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Andy Goldsworthy OUR SELECTION OF ARTISTS AT THE FAIR Art Basel Miami Beach Edition DECEMBER 2016 SPECIAL ISSUE ART BASEL MIAMI BEACH ARTISTS GUIDE WWW.LEQUOTIDIENDELART.COM Free CURATED AUCTION HOUSE IN PARIS ARTS DÉCORATIFS 1870-1930 | DEC. 5, 2016 DESIGN SELECTED | DEC. 15, 2016 VIEWINGS & AUCTIONS PIASA 118 rue du Faubourg Saint-Honoré 75008 Paris - France t. +33 1 53 34 10 10 | [email protected] Edward William Godwin Jean Prouvé (1901-1984) (1833-1886) et William Watt Maison démontable 6x6, 1944-45 The Eagle, 1869 UPCOMING AUCTIONS & RESULTS | WWW.PIASA.FR 236 x 236 x 114 in 18 000 / 25 000 € Estimate upon request PIASA SA - agreement n° 2001-020 - Auctioneer: Frédéric Chambre Frédéric - Auctioneer: n° 2001-020 - agreement SA PIASA PIASA SA - agreement n° 2001-020 - Auctioneer: Frédéric Chambre 20161209_15 Pub - QDA bandeau - DESIGN MIAMI - HD.indd 4 14/11/2016 10:08 SIGNATURE DE CHANEL NECKLACE IN WHITE GOLD, SAPPHIRE AND DIAMONDS CHANEL.COM JOAILLERIEsp_210x297_quotidien_art_signature_de_chanel_2016_gb_uk.indd - GB UK - SIGNATURE de chanel 2016 - Diamant Saphir Bracelet 2 Bague - Support : LE QUOTIDIEN DE L’ART - Format : SP L 210 x H 297 mm (web) - Remise doc le 23/09/2016 CDF16070082526/09/2016 10:58 ÉDITO PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 03 Art Basel Miami Beach Artists Guide PAR PHILIPPE RÉGNIER Art Basel Miami Beach presents each year a large choice of international artists represented by the most prominent galleries worldwide. Four different sectors are dedicated to specific projects. Galleries in the Nova sector present two or three artists showing new works that have been created within the last three years, allowing to discover never-before-seen pieces fresh from the artist’s studio. Positions sector is dedicated to the display of a single artist’s work, a selection of ambitious new talents from all over the globe. In Kabinett, galleries present in a specific space on their booth curated group or solo exhibitions on various topics. Survey shows art-historical projects to facilitate the rediscovery of works by unfairly neglected artists, benefitting from renewed visibility THIS GUIDE PRESENTS A here. For Art Basel Miami Beach, as well as for Art Basel VISION OF THE Hong Kong in March and Art Basel in June, Le Quotidien INTERNATIONAL de l’Art – The Art Daily News publishes its “Art Basel ART SCENE Artists Guide” focusing on a selection of artists and their SHOWCASED works exhibited in these sectors. In this guide, reknown AT ART BASEL MIAMI BEACH international specialists on these artists consider their THIS YEAR creations to present a vision of the international art scene showcased at Art Basel Miami Beach this year. Le Quotidien de l’Art – The Art Daily News is a French leading art publication which can be downloaded every day from our website. It covers the international art world and art market and has high qualified readership in Europe and worldwide. Enjoy discovering the artists we have selected this year for you in our special “Art Basel Miami Beach Artists Guide”. www.lequotidiendelart.com Le Quotidien de l’Art - - The Art Daily News -- Agence de presse et d’édition de l’art 231, rue Saint Honoré – 75001 Paris. -- PUBLISHER Agence de presse et d’édition de l’art, Sarl au capital social de 17 250 euros. 231, rue Saint Honoré – 75001 Paris. -- RCS Paris B 533 871 331 -- CPPAP 0314 W 91298 -- ISSN 2275-4407 -- www.lequotidiendelart.com -- Website hosted by Serveur Express, 16/18 avenue de l’Europe, 78140 Vélizy, France, tél. : 01 58 64 26 80 -- MAIN SHAREHOLDERS Patrick Bongers, Nicolas Ferrand, Guillaume Houzé, Jean-Claude Meyer -- PUBLISHER Nicolas Ferrand -- MANAGING EDITOR Philippe Régnier ([email protected]) -- ASSOCIATE EDITOR Roxana Azimi ([email protected]) -- ART MARKET EDITOR Alexandre Crochet ([email protected]) -- EXHIBITIONS, MUSEUMS AND CONSERVATION EDITOR Sarah Hugounenq ([email protected]) -- EDITOR-AT-LARGE Emmanuelle Lequeux, Pedro Morais, Natalia Valencia Arango -- LAYOUT Yvette Znaménak - - HEAD OF SALES Judith Zucca ([email protected]), tel: +331 82 83 33 14 -- TRANSLATION Louise Jablonowska, Simon Thurston - - SUBSCRIPTIONS [email protected], tél. : +331 82 83 33 13 -- GRAPHIC DESIGNER Ariane Mendez -- WEBMASTER Dévrig Viteau -- PUBLISHED IN FRANCE -- PRINTED IN USA by NuPress of Miami, Inc., 2050 NW 94th Ave., Miami, FL 33172, www.nupress.com © ADAGP Paris 2016 for their members works -- COVER PHOTO Carlos Amorales, El esplendor geométrico 9, 2015, silkscreen ink on wooden panels, 170 x 118 x 4 cm. (66.93 x 46.46 x 1.57 in.). Courtesy of the artist and kurimanzutto, Mexico City. Photo credit: Diego Pérez, 2015. KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 05 Galerie Chantal Crousel, Paris – Stand L13 Jennifer Allora & Guillermo Calzadilla BY ROXANA AZIMI Jennifer Allora and Guillermo Calzadilla 1971 Birth of Guillermo Calzadilla in Havana, Cuba 1974 Birth of Jennifer Allora in Philadelphia, USA 1995 The duo began working together 2011 