jenny’s 4220 Sunset Boulevard T +1 323 741 8237 [email protected] Jenny Borland Los Angeles, CA 90029 M +1 310 720 3173 www.jennys.us Mathew Sova USA

Shown at LISTE: Represented Artists: Dan Mitchell, 1966, UK Wolfgang Breuer, DE Mathieu Malouf, CA Pentti Monkkonen, 1975, US Julien Ceccaldi, CA Dan Mitchell, UK Gili Tal, 1983, UK Liz Craft, US Pentti Monkkonen, US Max Hooper Schneider, US Chuck Nanney, US Renaud Jerez, FR Eirik Sæther, NO Morag Keil, UK Carter Seddon, US Ed Lehan, UK Gili Tal, UK

top: Dan Mitchell (b. 1966, United Kingdom, Gili Tal (b. 1983, Israel, lives and works Dan Mitchell New Dead City, 2016 lives and works in London) has presented in London) has presented solo exhibitions ColorWave poster solo exhibitions at Ludlow 38, New York; at Goton, Paris; Jenny’s, Los Angeles; 119 × 84 cm Oracle, Berlin; Xero Kline & Coma, London; Vilma Gold, London; Temnikova & Kasela, bottom left: Temnikova & Kasela, Tallinn; and Tallinn; and Sandy Brown, Berlin. Her work Pentti Monkkonen Chartreuse, 2017 Kunstverein Munich, Germany. He has has been included in group exhibitions Oil on linen recently participated in group exhibitions at LUMA Foundation, Zurich; Cell Project stretched onto shaped wood board at LUMA Foundation, Zurich; Jenny’s, Space, London; 500 Capp Street Foundation, 210 × 54 cm Los Angeles; Svetlana, New York; San Francisco; Utah Museum of Con bottom right: and Upstate, Zurich. Mitchell is a founding temporary Art, Salt Lake City; Glasgow Gili Tal member of Poster Studio (1994–1997) International, Scotland; and Kunstverein KidFun Products Audi Licensed TT, and the publisher of ‘Hard Mag’. Munich, Germany. 2017 Kids 12v Battery Powered Ride-On Pentti Monkkonen (b. 1975, United Car – White, 2016 States, lives and works in New York) has Lazertran and varnish on canvas recently presented solo exhibitions at 162.5 × 122 cm High Art, Paris; Truth and Consequences, Geneva; Jenny’s, Los Angeles; Jonathan Viner, London; and the Hammer Museum, Los Angeles. He has been included in several group and two-person exhibitions including Liszt, Berlin; Schloss, Oslo; Team Gallery, New York; Tanya Leighton, Berlin; Shoot the Lobster, New York; and Bergen Kunsthalle, Norway, among others.

154 / 155 Klink 3 / 5 / 1

Galerie Noah Klink Kulmer Straße 17 M +49 162 701 0044 [email protected] Noah Klink 10783 Berlin www.noahklink.com Germany

Shown at LISTE: Represented Artists: Gerrit Frohne-Brinkmann, 1990, DE Taslima Ahmed, UK Manuel Gnam, DE FLAME, 2010, UK / DE Gerrit Frohne-Brinkmann, DE Josefine Reisch, DE FLAME, UK / DE

FLAME Gerrit Frohne-Brinkmann explores FLAME is a collaboration between artists Yves, 2017 IKB pigment on the fascination of multiple arts, shows and Taslima Ahmed and Manuel Gnam that canvas, chrome exhibition formats ranging from magic to first appeared in 2010 in Brussels. Through plated steel tube, plaster, glitter natural science, working with their immediate the lens of a 21st Century perspective 160 × 160 × 85 cm entertainment values and transposing them FLAME uses streams of images to create

Gerrit Frohne into fine art. Dissolving the boundaries new works of art based on their appearance Brinkmann, A New that separate art and popular entertainment on the screen which mediates our percep Low, 2017 Polyactide, paint he merges worlds that are rarely associated tion. For one of their ongoing series Dimensions variable in the same context. Illusion and dis- ‘Art Stacks’, well-known and expensive Photo: Volker Renner illusion, or their paradoxical coincidence, artworks are appropriated and repurposed paired with a playful treatment of the for a new market, time and social constel connections between glorification and en lation. By copying, cropping, stretching and lightenment mark the highly charged appeal cascading established and highly traded of Gerrit Frohne-Brinkmann’s works. paintings FLAME attempts to meta-comment Graduating from the Academy of Fine Arts, on how art is perceived, consumed and ex Hamburg in 2015, his work has been changed in today’s digitalised and globalised exhibited at Künstlerhaus Bremen, Bundes culture. kunsthalle Bonn and at Kunstverein in FLAME’s recent solo exhibitions include Hamburg. In 2016 he won ‘the Art Cologne Galerie Noah Klink, Berlin (forthcoming, Award for New Positions’; followed by 2018) and Balice Hertling, Paris (2017); their the ‘Follow Fluxus Grant’ in 2017. The same recent group shows include Gagosian year his works were shown at Kestner Gallery, Athens and Marlborough Chelsea, Gesellschaft Hannover, Artothek Cologne, New York. Nassauischer Kunstverein Wiesbaden and Stadtmuseum Oldenburg. In 2018 he had solo shows at Caletta, Zurich, Galerie Noah 156 / 157 Klink and Kunsthalle Bremerhaven. Koppe Astner 3 / 7 / 1

Koppe Astner 6 Dixon St. T +44 141 248 8177 [email protected] Emma Astner Glasgow G1 4AX M +44 750 311 5383 www.koppeastner.com Kendall Koppe United Kingdom

Shown at LISTE: Represented Artists: Aaron Angell, 1987, UK Laura Aldridge, UK Kris Lemsalu, EE Dickon Drury, 1986, UK Aaron Angell, UK Craig Mulholland, UK Josh Faught, 1979, US Dickon Drury, UK Charlotte Prodger, UK Josh Faught, US Corin Sworn, CA George Henry Longly, UK Grace Weaver, US Ella Kruglyanskaya, LV

Josh Faught Aaron Angell’s recent solo exhibitions Pad, London; ‘Be bold for what you stand Between a Rock and a Hard Place, 2017 include ‘Heat-Haze Theatre’ at Kunstverein, for, be careful for what you fall for‘ Hand-dyed, hand- Freiburg; ‘Aaron Angell’ at GoMA, at The Neptune Society Columbarium at woven hemp, Jacquard woven Glasgow; ‘Plumb Poltergeist’ with Ian Law MoMA, San Francisco and ‘Snacks, cotton, and carnival at University of Essex; ‘The Death of Supports and Something to Rally Around‘ flair on linen 274.3 × 177.8 × 5.1 cm Robin Hood’ as a part of Glasgow Inter at The Contemporary Art Museum St. Louis, national and ‘Grotwork’ at Studio Voltaire, Missouri. Faught has exhibited in Dickon Drury Workbench with London. Angell founded Troy Town group exhibitions at ICA Boston; The Con Underwood, 2017 Art Pottery, London in 2014. He lives and temporary Arts Museum, Houston and Oil on Flax 250 × 170 cm works in London. Grazer Kunstverein. He lives and works in San Francisco. Dickon Drury’s recent solo exhibitions include ‘Holed Up’ at Galleri Opdahl, Stavanger; ‘If the Sea was Whiskey’ at Frutta, Rome; ‘The Who’s Who of Whos’ at Koppe Astner, Glasgow and ‘Optics Don’t Make Marks’ at Spike Island Project Space, Bristol. His work has also been included in exhibitions at The Royal Academy, London; Josh Lilley, London; 0-0, Los Angeles and Rogue Artist Project Space, Manchester. He lives and works in London.

Josh Faught’s recent solo exhibitions include, ‘Sanctuary‘ at St. Mark’s Cathedral, 158 / 159 Seattle; ‘The Mauve Decade‘ at Launch Labor 0 / 5 / 1

Labor Gral. Francisco Ramírez 5 T +52 556 304 8755 [email protected] Pamela Echeverría 11830 Mexico City www.labor.org.mx Mexico

Solo show at LISTE: Represented Artists: Gala Porras-Kim, 1984, CO / US Erick Beltrán, MX Raphael Montañez Ortíz, US Etienne Chambaud, FR Yuri Pattison, IR Jerónimo Elespe, ES Gala Porras-Kim, CO / US Terence Gower, CA Pedro Reyes, MX Jan Peter Hammer, GE Jorge Satorre, MX Irene Kopelman, AR Santiago Sierra, ES Jill Magid, US Pablo Vargas Lugo, MX Nicholas Mangan, AU Antonio Vega Macotela, MX Teresa Margolles, MX Héctor Zamora, MX

Gala Porras-Kim Gala Porras-Kim’s work questions how 109 West Mexico Ceramics from the knowledge is acquired and tests the poten LACMA Collection: tial of the art object to function as an Colima Index, 2017 epistemological tool outside of its traditional, Gala Porras-Kim art historic context. Recent work examines Installation view of the show An Index the ultimate and literal signifier of culture: and its Settings, 2017 language, particularly its sounds. Labor; Mexico City, Mexico Image courtesy of She uses the social and political contexts the artist and LABOR that influence the representation of language and history to make art objects through the process of learning. The work comes from a research-based practice that aims to consider how intangible things such as sounds, language and history have been represented through different methodologies in the fields of linguistics, history and conservation. It takes into ac count the way people represent sounds that make up communication with an object whether is through codes or a written form, and conversely, how objects can be used to make a historical narrative through artifacts.

160 / 161 LambdaLambdaLambda 1 / 2 / 1

LambdaLambdaLambda Garibaldi St 1 / T +383 493 383 56 [email protected] Isabella Ritter Johan von Hahn 8 M +43 676 931 3727 www.lambdalambdalambda.org Katharina Schendl 10000 Pristina Kosovo

Solo show at LISTE: Represented Artists: Nora Turato, 1991, HR Tatjana Danneberg, AT Hanne Lippard, NO Flaka Haliti, XK Nora Turato, HR Astrit Ismaili, XK Dardan Zhegrova, XK

Nora Turato In her spoken word performances Nora Nora Turato (b. 1991 in Zagreb, Croatia) where what happened to people Turato incorporates fragments of studied at Gerrit Rietveld Academy in happened in the advertising slogans, daily conversations, Amsterdam and at Werkplaats Typografie head, 2018 Video-Still literature, social media posts, platitudes, in Arnheim. The artist is currently a resident HD-Video cliches and politics that culminate in a at the Rijksakademie in Amsterdam 19'06" Ed.5 + 2 A.P. powerful soundscape that can be situated (2017–2019). between performance art and con temporary music. Her utterly energetic and Turato has performed and exhibited determined speech takes the form of a internationally, at venues such as: Kunst poetic slam that renders the viewer with a halle Wien (2018); Vleeshal, Middelburg verbal image of our current time. (2018); Centre d’Art Contemporain Genève (2017); Museion Bozen (2017); 32. Biennial Turato edits her script-based live perfor of Graphic Arts Ljubljana (2017); mances in videos addressing the Bonner Kunstverein (2017); Kunstverein problematic question of how to document Braunschweig (2017); Kunstverein Cologne or archive a performance work. In the (2017); KW Institute for Contemporary same vein she approaches her physical Art, Berlin (2017), NAK- Neuer Kunstverein works, like in the series „scribbles and Aachen (2017) and the Lithuanian gloss“ which consists of working sheets Pavilion at the 56th Venice Biennial (2015). that she uses to prepare her performan- The artist is part of Manifesta 12, ces. As a quasi mind-map it critically Palermo (2018). emphasizes and comments on the possibility of getting an insight into the mind of the artist. By pouring epoxy over those sheets Turato is recycling her so-called “studio- trash” into desirable objects that can exist 162 / 163 as a self-sufficient medium. Laveronica 2 / 2 / 1

Laveronica Via Grimaldi 93 T +39 339 242 9308 [email protected] Corrado Gugliotta 97015 Modica M +39 320 235 2117 www.gallerialaveronica.it Sveva D’antonio Italy

Solo show at LISTE: Represented Artists: Jonas Staal, 1981, NL Johanna Billing, SE Uriel Orlow, CH Giovanni De Lazzari, IT Moira Ricci, IT Igor Grubic, HR Marinella Senatore, IT Alejandra Hernández, CO Jonas Staal, NE Adelita Husni-Bey, IT Amir Yatziv, IL Maryam Jafri, US

Lara Staal and In the past fifteen years, artist Jonas Staal Staal’s work further includes interventions Jonas Staal Congress of Utopia, has worked on the relation between art, in public space, exhibitions, theater 2016 democracy, and propaganda, developing plays, publications, and lectures, focusing Photo: Ernie Buts Produced by large scale installations in the form of on the relationship between art, democ Frascati Theater, alternative parliaments, embassies, racy, and propaganda. Recent solo Amsterdam and schools all over the world. The history exhibitions include Art of the Stateless Jonas Staal of utopian art, architecture and philosophy State (Moderna Galerija, Ljubljana, 2015), New New Babylon, 2017 has been a driving inspiration in his New World Academy (Centraal Museum, Acrylic on paper practice, which he terms a form of ‘utopian Utrecht, 2015), After Europe (State of 21 × 29.7 cm realism.’ Concept, Athens, 2016) and Museum as Parliament (Van Abbemuseum, Eindhoven, Staal is the founder of several organiza 2018). His projects have been exhibtions, amongst which the New World ited widely, among others at the 7th Berlin Summit (2012–ongoing), which creates Biennial (2012), the 31st São Paulo parliaments for stateless and blacklisted Biennale (2014), the Oslo Architecture organizations in theaters, art institutions Triennial (2016) and the Gothenburg and public spaces all over the world. Biennial (2018). He is currently finalizing a first permanent parliament commissioned to him by the Recent books by Staal include Nosso Lar, Democratic Self-Administration of Rojava Brasília (Jap Sam Books, 2014), Stateless (North-Syria). The artist further founded Democracy (BAK, 2015) and New Worlds the New Unions campaign (2016–ongoing) (URO-KORO, 2016). The artist is a regular in response to current crises of the EU, contributor to e-flux journal and completed through which he aims to assemble his PhD on Propaganda Art from the 20th transdemocratic organizations to create to the 21st century at the PhDArts program scenarios for new, future unions. of the University of Leiden, the Netherlands, 164 / 165 in 2018. Lewis 0 / 9 / 3

David Lewis 88 Eldridge St., Fifth Floor T +1 212 966 7990 [email protected] Dmitry Komis New York, NY 10002 M +1 646 750 3368 www.davidlewisgallery.com USA

Solo show at LISTE: Represented Artists: Megan Marrin, 1982, US Barbara Bloom, US Hans-Christian Lotz, DE Thornton Dial, US Israel Lund, US Lucy Dodd, US Jared Madere, US Alex Mackin Dolan, US Megan Marrin, US Mary Beth Edelson, US Charles Mayton, US Gillian Jagger, UK Sean Paul, US Jeffrey Joyal, US Greg Parma Smith, US Dawn Kasper, US

Megan Marrin For LISTE 2018, Marrin debuts two new throughout the world and renowned To be titled, 2017 Oil on canvas on concurrent bodies of works, both featuring for its pungent, death-like odor and fleeting Styrofoam paintings of hanging cages and medicinal lifespan (they take ten years to bloom and 152.4 × 61 cm Courtesy the artist herbs that continue her interest in the die after three days). Paintings from and David Lewis, sculptural and material awareness in paint this series and others made for LISTE are New York ing. In her “Gibbet” paintings – shaped all stretched over Styrofoam rather Megan Marrin canvases scaled roughly to a human body than traditional stretcher bars, and deploy The Invitation, 2017 Oil on canvas on – Marrin depicts medieval cages and a meticulous photorealist technique, an Styrofoam torture devices used to suspend prisoners nouncing a sophisticated painterly 243.8 × 182.9 cm and the condemned. These paintings – practice and an implicitly surrealist vision which look to the work of Francis Bacon, of macabre beauty and a layered, symbolic Lee Bontecou, and Birgit Juergenssen – dance of life and death. feature medicinal herbs, used traditionally to treat mental ailments (anxiety, depres Marrin’s solo gallery debut, “Corps” sion, malaise), growing behind and at David Lewis, opened to great acclaim in entwined with the iron bars of the sinister 2017. She has exhibited internationally at human-shaped cages. The artist’s “Bird WIELS Contemporary Art Center, Brussels cage” paintings likewise depict symbolic (with Elif Erkan); Svetlana, NY (with birds and medicinal herbs in shaped Nora Schultz); Renwick Gallery, NY (with gilded bird cages, ornate and imbued with Tyler Dobson); Galerie Max Hetzler, Berlin; a dark sense of the poetic baroque. Office Baroque, Brussels; Mitchell Algus Gallery, NY; Bortolami Gallery, NY; Bureau, Accompanying these works will be a NY; Foxy Production, NY; and Rivington monumental and meticulously rendered Arms, NY; among others. Marrin received painting of the enormous, bizarre her BFA from School of Visual Arts, NY, and Amorphophallus titanum, or corpse flower, lives and works in New York, NY. 166 / 167 which is displayed in botanical gardens Lomex 1 / 1 / 1

Lomex 134 Bowery #4S T +1 917 667 8541 [email protected] Alexander Shulan New York, NY 10003 www.lomex.gallery USA

Shown at LISTE: Represented Artists: Danica Barboza, 1988, US Danica Barboza, US Valerie Keane, US Kye Christensen-Knowles, 1993, US Robert Bittenbender, US Marc Kokopeli, US Kye Christensen-Knowles, US Emma McMillan, US

Kye Christensen- This year at LISTE, Lomex will present Knowles Chaos, 2017 the premiere international fair presentations Oil on Canvas of work by Kye Christensen-Knowles and

Kye Christensen- Danica Barboza. Knowles Ashes to Ashes, 2017 Oil on Canvas Kye Christensen-Knowles will debut a series of new monumental paintings – a suite of works that will further his own experi mentation with various mythological images, occult symbols, and historical styles.

Danica Barboza will present a new large format figurative sculpture.

168 / 169 MadeIn 2 / 6 / 2

MadeIn Gallery 2879 Longteng Avenue T +86 21 6250 4569 [email protected] Xu Zhen 200232 Shanghai M +86 186 1609 1065 www.madeingallery.com Jin Liping China

Shown at LISTE: Represented Artists: Elliot Dodd, 1978, UK Chen Leng, CN Shen Xin, CN Lu Pingyuan, 1984, CN Chen Ying, CN UMA, CN Ding Li, CN Wang Newone, CN Elliot Dodd, UK Wang Sishun, CN Feng Mengbo, CN Xia Yunfei, CN He An, CN Xu Dawei, CN Liu Chengrui, CN XU ZHEN®, CN Lu Boyu,CN Yang Shen, CN Lu Pingyuan, CN Zhang Lian, CN Miao Ying, CN Zheng Yuan, CN Mo Shaolong, CN Zhu Payne, CN Shang Liang, CN Zhu Yu, CN

Lu Pingyuan Elliot Dodd’s practice comes across Lu Pingyuan (b. 1984, in Zhejiang, China) Cars, 2017 Mineral based numerous different artistic mediums and lives and works in Shanghai. His practice composite, paint, approaches in response to the complexity involves a variety of media, including paper 120 × 120 × 40 cm and absurdities in the world of consum texts, installations, paintings and others. erism, and to question situations related to In recent years, Lu focused his practice Elliot Dodd Pew Pew, 2017 masculine control and domination within on the writing of stories related to the art Pencil on card society, particularly male-orientated quest world. The texts present enigmatic 50 × 132 cm for expressions of supreme confidence. narrations where protagonists are artists With references in politics, design, econom or backdrops are exhibitions. Mostly ics and consumerism culture, the works shown in a minimalistic way, the texts are take the form of caricatures with uncompro occasionally developed into an ambitious mised highly detailed surfaces, allowing project through installations and mise- ideas and objects to be humiliated, deformed en-scene. Prop or work, the object takes or celebrated. then a new dimension, multiplying layers of readings. Elliot Dodd (b. 1978 Jersey, U.K.) lives and works in London. Dodd studied at the Royal His works have been exhibited in both Academy Schools, London 2013–16 after national and international museums completing his BA at The Slade School of and biennales, such as the 9th Liverpool Fine Art, UCL London in 2002. Recent Biennale (England, 2016), Sifang Art exhibitions include: ‘Flickering Boundaries’, Museum (China, 2016), 3rd Ural Industrial MadeIn Gallery, Shanghai, 2018; Biennial of Contemporary Art (Russia, ‘The Manbody’, Zabludowicz Collection, 2015). Recent solo exhibitions include London, 2017; ‘Virtually Real’, collaboration ‘Home Alone’, MadeIn Gallery, Shanghai, with HTC, Royal Academy of Arts, London, 2017; ‘Hidden Treasure’, The Galaxy 2017; ‘Semi Self Reflections’, Rockelmann Museum of Contemporary Art, Chongqing, 170 / 171 &, Berlin, 2017. 2017. Maisterravalbuena 0 / 9 / 5

Maisterravalbuena C / Doctor Fourquet 6 Rua Reinaldo Ferreira 40-Q [email protected] Pedro Maisterra 28012 Madrid 1700-324 Lisbon www.maisterravalbuena.com Belén Valbuena Spain Portugal T +34 911 733 034 T +351 218 490 066

Solo show at LISTE: Represented Artists: Daniel Jacoby, 1985, PE José Luis Alexanco, ES María Luisa Fernández, ES Antonio Ballester Moreno, ES Regina de Miguel, ES Karmelo Bermejo, ES Néstor Sanmiguel Diest, ES Silvia Bächli, CH Hiraki Sawa, JP Jerónimo Elespe, ES Dan Shaw-Town, US Daniel Jacoby, PE Cristián Silva, CL A Kassen, DK B. Wurtz, US Maria Loboda, PL

Daniel Jacoby For the last two years, Daniel Jacoby voluminous pastel shapes. Adopting odd Tecnopor, 2017 Sculptures made out has been developing a body of sculptural ways of moving (e.g. slowly walking of foam and different work that deals with the relationship backwards) and positioning themselves garments between clothing as a product, and the body (e.g. yoga poses) the foam blobs seem as a produced image. Family-run busines to fluctuate between inanimate racks and ses and market stalls – most commonly phantasmagoric bodies. those in the artist’s native Lima – tend to be A 15-minute performance will take place resourceful in how to display products twice a day, on Monday, Wednesday, without a marketing apparatus around them. Thursday, Friday and Saturday, starting at These modest commerces, in the artist 3pm and 7pm respectively. The walk view, turn a commodity into a self standing begins at Maisterravalbuena’s booth (0/9/5), object, thus escaping the worship of the and scatters through the ground floor. good-looking body. Often they even result in suggestive abstract compositions, which is the aspect the artist tries to explore. For this new iteration, Daniel has trans formed his laser-cut MDF and aluminum static structures into bulky and roughly cut foam pieces, and has brought them back onto the body. These soft volumes, filled with stretched socks, underwear, and other garments, are not exactly worn but rather carried by performers as some sort of porta ble storefronts. In an act that flirts with a fashion runway show, but defies some of its codes, this performance aims at making 172 / 173 the bodies disappear behind the Marcelle Alix 0 / 4 / 1

Marcelle Alix 4 rue Jouye-Rouve T +33 950 041 680 [email protected] Isabelle Alfonsi 75020 Paris T +33 955 041 680 www.marcellealix.com Cécilia Becanovic France

Shown at LISTE: Represented Artists: Ian Kiaer, UK Pauline Boudry / Renate Lorenz, Mathieu Kleyebe Abonnenc, FR Laura Lamiel, FR 1972 / 1963, CH / DE Pauline Boudry / Liz Magor, CA Laura Lamiel, 1943, FR Renate Lorenz, CH / DE Charlotte Moth, UK Jean-Charles de Quillacq, 1979, FR Marie Cool / Fabio Balducci, FR / IT Gyan Panchal, FR Aurélien Froment, FR Jean-Charles de Quillacq, FR Lola Gonzàlez, FR Ernesto Sartori, IT Louise Hervé & Chloé Maillet, FR Marie Voignier, FR

top: “I gold key you / I extraordinary you / you provokes inside us as well as on the outside, Jean-Charles de Quillacq paroxysm me / you paroxysm / and paradox a certain movement, when faced with Ma langue me fait me / I harpsichord you / you silently me / normalcy, with what we know of it and how ça, 2017–2018 PVC, plastic, metal, you mirror me / I wristwatch you / you mirage it works on us to the point where we don’t leather, wood, me / you oasis me / you bird me / you insect know how to reach out to someone else, silicone, acrylic resin, socks, basket, me / you cataract me / I lunar you / you especially if that Other offers many faces, cotton, nicotine, ink cumulus me / you high tide me / I transparent if s / he walks on masked. Bic Variable dimensions you / you twilight me / you translucent me / For Jean-Charles de Quillacq as for Boudry / Photo: Pierre you empty castle / and maze me / you Lorenz, it is about a position both noble Antoine, 2018 parallax me / and parabola me / you vertical and skewed, divine and diabolical: I am here, bottom left: me / you horizontal me / you oblique me / I am mimetic, I am with the others and Laura Lamiel Untitled, 1998–2017 I equinox you / I poet you / you dance me / at the same time, I am intimidating, mute, Steel, mixed media I particular you / you perpendicular / and statuesque, mesmerizing, distorted, Photo: Aurélien Mole mezzanine me / you visible me / you silhouette invisible. Here, no aesthetic neutrality, but bottom right: me / you infinite me / you indivisible me / new relationships, other lineages, whether Pauline Boudry / Renate Lorenz you irony me / I fragile you / I ardent you” it be in the queer resistance strategies that Wig Piece Boudry / Lorenz take over and develop (Entangled Phenomena I ), 2017 ‘Taking Body’ – a title borrowed from further, in the expressive vitality of a body Felt, artificial hair, stateless poet Gherasim Luca – focuses on that hardens or softens without complex, metal 100 × 133 cm transpositing, in the exhibition, an open or in the visual strength of Lamiel’s works, Photo: Aurélien Mole body, at the same time powerful and fragile, that endlessly mirror her desire to eman enticing and inaccessible too. A singular cipate herself from the established order to body, always, but a desiring body, ready to rebuild undone or un-existing links. take center stage to rouse the other’s CB desire. We want to place in the center of our presentation the question of desire, 174 / 175 its instability, its transience and what it Marfa’ 0 / 9 / 7