They represented the USA at the Venice Biennale Jennifer Allora & Jennifer Allora and Guillermo Guillermo Calzadilla, Calzadilla may have represented the Dust Storm I, II, III, 2016, hand made USA at the Venice Biennale in 2011, prints from wood but the artist duo are still deeply template (ink on linen). Courtesy of attached to Puerto Rico, a territory the artist and Galerie whose hybrid nature comes from Chantal Crousel, Paris. the fact it is an American territory, but an unincorporated one, i.e. not a fully-fledged state. Recently they caused a sensation by installing a Dan Flavin neon in a grotto on the Caribbean island, a project produced by the Dia Art Foundation in New York, despite the refusal of the American minimalist artist’s estate. Puerto Rico is also at the origin Jennifer Allora & of their taste for engraving in every size, shape and color. Since the middle Guillermo Calzadilla, Dust Storm I, II, III, of the 20th century, the island has boasted a rich tradition of revolutionary, 2016, hand made avant-garde engravings: a tradition that Allora and Calzadilla add to using prints from wood template (ink on new technologies, graphics software and images they find on Internet. Like linen). Courtesy of their predecessors, they imbue this centuries-long practice with a political the artist and Galerie Chantal Crousel, dimension. The woodcuts that Galerie Chantal Crousel is presenting at Art Paris. Basel Miami Beach are entitled Dust Storm. They are made from images of a stranded American army base in Afghanistan, covered in sand pushed by strong winds: a metaphor for America’s foreign policy in the Middle East that seems stuck in the doldrums. l KABINETT PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 07 kurimanzutto, Mexico City – Stand G4 Carlos Amorales BY NATALIA VALENCIA ARANGO Carlos Amorales, El esplendor geométrico 1, 2015, silkscreen ink on wooden panels, 220 x 152 x 4 cm. (86.61 x 59.84 x 1.57 in.). Courtesy of the artist and kurimanzutto, Mexico City. Photo credit: Diego Pérez, 2015. Carlos Amorales, Carlos Amorales’s work treats abstraction as a tool El esplendor with which to deconstruct language and form to inquire geométrico 13, 2015, Carlos silkscreen ink on into human perception and communication (or lack Amorales wooden panels, thereof). He expands the concept of drawing and collage 170 x 118 x 4 cm. 1970 Born (66.93 x 46.46 x into multiple bi-dimensional and three-dimensional in Mexico City, 1.57 in.). Courtesy forms, as well as into sound, film, and ephemeral actions. Mexico of the artist and kurimanzutto, Mexico He teases perception by forcing the spectator to feel 2003 Venice City. Photo credit: estranged vis-à-vis geometrical forms, thus tweaking Biennale, Italy Diego Pérez, 2015. their meaning and questioning their very existence. 2012 Documenta 13, Among other hermetic intentions, the artist alludes to Kassel, Germany modern art’s avant-garde revolutionary intentions and 2014 8th Berlin their prompt historical absorption into mainstream Biennale, discourses serving capitalist interests. His long-standing Germany project Archivo Líquido is a growing collection of graphic symbols that mutate in time and for each occasion that his work is exhibited. Amorales’s practice is especially interesting within the context of Mexico, a country with a heavily charged political history of social violence and an art historical tradition that addresses these matters in a direct representational and testimonial way. Amorales, by contrast, incites other types of reflections by purposely insisting on the erasure of context, thus establishing a philosophical approach to reality and to the meaning of art. l 21--29 JANUARY 2017 BRUSSELS ONE OF THE MOST INSPIRING FAIRS IN THE WORLD NOVA PAGE LE QUOTIDIEN DE L’ART | DECEMBER 2016 SPECIAL ISSUE 09 CLEARING, New York / Brussels – Stand N12 Harold Ancart BY EMMANUELLE LEQUEUX With complete familiarity Harold Ancart shares the CLEARING gallery booth with his workshop neighbour, Korakrit Arunanondchai, in a dialogue where each artwork maintains its individuality. The young Belgian artist, who was born in 1980, explores ideas of pattern and repetition in his pastel drawings, focusing on sizes and color variations, from a single image: a dazzling yellow flame, flickering against the depth of the night. This image has already been the focus of one of his exhibitions at the New York gallery, and is particularly important to him: it symbolizes the energy that was recently vital to him in order to cope with serious health problems. It also recalls of course his work on the combustion process and his burnt photographs: often heavenly shots suddenly plagued by suffering. Interacting with Arunanondchai’s “techno-Buddhist” sculptures, at the center of the room, these drawings are for the artist a sign of a revival in line with his original attempts to revisit the concept of sublime and observing nature, at work in his many canvases depicting bouquets and plants.
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