Marfa’ Port District T +961 1 571 636 [email protected] Joumana Asseily Beirut M +961 3 020 636 www.marfaprojects.com Lebanon

Shown at LISTE: Represented Artists: Vartan Avakian, 1977, LB Talar Aghbashian, LB Saba Innab, JO Stéphanie Saadé, 1983, LB Tamara Al-Samerraei, KW Lamia Joreige, LB Caline Aoun, LB Stéphanie Saadé, LB Vartan Avakian, LB Rania Stephan, LB Ahmad Ghossein, LB

Stéphanie Saadé Avakian’s Composition With a Recurring are then reactivated to be shared with Travel Diary, 2014–2016 Sound is a series of copper sculptures of the viewer. An apparatus seen in a tradi 5,32g, used different sizes and shapes in which tional Beiruti home is ‘re-enacted’: document, 24-carat gold leaf sound waves are trapped. The installation a chandelier is not used to produce light 21 × 29.7 cm translates the sound waves produced but rather to support an energy-efficient

Vartan Avakian by the flow of the Rhine into radio waves light bulb. Its light is disseminated through Composition With a that are transmitted to the environs of out the booth, reflecting on the surface Recurring Sound, 2016–ongoing the river. They capture and make palpable of her Golden Memories. The latter are child Copper Alloys, Radio the sound of the material movement in hood photographs that are covered with a Waves and a River 26 × 6 × 6 cm the river. The sound is captured and played layer of gold leaf, which becomes a through a sculptural piece of repeated mirroring surface. On it, the viewer no longer forms, creating a discreet and almost in sees images from the past, but instead audible resonance. This flow can be perceives fleeting moments and occurren tactually felt on the sculpture, visible on a ces taking place during the time of the gently reverberating valve. The sound of exhibition. Saadé’s concern with time is flowing water played through copper tubes manifest in Travel Diary, an object in is left to reverberate indefinitely in a which the length of a journey is directly in- closed circuit of repetitive forms. These scribed in the materiality of the object. waves persist until they decay and are In Last Duel, geographical differences are imperceptible. By trapping this material pres erased as two pieces of wood of differ- ence, Avakian’s sculptures propose ent origins, assembled to form one bar, artworks that are at once a representation are burnt, merging essences to become the of this presence. same unifying dark charcoal. Saadé’s work encapsulates particular elements of time, space, and distance that are chosen for their specific poetic, 176 / 177 nostalgic and emotional qualities, which Martins 4 / 1 / 1

Galeria Jaqueline Martins R. Dr. Cesário Mota Júnior T +55 11 2628 1943 Jaqueline Martins 443 - Vila Buarque [email protected] 01221-020 São Paulo www.galeriajaquelinemartins.com.br Brasil

Shown at LISTE: Represented Artists: Adriano Amaral, 1981, BR Adriano Amaral, BR Ícaro Lira, BR Riccardo Baruzzi, 1976, IT Martha Araújo, BR Ana Mazzei, BR Charbel-joseph H. Boutros, 1981, LB Riccardo Baruzzi, IT Maria Noujaim, BR Ricardo Basbaum, BR Lydia Okumura, BR Charbel-joseph H. Boutros, LB André Parente, BR Stuart Brisley, UK Letícia Parente, BR Daniel de Paula, BR Dudu Santos, BR Rafael França, BR Regina Vater, BR Diango Hernández, CU Viola Yeşiltaç, GE Hudinilson Jr., BR

top: Galeria Jaqueline Martins is a space for Charbel-joseph H. Boutros Adriano Amaral Untitled, 2017 research, documentation and presentation In his work invisibility is charged with Wasp nest, audio of contemporary artistic production. intimate, geographical and historical layers; middle: It proposes collaborative curatorial strate finding poetic lines that extend beyond Charbel-joseph H. gies that foster dialogue between different the realm of existing speculations and reali Boutros Neon Light, 2017 generations and different cultural ties. Being born in the middle of the Neon, wax of votive perspectives. One of its guiding principles Lebanese war, his art is not engaged in an candles is the encouragement of research-oriented explicit political and historical reflection, bottom left: conceptualist practices characterized but is more accurately haunted by the said Charbel-joseph H. Boutros by critical, even subversive, approaches. political and historical reflection. Night Cartography #3, 2017 Night mask, votive Adriano Amaral Riccardo Baruzzi candle wax, dreams Has pursued a body of work based on his Baruzzi’s activity takes on different, bottom right: interest in matter, surface, fragility and interchangeable forms: painting, drawing, Riccardo Baruzzi process. All these issues are manifested in but also performances or installations, Il porta pittura del Re, 2017 site specific installations where anthropo often overlapping challenge the univocal Structure in iron and morphic qualities and time perception character of the art object. He has always MDF and acrylic, watercolor, ink and are tangled and manifested in ambiguous accompanied his visual practice with spray on cotton forms. Throughout his latest production, research on sound, exploiting the physical his work is marked by an in-depth examina structure of turntables and fabricating tion into the nature of things that surround objects as instrument / works he uses in us. The human body as a closed and his performances to establish gestural and simultaneously porous entity, our percep semantic affinities between drawing and tions of architectural space, and the rhythmical-musical composition, giving rise value of everyday objects form the basis to a creative process of reciprocal aural of his artistic enquiry. and visual influences. 178 / 179 Minini 2 / 1 / 2

Francesca Minini Via Massimiano 25 T +39 022 692 4671 [email protected] Alessandra Minini 20134 Milan M +39 335 784 3543 www.francescaminini.it Anna Abbà Italy

Solo show at LISTE: Represented Artists: Giulio Frigo, 1984, IT Ghada Amer, ET Dan Graham, US Armando Andrade Tudela, PE Ali Kazma, TR Becky Beasley, UK Runo Lagomarsino, SW Riccardo Beretta, IT Deborah Ligorio, IT Matthias Bitzer, DE Landon Metz, US Armin Boehm, DE Simon Dybbroe Møller, DK Daniel Buren, FR Riccardo Previdi, IT Elena Damiani, PE Gabriele Picco, IT Jan De Cock, BE Mandla Reuter, DE Flavio Favelli, IT Alice Ronchi, IT Giulio Frigo, IT Francesco Simeti, IT

Giulio Frigo, Giulio Frigo doesn’t conceive the image The reflection on the production and trans Anamorfosi ∞ (Creatore di Mondi), as a static object, but as an happening, mission of the image conceived as 2018 a dynamic event made of color and light. information, on its s-composition in pixels Oil on board 72 × 92 × 7 cm It’s a performance. He operates on the is investigated in the big site-specific perception of work, considering the space installation. Giulio Frigo invites the observer between pictorical surface and spectator to cross the threshold of the ‘perceptible’ eye as an ‘arena’ of different possibilities. so to examine it’s integral elements. Giulio Frigo presents for LISTE 2018 The small colored canvases depict, a new body of works, exploring this idea of in a sort of conceptual pointillism, the RGB the pictorical act in three different way. matrix of different support and contemporary In ‘Anamorfosi Continua’, the deformation screens (tablet, smartphones, etc), of the supports of the paintings modifies they potentially represent all the possible and distorts the image perceived in relation images. to the position in the space of the specta- On the green / key screen wall, enlighted tor, who, moving around the piece, becomes with a stroboscopic light to recreate co-author of its shimmering appearance. the flickering effect of the television screen, In ‘the Planetarium (Materia Luminosa)’ the gigantic figure of Felix the Cat (the works, the planetary is the reference for first image that succeed in being broadcast its immersive and embracing visual experi ed on TV) stands out. It’s a appearance, ence, in which the light is conceived in between the grotesque and the epic, as bearer of information, knowledge and as an alien from another world or a contem wonder. The celestial vault is no more re porary Ecce Homo. presented as an iconic image, but as a circle of light in equilibrium on a painting. Light, here, is not intended as what allows us to see, to unveil, but as the subject that 180 / 181 has to be observed. Monitor 0 / 6 / 2

Monitor Via Sforza Cesarini, 43 A Rua D. João V, 17A T +39 063 937 8024 Paola Capata 00186 Rome 1250-089 Lisbon www.monitoronline.org Manuela Contino Italy Portugal Henrique Loja [email protected] [email protected] Shown at LISTE: Represented Artists: Thomas Braida, 1982, IT Jesse Ash, UK Laurent Montaron, FR Peter Linde Busk, 1973, DK Adam Avikainen, US Elisa Montessori, IT Benedikt Hipp, 1977, DE Eric Bainbridge, UK Pat O’Neill, US Nicola Samorì, 1977, IT Thomas Braida, IT Nicola Samorì, IT Ian Tweedy, 1982, US Peter Linde Busk, DK Alexandre Singh, FR Tomaso De Luca, IT Ian Tweedy, US Franco Guerzoni, IT Guido Van der Werve, NL Benedikt Hipp, DE Kostis Velonis, GR Graham Hudson, UK Claudio Verna, IT Ursula Mayer, AT Duane Zaloudek, US Nathaniel Mellors, UK Zimmerfrei, IT

top left: Monitor presents a group show focused and to ancient techniques such as etching Ian Tweedy Early this morning III, on figurative painting through the works of and woodcuts. Busk’s works attempt to 2018 five artists that embraced figuration since capture universal emotions such as pride, Oil on canvas 61 × 91.5 × 3.5 cm the very first beginning: Thomas Braida fear, and defeat, and reference literary Courtesy Monitor (1982), Peter Linde Busk (1973), Benedikt or mythical characters. Rome, Lisbon Hipp (1977), Nicola Samorì (1977), Ian Benedikt Hipp addresses themes of our time top right: Tweedy (1982). as well as traditional myths and personal Nicola Samorì Immortale, 2018 Evoking the best-known examples of memories, and derives modern social arche (detail) Italian picture galleries such as the Palazzo types from them. In his paintings there is Oil on board, brush 41 × 31 cm Corsini, Galleria Spada and Palazzo Doria a notable proximity to votive and religious Courtesy Monitor Pamphili in Rome, the works of the artists imagery, developing that first impression as Rome, Lisbon will be displayed in the tradition of the matter of research. bottom: 18th century Italian picture galleries typical- With their masterful fusion between Thomas Braida Tiger tea, 2018 ly used by lords to offer their guests an Renaissance or Baroque dramatic intensity Oil on canvas illustrated walkway through their personal and the uncontrolled essence of Informal, 35 × 50 cm Courtesy Monitor collection housed in their ‘palazzi’: the Nicola Samorì’s paintings and sculptures Rome, Lisbon ‘quadreria’. document the persistence of an ‘un-actual’ The artistic research conducted by Thomas trace within the contemporary. Braida is fuelled by the artist’s observation Ian Tweedy’s artistic activity – paintings, of daily reality. In its continuous cross- drawings, and artifacts – is rooted in referencing between pop and ‘high’ culture, themes such as the relationship between mythology and history, the real and the individual biography and the collective past, imaginary, Braida’s artistic research stands suggestive appropriation of recent and out for its original style. remote history, a quest for new meanings Influenced by CoBrA and Art Brut, the roots for concepts of identity, belonging and of Peter Linde Busk’s artistic research go freedom. 182 / 183 back a long way, to expressionist painting Montassut 1 / 6 / 3

Edouard Montassut 28 passage du Ponceau T +33 142 332 979 [email protected] 75002 Paris M +33 631 928 397 www.edouardmontassut.com France

Shown at LISTE: Represented Artists: Marie Angeletti, 1984, FR Marie Angeletti, FR Guillaume Maraud, FR Emma McMillan, 1989, US Timothée Calame, CH Emma McMillan, US Marc Kokopeli, US Riccardo Paratore, DE / IT Matthew Langan-Peck, US Jean-Michel Wicker, FR

Emma McMillan Marie Angeletti (b. 1984 in Marseille, lives Manhattan (goddess) dancing in and works in Berlin) studied at the Royal the winds 1929, College of Art. Recent presentations of her 2018 Oil and acrylic on work include: Beach Office, Berlin, canvas 2018 (solo); Commercial Street, Los Angeles, 170.2 × 107.9 cm 2017 (solo); Oracle, Berlin, 2017; Musée d’Art Moderne de la Ville de Paris, 2017; Galerie der Stadt Schwaz; 2017; Edouard Montassut, Paris, 2016 (solo); Carlos / Ishikawa, London, 2016 (solo); Kunsthalle Bern, Bern, 2016; Künstlerhaus Bremen, Bremen, 2016 (solo); Mathew, New York, 2016; Le Consortium, Dijon, 2015 (solo).

Emma McMillan (b.1989 in Atlanta, lives and works in the Bronx) studied at The Cooper Union. Recent presentations of her work include: Lomex, New York, 2018 (solo); Bad Reputation, Los Angeles, 2017 (solo); Praterstrasse 32 / 308, Vienna, 2017; Rockaway Park, New York, 2017; Instituto Svizzero di Roma, Roma, 2016; Taylor Macklin, Zurich, 2016; Lomex, New York, 2016; Alyssa Davis Gallery, 2016 (solo). Upcoming exhibition in 2018 include a solo show at Edouard Montassut, Paris. 184 / 185 Neue Alte Brücke -1 / 2 / 2

Neue Alte Brücke Hafenstrasse 23 T +49 176 642 265 09 [email protected] Mark Dickenson 60327 Frankfurt www.neuealtebruecke.com Germany

Shown at LISTE: Represented Artists: Magnus Andersen, 1987, DK Magnus Andersen, DK Julien Nguyen, US Liz Craft, 1970, US Will Benedict, US Puppies Puppies, US Yngve Holen, 1982, DE Wolfgang Breuer, DE Mandla Reuter, DE Julien Nguyen, 1990, US Nicolas Ceccaldi, CA Anne Speier, DE Liz Craft, US Lucie Stahl, US Simon Fujiwara, GB Philipp Timischl, AT Yngve Holen, DE Anna Zacharoff, SE

Julien Nguyen The Winds of Winter, 2017 Oil on panel 46 × 61 × 4cm Unique, signed, titled and dated on verso

186 / 187 NoguerasBlanchard 0 / 1 / 2

NoguerasBlanchard Doctor Fourquet 4 Isaac Peral 7 [email protected] Alex Nogueras 28012 Madrid L’Hospitalet de Llobregat www.noguerasblanchard.com Rebeca Blanchard Spain 08902 Barcelona T +34 915 063 484 Spain T +34 934 636 313

Solo show at LISTE: Represented Artists: Perejaume, 1957, ES Francesco Arena, IT Fran Meana, ES Alain Biltereyst, BE Ester Partegàs, ES Anne-Lise Coste, FR Perejaume, ES Enric Farrés Duran, ES Wilfredo Prieto, CU Leandro Erlich, AR Shimabuku, JP Rubén Grilo, ES Ignacio Uriarte, DE Marine Hugonnier, FR Richard Wentworth, UK Christopher Knowles, US

Perejaume Perejaume (Sant Pol de Mar, Barcelona, portable museum. At LISTE, we exhibit Ampolla i postal, 1984 1957) is one of the most referential Spanish a selection of historical pieces related to Gelatin silver print artists working today, whose artistic this seminal work. production, inseparably intertwined with his literary work, has gradually given Perejaume was subject of a mid-career rise to a poetics of infinite metaphorical survey at MACBA in 1999, and has resonances in which painting coexists exhibited individually in some of the most with other media. important Spanish institutions. His work is featured in important collections such as One of the main concerns underlying Museo Nacional Centro de Arte Reina Perejaume’s work lies in the desire to ex Sofía, MACBA, ‘La Caixa’ Collection, and plore and expose reality as it is. The idea numerous other institutions and private of the painting and of nature itself as collections. spectacle, and of the viewer as participant in a complex dialogue between illusion Perejaume’s recent exhibitions include: and representation, have become central Bajo el brazo: Entre la palma de la mano to his work. The project Postaler (Post- y la axila, Caixaforum, Barcelona, ES (2018); card rack, 1984), featured in important public Landmarks, Blue Mountains Cultural collections such as the Museo Reina Centre, Katoomba, AU (2017); Colección Sofía or MACBA, show us how he material Soledad Lorenzo. Punto de encuentro, izes these concerns. A metal postcard Museo Nacional Centro de Arte Reina Sofía, rack displays mirrors instead of postcards Madrid, ES (2017); Imbalance, Laznia Centre reflecting its immediate surroundings. for Contemporary Art, Gdansk, PL (2017); Perejaume hiked up a mountain with the Sota la superficie, MACBA, Barcelona, ES postcard rack to place it in different (2017). landscapes, forming a changing painting 188 / 189 with a field of vision of 360 degrees, like a Öktem Aykut 3 / 4 / 1

Öktem Aykut Aybastı Sokak 3, Şişhane T +90 533 352 0167 [email protected] Tankut Raşit Aykut 34430 Istanbul M +90 536 310 7694 www.oktemaykut.com Doğa Öktem Turkey Solo show at LISTE: Represented Artists: Gökçen Cabadan, 1980, TR / BE Francesco Albano, IT Jenifer İpekel, ES / TR Can Altay, TR Borga Kantürk, TR Bora Başkan, TR Emel Kurhan, TR Benji Boyadgian, FI Sinan Logie, BE Elif Boyner, TR Lara Ögel, TR Gökçen Cabadan, TR / BE Toygun Özdemir, TR Hasan Deniz, TR Mehmet Tekin, TR İnci Furni, TR Tuba Yalçınkaya, TR Aret Gıcır, TR Aylin Zaptçıoğlu, TR

Gökçen Cabadan Born in 1980 in Izmir, Cabadan studied being treated and abused by contemporary The Past You Left Behind painting and art first at Dokuz Eylül University consumerist power structures and its Oil on Canvas in Izmir and then in KASK in Ghent, sharp, bitter and unrecoverable influences 60 × 90 cm the Royal Academy of Fine Arts in Belgium. on personal levels. Cabadan belongs to an audacious group of artists from Turkey that dealt with the issues of queer identity since the late 1990s and developed subtle ways of expression that undermine the established visual and aesthetic male complicity. In this vein, Cabadan utilized his works to subvert tradi tional understandings of the ways in which paintings are conventionally presented and perceived. Cabadan’s authentic inter pretations of traditional genres, subjects and techniques in the history of painting have come to provide his means for a subtle critique of the contemporary society’s treatment of queer culture. Cabadan’s LISTE presentation chiefly concerns the idea of youth and how it has lately come to be conceived. The concepts of youth and adolescence, the themes of growing up and the discovery of sexuality have come to prove essential for his artistic production so far. His works at LISTE 190 / 191 approach the way the notion of youth is Overduin & Co. 0 / 7 / 4

Overduin & Co. 6693 Sunset Boulevard T +1 323 464 3600 [email protected] Lisa Overduin Los Angeles, CA 90028 www.overduinandco.com Conner Marley USA Solo show at LISTE: Represented Artists: Eliza Douglas, 1984, US Ei Arakawa, JP Rob Halverson, US Alina Astrova, RU Barry Johnston, US Math Bass, US Scott Olson, US Julie Beaufils, FR Agnieszka Polska, PL Will Benedict, US Oliver Payne, UK Frank Benson, US Puppies Puppies, US Merlin Carpenter, UK Blake Rayne, US Susan Cianciolo, US Stephen G. Rhodes, US Marc Camille Chaimowicz, FR Julia Rommel, US Eliza Douglas, US Haim Steinbach, IL Michaela Eichwald, DE Sergei Tcherepnin, US Maureen Gallace, US Erika Vogt, UK Nikolas Gambaroff, US Tris Vonna-Michell, UK

Eliza Douglas Eliza Douglas’s paintings capture repeated Untitled, 2017 Oil on canvas structures and gestures painted from 101.6 × 76.2 cm snapshots taken by the artist of her body and clothing. In a recent group of works, Douglas paints an array of patterned shirts with pockets each filled with a pack of cigarettes. The cigarettes show images from the European anti-smoking campaign. In this context the imagery takes on more a gothic quality and the staged propaganda portraits read as paintings within the painting.

Douglas (b. 1984, New York, NY) lives and works in Berlin and New York. She received her MFA from the Staedelschule in Frankfurt and her BA from Bard College in New York. Recent solo exhibitions of Douglas’s work have been organized by institutions including the Jewish Museum in New York, the Schinkel Pavillon in Berlin, Museum Folkwang in Essen, and the Kunstverein in Wiesbaden.

192 / 193 Park View / Paul Soto -1 / 2 / 3

Park View / Paul Soto 836 S. Park View Street #8 23 Avenue Jef Lambeaux [email protected] Paul Soto Los Angeles, CA 90057 1060 Brussels www.paulsoto.net USA Belgium T +1 213 509 3518 T + 32 499 828 830

Solo show at LISTE: Represented Artists: Victoria Colmegna, 1986, AR Victoria Colmegna, AR Autumn Ramsey, US Luchita Hurtado, US / VE Mark A. Rodriguez, US Dylan Mira, US

Victoria Colmegna Victoria Colmegna (b. 1986) usually begins interactions within sites of knowledge pro Estado Real, 2018 preparatory sketch a series of works by evaluating elements duction, where people are nurtured, Mixed media of her own biography. Inspired by philosophy, trained, cultivated, and controlled: schools, 45 × 45 × 70 cm Designed in pop culture, and art history in equal churches, clubs, and cocktail parties, collaboration with measure, Colmegna sets out to poetically among others. While working in critique, architect Pablo Castoldi mine and deconstruct the institutional it is important for the artist to offer new logics that surround and move through realities that serve real problems. Here she her and us. Her works receive their form and presents ‘Estado Real’, a series of maquettes ‘look’ from many art-historical traditions: and wall mounted tile works that act Pop, Minimalist, or Conceptual, for example. like architectural models and samples for These references frame Colmegna’s the redesign of a combination spa, bath deeply affective expressions of self, ges house, and educational venue. tures that paradoxically appear not only diaristic but also light, as though art produc Much like an interior design showroom, tion could be distilled to questions of Colmegna has conceived different versions styling. The works become carriers of a of a multilevel complex that could be poignant emotional and psychoanalytic used to repurpose her family’s spa in Buenos charge, and these fraught, personal impres Aires that was recently sold. The project sions expand into universal chronicles acts partly as a personal recuperation of the social apparatuses that shape our of the building, but more importantly it is desires. imagined to serve the needs of communi ties in which the artist’s friends and Colmegna’s concerns revolve around family traffic – queer men, contemporary what it means to be a person who identifies, health-conscious women and urban exchanges, competes, and conflicts professionals. with others in the formation of relation 194 / 195 ships. She is interested in these one-to-one PM8 1 / 4 / 1

PM8 Pablo Morillo 8 Bajo T +34 986 434 333 [email protected] Francisco Salas 36201 Vigo M +34 667 557 596 www.pm8galeria.com Spain

Solo show at LISTE: Represented Artists: Elena Narbutaitė, 1984, LT Martha Araújo, BR Jesús Pedraza Villalba, ES Gabriel Borba Filho, BR Gabriel Pericàs, ES Daniel Chust Peters, ES Algirdas Šeškus, LT Loreto Martínez Troncoso, ES Adán Vallecillo, HN Elena Narbutaitė, LT

Elena Narbutaitė Elena Narbutaitė (Vilnius, 1984) subtly The Wind, 2017 Laser brings light to the audience, illuminating Photo courtesy of those things that remain in the obscurity, the artist and PM8, Vigo capturing this precise glimpse which makes the invisible visible. Her delicate prome- nade through every project is gifted with a sense of reality which filters her diverse interests, whether these be in science or literature, allowing her to translate or to reinterpret the object of her study into other drifts that converge in new strategies of her speculative research.

Like a night walker who explores and feels the world with fresh and new eyes, like a character from a Thomas Mann novel with her mind open and reflective, Elena Narbutaitė seems to belong to a more literary universe, where she invites you to enter through unexpected projects that make your earthly experience different and lighter.

196 / 197 Project Native Informant 0 / 10 / 4

Project Native Informant Morley House, 3rd Floor T +44 208 133 8887 Stephan Sastrawidjaja 26 Holborn Viaduct [email protected] London EC1A 2AT www.projectnativeinformant.com United Kingdom

Shown at LISTE: Represented Artists: Flo Brooks, 1987, UK Sophia Al-Maria, QT / US Juliana Huxtable, US DIS, 2010, US Shanzhai Biennial, CH / US Morag Keil, UK Hal Fischer, 1950, US Flo Brooks, UK Georgie Nettell, UK Juliana Huxtable, 1987, US DIS, US Sean Steadman, UK Harumi Yamaguchi, 1936, JP Hal Fischer, US Ned Vena, US GCC, AE / UK / LB / KW / US Harumi Yamaguchi, JP

Harumi Yamaguchi “The distinction between past, present becoming, where every gesture is a Plastic Hose, 1976 Acrylic on Board and future is only a stubbornly persistent perpetual vanishing point, needing to be 63 × 65.7 cm illusion.” Albert Einstein repeated endlessly.

DIS Thumbs That Type The late 1970s and early 1980s are juxta and Swipe, 2018 Unique backlit print posed with the present in order to reflect on with artist’s frame the parallelism of the cultural, economic, 98 × 76 × 10 cm political and social conditions. New work by DIS, Flo Brooks and Juliana Huxtable will accompany historical works by Hal Fischer and Harumi Yamaguchi.

Fischer’s series of images decoding the erotic dimensions of Western gay male life, post-Stonewall and pre-AIDS and Yamaguchi’s post-pop paintings of women in consumerist ecstasy present an identity optimistic of a liberatory utopia promised by capitalism. In a not too dissimilar present, DIS’ new unique backlit prints mixing education and entertainment, Flo Brooks’ paintings of everyday life, and Juliana Huxtable’s self-portraits communicate a reactionary logic of post-neoliberal politics rife with ‘fake news’ and ‘me too’. The five viewpoints suggest the past, as much as 198 / 199 the present, is a constant state of Proyectos Monclova 0 / 10 / 7

Proyectos Monclova Colima 55, Colonia Roma Norte Mexico T +52 5555 2597 15 Polina Stroganova 06700 Mexico City M +52 1552 7300 635 Mexico [email protected] www.proyectosmonclova.com

Shown at LISTE: Represented Artists: Ištvan Išt Huzjan, 1981, SI Helen Escobedo (Estate), MX Raúl Ortega Ayala, MX Gabriel de la Mora, 1968, MX Julius Heinemann, DE Chantal Peñalosa, MX Ištvan Išt Huzjan, SI Michael Sailstorfer, DE Adrien Missika, FR Martin Soto Climent, MX Gabriel de la Mora, MX Tercerunquinto, MX Robert C. Morgan, US Eduardo Terrazas, MX Edgar Orlaineta, MX Anna Virnich, DE

Gabriel de la Mora Gabriel de la Mora’s practice is focused between opposing poles: avant-garde Tabasco 82 II, 2015 Detached on the reuse of discarded and obsolete and neo-avant-garde, public and private, consolidated ceiling objects that appear to have concluded their material and immaterial. The artist’s from 1924 on canvas, mounted on wood utilitarian life. Interested in the decon- personal narrative facilitates his examination stretcher struction of an object or material over time of different media, while also revealing 90 × 120 × 4 cm Courtesy of the artist and the memory it encapsulates, his time- Huzjan’s need to be on the move and and Proyectos based practice echoes the concept of the explore the media’s boundaries. His perfor Monclova Photo: Studio Gabriel ready-made. Through an obsessive mances use simple actions, such as de la Mora process of collecting and cataloguing dis walking, to consider the distances between

Ištvan Išt Huzjan carded objects, such as ceilings, shoe people, spaces and even single steps Unnamed Figure, soles, and eggshells, he reorganizes these as basic unit of locomotion. In these works 2015 Woolen hats and a forgotten fragments to present them in as well as in his sculptures, he muses on tree branch a new light. His practice lends visibility to society, historical facts, geography, and the 85 × 235 × 115 cm Courtesy of the artist the immaterial aura of objects, which when relationships between individuals. and Proyectos removed from their utilitarian narrative, Huzjan is a recent winner of the Grand Prize Monclova Photo: Sebastiano juxtapose the ‘past lives’ of the object with of the 31st Biennial of Graphic Arts awarded Pellion the present, as though giving the materials by the MGLC International Centre of the opportunity to look back and reflect Graphic Arts in Ljubljana, Slovenia. He was on themselves. an artist in residence at the Rijksakademie De la Mora’s work has been exhibited van beeldende kunsten, Amsterdam and institutionally at The Drawing Center, New has exhibited internationally at The Modern York; the Museo Amparo, Puebla; Gallery and Museum of Contemporary Art LACMA, Los Angeles, and the Museum of Metelkova (MG+MSUM), Ljubljana, Slovenia; Latin American Arts, Long Beach a.o. Museum of Contemporary Art of Korea, Seoul; SAVVY Contemporary, Berlin; and Ištvan Išt Huzjan is an artist whose perfor the 51st Venice Biennial a.o. 200 / 201 mances and sculptures create tension Proyectos Ultravioleta 3 / 6 / 2

Proyectos Ultravioleta 21 calle 11-09 z1 T +502 2253 9288 [email protected] Stefan Benchoam 01001 Guatemala City M +502 4215 4633 www.uvuvuv.com Guatemala

Solo show at LISTE: Represented Artists: Akira Ikezoe, 1979, JP Hellen Ascoli, GT Jorge de León, GT Stefan Benchoam, GT Felipe Mujica, CL Buró de Intervenciones Públicas, GT Jesús “Bubu” Negrón, PR Radamés “Juni” Figueroa, PR Alberto Rodríguez Collía, GT Regina José Galindo, GT Vivian Suter, AR Akira Ikezoe, JP Johana Unzueta, CL Jessica Kairé, GT Elisabeth Wild, AT

Akira Ikezoe Born in Kochi, Japan, in 1979, and currently This will be the first time that Akira Ikezoe’s Coconut Heads in the Bird Land, 2017 based in New York, Akira Ikezoe has work is presented in Europe, inviting visitors Oil on canvas been using painting, drawing, performance to transport themselves from the busy 127 × 158 cm and animation to explore the ever winding day-to-day in the fair, and in our lives, into relationships between humans and nature. the humorous everyday situations depict- His work is as humorous as it is philo ed within the canvases of one of the most sophical, suggesting that nature is not only exciting young painters working today. around us, but most importantly, that it exists inside of us. Proyectos Ultravioleta’s presentation for LISTE 2018 aims to showcase Ikezoe’s unique practice through his most recent large scale oil paintings on canvas. Through a seamless free flowing association of graphic forms, spectators are invited to follow a very playful narrative that sees different characters experience everyday idiosyncrasies of present-day humanity. The paintings themselves seem to be a contemporary play on Japan’s ‘etoki’ (pic torial storytelling) art history, which can be traced back to the twelfth century ‘emaki’ scrolls that depict anthropomorphized animal caricatures that satirize society during this period but have no text, making it a pictorial aid to a story. 202 / 203 Radziszewski 0 / 7 / 1

Dawid Radziszewski Krochmalna 3 M +48 603 899 242 [email protected] 00-864 Warsaw www.dawidradziszewski.com Poland

Solo show at LISTE: Represented Artists: Katarzyna Przezwańska, 1984, PL Sebastian Buczek, PL Joanna Piotrowska, PL Łukasz Jastrubczak, PL Katarzyna Przezwańska, PL Krzysztof Kaczmarek, PL Adam Rzepecki, PL Paweł Kruk, PL Șerban Savu, RO Tomasz Kowalski, PL Marcin Zarzeka, PL Krzysztof Męzyk, PL

Katarzyna Katarzyna Przezwańska (b. 1984), Przezwańska untitled, 2016 in her practice, often refers to nature and Ostrich egg, chicked architecture. She combines both of these egg, quail egg, polyurethane lacqer, fields, always striving to improve the quality wood of human life and trying to make her art entirely utilitarian. The artist is equally inspired by vernacular architecture and classical architects of the twentieth century, as by the vegetation of plants or large geological phenomena. She creates archi tectural interventions, installations, paintings, often using natural materials such as rocks, minerals or plants. Przezwańska took part in numerous exhibitions, i.e. in CCA in Warsaw, Museum of Modern Art in Warsaw, National Museum in Warsaw and Abteiberg Museum in Monchen gladbach. In 2017 she won the ING Polish Art Foundation prize for her work on the geological history of Warsaw, where she lives and works.

204 / 205 Raster 0 / 10 / 1

Raster Wspólna 63 T +48 222 451 239 [email protected] Łukasz Gorczyca 00-687 Warsaw M +48 784 588 854 www.rastergallery.com Michał Kaczyński Poland

Shown at LISTE: Represented Artists: Oskar Dawicki, 1971, PL Azorro, PL Honorata Martin, PL Honorata Martin, 1984, PL Olaf Brzeski, PL Przemek Matecki, PL Slavs and Tatars, founded 2006 Michał Budny, PL Bartek Materka, PL Rafał Bujnowski, PL Michelle Rawlings, US Oskar Dawicki, PL Zbigniew Rogalski, PL Sławomir Elsner, DE / PL Zofia Rydet, PL Aneta Grzeszykowska, PL Wilhelm Sasnal, PL Zbigniew Libera, PL Janek Simon, PL Marcin Maciejowski, PL Slavs and Tatars

Oskar Dawicki, Oskar Dawicki is an artist known as a Their 2018 solo shows include Armatura Polonica Utilitate Graviditatis, practitioner of total performance, living and ‘Saalbadereien / Bathhouse Quackeries’ 2017 working in Warsaw. His recent exhibition in Westfälischer Kunstverein, Münster, Steel 60 × 45 × 45 cm at Raster (2017 / 18) was built around a vision ‘Pickle Politics’ in Kulturhuset, Stockholm of a pregnant woman as the heroine and ‘Made in Dschermany’ in Albertinum, of our times. Pictured in the catalog is her Dresden. armor – forged by a metalsmith according to Dawicki’s non-traditional design.

Honorata Martin is a multimedia artist, painter and performer, known for the radical ism of her actions and her search for the boundaries of physical and mental en durance. In 2017 she won a prestigious ‘Spojrzenia’ (Views) Deutsche Bank Award in the most important competition for young Polish artists. She works and lives in Gdańsk, Poland.

Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s practice is based on three activities: exhibitions, books and lecture- performances. 206 / 207 Sabot 2 / 1 / 3

Sabot 12 Horea str., ap. 10 T +40 264 536 541 [email protected] Daria Dumitrescu 400038 Cluj-Napoca M +40 723 224 105 www.galeria-sabot.ro Romania

Shown at LISTE: Represented Artists: Răzvan Botiș, 1984, RO Răzvan Botiș, RO Nicolás Lamas, PE Joe Fletcher Orr, 1991, UK Stefano Calligaro, IT Alex Mirutziu, RO Lucie Fontaine, 1982, FR Aline Cautis, US Vlad Nancă, RO Nona Inescu, 1991, RO Radu Comșa, RO Pepo Salazar, ES Nicolás Lamas, 1980, PE Joe Fletcher Orr, UK Alice Tomaselli, IT Alex Mirutziu, 1981, RO Lucie Fontaine, FR Alexandra Zuckerman, IL Vlad Nancă, 1979, RO Nona Inescu, RO Alice Tomaselli, 1982, IT Alexandra Zuckerman, 1981, IL

Nona Inescu A laboratory, an incubator, a research Foundation, 2013 Leather on concrete tentacle, Sabot acts equally as a curator, 24 × 10 × 12 cm a producer, and a habitat. Photo: Guy Clark

Alex Mirutziu Nine of the gallery artists under 40 Feet-cage (for “When love melted are invited to put together a series of ‘self- cavalries in our portraits as a shoe’ (an allusion to the hearts”), 2010 Performance gallery’s name, Sabot, which can be easily footwear / metal, fur rendered into ‘a kind of simple shoe, Variable dimensions Photo: Alex Mirutziu shaped and hollowed out from a single block of wood, traditionally worn by French and Breton peasants’). These creations become part of ‘Sabot Shoe Shop’ – a site-specific installation meant to question (even to temporary override) our gallery’s identity.

Behind its obvious self-ironic approach (Sabot is a contemporary art gallery which operates on a nonprofit basis), our project is in fact using the art market as a creative laboratory, turning a curatorial experiment into artistic commodity.

208 / 209 Sé 3 / 8 / 2

Sé Rua Roberto Simonsen, 108 T +55 11 3107 7047 [email protected] Maria Montero 01017-020 São Paulo M +55 11 9952 2949 6 www.segaleria.com.br Brazil

Shown at LISTE: Represented Artists: Dalton Paula, 1982, BR Deco Adjiman, BR Maria Montero, BR Gustavo Speridião, 1978, BR Pedro Victor Brandão, BR Dalton Paula, BR Fagus, BR Pontogor, BR Carlos Issa, BR Rafael RG, BR Franz Manata & Gustavo Speridião, BR Saulo Laudares, BR Traplev, BR Arnaldo de Melo, BR Michel Zózimo, BR

top: The basis of Dalton Paula’s work is and the utopic notion of poetical revolution. Dalton Paula Ex-votos G, 2016 the black body silenced by fear, insecurity, Speridião has participated in many solo Oil on canvas individuality and transience. The references and group shows both in Brazil and inter 40 × 50 cm are in the suburbs and in the Afro-Brazilian nationally, such as Imagine Brazil, curated bottom left: religious rituals. Myths acquire new life and by Gunnar B. Kvaran, Thierry Raspail and Dalton Paula Sino e cadeira, 2017 meaning. The artist uses silence to Hans Ulrich Obrist, in DHC / ART, in Montreal, Oil on canvas and communicate and awaken what is uncom Canada. golden leaf 40 × 50 cm fortable in our society to rethink and imprisoning images and to open up margins, bottom right: Gustavo Speridião that presents these black bodies in new Sem Título, 2017 contexts as protagonists who have been Ink and vernish on canvas historically silenced. He has partici- 212 × 73 cm pated at the 32a Bienal de São Paulo (2016) and 2018 Triennial: Songs for Sabotage at the New Museum, in New York.

Speridião uses different medias such as painting, drawing, photography and video to express his critical vision of history. Using language to discuss power, his work has many references, from Malevich to the Bauhaus way to set up an exhibition. His economy in the use of color makes the work also a graphic voice that shouts a constant sense of restlessness. Everything is there. It is about an aesthetical posi- 210 / 211 tion, but is also about pleasure, desire, horror Société 0 / 9 / 1

Société Genthiner Strasse 36 M +49 302 610 3283 [email protected] Daniel Wichelhaus 10785 Berlin www.societeberlin.com Germany

Solo show at LISTE: Represented Artists: Jeanette Mundt, 1982, US Trisha Baga, US Davis Rhodes, US Petra Cortright, US Bunny Rogers, US Josh Kolbo, US Matthew Schlanger, US Kaspar Müller, CH Timur Si-Qin, US Jeanette Mundt, US Ned Vena, US Sean Raspet, US Lu Yang, CN

Jeanette Mundt Société is thrilled to present new works by TBT, 2018 Oil on linen the American artist Jeanette Mundt. 132 × 117 cm

212 / 213 Southard Reid 0 / 10 / 3

Southard Reid 7 Royalty Mews T +44 207 734 3333 [email protected] David Southard London W1D 3AS M +44 786 754 6959 www.southardreid.com Phillida Reid United Kingdom

Shown at LISTE: Represented Artists: R.M. Fischer, 1947, US Hany Armanious, AU Celia Hempton, UK Celia Hempton, 1981, UK Mark Barker, UK Neal Jones, UK Lea Cetera, US Joanna Piotrowksa, PL Benny Chirco, IT Prem Sahib, UK Ann Craven, US Edward Thomasson, UK R.M. Fischer, US

Celia Hempton Southard Reid is pleased to present new R.M. Fischer (NYC). Recent exhibitions in DESIRE. Installation view work by Celia Hempton and R.M. Fischer. include ‘Brand New: Art and Commodity in Museo de Arte Hempton’s paintings are made live, the 1980s’, Hirshhorn Museum, Washington Moderno de Medellín, Colombia, capturing the encounter with whatever D.C. (2018); ‘SCULPTURE’, Southard Reid, 2017–18 active view on the world, real or virtual. London, ‘Midtown’, Leverhouse, New York Courtesy The Artist and Southard Reid Fischer’s sculptural practice spans (2017). Fischer has exhibited widely Photo: Carlos Tobón back to the 1970s, traversing territories of including solo shows at Artists Space

R.M. Fischer art, craft, mechanics, fashion and design. (1979), Art et Industrie and Holly Solomon Triptych, 2015 Celia Hempton (London). Recent exhibitions Gallery (1980), Whitney Museum of Vinyl, fabric, thread, polyester fiberfill, include ‘Art in the Age of the Internet, American Art (1984), Sidney Janis (1991), steel, rubber, brass 1989 to Today’, ICA Boston, Kathy Acker: Deitch Projects (1998), KS ART (2009 193 × 236.5 × 38 cm Courtesy The Artist ‘Who Wants to Be Human All the Time’, and 2011) and numerous group shows in and Southard Reid Performance Space, New York (2018); cluding ‘Everything That’s Interesting Photo: Mark Blower ‘Tainted Love’, Le Confort Moderne, is New’ curated by Jeffrey Deitch, DESTE Poitiers, ‘Desire’, Museo de Arte Moderno Foundation (1996), ‘Threshold’, Serralves de Medellín, ‘(X) A Fantasy’, DRAF, London, Foundation, Porto (1995), ‘Modern Detour’ ‘Transmissions from the Etherspace’, with Laurie Simmons and Peter Halley, La Casa Encendida, Madrid (2017); ‘Tor’, Secession Vienna (1990),‘Luso-American Frieze London with Southard Reid, ‘Art Encounters for Contemporary Art’, Calouste Night’ with ICA, London, ‘The Magazine Gulbenkian Foundation, Lisbon (1989), Sessions’ in collaboration with Fiorucci Art ‘Science Fiction’ curated by Peter Halley, Trust, Serpentine Sackler Gallery, John Weber Gallery, New York (1983) London, ‘The Painting Show’, British Council and Whitney Biennals in 1987 and 1983. Touring Exhibition, ‘Electronic Superhighway 2016–1966’, Whitechapel Gallery, London (2016); ‘Burning Down The House’, 214 / 215 Gwangju Biennale (2014). Staiger 3 / 7 / 2

Galerie Gregor Staiger Limmatstrasse 268 T +41 444 913 900 [email protected] Gregor Staiger 8005 Zürich M +41 787 593 949 www.gregorstaiger.com Switzerland

Shown at LISTE: Represented Artists: Florian Germann, 1978, CH Rachal Bradley, UK E’wao Kagoshima, JP Nicolas Party, 1980, CH Vittorio Brodmann, CH Brian Moran, US Lucy Stein, 1979, UK Marie-Michelle Deschamps, CA Shana Moulton, US Marvin Gaye Chetwynd, UK Nicolas Party, CH Florian Germann, CH Walter Pfeiffer, CH Sonia Kacem, CH Lucy Stein, UK

Nicolas Party In his extensive work cycles that can all things. As such, these almost generic Marble Leftovers, 2017 span several years, Florian Germann (CH, subjects often disclose less about them Marble intarsia 1978, lives and works in Zurich) unfolds selves than about the medium in which they 163 × 61 × 3 cm reticular experimental arrangements based are represented. As is apparent in his in real and fictionalized narratives melding marble still lifes or site-specific murals, Party historical events, scientific data and tropes humorously expands the possibilities of originating from popular culture or art traditionally decorative techniques, while history. Crucial to Germann’s investigative precisely considering their situational installations and sculptural recording context. systems, which evolve around the physical, Lucy Stein (UK, 1979, lives and works in psychological but also mythological Cornwall) is a painter exploring a gendered characteristics of certain materials, is the extrapolation of the historicity of the energetic activation through the artist medium engaging with feminist theory and himself, initiating the procedural transforma addressing masculine tropes with exceptio tion processes. It is the traces of this nal wit. In the last few years, Stein has immediate contact between the different built a body of work that draws heavily from bodies and energies, which visibly inscribe alternative narratives and creates personal the material and shape them over time. and specific cultural, often geographically The work of Nicolas Party (CH, 1980, determined mythologies relating to ideas of lives and works in New York and Brussels) genius loci and rooted in esoteric considers imagery not as rhetorical, symbolism, Celtic paganism or witchcraft but essentially aesthetic or pictorial. In his as well as British modernist painting. paintings, murals, watercolors, pencil or charcoal drawings, marble works and painted sculptures, Party works with a figur ative, though reduced vocabulary, often 216 / 217 revealing geometric forms at the base of Stereo 0 / 9 / 8

Stereo Miedziana 11 M +48 509 099 786 [email protected] Zuzanna Hadryś 00-835 Warsaw M +48 503 178 965 www.galeriastereo.pl Michał Lasota Poland

Solo show at LISTE: Represented Artists: Jakub Czyszczoń, 1983, PL Wojciech Bąkowski, PL Gizela Mickiewicz, PL Piotr Bosacki, PL Mateusz Sadowski, PL Jakub Czyszczoń, PL Roman Stańczak, PL Norman Leto, PL Magdalena Starska, PL Piotr Łakomy, PL

Jakub Czyszczoń „If you look at a dog following the Following these micro-events with in Untitled, 2017 Oil and acrylic paint, advice of his nose, he traverses a patch of creasing intensity one can see their plastic, paper on land in a completely unplottable manner. movement: continuous, with no beginning, canvas 60 × 50 cm And he invariably finds what he is looking direction and purpose, without a starting for.” From ‘The Meaning of Coincidence, point and no destination.” An interview with the writer W.G.Sebald’ From ‘Micrograms’ by Jakub Bąk by Joe Cuomo

“It is difficult to analyze individual decisions of the painter, in fact they have been dispersed, propagated and distrib uted, miniaturized and repeatedly mixed by the subtle segmentations. They are neither the result of a composition or improvisa - tion, they do not involve long-term memory reconstruction processes, or release of short-term memory, so it is not neither remembering nor forgetting. Czyszczoń’s painting practice is a kind of carefully conducted micro-explosions which produce an image of painting matter in state of highly energy saturated movement. The painter methodically operates with the detail and the detail of detail multiplied evenly in all directions at once, both in the plan of the surface and into the successive layers 218 / 219 of scratched paint and layered glazes. Subal 2 / 1 / 1

Simone Subal Gallery 131 Bowery 2nd Floor T +1 917 409 0612 [email protected] Simone Subal New York, NY 10002 www.simonesubal.com Kelly McGee USA

Shown at LISTE: Represented Artists: Sam Ekwurtzel, 1983, US Sonia Almeida, PT Florian Meisenberg, DE Veronika Pausova,1987, CZ Larry Bamburg, US Brian O’Doherty, IE Julien Bismuth, FR B. Ingrid Olson, US Sam Ekwurtzel, US Veronika Pausova, CZ Frank Heath, US Yorgos Sapountzis, GR Anna K.E., GE Emily Mae Smith, US Kiki Kogelnik, AT Jesse Wine, UK

Veronika Pausova Sam Ekwurtzel (b. 1983 in Hartford, Jacuzzi, 2017 Oil on canvas lives and works in New York) studied at 45.7 × 38.1 cm Columbia University. Recent exhibitions

Sam Ekwurtzel include Simone Subal Gallery, New York Stormwater pipe, 8” (solo); Wellesley College, Wellesley offcut, partially drained, 2017 (solo); The Kitchen, New York; Virginia Aluminum culvert Commonwealth University Fine Arts pipe, fused silica 41.9 × 43.2 × 27.9 cm Gallery, Richmond. Veronika Pausova (b. 1987 in Prague, lives and works in Toronto) Studied at Virginia Commonwealth University. Recent exhibi tions include Hunt Kastner, Prague (solo); National Gallery of Canada, Ottawa; White Columns, New York; Simone Subal Gallery, New York (solo); Tatjana Pieters, Ghent (solo); Paramo Galeria, Guadalajara (solo); Motel, Brooklyn (solo).

220 / 221 Sultana 1 / 1 / 2

Sultana 10 rue Ramponeau T +33 144 540 890 [email protected] Guillaume Sultana 75020 Paris M +33 687 246 252 www.galeriesultana.com France

Shown at LISTE: Represented Artists: Pia Camil, 1980, MX Pia Camil, MX Arnaud Maguet, FR Paul Maheke, 1985, FR Jesse Darling, UK Paul Maheke, FR Justin Fitzpatrick, UK Olivier Millagou, FR Jacin Giordano, US Gavin Perry, US Celia Hempton, UK Walter Pfeiffer, CH Mirak Jamal, IR Sally Ross, AU Emmanuel Lagarrigue, FR Bettina Samson, FR

Pia Camil Mexico City-based artist Pia Camil Through a varied and often collaborative Divisor Pirata Azul, 2017 creates projects that negotiate between body of work including performance, Second-hand formal, historical and critical modes of sculpture, sound and video, London-based T-shirts from Las Torres Market, operation. Formally, Camil’s works are often artist Paul Maheke considers the potential Iztapalapa colorful objects, voluptuous fabrics, photo of the body as an archive in order to ad Dimension variable Installation view of graphs or performances deeply related dress how memory and identity are formed Bara, Bara, Bara, to items of domesticity, studies of the body, and constituted. Most recently Maheke Dallas Contemporary, Dallas, 2017 and have strong references to the has worked with performance and video to Photo by Kevin legacy of conceptual art and modernism. create works that disrupt representations Todora Her works are critical of the exponential of queer Blackness, which have emerged and irregular growth of Latin America’s out of a Western discourse. Paul Maheke I Lost Track of The capitals, and reference informal economies Paul Maheke (b. 1985, Brive-la-Gaillarde, Swarm, 2016 and the dynamics of merchandise France) lives and works in London. 3-channel video installation (endless distribution systems. Previous shows include Chisenhale Gallery, loop) Pia Camil (b. 1980, Mexico City, Mexico) London (2018); CA2M, Madrid; Sultana, Paris; 22' 46" Courtesy the artist received her BFA from The Rhode Island David Roberts Art Foundation, London; and Sultana School of Design in 2003 and her MFA 57th Venice Biennale, Venice; Tate Modern, from The Slade School of Fine Art in 2008. London; Room E-10 27 @ Center, Berlin Forthcoming solo shows include: (all 2017). Nottingham Contemporary, Nottingham; Sultana, Paris; Museo Universitario del Chopo, Mexico City (all 2018). Selected group shows include: Monnaie de Paris, Paris; National Museum of Women in the Arts, Washington; Dallas Contemporary, Dallas (all 2017); Museum Ludwig, Köln 222 / 223 (2016). Tang 0 / 9 / 4

Galerie Joseph Tang 1 rue Charles François Dupuis M +33 670 220 479 Joseph Tang 75003 Paris [email protected] France www.galeriejosephtang.com

Solo show at LISTE: Represented Artists: Daiga Grantina, 1985, LV Julie Béna, FR Alexander Lieck, DE Sean Bluechel, US Chloé Quenum, FR Adam Cruces, US Carlos Reyes, US Wojtek Doroszuk, PO Pepo Salazar, ES Daiga Grantina, LV Jo-Ey Tang, HK James Lewis, UK

Daiga Grantina In developing her work from material souligner leur articulation. Le corps et La Med fresh, 2018 Metal, foam mold, matter, Daiga Grantina molds, composes, son organisation atomique sont souvent straw arranges, transforms and suspends suggérés à travers ces figures abs- 200 × 120 × 120 cm Unique objects, fabric and the like. From the traites qui se lient à leur environnement Courtesy Galerie plasticity of these materials, out comes afin de produire comme des excroissances Joseph Tang form, physical and psychic images. architecturales. Pareils agencements Grantina creates structures where compo incluent le spectateur de façon dynamique nents are often visible, a way to emphasis et offrent des formats où le viscéral, their articulation. The body and its la couleur, la technique, la lumière ou en atomic anatomy are suggestive in abstract core la pesanteur dialoguent avec fluidité. forms that are bound to their environment – Fabien Dansei like architectural excrescences. Such compositions immerse the viewer in a visceral experience, where color, tech nique, light and weightiness trade dialogue with fluidity. – Fabien Dansei

En développant un travail à partir de la matière, Daiga Grantina moule, compose, agence, transforme ou encore pend objets, étoffes et autres substances qui sont autant de données plastiques capables de condenser en une forme, de nom breuses images physiques et psychiques. Elle crée des structures où l’ensemble 224 / 225 des composants sont visibles, de façon à Temnikova & Kasela 2 / 6 / 3

Temnikova & Kasela gallery Lastekodu 1 T +372 640 577 0 [email protected] Olga Temnikova 10115 Tallinn M +372 566 380 72 www.temnikova.ee Estonia

Shown at LISTE: Represented Artists: Flo Kasearu, 1985, EE Olga Chernysheva, RU Inga Meldere, LV Kris Lemsalu, 1985, EE Merike Estna, EE Krista Mölder, EE Oleg Frolov, RU Kaido Ole, EE Mikko Hintz, FI Jaanus Samma, EE Flo Kasearu, EE Jaan Toomik, EE Kris Lemsalu, EE Sigrid Viir, EE Marko Mäetamm, EE

Flo Kasearu Flo Kasearu (b.1985) is an artist based Kris Lemsalu (b. 1985) is an artist Two People by the in Tallinn. She studied Painting and Photo based in Berlin and Tallinn. She studied at Beach, Nothing Else, 2017 graphy at the Estonian Academy of Arts, the Estonian Academy of Arts in Tallinn, Video, DV-PAL and Multimedia at Universtität der Künste Danmarks Designskole in Copenhagen, 7' Berlin under Rebecca Horn studio. and Academy of Fine Arts in Vienna. Kris Lemsalu Her works address contemporary socio Lemsalu often experiments with ceramics Immaterial Material Love, 2017 logical and ideological narratives and and traditional techniques to create multi Ceramics are often conceived and presented out layered works. These can act as self- side of the white cube gallery set up. sufficient installations, or alternatively as a stage for Lemsalu’s performances, Kasearu has exhibited in various public the sculptures sometimes becoming a part spaces, in her Tallinn home which she of her costumes and props. transformed into an eponymous house museum (Flo Kasearu House Museum, Lemsalu’s recent and upcoming exhibi- 2013 –ongoing), and a women’s shelter tions include solo shows at Secession, (‘Festival of the Shelter’, Pärnu women’s Vienna and Goldsmiths Centre for Contem shelter, 2018). An exhibition at the porary Art, London (both November 2018); museum of Estonian poet Lydia Koidula, ‘There and Back Again’, group show Tallinn, is upcoming in 2018. Her recent curated by Kati Kivinen and Saara Hackli, exhibitions and performances also include Kiasma, Helsinki (2018); ‘The Wild ‘There and Back Again’, group show Ones’, Koppe Astner, Glasgow (2017–2018); curated by Kati Kivinen and Saara Hackli, ‘Going, going’ with Kyp Malone, curated by Kiasma, Helsinki (2018); ‘Soon enough’, Esa Nickle and Maaike Gouwenberg, group show curated by Maria Lind, Tensta Performa 17 Biennial, New York (2017); and Konsthall (2018); ‘Members Only’, Performa a performance with Glasser at DRAF 17 Biennial, curated by Esa Nickle and performance night, KOKO, London (2017). 226 / 227 Maaike Gouwenberg, New York (2017). The Breeder 0 / 8 / 1

The Breeder 45 Iasonos st T +30 210 331 7527 [email protected] Stathis Panagoulis 10436 Athens M +30 694 464 6800 www.thebreedersystem.com George Vamvakidis Greece Nadia Gerazouni

Shown at LISTE: Represented Artists: Maria Hassabi, 1973, CY Blind Adam, GR Andreas Lolis, GR Zoë Paul, 1987, UK Markus Amm, DE Scott Myles, UK Vanessa Safavi, 1980, CH / IR Andreas Angelidakis, GR / NO Angelos Papadimitriou, GR Sofia Stevi, 1982, GR Gina Beavers, US Zoë Paul, UK Marc Bijl, NL Angelo Plessas, GR / IT Slater B. Bradley, US Vanessa Safavi, CH / IR Vlassis Caniaris, GR Shirana Shahbazi, CH / IR Dora Economou, GR Mindy Shapero, US Joana Escoval, PT Daniel Sinsel, DE Zoi Gaitanidou, GR Socratis Socratous, CY Maria Hassabi, CY Chrysanne Stathacos, GR / CA Uwe Henneken, DE Sofia Stevi, GR HOPE, GR Theo Triantafyllidis, GR Tao Hui, CN Jannis Varelas, GR Jim Isermann, US Alexandros Vasmoulakis, GR Navine G. Khan-Dossos, UK Allyson Vieira, US Kalup Linzy, US Gabriel Vormstein, DE

Maria Hassabi For LISTE 2018, The Breeder has brought Düsseldorf (2018) #2 Inkjet print together the works of four women artists in 168 × 107 × 5 cm a project titled ‘Let Girls Be Angry’. © the artist Courtesy The Maria Hassabi, Zoë Paul, Vanessa Safavi Breeder, Athens and Sofia Stevi, each work in their respective mediums to unearth and negotiate systems of psychological abuse operating in the collective unconscious.

Questioning why society breeds and nur tures the negative attitudes towards women that have become so inherent in the wider culture. Deconstructions become hopeful attempts at rebuilding. Here, pink is a hot red anger with a touch of white, a glimmer of hope amidst the seemingly endless revelations that have seeped from every crack in every industry.

228 / 229 The Sunday Painter 1 / 6 / 2

The Sunday Painter 117–119 South Lambeth Road T +44 207 735 5037 Harry Beer London SW8 1XA M +44 794 628 6277 Tom Cole United Kingdom [email protected] Will Jarvis www.thesundaypainter.co.uk

Shown at LISTE: Represented Artists: Cynthia Daignault, 1978, US Rob Chavasse, UK Kate Newby, NZ Kate Newby, 1979, NZ Cynthia Daignault, US Beatriz Olabarrieta, ES Leo Fitzmaurice, UK Alex Rathbone, UK Emma Hart, UK Samara Scott, UK Piotr Lakomy, PL Tyra Tingleff, NO

Cynthia Daignault Working with a variety of media includ- and landscape being some of the ideas At Picture Lake (Just as you feel when you ing installation, textile, ceramics, casting and she addresses. Daignault looks for subject look on the river and glass, Kate Newby is a sculptor who is matter outside of her studio, exploring sky), 2017 Framed paintings committed to exploring and putting pressure ways to imbue her images with meaning. 24 works on the limits and nature of sculpture. Such endeavors involve uncertainty and Dimensions variable In doing so she celebrates the minutiae of endurance, and in completed works, Kate Newby everyday life as her work provokes a con this translates to a sense of narrative and Try it with less pennies and direct sideration of the overlooked and a renewed emotional weight. A recent venture light, 2017 / 2018 awareness of our environments. Where is indicative of her ambitious scope, both Glass, Jute Dimensions variable and how the sculpture takes place are as physically and temporally; What Happened important as the form and material it em is a work made up of 100 paintings ploys and as such the works frequently exist charting 100 years of iconic images from beyond the gallery space, while physically American history. Exploring collective redefining the architecture of a place. memory and inherited trauma, it becomes In using a range of half found and half fabri a macro portrait of the last century. cated quotidian fragments, including coins, nails, ring pulls and ceramic pebbles, her installations can take the form of a lo-fi archaeological dig, acting as traces and memories of the passing world.

Cynthia Daignault approaches painting as a long form act, treating it as a cinematic and durational medium. Interested in narrative and time-based work, she experi ments with bringing those concepts and 230 / 231 histories into painting, with memory, history Truth and Consequences -1 / 2 / 4

Truth and Consequences 7 boulevard d’Yvoy M +41 795 334 667 Paul-Aymar Mourgue d’Algue 1205 Geneva [email protected] Switzerland www.truthandconsequences.ch

Shown at LISTE: Represented Artists: Pentti Monkkonen, 1975, US Mathis Altmann, DE Daniel Dewar & Hannah Quinlan & Stéphane Barbier Bouvet, FR Grégory Gicquel, UK / FR Rosie Hastings, 1991, UK Kim Seob Boninsegni, CH / FR Charles Irvin, US Seyoung Yoon, 1986, KR Vittorio Brodmann, CH Ulrich Wulff, DE Liz Craft, US

Pentti Monkkonen Truth and Consequences’ project for LISTE deployed around a plot device of a Mcguffin, Vogue Bleue, 2018 Acrylic on canvas in 2018 emphasizes around the anthropolog a story or desired object that is not 106.7 × 66 cm ical awareness we experience in the explicitly told, to reveal hidden dynamics

Hannah Quinlan & work of Pentti Monkkonen, Hannah Quinlan constructed by rituals and attitudes towards Rosie Hastings & Rosie Hastings and Seyoung Yoon. environments and social identification. Born This Way, 2017 Color pencil on Pentti Monkkonen develop series of works Truth and Consequences’ presentation paper referring to modernist buildings, design, pushes the interaction between three differ 84.1 × 59.4 cm pop icons, consumerist objects to explore ent kinds of space: the public, the intimate his personal affect towards our complex and the inner space entangled. How those social environment. Often his painting are three spatial aspects influence each incrusting icons of our pop culture into other and how are they constructed by our building façade’s structure to project our conflict and consent of sensorial percep visual fantasies into a physical urban tions and social habits? canvas. Hannah Quinlan & Rosie Hastings has been developing series of video pieces and drawings illustrating suspended narratives. Implanted in documental and fictional visions of postapocalyptic reminiscences, they are manifesting their reflexion on the LGBTQ community through their methodo logical research on a social, historical and architectural backgrounds. Seyoung Yoon is constructing her work around ornaments as a story telling back ground. The narration can be directly 232 / 233 taken from stories she wrote as a child or Union Pacific 0 / 8 / 2

Union Pacific 17 Goulston Street T +44 207 247 6161 [email protected] Grace Schofield London E1 7TP M +44 781 395 9987 www.unionpacific.co.uk Nigel Dunkley United Kingdom

Solo show at LISTE: Represented Artists: Urara Tsuchiya, 1979, JP Alfred Boman, SE Caroline Mesquita, FR Julie Born Schwartz, DK Yoan Mudry, CH Ben Burgis & Ksenia Pedan, UK / UA Max Ruf, DE Aleksander Hardashnakov, CA Urara Tsuchiya, JP Jan Kiefer, DE Zadie Xa, CA / KR

Urara Tsuchiya Japan born, Glasgow based Urara uncanny encounters that one often feels Just close your eyes and imagine I Tsuchiya’s works create a type of addictive curious to look at for longer. In a recent haven't evolved, and surreal imaginary world, expanding interview Urara said of her practice “I think 2017 Glazed earthenwear the boundaries of ceramic techniques. I would go a bit dead if I approached 19 × 18 × 14 cm She uses a traditional Japanese style of work without humour. I like to create works

Installation View, ceramic, but to tell contemporary stories that are labour intensive. If I invest so Fashion show that she has found intriguing or funny. Often much in it, I want at least to find it funny.” ‘Angel’s collection’ with Chateaux breaching the boundaries of what viewers Double Wide pop up see as ‘erotically correct’ – the works take For Urara’s solo booth at LISTE, she has bar hosted by Mistress Zoe sexuality into challenging dimensions made a brand new sets of bowls that each Williams, Room with animals, teddy bears and humans all tell a story as if each bowl was a frame Service, Union Pacific, 2016 interacting. Collaboration is very important in a movie. Along side this is a fountain and for her and she often works with other art a wall based work built up of individual ists and uses performance, costume tiles. For the opening day of LISTE she has design and food based events as other ways also made a new fashion show performance, that she can express herself; an aphrodisiac where 6 / 8 models will be walking around dinner where the starter was a cigarette the booth and the fair, dressed in her fabric, and all the waiters had their knickers latex & ceramic creations. around their ankles, food was served from her bowls by a mermaid in a paddling pool, or a living room scenario where two people dressed as a sofa for others to sit on, and be enveloped by, as she stood by the side with a lit up lamp shade on her head. Tsuchiya’s practice creates a playful world where banal objects, animals, 234 / 235 sexuality and cheeky humour all meet in Weiss Falk 3 / 4 / 2

Weiss Falk Rebgasse 27 M +41 765 466 916 [email protected] Oskar Weiss 4058 Basel www.weissfalk.com Oliver Falk Switzerland

Solo show at LISTE: Represented Artists: Veit Laurent Kurz, 1985, DE Nora Berman, US Curtis Mclean, CA Sveta Mordovskaya, 1989, RU Tina Braegger, CH Daniele Milvio, IT Urban Zellweger, 1991, CH Timothée Calame, CH Sveta Mordovskaya, RU Lucky DeBellevue, US Daniel Murnaghan, UK Veit Laurent Kurz, DE David Weiss, CH Laura Langer, AR Urban Zellweger, CH Annina Matter & Urs Zahn, CH

Veit Laurent Kurz Unlike last year, when we featured only landscapes, long since deserted by man RElife, 2017 Ballpoint pen on one artist from our gallery program, this year and reclaimed by nature. paper we’re juxtaposing three young artists at 46 × 30.5 cm our stand who have shown or soon will show And three or four medium-size oil paintings at our space. Zürich painter Urban by Zürich artist Urban Zellweger will Zellweger, with whose works we opened be lined up horizontally to run along all three our 17 / 18 season; Veit Laurent Kurz, whose walls of the stand – in an ongoing dialogue first solo show at the gallery will be with the drawings… held shortly before the LISTE; and Sveta Mordovskaya, with whom we’ll be ringing in the season in Basel in September 2018.

Our media at the stand will cover all three pillars of the fine arts: drawing, painting and sculpture:

Sveta Mordovskaya, who has just begun her studies at University of Applied Arts in Vienna, will be showing a new series of sculptures, standing around on the floor and observing happening around them.

Up to eight framed drawings by Veit Laurent Kurz from the Odenwald in Germany will all be hung in a block on one or two walls. They’re black pen drawings from his 236 / 237 RElife series: apocalyptic architectonic Artists shown at LISTE

A Oskar Dawicki, PL — Raster I Alex Mirutziu, RO — Sabot Zarouhie Abdalian, US — Altman Siegel Danielle Dean, US / UK — Commonwealth and Ruth Ige, NG — Arcadia Missa Dan Mitchell, UK — Jenny’s Adriano Amaral, BR — Centeno / Martins Council Akira Ikezone, JP — Proyectos Ultravioleta Pentti Monkkonen, US — Jenny’s / Magnus Andersen, DK — Neue Alte Brücke Jessica Dickinson, US — Altman Siegel Nona Inescu, RO — Sabot Truth and Consequences Marie Angeletti, FR — Montassut DIS, US / ES — Project Native Informant J K.r.m Mooney, US — Altman Siegel Aaron Angell, UK — Koppe Astner Elliot Dodd, UK — Madeln Cooper Jacoby, US — High Art Gabriel de la Mora, MX — Proyectos Monclova Jean-Marie Appriou, FR — Clearing Eliza Douglas, US — Overduin & Co. Daniel Jacoby, PE — Maisterravalbuena Sveta Mordovskaya, RU / CH — Weiss Falk Carmen Argote, MX — Instituto de Vision Dickon Drury, UK — Koppe Astner Bleta Jahaj, XK — Ermes - Ermes Luísa Mota, PT — Centeno Artina, CH / ZA — Kaskadenkondensator E Cheyenne Julien, US — Arcadia Missa Jeanette Mundt, US — Société Vartan Avakian, LB — Marfa’ Sam Ekwurtzel, US — Subal K N B Janiva Ellis, US — Arcadia Missa Flo Kasearu, EE — Temnikova & Kasela Vlad Nancă, RO — Sabot Ahmed Badry, EG — Gypsum Buck Ellison, US — Balice Hertling Tobias Kaspar, CH — VI, VII Elena Narbutaitė, LT — PM8 Danica Barboza, US — Lomex Oscar Enberg, NZ / DE — Hopkinson Mossman Bronwyn Katz, ZA — Blank Willa Nasatir, US — Chapter NY Zoe Barcza, CA — D’Alessandro F NIC Kay, US — Performance Project Garrett Nelson, US — Performance Project Riccardo Baruzzi, IT — Martins Hamishi Farah, AU — Arcadia Missa Zsófia Keresztes, HU — Gianni Manhattan Kate Newby, NZ — The Sunday Painter Taha Belal, EG / US — Gypsum Josh Faught, UK — Koppe Astner Flora Klein, CH — Friedrich Julien Nguyen, CH — Neue Alte Brücke Răzvan Botiș, RO — Sabot Hal Fischer, US — Project Native Informant Satoshi Kojima, JP — Donahue P Pauline Boudry / R. M. Fischer, US — Southard Reid Veit Laurent Kurz, DE — Weiss Falk PANCH, CH — Kaskadenkondensator Renate Lorenz, CH / DE — Marcelle Alix Flame, UK / DE — Klink L Nicolas Party, CH — Staiger Charbel-joseph H. Boutros, FR / LB — Martins Joe Fletcher Orr, UK — Sabot Nicolás Lamas, PE — Sabot Zoë Paul, UK — The Breeder Thomas Braida, IT — Monitor Gina Folly, CH — Ermes - Ermes Laura Lamiel, FR — Marcelle Alix Dalton Paula, BR — Sé Flo Brooks, UK — Project Native Informant Diana Fonseca, CU — El Apartamento Kris Lemsalu, EE — Temnikova & Kasela Veronika Pausova, CZ — Subal Ruth Buchanan, NZ / DE — Hopkinson Mossman Lucie Fontaine, FR — Sabot Eva LeWitt, US — VI, VII Perejaume, ES — NoguerasBlanchard Peter Linde Busk, DK — Monitor Giulio Frigo, IT — Minini Reynier Leyva Novo, CU — El Apartamento Gala Porras-Kim, US / CO — Labor Adriana Bustos, AR — 80m2 Livia Benavides Gerrit Frohne-Brinkmann, DE — Klink Ming Li, CN — Antenna Space Gina Proenza, FR / CO — Helvetia Art Prize Hera Büyüktaşçıyan, TR — Green Art G Gabriel Lima, BR — Centeno Katarzyna Przezwańska, PL — Radziszewski C Ditte Gantriis, DK — Frutta Ilya Lipkin, US — Friedrich Q Gökçen Cabadan, BE / TR — Öktem Aykut Florian Germann, CH — Staiger Hans-Christian Lotz, DE — Andersen Jean-Charles de Quillacq, FR — Marcelle Alix Pia Camil, MX — Sultana Daiga Grantina, LT — Tang Pingyuan Lu, CN — Madeln Hannah Quinlan & Rosie Hastings, UK — Truth Julien Carreyn, FR — Crèvevœur Anne Greene Kelly, US — Chapter NY Luci Lippard, AU/ NO — Performance Project and Consequences Carolina Caycedo, UK — Instituto de Vision H M R Kye Christensen-Knowles, US — Lomex Julia Haller, DE — Andersen Paul Maheke, FR — Sultana Autumn Ramsey, US — Crèvevœur Victoria Colmegna, AR — Park View / Paul Soto Lewis Hammond, UK — Arcadia Missa Gilda Mantilla, PE — 80m2 Livia Benavides Christophe de Rohan Chabot, FR — Gaudel de Fiona Connor, NZ / US — Hopkinson Mossman Bing Han, CN — Antenna Space Megan Marrin, US — Lewis Stampa Matt Copson, UK — High Art Maria Hassabi, CY — The Breeder Honorata Martin, PL — Raster Em Rooney, US — Bodega Liz Craft, US — Neue Alte Brücke Celia Hempton, UK — Southard Reid Mélanie Matranga, FR — High Art RYBN.ORG, FR — HEK Pauline Curnier Jardin, FR — de Bruijne Lynn Hershman Leeson, US — Donahue Park McArthur, US — Friedrich S Jakub Czyszczoń, PL — Stereo Benedikt Hipp, DE — Monitor Danny McDonald, US — Gaga Stéphanie Saadé, LB — Marfa’ D Yngve Holen, DE — Neue Alte Brücke Emma McMillan, US — Montassut Susanne Sachsse, DE — Performance Project Cynthia Daignault, US — The Sunday Painter Maryam Hoseini, IR — Green Art Till Megerle, DE — Andersen Vanessa Safavi, CH / IR — The Breeder Mira Dancy, US — Chapter NY Laurent Huret, CH — HEK Nathaniel Mellors, UK — Crèvevœur Nicola Samorì, IT — Monitor Cristina David, RO — Ivan Juliana Huxtable, US — Project Native Informant Jacopo Miliani, IT — Frutta Ștefan Sava, RO — Ivan Vaginal Davis, US — Gunn / Performance Project Ištvan Išt Huzjan, SI — Proyectos Monclova Gijs Milius, NL — Gaudel de Stampa Denis Savary, CH — Bernheim

238 / 239 Augustas Serapinas, LT — Emalin Setareh Shahbazi, DE / IR — Gypsum Morten Skrøder Lund, DK — Andersen Slavs and Tatars — Raster Gustavo Speridião, BR — Sé Jonas Staal, NL — Laveronica Lucy Stein, UK — Staiger Sofia Stevi, GR — The Breeder Studio for Propositional Cinema, CA — Performance Project T Gili Tal, UK — Jenny’s Rikard Thambert, SE — D’Alessandro Alice Tomaselli, IT — Sabot Urara Tsuchiya, JP — Union Pacific Nora Turato, HR — LambdaLambdaLambda Ian Tweedy, US — Monitor V Sara VanDerBeek, US — Altman Siegel Jaro Varga, SK — Ivan José Vera Matos, PE — 80m2 Livia Benavides Puck Verkade, NL — Dürst Britt & Mayhew Jan Vorisek, CZ / CH — Bernhard / Performance BODEGA ZUM STRAUSS Project W Wieske Wester, NL — Dürst Britt & Mayhew Pedro Wirz, BR — Blank Alex Wissel, DE — Ginerva Gambino X Xiu Xiu, US — Performance Project Y Katsunobu Yaguchi, JP — Aoyama Meguro Harumi Yamaguchi, JP — Project Native Informant Seyoung Yoon, KR — Truth and Consequences Honglei Yu, CN — Antenna Space Z Urban Zellweger, CH — Weiss Falk Alexandra Zuckerman, IL — Sabot Restaurant Flame, UK / DE — Klink Bodega zum Strauss Barfüsserplatz 16 4051 Basel T 061 261 22 72 211_Genossenschaftshaus Stadterle, Foto: Basile Bornand Restaurant Cantina Don Camillo, Burgweg 7, (2nd floor) 4058 Basel Tel. 061 693 05 07, www.cantina-doncamillo.ch WWW.BBARC.CH STELLWAND BILDWAND STUDIOWAND LEINWAND BRETTERWAND

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